It’s time to talk frankly about RAW. Some cinematographers insist that shooting Raw is always the best choice, but the argument for Raw’s superiority is outdated, and its disadvantages outnumber its advantages. Despite Colorist's love of Raw, and despite Arri and Red and Apple and Atomos...
“Elf” is possibly the most perfect name for Godox’s entry-level flash...
As cinematographers we are painters of light, The camera is simply a blank canvass. Optical snoots are great devices for shaping light, but up until just a few years ago snoots were too heavy, expensive, and unwieldy for small production teams. Not anymore, so today...
The Cinema Variable Neutral Density Filter by PRISM LENS FX is a pleasant surprise. Made in the USA (surprise #1), it offers exceptional quality while maintaining a reasonable amount of affordability. At roughly $145 (77mm) it's not by any means cheap, but generally speaking you'll...
Creating a video is a pretty unfamiliar activity for most businesses. It's filled with unknowns. You may like the quality the company produces, but you still need to know the cost. And unlike other products, there’s no standard proposal structure for video. Proposal pitches can...
A Director’s Monitor is a fairly high-end device. Typically, you need to be working on a larger production for them to be useful— on smaller projects the “director” is behind the camera and the producer/client is either in front of the camera, or asking the...
The optical snoot (my that’s a funny name) is a light modifier that focuses the light from an existing instrument… LED light, in such a way that you can use a gobo to shape the light, creating designs or breakups. Gobos are one of the...
It’s not surprise that “smaller”manufacturers like Neewer and K&F Concept have entered the high-end V Mount battery field. It’s actually more surprising that it’s taken so long, especially given how generic the rechargeable battery technology is. Their competitive price-point advantage has been narrowed by mid-level...
When it comes to audio, cinematographers and videographers tend to focus on shotgun (or super cardioid) style mics because they're problem solvers. The most common problem we face is environmental noise, and these mics do the best job of eliminating the background. But they don't...
Well, maybe not learned...
