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.

 Hidden under the surface, there are some very big changes happening with the big manufacturers

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.

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

IBC2013: What We Learned

Published in Articles

In many ways IBC2013 was a quiet show. Yes it boasted record visitor numbers, but few things happened out in Amsterdam that hadn’t been predicted beforehand: namely HEVC-powered 4K is on the horizon, the second screen is increasingly important to broadcasters’ plans, and higher frame-rate imaging is moving closer and closer to mainstream acceptance. Andy Stout looks back on five days in Amsterdam

Making sense of sensors: Part 1 of 2

Published in Technology & Computing

Film always used to be the main thing that determined how a photograph looked. Now, it's the sensor. So camera manufacturers have taken on a huge extra responsibility!

Where's RED in the Oscars?

Published in Production

 

RED cameras are used in so many films. So why aren't they showing up in the Oscar nominations?

Cooke /i3 is gaining widespread support among manufacturers and software makers that cater to high-end productions.

While much of the ARRI press conference focused on news that broke weeks ago, its presentation of the Sky Panel LED softlights carried the show (and there was a killer leave-behind to boot).

Arri Alexa, LOMO, and Trent Reznor

Published in Production

DP Linus Sandgren put vintage lenses on the Arri Alexa for Ice Age, the new video for Trent Reznor’s How to Destroy Angels.

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