Personal information is the modern gold. By using free software, you have actually become the product, not the client, but what do apps actually make behind the curtain? Here's a look at what TikTok does.
Articles written by Tihomir Lazarov
When the professionals speak, we better listen, especially if we are fans of the movies they worked on. In this short video you will understand the thought process of Tom Cross, the editor of "Whiplash" and "La La Land", when he works on a movie.
Wireless devices have become a part of our daily life and work. As someone who uses them professionally, I decided to measure their electromagnetic radiation to see if they are a threat to my health. The results may be interesting to you.
Smokes and mirrors has been a trademark for most cinematic and commercial-looking video projects. In this video tutorial it's mostly mirrors that were used.
Long takes are one of the trademarks of Spielberg. Using a camera on a dolly, here's how he made a visually engaging scene from the famous "Raiders of the Lost Ark" film.
You can't do a project on a zero budget. If you actually spent a zero amount, that means you never did anything.
"Cinematic" has been a buzz word lately, and in a nutshell, that's how we say a subject has a refined look ike in the movies. This video will not only teach you the basics, but also give you extra tips on lighting the set environment.
Although the current situation is far from what we used to know as "normal," I believe we will still have a chance to get to our daily routines. This time, we have to be more careful about a number of habits we may have been ignoring.
Whether you are new to editing, or you have solid experience, you might have moments where something in your workflow is constantly dragging you behind. Professional video editor, Lucas J. Harger, shares several of his organizing techniques in order to speed up post-processing.
Whether you are an owner of another company or someone with a nine-to-five job, you may want to start your own business offering photography or video services. This article will give you advice about how you should and should not name it.
In this informal interview, the famous cinematographer Roger Deakins shares some of his life story, how he works together with his wife, and lots of interesting details on films he has worked on. You will also see why he doesn't really support the way most modern Hollywood films are shot.
Often, the portfolios of famous photographers and filmmakers have a "personal" category where we see work that drastically differs from what they are known for. Do you think that's the way it should be?
No, this article doesn't have anything to do with the current situation in the economy. The decline of 3D movie production and projection started about 10 years ago, and in this documentary, you will learn how history repeats itself over and over again.
It's a very mixed feeling: you are happy they like the shot, but you are also disappointed that it's not sharp. I'm going to share my way of dealing with the situation, but I am also curious about your way of handling the problem.
He didn't go to film school. He didn't have any formal education in photography or filmmaking. He had a humble nine-to-five job. He didn't start pursuing filmmaking in his twenties, but later. And he will teach you how to smash a Ferrari on a budget.
Every once in a while, I receive a request from a beginner photographer who want to become my assistant. I usually decline their application, and in the following article, I'm going to explain why. This information is also useful for those who'd like to become apprentices of established professional photographers.
If you still struggle with the skin colors of your images or your videos, there is a way to cope with that. Most importantly, it works with footage from any camera.
We live in interesting times when everything is expected to look good, show high numbers, and have flashy abbreviated job titles. What actually lies beneath the shiny plastic cover is often something rather humble.
You read that right: ARRI makes compromises in order to make good lenses. The logic behind those decisions is similar to the one behind making digital camera sensors carry more information in the green channel than the other two. It's about image perception, not about mathematical perfection.