Production

High frame rate (HFR) filmmaking splits opinion almost as much as 8K. But the producers of Gemini Man are hoping to change all that and make a convert of us all.
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The biggest limitation of colour accuracy is the human brain. Phil Rhodes takes a look at why colour accuracy sometimes isn't all it's cracked up to be.
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It's easy to poke fun at technology from 45 years ago, but you can't help admiring the people who worked in live outside broadcasts back then
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Full-frame video cameras are here, and more are being announced all the time. But what do the characteristics of such large sensors actually mean for us in the real world?
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Atomos just announced real time HDR stills monitoring from the Panasonic Lumix S series using its latest monitors.
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The popularity of large chip cameras has often meant the sidelining of smaller sensor devices. But if documentary is your focus, a camera with a large sensor can be more a hinderance than a benefit. Here, Roland Denning tells of his experiences using a Sony PXW-Z90 as an Aaton style documentary rig. Can it cut the mustard?
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Years ago, the question “How are we shooting this?” could be answered with a phrase such as “On digibeta.” Even then, though, we started to encounter terms like “hypergamma”, “Rec. 709” and “compression.” Since then, things have become increasingly complicated, to the point where we regularly need a quick reference guide.
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Monitors are one of the best pieces of kit you can have for small camera shooting. We take a good look at one of the most popular devices of late, the Atomos Ninja V monitor/recorder. A system that can expand the capabilities of your camera, and at a very attractive price point.
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There's no getting away from it, if you want that big budget cinema look there is often no substitute for simply having a really big light source.
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The Nikon Z 6 is one of the most important camera releases of recent times, being the first full-frame mirrorless camera to promise 4K ProRes RAW output via HDMI. We have one to review, but for now here are our first impressions.
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Replay: Showing the best side. Lighting a face well can be one of the most difficult aspects of cinematography. But there are also a few guidelines you can always bear in mind to help you along the way. Here Neil Oseman shares one of the secrets to lighting a face well, and also how to break with convention when required.
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