A Look At The Blackmagic Design URSA Broadcast | A Camera Review
When every other manufacturer went with a larger Full-Frame sensor in their flagship cameras Blackmagic decided to go in...
Setting up your on-set monitor: what to look for, and what to avoid
A few years ago, when high quality LCD monitors didn’t exist, I found myself in the wonderful position of...
Split SDI ports, or: how to hack an Arri Mini
“My assistant says it’s impossible,” said the Steadicam operator over coffee at Arri headquarters in Burbank. “The DIT wants...
The Sony 6K VENICE Menu Simulator Online Now
Camera Assistants, Owner – Operators, and DPs the Sony VENICE Menu Simulator is online and waiting for you and...
Panavision’s new DXL2: Monstro dialed up to “11”
Panavision’s DXL2 is a unique offering, backed by a unique color pipeline. This is not your average Monstro. When...
Blackmagic Feb 1st Broadcast New Products Announcements
Today, Blackmagic Design took the opportunity to live stream their new 2018 broadcast product updates. On-screen Blackmagic CEO, Grant...
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...
DaVinci Resolve 14 Used On Latest Corona Commercial
For the first time filmmaker and Director, Leonardo Dalessandri jumped into the deep end and moved his entire post-production workflow...
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...
Panavision revives VistaVision for a digital world: part 1
The mid-20th century epic movie experience is returning to a screen near you— at your local cineplex, in your...
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Production
Review: Mofage Talos Damping Magic Arm
Post Production
