HDR - Part 14 - LED TVs & Large Displays: What They Mean To DOPs September 28^th 2020 - 09:00 AM

Big-screen LCD TVs are not going away any time soon. Given the economy of scale, the LCDs in our homes and studios work well enough and will continue to work well enough for several more years. But given the advances in LED display technology, especially microLED, the writing of sub-micron

Lindsey Optics Introduces First Ever FSND Rota-Grad Filters September 22^nd 2020 - 01:50 PM

Lindsey Optics adds a new twist on FSND filters with its unique range of Brilliant² Rota-Grads. This family of rotating full spectrum graduated neutral density filters fits directly into popular 4x5.65 rod-mounted matte boxes and clip-on style, where rotation of a 4x5.65 filter was uncommon—until now.

Creative Analysis - Part 7 - Cinematographer Chris LaVasseur On Warrior Nun September 21^st 2020 - 09:00 AM

“‘Chris,’ she said, ‘it’s about an order of nuns who’re protecting the world.’”

Creative Analysis - Part 6 - The Middle Man With DOP John Christian Rosenlund September 9^th 2020 - 09:00 AM

Director of photography John Christian Rosenlund has at least a three-decade history with director Bent Hamer. Their most recent collaboration, The Middle Man, depicts a town in the northern United States during a post-industrial depression. It’s perhaps not a subject instinctively associated with Rosenlund and Hamer’s Norwegian roots, tho

DOPs & Post Production: Is This Our New Livelihood? September 7^th 2020 - 09:00 AM

Before pandemics and the downsizing at traditional, broadcast news operations, many news and non-fiction DOPs were already assuming a significant role in post-production. Whereas frame rates, f-stops, and the character of our lenses, once formed the backbone of our expertise and practice, DOPs in the non-theatrical realm increasingly find ourselves

Cinematographer Jody Lee Lipes Captures “I Know This Much Is True” With Cooke Primes September 4^th 2020 - 11:00 AM

Four sets of Cooke Optics S4/i prime lenses and Kodak Vision3 500T 5219 35mm film help give “I Know This Much Is True” its period look.

HDR - Part 13 - Cameras And The Zero-Sum Game August 31^st 2020 - 09:00 AM

For a long time, selecting camera gear has been fairly easy. For twenty years, digital cinema cameras have never quite had everything we wanted, and the choice often boiled down to comparing the compromises. That’ll always be true to a degree, but for the last year or two it’s f

Creative Analysis - Part 5 - Video Displays With Markus Förderer August 24^th 2020 - 09:00 AM

It’s perhaps a little unfair to blame modern visual effects people for the fact that audiences are becoming a little jaded about green screen. If we’re to conclude that there’s some sort of quality problem with VFX, we’d need to be sure that we were noticing each an

Creative Analysis - Part 4 - Shooting Commercials From Petitteville And Yeung August 10^th 2020 - 09:00 AM

Steeven Petitteville’s background in cinematography begins with the sort of story that many people would like to be able to tell. Petitteville didn’t finish studying at the ESRA film school in Paris, having become too busy working in the camera department to do so. After ten years as a c

HDR - Part 12 - The Right Side Of Lenses August 3^rd 2020 - 09:00 AM

There are a number of reasons why people like old lenses, and they’re all very valid. Cameras and lenses so good they’re invisible are a recent development. Most of the best films ever made, by default, predate today’s spotless pictures, and artists have always been a rebellious bunch