ProRes RAW, FCPX, and Atomos recorders
As Scott Simmons mentions in Apple prepares a new Final Cut Pro X update for NAB 2018, Apple has developed...
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...
THE SONY PXW-Z90 4K SINGLE LENS CAMERA REVIEW
My quick overall opinion on the Sony PXW-Z90 is this little 4K camera is a straight-up documentary / ENG/...
McQuaidFrame: a crop guide for vertical video
With vertical video continuing to be favored in social media, solutions like the McQuaidFrame aim to make life easier...
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,...
Pix: Venice in Portland
Sony’s Venice full-frame CineAlta camera had its Portland debut at Koerner Camera today, courtesy of BandPro‘s Jeff Cree. At...
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...
Quick Look: Metabones CINE mount adapters
One of the pleasures of mirrorless, short-flange-depth cameras is the freedom to use a wide variety of lenses via...
ZEISS Loxia 2.4/25: one of 5 lenses for filmmakers
With the new ZEISS Loxia 2.4/25 now introduced, ZEISS announced filmmakers can look forward to a special offer on...
The Sony 6K VENICE Menu Simulator Online Now
Camera Assistants, Owner – Operators, and DPs the Sony VENICE Menu Simulator is online and waiting for you and...
