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...
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...
ARRI Signature Primes: the conscious design of softness
This is a story about a lens family whose soft focus backgrounds were consciously designed, and the lens mount...
Excellence – 28 Weeks of Post Audio Redux
Editor’s Note: “28 Weeks of Post Audio” originally ran over the course of 28 weeks starting in November of...
NAB 2018: The Sony VENICE Full-Frame Camera
At NAB 2018 I got an opportunity to talk to Sony about the Sony VENICE. The day before I,...
Filmmaker Friday featuring Filmmaker Orlando Briones
With hundreds of careers and opportunities, the Filmmaking industry can be a unique experience for a Filmmaker. Options include pitching...
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,...
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...
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...
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