Join designerDP Ash Innovator as he discusses his experiences with Large Format filmmaking and the ARRI ALEXA Mini LF. In this video, Ash touches on lighting technique and style, his creative inspiration and influences, surreality and hyperreality in cinematography, the advantages of lighting for dark skin tones with Large Format, and more.

Angenieux’s Optimo Prime full format, single focal-length lenses address the modern DP’s need for high resolution, contrast, and uniform colorimetry but with flexible customization to support the quest for a certain “character,” which may be appropriate for different projects or sequences.

AbelCine's FOV Tool 2.0 is here! This update to our original, and very popular, FOV (field of view) Comparator allows you to compare camera and lens combinations, including a variety of sensor sizes, recording resolutions, and aspect ratios. Of course, the new tool features the latest cameras and even more lenses.

Sony’s FX9 is a popular choice for freelance shooters, sporting a full-format (aka full-frame) imaging sensor in a body design evolved from their equally popular FS7 series of cameras. Emmy-award-winning New York-based DP Rick Siegel, whose credits include features, short films, documentaries and musical events shot in a style we’ve come to refer to as “cinematic multi-cam,” has owned the FX9 since shortly after it came out. He was kind enough to lend his talents to exploring the new features in firmware 2.0/2.1 for the FX9.

In October of 2018, Canon introduced the EOS-R, the first in a new line of full-frame mirrorless still and video cameras along with a new lens mount, dubbed ‘RF’. Unlike the familiar EF mount, which debuted in 1987 with the original EOS series of film cameras, Canon’s new mirrorless mount provides a greatly reduced flange focal distance — also known as flange depth or registration distance — along with a higher bandwidth data pathway between bodies and lenses.

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.

Canon’s latest full-format Cinema EOS camera, the C500 Mark II, is a study in versatility. Join filmmaker Rubidium Wu as he describes his experiences shooting with the C500 Mark II and gives his perspective on how it fits into the equipment roster of a growing production company.

Since the release of Sony's PXW-FX9 digital cinema camera, we've gotten a lot of questions from clients about how it compares to Sony's flagship cinema camera, the VENICE. Now that Sony has released major firmware updates for both cameras (2.01 for the FX9 and 6.0 for the VENICE), we thought now would be a good opportunity to compare their capabilities, particularly in terms of each camera’s sensor.