ARRI Archives - Page 11 of 20 - Y.M.Cinema Magazine

Skyfall is the First 007 Movie Shot Digitally (on the ALEXA Cameras)

by

2021-10-08

Educate

3 mins read

While everyone is talking (including us) about the new James Bond that was shot entirely on film cameras, this is an excuse to write about Skyfall, which is the first 007 movie…

Thoughts on Cine Gear 2021: RED, ARRI, Panavision and Canon: Where The F*** Have You Been?

by

Yossy Mendelovich

2021-09-27

Discuss

3 mins read

Cine Gear is the premiere US cinema technology exhibition for sure. If so, why did all the major companies were absent from this year’s event? Industry leaders like ARRI and RED have…

‘Infamous’ Cinematography: Super 35mm and Extreme Closeups Crafted by DP Eve Cohen

by

Yossy Mendelovich

2021-09-24

Discuss

2 mins read

The action crime thriller, Infamous, can be used as a case study for cinematographers, filmmakers, and storytellers, among other films that utilized beautiful extreme close-ups combined with dynamic shots in order to…

Netflix’s ‘Into the Night’: Low-Light Cinematography Led by DP Magdalena Gorka

by

Yossy Mendelovich

2021-09-20

Educate

4 mins read

Since the second season of Netflix’s ‘Into the Night’ was premiered a few days ago, we’d like to take this opportunity to talk about the making. The second season was shot by…

ALEXA Mini LF: The Freedom to Choose Your Desired Format

by

Yossy Mendelovich

2021-09-06

Educate

5 mins read

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…

“V” for Velocity: Thoughts About RED’s New 8K Large Format Camera

by

Yossy Mendelovich

2021-09-02

Discuss

4 mins read

Yesterday was an exciting day for R3D lovers. A completely new high-end (‘flagship’) RED camera was introduced, the V-Raptor, which is RED’s first DSMC3. The Raptor can be defined as hybridization between…

Emmy 2021’s Cameras: Large Format Rules

by

Yossy Mendelovich

2021-08-30

Discuss

2 mins read

Thanks to IndieWire, its fascinating survey clearly shows us the domination of the large sensors, over the well-respected and traditional Super 35mm format. We analyzed the data and make a chart that…

ETERNALS: The First MCU Film to be Shot Indie-Style?

by

Yossy Mendelovich

2021-08-24

Discuss

2 mins read

The Marvel Studios’ Eternals final trailer has been released. Now it’s time to discuss a bit regarding the cinematography behind it. Eternals was directed by the awards winning director, Chloé Zhao (Nomadland),…

ARRI 16-32mm Signature Zoom Prototype

by

Yossy Mendelovich

2021-08-18

Educate

2 mins read

As a part of the “Prototype Day” series held by Dynamic Rentals, which examines prototypes high-end models of cinema cameras and lenses, this time the ARRI 16-32mm T2.8 Signature Zoom was presented.…

Roger Deakins Talks About Lenses: Spherical Primes Preferred

by

Yossy Mendelovich

2021-08-06

Discuss

2 mins read

In this cool episode by StudioBinder, We’re getting exposed to Roger Deakins’s preferences regarding cinema lenses. To sum it up within a sentence: Primes preferred, clean look (no breathing, no vignetting, and…

ARRI - Page 11

Skyfall is the First 007 Movie Shot Digitally (on the ALEXA Cameras)

Thoughts on Cine Gear 2021: RED, ARRI, Panavision and Canon: Where The F*** Have You Been?

‘Infamous’ Cinematography: Super 35mm and Extreme Closeups Crafted by DP Eve Cohen

Netflix’s ‘Into the Night’: Low-Light Cinematography Led by DP Magdalena Gorka

ALEXA Mini LF: The Freedom to Choose Your Desired Format

“V” for Velocity: Thoughts About RED’s New 8K Large Format Camera

Emmy 2021’s Cameras: Large Format Rules

ETERNALS: The First MCU Film to be Shot Indie-Style?

ARRI 16-32mm Signature Zoom Prototype

Roger Deakins Talks About Lenses: Spherical Primes Preferred

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