Quantifying the Large Format Look
Large format is no longer out of reach of the average filmmaker, but the look is difficult to quantify....
Arri Announces The Alexa Mini LF – Large Format In A Small Body
A rumor no more. Arri just announced the ALEXA MINI LF. Since Arri’s introduction of the ALEXA LF, the...
Vmicro and Amicro ultra-compact battery packs from bebob at NAB 2019
Producers of batteries since 1995, bebob takes to NAB 2019 its Vmicro (V-mount) and Amicro (gold-mount compatible) 14.4V battery...
Chromatic aberration: hard edges, hue shifts, and storytelling
Accidents yield interesting truths. This is especially true in lens and camera tests, where it’s hard to know what...
Three lenses: a look at bokeh, depth of field and geometry
Some people take time off during the holidays. I borrow a half million dollars worth of camera and lenses...
Film lens vs. digital lens: what are the differences?
I’ve worked with a lot of cameras, and I’ve always come back to ARRI cameras whenever I’ve had the...
Lens dynamic range: coatings, contrast and color
There was a time in the distant past when I thought of lenses as transparent glass. Film and digital...
PVC contributor Art Adams is ARRI’s new cinema lens specialist
The recent series of articles about lenses published by Art Adams here at ProVideo Coalition reflect his work as...
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...
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