Search Results for: angenieux

Resource Productions: Breaking down the glass door

Resource Productions: Breaking down the glass door  The film and TV industry is a Catch-22 for many aspiring filmmakers. How can you attract the attention of producers, commissioners and agents … Read more

Behind the scenes – Mark Ronson: From the Heart

The hour-long BBC/YouTube Originals co-production documentary Mark Ronson: From the Heart was released at the end of 2019. The film delves into the mind of one of the most acclaimed … Read more

Proper diagnosis saves The Good Karma Hospital from location drama

Hit ITV medical drama The Good Karma Hospital required a top to toe check-up of its own to keep camera equipment operational in the heat and dust of a location … Read more

Friday Night Dinner for Celere primes

The latest series of long running Channel 4 comedy Friday Night Dinner for Big Talk productions was filmed by DoP Matt Wicks using Celere primes. Each series has been distinguished … Read more

Va Va VMI, shot EPIC!

The driver, a normal member of the public, arrives at the dealership to test the new Renault Clio. As the car approaches a T-junction, the salesman presses the Va Va Voom … Read more

Make way for the film crew (as long as it uses Alexa!) – Primark

“The fashion shoot used to be for the stills guys. If there was a video crew, they’d be up second and have to fit around the photographers.” Bemoans producer, Andy … Read more

The Job Lot, ITV1. Arri Alexa

VMI supplied equipment for Big Talk’s series The Job Lot for ITV1, a 6 x 30 minute situation comedy from Big Talk Productions for ITV; about life, love and long-term unemployment. … Read more

Some Girls 2, BBC3, Arri Alexa

VMI have supplied equipment on Hat Trick’s second series of “Some Girls” for BBC3.  Shot in London over 6 weeks by Greg Duffield, DOP, the series was shot using a … Read more

Poirot Series 13, ITV. Arri Alexa

VMI supplied a double Alexa Package with Cooke S4i Primes and Optimo zooms for the 13th and last series of Poirot staring David Suchet for ITV’s flagship Period Drama. VMI … Read more

Shooting Anamorphic in Full Frame and S-35

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.

The Creative and Technical Differences between Full Frame and S-35

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?

Mid-range cameras don’t mean compromise

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…

Some S-35 zooms already cover FF (you just didn’t know this!)

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.

Anamorphic and Full Frame Lens Tests, including a 57 Video Playlist.

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 Guide to Film Lenses

Article introducing the differences between film lenses and explaining the terms and factors which distinguish them.

Wireless Lens Control Systems – all you need to know (updated Sep 19)

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

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.

Ronin & MōVI Gimbals – all you need to know

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

Shooting with B4 mount Video lenses on large sensor cameras.

A short article to explain how to shoot with B4 (traditional HD) lenses on large sensor cameras.

Shallow DoF for 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.