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...
The large format look, continued: shallow focus and stressing old lenses
I’ve been getting some play time with RED’s new Weapon camera with a Monstro sensor at Videofax in San...
The “large format” look: Sigma primes on a RED Monstro, in 8K
What’s the big deal about large format cinematography? Shallow focus on wide shots. It’s a big deal. One of...
The 2018 Compact Cinema Camera Shootout
There are a few things you should know about the “shootout” video that I’ve just completed, especially in light...
Meet Me at Arri Burbank on January 19th
If you’ve got some time to spare on January 19th, and you’re near Burbank, stop by and see me...
Panasonic GH5S camcorder/camera proves that less (pixels) is more
At CES 2018, Panasonic just announced the new GH5S to accompany the original GH5 camcorder/camera. In a way, the...
MoviePro for iOS: How to set 180-degree shutter, framerate and more
I first became aware of MoviePro’s advantages over FiLMiC Pro from Cielo de la Paz of The Storyographist. She...
Some thoughts on color, brightness, and contrast
I’m not happy with just knowing that colors work together in artistic ways. I want to know why. Here...
Panavision revives VistaVision for a digital world: part 2
Does large format really create a greater sense of depth and dimensionality in a flat image? Read on to...
Panavision revives VistaVision for a digital world: part 1
The mid-20th century epic movie experience is returning to a screen near you— at your local cineplex, in your...
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