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Car chases are among the most expensive, logistically punishing sequences a filmmaker can attempt. So when director Marco Ragozzino set out to make Cut to the Chase, a six-minute action-comedy built to showcase Sony's latest Virtual Production toolkit, he staged the whole thing on an LED volume in Vancouver. The short ran on Sony's VENICE 2 and BURANO cinema cameras, Crystal LE...

Zero dropped feeds. No cable runs. A hole that had never made it to air. Broadcast Management Group's REMI production for The Pro Tour rewrote what a golf broadcast build can look like, and LiveU's LU800 encoders and LIQ™ intelligent connectivity were at the center of it. Read on for how BMG designed a turnkey workflow around where the story was, rather than where the fiber happ...

Ticks, tornadoes, and uneven ground aren't the obstacles most cinematographers plan a camera package around. For C. Kim Miles, ASC, CSC, MYSC, they were the daily conditions of shooting the "Little House on the Prairie" reboot. Miles lensed four of the eight episodes of the 2026 series, which debuted in July and has already been renewed by Netflix for a second season. Starring ...

At a moment when the major streamers are consolidating catalogs, raising prices, and competing for the same finite hours of attention, a state film association launching its own OTT service sounds like a strange bet. Film Florida made it anyway. Film Florida TV went live June 8 with more than 200 hours of Florida-made work, free to viewers on Roku, Apple, Amazon, and Google. Th...

One of the things I truly enjoy when attending and covering the Tribeca Festival is talking to creatives such as DPs and Editors, and the opportunity to screen films and projects across all kinds of genres from all over the world. To me, it is quite the privilege and honor to be there amid all that red-carpet glamour, glitter, and more stars than you could imagine. But why stop ...