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MacVideo, Best Shots

You know you've got talent, we know you've got talent, but does the world know you've got talent?

MacVideo wants to hear from you and to show the world the best shots you have to offer. Anything you have shot, any format, get in touch and we will roll out the "best shots" on MacVideo.

Full credit will be given to you, the person who made the shot or sequence, and you retain full copyright - all we ask is permission to show your work.

Get in touch now.

email: [email protected]

Ice Caves of Patagonia

Filmmaker: Alessandro Beltrame. A La Venta (laventa.it) research project about the glaciers of the Hielo Continental Sur. A trailer that tells about the last expedition in February 2010. Filmed with a Panasonic HVX 201 and a Canon 5D Mark II. Then a 9 mt. crane ABC with remote head V5 ABC. The lights are Dragon Sub, 3 kind of led technology items.

Tones - fimmaker Josh Baltazar

This was all shot in summer 2010 in the north Yorkshire countryside, Initially the objective was to just go out and shoot some random nature footage for the sake of it. It took a good couple of months to get all the shots, as there was a lot of walking and and cycling involved to get to all the different locations, and as i wanted to shoot everything when the light was just right in each different spot, there would be a small window to get the shot, so typically each filming excursion would only net a couple of shots at a time.  In the new year i realized there was Gigabytes of footage the sitting on my hard drive doing nothing, so i experimented with it for a couple of days and this was the end result.

Equipment wise it was a super basic setup, just a camera, tripod and a couple of screw on filters, as i had to carry everything on my back when cycling to all the locations so being lightweight was a priority on the 10-20 mile round trips.  It was shot on a Panasonic DVX100b in good old standard def, in 25p, with minimal colour correction in post, and the music is "Circles in the Spacebook"  by Milieu, who kindly donated the track for use in this video.    

The Streets of San Francisco - NanoFlash investigation

On the streets of San Francisco we test out NanoFlash. The miniature device capable of recording a full 4:2;2 color signal at bitrates much higher than any of the affordable camcorders are capable of. NanoFlash provides a small box which accepts SDI or HDMI as the video input. Recording at high bit rates the result is better, sharper 4:2:2 images, which is of much higher quality to the compressed images at 25 or 35mbps.

Garrett Brown Interview

"I’ve been thinking about those days 30 years ago when all this began because I’m writing a book, a kind of a memoir about the 20 year period between getting in the business in the most idiotic way you can imagine — I read all the old film books in the free library of Philadelphia so of course I learned how to be a 1940’s filmmaker — and getting frustrated with the ancient equipment I acquired from a bankrupt local producer.

GarrettBrownIthought you had to have a studio. I thought you had to have giant dollies and perambulator mic booms, and all of that heavy stuff. My dolly was a ‘Fearless Perambulator’ that weighed 600 lbs. Our crews were small and we broke our hearts lifting that thing into trucks and lugging that it up stairs and laying my 30 feet of rusty rails and putting my pinheaded little Bolex on this behemoth because that’s what one had to do to move the camera. I hated the bumpy look of handheld so I finally started looking for a way to disconnect the camera from the cameraman.

GarrettwithPrototypeSomehow the ever-bumpy human being camera must stay isolated from the smoothly moving camera. That turned out not to be easy, and became a three year project with a lot of false starts, which yielded some pretty goofy prototypes. We used to joke that one of them was “70 feet long and you couldn’t smoke near it”.

I tried every possible variationand finally got to one that looked like the modern Steadicam. I took it to Hollywood and almost immediately had a license deal from a camera manufacturer Cinema Products Corp. Read more

Life in Morocco

Life in Morocco.

Marrakech Morocco - I'm on a mission to film the snake charmers in the main square of the old city. It's five in the afternoon in the area known as the Suk; the light is golden and I'm strolling though the streets with with Sony Z1, Sachtler tripod, wide angle lens, a Cinesaddle camera bag for low angle shots and enough US dollars to pay for the privilege of filming these men as they do their unusual work.

I hear the snake charmers before I see them. The sound of their instruments and the beating of drums guides me in. Standing tall and motionless are cobras and vipers. The snakes are frightening and beautiful. I move forward armed with my camera. I need to move quick. The light will be gone within 15 minutes.


Read more from Life in Morocco

3 Minutes About Leo

Probably the first time of Canon 5D Mark II underwater in Mediterranean Sea, we are testing a new housing, the Leo II, with new comands for video.

Then we try some lights, halogen or HID or LED, considering the high sensibility of a full frame camera.

The Mediterranean Sea is very different from tropical sea, the visibility, the light, the depth and the blue dominant, here we are in West Liguria, near XXMiglia.

The backstage is shot by a Panasonic HVX 200 with Gates housing. The post production is using FC, but the glass panel effect is by Motion.

Alessandro Beltrame - www.agbvideo.com

(concept, filming, post production)

Luca Coltri - www.pianetabluvideo.com

(back stage filming)

Easydive 5D MII Housign


Paul Carrack - The Living Years

Some shoots are diamonds and this was one of them. Simple interview, followed by a live performance in the studio of the musician. This wasn't any musician, this was Paul Carrack: the voice behind the worldwide number one hit from 1989, The Living Years, by Mike and the Mechanics. Sometimes all you have to do is let the camera roll and the magic happens.

Filmed by Rick Young

Ba'hai Gardens TL

Snowdrum is an independent, creative production company, specializing in directing, consulting, post production & production for films, music videos, documentaries, commercials, corporates & extreme sports movies.

Snowdrum is run by Director Snow R. Shai & Director of Photography Benji Cohen.

Visit http://www.snowdrum.com/snowdrum/Home.html

Polar Bear - Filmmaker: Arthur C. Smith III

Polar Bear was shot with the RED ONE and a Leica 400mm at 2K 90fps. Support was an OConnor 2575 D on both heavy duty and baby legs. In terms of maintaining "situational awareness" during this particular sequence, the RED LCD screen proved invaluable.

Shooting in such close proximity with a 400mm and at 90fps, the RED enabled us to translate a visual intimacy with the bears that had previously been impossible. The RED redefines natural history production standards.

We are the husband-wife indie production team of Arthur & Jennifer Smith.  We filmed each of the three segments-- Polar Bear, Arctic Sunrise, and Arctic At Work-- in the vicinity of our home base of Kaktovik, Alaska, an Inupiat Eskimo village on an island in the Arctic Ocean.  We shot each of these three segments on the RED ONE.

We've gone RED, never to return.

As filmmakers, our mission is simple.  We love and respect the Arctic and its residents.  We are privileged to live here, to bear witness, and to document with the RED a stunning visual transcript of this imperiled ecosystem.  While it may be somewhat idealistic, we believe that sharing the Arctic with the public at large may make a difference to its future, and to the future of those who call the Arctic home.