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...
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...
Sony Unlocks Full-Frame Capture On The VENICE
After the initial announcement of Sony’s new cinema camera, the VENICE, cinematographers, and directors called for Sony to release the...
Filmtools Filmmaker Friday featuring Filmmaker Cameron Trejo
With hundreds of careers and opportunities, the filmmaking industry can be a unique experience for a filmmaker. Filmtools decided...
Blackmagic’s Cintel Scanner Brings Film From “Water Ski Capital of The World” Back To Life
Rolls and rolls of film will be going through a Blackmagic Design Cintel Scanner and DaVinci Resolve Studio for...
Reality: it’s completely overrated
There’s no such thing as a reality show, only unreality shows. The more unreal, in some cases, the better....
Art Of The Shot: “Menashe” Cinematographer Yoni Brook
In this version of Art of the Shot, I had the opportunity to talk to “Menashe” cinematographer Yoni Brook....
Vintage Lens Tests on Blackmagic URSA Mini Pro by Jody Eldred and Todd Fisher
A museum of cinema artifacts is the birthplace of this lens test. Todd Fisher, son of Debbie Reynolds and...
