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1/4 20 screws are carrying the whole industry 🙌

Are you team 1/4 or team 3/8 screw?

Tell us in the comments! 👇

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Jake Gyllenhaal reveals what it’s actually like to work with legendary cinematographer Roger Deakins ()

It’s not just about setting up a shot…

It’s a masterclass in visual storytelling where every beam of light acts as a clue.

Witness how Deakins uses shadows and reflections to turn an entire film into a complex, beautiful puzzle that manipulates exactly what the audience sees.

As well as what they miss…

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Ever wanted to pull off a Dolly Zoom with your drone?

shows us how to!

A dolly zoom is traditionally done by pushing in or pulling out while Zooming the lens in the opposite direction.

The goal is to keep the subject the same size in the frame, while the environment around them gets compressed or uncompressed.

You can achieve the same effect using a drone with Zoom capabilities!

A Pro Tip from Nir is to keep it at around 70% backwards flight & 50% zoom speed.

This takes some practice, but once you perfect it, the results are incredible!

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That’s one way to light a scene 😂🙌

The Lamp Operator sitting on top of a crane, giving them the ability to pan and tilt the lamp head as needed!

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The setup vs the shot!

Here’s what had to say:

We decided to use the FX3 and the 14mm gm to get the perfect wide angle on the cookie sheet.

We taped it down to keep it steady so the camera wouldn’t lean or move.

We also put a light inside the oven on the top shelf as the cookies go on to ensure to like the cookies properly.

We shot in SLog3 to make sure we had the most dynamic range we could get for that shot.

Overall, what did you think?

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*ttyrigs

The Camera Behind F1 The Movie 🏎️

built a compact, high-speed camera system designed for one thing: getting impossibly dynamic shots in tight spaces.

At the core is the Venice 2 Rialto Mini — a full-frame 8.6K sensor separated into a tiny, ultra-light sensor block, giving you cinema-level image quality in places a traditional camera physically can’t go.

Paired with the 9mm T5.8 Cine, one of the widest rectilinear full-frame lenses available, delivering an extreme 134.8° field of view without heavy distortion.

And combined with the Speed Pan system, allowing for aggressive, repeatable high-speed camera movement.

This setup isn’t about traditional coverage — it’s about perspective.

Ultra-wide. Ultra-close. Completely immersive.

Built for speed. Built for motion. Built to go where other cameras can’t.

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