While the ARRI AMIRAs give The Grand Tour the large vistas, the minicams shoot the in-car reviews and essential guy banter. On the outside of the cars there’s more of a balancing act
DSpatial is a suite of ProTools plug-ins designed to allow immersive 3D above and beyond object-based audio systems. Rafael Duyos describes how it works
Sennheiser has made its first Ambisonics microphone – making sense of this decades’ old technology
Colourist Greg Fisher gives us an exclusive insight into how he delivered the final grade for Mat Whitecross’s new music documentary, Oasis: Supersonic
LockCircle is introducing their Kinetics Motion Ergonomics Concept for the new high-end professional Cinematic Cage for Fujifilm's X-T2 camera digital mirrorless camera.
Samyang Optics who are making some extremely good value cine lenses have announced a new one, the XEEN 16mm T2.6.
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.