For the modern DIT on the sets of film and TV drama, speed of transfer for camera files is the number one consideration
Panasonic has announced a firmware upgrade to its AU-EVA1 compact cinema camera that, among many improvements, will see the camera capable of recording ALL-I codecs and outputting RAW.
Fujifilm has added to their stills to video convergent cameras with the X-H1 which has some high value video features including a 5-axis in-body stabilisation ability.
Live At Pompeii saw Pink Floyd’s David Gilmour return for two dynamic concerts, all shot in glorious 4K
Sony’s new X-OCN format promises Raw image capture performance but at lower data rates. Mark Moreve starts his journey to find out the truth
Fujinon has an enviable reputation for its cine lenses but is now concentrating on a wider market. We consider the new MK zooms alongside the latest Sony equivalent
Inspired by the 2013 movie of the same name, this 2018 TV pilot had to deliver an innovative lighting design for its post-apocalyptic journey
The ARRI Amira isn’t best known for use on scripted comedy shows but DOP Benedict Spence found it the perfect camera for E4’s GameFace
Director David Fincher drove an era-defining aesthetic using the highest-end equipment. Definition spoke to cinematographer Erik Messerschmidt to find out how it influenced the huge Netflix hit, Mindhunter
Reproducing historic events isn’t easy. Do you go the sepia route or do you widen your recreation palette?
A completely new system, including ALEXA LF camera, ARRI Signature Prime lenses and LPL lens mount
Panavision has made some major announcements for their DXL digital camera