Production

The Silencer is one of the earliest examples of a British martial arts action thriller, and it was shot mostly on a humble Canon XM1. We twisted RedShark Deputy Editor Simon Wyndham's arm to firstly admit that he had made it, and secondly to tell us all about it, and we discover that not all your closet skeletons should remain…
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One of the most discreet, yet most aesthetically influential codes of cinema is the cinematographer’s lens choice. The lens is the unseen hero of the big screen, a way to see what the director has imagined, and a way to explore the emotional response we have to characters, events, and, most importantly, to story.
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LEDs come in more shapes and sizes than ever. And they're improving all the time. Bas Goossens reviews the Aputure 300D
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This year’s Oscar nominations have widened the Awards’ scope to include a Netflix film and a superhero movie for the first time, but where are the women behind the cameras?
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Replay: One of our most popular articles, published during last years World Cup Football event. We don't usually think about the skill of the camera operator while kicking back with a beer while watching the football. But what we forget is that being a sports camerman isn't just highly skilled, its probably the most highly skilled niche in camera work!…
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"Stand!" is a major feature film musical due for release this year, and it was shot on Blackmagic Design cameras. This is an insight into the production and DP Roy Wagner ASC's experience using the Ursa Mini Pro on such a project.
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Edelkrone consistently impresses with its ingenuity. Chris Foreman takes a look the company's new HeadOne motion control system.
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Be prepared to be mesmerised by this extremely impressive, but very trippy kaleidoscopic timelapse by Michael Shainblum
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We have all got used to massive changes in technology over the last few decades. What seems like science fiction one year becomes commonplace the next. But in film and video, what are the things that have stayed the same?
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There's a common line of thought that says 8K is difficult because a lot of current lenses cant resolve that sort of resolution. Phil Rhodes digs down for the truth of the matter.
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RED's new 7" Ultra-Brite could be just what RED users need for viewing footage in a huge variety of environments.
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