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Author: Gavin Marsh

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Indoor Arena Cable Camera Setup Guide for Safe, Smooth Shots

Indoor Arena Cable Camera Setup Guide for Safe, Smooth Shots

July 13, 2026
The riskiest mistake in an arena cable-camera build can happen before the camera moves: treating a “strong-looking” beam as an approved anchor. A reliable indoor arena cable camera setup guide starts with the load path, not the lens.  Current US entertainment-rigging standards emphasize documented support points, planning, inspection, and competent personnel; cable-camera guidance adds motion […]
Overhead Equipment Safety For Film Production Guide

Overhead Equipment Safety For Film Production Guide

July 13, 2026
Overhead equipment can turn a controlled film set into a falling-object hazard in seconds. For me, overhead equipment safety for film production starts before a light, camera, speaker, or truss leaves the ground. I want every load rated, every secondary restraint independent, and every person outside the potential fall zone unless needed for the task. […]
Suspended Load Safety Rules for Film Sets Safe Rigging

Suspended Load Safety Rules for Film Sets: Safe Rigging

July 12, 2026
A suspended load can turn a normal setup into a line-of-fire hazard within seconds. My first rule when reviewing suspended load safety rules for film sets is simple: nobody gets a shot, adjustment, or shortcut that requires standing directly beneath a moving load. That principle applies to lighting truss, flown scenery, speakers, camera systems, green […]
Zoom Cine Lens Options for Run-and-Gun and Studio Filmmaking

Zoom Cine Lens Options for Run-and-Gun and Studio Filmmaking

July 12, 2026
I have found that choosing a cinema zoom is rarely just about finding the widest focal range or the fastest T-stop. The real decision usually comes down to how the lens behaves once the camera is actually moving. A lens that looks perfect on a specification sheet can become frustrating when it adds too much […]
Behind the Scenes of Filming a Large Music Festival

Behind the Scenes of Filming a Large Music Festival

July 12, 2026
I was standing beside the main stage when the weather changed without warning. Thousands of fans were moving toward the headline performance, the lighting director was testing the brightest cues of the evening, and our camera operators were waiting for their final instructions.  Within minutes, light rain covered the site and one of our planned […]
How to Hide Security Camera Cables Like a Pro Rigging Guide

How to Hide Security Camera Cables Like a Pro Rigging Guide

July 12, 2026
An exposed camera cable isn’t just an aesthetic eyesore—it is a massive structural vulnerability. Security industry audits reveal that a high percentage of residential security system tampering occurs simply because exposed wiring gives intruders a low-tech way to snip power or data feeds in seconds. Whether you are securing a commercial property or mounting gear […]
How to Build an Anamorphic Lens Setup for Cinematic Footage

How to Build an Anamorphic Lens Setup for Cinematic Footage

July 11, 2026
I have found that building an anamorphic setup is less about buying the most expensive lens and more about making every part of the camera package work together. The first time you put anamorphic glass in front of a camera, the squeezed image, unusual focus behavior, extra weight, and dramatic flare can make the rig […]
Rigging Risk Assessment for Film Production Safe Sets

Rigging Risk Assessment for Film Production: Safe Sets

July 11, 2026
A rigging risk assessment for film production should answer one hard question before anything leaves the ground: what could fail, and who could be hurt if it does? I treat the assessment as an operating document, not paperwork for the production folder. A truss can be engineered correctly at 7 a.m. and become unsafe after […]
Camera Movement for Emotional Scenes: A Filmmaker’s Guide 

Camera Movement for Emotional Scenes: A Filmmaker’s Guide 

July 11, 2026
A character hears one sentence, and suddenly the room feels different. The camera begins to creep closer. The background falls away. No one explains the emotion, yet the audience feels the shift instantly. That is the power of camera movement for emotional scenes. I use movement not simply to make a shot look cinematic, but […]
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