formerly Mad Cornish Projectionist.
Apple has just responded to the “Final Cut Pro in TV and Film” open letter, that criticizes Apple’s NLE flagship (FCP) for not being a ‘professional’ enough to pro editors in the industry. Apple disappoints by declaring dull and superficial … Continued
RED has published a white paper focusing on its codec, which is the REDCODE RAW. Although this document is not new, it’s pretty updated and contains interesting insights regarding the evolution of this compressed codec implemented in RED cameras, from … Continued
The brochure of the super-anticipated new camera from ARRI has leaked. Named ALEXA 35, this new technological marvel owns 17-stops of dynamic range, a whole newly developed 4.6 K sensor, and a new color science called REVEAL. Now it’s time … Continued
Veteran documentary filmmaker Neal Broffman shares with is his experience and knowledge when shooting the four-part series Wasteland (produced for CBS and available on Paramount+). This complex job was done with the help of Canon Cinema EOS cameras. Read on … Continued
Avatar 2 was shot in unconventional cinematographic methodologies. The camera is the Sony VENICE rigged to a specially made 3D stereoscopic beam splitter system, utilizing the Rialto extension unit. The system is called Sony CineAlta VENICE 3D. Here are a … Continued
In order to shoot inside the tight space of the F-18 in Top Gun: Maverick, the production chose the tiny but robust Voigtlander lenses. These all-metal lenses were well paired with Sony VENICE’s Rialto extension units. Here are a few … Continued