Recent Content

HDR - Part 11 - Large Format Viewfinders July 9th 2020 - 09:00 AM

The image of a director crouching to line up a shot with an optical viewfinder is one that’s been pushed aside somewhat by the less romantic modern image of a director squinting at an LCD monitor. The monitors have a lot to recommend them – in an ideal world, they can show color, exposure, and contrast in a way that’s close to how the final production will appear, for some value of “close.” It’s enough to make us forget that the cameras of decades past – film cameras – didn’t even need batteries to make a picture that has lots of extra look-around room, miles of resolution, no rolling shutter, a completely accurate depiction of lens flare and depth of field. And, of course, no issues handling all the dynamic range and color of the real world.

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Creative Analysis - Part 2 - Penny Dreadful From The Cinematographer June 17th 2020 - 09:00 AM

For anyone who’s seen the first series to bear the title, the name Penny Dreadful will conjure up images of occult happenings in a shadowy, late-Victorian world. After twenty-seven episodes across three highly successful seasons, Showtime aired the last episode of Penny Dreadful in June 2016. By November 2018, the network had ordered a successor: Penny Dreadful: City of Angels, which premiered in April 2020 and looks very different to its gothic predecessor.

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Fidelity makes full use of video media for internal communication, podcasting and participation in finance-related broadcasts.

ATG Danmon Tapped For New UHD Production Studios At Fidelity International June 4th 2020 - 12:05 PM

Veteran systems integrator ATG Danmon has completed a UHD video production facility for the London headquarters of Fidelity International, an investment firm. The project was prompted by Fidelity’s recent relocation to a new office building at 4 Cannon Street in the center of the city’s financial district.

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HDR - Part 10 - Large Format Cinematography And Lenses June 3rd 2020 - 09:00 AM

Most film and TV jobs start with some simple questions, as Gregory Irwin puts it. “What is it, where is it, when is it.” In April 2018 Irwin found himself asking those questions of cinematographer Lawrence Sher, with whom he’d collaborated on five previous films beginning with John Hamburg’s I Love You, Man in 2009, as well as the 2019 production Godzilla: King of the Monsters, directed by Michael Dougherty, and the three Hangover films by director Todd Phillips. Sher’s call concerned another Phillips collaboration which would go on to gross over a billion dollars; it was to star Joaquin Phoenix and titled simply Joker.

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Optional accessories include a magnetic barndoor that rotates 360°.

BB&S Lighting Intros BiColor Compact Beamlight May 27th 2020 - 01:00 PM

BB&S Lighting of Denmark has announced the Compact Beamlight BiColor which offers a range of 2700°-5700°K. The fixtures are for professional studio, stage and broadcast news studios that require a hard shadow beam.

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Creative Analysis - Part 1 - The Nest From The DOP May 20th 2020 - 09:00 AM

Glasgow in December is a place and a time with a particular look, and The Nest is a production which enthusiastically embraces that aesthetic. Broadcast in the UK beginning in March 2020, it was produced for the BBC by Studio Lambert as five one-hour episodes featuring a couple, played by Martin Compston and Sophie Rundle, trying to start a family via a surrogate, played by Mirren Mack in her first leading role. The final two episodes were photographed by director of photography Tim Palmer, BSC, whose credit history begins in the late 90s and includes a choice selection of British television, including Life on Mars, Silent Witness, Hustle, Being Human, Line of Duty, Critical and Doctor Who, and many more.

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