Setting up your on-set monitor: what to look for, and what to avoid
A few years ago, when high quality LCD monitors didn’t exist, I found myself in the wonderful position of...
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 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...
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...
LED, the convenient yet dangerous light source
I love LEDs. Well, mostly. I have my tricks for dealing with them, and I’m going to pass some...
Train your eyes to see color, the easy way
Color awareness is a learned skill. All you really need is a car. The human brain is a funny...
Opening titles: commercials that sell a series
The art of the opening title sequence is flourishing like never before. The best ones contain clues, “Easter eggs,”...
Art of the manual white balance
White balancing a camera is only half the story. Now we have to white balance our lights. Back in...
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