Want to combine the benefits of a gimbal, Steadicam, and crane in a single package that can handle a heavy cinema camera?  Check out the ARRI Trinity and Maxima system – it’s a bargain at $60,700.

Can’t get enough long takes?  Check out Cinefix’s list of the top twelve best, StudioBinder’s three strategies of utilizing them, and Aputure’s four-minute tutorial on how to create them yourself.

Gimbals allow filmmakers to capture a variety of moves, including variations on dolly and slider shots.  However, that doesn’t mean that sliders are unnecessary.  Here are a few videos comparing the two pieces of gear.

Need a refresher on motivated and unmotivated camera movement?  Check out this great video essay, which focuses on a small, but impactful moment in the film Frances Ha.

Here are a couple more videos on Spielberg: his “point of thought” shooting style and his use of long takes.

Netflix’s The Haunting of Hill House is a spooky show with high production values.  One standout episode of the first season was “Two Storms,” which was almost entirely comprised of very long takes filmed on a Steadicam.

StudioBinder makes preproduction software, but they also have an impressive collection of tutorial videos online.  Check out their videos on movement, blocking, and long takes below.

Here’s a sweet (and utterly ludicrous) animated history of the camera from the always-delightful Royal Ocean Film Society.

Here are a few more videos that explore David Fincher’s extraordinarily precise camera movement, cinematography, and direction.

Want to try out your filmmaking skills?  Check out this one minute short film competition from the fine folks at Film Riot.

Want some additional tips for shooting handheld footage?  Check out these videos for some more techniques.

The word “cinematic” gets thrown around a lot on filmmaking blogs and in video tutorials.  It’s an extremely vague term, but generally describes footage that doesn’t look like a home movie or quick social media post.  That could be due to the color grading, movement, depth of field, framing, slow motion, or other factors.

Being able to film at up to 960 frames per second with the compact RX10 II is amazing.  If you want to capture really slow motion, however, the best tool for the job is probably a Phantom camera, which can capture footage at thousands of frames per second for specialty shots or scientific tests.

Flowing Through the City Filmmaker Rob Whitworth has developed a unique style of time lapse video that he calls “flow motion.”  Check out his travel videos for Sydney and Dubai below.

The “world’s leading trade fair for imaging” – photokina – is happening later this month in Germany and that means lots of rumors and product announcements are flying around.  The trend this year seems to be full frame mirrorless cameras, with Nikon and Canon announcing new systems.

Need some filmmaking inspiration?  Courtesy of Lights Film School, here are five independent feature films shot on DSLRs and mirrorless hybrid cameras.

In these videos, the gang at Fstoppers debunk some of the common misconceptions about sensor size and lens properties.

There is some debate in the filmmaking community – even among professionals – as to whether sensor-size crop factor should be applied to aperture.

The always informative John Hess of Filmmaker IQ delivers a stirring defense of the standard film frame rate – 24 – in this new video.  While frame rates of 48, 60, and higher are great for video games, virtual reality, and sports, 24 is still the ideal for cinema.  Strap in for an epic rant as Hess explains why.

As we discussed briefly in the first lesson, SD cards are labeled in a maddeningly confusing way.  This video from Gerald Undone breaks down the various symbols, rates, numbers, and abbreviations.