This is a Spectacular 4K Aerial Reel Filmed on a DJI Inspire

Sometimes it’s enough to just sit back and enjoy something beautiful. Alex Robinson is a content creator with a love for all things video, and it shows in this reel he made using only a DJI Inspire 1. If you’re planning on getting into filmmaking using a drone, this is the kind of footage you should be aspiring to create.

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Beautifully Shot 4K Stock Footage From Mitch Martinez Is An Outstanding Resource For Filmmakers Everywhere

Mitch Martinez might be one of the most generous guys in the film community I’ve had the pleasure of recently chatting with. In case you didn’t know, Mitch, a Philadelphia based DP, is giving away beautifully shot 4K stock footage clips on his site – for FREE.

Let’s All Make Better Video: This is Resource Motion

Earlier this year, Resource Magazine launched the first of our new channels, Resource Travel. Today we are proud to announce the next channel that is focused on cinema, video-making and all things moving pictures: Resource Motion.

Motion will be the premiere place to learn how and why successful films are successful and how to make your own cinematic masterpieces with the gear you have at hand. In addition to reviews, news and everything else that has made Resource a great place to find the best information in the photo and video world, Motion allows us to focus specifically on filmmaking, techniques and stories/editorials specific to the craft of cinema.

We want to create an environment where experts from around the world help explain the best ways to capture scenes and to share their knowledge of filmmaking that they’ve earned through years of trial and error.

Our goal is simple: we want to make it easier for everyone to make amazing movies.

How To Make Your Own Back to the Future Hoverboard Scene

With Back to the Future culminating in a huge media buzz yesterday, you might want to consider adding a hoverboard to your next production. Doing so isn’t difficult at all, as they guys from Adobe show you in this tutorial video.

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Kessler Adds Their kOS Software to Second Shooter

Kessler has released its camera motion control software, kOS, for the Second Shooter platform. kOS was originally developed as part of the CineDrive motion control system, but now you can control the Second Shooter via a wired connection on both Mac and Windows platforms. Unfortunately due to hardware limitations on the Second Shooter, the useful iPad wireless connection is not available.

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Review: The a7R II is the Best Camera Sony Has Ever Made

It’s been a long, interesting, often frustrating and ultimately an incredibly rewarding journey watching Sony go from fledgling camera maker to likely the most feared manufacturer today. They have come a really long way, and what at first seemed like strange decisions have culminated now into an incredibly well-conceived long term plan. As disappointed as I was in the Sony a7R, the a7S gave me hope that there was much to love about their future. Now, the Sony a7R II is that future, and it’s a brilliant camera that, though not without its flaws, is easily the best overall camera Sony has ever produced.

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Blackmagic Updates URSA with Firmware 2.6

Blackmagic today announced the release of Firmware 2.6, specifically aimed at the URSA. The update adds support for the URSA viewfinder, adds timecode display options and overall enhances and improves the camera.

Firmware 2.6 has been released with new features and bug fixes including:

  • Added support for the URSA Viewfinder, which is now shipping
  • Option to display timecode input by tapping on the timecode display
  • Performance enhancements and improvements

We Can’t Stop Watching this Storm Chaser’s Timelapse Film

Is it the stellar visuals? The music? The pacing? I think it’s everything, and the combination of what filmmaker and storm chaser Mike Olbinski does in “The Chase” makes us want to watch this over and over again. His timelapse technique is pretty flawless. What makes great timelapse is understanding speed, camera motion, framing, and subject matter. When you watch this film, you get lost in what you’re seeing, and the camera effects become secondary, even for filmmakers whose job it is to make movies like this. That is a sign he completely nailed it.