When the Aspen Music Festival and School decided to upgrade their camera system to livestream their 75th anniversary season, they chose multiple Canon CR-N700 PTZ and C300 Mark III cameras. Director of Production Kyle Schick discusses why they landed on this solution, and some of the challenges they were able to overcome as a result.

Sony’s newest full-frame CineAlta camera, BURANO, came to market earlier this year to great fanfare and robust sales. The combination of an 8.6K sensor, similar to the one found in Sony’s flagship VENICE 2 CineAlta camera, combined with a smaller, lighter body and a compelling complement of codecs, has proven popular with a broad swathe of customers.

We continue our long-running Creative Forces series with East New York cinematographer Jendra Jarnagin.

Recently DPs Bill Winters and Rick Siegel had the opportunity to spend time with the Sony BURANO. After capturing some test footage, they shared their thoughts and images with us.

In our most recent ARRI Applications episode, we catch up with Director of Photography David Lanzenberg to talk about his impressions of the ARRI ALEXA 35 and ARRI Signature Primes in a virtual production environment. Lanzenberg also discusses his approach to filmmaking and how advances in technology influence his creative process.

For my latest blog, I dive into discovering the powerful capabilities of combining Sony's FR7 PTZ Camera and the Chrosziel CDM-SFR Universal Zoom Motor.

For this blog, we go on location in Stockholm, Sweden with U.S. and Europe-based cinematographer Rose Bush to discuss the Canon C500 Mk II full frame digital cinema camera, Sumire Prime lenses, and her most recent project Love Child.

ZEISS today unveiled their new Nano Primes, a line of fast, compact, full frame cinema lenses initially available for Sony’s full frame E-mount with other shallow flange depth mounts planned to come later. Equally at home on Sony mirrorless cameras or their dedicated Cinema Line bodies, these new primes are offered in a classic selection of focal lengths: 18mm, 24mm, 35mm, 50mm, 75mm, and 100mm. All lengths open to a fast T1.5 maximum aperture and feature common geared focus and iris ring locations – as well as common 95mm fronts – for quick and easy lens changes. The lenses can also accept an M86x1 (86mm standard) front screw-in filter, natively.

ARRI recently released SUP 1.2.1 for the ALEXA 35, adding several new features and user requests.