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Tag Archive for: XEEN
Shane Hurlbut, ASC takes you through False color, one of the key building blocks of learning how to expose your digital negative.
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.
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…
The new Monstro 8K VV sensor from RED is a beast. It’s a huge sensor, not just in resolution, but in size. So, I wanted to know how well certain lenses covered this big of a sensor.
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.
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.
One question I get asked a lot is how to choose the right focal length. Do I go long in a certain situation or do I go wide? How do you know what to choose? There are different times to employ various focal lengths – knowing when to employ each is part of the craft that is cinematography. Here’s my secret sauce for choosing whether to go long or wide in a scene.
Xeen’s lineup of lenses are spectacular. They’ve hit the nail square on the head with both the look and the price point. They’re true cinema glass that people can afford to own. Xeen’s image quality is unique and beautiful. Here’s a brief look at the Xeen 20mm, specifically at its image quality, breathing, and color rendition.
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.
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.
One of my favorite types of light is remote phosphor. It’s incredibly powerful. Since this technology has been introduced to our industry, these lights have been taking over. It’s because of their ability to produce beautiful skin tones, their unbelievable brightness, and just how easy they make it to switch between 3200, 4300, 5600, chroma green and blue.
Comparing XEEN 135mm next to Canon Cinema Primes, Zeiss CP2s, and Cooke S4i’s reviewing color rendition, bokeh, rack focus, faces, contrast, and sharpness.
I will take the URSA Mini to its breaking point and show you what it can do so you can make informed creative decisions in your storytelling.
No matter what you’re trying to be in your career, there is one thing that never changes and stays true – the relationships you build. They are the most important aspect of your career.
We’re going to compare the XEEN 24mm, 50mm, and 85mm lenses with the Canon CN-E, Zeiss CP.2, and our Cooke S4 lenses.
@shanehurlbutasc Today we are doing a XEEN lens comparison test with the newly added 14mm and 35mm XEEN lenses. We’re going to compare these lenses with the Canon CN-E, Zeiss CP.2, and our Cooke S4 lenses. To do this, we rigged it up so that we have all four cameras rolling at the same time, […]