Focus ramping: when T-stops go bad
Years ago, while assisting on a sitcom, I helped the director of photography shoot exposure tests on all of...
Cine Gear: Zeiss Shows Off Supreme Prime Lenses and Talks Workshops
It was not all about the gear at the Zeiss booth on the Paramount lot during Cine Gear 2019....
Four lenses: a visual comparison, part 2
It’s time to name names. I’m going to tell you what lenses you’ve been looking at for the last...
ZEISS Otus 1.4/100: a new addition to a filmmaker’s video set
With the introduction of the ZEISS Otus 1.4/100, the Otus Video set from ZEISS has now a choice of...
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...
Lens dynamic range: coatings, contrast and color
There was a time in the distant past when I thought of lenses as transparent glass. Film and digital...
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...
ZEISS ZX1: the world’s first full frame camera with Adobe Lightroom CC inside
Ugly, huge and strange, the new ZEISS ZX1 is the first camera in the world to come with a...
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