2022 was a quiet year for camera technology, thank goodness. The decade plus I’ve been covering camera breakthroughs on this website has been a rocket ride. So much velocity, so little time to stop, catch one’s breath, smell some roses. Ask yourself, who can any longer tell the difference between film and digital origination on the big screen? Be honest. No less than Roger Deakins declared film a dead issue half a dozen years ago. His latest, Sam Mendes’ Empire of Light, shot using Arri Alexa Mini LF (large format) and spherical Arri Signature Primes, is a loving paean to […]
by David Leitner on Dec 31, 2022The sunny subterfuge of Wasp Network, about a knotty web of anti-Castro groups and Cold War residuals, is a relief from the blue skin, suits and shadows of heavy political thrillers. It’s an Olivier Assayas (Irma Vep, Personal Shopper, Non-Fiction) film after all, shot in Cuba, Miami and the blue sky and ocean in between. As on Carlos, Assayas’ go-to DPs Denis Lenoir (Cold Water, Disorder.) and Yorick Le Saux (Personal Shopper, Non-Fiction) shot their own half of Wasp Network. With Carlos, Le Saux started the film and chose the film stock, lenses, etc. On Wasp Network, Lenoir shot the first […]
by A.E. Hunt on Jul 15, 2020Sony has announced two new cameras that will be of interest to filmmakers, though because they are so different it’s entirely possible that you might have heard of one and not the other. Sony VENICE At the high-end, Sony has announced its new flagship camera, the VENICE. Note that Sony does the name in all-caps, though it doesn’t appear to be an acronym. Sony first hinted at this camera back in June. It has a newly developed 36x24mm full-frame sensor and is their first CineAlta digital camera to have a full-frame sensor. It has several other notable features including: 15 […]
by Michael Murie on Sep 11, 2017