ARRI’s Alexa celebrates it’s 10th Birthday
ARRI’s groundbreaking ALEXA camera has gone through many iterations in the 10 years since it first appeared in Chicago....
Large Format Shootout // Mini LF, C500mkII, FX9, VENICE
Ever since I took ownership of my C500mkII I’ve been asked over and over how it stacks up against...
Lens coverage, sensor size, and pushing the limits
Sensors and lenses don’t always get along. In the HDR and UHD world, it’s important to test, test, test....
Signature Primes vs. Ultra Primes: The Pixel-Peeper’s Guide
For nine months I’ve been working periodically as a trainer for the ARRI Academy. Recently we added an Alexa...
Large sensor lens coverage: taking old glass to the “breaking” point
Old glass and large sensors need a lot of testing. The results may surprise you. In this article I...
Speed lighting: more lessons from the ARRI Academy
The ARRI Academy isn’t only about learning how cameras work. We also teach how to use them. I’ve never...
ARRI Signature Primes: the conscious design of softness
This is a story about a lens family whose soft focus backgrounds were consciously designed, and the lens mount...
The film look: what is it, and why are there two of them?
The film look is an elusive thing. Everyone has their favorite flavor, but there are two basic, yet opposite,...
Alexa 65 shows that large format TV makes a difference in “Altered Carbon”
I’m eight episodes in to Netflix’s Altered Carbon, and I’ve officially become a believer in large format TV cinematography....
iClone 7: unmatched in the industry
It’s a tour de force that is unmatched in the industry, says Jeff Jasper, Oscar-winning team member/FX Supervisor Interstellar,...
