Canon’s Cinema RAW Light: more than a codec
The CFast 2.0 card inside the EOS C200 pairs with the new Cinema RAW Light format to allow capturing...
The MIT debate between 48 and 44.1 kHz audio sampling that hasn’t taken place (yet)
On May 30, I received an email invitation to debate the virtues of 48 vs 44.1 kHz audio sampling...
LucidCam, a stereoscopic 3D 180 camera
The news of the new video format, VR180, from Google, are still fresh, and YI announced development of a...
Google introduces VR180, a new video format
Google discovered that most users of VR tend to only explore the area right in front of them, meaning...
A Weekend With RHOdium FSND Filters By Schneider Review
Science versus art; it’s the unique combination that allows cinematographers/shooters to be both creative and tech savvy. In other...
Andrew Fried and Bryant Fisher: filming with the Canon EOS C200
Andrew Fried (Chef’s Table) and DP Bryant Fisher (Hamilton’s America), lead the crew of “From Dock to Dish”, first...
Small Cine-Rovers for video production: Part 2 – Eclipse Rovers
After experimenting with my own kit build of my first 1:5 scale POV Cine Rover (see Part 1 of...
A Beastgrip Anamorphic lens for smartphones
Beastgrip is back on Kickstarter for the third time, and backers continue to support the projects from Vadym Chalenko...
The Electronic Side of Color Media
In our previous installment, we looked at the history of color in film. Film color evolved over the years...
360 video: next stop is the living room
The adoption of 360 video as a window into the world of AR and VR seems to gain momentum....
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