Freelancer Insights

Panavision’s new DXL2: Monstro dialed up to “11”

Panavision’s new DXL2: Monstro dialed up to “11”

Panavision’s DXL2 is a unique offering, backed by a unique color pipeline. This is not your average Monstro. When I started out in the film business—at a time…

The large format look, continued: shallow focus and stressing old lenses

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…

The “large format” look: Sigma primes on a RED Monstro, in 8K

The “large format” look: Sigma primes on a RED Monstro, in 8K

What’s the big deal about large format cinematography? Shallow focus on wide shots. It’s a big deal. One of my local rental houses, Videofax, recently took…

Meet Me at Arri Burbank on January 19th

Meet Me at Arri Burbank on January 19th

If you’ve got some time to spare on January 19th, and you’re near Burbank, stop by and see me at the Arri Burbank Training Space. My…

Some thoughts on color, brightness, and contrast

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

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…

Panavision revives VistaVision for a digital world: part 2

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 find out… If you haven’t yet read part…

Panavision revives VistaVision for a digital world: part 1

Panavision revives VistaVision for a digital world: part 1

The mid-20th century epic movie experience is returning to a screen near you— at your local cineplex, in your home, and possibly even on your phone. A few years…

ART OF THE SHOT: Buddy Squires, ASC Talks About Shooting Ken Burn and Lynn Novick’s “The Vietnam War”

ART OF THE SHOT: Buddy Squires, ASC Talks About Shooting Ken Burn and Lynn Novick’s “The Vietnam War”

He has shot more than 200 films and is a frequent collaborator with Ken Burns. Buddy Squires, ASC is an Oscar-nominated and Emmy-winning Director of Photography. If you…

Art of the manual white balance

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…

Three beautiful TV shows you probably aren’t watching

Three beautiful TV shows you probably aren’t watching

I’ve worked on episodic television. I know how fast it moves. That’s why I’m amazed at how good recent TV shows tend to look…

Current thoughts on current lenses

Current thoughts on current lenses

Near perfect lenses are easy to find these days. The problem is… I don’t want them. I want lenses with character. A while back I wrote this…

Filmtools Filmmaker Friday featuring Filmmaker Geenah Krisht

Filmtools Filmmaker Friday featuring Filmmaker Geenah Krisht

With hundreds of careers and opportunities, the filmmaking industry can be a unique experience for a filmmaker. Filmtools decided to take a deeper look into the world of a filmmaker…

Filmtools Filmmaker Friday featuring Filmmaker Matt Bendo

Filmtools Filmmaker Friday featuring Filmmaker Matt Bendo

With hundreds of careers and opportunities, the filmmaking industry can be a unique experience for a filmmaker. Filmtools decided to take a deeper look into the world of a filmmaker…

Filmmaker Friday featuring Filmmaker Connor Hair

Filmmaker Friday featuring Filmmaker Connor Hair

With hundreds of careers and opportunities, the filmmaking industry can be a unique experience for a filmmaker. Filmtools decided to take a deeper look into the world of a Filmmaker…