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EventDV Magazine:
March 1998 [Volume 7, Issue 3]: Column: Echoes
Posted 08 Sep 2004 / March 1998 [Volume 7, Issue 3] Issue By
 
March 1998 [Volume 7, Issue 3]: Column: Executive Decision
Posted 08 Sep 2004 / March 1998 [Volume 7, Issue 3] Issue By
 
March 1998 [Volume 7, Issue 3]: Column: The Main Event
Posted 08 Sep 2004 / March 1998 [Volume 7, Issue 3] Issue By
 
March 1998 [Volume 7, Issue 3]: Column: The Moving Picture
Posted 08 Sep 2004 / March 1998 [Volume 7, Issue 3] Issue By
 
March 1998 [Volume 7, Issue 3]: Department: Studio Time
This month’s Studio Time takes a look into the mind of one individual who has found joy in mastering the last step in any DVD-bound event video project.
Posted 16 Mar 1998 / March 1998 [Volume 7, Issue 3] Issue By
 
March 1998 [Volume 7, Issue 3]: News: Features
Getting the perfect shot sometimes requires more than just luck. That's why in this edition of Gear and Now we discuss zoom, wide-angle, and anamorphic lenses. First we touch on how they work, and then we look at specifications of one of each type of lens from three leading manufacturers: Canon, Panasonic, and Sony.
Posted 08 Sep 2004 / March 1998 [Volume 7, Issue 3] Issue By
Geoff Daily | The perfect song is a hallmark of the perfect wedding. But what about the perfect wedding video? If you want to sync that song to your footage, you’ve got to pay the copyright holder, and without a scalable fee structure in place, owners of desirable copyrights are unlikely even to negotiate with videographers. Royalty-free music sources offer one alternative, as do original compositions. But if your competition promises the perfect song, copyright be damned, how can you keep up and still stay on the safe side of the law?
Posted 08 Sep 2004 / March 1998 [Volume 7, Issue 3] Issue By
Jan Ozer|Shooting on a budget almost always means less than ideal lighting. To present your subjects in the best light, you’ll need to know what equipment to buy and how to use it, how to work without it when necessary, and how to adapt your lighting strategies to the idiosyncrasies of your shooting site. What constitutes “good lighting,” and how can you get it without breaking the bank? And how can you make sure it follows you wherever you shoot?
Posted 08 Sep 2004 / March 1998 [Volume 7, Issue 3] Issue By