Director Chris Kenneally on Momentum: The Making of 'Side by Side' Documentary #caption1 #caption2 EMMY Award Winner Director Greg Yaitanes on Momentum James Tonkin on Momentum: Shooting Coldplay Music Video Director Jeremy Rall on Momentum Interview: Yiannis Daskalothanasis, GSC

Captured with ALEXA Mini: "The Journey" (A visual poem)


Casey Warren and Danielle Krieger of the Seattle-based content provider MINDCASTLE are the creative team behind ARRI JOURNEY, a visual poem designed to showcase the new ALEXA Mini by using it in a variety of demanding and adventurous shooting situations. Also available is a behind-the-scenes video at how a range of different camera configurations and mounting solutions were used by MINDCASTLE.


The Journey shot on ARRI ALEXA MINI

Visit: ALEXA Mini microsite

First-Ever Phantom Flex 4K Drone Footage


Brain Farm paired a Phantom Flex4K with an Aerigon UAV to shoot the world's first Ultra High Definition, 4K aerial drone footage. The combination is a cinematic game changer.

What does 1000 frames per second at 4K resolution translate to? Stunningly high-quality slow motion footage. Until now the images captured by the Phantom Flex 4K have been limited by the camera's weight. Simply put: It's too heavy for most drones to carry.

Brain Farm, the production company that raised the cinematography bar in action sports filmmaking with the landmark movies, That's It, That's All, The Art of Flight and the soon-to-be-released We Are Blood, partnered with drone manufacturer Intuitive Aerial to develop a cinema-focused UAV system capable of carrying the camera.

The result is what you see here: The world's first aerial footage shot from a UAV with a Phantom Flex4k. The world of options this technological combination will open up is about to break the ceiling of possibility in digital cinematic storytelling.

First-Ever Phantom Flex 4K Drone Footage

Visit: Brain Farm

ARRI Announces New Master Anamorphic Flare Sets


18th Feb. 2015, Munich – The new ARRI Master Anamorphic Flare Sets are highly versatile and economical accessories for the ARRI/ZEISS Master Anamorphic lens series. Each of the seven Master Anamorphic focal lengths has its own specific flare set, comprising easily replaceable front and rear glass elements that can be used individually or in combination to provide the lens with three additional looks for enriched on-set creativity.

Since their introduction in 2013, the Master Anamorphic lenses have established themselves as the most advanced anamorphic optics ever designed for the film and television industry. Offering a perfect combination of compact form factor, minimal weight, distortion-free optical performance and an unparalleled high speed of T1.9 across the entire focal length range, they are as fast and easy to use as spherical cine lenses and represent a major step forward in anamorphic cinematography.

For most shooting situations, cinematographers and also VFX supervisors appreciate how effectively the Master Anamorphic optical design and coating technology suppress flares and reflections. Under certain circumstances, however, flares might be exactly what a cinematographer wants in order to heighten the emotional impact of a shot, sequence or project by introducing a level of technical ‘imperfection.’ It is for these situations that the Master Anamorphic Flare Sets have been designed.

The front and rear glass elements that come with each flare set have a special lens coating that encourages flaring, ghosting and veiling glare. These image effects create a visual style that is consistent across all of the flare sets and can be controlled or tweaked via the iris setting, as well as the positioning of lighting fixtures. The front element can be used on its own, as can the rear, or they can be used in combination; each permutation provides a distinct look without sacrificing the resolution, lack of distortion or corner-to-corner optical performance for which the Master Anamorphics are famous.

By using the new ARRI Master Anamorphic Toolkit (purchased separately but compatible with all seven flare sets), the front and rear glass elements can be exchanged with the regular Master Anamorphic elements in a matter of minutes, since each flare element is pre-aligned in a metal frame. Whether for a feature film, TV show, music video or commercial, the Master Anamorphic Flare Sets give rental facilities a quick and cost-effective way of offering anamorphic productions greater on-set creativity. A set of Master Anamorphics effectively becomes four different sets, each suitable for different flaring requirements while maintaining the huge advantage of an image more free from distortions such as curved horizons, focus breathing and ‘mumps’ and ‘pincushion’ effects than any other anamorphic lenses on the market.

ARRI Master Anamorphic Flare Sets

Visit: ARRI Master Anamorphic Flare Sets