SIGMA Corporation is pleased to announce the launch of “SIGMA fp,” the world’s smallest and lightest full-frame mirrorless digital camera*. The SIGMA fp incorporates a 35mm full-frame Bayer sensor with 24.6 effective megapixels in a compact body, and boasts great versatility and scalability that allows mixing-and-matching of a variety of interchangeable lenses and accessories. It […]
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Part Vittorio De Sica’s Bicycle Thieves, part Goonies on skateboards, director Lije Sarki’s Concrete Kids tells the story of two nine-year-old boys from Venice, CA, who set off on a mission to cross Los Angeles on skateboards at night to reach the Staples Center by morning for a contest. Now streaming on Amazon Prime, the […]
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Director and cinematographer Jodi Savitz has made a name for herself over the last several years with her groundbreaking documentary and narrative work. A frequent user of the Panasonic EVA1, we stopped to speak with Savitz about her use of the popular camera, some of her amazing projects and much more.
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Zeiss’ Supreme Prime lenses have been a major hit in the pro video space, tailor-made for digital cinema applications. At NAB 2019 Zeiss announced the Supreme Prime 21 mm T1.5 & the Supreme Prime 135 mm T1.5 would both available for Q3 2019. We spoke with Zeiss’ Kylie Hazzard for more on the lenses, their […]
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Band Pro is known for their wide range of offerings to the filmmaking community, covering every aspect of the craft with their multitude of products. Cinematography is particularly strong at Band Pro, with a wide variety of lenses and manufacturers to choose from. Band Pro’s Randy Wedick gave us a breakdown of their full frame […]
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Carl Zeiss has been serving the world of cinema for many, many years. Now, with their new facility in Los Angeles, Zeiss has placed themselves squarely in the middle of the filmmaking community with their new office, offering cinematographers and filmmakers a new home to test lenses with cameras, view their work on an amazing […]
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For many years now, the Oscars has been trying to tackle two main problems: broadcast time and ratings. Last year saw the Academy try to tackle their ratings issue with the controversial “Popular Film” category. Broadcast time has been (albeit less important to those outside the Oscars production team) their other big issue, with minor attempts […]
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