In the video, we demonstrate one way to create depth and contrast for HDR in a hopelessly cramped living space (16 m2) using lighting modifiers – specifically the Nanlite Projection Mount and Aputure Lantern Softbox – along with the Nanlite Forza 300 and Forza 60. We’ve spared no effort in order to get the most… Read More
We care about color. We’ve white balanced using the X-Rite ColorChecker Passport Video. We’ve calibrated our display with Calman Home for LG. We’ve aligned the color chips on the vectorscope with hue vs. hue. We’ve begun working in DCI-P3. So what’s next? ☺️ Have a look at the white balance in the two RGB parade… Read More
Now that we were able at last to get our hands on an Arca Swiss QR plate and SmallRig swivel and tilt monitor mount for the Tilta a7s III cage, we’ve got a very portable setup leaving us no more excuses not to shoot RAW with the Ninja V. So in the coming months, expect… Read More
Leaked images of upcoming Sony 14mm f/1.8. The 12-24mm GM, 14mm GM, 20mm f/1.8 G, 24mm GM, 35mm GM, 50mm GM and 135mm GM are each indisputably the very finest instruments in their class – smaller, lighter, sharper, quieter and faster than any of the competition. We feel really sorry for all the trolls claiming… Read More
All reputable television and monitor reviewers publish color accuracy tests for both Rec.709 and Rec.2020. Isn’t it time for camera reviewers to do the same?
Last night at a quarter to eight, there was a knock at the door. The landlady was standing there smiling, holding out a tiny white envelope; the Arca Swiss quick release plate that attaches to the bottom of my Tilta cage had really arrived! After waiting what seemed like forever, my local dealer suggested ordering… Read More
They seem to be everywhere, spamming the comments section of review after review with their cult-like nonsense about Blackmagic being the best camera at any price, with image quality rivaling Arri. Well first, let’s note that most of us – if we’re fortunate to be employed at all – are doing documentaries, travel and nature… Read More
Up until recently, we’d been uploading HDR videos to YouTube at around half the recommended data rates, which are from 44-56Mbps for 24, 25 and 30 frames per second video. You can see for yourself whether 29Mbps encoded video looks any worse on your display by following the link in the video description.