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...
ART OF THE CUT on “Black Panther” with editor Michael Shawver
Editor Michael Shawver has edited all of director Ryan Coogler’s films, starting with Fruitvale Station and Creed. He’s edited...
Lens coverage, sensor size, and pushing the limits
Sensors and lenses don’t always get along. In the HDR and UHD world, it’s important to test, test, test....
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...
WDTV, DuMont Network and The 1948 FCC “Freeze”
Television has been with us since July 1, 1941. That is the day commercial television began with the American...
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...
The simplest interview setup ever: the modern update
Many years ago I wrote about the simplest interview lighting setup ever. Here’s my modern take on that same...
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...
ARRI Signature Primes: the conscious design of softness
This is a story about a lens family whose soft focus backgrounds were consciously designed, and the lens mount...
