Shooting a feature with the Panasonic GH2 and LOMO anamorphic lenses
A guest post by director Roberto Miller. Andrew asked me to write a brief article for EOSHD about the experience of making my feature film, Mandorla, now in post, with a pair…
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A guest post by director Roberto Miller. Andrew asked me to write a brief article for EOSHD about the experience of making my feature film, Mandorla, now in post, with a pair…
Speed Booster at 35mm F1.0 on the Sony NEX 7 With the Metabones Speed Booster APS-C and Super 35mm sized sensors have taken a barrelling charge up to the door of full…
The Speed Booster will be available from Metabones later at a date TBC Are you sitting down? Sensor size is history. An optical reducer is something I have long thought was possible…
In a sea of insipid and faceless cameras for the corporate workplace, here is something different. Like the Blackmagic Cinema Camera it is designed for filmmakers who want image quality as close…
3D was oppressive, attention seeking and now 3D is dead. Quietly dropped by all consumer electronics firm if the 2013 CES is anything to go by. Or is it? The great thing…
Canon entered the indie filmmaking market in 2009 with the 5D Mark II whether they intended to or not. The live view stills mode enabled a rudimentary video feature. This provided the…
UPDATE: Shane now seems to say it vignettes at 8-12mm. Take all this with a pinch of salt until he makes his mind up Usually most Super 16mm cinema glass won't cover…
As a stills camera I liked the Fuji X100 - it was an actual die-hard photographic tool with gorgeous good looks in a sea of plastic consumer gadgetry. However the terrible AF…
A few months ago I reported back what Canon had told me officially at Photokina - that the 1D C had some very minor hardware changes over the 1D X (like a…