Protected: The Very Strange Language of UK TV Production Other There is no excerpt because this is a protected post.
Why I didn’t Realise I Needed PTZ Cameras, Technology We didn’t realise how much the industry could use PTZ until we saw how cinematic the images had become and how full-size cinematic cameras can seamlessly integrate with semi-autonomous PTZ cameras, which independently pan, tilt and focus with AI-assisted control. In short, PTZ cameras can transform productions, making them suited to more programmes than you might think.
Macro & MikroMak Lenses – all you need to know. Cinematography, Lenses Introduction I am no longer surprised at seeing the sceptical look on cinematographers’ faces when I tell them that a group of macro primes exist which don’t follow the usual … Read more
Sora: AI Revolution or Artistic Regression? Technology Exploring Sora’s Impact on Creativity The big news in the world of AI is that Sora, the much-anticipated generative AI platform, is now open to the public. Promising to revolutionise … Read more
VMI celebrates 3-years of not stocking Polyboards Lighting We all appreciate how horribly unsustainable Polyboards are and their size makes them difficult to dispose of but DPs and gaffers have always liked their versatility. In recent years, several … Read more
Do ‘Netflix Approved’ Cameras Really Matter? Cameras, Technology Netflix has established itself as a benchmark for original streaming content, and with that has come a specific set of requirements for the cameras used to capture its 4K Originals. … Read more
Super Slow Motion – Reinvented We all remember the super slow motion shot of the Great White Shark Attack from Planet Earth’s first episode “From Pole to Pole”, back in 2006. Super slow motion, which … Read more
VMI’s Scalable Portable AC Power Station Technology Without local site power or polluting generators, until now, your options were limited. Either you could use portable battery stations with limited capacity or expensive, heavy systems, (some were so large, that they were built into a trailer). However a new cost-effective modular and scalable option now exists, which uses small, portable battery power stations connected to a hotswap device featuring an auto changeover feature to offer uninterrupted power across multiple batteries to extend their performance.
Is 4K or 6K Enough. Do we even need 8K or more? Cameras, Media, DIT and Streaming This article aims to explore that there are further considerations to make when considering the image size and CODEC, which means more data, more transfer time, more media resource and in post, more render time, ultimately costing production more money. However, there is also a sustainability argument which becomes relevant, since more data also means more energy usage and a greater carbon footprint.
Easyrig – all you need to know Grip This is a short article to explain the principles behind the Easyrig concept and to introduce the product range of models with advice to their suitability for various camera configurations.
Power to the People Cameras, Lighting, Technology You can have the best camera kit in the world but if you can’t power it because your batteries have failed you, then you are really stuck. This article explores the battery standards which exist today and how to make the most out of every type of technology.
Shooting Anamorphic in Full Frame and S-35 Lenses Everyone appreciates the cinematic quality of shooting anamorphic. With the popularity of Full Frame, it made sense for VMI to make more options available for capturing in both anamorphic and Frame. This is a new article to explore these options.
Judgement Day – VMI Publishes Lens Comparison Videos Cinematography, Lenses In a break from tradition demos, VMI invited 40 camera department professionals to come and shoot their own tests across full frame lenses from Cooke, Gecko, Tribe and Sigma on either Sony Venice or ARRI Mini LF. No agendas. No hard selling. Just creative people doing what they do best.
The Creative and Technical Differences between Full Frame and S-35 Cinematography Fully Updated Article, April 2023: To shoot Full-Frame or S-35? Are there really artistic reasons for shooting on FF? What are the advantages and what gear will I need?
Phantom VEO 4K demand scales new heights Super Slow Motion Read how in the 5 years since VMI pioneered stocking the Phantom VEO 4K, it has become the go-to camera for many genres including natural history.
Shooting Large DoF with InfiniProbe lenses Cinematography, Lenses @vmitv New VMI blog post: A considerable effort is given to creating a shallow depth of field (DoF) to create a more cinematographic look, however there are occasions when a large DoF is needed. Here’s how to achieve this.
Vintage Lenses are Still Cool Lenses To reflect that VMI’s wide range of vintage and vintage-look lenses, we have redefined the vintage category on our website to now includes 14 different types of sets of Vintage/Vintage-look … Read more
Is This the End of 8K TVs? Technology 8K TVs are so power-hungry, that they are now about to be banned from the European Union, so does this mean that the quest for higher and higher resolution monitors will now cease? My private 4K TV is in the A+ efficiency category but 8K sets are currently classed as G, so is 8K doomed?
Too much lighting choice? Let’s cut through the confusion Lighting British Prime Minister Harold Macmillan made an optimistic speech in 1957 that “we have never had it so good” and the same can be said of lighting today! With so … Read more
Mid-range cameras don’t mean compromise Cameras At VMI we’ve noticed a recent trend among filmmakers and wondered if you agree? We’ve spotted that a significant number of productions are ‘trading down’ from using traditional top of the range cine-cameras…
VMI’s Latest LED lights to join our fleet Lighting This is a short article to profile the very latest modern low-energy lighting fixtures that we have added to our fleet, most of which will be available to see at our 2022 lighting workshops.
VMI is Infinity’s Prime UK Rental House Lenses VMI has a long-standing relationship with Infinity Photo-Optical who makes the Infiniprobe TS160 probe lenses. Barry Bassett, VMI’s Managing Director, has been recognised as being their ‘Nelsonian Award’ winner back … Read more
VMI replaces all Sachtler Video-18 & 20 Tripods to latest Flowtech Design Grip VMI has replaced its entire fleet of Sachtler Video 20 tripods to the latest Sachtler Video 20S1 heads with the newly designed Sachtler Flowtech 100 legs, since they are faster to setup, are lighter, easier to carry and offer greater stability.
WORKING RESOLUTION: CONSIDERATIONS & BEST PRACTICES Cameras, Media, DIT and Streaming Netflix have published a very useful article, which takes an in depth look at the concept of a working resolution and outlines the best practices for image scaling throughout the production lifecycle…
New generation of Auto Focus lenses now available with E and EF Mounts Lenses Auto Focus is here to stay and whilst this is not a panacea to force all focus-pullers to retrain, the increased adoption of Full Frame (which necessarily makes focussing more critical than S-35 or APSC formats) and the enhanced development of the technology, makes this functionality more useful and as a result, we are noticing an increased interest in it.
What real world Cinematographers think about using Infiniprobe lenses Cinematography, Lenses The Digital Cinema Society presents an exploration of Micro/Macro cinematography with three DPs including Bill Bennett, ASC, James Mathers, and Cameron Cannon. The trio photograph a variety of shots in order to evaluate these exceptional lenses and also share their insights in behind-the-scenes coverage.
Brand New VMEDIA on-line database V2 Media, DIT and Streaming, Technology With so many different recording formats, memory card types, media sizes, compatibility issues and upgrade requirements, it can be a challenge trying to find compatible memory cards or SSDs for your camera or recorder. However, Lewis has been extremely hard at work to make this easier for you with the VMEDIA Online Database V2 which is organised into the most popular brands and sortable by camera model, which gives details on compatibility, data rates and approximate recording times too
Some S-35 zooms already cover FF (you just didn’t know this!) Lenses This is an extremely brief article to help to explain a lesser-known but extremely valuable tip. In summary, film zooms designed to cover S-35 sensors, will also cover Full Frame as well IF used with a 1.5x extender and this is built into several zoom lenses already, such as the Canon Cabrio zooms.
Netflix Approved UHD 4K cameras Cameras, Technology Here is a list of Netflix approved UHD cameras as of November 2020.
Macro and Micro Cinematography Cinematography, Lenses We all love to see images of extreme magnification to show a world which we can’t experience with our own eyes but just like all cinematography, this is hard to do well. The choice right lens for the specific shot is key and this article aims to explain the differences between Close Up, Macro and Micro photography/cinematography and in particular, to introduce the cinematographer to a relatively recent new type of lens, which are called Nelsonian Lenses made by Infinity Photo-Optical and which use microscope techniques to create unique images which are not possible using traditional optics.
Latest Canon EF lenses increase functionality of latest Canon 5D/C300 III/C500II cameras Cameras, Technology Canon’s autofocus technology has continued to improve and the latest dual pixel CMOS AF system is the most sophisticated ever, allowing smooth, high-performance focus tracking and face detection on the Canon C300 Mk II and C500 Mk II cameras.
Beginner’s Guide to Depth of Field Cinematography, Lenses This article is written mainly for those who want to know the very simple concepts which allow camera operators to manipulate the Depth of Field in order to make them look more cinematic.
How to achieve the most from the Canon C500 Mk II Cameras A brief article written by DP Clemens Majunke on how to achieve the most out of the Canon C500 II
An account of a successful Sigma Lens Day held on 13 February 2020 at VMI Lenses VMI held a Sigma lens day on 13 February 2020 in London.
A VMI guide to lens extension tubes and diopters to reduce the minimum focus distance of lenses. Cinematography, Lenses Connecting a lens tube behind the lens will move the lens farther away from the camera’s film plane or digital sensor, which allows the lens to focus much closer than … Read more
VMI evaluation of whether the Canon C500 Mk II is any good? Technology The Canon C500 Mk II may look like a C300 II but it has been completely redesigned and we think that in this configuration it becomes a fully-featured 4K camcorder … Read more
An Ideal Marriage – How to build a kit hire relationship that lasts Other Most GTC members will either regularly or occasionally need to hire items of camera equipment, whether it be a full kit for a long, ongoing shoot, or a one-off lens … Read more
Anamorphic and Full Frame Lens Tests, including a 57 Video Playlist. Lenses Do you ever wonder what a Zeiss Supreme looks like next to a Zeiss Masterprime? or what about a Tokina Vista next to an ARRI Signature prime, or even how … Read more
VMI evaluates the Canon Sumire Primes – the first Canon lenses designed with character Lenses Canon’s latest lens group, the Canon ‘Sumire’ lenses have landed at VMI and 2 sets of 14mm-135mm primes are now complete.
Capturing Wildlife in Super Low-light – all you need to know Cinematography Filmmakers wanting to shoot in extreme low light or even no light conditions have never had it so good. Camera technology had advanced to enable the recording of the most unbelievable images in almost total darkness.
E-Mount Lenses – perfect for the Sony FX9, FS7, AS7 & FS5 Cameras, Lenses Article introducing the native E-Mount lenses
Capturing 2:1 Anamorphic with Alexa LF and S-35 lenses Cameras Capturing 2:1 Anamorphic isn’t quite so straight forward on the Alexa LF and Mini LF, due to the number of photosites on the sensor.
VMI Guide to Film Lenses Lenses Article introducing the differences between film lenses and explaining the terms and factors which distinguish them.
A Filmmaker’s Guide to Sensor Sizes and Lens Formats Cinematography This article aims to help questions such as: – “Will this lens work with my camera?” – “Will this lens cover 8K?” – “Will this lens cover full frame.” – “What will full frame lenses look like on a S-35 sensor.”
Panasonic EVA1 now permits external 5.7K RAW record to external recorders to 30p Cameras The Panasonic EVA1 camera installed with their updated v2.02 firmware enables external 5.7K RAW recording to certain external recorders up to 30p. Presently it works with ATOMOS inferno and will … Read more
Slow Motion – What you REALLY need to know | Phantom VEO 4K | Phantom FLEX 4K Super Slow Motion VMI guide to shooting super slow motion on the Phantom VEO 4K camera.
The difference between the Phantom FLEX 4K and Phantom VEO 4K Super Slow Motion This is an article illustrating the differences between the Phantom FLEX 4K and Phantom VEO 4K and including essential Information about the Vision Research Phantom VEO 4K that you really need to know before your first production.
2016 Film Zoom Lens Comparison Chart Lenses A very useful chart including all current film zoom lenses in a table and compariring useful data including image coverage, front diameter, weight, min T stop etc.Compiled by Tom Fletcher and Gary Adcock and reproduced with kind permission from Tom Fletcher
Wireless Lens Control Systems – all you need to know (updated Sep 19) Technology THIS ARTICLE AIMS TO INTRODUCE THE CURRENT RANGE OF WIRELESS LENS CONTROL SYSTEMS WHICH VMI CONSIDERS THE BEST IN THEIR FIELD AND EXPLAIN WHY WE THINK THAT THEY WORK VERY WELL IN GIVEN SCENARIOS.
Sigma Cine Primes and Zooms – all you need to know Lenses This article seeks to introduce the range of Sigma Cine Primes, Classic Primes and Film Zooms and to explain why we like them as much as we do.
Best Practice for avoiding Data Loss and strategies to fix if you do Media, DIT and Streaming This article gives some useful tips to prevent data loss from happening and to know what to do if you are unlucky enough to experience it.
2019 Camera Comparison Chart Cameras A very useful chart including all current HD and 4K cameras in a table and compariring useful data including image size, latitude, pixel resolution power consumption etc.Compiled by Tom Fletcher and Gary Adcock with information gathered from numerous conversations with various cinematographers, colorists, colleagues and manufacturers. and reproduced with kind permission from Tom Fletcher
2016 Anamorphic Prime Lens Chart Lenses Compiled by Tom Fletcher and Gary Adcock with information gathered from numerous conversations with various cinematographers, colorists, colleagues and manufacturers and reproduced with kind permission from Tom Fletcher. Click on the chart to … Read more
DON’T LEAVE EQUIPMENT IN UNATTENDED VEHICLES – PREVENT THEFT Other Theft from vehicles and sets accounts for more than half of all equipment theft. Here are some guidelines to assist you to reduce this growing problem.
Alexa Mini or Amira – which should I choose? Cameras This is a short article to highlight the differences and similarities between the two cameras in order to assist VMI clients in making sensible and informed choices about which system would be most suitable for a given project.
Achieving More From Your Production Budget Other A guide to answering questions of How to compare rental prices from competing rental companies? What equipment to use? Whether to buy or hire? Or, if buying is considered, then when is the right time to buy?
Ronin & MōVI Gimbals – all you need to know Grip This article explains the benefits and limitations of using these Gimbal systems and provides essential information if you want to use one in production. Revised June 2021. Introduction This is … Read more
Guide: How to Shoot Bullet Time Cinematography A VMI guide with video, courtesy of Stephen Roach and Jermaine Allen of Merchant Cantos showing just how easy it is to create unique ‘Bullet time 360″ videos for the ultimate ‘hero’ selfie.
The Canon C300 Mk II vs C300 – What’s the fuss about? Cameras Article exploring the differences between the Mk I and Mk II C300 camera.
Types of Apple Prores Codecs Media, DIT and Streaming A brief introduction to the various types of Apple ProRes formats with a link to download the full Apple White Paper.
Lighting – a short walk through the minefield of location lighting for Film & TV Lighting This is a short article examining the most popular lighting fixtures and technologies.
VMI tripods are now supplied in HPRC tripod tubes as standard Grip What is the collective term for tripod tubes? We think that it is a pyramid! Back in 2018, VMI elected to replace the soft bags of Sachtler Video 18, … Read more
What it is like to shoot with Uncoated Lenses – Duncan Telford DoP Cinematography, Lenses DoP Duncan Telford shot a Weetabix commercial with Uncoated Cooke Mini S4s and describes in this article what it is like to shoot with uncoated lenses and how this look varies between different types of lenses
2016 revised IATA Guidelines on air transport of Lithium-ion batteries Other, Technology The rules have on air travel with Lithium-ion batteries have become much more restrictive over the past few years and you have to be aware of recent stricter limitations for transporting Lithium-ion batteries. This article has been completely updated with the guidance of IATA in July 2016 to help make you aware of these new rules.
Do we adopt 4K now or wait for 8K? Cinematography A short summary of the big IBC dilemma: adopt 4K now or wait for 8K (AKA UHD-1 or UHD-2).
How Infrared light affects Cinematography Cinematography Infrared cinematography opens up a whole new spectrum of light not visible to the unaided eye. This has the potential to give otherwise ordinary scenes a surreal and dream-like appearance … Read more
UNCOATED lenses – what you need to know Cinematography, Lenses This article seeks to explore the effects that removing the lens coatings can have on an image. ‘uncoated lenses’
Shooting with B4 mount Video lenses on large sensor cameras. Cinematography A short article to explain how to shoot with B4 (traditional HD) lenses on large sensor cameras.
Improve Phantom VEO 4K workflow by using 10Gbit network port Media, DIT and Streaming, Super Slow Motion This is an article about configuring and using the built-in 10Gbit ethernet interface of the Phantom VEO 4K to take advantage of the most efficient and fastest workflows from internal RAM to hard drive, which can be even more efficient than the workflow of the Phantom FLEX 4K.
12 bit RAW capture ARRI, Panasonic, Sony, Canon and other cameras using Odyssey 7Q/7Q+ RAW Recorder Media, DIT and Streaming, Technology This article explains how 12 bit RAW capture of ARRI, Panasonic, Sony, Canon and other cameras is possible using the Odyssey 7Q/7Q+ RAW Recorder.
Shoot the best quality 200fps available using Odyssey 7Q and Sony FS 700/C500 Media, DIT and Streaming The Convergent Odyssey 7Q is a new off board 4K recorder with 8” OLED screen that offers outstanding slow motion capability at very high image quality when used in conjunction … Read more
LENS COVERAGE AND CAMERA COMPARISON TOOL Cinematography, Lenses This is an excellent application written and designed by Sam Measure of CVP. Every day customers ask us a variation on this question: “Will this lens cover that sensor?” … Read more
Shallow DoF for Streaming Media, DIT and Streaming A shallow Depth of Field can reduce the bandwidth requirement of video, which is good for the internet.We wanted to test this theory and this article explores this idea and concludes that you can save around 10% bandwidth by shooting with a large sensor camera compared with a small sensor camera, as the shallow depth of field means that you capture only the bits that you want in fine detail and as background is defocused.
HDR reality and monitoring – a DOP’s Perspective Cinematography THESE ARE SOME EXCERPTS OF A CML THREAD ABOUT HDR AND MONITORING HDR, WHICH I HAVE REPRODUCED WITH PERMISSION FROM GEOFF BOYLE AND ART ADAMS. IT WAS REALLY INTERESTING AND IS ABOUT HDR FROM THE DOP’S PERSPECTIVE.
The Case for and against 4K Cinematography An essay arguing the case for and against 4K, written in 2014.