Quantifying the Large Format Look
Large format is no longer out of reach of the average filmmaker, but the look is difficult to quantify....
The URSA Mini 4.6K Pro G2 and BMPCC4K: A One Two Punch
One camera on sticks. Another camera on a gimbal ready to float. If I am lucky then I have...
ART OF THE SHOT: “Raise Hell: The Life and Times of Molly Ivins” DP Kristy Tully
With production credentials like these: “Feminists: What Were They Thinking?” “Making a Killing: Guns, Greed, and the NRA”, and “The...
Panasonic AG-CX350 4K Single-Lens Camera Review
I was sent a camera. It has a 5170 x 2908 sensor. Records internal 4K at 4:2:2 in 10-bit...
Behind-the-lens nets: a lost art makes a comeback
I’ve always been a little different. That’s the only explanation I have for cutting gels out of Rosco and...
Sony 4K PTZ BRC-X1000 and BRC-H900: REVIEW
Sometimes you cannot get a camera and a camera operator in the right position to get the shot. For...
Enter the 48 kHz Alliance
Thanks to a recent —and extremely rare— inaccurate public statement by Rob Walch, I was catapulted into creating the...
Chromatic aberration: hard edges, hue shifts, and storytelling
Accidents yield interesting truths. This is especially true in lens and camera tests, where it’s hard to know what...
ART OF THE SHOT: “Ask Dr. Ruth” DOP David Paul Jacobson
Now that the Sundance Film Festival is in full swing I had the opportunity to talk to cinematographer David...
Three lenses: a look at bokeh, depth of field and geometry
Some people take time off during the holidays. I borrow a half million dollars worth of camera and lenses...
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