RED’s V-RAPTOR is now available and the world of cinematography will never be the same. Filmmakers everywhere can finally sink their teeth into RED Digital Cinema’s new flagship camera system – the RED DSMC3 V-RAPTOR 8K VV. Cinematographer Shane Hurlbut, ASC joins RED on Friday, April 28, at 2:00 PM to showcase the V-RAPTOR for […]
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Depth of field is as important as your composition or picking a focal length. It’s the emotion, the punctuation, and the eyes of the story in filmmaking.
No color charts or lab tests here. See how the Xeen lenses stack up on RED’s 8K Vista Vision Monstro sensor in the real world.
This video and accompanying article is all about MōVI tips and tricks! How to get the most from your device. Using a Matte Box with a Filter on the MōVI: The preferred way to mount a filter with your MōVI is with the use of a matte box. The Misfit Atom 4×5.65″/4×4″ Ultra Lightweight 2-Stage […]
Oh boy, we’ve got a whole SLEW of Canon Camera related questions this week. Let’s get into it! SIC Podcast EP. 9 is now live on iTunes! Submit your questions HERE. Podcast Questions: 1:13 How much image manipulation is done with the footage that comes from the Canon C500? When you spoke of the 5D […]
Full frame is the new darling of the cinematography world, but the larger frame means a lot of the glass we’ve been used to using just won’t cover…
REDucation is a powerful, intimate, and hands-on program available to cinematographers, AC’s, DITs, and filmmakers all over the world! Taught by industry professionals, REDucation is a 3-day course where you can learn the RED Digital Cinema equipment and process.
One of the comments I hear all too often is, “4K is too sharp, it’s too much resolution.” Well, here’s the thing… resolution and sharpness are not a 1:1. Instead of thinking of higher resolution images as “sharper,” try thinking of them as smoother.
RED announced they made a “very special custom S35 low light sensor for a very special customer for use in outer space…” And now they’ve made that “special” sensor available to us all: Introducing the GEMINI 5K with Dual ISO.
Our members are what make Shane’s Inner Circle such an incredible filmmaking community. We want to celebrate their stories with this Spotlight Series. Today we are featuring Luca Ricci from Italy who shares his story of his first time on a feature set. Enjoy!
Samyang’s new XP Lens line is really heating up. Their new 50mm F1.2 lens is the third lens they’ve added to this lineup touting touts 8k for video and more than 50 megapixels for photography. Chances are this lens will deliver beautiful bokeh and sharp images even low light. I can’t wait to try it out myself.
Welcome to Shane’s Inner Circle member spotlight featuring Gabe Sheets. Gabe discusses his journey directing his latest film, “Fugue,” and how he faced challenges and what he would have done different in pre-production.
I asked our Inner Circle member Will Stewart to take BTS stills of our latest Inner Circle content shoot and to use the Fujifilm GFX 50S. This is his take on his experience shooting BTS of our Inner Circle content shoot.
This is the third and last part of a deep dive into the uses of Freefly’s MoVi. Let’s get down and dirty and finish off with some kick ass rigs that my team and I have come up with to bring the use of the MoVI to perfection.
The old era of doing things is gone. You no longer need to set up a crane for an overhead shot – just pop the MōVI on a stick. Don’t get stuck in the past, embrace the present, and think about the future.
Freefly has been instrumental in flipping the whole paradigm on how I shoot movies. It’s not about the trick shots, it’s more about figuring out how we can use this incredible device that Freefly has created, the MoVI, to shift the paradigm of how we make movies and how it change the dynamics within the movie making industry. Welcome to the future.
This is it – the latest battery pack power showdown. We have Blueshape’s new 140Wh Granite Mini V-Mount running against the Anton Bauer’s Digital 150.
All of these rules of engagement mean being obsessed with the subtleties. In a 2 hour (plus) feature film, you’re not going to see it. Rather, you’re going to feel it. That’s what the emotion is all about. You want to feel it in some way and not be taken out of the film because of camera work.
Today we’re taking a brief look at the new Xeen 16mm PL mount. This is a cinema lens packed into some affordable pricing. I haven’t seen anything like it out on the market. This is a piece of glass that has a unique look, comparable to some of the qualities normally found in higher end glass.
Welcome to our Zoom Lens Shootout! We are going to review the brand new Fujinon MK 50-135mm E Mount Cinema Zoom against the Tokina Cinema 50-135mm PL Mount Cinema Zoom. Right now, these lenses are falling into that $3,200 – $4,000 price range, which make them extremely affordable, lightweight, and flexible for most shooters – something that has been missing in our market with all the advancements in affordable tools and tech.
I had a blast working with Matthews Dutti Dolly. It made our shoot day so much easier – so much so, I wanted to share it with all of you.