Three Principles For Successful Stock Footage Content (Part 05)

If you are like me and your wheels are always turning, then you are probably thinking over this last year and how you can make the coming year more successful. So, on this Christmas day, I thought I'd offer you three principles to guide the content you shoot for your stock footage collection. If you follow these principles, you'll shortcut the mistakes that many of us made when we first started shooting stock footage, which should translate into a more profitable year for you (this is Part 05 of an Eight-Part series).

Three Secret Lighting Tips For Next Your Action Film

Shooting an action film is a daunting task under the best of circumstances, let alone when you have a small lighting crew of three, and a tight schedule. In this post, I'm going to share with you how we pulled off a two day shoot in one day, and give you the three lighting secrets you need to know to make your next action film look amazing.

Two Crucial Tips To Drive Your Stock Footage Sales (Stock Video Part 04)

Alright, it is time to dive back in to my eight-part guide to getting your start in stock video. If you missed the first 3 parts, I highly recommend that you go back and give them a read. In Part 01 I cover common misconceptions. Part 02 tackles whether or not you should be exclusive. And Part 03 addresses who you should be selling to.

Here, in Part 04 of the guide, I'll share with you the two most crucial tips you should follow if you want to drive sales of your stock footage.

How To Light A Film With Only 300w Of Light

The short film I shot recently, Two Wolves, exemplifies the principle of embracing your practical constraints and finding creative solutions within them. In this post, I'm going to take you behind the scenes of the film and show you the lighting setups (and diagrams) I used for the two primary scenes of the film. And the great thing about it is that we only used 300w for the entire film!

The Curse Of The Perfectionist: Why My Work Is Never Good Enough

Still From The Short: Two Wolves

Ever since childhood, when I began drawing and painting, I've been seeking to take the images in my head and make them a reality. At the end of every attempt, I would look at what I had created... and all that stood out to me were the flaws- what I could have done better. It was never good enough for my standards. This same drive (or curse... ) for perfection continues to follow me to this day. No matter what the size, scale, or budget level of the project, when I look at what I've created, all I can see is where I need to improve.

This is not to say that I'm not happy with my work. I am. But I know I still have a lot of room to grow in my craft. It is because of that push for growth that I am always critically evaluating my own work. So I thought it would be a good exercise to share with you what I see as my mistakes in a recent short film that I shot.

The Secret To Delivering Great Images Within Tight Deadlines

Test Frame: Experimenting With Gels

Earlier this week I received news from my writer & director friend AJ Brooks that the short I DP'd for him won first place in last months DVXuser fest. To add a little perspective, this film was shot over two nights with a volunteer crew of five (AJ & myself count as 2 of that 5), and then edited and delivered it four days later. The news of this win reminds me yet again that the secret to great images with tight deadlines is not in using fancy gear and large crews, but it is in spending the time in preproduction developing a solid plan and testing it out beforehand.

Here are the two steps I took to set us up for success.

Three Reasons Why It Is Bad Business To Be A Cinematographer

Photo By: Levi Moroshan

As someone who is committed to lifelong learning and continual self-reflection, this last year has brought with it an evaluation of where I'm at and where I am headed. I've come to the conclusion, after a lot of soul searching, that it is bad business to be a cinematographer. That is not to say that I do not love what I do. I feel very blessed to be paid to do what I love. I still can't believe that people give me money to do this! But that doesn't mean it makes for good business. Here are three reasons why it's bad business, and what I wish I knew 5-10 years ago.

Who Are The Best Stock Sites To Sell To? (Stock Video Part 03)

Still From Ryan's Library

With the myths of stock footage dispelled, and the important issue of exclusivity addressed, it is time to take a look at the major stock footage houses and decide who you should be selling too. Not all stock footage houses are created equal. Some treat their contributors better than others, and some generate more sales than others. And, unfortunately for us, they don't always line up. The recommendations that follow come from my years of firsthand experience...

To Be Exclusive Or Not To Be? (Stock Video Part 02)

With the myths of stock footage clearly dispelled, it is time to answer the age old question of exclusivity. In the stock footage world, this is a topic that is hotly debated with strong proponents on both sides of the issue. As someone who has experienced both sides of stock footage, I want to share with you my experience so that you can make a more informed decision with your career.

How To Get Your Start In Stock Video: Part 1

A couple of weeks ago I mentioned that I had partnered with Zacuto to bring you a series on how to get your start in stock video. Well, the eight-part series is now going live! So, if you are looking for a way to add extra revenue to your bottom line, and to have content that generates money while you sleep, then this series is for you. :)

You'll be able to find every post here on my blog, as well as on the Zacuto site. In part one, I'll be covering common misconceptions.

How To Use Custom Sekonic Profiles

As you may already be aware, I have put together a lot of training on how to use a light meter and have compiled an extensive list of camera profiles to use with the Sekonic 758 & 478. And it appears that I incorrectly assumed that it was clear on how to use the profiles once they were loaded into the meter. (at least from the emails I have received recently). So if you have been sitting there wondering, "Okay, now what do I do?", this blog post will explain how to use the custom Sekonic profiles I have created.

The Dysfunctional Life Of A Cinematographer

I've often said to friends of mine who are not in the film industry that being a cinematographer is one of the most glamorous blue collar jobs out there. And while those looking from the outside in may see my career path as full of adventure and the opportunity to work with interesting people all over the world, that is only a small percentage of what this career path holds.

While I absolutely love what I do, and you couldn't pay me to switch fields...admittedly there is a lot of dysfunction, and many sacrifices have to be made in the life of a cinematographer. So, if you are considering this career path, or if you are just interested in peaking behind the curtain, here is the less glamorous and sometimes dysfunctional side of my profession.

How To Build A Wireless HD Transmitter For Under $275

This past week I was the cinematographer for an intense action short that was shot using two Epics. Even though we were on two Epics, we were still on a shoe-string budget, and we had to get creative to deliver cinema quality visuals. Due to the tight schedule and limited crew, we needed to go wireless for our director's monitor. Top of the line wireless systems are great to work with when the funds allow, but for this production, it wasn't an option. Fortunately, my long-time 1st AC Jerry Turner came to the rescue with an affordable solution he had created based off of research he'd done on the internet.

And, while I've had varying success with home-brew wireless HDMI in the past (so I was skeptical), I was delightfully surprised with how this unit performed in the middle of an industrial district in a major city. And all for under $275. Here is what you need to make this happen for yourself.

Consultation, Stock Footage & More...

This post will be short and sweet. I wanted to let you all know about a new service & training series I'm offering, as well as update you on The Cinematographer Series. So here is the 411...

Consultation Service:
If you would like one-on-one feedback on one of your projects, or you want guidance on how to approach an upcoming shoot, or you are looking for consultation on anything cinematography related- lighting or camera- I'm here to help.

All you need is a skype account, and we can talk face-to-face. For $75, you will get my undivided attention and creative input (this includes the time it takes to review any work you send me to review).

(You might also like: How To Succeed As A Freelancer)

The Ultimate Guide To Getting Your Start In Stock Footage:
When people find out that I also shoot stock footage, I am often asked how I got my start and how they can get up and running. I have recently partnered with Zacuto to bring you a free guide that you can follow if this is a revenue stream you want to pursue. It will be released in a series of 8-10 blog posts that I will be reposting here, so keep an eye out in the coming month or so.


The Cinematographer Series Update:
Producing this series has been a much bigger endeavor than I ever anticipated when I began. Shooting and editing content around my commercial work has been much tougher than I ever thought. So I have hired an editor to help me bring this training series to market in the very near future. I just handed off the drive to my editor last week, and he'll be finishing it up in the next couple of months. It is coming- I apologize for the delay.

Until Next Time - Get Out There And Shoot!

Ryan E. Walters, Cinematographer

RELATED POSTS

How To Determine Your Day Rate

How To Suceed As A Freelancer

Behind The Scenes On A Stock Shoot:"Work From Home"

The Unintended Brilliance Of Catching Fire

Recently my wife and I got into a heated debate over something that raised questions about filmmaking and storytelling for me. As a warning, this post is a bit of a deviation from the norm. The primary focus of my blog has always been on the technical and aesthetic side of cinematography and filmmaking. However, I think it is also important to take a step back and reflect on some bigger issues that impact us as storytellers and artists. Namely, should we worry about explicitly communicating our messages so that everyone gets it, or is it okay to communicate with more ambiguity, allowing room for interpretation, even if some people miss the point, and others co-opt our message into something else?

The recent marketing campaign for Catching Fire, the next series in the Hunger Games Trilogy, raises just those questions for me...

How To Save Time In Post By Shooting Charts

As I prep for the grade of "The Kid," a short film I shot for Jeff Winograd on the 5D MKIII in RAW, I'm reminded about the importance of shooting charts during production. While I wouldn't say that you have to shoot charts during production, I will say that if you take that extra minute on set to shoot a chart, you will save considerable time in post, and make the grading process easier on yourself.

If you want to spend less time grading, and have more confidence as you grade, here is what I recommend doing...

The Importance Of Choosing Who You Work With

Still Frame From "The Kid" (Look Created Completely In Camera)

Last week I had the opportunity to shoot a short film with Jeff Winograd- a director that I highly enjoy working with. Over the years, Jeff and I have worked the gamut of projects, ranging from big brands like Adidas, down to small local companies you've never heard of. And, as we joined forces last week to shoot his short, The Kid, on the 5D MKIII using the Magic Lantern RAW Hack, the experience reminded me about the importance of choosing who you work with.

While this is a business, and it is important to make a living, there are a number of intangible things that will directly affect your success and your sanity over the long haul. In what follows, I share what matters to me, and what values you should consider as you develop working relationships with others in the filmmaking profession.

How To Shoot & Light For The Grade

C100 with FilmConvert

Adding in film grain and applying film LUTs are a few of the tricks I've used over the years to take the edge off digital imagery. The addition of these elements not only makes the image look and feel more like film, but, more importantly, it takes the "exactness" and clinical precision off of the digital image. It makes it feel more organic.

When I first started implementing this technique, I ran into situations where I thought the image looked good on set, but back in the grade, the LUT didn't work as planned. I lost important information in my image, and I had to abandon using the LUT.

That began my quest for a solution on how to develop a methodology for how to shoot for the grade. Here is the process I went through, and how you can be better prepared to use LUTs or programs like Film Convert when lighting your sets.

Can your iPhone really be a light meter?

This past February I backed my first Kickstarter project ever- the Luxi. According to James Flynn, this little iPhone accessory would change my iPhone into a light meter. And, if you have spent any time on this blog, you know I'm a HUGE fan of light meters. So for $14, I figured why not give it a try- for that money, it would be worth a shot, even if it failed. Like a lot of kickstarters, this one missed its target delivery date- May 2013 came and went. But, fortunately, they did finally deliver my adapter last week. And, as it would happen, I had a scouting and testing day already on the calendar, so what better way to test it out, then in a real work situation...?

Final Cut Pro Is Dead (Or Why I'm Stuck With Premiere)

When iMove Pro, Final Cut X was launched, I saw the writing on the wall- my beloved editing and grading programs (FCP 7 & Color) were on the way out... to be replaced by this fancy, simple, new, wiz-bang, all-in-one program. Granted, I loved the idea and concepts they were touting with their "revolutionary" new product (technology should be simple). It would ideally empower me to create quickly and effortlessly, like paint on paper. However, at the time, it failed in its execution. At its release, FCX was really a 1.0 program, not a 10.0 program. I was too hamstrung by it to work effectively, so I had to jump ship to Premiere. And now, two years later, I find myself re-evaluating the landscape, coming to the same conclusion. For me, Final Cut Pro is dead, and I'm stuck with Premiere.

An Untraditional Approach To Getting Your Start In The Film Industry

Since writing my blog posts on Film School and Breaking Into The Industry, I have received a number of emails asking for specific advice about getting one's start in the film industry. As I have responded to these emails it has helped me to formalize my thoughts into the following bits of advice. I believe that if you follow what I've outlined here, you will be setting yourself up for success in the film industry. It is not a traditional approach, but then again, this is not a traditional industry...

How To Prepare Youself For Working With An External Recorder

So how do knock off $10,000 from the price of a a $16,000 camera? By using an external recorder like the Atomos Ninja and buying a C100 instead. When recording externally to the ProRes codec you get a higher quality codec then what you can get out of the the more expensive C300 natively. And while I welcome the ability to save a chunk of cash and still get the same, if not better quality images from a more affordable camera, it's not all a bed of roses, as I experienced recently on a shoot. Continue reading to find out what happened, and how you can prepare yourself for working with an external recorder.

How To Properly Add Life Back Into Your Digital Footage

(Before: Log/After: Grade w/Film Convert)

If you have been following my blog for any length of time, you probably know that one of my biggest frustrations with digital imagery today is how pristine it is. Digital images are just too good, and too clean. When great digital cameras are coupled with great modern glass, the resulting image is one that is technically "perfect," but lacks the "life," "character," & "personality" that film brought with it in years past. I have developed a three step process to reintroduce life into my footage: 1. Proper lens selection, 2. Proper in camera filtration, & 3. Proper post processing. Recently I have added FilmConvert to the post processing step of my footage. But I've wondered... When is the proper time to apply FilmConvert? Since the online documentation is lacking, I set out to test a couple of workflows for myself. Here is what I've found.

Cinematography Apps You Should Be Using

Over the last several months as I have shared various behind the scenes photos on twitter and facebook I have routinely been asked "what app is that?" So I thought it was time to detail out what apps I regularly use as a cinematographer. I have broken them down into three categories: Must Haves, Nice To Have, and Don't Need, But Fun To Use.

2+ Hours Of Exclusive Interviews

Over the last couple of months I have been honored to be the guest on several podcasts, as well as a videocast. I encourage you to not only listen as I stumble my way through the interview process (There is a reason I am behind the camera, not infront of it.), but to subscribe to them as I have. There is a wealth of knowledge and expertise from many people more talented and experienced then myself.

Why You Should Be Using ND Filters For Interior Work

Last week I talked about the importance of in camera filtration, and this week I am going to address why you should be using ND for interior work. Typically, ND filters are thought of as exposure tools that are only used for scenes that take place outside. While they may have started out as a tool that was primarily used for exteriors, that is no longer the case. As camera technology continues to advance, the ND filter is playing a bigger role when shooting indoors.

The Power Of Camera Filtration

As a cinematographer, one of my responsibilities is to craft the image to reinforce the story I am helping to tell. While lighting, framing, and camera movement are often the first tools that come to mind, an often over looked tool at our disposal is camera filtration. Unfortunately, with the rise of the digital age, and the power of our grading software, filtration at the camera level is not as popular as it once was. While I can appreciate the fear that some directors and productions have of baking in a look, here is why I think in camera filtration can be a powerful tool, and why you should be considering it for your production.

The DSLR Killed The Specialist

When the video DSLR was introduced, it was heralded by many as a truly revolutionary piece of filmmaking technology. No longer were the filmmaking gates closed to those without large pocketbooks and budgets. They were now open to anyone with a spare $1,000 - $3,000, or an available balance on their credit card. While this affordable, and "cinematic" technology has opened the doors for new talent, it has brought with it some unintended consequences. Like it or not, the market is shifting, and has been shifting for several years now. The importance of the specialist is diminishing, and the age of the generalist is rising. If the TV killed the radio star, then the DSLR has killed the specialist...

Three Tips To Help You Create Your Style

If you want to stand out amongst the ever growing pool of cinematographers & DP's, it is important to begin to define your style, or your "look."  Unfortunately, there is no shortcut to defining your style. It will take lots of time and lots of hard work. I've been doing this since 1998, and I think I'm only now beginning to own my style and know how I like to work. However, if you follow these three steps, you'll be well on your way to defining your own style. And, maybe with a bit of luck, you'll be able to define your own style faster than I have.

Three Crucial Tips For Buying A Lighting Kit

(Lighting Setup For Green Screen Work)

I often get asked the question "I have $X to spend on a lighting kit... What should I buy?" Whenever this question comes up, I always feel perplexed about how to answer. Making a recommendation on a lighting kit is like making a recommendation on what wine to drink based only on price. Not only are there numerous variables that go into the choice of purchasing a lighting kit, but personal taste and lighting style plays a huge part in the decision-making process. So, while I can't tell you what specific purchases to make, I can share with you three crucial tips, and share with you what I have in my own personal arsenal.

The Most Boring Blog Post Ever! (Or Getting Organized)

Many years ago, I began building this site using the tools I had access to, iWeb and iPhoto. As it grew, I migrated to RapidWeaver and Blogger. (This was long before I knew about the power of WordPress).

As a cinematographer, I have little experience and time to devote to the craft of web design & coding, which has resulted in a site filled with great content, but perhaps not ease of navigation. With the readership of my blog exploding over the last 6 months, I felt it was time to take one step towards making this site easier to navigate. At least until I can find a significant amount of time to do a complete website overhaul and move to WordPress ...

What you will find below is an organized listing of every blog post I have made. (Which I will continue to update). If you are new to my site, I highly recommend checking out what you may have missed. To make navigation even more accessible, this blog post will always be accessible via the side bar to the right. --->>>

Three Reasons Why "Fixing It In Post" Will Ruin Your Career

How often have you been on set and heard the words, "We'll fix it in post"? Here I share why those words make me cringe internally. As you will surmise while reading this article, I am a huge proponent of creating compelling imagery in camera- not in post. Even if I am shooting with a RAW camera, I can create stronger visuals if I get the image to around 80-90% of where I want it, rather than relying on post color correction. Relying on post to "fix it,"  or waiting until post to create your imagery, is the quickest way to shorten your career. Here are three reasons why you should avoid this common pitfall.

The Great ND Test Of 2013 (Or is it really Neutral?)

The Control Frame for the ND Test

Neutral density (ND) filters are supposed to be devoid of color shift. Ideally they only affect the amount of light entering the lens, not the color balance. Unfortunately, it is very difficult to produce an ND filter that is truly neutral. This is why I set out to test four sets of filters. I wanted to see how neutral they really are. For this test I used ND filters from Schneider, Formatt, TruND, and the internal ND filters of the Canon C100. The results may surprise you, just like they did for me. Continue reading to see how these filters stack up, as well as to get access to the downloadable frames.

How Personal Work Can Further Your Career

My bread and butter comes from the commercial world. And I love what I do! I get the opportunity to travel, meet new people, and learn about a myriad of industries. However, as lucky as I am to be doing what I love for my profession, there have been times in my career where I have felt uninspired, or under-challenged by the work that I am doing. To get through these dry spells, I turn to personal work. And each time I do personal work, I find it pushes me and opens up new opportunities for my career. Here is how you can use personal work to further what you do.

1080p is better than 4k. (Or Why I Chose The Canon C100)

After many years of owning a wide range of camera systems, including a Red One and an Epic, I decided to sell it all and rent. So for the past three years I have been exclusively renting cameras on a per project basis, that is until recently when I made the plunge and bought the Canon C100. Little did I know how many eyebrows and questions it would raise when I posted a picture on Facebook. Here is why I chose a 1080p, 4:2:0 camera over a 4k RAW camera.

Three Myths About The Blackmagic Cameras

In case you happened to be living under a rock for the past couple of weeks, Blackmagic Design has announced two more cameras to their lineup. Not only were they able to do what Red wasn't by offering a 4k camera for $4k, but they also introduced a Super16 pocket camera. Once again, the show floor at NAB was abuzz about Blackmagic. At NAB 2013, and in the weeks following, I have heard three myths repeated in casual conversation, and on podcasts, that are simply not true. Here is what you need to know...

The Letus or OConnor: Which Matte Box Is Better?

If you are in the market for an affordably priced, lightweight matte box, chances are that you have taken a look at the Letus Matte Box and the OConnor Matte box. Both matte boxes are similarly priced and built, which can make the choice difficult. Fortunately for you, I've shot a feature film with the O-Box, and many commercials with the LTMB. Here are my recommendations based off of my real world, long-term use of each of these products.

The Top 3 NON-Game Changers Of NAB 2013

If I had to describe NAB in one word, it would be HYPE. Nothing like a bunch of manufacturers gathering together to outdo each other, making big promises and not meeting projected deadlines. If I've learned anything from previous NAB's it's that a product doesn't exist until it is shipping and available for immediate purchase. I'm going to push past the hype and share my thoughts on three pieces of kit that caught my eye amidst the sounds of the hype machine called NAB 2013.

One Battery To Rule Them All (Or How To Simplify Your Camera Rig)

Too many batteries...

Do you ever find yourself caught in the frustrating task of juggling the myriad of batteries and chargers that fill your camera bag? Cameras continue to get smaller every year as they shed unneeded weight. While my back is thankful for the lighter load, the downside is that they are also shedding standard parts like monitors and XLR connections. That means I have to add them back on in order to make the camera work properly. And with each additional accessory comes an additional battery and charger to manage. Here I present my current solution for taking four batteries down to one, which includes a power solution for the JuicedLink Riggy. One battery, forged by Anton Bauer... One battery to rule them all...

The 2 Things You Need To Know To Break Into The Film Industry

(Filming A WWII Spec Piece)

After publishing my articles on How To Succeed As A Freelancer and How To Determine Your Day Rate I have received emails asking me how I broke into the film industry. As I have been reflecting on how I got my start, I realized it can be boiled down to two simple principles. By applying these principles to your career, you will be able to break into the film industry and grow your career.

Does The Blackmagic Camera Still Have a Future?

As NAB 2013 is only weeks away, you may be wondering what camera companies have up their sleeves. Will someone else come from out of nowhere and release an amazing camera at an affordable price, stealing Blackmagic's thunder? If you are like me, these are real questions that I continue to ask myself as I wait for my pre-ordered camera. If I already had my camera, it wouldn't be an issue as I would be out shooting with it. But as NAB 2013 gets closer I wonder about the camera's future... Should I keep my preorder for the MFT version of the camera?...

How To Get the Most Out Of A Custom Profile (A Sekonic Update)

Back in July of 2012 Sekonic released the update to their camera profiling software (DTS) which I immediately started to use. After spending some time creating and testing numerous profiles for my 758Cine I realized something was not working correctly: the spot and incident readings were not matching up. Since that time, Sekonic has been hard at work finding and fixing the problem. With version 3.06 of their DTS software, you can finally rest assured that your meter will be calibrated correctly. If you plan on using one of my custom profiles, here is how you can get the most out of it.

Some Like It RAW. Part 03: Overexposure

Welcome to Part 03 of Some Like It RAW, where I am comparing the Arri Alexa, Blackmagic Cinema Camera, and the Red Epic. My goal for these tests is to explore how each of these cameras handle real world shooting environments. Part 01 explored how these cameras handle IR pollution. In Part 02, I tested underexposure. And here in Part 03, I'm exploring the world of overexposure and diffusion filtration. Continue on to watch the 10 minute video, read my summary, and get the downloadable RAW frames from each camera.

Some Like It RAW. Part 02: Low Light

Welcome to Part 02 of Some Like It RAW, where I am comparing the Arri Alexa, Blackmagic Cinema Camera, and the Red Epic. My goal for these tests is to explore how each of these cameras handle real world shooting environments. Part 01 explored how these cameras handle IR pollution. In part 02, I test the limits of low light levels, or underexposure. Continue on to watch the 11 minute video, read my summary, and get the downloadable RAW frames from each camera.

Some Like It RAW. Part 01: IR Testing

I recently spent a day testing and comparing the Arri Alexa, Blackmagic Cinema Camera, and the Red Epic. My goal for these tests was to explore how each of these cameras handles real world shooting environments. It was not to determine winners and losers. If you are of the opinion that there is only one great camera out there, then this series of tests is not for you. If, on the other hand, you are openminded enough to get past the camera hype, and you want to know how these cameras respond, then I invite you to keep on reading. (I have also made the RAW files available for download).

Why Tax Incentives For Film Are Not The Answer

© Ryan E. Walters: Stock Footage

At a time when personal, local, state, and federal budgets are stretched thin and when people have been out of work for more than a year, it would seem like a great idea to attract new business to drive economic growth. After all, more work equals more income which means more revenue for everyone. Why not attract film productions to our states through tax incentives? Unfortunately, this is not proving to be the case. Instead it is developing into a race to the bottom where the only winners are the studios and producers.

Can You Really Use A Light Meter App?

The Studio Setup

If you have been following my blog for any length of time, you have probably picked up on the fact that I am a big fan and proponent of using a light meter. With Sekonic's release of the 478D they increased the functionality of what a meter can do and made it more affordable. But what if you don't have $389? Can a free light meter app, or one that costs $4.99, do the job? That's what I set out to explore and the answer may surprise you.

How To Succeed As A Freelancer

© 2009 Ryan E. Walters - Stock Footage

So you have decided to quit your day job and venture into the exciting world of freelance work, where you get every day off, you set your own hours, and life is always enjoyable. At least that is how it feels as you sit behind your desk finishing out the remainder of your two week notice. It is true, there are many perks of living life in the freelance world. However, it is not for the faint of heart, as it brings with it a whole new set of struggles. In what follows, I'm going to to give you seven tips on how to succeed in the world of freelance, so that those struggles will be fewer and easier to bear.

How To Choose A Slider. Or Which One Is Right For Me?

It seems like these days everyone and their grandmother is making a slider. And with the deluge of options on the market, it can be tough trying to figure out which is the right one to buy for your setup. I'm going to take a look at three different systems, and address their issues in an effort to better help you navigate your purchase or rental decisions.