Podcast appearances and mentions of alexa mini

This is our interview with Canadian Director of Photography Jessica Lee Gagné, the visionary behind the striking visuals of Severance, the Apple TV+ original series. In Season 2, she makes her directorial debut with Episode 7, entitled Chikhai Bardo, and we dive into the intricacies of her work—exploring the meticulous attention to detail that shapes the dual worlds of Severance, from the sterile halls of Lumon to the eerie town of Kier. We also geek out over her favourite lenses and techniques, and she shares what she set out to express about herself through her directorial debut.Season 2 of Severance is now streaming on Apple TV+! Don't miss Episode 7, premiering February 28. Check out Geekcentric onYouTube | Instagram | Twitter | TikTokJoin the Geekcentric Discord HERE

On this episode, we had the pleasure of chatting with the talented Filippo Cinotti, a cinematographer and colorist who shared his journey from sound engineer to DP and colorist. Listen in as Filippo tells us about his passion for filmmaking, experimenting with DV cams and DSLRs, and how the purchase of a FreeFly Movi stabilizer transformed his career. We also explored how he started crafting images with DaVinci Resolve and the moment he decided to call himself a DP. So grab your mug and join us for this incredible conversation!During our discussion, Filippo shared his experience of navigating specialization in the film industry, and the pressures that come with deciding to focus on one area of expertise. From working on smaller projects to bigger, more intense ones, we dove into the different scenarios Filippo has faced in his career and how his decision to focus on either being a DP or colorist is gradually developing over time. We also had the chance to learn about Filippo's company, Plasma, and the direction they are taking it. Plasma is a representation of Filippo's passion for filmmaking, color grading, and the world of video games. We explored the creative process behind the brand's identity and avatar, Cooper, which is inspired by Filippo's personal experiences and the 'Half-Life 2' video game. Join us as we discuss the various projects they are working on and their mission to 'deliver the future'.Between the recording of this episode and its release, Plasma HQ was entirely destroyed due to a massive flood. If you are able, please support Filippo and team using the GoFundMe below. Links from the episode:  Freefly MoviGuest Links: Plasma GoFundMe (https://gofund.me/fac8debd)Plasma (plasma.film)Filippo Cinotti on Instagram Plasma Republic on InstagramLike the show? Leave a review! This episode is brought to you by PixelTools, Modern Color Grading Tools for Professional ColoristsFollow Us on Social: Instagram @colorandcoffeepodcast YouTube @ColorandCoffee Produced by Bowdacious Media LLC

Tomer works as a camera operator and assistant camera in LA. He's known to be the family historian throughout his life and has continued that calling as a documentarian. One of his recent short films, Grandma Sings Arirang (2023), just featured at the LA Asian Film Festival. He's got a great mind in storytelling and puts his heart into all the work he's a part of.  Oh, by the way, he owns an ARRI Alexa Mini, so he's got the talent and the gear to back him up. Instagram: @tomer.keysar Website: tomerkeysar.com

「ARRI、ALEXA Mini LFのソフトウェアアップグレードパッケージ「SUP 7.1.1」発表」　ARRIは、ラージセンサー搭載デジタルシネマカメラ「ALEXA Mini LF」の新しいソフトウエアアップグレードパッケージ「SUP 7.1.1」を発表した。

Cinematographer Haris Zambarloukos enjoys using filmmaking to study the human condition. As a Greek who grew up in Cyprus, Haris was immersed in the history of Greek tragedy from a young age. He went to art school and studied painting, but found he was more interested in the visual storytelling that filmmaking can do. Haris' background in portraiture painting carries over into his cinematography today- he favors using closeups in his work, because he finds that the human face is the landscape of our emotions. Haris' current film, Belfast, is his eighth collaboration with director Kenneth Branagh. It's a deeply personal story about Branagh's childhood experience growing up in Northern Ireland during the civil war between the Catholics and Protestants known as The Troubles. Haris and Branagh chose to shoot the movie almost entirely in black-and-white. The two both love the format, and Haris felt using black and white provided less distraction from the character's emotions than using color would. They also decided to use extremely limited additional lighting in the movie, relying heavily on natural light in most scenes. Every scene was thought out with depth of field and depth of action, and not just shot for coverage. For the 2013 film Locke starring Tom Hardy, Haris' friend, cinematographer Chris Menges, had tested the new Alexa Mini and found that it was possible to shoot with just available light in small spaces. This gave director/writer Steven Knight the idea to write a script that takes place entirely in a car, with only one character, and he asked Haris to be his director of photography. Haris had just wrapped Jack Ryan:Shadow Recruit and was about to shoot Cinderella, so Locke seemed like an interesting challenge to take on. Knight had planned for only a 9 day shoot, with the entire script shot beginning to end each night for three nights. The additional actors, never seen on camera, all phoned in their vocal performances live during the shoot. Capturing the intimate and emotional performances in Locke gave Haris a deep satisfaction about his decision to become a filmmaker. Find Haris Zambarloukos: https://www.zambarloukos.com/ Instagram: @zambagram WIN an autographed copy of Directing Actors, 25th Anniversary Edition! Follow us on Instagram (if you don't already!) @thecinepod and comment on our Judith Weston post! Find out even more about this episode, with extensive show notes and links: http://camnoir.com//ep162/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by Arri: https://www.arrirental.com/en The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Cinematographer Quyen Tran, ASC enjoys telling stories that are compelling and have impact and meaning. Q's previous work on the show Unbelievable led showrunner Molly Smith Metzler and executive producer John Wells to ask her to shoot Maid, a limited series for Netflix. Maid deals with the complex issues of poverty, domestic abuse, the working poor, addiction, single parenthood and mental health. With amazing performances by Margaret Qualley, Andi McDowell and young actor Rylea Nevaeh Whittet, the series handles all of these heavy and heartbreaking issues with sensitivity, peppered with moments of levity and joy. For Q, shooting Maid was incredible, and incredibly challenging. It was her first job during the pandemic, beginning in August of 2020, and the crew had to quarantine for two weeks in Victoria, British Columbia, wear masks, get frequent COVID tests and follow strict COVID protocols. Quyen thought she would only do the pre-production and shoot the pilot because she didn't want to leave her family for very long. Quyen shot extensive tests for the look of Maid. She knew it would be primarily handheld, which creates intimacy and forces a personal perspective on the viewer. Q decided she wanted to use the Alexa Mini and Panaspeed lenses because of the vintage, soft look, and they allow for close camera to subject distance. As part of the pre-production process, Q created a look book for the whole series that the other DPs could pick up and reference. After shooting the pilot, Q returned to Los Angeles. Then, right after the holidays, director/executive producer John Wells asked Quyen to come back and direct episode eight of Maid. Although Q had a little bit of experience directing, it was very scary for her to even think about directing in a narrative format. She never went into filmmaking to become a director, and never had the desire to be one. But she knew she could do it because she was so familiar with the characters and the story. As both DP and operator on the show, Q already had a rapport with the actors, but now as a director, it was about discussing the motivation of why their characters were doing certain actions. She also had to keep three year old actor Rylea Whittet engaged with the action. As Maddy, single mom Alex's daughter, Rylea is in nearly every scene and Q often entertained her with piggyback rides and games. For her directorial episode, Quyen camera prepped everything and storyboarded the entire episode. One of the most visually interesting and challenging elements in the episode Q directed is the couch that literally pulls Alex in and swallows her. Q and the production designer worked together for about three weeks to create the couch that Alex could sink right into and disappear. During the pandemic and in their down time, Quyen and her friend and fellow DP, Jeanne Tyson, found a passion for making sourdough bread. They started Doughrectors of Photography and in exchange for a donation to the LA Food Bank or other charity, patrons receive bread, cookies or other goodies. You can check out Doughrectors of Photography and find out how you can donate and get some delicious baked goods on Instagram at @doughrectorsofphotography Find Quyen Tran: https://www.qtranfilms.com/ Instagram: @qgar You can see Maid on Netflix Find out even more about this episode, with extensive show notes and links: http://camnoir.com//ep155/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/ Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8 Sponsored by DZOFilm: https://www.dzofilm.com/ The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

As the FX9 doesn't have a dedicated Anamorphic mode or even a Open Gate 6:5 mode like other cameras, how much do you need to crop in to remove vignetting? Is it better to use the S35 mode or 6K Full Frame mode when using 2X anamorphic lenses? Well lucky for you i've shot two projects using 2X anamorphic with the FX9 and the short answer is "It does work with limitations". The FX9's sensor is actually really large 35.7 x 18.8 mm compared to the Alexa Mini that has a Open Gate mode using it's full sensor of 28.25 x 18.17 mm. Using the FX9 in 6K FF mode you have a lot of room in post when using 2X anamorphic to maintain image fidelity, but not every anamorphic setup is going to work which I explain in this podcast episode. If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends! www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee 

Imagine having only six weeks to prep for an entire movie trilogy, each one having its own distinct look. That was exactly the reality for cinematographer Caleb Heymann with Netflix's Fear Street trilogy. Caleb and Go Creative Show host, Ben Consoli, discuss relying on candles and sunlight for the 1666 movie, creating that incredible bread machine kill scene, how to deal with the challenges of neon colored lighting, and more! Subscribe Now! What you will learn in this episode Having only 6 weeks to prep 3 films (01:01) Adapting quickly as a cinematographer (08:43) Relying on candles and sunlight for 1666 (11:00) Using filtration with the Alexa Mini for 1666 (17:17) Filming 1666 without practical lights (22:35) 1994's horror movie inspiration (28:38) Creating the bread machine kill scene (35:20) Challenges of using neon lighting on set (42:24) Characteristics you get with vintage lenses (49:50) HALLOWEEN style visual approach for 1978 (53:45) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links FEAR STREET PART 1: 1994 on Netflix FEAR STREET PART 2: 1978 on Netflix FEAR STREET PART 3: 1666 on Netflix FEAR STREET trilogy trailer Petzval lens Titan Tube | Film Lighting Tube, Softlight, Cinema Effect light | photo light Follow Our Guest Caleb Heymann's Instagram Caleb Heymann's IMDb Caleb Heymann's website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

EPISODIO #21 _______ En este episodio se ha pasado por el estudio mi amigo Jesús Carabias, que es un filmmaker y director de cortos con varios premios y festivales a sus espaldas. Como no puede ser de otra manera en nuestro podcast, hablamos de muchos temas, pero sobre todo hacemos hincapié en algunos muy concretos. Hablamos de cine y su lenguaje. Es necesario estudiar cine a estas alturas de siglo? El videoclip que Jordi Extremera mezcla Alexa Mini y Panasonic GH5 es este: Lagrimas de Sangre “Vértigo” https://www.jordiextremera.com/portfolio-item/lds-vertigo/ Y el videoclip que hizo con su ídolo de la adolescencia hace poco es este: Mistah Godeh, Daddy Mory, Fyahbwoy y Skarra Mucci “El Don Remix” https://www.jordiextremera.com/portfolio-item/mistah-godeh-el-don-remix/ Algunos de los cortos de Jesús Carabias son estos: El vuelo de Lena: https://vimeo.com/256758111 Última llamada: https://vimeo.com/245850738 De Ki: https://vimeo.com/302604846 Trailer: La Virgen pálida: https://www.youtube.com/watch?v=XZozUXzBpbU DaVinci Resolve ha tenido una nueva actualización brutal, en la que entre otras cosas incorpora las mejoras para los chips M1 de Apple. Promete incluso velocidades 3 veces mayores, será cierto? En el canal de Jesús que se llama CINEMEDIA, profundizan sobre la GH6, el futuro de FCP y el mundo del filmmaking. https://cutt.ly/NWWIg6v Consolas para edición de video. Son necesarias?, merece la pena pagar por ellas? Hablamos de algunos modelos en concreto, y las comparamos, pero sobre todo nos centraremos en el modelo de LoupeDeck CT+: https://cutt.ly/3WWUOTN Tangent Ripple Panel: https://cutt.ly/bWWUDRs Elgato Stream Deck: https://cutt.ly/oWWUG6p DaVinci Resolve Mini Panel: https://cutt.ly/9WWUJGs _______ Si os ha gustado este episodio y queréis ayudarnos, que sepáis que dándonos 5 estrellas, comentando o compartiendo este podcast nos ayudáis enormemente. No olvidéis suscribiros en la plataforma que mas uséis como Apple Podcast, iVoox, Spotify o Anchor (estamos en las principales), para enteraros antes que nadie cuando sacamos un episodio nuevo. Si queréis contactar con nosotros estamos en Facebook, o mandando un mail a elcortefinalpodcast@gmail.com. El Corte Final es un podcast creado por: Jordi Extremera: Instagram @daddymaza Twitter @daddymaza Web: www.jordiextremera.com Mail: info@jordiextremera.com

In this episode we chat with the incredible Colette Gabriel. Take a listen as Colette shares her journey thus far in her film career behind the camera. Learn tips and tricks for renting out the best gear you can for your project from this expert at  Keslow Camera. Colette Gabriel has been an active member of the filmmaking community for nearly 20 years.  Her focus has always been on cameras, from working on set as a film loader in Hollywood to running Keslow Camera Chicago.  She also volunteers her time as a board director of Filmscape Chicago, the midwest's only trade show dedicated to providing free education and resources to the film and television community.Additionally, we chat about Filmscape Chicago a wonderful event that will be taking place in Chicago (in person & virtually!!) Aug 28 & 29th in Chicago. Be sure to check it out to learn more about the latest & greatest film gear out there while connecting with like-minded professionals in the film industry. You don't want to miss it! Host: Layne Marie Williams Show Sponsor: Filmscape Chicago Every year we focus on bringing education and manufacturers to Chicago/the Midwest through our eventDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Graphics/Logo: Brynne WasselMusic By: Devin Delaney & Noisefloor LTD

JUNGLE CRUISE is a modern adventure film with cinematography inspired by old-school classics! Cinematographer Flavio Labiano shares his experience working with Emily Blunt and The Rock and shooting most of the film in a giant water-tank in an Atlanta parking lot. Flavio and Go Creative Show host, Ben Consoli, discuss the challenges of filming the boat scenes, the role of 2nd unit cinematography, importance of color in cinematography, and more! Subscribe Now! What you will learn in this episode What it's like working with A-list actors (01:04) Why the boat scenes were so challenging (03:29) Importance of color in cinematography (07:02) Why the Jungle Cruise ride was not a big inspiration (11:06) The movie's inspiration from 1970s movies (13:47) The role of 2nd unit cinematography (16:08) Deconstructing the “coming out” scene (19:02) Challenges of shooting in an exterior water tank (22:57) Creating the vintage camera scenes (34:11) How to create engaging action sequences (35:57) Shooting with Alexa Mini and Panavision lenses (40:52) Flavio's early film career (44:10) Lack of passion in some filmmakers (49:14) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links JUNGLE CRUISE IMDb JUNGLE CRUISE on Disney+ JUNGLE CRUISE trailer Follow Our Guest Flavio Martinez Labiano's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Hola a todos, esta es la segunda parte de nuestra serie de la Arri Alexa Mini,  y en este episodio cubriremos todos los menús, los layouts y la configuración.Si te perdiste la primera parte, escucha el episodio pasado, en donde cubro todas las características externas de la cámara y el multiviewfinder 1.Primero, les hablaré del diseño de los menús y las funciones principales que usaremos cuando estemos filmando, luego profundizaremos un poco más en los menús adicionales y les diré cómo configurarla.Enlace al simulador que Arri

ENTERTAINING SHORT FILMS is a new category on the RPA Network, which features indie short films for your enjoyment! We applaud these creators!   A sheriff comes under fire when two S.B.I. agents question his involvement in an unsolved murder case that shares distinct similarities with a recent homicide.   Best Short Film Beaufort International Film Festival 2020. Featured Weekly Pick Film Shortage. Official Selection Cucalorus Film Festival 2019. ​Website: https://www.bennettpellington.com/​ ​Go DW Productions In Association with Lighthouse Films.   Credits: Written, Produced and Directed by: Bennett Pellington. Executive Producer: Bobby Siegworth. Director of Photography: Eli Wallace-Johansson. Production Designer: Tripp Allen. Edited by: Jesse Andrus and Bennett Pellington.   Starring: Henry Bazemore, Jr. - SHERIFF JEFFERIES Anthony Reynolds - AGENT WYTHE Myke Holmes - AGENT HOLDEN Eli Walker - YOUNG OFFICER JEFFERIES Julie Ivey - ROSEANNE BARNES Fidias Reyes - VIVICA   Shot on the Alexa EV in 2014 and the Alexa Mini in 2017. Lensed with Arri Ultra Primes, Cooke S4 and Hollywood Black Magic filtration for the night exteriors.

En el WIU! de hoy, analizaremos el exterior de la ARRI ALEXA MINI y el Multi Viewfinder 1!Siendo el "estándar de oro" para la industria, la familia de cámaras Alexa ha mantenido nuestro interés por el resultado final en la pantalla grande y en los canales de streaming.Support this show http://supporter.acast.com/wrapitup. See acast.com/privacy for privacy and opt-out information. Con tu apoyo podemos llegar a más oídos https://plus.acast.com/s/wrapitup.

The cinematographer discusses “going up the river” for Spike Lee’s striking Vietnam War epic, creatively employing multiple formats for image capture.

Discover the challenges of filming a comic series based in a dramatic reality with HBO's Watchmen cinematographer, Xavier Grobet ASC. Xavier and Go Creative Show host, Ben Consoli, discuss overcoming the visual challenges of Watchmen, the difficulties of lighting and filming masked characters, the unique camera rig used for Looking Glass' reflective shield, advice for new cinematographers, and more! Subscribe Now! What you will learn in this episode Visual challenges of shooting a comic series based in reality (02:30) Xavier’s prep process for Watchmen (16:16) Shooting on the Alexa Mini with various lenses (23:52) Discussing Watchmen's various looks (25:27) Approach to lighting for Watchmen (29:38) Challenges of filming masked characters (31:42) The camera rig used for Looking Glass’ mask (36:13) Collaborating with the VFX team (39:08) Xavier’s approach to blocking scenes (42:24) Beginning a film career in Mexico (46:51) Advice for new cinematographers (48:18) And more! Go Creative Show is supported by: MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Watchmen IMDb Watchmen on HBO Follow Our Guest Xavier Grobet’s Website Xavier Grobet’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Matt Russell Gain Structure Sound Twitter

Exploring new a genre with Armando Iannucci's satirical ensemble sci-fi comedy set in space.

Exploring new a genre with Armando Iannucci's satirical ensemble sci-fi comedy set in space.

THE IRISHMAN - Rodrigo Prieto - RED Helium, Alexa Mini (witness cameras). Cooke PanchrosJOKER - Lawrence Sher - Alexa 65, LF, and Mini. Hasselbland Prime NDATHE LIGHTHOUSE - Jarin Blaschke - Panaflex Millennium XL2, Bausch & Lomb Baltar and Petzval Lenses1917 - Roger Deakins - Arri Alexa Mini LF, Arri Signature Prime LensesONCE UPON A TIME...IN HOLLYWOOD - Robert Richardson - Arriflex 435, Panavision Panaflex Millennium XL2, Normal Speed MKII, Ultra Speed MKII, Cooke Varotal and Angenieux Lenses

The age of the Mini LF is upon us and in this podcast we take our first look at the Mini LF in action with anamorphics. It is a bit of a workaround at the moment to get everything to play nicely together on set but I was really pleased with the results even if I […] The post The Wandering DP Podcast: Episode #202: Shooting Anamorphic on the Alexa Mini LF appeared first on Cinematography Podcast & Tutorials.

Sean Stiegemeier is a Cinematographer based in Los Angeles CA. He has shot films and commercials around the world and worked with many formats of film and digital cameras. Owner of an Alexa Mini, Movi Pro, Inspire2 with X7 camera and Zeiss Ultra Primes. He has an agility and balance rating of ninety nine with a strong passion for storytelling and collaboration.

Marina watches the Cats video for the first time, Sam gets freaked out by the Amazon Alexa responding every time he talks about the Alexa Mini, and Zach Sings us a chilling song.

ARRI's Sean Dooley takes us deep into the workings of the newly announced Alexa Mini LF and what to expect from the camera that so many cinematographers have been waiting for.

The cinematographer details her visual approach to shooting the pilot for this Marvel superhero series, reteaming with director Gina Prince-Bythewood.

The cinematographer details her visual approach to shooting the pilot for this Marvel superhero series, reteaming with director Gina Prince-Bythewood.

The cinematographer discusses his work in this comedic drama, written by Diablo Cody and directed by Jason Reitman.

The cinematographer discusses his work in this comedic drama, written by Diablo Cody and directed by Jason Reitman.

In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder weigh in on how "independent film" should be defined, and share results of our big shootout between the Alexa Mini and Epic-W Helium. We also discuss how the inaugural American Independent Film Awards are helping to redefine awards season, how indie cinemas are banding together nationwide for a cause, a surprising way to increase your film’s profitability, and SAG-AFTRA’s wading into political waters. Tech writer Charles Haine joins us for gear news, including our epic (and contentious) shootout between recent two popular cameras, and a new lens from Fujinon that marks the company’s venture into the world of indie film. In Ask No Film School, we advise on why your videos look so different on YouTube than in your editing system, and how to compensate. As always, we also bring you upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films.You can see all the links from this show in this week’s podcast post at nofilmschool.com

Danielle Krieger and Casey Warren are the minds behind Mindcastle. Throughout the years, their thoughtful approach to visual storytelling has turned heads and lead to collaborations with some of the world's greatest brands. We had a chat with the duo about their approach, getting their hands on the Alexa Mini and finding the uniqueness of each project. Read the Blog here: https://www.movidiam.com/blog/525

Danielle Krieger and Casey Warren are the minds behind Mindcastle. Throughout the years, their thoughtful approach to visual storytelling has turned heads and lead to collaborations with some of the world's greatest brands. We had a chat with the duo about their approach, getting their hands on the Alexa Mini and finding the uniqueness of each project. Read the Blog here: https://www.movidiam.com/blog/525

In this Episode of the ColorCast, the Coloristos discuss their predictions for NAB 2015, and what they think will be big topics at the show, including the continuing transition to UHD/4K, the rise of HDR, the impact of the Alexa MINI, along with the possibility of Davinci Resolve 12, and the viability of a mid-range control surface.They also take a "one year later" look at the AJA Cion and Blackmagic URSA cameras, as well as how systems like Assimilate Scratch, Digital Vision Nucoda, and Filmlight Baselight, are continuing to evolve their feature set and pricing to accommodate the current climate in post-production.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

We talk directly to ARRI about the newly announced ALEXA Mini.