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In Full Colour

Intense colour saturation, contrast and texture is making my retina fizz at 16oz studios!

Shooting on Red Epic Dragon, with Arri Zeiss Master Primes and Master Diopters

Brendan McGinty


Black Light

Shooting black-light Beauty at 16oz Studios.

Only the Red Epic Dragon with its Skin Tone OLPF could hold this degree of colour fidelity at the dark end of the spectrum!

Brendan McGinty

Brendan McGinty


All at Sea

Shooting at Sea in Cape Town, one of the most breathtaking coastlines in the world. 
If you can overcome the violent pitching that working at sea requires, the mirrored surface offers its own drama, texture and beauty. No two days look the same as this watery landscape responds rapidly to tides, light and wind.

I recommend a Polarising filter, an Easyrig with a Serene Arm, ample waterproofing, extended camera latitude, slow motion and sea legs.

Brendan McGinty



I am left slightly speechless after three weeks of filming in the Arctic. Travelling on an Ice-breaker through the sea-ice revealed some of the most beautiful landscapes I have ever seen. Throughout our journey around Svalbard there was perpetual daylight... the hard, low sun never setting.

The clarity of the light was extraordinary and the bounce off the blue and white ice left everything touched with a coolness that is so distinctive.

The extended latitude of the Red Epic Dragon proved essential in holding the hard highlights and shadows. This as I shot regularly against the crystal clear, hard sunlight. We utilised Angenieux Optimo DP zooms on the Epic and the enormous Sigma 300-800 on the Red Scarlet B camera.


My Deal With The Devil

Great to see this film is about to air!
It details the true story of errant trader Justin Paperny and his journey from stockbroker to prisoner.

I worked with director Chris Holt shooting across LA and London, predominantly hand held on a set of Cinevised Nikkor AIS primes... my favourite vintage glass from the stills world.

Drama cut here:


Ronin 4 Parkour

Shooting Parkour, the ultimate mix of urban physicality and heroism.
We wanted to shoot with considered, steady camera movement to evoke some of the gladiatorial majesty of the Traceur. 
The terrain we planned to track across and through was rough, uneven, obstacle ridden, broken concrete.
DJI's Ronin seemed a good choice. Here seen combined with a Serene arm and mounted with an Epic Dragon and a 20mm Ultraprime: 



What this rig gave us was the ability to float through and across these obstacles with a more measured photographic consideration. We achieved rock steady moves both with and against the seemingly reckless athletes, through concrete corridors and across jagged concrete obstacles.

The choreography of camera, bodies and concrete, orchestrated by director Luke Wiles.

Master Primes

Shooting a beauty promo on Arri/Zeiss Masterprimes. Undoubtedly my favourite of the fast primes out there. Their performance at T1.3 (where we shot everything) is famously undiminished. Whereas most 'super-speed' options are noticeably different wide open (softer, chromatically compromised, distorted) the Masterprimes remain world class. Focus depth aside, they exhibit very little  optical difference between say T1.3 and T5.6 

Their engineering is also such that an AC can actually manage the sliver of focus that T1.3 offers. Their internal cams ensure that the focus does not overly accelerate as you approach minimum focus and the throw remains steady. We repeated a series of slow dolly moves towards our subjects on a 40mm... you cant really ask this focus accuracy of an AC on say a set of Super Speeds. 

Brendan McGinty

There is obviously an enormous amount of emotion that goes into lens description, many opting for the baked-in 'look' that some primes offer. I personally find its a better place to start sharp and undistorted, and then diffuse to taste rather than inherit an optical fog wide open. The lack of 'lens' in the look of a Masterprime, the absence of distortion , vignette, veiling glare and edge fall-of perhaps make them the most 'naturalistic' lenses out there... and the least nostalgic.

Production stills by Mauro Carraro


Shooting motion in the Brazilian Amazon is always challenging, but the photographic rewards are high. 
We were there at the end of the rainy season and, true to form, it poured down regularly. This combined with high temperatures made for enormous, crushing humidity, a bit like filming in a sauna. Rain covers, poly-bags, dry-bags, silica gel, umbrellas... Of course without these conditions, it wouldn't be the Amazon.

Brendan McGinty

Brendan McGinty

Logistical challenges aside, the Brazilian jungle always provides a wealth of visual stimulus. This was the first time that I had taken the Epic Dragon sensor to a jungle environment. The extended latitude of the sensor was noticeably more responsive to the high contrast demands of shooting there. I was using the Low Light OLPF which dug deep into the shadows whilst still holding the occasional shafts of daylight that broke through the overhead canopy. The sensor's colour purity was also a marked improvement in the jungle. Here, on 8 or 10 bit camera systems, I have previously encountered a colour palate that would reduce to an unremarkable muddy green. But not with the Dragon's rich 16bit colour fidelity. Nuanced, rich gradations of greens, a wealth of fine texture and delicate occasional pops of saturated colours.


Street Art

I have been soaking up the vibrant street art of San Francisco and London.

Banksy celebrates it:
"Graffiti is one of the few tools you have if you have almost nothing"

David Lynch hates it:
"Graffiti is ugly, stupid and threatening – there's more creativity in crochet."

And Roland Barthes dissects it:
"We know that what constitutes graffiti is in fact neither the inscription nor its message but the wall, the background, the surface (the desktop); it is because the background exists fully, as an object which has already lived..."

Think I like it.


Studio and Verite

Simultaneously prepping 'Studio' and 'Verite' Epic Dragon camera packages for a shoot.
The mechanics of the camera system determine so much of the language that they will be used for... primes or zooms, remote or operator focus, handheld or grip. Visual obstacles and possibilities in either direction.

I am reminded of the fascinating dialogue between Jean Luc Goddard and Aaton's JP Beauviala about the need for a 'Paluche'... a seemingly mythical, small, fully automated handheld camera that Goddard hoped would do everything:

Needless to say the Paluche never materialised.