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MARUF শুটিংয়ের নতুন নতুন ভিডিও পেতে পেজটা ফলো দিয়ে পাশে থাকুন 🎬👍

We're showcasing ARRI's latest Pro Camera Accessories for the Canon EOS C400 camera just in time for the Cine Gear Expo ...
18/08/2024

We're showcasing ARRI's latest Pro Camera Accessories for the Canon EOS C400 camera just in time for the Cine Gear Expo this year on the Warner Bros lot in Los Angeles. Live from the show, here are some first impressions!

You can check it out at the Canon booth located at Midwest and French Streets — Booth 614

See some more PCA products at our ARRI booth at Stage 24 until 7pm PST tonight, and again tomorrow June 8, from 10am to 5pm PST!

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BTS :“The Boys in the Boat”Dir: George Clooney, DoP: Martin Ruhe Format: Sony Venice 6K 3:2Camera: Sony Venice 1 and Z-C...
17/08/2024

BTS :

“The Boys in the Boat”
Dir: George Clooney, DoP: Martin Ruhe
Format: Sony Venice 6K 3:2
Camera: Sony Venice 1 and Z-Camera
Lenses: ARRI Alfa Anamorphic

“La Chimera”
Dir: Alice Rorhwacher, DoP: Helene Louvart
Format: 35mm, Super 16mm, 16mm
Cameras: ARRI 35 LT, ARRI 416, Super 16mm, Bolex 16 mm
Lenses: ARRI Ultra Primes

“Fingernails”
Dir: Christos Nikou, DoP: Marcéll Rev
Format: 35mm film
Camera: ARRICAM LT
Lenses: Zeiss B-speeds

“Foe”
Dir: Garth Davis, DoP: Mátyás Erdely
Format: ARRIRAW
Camera: ALEXA 65
Lenses: ARRI Rental Prime DNA

“Godland”
Dir: Hlynur Palmason, DoP: Maria von Hausswolff
Format: 35mm, Kodak (50D,250D,500T)
Camera: ARRICAM LT, Arriflex 435, 4 perf, 1.33:1 aspect ratio
Lens: Zeiss Super Speed

17/08/2024

The best quality sound for all your favorites, the BAR 9 Soundbar.

Upgrade your sound today: https://bit.ly/3QlT6Fu

To film the fictional live action scenes of “Meeting with Pol Pot”, director and writer Rithy Panh took cinematographer ...
07/08/2024

To film the fictional live action scenes of “Meeting with Pol Pot”, director and writer Rithy Panh took cinematographer Aymerick Pilarski, AFC on board. Although he’s familiar with Asian sets and languages, it was Aymerick's first shoot in Cambodia, and also his first encounter with ZEISS Super Speed lenses, which are probably older than him.

“We looked at seven sets, between primes and zoom lenses. I was able to watch the blind tests on a big screen: we looked at texture, contrast, bokeh and the dimensional aspect of the portraits. I turned to the ZEISS Super Speeds, which I knew absolutely nothing about. I had no preconceived ideas. I tried from 25mm to 75mm, and that's when I noticed the triangular bokeh. On the test bench, these weren't necessarily the lenses I would have chosen, but it was when I looked at the images on the big screen that I understood.”

Read our interviews with Aymerick and colorist David Haddad on LENSPIRE: https://lenspire.zeiss.com/cine/en/article/meeting-with-pol-pot

06/08/2024

MotoCrane LLC TITAN !
Uncompromised stabilized remote head, built for raw performance at the limits of cinema. From it’s unified 6061-T6 billet aluminum mechanical structure with a class-leading 90lbs payload capacity, to the highest power motors (3000 watts) ever used in a gimbal- every aspect of TITAN represents the bleeding edge of gyro stabilization.

Now available for pre-order. Shipping August.

Learn more at: www.motocrane.com/titan
Marup rana

Blackmagic Design new 8K Camera System !The sensor delivers 8160 x 7200 resolution per eye with pixel level synchronizat...
06/08/2024

Blackmagic Design new 8K Camera System !

The sensor delivers 8160 x 7200 resolution per eye with pixel level synchronization and an incredible 16 stops of dynamic range, so cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file.

Marup rana

For shooting the music video for singer Momoko Iwasaki’s latest song, “Uroko no Sora mo”, experienced commercial film pr...
03/08/2024

For shooting the music video for singer Momoko Iwasaki’s latest song, “Uroko no Sora mo”, experienced commercial film producerKazuaki Koganemaru chose the combination of ZEISS Nano Primes and Sony FX3.

“The look of the ZEISS Nano Primes was perfect for the theme and feeling of this song. We barely touched (graded) the original camera footage, as it was already very clean straight out of the camera, and the rendering was the way we wanted, so we didn’t need any filtration or color/exposure manipulation. I used the 50mm and 75mm the most, as I loved their shallow depth of field, very fine details on the focal points, and gentle roll-off.

You can watch “Uroko no Sora mo” on YouTube: www.youtube.com/watch?v=VUo71B2G2dA

Lyrics, composition and vocals: Momoko Iwasaki
Music produced by Lone Brush_EiiCHi
Producer / camera: Kazuaki Koganemaru
Director / colorist: Takaaki Fujise
Lighting director: Yuta Inada
Hair and makeup: Chihiro Tsutsumi
Designer: design ha kouya
Lighting provided by valo

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