Discover the tricks of the trade of cinematographer Andrew Rodger as he mixes vintage lenses with digital video cameras ...

Marc Franklin, Franklin Creative Media, Contributing Editor Streaming Media Producer, dives into the details of Canon’s new PTZ camera innovations and cinema lenses with two Canon technical ...

The upcoming Sigma AF Cine Line will launch with two full-frame zoom lenses. The 28-45mm T2 FF and the 28-105mm T3 FF will bring high-performance autofocus to professional cinema production. The ...

In the image below we can see the new camera mounted to the bodywork of a Formula 1 car, with the mystery camera fronted by a Voigtlander Super Wide-Heliar lens and a geared focus mechanism.

With its plethora of built in ports that make attaching an external expansion pack obsolete, Canon looks to merge the cinema and live broadcast worlds with their new C400 6K camera. The lens port has ...

The Canon CN20x50 is a new 4K-friendly cine servo lens which is said to boast the world's longest focal length. Designed for sport and nature TV production, the lens offers a massive native 50 ...

Cinema cameras deliver high-quality footage and provide advanced features not commonly found on the kind of camcorder you’d use to shoot your family reunion. (Unless you’re Stanley Kubrick, perhaps.) ...

According to Blackmagic, the Pocket Cinema Camera 4K is compatible with MFT-mount lenses, which is "extremely flexible and allows for different lens adapters so customers can also use PL, C, EF ...

Camera: Sony Venice. 3D Red for IR sequence, with Baltar lenses. Todd AO Anamorphic Lenses, with some Hawk classic-X. Sigma 14mm Spherical for “Basic Training,” Leica M0.8 for Iraq sequence.

The trick is to learn all you can before you make the leap and be ready when the demand is there. Recently, after a long and assiduous review of camera and lens technologies, we began purchasing 24p ...

Measuring 15.9 in (40 cm) long and weighing just 14.6 lb (6.6 kg), the Cine-Servo offers superzoom flexibility with pro level quality and minimal chromatic aberration on a Super 35mm video camera.

I think that if I give up on a cine camera, I'll just have to keep using the EOS R and probably record in 4K to get the 10-bit C-log. I'll have to commit to an external recorder, which would be ...