With the availability of the new ALEXA Mini LF SUP 7.1, this would be a smart opportunity to overview and elaborate on what the ARRI ALEXA Mini LF has to offer to…
The Fujinon SK35-700mm F2.8-4.8 is a native PL-mount cinema broadcast zoom lens that was invented in order to bring the look of cinema to sports and entertainment live productions. This PL mount…
In this case study by XM2 PURSUIT, a dedicated apparatus was built to lift an ARRI 535B armed with a 1000-foot magazine for beautiful celluloid aerial shots. Read on how they did…
As the pursuit for ultra-high resolution continues, the prices for those mighty HD cinema cameras (the ARRI ALEXA Classic) drops. That lays the groundwork for being an owner of one of the…
The ultra-mega rivalry, Godzilla vs. Kong was shot by cinematographer Ben Seresin ASC, BSC on the ARRI ALEXA 65 camera paired with the dedicated Prime DNA lenses. Furthermore, exclusive behind-the-scenes footage was…
The American Society of Cinematographers (ASC) has announced its nominees for feature film, documentary, and television cinematography. Hence, we’ve created user-friendly slides that show the cameras and lenses been used to shoot…
Cinematographer Manuel Lübbers has put together a very comprehensive and educational comparison focused on large-format cinematography, by comparing side by side an ARRI Alexa 65, to an Alexa Mini. Are you interested…
Meike is expanding its FF (Full-frame) cine lens family, by announcing a new prime cinema lens for large-format sensors, the 35mm T2.1. This lens joins its big sister, the Meike 50mm T2.1.…
Black & White is the new color. Many DPs are trying to implement the artistic and most challenging black and white imagery. In this article, the black and white low budget drama,…
Xelmus expands its 2X anamorphic line, the Apollo, by adding three more focal lengths to the family. Meet the new Apollo Anamorphic Primes: 50mm T1.7, 75mm T2, and 135mm T2. Xelmus Apollo:…