ARRI has released SUP 7.0 for their popular ALEXA Mini LF camera system. The update includes some long-awaited features, with new dedicated Super35 recording modes that match those found on the original ALEXA Mini. In most cases, these new modes can achieve higher maximum frame rates than the original ALEXA Mini. There are new LF (Large Format) recording modes, an expanded list of framelines and anamorphic squeeze factors, and a number of other enhancements as well.

We all know the moment... when a film cuts to a close up and the depth of field is so narrow that we immediately lock onto the lead’s eyes. The character's emotions and place in their world are so clear to us, the audience, as we experience this moment with them. We are not bystanders; we are participants. The image is intimate, organic, and just like that, we get goosebumps.

Sony has announced the availability, this fall, of major new firmware versions for both of their full frame (aka full format) digital cinema cameras: the PXW-FX9 as well as the flagship CineAlta VENICE.

Sony VENICE firmware version 5.0 has arrived. This update brings a bevy of new features and improvements, including new frame rates and monitoring options to streamline workflows.

Since their introduction in 2018, ZEISS full format Supreme Primes have been a hit with filmmakers. Now, they have announced a new variant, with a look that is a bit of a departure from what we've come to expect from ZEISS. Enter the Supreme Prime Radiance.

ARRI recently announced their extremely bright, versatile new light: The Orbiter. The Orbiter is a tunable, customizable, ultra-bright point light source directional LED. The output of the Orbiter is comparable to corresponding HMI systems. Now that’s a sentence worth repeating: its brightness is comparable to that of an HMI!

Ever since the introduction of the RED RANGER camera system, initially available only with a MONSTRO 8K VV sensor (and only to RED-approved rental houses worldwide), cries to make the camera available with a broader range of RED sensors have echoed far and wide across the camerasphere. Now, those cries have been answered.

I count myself among the many motion shooters who are also committed still photographers. Whether for location or tech scouting, BTS (behind the scenes), a fine art photography practice, or all of the above, many DPs, operators, and other production crew carry a capable camera dedicated to still photography as part of their regular kit. Since about the beginning of 2019, for me that camera has been Canon's first full format mirrorless camera, the EOS R.

We have been talking about HDR for several years now as the next big advancement in cinema production. It was four years ago that we started to see HDR evolve from a buzzword into a reality, but I’ll admit that I never saw much HDR content outside of a trade show or showroom floor, and I’m guessing that is true for most of us.