Dear colleagues, in the link you can see the tests we did with the VENICE camera in Cartagena de Indias in Colombia. https://vimeo.com/272088733 In Cinegear I will comment my experience during the sho

In addition to the Sony screenings, Band Pro is showcasing our Venice short film TOKYO DANCE (which I shot in Japan w/ Thalia & EZ-1), as well as some macro/food material that I shot with Gary Adcock.

Hello List, It was my pleasure meeting some of you two years ago and attending the screening of Cafe Society. Unfortunately for others, I am in Hollywood again for CineGear on this fine Thursday night

This was originally a kind of Resolve/post question, but I'm really interested in the best camera settings. The question below refers to RroRes settings in the camera, but perhaps recording RAW might

At the press briefing this morning Sony showed a split Venice. Sensor block, about 25mm deep, connected with a 10 or 20 foot cable to the body. Made at the request of James Cameron. They also announce

hello, i have been trying to keep up to date with hdr monitoring for mastering/grading. seeing how the bvm x300 is three years old already, im thinking in terms of new aquisitions if its wise for cons

Has anyone seen or heard more about the Amira getting Arriraw capabilities? I thought I saw a post about it on Instagram some weeks back, but couldn't find it again (and assumed I'd dreamt it up) unti

I did an interview with James Mathers of the Digital Cinema Society at CineGear. The conversation is about ACES from around 3:30 onwards. https://vimeo.com/275354606 Cheers Geoff Boyle NSC Home in Zoe

The tests will be shot both tungsten and LED daylight. Tungsten being the most “accurate” source I can use. Thanks, this sounds perfect and I can't wait to see them. Especially interested in seeing if

I’ve started this as a separate topic but it’s really part of the next camera tests. I tend not to use DSC Chroma du monde as it’s really a TV related chart. I had stopped using the X-Rite or Macbeth

Geoff, Re Testing in general, your tests your call, re charts, setup and lighting. Testing is all about you asking "questions" of cameras and gear and there in no right or wrong way to test so long as

First, my apologies for cross posting, but if I can’t break my own rules…I’m also posting on Cinerant. The next camera evaluations are shooting in three weeks and I’ve been thinking about how to chang

Dear colleagues, you can already download from the IMAGO page the test we carried out with the Venice camera, SIGMA, LEICA and Kowa anamorphic lenses. http://www.imago.org/index.php/technical/item/752

I don’t think you can ever look at DR on a chart though. If you don’t have access to a Xyla (they’re available with up to 26 stops these days), a Stouffer transmission wedge can be used. But the ones

In preparation for the next round of camera evaluations I asked for comments and got a lot regarding the type of charts I was using. I've been thinking a lot about this and I think we may have it all

A further note on Gordon Willis. Godfather, Part III was shot with a thick negative. The Technicolor IB process was no longer available to him like it was on the earlier films, so Willis exposed diffe

In anticipation of the 2018 Camera Evaluations I’ve setup a new website, it’s really a sub web of cinematography.net Currently there are some test files there and if you’re interested in raw then you

I have a project coming up and we are planning on finishing it in Black and White. I will most likely have to use the Sony FS7 for this with an Odyssey Raw recorder. The setting of the film is the 194

I'm not going to respond to any more messages about the tests, it's too distracting. Most of you seem to miss the vital point that in a real-world situation I often have to rely on my meters, it's jus

As a matter of interest does anyone use a Lumi with an iPhone? I have a Sekonic meter but the idea of a meter that does CT for only £200ish is very appealing. Michael Michael Sanders London Based DP.