Carl Mrozek

One of the benefits of downsizing broadcast and digital cinema cameras is the size and cost of much of the support gear needed to make them fully functional can also be downsized.

There are multiple sets of prime lenses now available for use with DSLRs and large sensor digital cine cameras at various price points.

Once upon a time (barely a decade ago), it wasn’t unusual to shoot many projects—large and small— with a single, medium-to-large video camera and tripod.

Accurate field monitoring is a critical component of any shoot, particularly in HD.

One optical company, 16x9, has taken a different tack—screw-on adapters that attach to a zoom lens by the same threads used for attaching filters.

These days it isn’t unusual to use several different cameras on a production, each with its own codecs and media.

LEDs have changed the lighting landscape in many ways—from hot to cool, and from tungsten to daylight temperatures.

The wintry months often pose a double threat to the performance of pro video cameras

LED technology has revolutionized our industry with cooler, lighter, brighter, softer and more efficient lighting than is feasible with traditional sources.

For some two decades, Steadicams and their imitators have been the cutting edge of mobile, off-tripod camera support with little challenge from new technology.

What makes for a really good field monitor, and what distinguishes an exceptional one from the rest of the pack?

The Nautilus, which incorporates a revolutionary design from nature, has the potential to become a breakthrough audio support product.

Nothing beats a compact high-resolution field monitor for improving focus, color balance, and framing.

Designed to handle a payload ranging from eight to 31 pounds, yet only weighs less than seven pounds itself.

Without adherence to the fundamentals of photography in general, and videography in particular, you won't be harnessing your camera's true potential.