Creative Analysis: Part 12 - Cinematographer Mark Kenfield On Zia November 30^th 2020 - 09:00 AM

By sheer count of productions, the Indian film market is possibly the world’s largest for film in terms of admissions. On average, the country’s cinemas see more than 1.5 annual admissions per capita – and with a population of nearly 1.4 billion, that’s a lot of capitas – with more than 1600 features

HDR: Part 17 - Creative Technology - Is RAW Really Uncompressed & Unprocessed? November 27^th 2020 - 09:00 AM

It’s hard to object to raw recording. The last thing anyone wants is for the creative intent to be adulterated by unfortunate technical necessities like compression, and the flexibility of raw makes for… well. Let’s admit it: better grading, but also easier rectification of mistakes after the fact, to th

HDR: Part 16 - Creative Technology - LED Vs HMI November 16^th 2020 - 09:00 AM

Big movies still demand big setups, no matter what anyone tells you about the battery-powered light they’re trying to sell. Battery-powered lights are wonderful, of course, even if we only use the battery power for long enough to walk a light in and set it up, but popular ideas a

New DoPchoice Accessories For Creamsource Vortex8 November 13^th 2020 - 09:00 AM

To coincide with the release of the new Creamsource Vortex8, DoPchoice offers new versions of its Snapbag and Snapgrid light controllers to fit and complement this new lighting technology.

PrimeTime Lighting Presents Latest LED November 6^th 2020 - 10:00 AM

The new MSLED 5-S broadcast studio LED luminaire is the smallest of PrimeTime’s commercial LED lights and is for use in commercial broadcast studios or for newscast broadcasts from remote locations.

Brightline Presenter Lighting Kit Offers Wireless Control November 4^th 2020 - 10:00 AM

The Presenter Lighting Kit uses PoE (Power over Ethernet) and wireless control to deliver simple and affordable lighting packages for single presenters.

Creative Analysis: Part 10 - Cinematographer John Brawley On The Great November 3^rd 2020 - 09:00 AM

Cinematographer John Brawley finds himself happily amidst of an unprecedented renaissance of high-end television. The Great is a production that presents a lavish (if fictionalised) spectacle of eighteenth-century Russia, with Brawley photographing five episodes, with the remainder shot by Maja Zamojda and Anette Haellmigk. Ranging from the Royal Palace of

DoPchoice Delivers Custom Light Modifiers October 27^th 2020 - 12:05 PM

DoPchoice is now delivering a new range of Snapbag light control tools, custom designed for the ARRI Orbiter LED fixture.

HDR: Part 15 - Using Vintage Stills Lenses For Digital Cinematography October 23^rd 2020 - 09:00 AM

In the mid-70s, Canon released the K35 series of primes, based on its then top-of-the-line FD mount stills lenses. It wasn’t the first or last time a set of glass elements designed for stills had been repackaged for movie work, but the K35s won an Academy Award i

Creative Analysis: Part 9 - Cinematographer Cathal Watters On Alienist: Angel Of Darkness October 19^th 2020 - 09:00 AM

Recreating a period New York in Hungary might seem an unreasonable challenge until it becomes clear that the country has become a hub for international production with at least two large-scale backlots for just that purpose. In the summer of 2019, these facilities were leveraged by The Alienist: Angel of Darkness,