Thermal imaging was made famous by Predator in 1987. It’s more recently been seen in Sicario and Planet Earth II. I look at the current state of thermal cameras and how viable it is for filmmakers to use this unique technology.
Prime lenses are smaller, lighter, cheaper, faster and optically superior to zooms. So why bother using a zoom? There are some instances where a zoom might just be the better choice.
The British Society of Cinematographers held it’s annual Expo at the Battersea Evolution Centre in London this weekend just gone. The Expo is a great opportunity to see new products being showcased and to catch up with colleagues and acquaintances.
Often, cinema zooms cost more than the camera they’re mounted to. This year however, there’s been a sudden wave of budget cinema zooms introduced, aimed at the owner/operator market and priced accordingly.
This weekend I was invited with wildlife filmmaker Leanne Gater to attend the Wildlife Film Festival Rotterdam in the Netherlands. The festival boasted over eighty films, showcasing the best wildlife documentaries from around the world.
Since 2008, filmmakers have been in the market for full frame cine primes. Lenses that cover the larger format yet still offer all the mechanical advantages of a proper cinema lens.
RED Digital Cinema this week introduced two new cameras, bringing the total number of DSMC2 cameras currently available to five. But let’s compare them. What’s the difference between them all?
How do the Contax lenses fair compared to it’s contemporaries? Let’s look at the Contax line compared to other Zeiss lenses both new and old: the Super Speeds, Classic (ZE/ZF.2) and CP.2s.
In May I was invited by director Chris Cronin to shoot a little film with him called ‘Skye’. It’s a social drama with a sci-fi, superhero twist and was made to compete in the My Røde Reel competition.
Vintage Zeiss Contax lenses can be repurposed for modern cinema use. This article goes into detail about these lenses and how to go about picking and adapting your lenses.