Director Unjoo Moon partnered with cinematographer Dion Beebe, ACS ASC to test the capabilities of the new Sony BURANO camera.

Sony expands its Digital Media Production Center at Pinewood Studios with a new virtual production unit using Sony Crystal LED technology.

“We’ve seen an increased demand for high-quality content, a rapid expansion of streaming platforms and a shift to remote production workflows.”

Cinematographer Rob Hardy, BSC, ASC, recently used the new Sony VENICE 2 digital cinema camera for something of a trial by fire.

With broadcasters embracing mirrorless and cine-style cameras, the new Sony HDC-F5500 brings a cinematic look to live productions.

Welcome to Sony’s Digital Fall Showcase and explore the latest in imaging tools and technologies.

AbelCine’s Megan Donnelly talks with Ellen Kuras, ASC about cinematography for “David Byrne’s American Utopia.”

Colorist Ethan Schwartz details the remote post-production workflow created for the second season of FX’s “What We Do in the Shadows.”

Sony’s FX6 falls between the company’s a7S III still/video camera and the FX9 in size, cost and functionality, though it is priced closer to the a7S III it sports features from both.

Wimbledon Broadcast Services shared more of the 2024 Championships action in HDR this year, captured and managed by NEP.

Cinematographer Christopher Ross, BSC opted for the Sony VENICE paired with Hawk class-X anamorphic lenses to capture the world of “Shōgun.”

Applied ethically, AI could create a production optimization opportunity for the industry, according to a panel of execs at NAB Show 2024.