Who would have thought my favorite piece of film equipment would prove to be an equally good miracle worker on a Canon 5D Mark II. Continue reading
I have had a few emails today regarding my earlier Facebook post. I was questioned as to why the images did not look like they were shot on Alexa or Canon 5D (two of the camera’s I used for the shoot). My response is….what should images from the Alexa and Canon 5D look like? Is there a rule for using those camera’s or do they have a very special signature that says…this image was shot on a “this or that” camera. It seems most these days regard a good image as something with shallow depth of field and sharp as a tack. Continue reading
I have been receiving this question on and off for several years now. This was one of the early shoots on the 900 series SONY HDCAM and I had to come up with some novel ways of lighting …. dancers, a constantly moving camera, nowhere to “hide” lights and no mounting as the caves are a National Park. Continue reading
Dynamic range has become the catchphrase for a whole generation of image makers but many are not sure exactly what it is, what it means or how they can use it. Continue reading
Over the coming weeks I will be posting articles with my viewpoints on various aspects of cinematography. Gained from more than 30 years experience in more than 50 countries I hope to provide an insight into seeing through the technology to the art of what we do as cinematographers.
This was in response to a college graduate who was looking at purchasing equipment as a way of getting into the industry.
Owning your own gear is a bit of a double edged sword. On one hand you have the potential to make extra income and make attractive deals for Producers but at the same time, what will be an attractive deal to one will become a burden to another.
Fortunately, I am in a position where I can make strong representations regarding my equipment and, based on years of experience, show Producers Continue reading