As you may have heard, Nikon acquired 100% of the outstanding membership interests of RED.com. This is a move nobody has anticipated. In our opinion, we don’t get it. It seems like…
According to Canon’s executives, in order to produce a true spatial high-definition video for the Apple Vision Pro, a 100MP, 60FPS camera will be needed. Hence, the Big Sky Cinema Camera is…
Director Michael Mann and DP Erik Messerschmidt needed a bunch of cinema cameras to be attached to very fast cars. Hence, they have decided to use a combination of RED Komodo and…
In an article titled “Inside the Tech Creating the Las Vegas Sphere’s Groundbreaking Visuals” by the WSJ, Sphere Entertainment states about its plans to utilize its Big Sky camera for scientific applications,…
The Apple TV+ ‘Physical’ S3 was shot by Cinematographer Jimmy Lindsey ASC on the ARRI ALEXA Mini LF paired with a specially made B-Series Vintage 2x Anamorphic glass by Panavision. This unique…
The Flash was shot by Henry Braham, BSC on the RED Monstro and Ranger Monstro 8K VV. Braham, as usual, utilized one of the most intriguing stabilizers of the market. Here’s what…
Hemsworth and Hargrave gave it all in Extraction 2. However, this Netflix action masterpiece is buried inside Netflix instead of being screened on the big canvas or even in IMAX theaters, and…
Even before the trailer, a BTS of the forthcoming Zack Snyder’s Rebel Moon was released. The sci-fi opera was shot one an unconventional and mighty combo of RED V-Raptor XL and bespoke…
As the trailer for Extraction 2 has dropped, producers Russo Brothers confirmed that the forthcoming Netflix hit contains an ultra-complex 21-minute long-take (oner) composed/stitched from 30sec-1.5minute segments of accurate sequences. Hence, Extraction…
An educational gem was discovered in the World Wide Web. We found The 15/70 Filmmaker’s Manual written in 1999. However, many of its topics are super relevant today and essential for those…