The film look: what is it, and why are there two of them?
The film look is an elusive thing. Everyone has their favorite flavor, but there are two basic, yet opposite,...
Alexa 65 shows that large format TV makes a difference in “Altered Carbon”
I’m eight episodes in to Netflix’s Altered Carbon, and I’ve officially become a believer in large format TV cinematography....
Your camera does not have a color gamut
Yes, it’s true: your camera has no color gamut. Don’t believe me? Good, ’cause I’m going to try to...
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...
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...
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...
The “large format” look: Sigma primes on a RED Monstro, in 8K
What’s the big deal about large format cinematography? Shallow focus on wide shots. It’s a big deal. One of...
Meet Me at Arri Burbank on January 19th
If you’ve got some time to spare on January 19th, and you’re near Burbank, stop by and see me...
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...
LED, the convenient yet dangerous light source
I love LEDs. Well, mostly. I have my tricks for dealing with them, and I’m going to pass some...
