I’ve uploaded a revised page that now includes .aml look files for Alexa https://cmltests.net/ACES-LUTS.html Once again, thanks to Nick Shaw for his help with these. cheers Geoff Boyle NSC FBKS EU bas

Just a quick note and invitation to anyone interested. I will be presenting an ACS branded workshop at the METExpo (former SMPTE) at ICC Sydney on Friday, 19 July 11:00 am. This one hour session will

Looking for red mini mag 512 gb purchasers to start a class-action lawsuit. They have represented the red mini mag as 512 gb, where it is really only 480 gb, as seen here: https://www.cinema5d.com/wha

Hello everyone, After all the helpful feedback I received last time, I’ve got two more questions regarding the Sony Venice. Has anyone upgraded their camera to Firmware 4.0 yet? What are your experien

Hi all Anybody know the user/pass for the terminal access into a Pvm-a170 monitor? Thanks Balazs Rozgonyi CEO Video Assist Hungary Sent from my iPhone

Would you recommend the usage of the rawlite OLPF also on the mini ursa pro g2, anyone any experience with this combination? Lukas, cameraman, Austria

Hello Friends, I am working on a project where we are to extract 8192x4320 from SR RAW shot on F65. Not working very well tried just about everything including trying to get an answer from Sony. Took

I'm unfortunately not able to attend IBC this year, but I got a sneak peek at Sony's new Full-Frame "hybrid" combining features of the FS7, Venice, and Mirrorless camera lines last week in Los Angeles

Friends- After being a founder of Light Iron 10 years ago and having the privilege of spending the last 4 years with Panavision, it is with a heavy heart and an immense sense of gratitude that I say g

I saw this movie in Dolby Cinema HFR yesterday. I wouldn’t have normally gone to a movie like this, it’s one I may have watched on Netflix but in this case I wanted to check out the technology. I’ll g

Bringing this over from CML General…. Yeah. Doing my first HDR (and Dolby vision) mandated show right now and realised there really isn’t a good way to look at HDR on set. Like nothing at all, sort of

Does anybody know if there is a colour science (or any other colour difference) between the DXL Millennium 2 and the Red Monstro on which the DXL 2 is based? cheers Jonathon Sendall DP, London UK

I am afraid I don’t understand the negativity to increased resolution in cameras and presentation. This is a complex issue but a very interesting one and I hope we can have a reasoned discussion here

Hey All, I've been happily using Easyrigs since about 2013 (300N, 400N, Vario), but always renting them against production budgets. I currently have an opportunity to make a purchase and am faced with

I have a weird one that I need help with. I’ve used BRAW in Resolve with ACES in the past with no problems. I’m now trying to load BRAW from the lighting tests into Resolve and it crashes every time,

I’ve just uploaded a page that shows the dynamic range of the C500-2 and the FX9 https://cinematography.net/LED-Camera/C500-2-and-FX9-exposure-range.html The exposure range they can handle is pretty m

Hey all, Following up on this thread-- I've determined I'll be buying a new EasyRig and not a knockoff (self-fulfilled prophecy). But now I'm faced with the decision of purchasing the standard or 5" a

Hi all, reposting properly this topic here. Apologies to Geoff, I did. It even notice the original posted to lighting. Thank you to the group who have responded already. I’m interested in hearing from

Dear colleagues, in this IMAGO link you can see the article of Canon XF705 camera that I used for the filming of the documentary La memoria del Cacao https://www.imago.org/index.php/news/item/1052-the

Hello, just watched this: https://www.youtube.com/watch?time_continue=431&v=IM3epUuxxxg&feature=emb_logo There they say that, for Helium, Gemini & Monstro : Doing a Black Shading at 25fps 180° ( 1/50s