When composing and lighting scenes, DOP’s usually seek to maximize texture and perspective. The rationale is simple: We live in a world that is unmistakably three-dimensional, so DOPs seeking to faithfully represent the natural world exploit a range of ways to promote the three-dimensional illusion.
So you’re a producer, and your cinematographer is campaigning for the use of anamorphic lenses. Problem is, they’re expensive, and for people who aren’t cinematographic propeller heads, it can seem hard to justify. Let’s look at what’s going on and how we got here, without assuming
When writer/director Christian Rousseau envisioned the look of No Loss // No Gain (NLNG), he knew that the two worlds the film would portray would need to be photographed differently, but the idea of using completely different lenses from two different manufacturers was not part of the initial plan — until c
FUJIFILM has launched the FUJINON broadcast portable zoom lenses featuring the newly-developed digital drive unit ‘S10’ (18 models). These lenses are equipped with the S10 to deliver precise zooming and focusing to support remote recording based on a robotic system, which is growing in demand at video production site.
It’s nothing new for technological change to make things obsolete, but a camera manufacturer in the early 2020s might be forgiven a little nervousness. Just look at a catalogue from any electronics retailer in the late 80s. Bedside clock? More or less displaced by phones. Radio? Same. Walkman? Cellular c
The term “paperless office” goes back at least to 1978. The parallel term “filmless movie” is actually far older, dating perhaps from a 1930 article by the Hungarian inventor Dénes Mihály in the West Australian, published in Perth on 9 April 1930. Given how long it took us to actually achieve a filmless