Support Equipment

Documenting the Fight to Save the Children of Ukraine

Tue, 12/03/2013 - 11:59 -- Nick Dager

The documentary Gennadiy follows Gennadiy Mokhnenko, whose life cause is to save the children forced to the streets of Mariupol, Ukraine, since the day the Soviet Union fell. The filming challenges are often unexpected. “We had to be ready in a moment’s notice to adapt, whether it be moving locations or adjusting the story,” said producer/director Danny Yourd.

Trusscam Trolly-Mounted Gyro-Stabilized Camera System available at Pictorvision

Fri, 11/29/2013 - 12:01 -- Nick Dager

Pictorvision has introduced TrussCam by Camera Special Systems, the latest innovation to enable creative and dynamic coverage for stadium, arena, courts, theatres and other events. This one-of-a-kind trolley mounted, gyro-stabilized camera system provides previously impossible shots in large venues. The versatile system features a camera mounted on a completely wireless trolley, which runs on standard 290mm truss.

Capturing the Fluid Speed of Pro Inline Street Skaters

Mon, 11/25/2013 - 13:53 -- Nick Dager

Cinematographer Nick Pisciotta knows that pro skaters have been captured on film countless times. So, when he took on the task to shoot a project showcasing two of the best aggressive inline street skaters in the world, Montre Livingston and Jeff Dalnas, and other skaters from the USD Skate Team, he decided he needed to shoot a fresh look – on a modest budget.

Size Matters on The Aviators Shoots

Thu, 11/21/2013 - 11:58 -- Nick Dager

When Devin Lund, director of photography for The Aviators on PBS, goes on assignment, he’s got to be ready for constant change. “Sometimes we’re dealing with the military. Sometimes we’re dealing with private aircraft owners. I’ve got to be ready to deal with last-minute changes. It always happens,” Lund explains.

Finding Creative Ways to keep a Franchise Fresh

Wed, 11/20/2013 - 12:15 -- Nick Dager

Keeping a hit television show that’s been on the air for 14 years fresh and interesting is a demanding challenge. As scripts get bigger to sustain audience interest, budgets inevitably get smaller. “When a show reaches syndication, it has primarily done it’s job of crossing the finish line of making money for a very long time,” says CSI: Las Vegas cinematographer Crescenzo Notarile, ASC. “So, why spend more when the networks, at this point, don’t have to. It’s a creative challenge to keep the audience coming back with what we have. It’s not making more – it’s making the freshest.”

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