Three lenses: a look at bokeh, depth of field and geometry
Some people take time off during the holidays. I borrow a half million dollars worth of camera and lenses...
Lens dynamic range: coatings, contrast and color
There was a time in the distant past when I thought of lenses as transparent glass. Film and digital...
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...
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...
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...
ZEISS ZX1: the world’s first full frame camera with Adobe Lightroom CC inside
Ugly, huge and strange, the new ZEISS ZX1 is the first camera in the world to come with a...
Sony FE 24mm F1.4 GM: a compact, lightweight and de-clickable lens
Designed for a wide range of multi-media creators, the new Sony FE 24mm F1.4 GM offers accuracy and quiet...
RED showcases DSMC2 camera brain with three sensor options at IBC 2018
RED’s “one brain, three sensors” solution will be the highlight of the company’s presence at IBC 2018: the MONSTRO...
ZEISS Supreme Prime: 13 high-end cinema lenses at Cine Gear Expo
Debuting at Cine Gear Expo, the ZEISS Supreme Prime family is a cinematographer’s dream: 13 lenses with fixed focal...
NAB 2018: Things ‘n’ Stuff
Herewith I collect interesting things I haven’t written about already: mostly cameras and support kit, but there’s other stuff,...