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.

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.

In late September, ARRI introduced a new line of Signature Zoom lenses in focal lengths of 16-32mm, 24-75mm, 45-135mm, and 65-300mm. All feature full-frame coverage and fast, constant apertures of T2.8. The 65-300mm is also available with a dedicated 1.7x extender, for a 110.5-510mm range and maximum aperture of T4.95 when mounted.

These days, you can name almost any subject and find a great podcast on that topic. This holds true for filmmaking as well. From podcasts designed for general film lovers to super technical ones from industry insiders, there truly is something for everyone. In this post, we've curated a list of our favorites, based on input from our technical specialists and other members of our team.

As DPs, we often decide whether our project should be shot with primes or zooms based on the desired look and logistics of the shoot. However, there are plenty of times when we need to use both. Maybe we are handheld, shooting outside for some scenes, so zooms make the most logistical sense. Yet for other portions, we are shooting portraits or interviews, and we want the added optical quality, control, and stop of a prime. Then, our main objective becomes making sure the lenses match and will cut together cohesively.

Recently, I had a chance to take a closer look at a few of the latest offerings from ARRI Pro Camera Accessories. In this video, I explore the versatility and functionality of the ARRI Lightweight Mattebox LMB 4x5 as well as the 138mm Diopter Frame and 138mm Diopter Stage. There is also a LMB 6x6 version available for 6” filtration that is very similar to the LMB 4x5 as both were designed for extreme modularity at minimum weight.

Recently, I had the opportunity to try out the ZEISS Supreme Prime Radiance lenses for myself and shoot some demo footage. With these lenses, ZEISS has modified the lens coating to give a slightly warmer look with the ability to create, and most importantly control, flares all while maintaining the sharpness and contrast that ZEISS is known for.

As a DP, when you get a phone call for a project, one of the first things you need to decide is what camera and lenses you’re going to use. Knowing what the content of the project is often drives both the shooting style and look of the piece.

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.