The ZERO follow focus lens gear ring by Broken Anchor Design overcomes all of the problems other lens rings have: it centers itself, is seamless, fits many lenses, and attaches in seconds. No other lens gear ring can do this, which is why we’re so excited to see that Broken Anchor Design has finally made it happen.
Education & Technology
Tutorials and tips for filmmakers as well as reviews and suggestions for camera gear.
Bicolor LED lights sound like a great idea. However does mixing dissimilar lights result in high quality color across the entire range of color temperatures? Or will the entire range of light be sub-par from the manufacturer compromising the LED diode in order to make the two emitters mix?
We extensively tested a bicolor LED from a very well respected LED manufacturer to better understand the issues. We measured the CRI (Ra), CRI (Re), TLCI, CQS, TM-30-15, and color temperature to determine how the color quality stacked up across all levels of brightness (dimming) for the entire color temperature range.
The results are very … illuminating!
To get the most of our LED database of 165 LED lights, we explain how to read the color spectra and understand CRI (Ra), CRI (Re), TLCI, CQS, and TM-30-15.
Aputure has done it again with two amazing lights: the tungsten balanced 1.5kW point source Light Storm COB 120t and the daylight balanced “camera mounted LED” Amaran M9. Both have VERY high CRI (Ra)/ CRI (Re) / TLCI / CQS / TM30-15 results, with some of the best R9 (saturated red) values of 160 different LEDs that we’ve tested.
While some new camera operators may think a follow focus is an unnecessary gadget, they truly are a crucial part of nearly every camera set-ups. Not only do follow focuses make focusing the lens a million times easier and more ergonomic, but it allows you to accurately mark different focus distances.
During the past decade digital cinema cameras seem to be more abundant than film cameras. However, now that we have easy access to digital cameras with these amazing specs, a new problem has (ironically) emerged: the images are actually too good. They are too clean. “Why is this a problem?” you may ask. Well, let me explain.
Last week I covered how a light meter is still necessary in our digital age. This week it’s time to learn how to use the light meter. In this video I cover the incident meter and the spot meter, and when to use them. Then it’s demonstration time, using the meter in different ways to properly expose a scene. Finally, I give you some tips and tricks on how to quickly determine the lighting ratios and range of your scene, along with a few more.
As digital cinema cameras become the norm on set, people often ask, “Do cinematographers really need a light meter? Isn’t digital imagery simply ‘What You See Is What You Get?’” In this post I discuss how incredibly valuable a light meter is in speeding up your shoot, helping you communicate effectively with your gaffer, and increasing your abilities as a filmmaker.
Did you know that your old color meter no longer works with today’s LED lights? In this video, Ryan shows you why and what to do about it.
Did you know that LEDs lights may actually be ruining the look of your productions? And no, this problem can’t be fixed in the grade. We put seven different brands of LEDs lights to the test, capturing with a Red Epic Dragon camera. Then we discuss the results and how they’re going to affect the creative choices that you make on set.
Is it possible to have a lightweight, high quality, reasonably priced matte box that works on a number of camera rigs? In this review we take a close look at the Bright Tangerine Misfit Matte Box to see if it delivers.