Speed Up Your Postproduction Workflow by Learning How to Create Photoshop Scripts: Fstoppers Reviews the Photoshop Scripting for Artists Course

Speed Up Your Postproduction Workflow by Learning How to Create Photoshop Scripts: Fstoppers Reviews the Photoshop Scripting for Artists Course Being able to automate repetitive parts of a retouching workflow in Photoshop directly translates into a saving of both time and money. This saving could make the all the difference in meeting or missing a deadline or making it home early to see your family. How can you make it a reality? Actions are certainly one option however they are severely limited to straight repetition of the original steps. Scripting is actually the answer that you have been looking for. Think of scripts as intelligent actions on steroids. [ Read More ]

Manfrotto Pro Light Cinematic Camera Bags Review: Balance and Expand

Do you ever feel like you spend more time carrying your gear from point A to point B, or in my case to the car and from the car? It is a constant part of being a cameraman or creative. We need our gear close at hand. Manfrotto has made a couple of bags to help us keep our most wanted, and difficult to carry for long distances, gear with us when we need it most. I mean who wants to drag a DJI Ronin M/MX pelican case into the woods? I know I don’t. Manfrotto The Manfrotto Pro Light Cinema
Manfrotto
Manfrotto
Manfrotto
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Sony FS5 Mark 2 Camera Review: Looking At The New Color

Yes, the Sony FS5 Mark 2 looks exactly like the original with one exception, the filter wheel on the Sony FS5 Mark 2 is a different color (black) from the original Sony FS5 (brushed aluminum). Otherwise, from the outside, the Sony FS5 Mark 2 and Mark 1 look very similar. Of course, outside appearances do not matter one iota. What matters to us shooters is what is inside and whether or not the new color science from the FS5 Mark 2 is more like Sony’s flagship full-frame 6K cinema camera the VENICE. My initial thoughts after the first few days
Sony FS5 Mark 2
Sony FS5 Mark 2
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Protecting the Bright Tangerine Misfit

A few years ago I stopped buying cameras, and started putting my yearly gear acquisition budget into grip, lighting, and camera support gear with a long useful life. Tools like monitors, lenses, batteries and power distro, and a good mattebox and filters. I’ve invested in the Bright Tangerine Misfit mattebox, and use it primarily as a clip-on with 4×5.65 Firecrest IRNDs. I’ve been looking for a good case solution for this kit for some time, and finally have a solution that works for my needs. I wouldn’t really call this a review, so much as just “hey, this worked
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Review: The Tamron 28-75mm f/2.8 for Sony FE is a Home Run

When Tamron announced the new FE 28-75mm f/2.8 Di III RXD, it sent a wave of excitement throughout the Sony user base. When Tamron announced that the lens would only be $799, most of those Sony users were shocked. Can Tamron’s $799 lens compete against the $1,198 (currently $898 after rebate) Sony/Zeiss 24-70mm f/4? Can it hold its own against the $2,198 Sony FE 24-70 f/2.8 GM? How would Tamron’s first FE lens work on Sony bodies? We were lucky enough to get an early copy for a few days to try out.

Design

The 28-75mm f/2.
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Testing the Capabilities of the Stella Pro 5000 Underwater

Testing the Capabilities of the Stella Pro 5000 Underwater Finding the right underwater lighting system can be tricky if you do not understand how light is absorbed. The same concepts on land can be applied, but with a few extra steps. Testing out new lights can be eye opening if you are tired of using a four-strobe setup which can be a workout on its own. [ Read More ]