1. How to Choose the Best Lens for Weddings & Events. Canon Cinema Caravan (2010)


    from stillmotion Added 199K 3,715 147

    thanks to all of our amazing sponsors that have made this trip possible and that have brought this tutorial to you. we have plenty more to come. first and foremost, thanks to canon live learning for making all of this possible (the bus and all). thanks to manfrotto for being so kind in providing 16 monopods plus tons more gear. thanks to cinevate for the shoulder rigs and atlas camera sliders. thanks to zacuto for the z-finders and DSLR rig. thanks to tiffen/lowel/steadicam for all of their lighting and stabilization support. we setup for our first workshop tonight and it almost resembled the show floor of BH at times. let us know what you think. we are happy to answer any questions and we look forward to hitting the road and shooting our next tutorial in chicago. check out our blog for the road trip here: http://canoncaravan.stillmotionblog.com/ P.

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    • Deconstructing Lens Choice and Composition on a Commericial Shoot. Canon DTS (2011)


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      we filmed this tutorial during a commercial piece we were working on and it goes over some of our thought process behind our lens choice and composition. check it out and head over to the Canon learning center for more tutorials later soon. usa.canon.com/dlc // upcoming tutorials how to achieve and hold focus fast turnaround philosophy (SDE) and work flow color (in camera and post) the soundtrack is cars & trains ‘the leaves’. licensed through withetiquette.com

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      • sm color test // what do you see?


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        here's a sneak peek at the upcoming color tutorial what is graded? what is straight out of the camera? how was it done? take a look at the sm color test here and tell us what you see in the comments below stay tuned for the full tutorial coming next week lil'j

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        • Making The Most Of Shooting Outside. Canon Cinema Caravan (2010)


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          brought to you by canon live learning. despite doing our best to minimize the wind (running the transmitter really low and running a big windscreen on the lav) it was so strong that it still interferes in certain parts. being that this piece is much more raw we wanted to leave it as-is (we also thought re-shooting the VO in a pristine location just wouldn't jive.) a couple things we couldn't add in due to time. you can also record a frame in video, then playback and use the indicator that shows you what is blown out by flashing, or ideally the histogram to check your exposure. this works on the 7D, MKIV, and MKII and is great when you don't have a z-finder and you need to ensure your exposure is spot on. thanks also to zacuto for providing the z-finders and tiffen for providing the ND filters.

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          • behind the scenes - canon cinema caravan day 1


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            follow all of our travels while we are on the road : http://canoncaravan.stillmotionblog.com/ P.

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            • Basic Interview Lighting Techniques. Part of the SMAPP series.


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              we are one week closer to the launch of SMAPP and as our update of the week we wanted to share a tutorial on interview lighting. there are so many different ways you can light an interview and while story is always important, interviews more than anything else often come with the constraints of time, space, and gear. traveling for A Game of Honor we had to be able to light an interview with whatever we could fit into one 70lb suitcase (which inspired a whole separate tutorial on what's in that suitcase). if you've done your share of interviews, you'll be all too familiar with showing up and having a room that would be a tight fit just to hold all of your gear, let alone setup and interview in it. with almost every interview we feel like we could use one more stinger, one more light, an extra five minutes to tweak the setup, or an extra 5' feet to reposition the talent and camera. however, through working within these constraints we can learn to do much more with much less. half the tricks we know about lighting have all come from having to figure something out while on set, and having to do so quickly. the more we understand light, how it works and how we can work with it, the more we can make the most of whatever time, gear, and space we might find ourselves in. we hope you enjoy our first lighting tutorial on basic interview lighting. our next lighting tutorial we will be sharing shortly will show how we light the same scene three different ways to create different moods. P.

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              • 5 Killer Canon Lenses. SMAPP Series (2012)


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                When we're first starting out, it's easy to use the same lens over and over again. But putting story first means catering every choice you make to your story and your shoot, and that means picking the lens that works best. Here we share five of our favorite Canon lenses with you, and some of the discoveries we've made about them over the years. Read more on the blog: http://stillmotionblog.com/2013/06/27/5-canon-lenses/

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                • Final Four 2012 - Monday Night Open


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                  this piece was shot mostly on the new 5D MK3, cut in with Varicam, Alexa and Red Epic footage, for the 2012 Final Four Open. cinematography by stillmotion interviews shot by John Tipton lighting by Midwest Grip and Lighting Co. produced by Gareth Hughes, CBS directed by Christian Winters, CBS // the stillmotion 5D MK3 review sorry we are a little late to the review party, we wanted to make sure we had shot several pieces with the camera and really put it through the paces. before we start, i do want to say that we aren't going to be posting noise samples, sharpness comparisons, or other such pixel peeping. not that that information isn't important to know about or to consider when choosing any camera, it just wasn't what we or our clients are looking at when we chose this camera. this review is based on how the 5D Mark3 has performed in the field and for the types of shoots we have been on lately. thus far we've shot several pieces for CBS with the MK3. the first was an 8 min feature on the Chardon High School shooting called 'One Heartbeat' that aired Saturday night before the Final Four games. we also helped shoot both the Saturday and Monday night opens - Monday's which aired on CBS to about 15 million people. Through these three pieces, the MK3 footage has been cut in with Varicam, Epic, Alexa, and..... ...to read the rest of the full review, check out the complete post on our blog at www.stillmotionblog.com For licensing inquiries, please contact discovery@storyandheart.com

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                  • How To Shoot With Tilt/Shift Lenses. Canon Cinema Caravan (2010)


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                    from chicago, to the grand canyon and hoover damn, we really traveled far and wide to put this one together. the tilt/shift lenses can be a rather technical set to wrap your head around so please be sure to leave any questions on the cinema caravan blog and we will be sure to get back to you. the cinema caravan blog can be found here: http://canoncaravan.stillmotionblog.com/ follow us on twitter @stillmotion P.

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                    • Shooters Commentary {Tiffany+Brook's NDE}


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                      Welcome to our first Shooters Commentary! We hope everyone enjoys this educational segment of Tiffany and Brooks wedding day. I've covered the basic thoughts, shot processes, challenges and general equipment used. I have always enjoyed watching directors commentaries after watching a great movie and thought this would be a great step in event cinematic education. Obviously its a bit harder to go over each clip as they cut quickly, so if there are any questions please feel free to ask. Many more videos and commentaries to come in the days ahead. -M

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