The upcoming 2019 British-American war film directed by Sam Mendes is the first film that was shot on the newest camera from ARRI: The Mini LF (large format). Take a look at…
ARRI posted an update regarding the development, testing, and shipping status of its new camera, the ALEXA Mini LF. According to ARRI, the final version of the camera is scheduled to be…
Our latest articles were focused on the large format glass. We attacked this topic as a result of the growth of sensor sizes, especially in cinema cameras market. Our chart and in-depth…
UNGDOMARNA is a short and beautiful commercial film shot entirely on the Kinefinity MAVO LF. Filmmaker Benjamin Cotton shares with us his tips, tricks, and thoughts about using this evolutionary and revolutionary…
In continuous to our previous article regarding large-format cinema lenses, we’ve decided to prepare a simplified chart that contains all this useful information. The table is divided into sections per each glass:…
The ALEXA Mini paired with a set of Cooke S4/i primes were the chosen tools to tell the story of Hulu six-episode new miniseries, Catch-22. Cinematographer Martin Ruhe shares his on-set insights…
The guys at DCS (Digital Cinema Society) have once again held their great lens panel at Cine Gear 2019. This time the group focused on large format cine lenses from the buyer’s…
Director Raafi Rivero gives us an inside look at his project, which is the first narrative short film shot on Kinefinity’s flagship. Has the MAVO LF got what it takes to be…
Rhinestone Blue is the first film shot on the Fujinon Premista large format zoom lens. The camera used was the Sony VENICE. DP Tobias Schliessler, ASC, elaborates on his experience about using…
FUJIFILM has introduced its latest camera, the GFX100 which equipped with 102MP 43.8 x 32.9mm CMOS sensor, making it a medium format camera and with a very affordable price. The race for…