RedShark Technical Editor Phil Rhodes profiles Monocle, a new utility from ClipToolz that converts raw color into a black-and-white result that approaches a 'true' monochromatic image.

Major new software upgrade for ARRI ALEXA

Published in Production

One of the best things about modern cameras is that they just keep getting better - even after you've bought them, they just keep getting better

Our resident VFX expert, HaZ, made an on-set discovery that not only eased his workflow, but solidified, in his opinion, the ARRI Alexa as the go-to camera for VFX shoots.

Could cameras like the AJA CION usher in a return to capturing great images in-camera? Simon Wyndham investigates.

ARRI ALEXA on the stage with Coldplay

Published in Production

Today's digital cinematography cameras come with a list of specifications that can excite and baffle in equal measures. There seems to be no end to the debate about resolution, dynamic range, noise and depth of field

More details on the ARRI Amira

Published in Production

I spoke to the ARRI Amira product manager for the new camera to confirm a few things. While some of this is available from ARRI's website, I just wanted to go over the most important things here

Which is more important - the DOP or the Camera?

Published in Production

Why would someone specify a camera before they chose the cinematographer? David Read despairs...

F55: Where does it fit?

Published in Production

Phil Rhodes holds an F55 for the first time and tells us where he thinks it fits in the digital cinematography marketplace

Ned Soltz, our East Coast correspondent, has all the details on the new Sony pricing, and how it will stir up the Digital Cinematography marketplace

How to work with high ISO

Published in Production

Barry Braverman took the ISO 5000 Panasonic Varicam 35 out for a night shoot in Paris, an experience which has left him with some very definite opinions on the difficulties of shooting at high ISO.

Page 1 of 3

Twitter Feed