Samyang Optics who are making some extremely good value cine lenses have announced a new one, the XEEN 16mm T2.6.
The best television shows are getting better. If you’re yet to see Netflix’s The Crown you’re in for a visual treat and we’ve got the inside production track. In this issue we also have VFX stories from new movies, Assassin’s Creed and Fantastic Beasts; more disruption from drones with a film shot solely with them but hardly any aerial shots; plus the latest from the UAV, lighting and audio worlds. More details below.
High level DIT Joe Jamieson takes a look at a new media manager but finds something that may be late to the party and of more use to assistants and post houses.
The latest iteration of Canon’s much-revered 5D camera adds a raft of new features, including 4K. Will it appeal to filmmakers?
Looks like Bristol-based Films at 59 might have invented the art of mixing audio for VR over five years ago based on their 360° work at Orbi in Japan.
Following Kodak’s new film processing plans, the company is also launching a high volume film content asset management business. But what's the end goal?
How do you make a Sunday night UK period drama look different from the rest? DOP John Lee and colourist Dan Coles had some definite plans.
In an exclusive article, head DOP Ben Joiner explains what has changed and why in shooting Amazon’s The Grand Tour.
Cooke’s new 35-140mm Anamorphic zoom lens is a monster in more ways than one. But if you’re lucky enough to try one you may be spoilt for life. Words Jonathan Jones.
In our last look at the most technically awaited movie of the year we talk to director Ang Lee’s
right-hand man and fellow pioneer in high frame rate cinematography, Ben Gervais. Words Julian Mitchell.