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Setting up your on-set monitor: what to look for, and what to avoid
A few years ago, when high quality LCD monitors didn’t exist, I found myself in the wonderful position of mentally averaging every monitor on the set. The on…
Your camera MAY have a color gamut: further musings on camera color pipelines
My last article resulted in some new input on color gamuts. Here’s what I think I know now. Before I start, if you haven’t read my…
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 lay it out for…
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 a LogC output, but I need…
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 Francisco. Jim Rolin, one of Videofax’s owners and…
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 are some thoughts. I’m a strict amateur…
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 of them on to you. Read on… This…
Train your eyes to see color, the easy way
Color awareness is a learned skill. All you really need is a car. The human brain is a funny thing. For the longest time I was aware of color in…
Opening titles: commercials that sell a series
The art of the opening title sequence is flourishing like never before. The best ones contain clues, “Easter eggs,” as to the theme of path of the series…
Art of the manual white balance
White balancing a camera is only half the story. Now we have to white balance our lights. Back in my Betacam days I learned that one of the easiest ways…
