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...
Casting the look of a camera into glass
Recently I had the pleasure of meeting with ARRI’s senior color designer, and I asked him the question I...
Photometrics: all the information about ARRI products inside a smartphone
ARRI continues to update regularly their free Photometrics App, having introduced last May updates for Android and iOS. The...
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...
THE ARRI ALEXA LF and Leica M0.8 Prime lenses In Nashville
I like to see new cameras, but more importantly, I like getting my grubby hands on them to see...
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...
Tentacle Sync E: a small and simple pocket sized timecode generator
With a newly designed body that looks better than the previous model, the new Tentacle Sync E enables professional...
