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cinematography

F-stops, T-stops, focal length and lens aperture

The focal length of a lens is the distance between the optical center of the lens and the film plane (for film cameras) or CCD (for camcorders). The longer the focal length, the more it “magnifies” the subject. f-stops are a measure of the aperture of a lens. In other words, f-stops tell us how […] Continue reading →

How 3D Movies Work

3D vision is enabled by the ability to discern which objects in the field of view are close and which ones are further away. 3D vision is possible because we have two eyes. The two eyes are a few inches apart, and therefore view the world from different perspectives. The closer an object is to you, the […] Continue reading →

RED camera review: my experience with the RED camera

I shot three spec TV commercials with the RED camera and this is my report of the experience. Here are the spots: 1. About the RED camera The RED camera was released in 2007 and satisfied a desperate need for a digital camera that can truly rival the look of 35mm film. It shoots in […] Continue reading →

Filmmaking Tips and Advice for Ambitious Filmmakers

“A free online film school summary for aspiring filmmakers” Jump to a section: Screenwriting Lighting Camerawork Camera movement Zooming Sound Casting Continuity Production Design Film editing 1st AD Directing   1. Write or obtain an awesome screenplay Without a dazzlingly awesome screenplay you are dead in the water. Beautiful lighting, creative camerawork and smooth editing […] Continue reading →

Panavision struggling to compete with the RED camera

An article in the L.A. Times yesterday described how Panavision is losing business precipitously. There are two reasons for this: production has declined dramatically, and when something does get made, it tends to be shot with a RED camera rather than on celluloid. This is seriously hurting the business of Panavision, which has been supplying […] Continue reading →

Film cannot compete with the RED camera

Before the RED camera was invented the only viable options for high-end movie production were film (celluloid) and high-definition cameras like the F900 or the Viper. The problem was that the footage produced by these “high-end” HD cameras looked very much like video, particularly in its rendition of highlights. Most disappointingly, the motion was too […] Continue reading →