I’m eight episodes in to Netflix’s Altered Carbon, and I’ve officially become a believer in large format TV cinematography....
My last article resulted in some new input on color gamuts. Here’s what I think I know now. Before...
Yes, it’s true: your camera has no color gamut. Don’t believe me? Good, ’cause I’m going to try to...
“My assistant says it’s impossible,” said the Steadicam operator over coffee at Arri headquarters in Burbank. “The DIT wants...
The new Panavision Millennium DXL2 camera debuts at BSC Expo 2018, along with a session titled “The Beauty of...
Panavision’s DXL2 is a unique offering, backed by a unique color pipeline. This is not your average Monstro. When...
UPDATE FEBRUARY 4 2018: I’m happy to report that PVC’s sister company Filmtools has signed on to bring us this...
I’ve been getting some play time with RED’s new Weapon camera with a Monstro sensor at Videofax in San...
What’s the big deal about large format cinematography? Shallow focus on wide shots. It’s a big deal. One of...
If you’ve got some time to spare on January 19th, and you’re near Burbank, stop by and see me...