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	<title>Filmmaker Magazine &#187; Cinematographers</title>
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	<link>http://filmmakermagazine.com</link>
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		<title>The Druid City: Interview with Kristyn Ulanday and Max Esposito</title>
		<link>http://filmmakermagazine.com/69566-the-druid-city-interview-with-kristyn-ulanday-and-max-esposito/</link>
		<comments>http://filmmakermagazine.com/69566-the-druid-city-interview-with-kristyn-ulanday-and-max-esposito/#comments</comments>
		<pubDate>Mon, 29 Apr 2013 14:00:53 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Editors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Canon 5D]]></category>
		<category><![CDATA[Canon 5D Mark 2]]></category>
		<category><![CDATA[FCPX]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69566</guid>
		<description><![CDATA[Kristyn Ulanday and Max Esposito graduated from the journalism department of Boston University in 2010. They both work commercially as freelance photographers and filmmakers, but in 2011 they also began a collaborative project called Full Frame America to tell the stories they wanted to tell. The first result of that collaboration is a 24-minute documentary, The Druid City, that focuses on the town of Tuscaloosa, Alabama and how the residents have coped after the town was hit by an EF4 tornado in April 2011. &#160; Filmmaker: How did you come to make this movie? Esposito: We both felt like we &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69566-the-druid-city-interview-with-kristyn-ulanday-and-max-esposito/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Sidewalk Traffic: Interview with D.P. Dave Kruta</title>
		<link>http://filmmakermagazine.com/67429-sidewalk-traffic-interview-with-dp-dave-kruta/</link>
		<comments>http://filmmakermagazine.com/67429-sidewalk-traffic-interview-with-dp-dave-kruta/#comments</comments>
		<pubDate>Mon, 25 Mar 2013 14:00:55 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Dave Kruta]]></category>
		<category><![CDATA[Sidewalk Traffic]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67429</guid>
		<description><![CDATA[The last time we spoke to David Kruta [DP David Kruta on Shooting the Movie Concussion], he’d just finished DP’ing the independent movie Concussion, which was directed by Stacie Passon. Concussion went on to become an official selection at the 2013 Sundance Film Festival and has secured a distribution deal with The Weinstein Company&#8217;s TWC_RADiUS division. Kruta recently talked to us about his latest project, Sidewalk Traffic. Principal photography just ended, and the movie will probably be completed by the end of the year. Filmmaker: What is Sidewalk Traffic? Kruta: Sidewalk Traffic is Anthony Fisher’s first feature film; he&#8217;s a &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67429-sidewalk-traffic-interview-with-dp-dave-kruta/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Animating 1000 Parts: Creating the Short Day Shift</title>
		<link>http://filmmakermagazine.com/65812-animating-1000-parts-creating-the-short-day-shift/</link>
		<comments>http://filmmakermagazine.com/65812-animating-1000-parts-creating-the-short-day-shift/#comments</comments>
		<pubDate>Wed, 27 Feb 2013 14:00:35 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[animation]]></category>
		<category><![CDATA[Canon]]></category>
		<category><![CDATA[iStopMotion]]></category>
		<category><![CDATA[stop motion]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65812</guid>
		<description><![CDATA[Ian Timothy, 18, is about to graduate high school — applying to art schools hoping to study animation — but he already has several years of animation experience under his belt. He created his first stop motion at 12 using a DV camera, and quickly discovered he liked doing it so much that it became “pretty much a full-time thing.” Timothy won a Silver Telly Award for animation in 2013, has created animation for music videos, and is currently working on an animation for Adult Swim for the Cartoon Network. In the following interview Timothy talks about the short Day &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/65812-animating-1000-parts-creating-the-short-day-shift/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Karaoke Girl&#8217;s Visra Vichit-Vadakan and Sandi Sissel</title>
		<link>http://filmmakermagazine.com/65316-karaoke-girls-visra-vichit-vadakan-and-sandi-sissel/</link>
		<comments>http://filmmakermagazine.com/65316-karaoke-girls-visra-vichit-vadakan-and-sandi-sissel/#comments</comments>
		<pubDate>Fri, 15 Feb 2013 21:16:37 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[IFP Narrative Lab]]></category>
		<category><![CDATA[Karaoke Girl]]></category>
		<category><![CDATA[Sandi Sissel]]></category>
		<category><![CDATA[Visra Vichit-Vadakan]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65316</guid>
		<description><![CDATA[Receiving its world premiere in the 2013 Rotterdam Film Festival&#8217;s Tiger Awards Competition, San Francisco-based Visra Vichit-Vadakan&#8217;s Karaoke Girl is an evocative character study of a Bangkok working girl, a singer in a nighttime karaoke bar for whom memories of her rural past and dreams of romantic fulfillment form a pulsing lifeline away from an emotionally depleting world. A hybrid documentary/fiction film, Karaoke Girl stars newcomer Sa Sittijun as a character largely based on herself. The documentary sections of the film follow her back to her real hometown, and feature interviews with her real family, while the &#8220;fiction&#8221; sequences are &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/65316-karaoke-girls-visra-vichit-vadakan-and-sandi-sissel/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>Animating the Inanimate: Interview with Charlie Collier</title>
		<link>http://filmmakermagazine.com/64404-animating-the-inanimate-interview-with-charlie-collier/</link>
		<comments>http://filmmakermagazine.com/64404-animating-the-inanimate-interview-with-charlie-collier/#comments</comments>
		<pubDate>Thu, 31 Jan 2013 16:06:52 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Charlie Collier]]></category>
		<category><![CDATA[stop motion]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64404</guid>
		<description><![CDATA[At 20 years of age, Charlie Collier of Zapamation may be a young filmmaker, but he’s already got almost eight years of stop-motion experience behind him. A self-taught animator, he says he was able to get into this partly because of the flexibility he gained from being homeschooled; he was able to incorporate animation into the curriculum. When he finished high school he decided to try his luck as a full-time freelancer. He hopes to attend film school some time in the future when he has built up “a little bit of a portfolio.” Collier has already created animations for clients &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/64404-animating-the-inanimate-interview-with-charlie-collier/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<item>
		<title>Fringe Issue in Older Canon C300&#8242;s Solved?</title>
		<link>http://filmmakermagazine.com/63700-fringe-issue-in-older-canon-c300s-solved/</link>
		<comments>http://filmmakermagazine.com/63700-fringe-issue-in-older-canon-c300s-solved/#comments</comments>
		<pubDate>Thu, 24 Jan 2013 15:48:55 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Canon C300]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=63700</guid>
		<description><![CDATA[Since its release, the Canon C300 has received a lot of praise for its image quality and low-light sensitivity. But some users have reported problems with color fringing: incorrectly colored pixels that appear on in-focus vertical or horizontal borders adjacent to a blown out &#8211; or nearly blown out &#8211; background. This most commonly appears on man-made objects like railings and window edges, though it can also be seen in specular highlights on ocean waves. The Canon C300 is not unique in suffering problems like this. By all accounts the Sony NEX-FS100 exhibits far stronger fringing. Any single-sensor camera is &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/63700-fringe-issue-in-older-canon-c300s-solved/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>Pulse: Shooting with the Canon C100, Part II</title>
		<link>http://filmmakermagazine.com/61536-pulse-shooting-with-the-canon-c100-part-ii/</link>
		<comments>http://filmmakermagazine.com/61536-pulse-shooting-with-the-canon-c100-part-ii/#comments</comments>
		<pubDate>Thu, 10 Jan 2013 14:00:22 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Canon 5D Mark III]]></category>
		<category><![CDATA[Canon C100]]></category>
		<category><![CDATA[Canon C300]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=61536</guid>
		<description><![CDATA[In Part Two of this interview with Patrick Moreau of StillMotion, Moreau discusses the settings used while filming the short film Pulse with the Canon C100, as well as the lenses and audio hardware they used. He also discusses intercutting footage from the Canon C100 with other cameras. See also: Pulse: Shooting with the Canon C100 Part One Filmmaker: For this project you were recording to AVCHD? Moreau: Yes. We used AVCHD in this situation because we wanted it to be as natural as possible, which is possible with this small footprint. We did an AT&#38;T campaign for the Olympics &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/61536-pulse-shooting-with-the-canon-c100-part-ii/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>Pulse: Shooting with the Canon C100, Part One</title>
		<link>http://filmmakermagazine.com/61449-pulse-shooting-with-the-canon-c100-part-i/</link>
		<comments>http://filmmakermagazine.com/61449-pulse-shooting-with-the-canon-c100-part-i/#comments</comments>
		<pubDate>Tue, 08 Jan 2013 14:00:54 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Canon 5D Mark 2]]></category>
		<category><![CDATA[Canon C100]]></category>
		<category><![CDATA[Canon C300]]></category>
		<category><![CDATA[Pre-Production]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=61449</guid>
		<description><![CDATA[When manufacturers are preparing a new camera for release, they often loan pre-production units to filmmakers in the hope that they’ll make a video the company can use to promote the camera. Such is the case with the Canon C100. Canon loaned the filmmakers of StillMotion two C100 bodies and financed the making of a short video, Pulse. As StillMotion described in their blog post on the making of the video, the idea for the video came from a potential client: We’d recently been approached to make a Kickstarter film for a team who had created a pretty remarkable innovation &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/61449-pulse-shooting-with-the-canon-c100-part-i/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>An Afternoon Music Video Shoot with the Canon C300</title>
		<link>http://filmmakermagazine.com/61416-an-afternoon-music-video-shoot-with-the-canon-c300/</link>
		<comments>http://filmmakermagazine.com/61416-an-afternoon-music-video-shoot-with-the-canon-c300/#comments</comments>
		<pubDate>Mon, 31 Dec 2012 14:00:34 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Columns]]></category>
		<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
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		<category><![CDATA[Canon C300]]></category>
		<category><![CDATA[music video]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=61416</guid>
		<description><![CDATA[It’s a late fall Sunday afternoon and Rick Macomber is setting up his Canon C300 on a bridge near Harvard Square to shoot some inserts for a music video. The video is for the band Air Traffic Controller, and the plan today is to shoot two sequences of a couple that illustrate “happier times” in their relationship. Rick will first be shooting them crossing the bridge, and then they’ll move to Harvard Square to shoot some additional scenes. With his production company Macomber Productions Rick has been shooting music, promotional and wedding videos since 1995 and has been using DSLRs &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Game Changers Part 4: Planning and Shooting</title>
		<link>http://filmmakermagazine.com/59933-game-changers-part-4-planning-and-shooting/</link>
		<comments>http://filmmakermagazine.com/59933-game-changers-part-4-planning-and-shooting/#comments</comments>
		<pubDate>Tue, 04 Dec 2012 16:54:42 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[Game Changers]]></category>
		<category><![CDATA[Lenses]]></category>
		<category><![CDATA[Lighting]]></category>
		<category><![CDATA[Sony PMW-F3]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=59933</guid>
		<description><![CDATA[In this fourth episode of a series on the making of the low-budget independent film, Game Changers, director Rob Imbs and cinematographer Benjamin Eckstien discuss audio recording, communication between director and cinematographer, and how to plan out shooting a multi-day, multi-location project. Earlier parts consisted of an overview and then discussed fundraising, casting, camera and lighting gear. Filmmaker: What is the size of your crew? Eckstein: We typically have two people in our sound department every day, though there were some scenes or times of day where we had one person. We typically had an AC and another PA. On &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Game Changers Part 3: Camera and Lighting</title>
		<link>http://filmmakermagazine.com/57507-game-changers-part-3-camera-and-lighting/</link>
		<comments>http://filmmakermagazine.com/57507-game-changers-part-3-camera-and-lighting/#comments</comments>
		<pubDate>Fri, 09 Nov 2012 17:00:39 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[Game Changers]]></category>
		<category><![CDATA[Lenses]]></category>
		<category><![CDATA[Lighting]]></category>
		<category><![CDATA[Sony PMW-F3]]></category>

		<guid isPermaLink="false">http://stage.filmmakermagazine.com/?p=57507</guid>
		<description><![CDATA[In this third part of the series about the production of the low-budget indie movie Game Changers, filmmakers Rob Imbs (director) and Benjamin Eckstein (cinematographer) discuss shooting with the Sony PMW-F3, shooting in S-Log, lighting issues, and the lenses used to shoot the movie. Filmmaker: Ben, you already owned the Sony PMW-F3, was the decision simply to use the camera you had? Eckstein: I’ve been fortunate that I own almost all the gear that I use on a day-to-day basis. From the beginning when talking to Rob, it was not really a discussion of &#8220;Are you trying to get the &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Game Changers Part 2: Funding and Casting</title>
		<link>http://filmmakermagazine.com/57419-game-changers-part-2-funding-and-casting/</link>
		<comments>http://filmmakermagazine.com/57419-game-changers-part-2-funding-and-casting/#comments</comments>
		<pubDate>Thu, 01 Nov 2012 21:21:03 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Game Changers]]></category>
		<category><![CDATA[indie film]]></category>

		<guid isPermaLink="false">http://stage.filmmakermagazine.com/?p=57419</guid>
		<description><![CDATA[Game Changers is an indie film currently being shot in Buffalo, New York. In this second part of the interview with filmmakers Rob Imbs (director) and Benjamin Eckstein (cinematographer), they discuss funding a low-budget movie, how the budget effects the production, as well as casting and location scouting. Filmmaker: So you had a script, but then you had to fund the movie. How did you go about doing that? Imbs: Funding was always an Indiegogo thing. Just as I fell in love with Twitter, I also fell in love with the idea of Indiegogo. I really believe in supporting artists, &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Game Changers Part 1: Getting Started</title>
		<link>http://filmmakermagazine.com/57416-game-changers-part-1-getting-started/</link>
		<comments>http://filmmakermagazine.com/57416-game-changers-part-1-getting-started/#comments</comments>
		<pubDate>Wed, 31 Oct 2012 17:01:03 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Game Changers]]></category>
		<category><![CDATA[indie film]]></category>
		<category><![CDATA[Sony PMW-F3]]></category>

		<guid isPermaLink="false">http://stage.filmmakermagazine.com/?p=57416</guid>
		<description><![CDATA[Filmmakers Rob Imbs (director) and Benjamin Eckstein (cinematographer) are currently shooting a low-budget independent feature film, Game Changers, a drama/comedy about two video-gamers who are approaching their late twenties. With an initial target budget of $30,000, Game Changers might be better described as a shoestring budget feature, given that they began shooting with only half that amount raised. Though this is their first film together, Imbs has previously made a feature-length video, Eckstein has extensive shooting experience in corporate video and documentaries, and Imbs is an experienced editor who will be doing most of the editing. Imbs, who is based &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Alex Buono on Cinematography</title>
		<link>http://filmmakermagazine.com/50411-alex-buono-on-cinematography/</link>
		<comments>http://filmmakermagazine.com/50411-alex-buono-on-cinematography/#comments</comments>
		<pubDate>Fri, 17 Aug 2012 15:30:05 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Alex Buono]]></category>
		<category><![CDATA[Canon 7D]]></category>
		<category><![CDATA[Canon C300]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[Saturday Night Live]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=50411</guid>
		<description><![CDATA[Alex Buono, the cinematographer for the Saturday Night Live film unit, recently spoke at an event in Boston. (See: Alex Buono: Shooting for Saturday Night Live.) In addition to discussing his work on Saturday Night Live, he also talked about gear, technology, and his philosophy of shooting. Part of the reason Alex gave the presentation was to demonstrate and talk about the Canon C300, but he was careful to stress, as Roger Deakins said, “Cinematography is more than a camera,” or as Alex put it: &#8220;Filmmaking is not a science project.&#8221; Here are some of the topics he touched on: &#8230;]]></description>
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		<slash:comments>3</slash:comments>
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		<title>Alex Buono: Shooting for Saturday Night Live</title>
		<link>http://filmmakermagazine.com/50324-alex-buono-shooting-for-saturday-night-live/</link>
		<comments>http://filmmakermagazine.com/50324-alex-buono-shooting-for-saturday-night-live/#comments</comments>
		<pubDate>Thu, 16 Aug 2012 14:16:09 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Alex Buono]]></category>
		<category><![CDATA[Canon 7D]]></category>
		<category><![CDATA[Canon C300]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[DSLR]]></category>
		<category><![CDATA[Saturday Night Live]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=50324</guid>
		<description><![CDATA[Alex Buono is perhaps best known for his work with the Saturday Night Live Film Unit. He shot the current opening for SNL, as well as many of the fake commercials seen on the show, but his passion is documentary and making independent films. “I&#8217;m always trying to get the next one off the ground,” says Buono, “and SNL, as much as I like it, it&#8217;s a lot of fun and I really like who I’m working with, [but] it&#8217;s this great day job I do while I&#8217;m trying to get a movie [going].” Most recently, Alex worked on the &#8230;]]></description>
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		<title>DP Brandon Vincent: Shooting with the NEX-FS100</title>
		<link>http://filmmakermagazine.com/49036-d-p-brandon-vincent-shooting-with-the-nex-fs100/</link>
		<comments>http://filmmakermagazine.com/49036-d-p-brandon-vincent-shooting-with-the-nex-fs100/#comments</comments>
		<pubDate>Mon, 23 Jul 2012 14:34:24 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[Sony NEX-FS100]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=49036</guid>
		<description><![CDATA[Brandon Vincent is a Massachusetts-based freelance videographer and editor and a Sony NEX-FS100 owner. He’s had the camera for almost a year, and I recently talked to him about his experience using it. Filmmaker: What kind of work are you shooting? Vincent:  I do pretty much whatever comes to me really, but I do a lot of interviews, highlight videos of events, and I do a lot of my own personal stuff. I shot some comedy things. I don’t shoot a lot of documentary work, but it’s something I would like to get into. Filmmaker: When did you get the &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>The Solar Odyssey: Taking Part in a Documentary, Part One</title>
		<link>http://filmmakermagazine.com/47932-the-solar-odyssey-taking-part-in-a-documentary-part-one/</link>
		<comments>http://filmmakermagazine.com/47932-the-solar-odyssey-taking-part-in-a-documentary-part-one/#comments</comments>
		<pubDate>Mon, 09 Jul 2012 13:00:30 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[The Solar Odyssey]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=47932</guid>
		<description><![CDATA[You never know where an interesting project can come from — a friend, a client or even from Twitter. Such was the case for Boston-based d.p. Todd Mahoney, who spent ten days documenting the progress of The Solar Odyssey Project after seeing a tweet looking for someone to sub for their regular d.p. The Solar Odyssey is an attempt to cover the waterways of “The Great Loop” in a solar-powered boat. The project is led by skipper and adventurer Jim Greer, and technologist and host Philip Hodgetts. In part 1 of this interview, I spoke to Todd the day after &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Using R/C Helicopters to Fly Your Camera: Part Two</title>
		<link>http://filmmakermagazine.com/45018-using-rc-helicopters-to-fly-your-camera-part-2/</link>
		<comments>http://filmmakermagazine.com/45018-using-rc-helicopters-to-fly-your-camera-part-2/#comments</comments>
		<pubDate>Tue, 01 May 2012 15:51:42 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[r/c helicopter]]></category>
		<category><![CDATA[Sony NEX-FS100]]></category>
		<category><![CDATA[sony NEX-FS700]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=45018</guid>
		<description><![CDATA[In this second part of an interview with Eric Austin of HeliVideo, Eric talks about camera control, future cameras, and the most amazing sequence he’s shot so far: &#160; What camera control are you doing remotely? We have remote record-on, off from the ground, and we can also punch-in. The lens we are currently using on the Sony is actually the kit lens, usually the 18 to 55. Are you using that because of the image stabilization? Yes, in part. The gimbal is stabilized, and with the extra little stabilization in the lens it just takes out the little nicks &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Using R/C Helicopters To Fly Your Camera : Part 1</title>
		<link>http://filmmakermagazine.com/44990-using-rc-helicopters-to-fly-your-camera-part-1/</link>
		<comments>http://filmmakermagazine.com/44990-using-rc-helicopters-to-fly-your-camera-part-1/#comments</comments>
		<pubDate>Mon, 30 Apr 2012 13:00:02 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Canon 7D]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[DSLR]]></category>
		<category><![CDATA[NEX-FS100]]></category>
		<category><![CDATA[nex-fs700]]></category>
		<category><![CDATA[PMW-F3]]></category>
		<category><![CDATA[r/c helicopter]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=44990</guid>
		<description><![CDATA[Eric Austin of HeliVideo has been flying RC aircraft and helicopters for about ten years, but it was two years ago that he first put a DSLR camera on a helicopter and started shooting aerial footage. Two years on and his company is shooting material for the Discovery Channel, ABC and others, primarily using the Sony NEX-FS100. I spoke to Eric recently about how he got into the business, and what’s involved in using RC helicopters. The first half of the interview covers his beginning, the cameras he’s been using, and operating considerations. The second half of the interview covers &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>An Interview with D.P. Martina Radwan</title>
		<link>http://filmmakermagazine.com/40065-an-interview-with-d-p-martina-radwan/</link>
		<comments>http://filmmakermagazine.com/40065-an-interview-with-d-p-martina-radwan/#comments</comments>
		<pubDate>Mon, 06 Feb 2012 17:50:21 +0000</pubDate>
		<dc:creator>Alix Lambert</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[music video]]></category>
		<category><![CDATA[production]]></category>
		<category><![CDATA[Saving Face]]></category>
		<category><![CDATA[Shearwater]]></category>
		<category><![CDATA[women]]></category>
		<category><![CDATA[women directors]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=40065</guid>
		<description><![CDATA[I started working with DP Martina Radwan about a year ago on the feature documentary, Mentor (addressing bullying and teen suicide in Mentor, Ohio) I further had the pleasure of working with her on a recent music video for the band Shearwater. It is a gift, as a director, to find a DP who you can quickly fall into a shorthand with, creating your own visual language, and trusting in the collaborative process. Radwan and I found this with each other. Her narrative work includes Flannel Pajamas, by Jeff Lipsky; Singapore Dreaming, one of the first Singaporean feature productions and &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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