Excellence – 28 Weeks of Post Audio Redux
Editor’s Note: “28 Weeks of Post Audio” originally ran over the course of 28 weeks starting in November of...
NAB 2018: The Sony VENICE Full-Frame Camera
At NAB 2018 I got an opportunity to talk to Sony about the Sony VENICE. The day before I,...
Filmmaker Friday featuring Filmmaker Orlando Briones
With hundreds of careers and opportunities, the Filmmaking industry can be a unique experience for a Filmmaker. Options include pitching...
The film look: what is it, and why are there two of them?
The film look is an elusive thing. Everyone has their favorite flavor, but there are two basic, yet opposite,...
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...
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...
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...
Panavision revives VistaVision for a digital world: part 2
Does large format really create a greater sense of depth and dimensionality in a flat image? Read on to...
Sony Unlocks Full-Frame Capture On The VENICE
After the initial announcement of Sony’s new cinema camera, the VENICE, cinematographers, and directors called for Sony to release the...
Filmtools Filmmaker Friday featuring Filmmaker Cameron Trejo
With hundreds of careers and opportunities, the filmmaking industry can be a unique experience for a filmmaker. Filmtools decided...
