Let’s face it. Buying a set of professional cinema lenses is a hefty investment. You can easily spend five-digit figures and even in the six-digit figures for the very high end lenses from the likes of ARRI, Cooke, and Leica.
Of course, the more budget-friendly alternative would be still photography lenses. Whether it is a Canon 70-200mm f/2.8 or a classic Zeiss 50mm, there are many reasons why people opt to use still lenses for filming.
Hi guys! So about 10 months ago our team decided to review some cameras that we had recently acquired and wanted to see how well each of them performed in dynamic range, low light, and slow motion. We wanted to see the strengths of each camera and how we can effectively use our gear to our advantage. One thing we really believe in is understanding our equipment so well that we wouldn’t be hindered by the limitations of what we have (or don’t have). We also wanted to share everything we’ve learned, hence the inspiration of our gear reviews. It was just so much fun for our team and collaborators to get together and just talk geek! We loved it so much that we continued to create videos of gear that we WANTED to learn more about, and today we want to take a moment to thank you from the bottom of our hearts for inspiring us to share everything we’ve learned and starting awesome discussions with us. Thank you for all the support and comments.
Rhiann and Cheetah are two very talented hand-to-hand aerialists that fell in love one day at Santa Monica beach. They are now a world famous wedding couple featured on Good Morning America!
Earlier this year, we invited them to be the subjects of our Atomos Shogun + A7s + Steadicam shoot. The footage was featured on screens all around the NAB 2015 Show floor.
So we’ve been great friends with Technicolor since summer of last year. They’ve made leaps and bounds with helping indie filmmakers grab ahold of the power of 100+ years of experience and technology for their color grading projects.
They helped us bring together the first public releases of Technicolor projects with our Asian EDM Concert Promo and our wedding company’s Wedding Reel. These were both in Premiere Pro CS6, which we jumped ship to when Apple went to Final Cut Pro X – which was missing a lot of features we needed at time of launch.
We’ve been keeping an eye on Apple and it looks like they have definitely added more pro features, but we remained pretty hesitant about using their workflow. But now with Technicolor adding support for the controversial editing software, FCPX deserves a second look.
Whether we love it or hate it will largely depend on us taking it for a test spin on one of our current projects. We’ll report back with our thoughts 🙂
-MS
We have been talking about it for a long while. We thought it was a pipe dream. But now it’s real. We have a space to call our own. Our home away from home. A place to collaborate with fellow filmmakers, photographers and all artists!
Here is a sneak peek of the promo series for one of the biggest electronic dance music events in Asia, now featured on the Technicolor Cinestyle website.
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