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,...
Traditional camcorders in the era of mirrorless/HDSLR cams
Mirrorless and HDSLR cameras get most of the press attention nowadays. However, there are still many content producers who...
Pix: Venice in Portland
Sony’s Venice full-frame CineAlta camera had its Portland debut at Koerner Camera today, courtesy of BandPro‘s Jeff Cree. At...
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....
Your camera MAY have a color gamut: further musings on camera color pipelines
My last article resulted in some new input on color gamuts. Here’s what I think I know now. Before...
Your camera does not have a color gamut
Yes, it’s true: your camera has no color gamut. Don’t believe me? Good, ’cause I’m going to try to...
Split SDI ports, or: how to hack an Arri Mini
“My assistant says it’s impossible,” said the Steadicam operator over coffee at Arri headquarters in Burbank. “The DIT wants...
The Sony 6K VENICE Menu Simulator Online Now
Camera Assistants, Owner – Operators, and DPs the Sony VENICE Menu Simulator is online and waiting for you and...
The Blackmagic Design URSA Broadcast Camera
In their new camera announcement, Blackmagic Design dropped the “Mini” in the URSA Broadcast camera name. Read into it...
Panavision’s new DXL2: Monstro dialed up to “11”
Panavision’s DXL2 is a unique offering, backed by a unique color pipeline. This is not your average Monstro. When...
Latest
Production
