A basic guide on filters all DPs should know
A quick guide as to how the SIGMA fp L can act as your ideal full-frame digital Director’s Viewfinder.
With the power of the SIGMA Cine Classics, Elle Schneider was able to invoke the atmosphere of a a period show optically.
From pre-production and deciding what lenses will be used, to post-production and working with a colorist, color is extremely important in both its ability to be an element that is bold enough call and demand the eye’s attention, like a striking red balloon that wafts throughout a city, enticing a young child to endlessly pursue it, and also stir something within us, through a means that is more subtle and can only be felt in our bodies, like the way a quiet moment during dawn, instantly offers us peace and space for reflection.
Natural light cinematography carries its own variety of risks and rewards. You must work with or against the sun, a light source unlike any other, and techniques and experience you have developed in the safe confines of the studio must be relearned in an unforgiving and ever changing environment.
To put it bluntly, gimbals are amazing devices. With very little experience and relatively low cost, you can achieve smooth camera movement that would previously have taken a trained Steadicam operator with tens of thousands of dollars worth of gear.…
Chuck France provides a step by step guide on how to record Braw with the Sigma fp and import the footage to Blackmagic’s Davinci Resolve.
Cinematographer Sandra-Valde dives into the SIGMA fp’s capability to handle noise, color, contrast, skin tones, shutter speeds, frame rates, and more.
1st AC protocols for using and handling lenses in a professional environment. Whether you’re new to set or want to brief new hires on 1st AC tips.