Cine Gear: VISTA-M Lenses by T M Camera Solutions
A mix of modern optical performance and function with the character of a vintage lens. The all-new Masterbuilt VISTA-M...
Cine Gear: Cooke Anamorphic/i Full Frame Plus Standard and SF Lenses
Large Format. Full Frame. That super shallow depth of field. The evolution of filmmaking has been in a state...
Cine Gear 2019: Sony VENICE Firmware Updates with HFR and more
We had a chance to talk to Sony about the new firmware 4.0 for the Sony VENICE. The big...
Cine Gear 2019: Panavision Shows Off Entire Lens Line Up
According to Panavision, the PanaSpeed lens line-up is a large-format update of the classic Primo look. At T1.4, the...
Cine Gear: Fujinon Premista 28-100mm and 80-250mm Zoom Lenses
At Cine Gear 2019 PVC not only got to see the Fujinon Premista 28-100mm Large Format Cinema Zoom in...
NAB 2019: Fujinon Premista Large Format Cinema Zooms
Premista, the first large-format cine zoom lens set from Fujinon. ARRI ALEXA Mini LF, Sony VENICE, Canon C700 FF,...
NAB 2019: ARRI ALEXA MINI LF: A FIRST LOOK
We at PVC got a chance to check out ARRI’S ALEXA Mini LF while we marched around NAB 2019...
Quantifying the Large Format Look
Large format is no longer out of reach of the average filmmaker, but the look is difficult to quantify....
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...
Bigger is better? OK, but why?
Whether it’s Quentin Tarantino shooting “Hateful Eight” in 65mm, the Panavision Millenium DXL, RED’s VV sensors, the Arri Alexa...
