Recent Content

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

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

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Table top set with Force 7 LED LEKO & Compact Beam Light illuminating CRLS C-Reflector.

Hot Wheels Illuminated With BB&S Lighting September 14th 2020 - 01:50 PM

Tristan Whitman a specialist in tabletop cinematography, explains how he shot a campaign for Mattel’s Hot Wheels.

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Creative Analysis - Part 6 - The Middle Man With DOP John Christian Rosenlund September 9th 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, though when we learn that the production is based on a book by Norwegian author Lars Saabye Christensen, the link becomes clear.

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Brightline SeriesONE studio lights.

WXII Illuminates News Set With Brightline LED Fixtures September 7th 2020 - 12:05 PM

WXII, the NBC affiliate owned by Hearst Television serving North Carolina’s Greensboro/Winston-Salem/High Point market used almost 40 Brightline L1.2 and L1.4 LED SeriesONE studio light fixtures to light its new set.

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DOPs & Post Production: Is This Our New Livelihood? September 7th 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 in a different kind of ditty bag, as correspondent, writer, director, and ersatz editor – all rolled into a one-person-can-do-anything-and-everything mode.

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HDR - Part 13 - Cameras And The Zero-Sum Game August 31st 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 felt like we’re arriving somewhere. We can’t have anything, but we can have more than enough, and those compromises are boiling down to a zero-sum game.

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