Discuss Archives - Page 48 of 52 - Y.M.Cinema Magazine

Line of Duty and the Panavision T-series

Panavision T-Series Anamorphic: The Lenses Behind Line of Duty

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2019-11-19

Discuss

2 mins read

The T-Series strikes again. Those Panavision lenses were used to shoot Line of Duty film. Let’s explore some BTS footage and what the cinematographer Brandon Cox has to say about this glass. …

Cinematographer Si Bell and director Anthony Byrne on Peaky Blinders Season 5 set

Peaky Blinders Season 5 Was Shot on RED MONSTRO With the Cooke Anamorphic Primes

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YMCinema

2019-11-11

Discuss

3 mins read

After four seasons shooting with the ALEXA and spherical lenses, cinematographer Si Bell and director Anthony Byrne wanted a change. Thus moving to Cooke Anamorphic Primes paired with the RED MONSTRO seemed…

Netflix’s List and the Panasonic S1H: A Foothold for Mirrorless Cameras

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YMCinema

2019-10-31

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3 mins read

As you already know, Netflix has updated its list of authorized cameras by including the Panasonic S1H. The S1H is the first Netflix approved mirrorless and the most affordable camera in the…

Executing long take. Picture credit: ARRI

The Art of the Long Take: A Discussion by Directors UK & ARRI

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YMCinema

2019-10-29

Discuss

4 mins read

On Nov14, Directors UK & ARRI will host a 90-minute session that includes the screening of six single-shot short films. The event will be held within the Camerimage International Film Festival. That…

Roger Deakins Talks About the new ALEXA Mini LF. Picture credit: ARRI

Large Format Cinematography: Roger Deakins Talks About the ALEXA Mini LF

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YMCinema

2019-10-22

Discuss

3 mins read

Roger Deakins CBE, ASC, BSC, is the Director of Photography behind 1917, which is the first film that was shot on the ALEXA Mini LF with the Signature Primes. Read what Deakins…

Komodo 6K Camera: A “Badass little RED.”

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YMCinema

2019-10-07

Discuss

3 mins read

Komodo, which is the new camera from RED, turned out to be a hot topic among filmmakers. This RED’s most affordable camera, which hasn’t been announced yet, continues to accumulate some substantial…

The technology roots of Red Digital Cinema

RED Digital Cinema: The Roots of 4K and Sensor Technology

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YMCinema

2019-09-24

Discuss

3 mins read

The latest video by JinniTech grants us a fascinating view into the beginning of RED Digital Cinema, regarding sensors and 4K technologies. Have a look at a few of these intriguing hypotheses.…

RED RANGER vs. DSMC2: Stability vs. Modularity and Flexibility

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YMCinema

2019-09-19

Discuss

2 mins read

What are the main differences between the newly announced RANGER, and the good old DSMC2? Is it possible to define which is better? Does it mean that DSMC3 is just around the…

Cinema Lenses vs. Still Lenses: It’s Not About the Image Quality Alone

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YMCinema

2019-08-29

Discuss

3 mins read

Cinema lenses are known for their unique design, which is dedicated to filmmaking applications. In this article, we’ll try to clarify the main reasons for choosing those expensive cinema lenses over still…

Blackmagic Design: At The Cutting Edge of Real Cinema Innovation

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YMCinema

2019-08-13

Discuss

4 mins read

Last week, Blackmagic Design announced a couple of products related to production and postproduction: Pocket Cinema Camera 6K and DaVinci Resolve 16.1 were the main announcements. It’s not trivial that a small…

Discuss - Page 48

Panavision T-Series Anamorphic: The Lenses Behind Line of Duty

Peaky Blinders Season 5 Was Shot on RED MONSTRO With the Cooke Anamorphic Primes

Netflix’s List and the Panasonic S1H: A Foothold for Mirrorless Cameras

The Art of the Long Take: A Discussion by Directors UK & ARRI

Large Format Cinematography: Roger Deakins Talks About the ALEXA Mini LF

Komodo 6K Camera: A “Badass little RED.”

RED Digital Cinema: The Roots of 4K and Sensor Technology

RED RANGER vs. DSMC2: Stability vs. Modularity and Flexibility

Cinema Lenses vs. Still Lenses: It’s Not About the Image Quality Alone

Blackmagic Design: At The Cutting Edge of Real Cinema Innovation

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