Mark Kraham, RTDNA chairman and the news director of WHAG in Hagerstown, MD, has written an open letter addressing the dangers that journalists have encountered in the past several weeks, both domestically and in places like Egypt and Bahrain.
He condemns the censorship that is present in countries such as Libya and Yemen and, mentioning the troubling attack on CBS's Lara Logan, champions the perseverance and resolve that journalists have exhibited while covering breaking news in Egypt and elsewhere.
While on location in Guam shooting the historical documentary Back To The Battlefields, veteran producer and audio specialist Hilary Stewart's luggage was lost by an airline and she was left without an adequate power source for her cameras. As a longtime user of Anton/Bauer (www.antonbauer.com) batteries, she got on the phone with a company customer service representative early one Sunday morning. The rep was able to help her jerry-rig a temporary solution so that she would not lose any production time while a local Singapore rep for Anton/Bauer sent her the products she needed via overnight shipping.
Denver-based Director of Photography Rich Lerner recently purchased the new Panasonic AG-AF100 large imager HD cinema camcorder for production assignments ranging from documentaries to independent films to commercial spots.
His first AF100 project was a music video, Diaphanous Breeze, for an original composition written and performed by pianist Lisa Downing.
South Korean filmmaker Park Chan-Wook has finished shooting a 30-minute film using two Apple iPhones. The film, titled Night Fishing, used a crew of 80 people, took 10 days to shoot and had a budget of about $133,000. The feature will be shown in ten South Korean theaters beginning in late January.
As a principal cinematographer on four episodes of the acclaimed National Geographic series, Great Migrations, Bob Poole captured intimate close-ups of Mali's desert elephants—a remote and dangerous herd that were difficult to film.
And in war-torn Southern Sudan, tense battles between male white-eared kob (antelopes) that often fight to the death for the right to breed. Great Migrations is the largest endeavor in National Geographic's 122-year history, and Poole was provided the time and resources to capture images that otherwise would be impossible.
Poole used Sony CineAlta cameras and two Fujinon lenses to capture all of his footage—a HA25X11.5BERD HD lightweight telephoto lens and a HA13x4.5BRD HD wide angle ENG-Style lens. When the winds were particularly heavy, Poole often employed his Fujinon TS-P58 image stabilizer.
WASHINGTON — Arun Chaudhary is the White House's ultimate fly on the wall.
Perpetually clad in New Balance sneakers and suits that are just slightly askew, he dashes in and out of meetings, from East Room news conferences to the Oval Office and back again, out through the South Portico and into the White House vegetable garden — all while scrambling to blend into the background and record nearly every moment with his video camera.
One recent Tuesday, he trained his lens on President Obama, who was admiring the paintings on the wall of the Green Room as he waited to speak at a community college summit meeting.
"Arun's a very cool guy, though I have to tell him to get a haircut every once in a while," Mr. Obama quipped, nodding over at Mr. Chaudhary before walking out to the stage.
Emmy-nominated video journalist explains what works on the Web and what doesn't and where he thinks the medium is headed
Shortly after Travis Fox joined the Washington Post in 1999 as a photo editor, he picked up a video camera that was sitting in the newsroom and slowly began producing a few pieces for the Web. Not that anyone was watching these videos--not even the Website's editors. The joke in the newsroom at the time, says Fox, was that he didn't want the executive editor to watch the videos because the pieces would invariably crash his computer and he worried that might dampen the editor's laissez-faire attitude.
"It was a great place to learn and to let my own style come to forefront," says Fox. "I didn't have deadline pressure, I didn't have editorial pressure, I didn't have many viewers." How times have changed.