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October 6, 2012, 9:22 am
Figuring out this information can be daunting so let's break it down into three sections. We'll define containers, codecs, video formats and explore what they do and why this information is useful to video Producers, Camera Operators and Editors.
April 10, 2017, 10:07 am
We know that videos have a tremendous impact on your brand and leave a lasting impression on your audience, but it’s important to know exactly why. The fact is that […] The post The Science of Visual Information Processing and How to Harness It appeared first on Crews Control.
September 22, 2016, 9:20 am
When you create a video, there’s much more at play than you might realize. The messaging, tone, and backdrop will evoke emotions from your audience, [...] The post How Colors Can Influence Your Video Audience appeared first on Film Crews, Camera Crews & Video Production.
April 5, 2016, 12:46 pm
When you’re creating a corporate video campaign, a lot of time and effort is put into the visuals, script, and strategy. Audio quality is usually [...] The post How to Get Great Audio appeared first on Film Crews, Camera Crews & Video Production.
January 28, 2016, 10:48 am
The talented team at our sister company TeamPeople have some of the best insight into the industry. The following is a story from one of [...] The post Advice for an Aspiring Video Editor appeared first on Film Crews, Camera Crews & Video Production.
May 28, 2015, 1:29 pm
The talented team over at our sister company Team People wrote about the importance of codecs and what you need to know about them. Video [...] The post What is a Codec & Why Should You Care? appeared first on Crews Control Inc..
May 27, 2015, 2:31 pm
Tools for Workflow and Organization NAB 2015 has come and gone without too much hype of a new cutting edge technology or gimmick to gossip [...] The post NAB 2015 Wrap-Up: What We Learned at This Year’s Show appeared first on Crews Control Inc..
January 27, 2015, 1:25 pm
When shooting reality television, many challenges come into play for everyone involved, producers, DP’s, audio; and it is important for everyone to work together to face these challenges. Audio has their own set of challenges when shooting reality, and as a DP I know how difficult these challenges can be and how much they affect the whole production. For starters you need to have a good A1. Without an experienced person, all the technology in the world can’t save you from an audio disast...
November 10, 2014, 1:33 pm
I’ve worked in the motion imaging production business for over 20 years and I’ve never seen anything like the audio mixer bag from Orca Bags. The bag has a nice clean exterior presentation and comes in black with blue trim. But the trim isn’t a window dressing it’s actually an aluminum frame to maintain the shape of the bag. This means it will keep the same shape after years of field use and protect its’ precious cargo as well. (Let’s be honest, this is something we have all wan...
September 9, 2014, 9:34 am
We started out researching and writing this article to answer an important workflow question for video Producers, ENG/ EFP video crews, and Editors. What is going to happen to ProRes when Apple Final Cut Pro 7 is no longer a viable NLE option? This question was somewhat like opening Pandora’s Box. Read More
September 8, 2014, 1:34 pm
Imagine shooting a project and having full control over your motion imaging in every manner you wish, in terms of color, exposure, saturation, brightness, and contrast.Now imagine your client changed their mind about the ‘look’ after the shoot. For those who have been in the business for a while, you are well aware that when one ‘bakes in’ a look and feel to the image, it’s permanent.Sure in some cases it can be slightly altered or enhanced, but for the most part once that decision...
Gordon sits down with Alan Baumgarten and Josh Schaeffer to discuss their Eddie nominated work on the film Molly's Game.
Tom Cross and Gordon Burkell sit down to discuss the editing of Hostiles and how to work with footage to affect the pacing an ...
Gordon Burkell interviews Paul Machliss about timing and editing Baby Driver.
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