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Production

Sundance and Canon Help Indies Thrive

Canon C500Out of 118 feature films being screened at this year’s 30th anniversary festival in Park City, 19 percent were shot on Canon cameras. That’s second only to ARRI cameras (mostly the Alexa) that take up 27 percent of the annual indie barometer’s slate.

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Lighting Panama with Zylight’s F8 LED Fresnel's

KIRO-TV F8 CU Panama JPEG 3KIRO-TV, the Cox Media Group-owned CBS affiliate for Seattle-Tacoma, recently sent a news team to the Panama Canal to talk with local shipping industry professionals about the multibillion-dollar expansion of the waterway. The construction, which is due to be completed sometime in 2015, is designed to enable larger ships to go through the canal and potentially bypass Seattle and other West Coast ports.

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Panavision Launches Primo V Lenses for Digital Cinema

Primo V group 3 mirror 4On November 18, Panavision introduced its new line of Primo V Series lenses, which are specifically designed to work with today’s high-resolution 35mm digital cameras. Primo V lenses bring the look and feel offered by Panavision’s classic Primo lenses, long an industry standard for top cinematographers. The design adaptations of Primo V lenses are specifically made to work in harmony with digital cameras, maximizing image quality while delivering Primo quality and character.

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Litepanels’ LS Traveler Trio Plus Lighting Kit

Eduardo setting up Litepanels 1 X 1 for Picture the PossibilitiesLitepanels recently announced that its 1x1 LS Traveler Trio Plus Lighting Kit was tool of choice for Marcela Villegas Castañón who used it to light Cinequest’s Picture the Possibilities (PTP), an annual program where filmmakers work with teens to create feature films for empowering global youth. These films have been produced in 10 global cities ranging from Palo Alto, Calif. to Hong Kong, China; Jakarta, Indonesia; and Phnom Penh, Cambodia.

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Cinematographers Embrace High-End Digital Cinema

SonyIt would be naïve to think that all of the hype about 4K and Ultra HD cameras at every media trade show wouldn’t have an impact on expectations, especially at the high end of the digital production food chain. “This year, many clients are asking for 4K, some because it’s popular, but others do want shelf life,” says Bobby Holbrook, a cinematographer and co-owner of Holbrook Multimedia. “But, if they don’t really need 4K, I’ll suggest 2K or even 1080p, because the data load is so much easier to manage.” But for clients who do need 4K, Holbrook is ready to deliver: “We’ve been shooting a lot of projects in 4K this year with the [RED] EPIC, the [Sony] F65 and F55.”

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