On Artbeats.com: Using the RED One for Stock Footage
When we heard that Artbeats were shooting stock footage with their new RED One camera, we were curious to...
Mr Pixel and Mrs Grain
In this three-part series of shorts, the film vs. digital argument is presented as a married couple in counseling...
The HVX-200 Strikes Again
A while back I wrote an article about a spec shoot I did promoting an as-yet unfunded motion picture...
No on Prop 8 (California) — shot on RED
I’ll revisit this next week when I have more time to write (I’m about to go into a four...
Green, Magenta and RED
Anecdotal reports, and my own experience, have shown me that the RED responds strongly to green light, or to...
Interview with Ikonoskop about the A-cam dII Digital Cinema Camera
After writing 1200 words on the subject immediately following it’s launch at IBC, I interviewed Ikonoskop’s Daniel Jonsater about...
Sony notes, 7 Oct 2008
The business end of the HVR-Z5. There were a couple of unexpected surprises at VMI’s mini-Sony show today in...
Review: Sony PMW-EX3 Removable-lens 1/2″ 3-CMOS HD Camcorder
The US$8320 (street price) Sony PMW-EX3 is an eight-pound, high-definition “chainsaw” camcorder with three 1/2″ CMOS sensors. It’s essentially...
I Decide: Anatomy of a No-Budget HD Spot
This was the first project shot for California’s No on Prop 8 campaign. In an attempt to reach out...
Why “Exposing to the Right” Works on the RED
There’s been a lot of talk about “exposing to the right” in the RED community: instead of relying solely...
