Filmmaking articles, behind the scenes, tutorials and more.

8 Ways to Boost Income When Work is Slow

We all have had slow spells in our field of work. For me, winter is a rough time. Businesses slow down and when it is as cold as it has been in Chicago, there is nothing exciting about filming outdoors. Over the past 5 years, I’ve found a couple ways to boost my income when work is slow. Here are my 8 tips on how to make money when work is slow.

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5D vs 6D: The 9 biggest differences between the 5D Mark III and the 6D

Should I get, the 5D or the 6D? Why would anyone buy a Canon 6D? Which full-frame camera is best for video? Whats the difference between the 5D and 6D?

These are questions I get asked on a daily basis, so I decided to put together this video breaking down the 9 biggest differences between the Canon 5D Mark III and the Canon 6D. If you’re looking to get started in DSLR video and wondering which DSLR is best for you, I would suggest you start here.

Canon 5D vs 6D

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Ended – 100 Videos and Counting!

UPDATE: Congratulations to Ethan for winning the lens! Email sent.

Thought I would do a giveaway for the 100th episode of the DSLR Video Shooter podcast. I can’t thank you all enough for the support, encouragement and positive criticism you’ve provided over the years. Without it, I wouldn’t have put all this content together. This whole site is your fault.

And for those of you who have purchased gear through my site or tipped my videos you deserve a special thank you for helping me keep food on the table and content flowing. You’re the best!

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Why I Bought an EOS-M Camera for Video


I just pulled the trigger on a new Canon EOS-M and here are 7 reasons for my actions. If you want a cheap APS-C camera for video you can find it here.

1. Price Tag

The EOS-M was launched with an $800 price tag, which is ridiculous seeing as it shared almost identical features with cheaper rebel cameras. But with the camera being discontinued and Black Friday and Cyber Monday deals hitting, I got an EOS-M Body for $244 on Amazon which was a no brainer.

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The $200 Los Angeles Bike Ride Music Video

This is a Guest Post by Nick Roberts of “And the Giraffe”


A short introduction about myself: My name is Nick Roberts and I play in a band called “And the Giraffe” based out of Nashville, TN. A few months ago, after putting out our second album, we decided to shoot a music video to support the single from the record. A friend of mine, Harrison Sanborn, lives and works out of Los Angeles and has been our go-to director/cinematographer for our music videos in the past, so there wasn’t any question that we were going to work with him for this project as well.

Given that we’re an independent band, our budgets for just about all creative projects may as well look like we found loose change in our couch. We had about $200-$250 to spend on making a music video when we went out to visit Harrison in LA for a week, and we definitely put it to good use.

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Shooting a documentary with the Sony A99

Daniel SmukallaThis is a Guest Post by Daniel Smukalla, Director of Sedae.




These days, there are so many great cameras on the market, which is why I had such a difficult time last year deciding upon which one to purchase to shoot the Korean documentary “Sedae”. Originally I wanted to get a video camera, since video is my primary purpose, but flexibility with time lapse was also needed to tell the story of “Sedae”. In that regard, DSLRs are superior. However, I wasn’t ready to commit to a DSLR. I would shoot with them, and loved the images, but still felt limited since it was missing many of the features that I wanted from a video camera. Once I was ready to buy a camera though, the Sony a99 came on the market, and it convinced me of its ability to do video.

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Why We Need To Rethink How We Value Cameras And Gear

Over the past several years us filmmakers have slowly adapted an obsession with what cameras we own. I think we have placed too much value on our cameras and need to rethink how we value cameras. Lets start by going back to 1977.


The Past

Below is a picture of the Panavision PSR 35mm motion. This camera was used on Star Wars: Episode IV – A New Hope by George Lucus. Clearly this camera is massive, taking multiple people to operate and move. And thats just for simple camera moves… It must have been quite the operation to get a jib shot.


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