Production

ScopeBox from Divergent Media has matured over the years into not just a software scope solution but also a capturing tool. Ned Soltz takes a look.
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RedShark Replay: You don't have to rely on digital methods to give a film a distictive "look". Phil Rhodes explains.
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Convergent Design has released firmware v2016.06 for its Apollo, Odyssey 7Q+, Odyssey 7Q and Odyssey 7 monitor-recorders.
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There is no single element more important to a film trailer than the music. Unfortunately, many editors think that simply using horn-heavy, orchestral music is appropriate for every trailer. In reality, there’s a lot more that goes into finding the perfect track. Let’s take a look at a few ways to pick the perfect track for your trailer.
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Computational photography, flat lenses, post processing... camera technology is evolving rapidly, but the camera form hasn't. Roland Denning reimagines the modern video camera from scratch.
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While Cine Gear is a small fraction of the size of NAB Show, it still brought a few new and noteworthy products to bear.
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Prior to the first US screening of Woody Allen's Café Society, famed cinematographer Vittorio Storaro detailed how he convinced the director to ditch film for a Sony F65.
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Mark Andrew Job argues that creating the look on set — building one in the first place, then lighting it and allowing the actors to inhabit it — still makes for the best films and image quality.
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Panavision, RED, and Light Iron have jointly sent shockwaves throughout the industry with the announcement of the Millennium Digital XL large format Digital Cinema Camera. Matt Aindow takes a closer look.
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Following our in-depth review last week, Phil Rhodes digs further into the Z150 specsheet to find a great little camera for current affairs and docs built around custom silicon.
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How products such as Streamstar’s X4 live production and streaming studio illustrate the way that the broadcast industry has changed.
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