Alister Chapman recently attended the Cinegear show in Los Angeles where he was giving some presentations on HDR, log and raw. But he was also tasked with filming two of the sessions presented by Vittorio Storaro as well as his session at USC on the Sunday. And they were fascinating.

Why the Sony F65 is still on top

Published in Production

With Sony's F55 shaping up to be such a good device, it's reasonable to wonder about the future role of Sony's flagship camera, the F65.  We spoke to Richard Lewis, Product Specialist for Cimenatography at Sony Europe, to get some definitive answers

K-PAX: An alien film without special effects

Published in Production

One of the best films we know was shot in analogue and has very few special effects

Meet Donna, the free RED camera menu simulator app

Published in Production

Good news for RED shooters with an iOS device: a just-released app helps users learn the RED camera menu from their iPhones and iPads.

What exactly is Rec. 709?

Published in Technology & Computing

Phil Rhodes unpacks Rec. 709 for those of us that may be rather more familiar with the name than the science behind it.

We consider the uproar over the lack of a low compression 4K codec for internal capture for the Sony FS5 and why it speaks more to our outsized expectations than it does to any perceived limitations.

Can Cinematography be too good?

Published in Technology & Computing

Are we getting too carried away with glossy, beautiful, some might say pretentious looking productions, when often a simpler production style would be better?

Could simulated skylights work for film production?

Published in Production

Phil Rhodes profiles a CoeLux, a new simulated skylight marketed to hotels and upscale residences, and explores whether such a product could be utilized for filmmaking.

Is the standard lens just a myth?

Published in Production

Roland Denning on what exactly is meant when we say a lens is 'standard' and why that meaning may be rather more fluid than many would like to admit.

Why you should use prime lenses

Published in Production

When it comes to choosing lenses for a shoot, it's about more than just what needs to fit in frame. Peter Haas argues that a prime lens is usually the best choice, but which one?

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