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NAB 2011: Greening the Film Business—LED Fresnel Lights

It’s a vicious cycle in the film business. We use scads of energy to light our sets, usually trying to make them look as natural as possible, then we use scads of energy to cool them. If we can reduce the power required for lighting, we can save money two ways. In the olden days of production, when I was starting out in the business, most movie lights (except for big arc lights) had tungsten or quartz lamps. These lamps employed a simple technology, like Edison’s light bulb, pushing so much electric current though a thin wire filament that it glowed and gave off light—and heat. Tungsten is still the most mature, least expensive, hottest, and least efficient lighting technology available. . . . CONTINUE READING: NAB 2011: Greening the Film Business—LED Fresnel Lights

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NAB 2011: Back to Vegas

The first time I went to the NAB Show, I wore camouflage fatigues and marched through hippies.

I was working the show for Ampex, the television equipment company that had invented videotape. During the 80s, they were buying Sony professional video camera parts, assembling them in Ampex factories, and branding and marketing them as their own. One of their promotions at that time showed a photo of their new, integrated camcorders with a camouflage paint job and the caption “Guerrillacam.”

These Ampex products, based on the Sony 200 and 300 Betacam camcorders, represented a huge improvement in portability. Before this time, most professional video shooting was done either in a two-piece configuration (with camera connected to a separate recorder) or with a “dockable” record deck mounted on the back of a camera. This older dockable rig was pretty heavy, because it mated two units that each could function independently, each with its own rugged case and power supply.

The new Ampex (and Sony) camcorders provided the basic form factor for most professional camcorders for years to come, a sleeker and lighter alternative to the dockable systems. The marketing push was directed at news shooters, especially those navigating the urban jungles. Hence, Guerrillacam.

So Ampex hired me and another cameraman named Dan Cascino to help man their booth at the National Association of Broadcasters annual trade show, oddly held that year in Atlanta. We wore jungle camouflage fatigues on the floor of the show, with camo military caps that said . . . CONTINUE READING: NAB 2011: Back to Vegas