Signature Primes vs. Ultra Primes: The Pixel-Peeper’s Guide
For nine months I’ve been working periodically as a trainer for the ARRI Academy. Recently we added an Alexa...
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...
Large sensor lens coverage: taking old glass to the “breaking” point
Old glass and large sensors need a lot of testing. The results may surprise you. In this article 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...
Cine Gear Expo L.A. 2018
Cine Gear Expo Los Angeles ran May 31 – June 3, with exhibits June 1 – 2. The show...
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...
Current thoughts on current lenses
Near perfect lenses are easy to find these days. The problem is… I don’t want them. I want lenses...
Affordable-ish Pro Cine Prime Lenses
Ten years ago if you were “indie”, you kludged together some fast still prime lenses for your cinema camera...
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....
Sigma Cine Zoom Lens Review: 18-35mm and 50-100mm
Is there a better subject for a shooter than their own three-month-old baby? During these early months of fatherhood, Sigma...
