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Cinematographers Schweiz Suisse Svizzera Svizra unites talented professionals based in Switzerland.

Field Notes.

Trailer de L'autre Laurens — The Other Laurens (French)

Claude Schmitz’s The Other Laurens (2023) follows a weary private detective drawn into the mystery surrounding his twin brother’s death. Its combination of family ghosts and noir intrigue provides an intriguing setting for cinematographer Florian Berutti’s unusual choice of equipment. Berutti shot the film on an Ikonoskop A-Cam DII, paired with a Cooke 10–30mm T1.6 zoom and LOMO Super Speed lenses—a distinctive package for a feature selected for Cannes’ Directors’ Fortnight. The camera and lens selection alone makes this a particularly interesting film for anyone curious about alternative approaches to digital cinematography. What interests me most is the creative confidence behind this equipment choice. An unconventional camera and older lenses can still form a compelling visual language when they serve a coherent idea. The Other Laurens offers a fascinating starting point for thinking about how the tools we choose shape the worlds we put on screen.

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AP3 Philosophy of Imaging

Anamorphic lenses represent a format that demands to be taken seriously — one that rewards patience more than novelty. The AP3 series combines the optical expertise found in Cooke’s high-end anamorphic lenses into a compact, lightweight lineup designed specifically for modern mirrorless cameras.

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Inside Z CINEMA | Jeff Goodman and Takashi Aihara about Nikon + RED

Go behind the scenes with Jeff Goodman, VP of Product Management at RED, and Takashi Aihara, Head of UX Planning at Nikon's Imaging Business Unit. They discuss the evolving collaboration between Nikon and RED following Nikon's acquisition of RED Digital Cinema. The conversation covers the vision behind Nikon's Z CINEMA product line, the development of the Nikon ZR, the integration of R3D NE, and the launch of the V-RAPTOR XE. This is how RED's cinematic expertise and Nikon's imaging technology are being combined in new ways for filmmakers and evolving production workflows.

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ZEISS Aatma | Welcoming Grace

In Welcoming Grace, two virtual friends meet for the first time in real life, but things don't go as smoothly as expected. Sharing the same space and time unsettles Grace and Audrey in ways they can't quite put into words, despite their will to enjoy their time together in the City of Light. It will take a "kidnapping", a ray of winter sunshine, and a timeless melody to try to reconnect... “Welcoming Grace” was shot on Sony Venice 6K, with the ZEISS Aatma 25, 35, 65 and 85 mm.

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New Tilta Nucleus Autofocus Adapter

Introducing the brand-new Tilta Nucleus Autofocus Adapter – a solution that brings classic manual cinema lenses to life with modern autofocus performance. Many filmmakers appreciate the character of vintage and cinema lenses but avoid them due to the limitations of purely manual focus. Tilta bridges this gap by combining the emotional appeal of these lenses with the speed and convenience of modern autofocus control. This system utilizes the camera's native phase-detection autofocus and transmits this data directly to external motors via the Nucleus-M II Wireless Control System. An integrated lens library enables quick and easy calibration, while the adapter intercepts the AF data to drive the motor with precise and responsive focus. The system is compatible with both the Nucleus-M II Motor and the Nano II Motor. For traditional workflows, the Nucleus-M II FIZ unit can override the autofocus, providing a familiar focus-pulling experience. The E-mount autofocus adapter is compatible with Sony cameras up to the FX6; support for other lens mounts will follow shortly. Sony E-mount will be supported first, followed by RF-mount.

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The cinematography of “Frankenstein” | Dan Laustsen ASC, DFF shoots on ALEXA 65

Having previously worked with the ALEXA 65 on “Nightmare Alley,” director Guillermo del Toro and cinematographer Dan Laustsen ASC, DFF returned to ARRI’s digital 65 mm format for the Netflix feature film “Frankenstein,” adapted from Mary Shelley’s classic Gothic horror tale. This time, however, the filmmakers used 65 mm for the entire movie—including Steadicam and crane shots. Shooting in Canada and Scotland—supported on both sides of the Atlantic by ARRI Rental—Laustsen paired the ALEXA 65 with Leitz Thalia optics. Frequently he used the Thalias with combined ND/Black Pro Mist filters that were custom made by ARRI Rental to fit on the back of the lenses—breaking up highlights while maintaining blacks and avoiding filter flare.

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Mounting FUJINON DUVO Lens on Sony BURANO: Native E to PL vs. Chrosziel Adapters

Fujifilm Optical Devices Division’s Manny Zamora demonstrates how to mount a FUJINON DUVO PL- mount lens on a Sony BURANO with Sony's native E to PL adapter vs. the Chrosziel Burano Adapter with 12-pin connection (featuring DUVO 24-300mm).

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Fujinon UA 107X8.4 Lens Rental Los Angeles Vinten Osprey Elite Vinten Vector 750 Cam Head Rentals

This video will also help you understand how a cam head works and how it differs from regular fluid heads such as the Sachtler 60 or the O'conner 2575

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