Hidden Flexibility of Blackmagic’s URSA Broadcast. A S16mm Camera?
I will write about the URSA Broadcast in a bit. Stay with me as I present some background first....
Cine Gear: Cooke Anamorphic/i Full Frame Plus Standard and SF Lenses
Large Format. Full Frame. That super shallow depth of field. The evolution of filmmaking has been in a state...
Cine Gear 2019: Shot On Cooke. “A Motion Gallery”
If you are a painter and you want to learn from the Masters you have to study those who...
The Sony Cyber-Shot DSC-RX0 II Digital Camera Review
The Sony Cyber-Shot DSC-RXO II Digital Camera looks like an action camera. The small size and the rugged build...
The Filmtools Podcast Eps. 4 with Director Cole Walliser
Each week The Filmtools Podcast will talk with industry professionals in a candid conversation about their career, relevant news...
Four lenses: a visual comparison, part 2
It’s time to name names. I’m going to tell you what lenses you’ve been looking at for the last...
Four lenses: a visual comparison, part 1
We live in an age of lens choice. Because of this, we also live in an age of lens...
Capturing NAB 2019 With The Blackmagic Pocket Cinema Camera 4K
NAB 2019 was what we have come to accept, organized chaos. Our team crisscrossed the convention hall floors in...
Western Fire Chiefs Association Uses Blackmagic Cameras
Like I’ve said before, the URSA Mini Pro and the Blackmagic Pocket Cinema Camera 4K are a great one-two...
Quantifying the Large Format Look
Large format is no longer out of reach of the average filmmaker, but the look is difficult to quantify....