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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 LF to the class, accompanied by a set of…
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 like to ask all camera manufacturers: “Why?”…
Blackmagic Design eGPU Shooter’s Review
I do not care how the Blackmagic Design eGPU looks. I do not care how it works. I only care if it speeds up my exports. As a shooter 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 took a look at how older S35 lenses performed on a…
Blackmagic’s New eGPU Is A Hurdle Leaped For Creatives (commentary)
Yes, the news about Blackmagic Design’s new eGPU, a high-performance graphics processor, has already been posted on PVC by Jose Antunes. I want to talk about how…
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…
