In this the first episode of my 4K for $10K series, I cover the Panasonic AU-EVA1. I focus on the camera's core features, both hardware and software, and where I see it fitting into Small to No Crew production environments.

Quasar Science has created some of the most versatile LED lighting for the industry, packaged in the familiar form factor of what would have formerly been a flourescent tube. In this video, I show what makes their Q-LED Rainbow (RGB) and Crossfade (bicolor) fixtures so unique and how they can be used to create different looks, from a standard interview setup to a dramatic "fashion motion" editorial shoot.

Another tripod in the flowtech line has arrived from Sachtler. The addition of an option with a 100mm fixing brings the flowtech innovations to a new range of camera systems and productions.

As a Director of Photography and producer/director, there are lots digital cinema cameras to choose from. There are a number of options that meet the needs of many DPs, camera operators, media companies, and in-house production departments, are capable of UHD 4K HDR acquisition, and cost less than $10,000. In addition, many of these cameras have capabilities that go well beyond that spec. But, which camera do you choose for your next production?

The Teradek Serv Pro has become a favorite for on-set wireless video monitoring. The Serv Pro is not unlike the original Teradek Cube in that it is a video encoder allowing for video streaming over a network. The Serv Pro is specifically built for on-set use to quickly and easily deliver video to an iOS or Android device via Teradek's free VUER app.

RED's new IPP2 workflow, which is supported in-camera with the latest RED DSMC2 bodies brings a lot to R3D workflows. One of the most important features is the ability to load a custom 33-sided 3D LUT in .cube format into the camera for viewing. In this blog, I show you two scenarios for on set and off set LUT creation.

Recently, I worked with Panasonic to create scene files for the EVA1 based on the VariCam LUT Library. In this blog, I take you through loading the files into the camera. Then, I show how to save and name them. As you can see, the process is fast and easy. You will be up and working in no time.

With the advent of firmware version 2, the VENICE now allows the import of custom 3D LUTs. This opens up endless possibilities and gives VENICE users the ability to always have access to custom looks.

Kino Flo, a pioneer in cool-running, continuous lighting for film and video, initially using flicker-free fluorescent technology, has moved into LED-based fixtures. They now have a full line of well-regarded soft sources incorporating lighting effects, wireless control, and energy efficiency.