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10 Tools Every DP Should Have in their Kit

So you have been in contact with your client. You have set up the shoot day logistics, and you’re confident that everything will go well. Then you go to set-up for the shoot and realize you have...

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Technical

10 Tools Every DP Should Have in their Kit
Posted by Brad Spinsby on Jul 30, 2014 & filed under Technical.
10 Tools Every DP Should Have in their Kit

So you have been in contact with your client. You have set up the shoot day logistics, and you’re confident that everything will go well. Then you go to set-up for the shoot and realize you have forgotten something. Every Director of Photography has a basic kit they bring with camera, lights, and audio but outside of those main elements here are 10 items that are important for every DP onsite.

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NYC PR Firm Uses Sony PMWF55
Posted by Rebekah Toth Burns on Jul 24, 2014 & filed under Technical.
NYC PR Firm Uses Sony PMWF55

A New York City public relations firm, Finn Partners, captured a new public school initiative with the Sony PMW F55. This required going into the classroom to record interviews and B-roll. Crews Control represented DP and contributing blogger Adam Shanker says this about his camera for this project. “Setting the F55 in HD in the MPEG 2 XDCAM mode we can have manageable file sizes while achieving high quality. The record format is 1920x1080P, frame rate of 29.97, with an angle shutter at...

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Professional Mobile Recording Devices for the Best Workflow from Production to Post

In today's fast paced production world things can change in an instant. This seems especially true with camera technology. Gone are the days of purchasing a camera, paying it off in 36 months, and then living off the profits for a few more years. These days you're lucky if you can actually work with a camera for 18 months before its’ replacement hits the market. So how does one actually make a return on their investment? Thankfully, there are some terrific alternatives in the form of digital...

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Not Just Your Average Blonde: Photon Beard’s Platinum Blonde

Photon Beard is an English lighting company known for its development of the open-faced 1K and 2K tungsten lights known as Redhead and Blonde lights. There are now many manufacturers who produce redhead and blonde lights but Photon Beard was the originator. By natural progression they have developed and teased over the last couple years an open face 1200W HMI unit known as the Platinum Blonde. The difference between Tungsten lights and HMIs are HMIs produce more light but are more efficient in...

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10 Tips for Shooting Video in New York City

New York City is consistently the most scheduled location for all of Crews Control’s video shoots worldwide. The New York metro area was the top location for the first quarter in 2014 at 7.72% of Crews Control’s video shoots. Manhattan is the busiest location of the five boroughs for corporate video productions.

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A Fluorescent with LED Power: Photon Beard’s Square One

Photon Beard certainly sounds more like a hipster rock band than a UK lighting company that has made excellent lighting for over 100 years. Photon Beard has continued their excellence in lighting with their Square One light. The Square One is literally just that, a one square foot light panel. But unlike most lights of that size, the Square One utilizes fluorescent lights instead of the extremely popular LED lights.

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Field Recorder Review
Posted by Curt Pair on Jul 08, 2014 & filed under Technical.
Field Recorder Review

Video professionals often ask me what field recorder is the best for their video production. Unfortunately, there isn’t just one recorder that fits every production workflow. Here is a review of three field recorders that I have used often: the nanoFlash by Convergent Design, the Pix240 by Sound Devices, and the Ninja Blade by Atomos.

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10 Tips for Shooting Video in South America

South America contains a wide variety of landscapes, cultures, and languages. It is approximately 6,890,000 square miles and is home to 401 million people according to the Population Reference Bureau. Crews Control has long-standing relationships with video crews in most major cities all over South America including: Sao Paulo, Buenos Aires, Rio de Janeiro, Bogota, Lima, Santiago, and Caracas. Here is some advice for shooting video in South America from our local video crews and Crews...

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How to Add Live URL Links into Your YouTube Videos

When video first started to be used online it had many of the advantages of traditional video but few advantages of the internet. Specifically, you could not link from a video. You could say, “call 555-1243 today, visit mysite.com,” or even link to another video on YouTube but you could not put a live link on your video to link to your website. Google has fixed that on YouTube. It is now possible to have a link show up on your YouTube video in any location on your screen, at any location in...

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10 Troubleshooting Techniques for Video Professionals

When combining a creative vision and technology you will almost always get a challenge to solve. So many issues can be worked out with a little extra time spent in pre-production or a rolodex with the right contacts. Here are some popular troubleshooting techniques we hope these will ease your next production bump in the road.

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Going Stag with Tiffen’s New Steadicam Solo
Posted by Brad Spinsby on Jun 18, 2014 & filed under Technical.
Going Stag with Tiffen’s New Steadicam Solo

With the influx of camera stabilization devices, steadying your small camera, even with its accessories, has never been easier. Tiffen the makers of Steadicam, has created a multifunctional stabilizer called the Steadicam Solo for cameras up to 10 pounds. It works with cameras from major manufacturers like Panasonic, Sony, and Canon. The Steadicam Solo has the typical quick release mounting plate for standard camera mounts, as well as dual, fore, and aft adjustment for that “Steadicam”...

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How Do We Compare?
Posted by Andrea Keating on Jun 10, 2014 & filed under Technical.
How Do We Compare?

Our company like many others are adapting to a new world of technology enabled consumers who are doing more research and purchasing online than ever before. I created the media/communications benchmarking survey to see where other organizations are at in terms of size, structure, positions, and hopefully to get some indicator of what their future structures or growth areas might look like. Guest Blogger Steve Tingley Media Center Director

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Atomos Brings an Upgraded Monitor to the Ninja Blade Recorder

Recently, Atomos released the Ninja Blade, an upgrade to the Samurai’s inexpensive brother, the Ninja 2. Where the Samurai Blade sports more options and SDI interfaces, the Ninja Blade utilizes HDMI ports, but at a cost under $1000. If you prefer SDI inputs, the Ninja Blade can be used in conjunction with the Atomos S2H Converter. The Atmos Ninja 2 and Samurai recorders have 800x480 resolution monitors. The Blade series has an upgraded 1280 x 720 resolution utilizing SMPTE Rec 709 color...

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10 Tips for Shooting Video in Las Vegas
Posted by Rebekah Toth Burns on May 27, 2014 & filed under Technical.
10 Tips for Shooting Video in Las Vegas

Las Vegas, you either love it or you hate it. Personal feelings aside, many of us travel to Las Vegas on a regular basis for work related video projects. Crews Control has been shooting the bulk of our video podcasts in Las Vegas since 2008. According to the Las Vegas Convention Center in 2013 there were 22,027 conventions with 5,107,416 attendees.

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Panasonic VariCam HS
Posted by Tony Muzzatti on May 20, 2014 & filed under Technical.
Panasonic VariCam HS

At the 2014 NAB convention Panasonic unveiled the third generation of the VariCam camera series, the VariCam HS and its big brother the VariCam 35. These cameras are the first modular style professional video cameras Panasonic has ever designed. It seems like Panasonic looked into the future (or at the RED Scarlet), and what they saw was camera’s being mixed and matched with different recorders and lenses, so they kept that in mind when they set out in designing the new camera series. What...

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Canon CINE-SERVO CN7x17 KAS S
Posted by Tony Muzzatti on May 17, 2014 & filed under Technical.
Canon CINE-SERVO CN7x17 KAS S

The Canon CINE-SERVO CN7x17 KAS S is a Super 35mm 17–120mm T2.95 lens you can shoot cinema, broadcast news, or run-and-gun with it on your next corporate shoot. There really is not much this servo lens cannot do. Canon designed this servo lens for the new market of 4K cameras, and they designed it to be good enough to mount on a studio camera or bring along on your next ENG shoot.

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Communication Professionals Marketing Themselves

As media professionals providing internal and external business communication solutions it can be challenging to market ourselves, departments, and product lines to key stake holders. How do you make your products and services current and relevant within your organization? Creating a digital magazine is a great example of how a marketing manager within a massive organization like Sony is able to elevate a product line and make management take notice.

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Do you work in public relations, social media or advertising? If so, this blog post is for you. In your line of work, you’re constantly hearing the buzz around brand videos and their effectiveness. From Dove’s Real Beauty Sketches to Volvo Truck’s Epic Split, companies have been successfully using video to captivate their audiences, share critical brand messaging and spark conversation.

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NAB 2014 Review: Gear that Will Make You Go Ahh

After NAB each year one question gets tossed around between our clients, crews, and friends on social media. “What did you see at NAB that we need to check out?” We talk about production gear that we will showcase on our video podcast Information Overdrive. Our friends chat about cool solutions they played with on the NAB show floor. Here is Crews Control’s list of new and noteworthy equipment and solutions from NAB 2014.

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Fix it with Green Screen
Posted by Rocky Wyler on Apr 14, 2014 & filed under Technical.
Fix it with Green Screen

Every DP gets the same feeling when they hear, “client wants green screen”. It starts with the thought of “how small of a room are they going to jam us into this time to do this”?

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