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    <loc>https://www.tomparkfilms.com/cinematographyblog/underwater-audio-production-101</loc>
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    <lastmod>2026-04-02</lastmod>
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    <loc>https://www.tomparkfilms.com/cinematographyblog/behind-the-scenes-of-netflixs-all-the-sharks-an-insane-underwater-shoot</loc>
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      <image:title>Cinematography Blog - Behind the Scenes of Netflix’s All the Sharks: An Insane Underwater Shoot! - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Cinematography Blog - Behind the Scenes of Netflix’s All the Sharks: An Insane Underwater Shoot! - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://www.tomparkfilms.com/cinematographyblog/behind-the-scenes-filming-deadly-60-with-steve-backshall</loc>
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      <image:title>Cinematography Blog - Behind the Scenes Filming Deadly 60 with Steve Backshall - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Cinematography Blog - Behind the Scenes Filming Deadly 60 with Steve Backshall - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Cinematography Blog - Behind the Scenes Filming Deadly 60 with Steve Backshall - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://www.tomparkfilms.com/cinematographyblog/filming-eagle-rays-breaching-in-6k-ultra-slow-motion-great-barrier-reef</loc>
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    <lastmod>2026-03-12</lastmod>
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      <image:title>Cinematography Blog - Filming Eagle Rays Breaching in 6K Ultra Slow Motion – Great Barrier Reef - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://www.tomparkfilms.com/cinematographyblog/filming-green-sea-turtle-hatchlings-in-open-water-great-barrier-reef-in-8k</loc>
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    <lastmod>2026-03-05</lastmod>
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    <loc>https://www.tomparkfilms.com/cinematographyblog/filming-a-hunting-day-octopus-on-the-great-barrier-reef-in-8k</loc>
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    <lastmod>2026-02-27</lastmod>
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      <image:title>Cinematography Blog - Filming a Hunting Day Octopus on the Great Barrier Reef in 8K - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://www.tomparkfilms.com/cinematographyblog/8kstockfootagesouthaustralia</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-08-08</lastmod>
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    <loc>https://www.tomparkfilms.com/cinematographyblog/oceanwithdavidattenborough</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-06-26</lastmod>
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      <image:title>Cinematography Blog - Filming Ocean with David Attenborough</image:title>
      <image:caption>My work for Ocean focused on the Great Barrier Reef, specifically around the 2024 global mass coral bleaching event. At the time the bleaching hit, I had already spent nearly 300 days filming this one particular section of reef for another natural history film I have been working on, a vibrant, bustling ecosystem. Almost overnight, I watched this incredible ecosystem transform into a stark, white landscape void of all life and colour. It was devastating.</image:caption>
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      <image:title>Cinematography Blog - Filming Ocean with David Attenborough - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/1750903438196-8R8C5M8DX9MDZXD7SZ78/Sydney+Premiere+Ocean+with+David+Attenborough%2C+Underwater+Cinematographer+Tom+Park+Q%26A</image:loc>
      <image:title>Cinematography Blog - Filming Ocean with David Attenborough - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Cinematography Blog - Filming Ocean with David Attenborough - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/66f0b612-cc91-4c8a-b86b-c3c7cd07980c/Daily+Telegraph+Australian+Underwater+Cinematographer+Tom+Park+talks+Ocean+With+David+Attenborough</image:loc>
      <image:title>Cinematography Blog - Filming Ocean with David Attenborough - Make it stand out</image:title>
      <image:caption>Daily Telegraph Interview with Australian Underwater Cinematographer Tom Park on Ocean With David Attenborough</image:caption>
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    <image:image>
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      <image:title>Cinematography Blog - Filming Ocean with David Attenborough - Make it stand out</image:title>
      <image:caption>Behind The Scenes Ocean With David Attenborough, Australian Underwater Cinematographer Tom Park shooting on the RED V-Raptor 8K</image:caption>
    </image:image>
    <image:image>
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      <image:title>Cinematography Blog - Filming Ocean with David Attenborough - Make it stand out</image:title>
      <image:caption>Ocean Digital Hero/Poster - Shot by Tom Park Australian Underwater Cinematographer</image:caption>
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    <loc>https://www.tomparkfilms.com/cinematographyblog/sea-turtle-8k-stock-footage</loc>
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    <priority>0.5</priority>
    <lastmod>2025-01-11</lastmod>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/8k-stock-footage-the-remote-coral-sea-reefs</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-11</lastmod>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/the-great-barrier-reef-8k-stock-footage</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-11</lastmod>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/geardoesmatter</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/e83d31e9-40de-483b-bc8f-e593ab284563/RED+V-Raptor+8K+Heron+Island+Cover+Australian+Underwater+Cinematographer+Tom+Park</image:loc>
      <image:title>Cinematography Blog - Camera GEAR DOES MATTER in Filmmaking.</image:title>
      <image:caption>I know talking about this is going to rustle some feathers, and I’m not advocating for you to go out spend all your money on equipment, but my experience working as a professional cinematographer has been the complete opposite of the photography influencers favourite saying, ‘Gear doesn’t matter’. It definitely does.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/elevateyourcinematography</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/38b1c303-5bf3-4bf8-874e-b640955fb9a8/Behind+The+Scenes+Australian+Underwater+Cinematographer+Tom+Park</image:loc>
      <image:title>Cinematography Blog - Elevating Your Documentary Cinematography: 5 Unique Strategies</image:title>
      <image:caption>Here are 5 unique strategies to elevate your documentary cinematography to the next level. If you're looking to break away from the ordinary and make your cinematography stand out, maybe a few of these tips can help.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/theperfectlenswacp</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/738ad1c1-9081-444e-bb9c-054ce3e4b43f/Behind+The+Scenes+Heron+Island+Australian+Underwater+Cinematographer+Tom+Park</image:loc>
      <image:title>Cinematography Blog - Ultra Wide Angle &amp;amp; Macro in 1 - The Most Versatile Lens in Underwater Cinematography</image:title>
      <image:caption>To provide a quick bit of background, I have spoken about this in detail a lot previously, but just quickly, underwater filmmakers and photographers are far more limited in lens choice than topside shooters. Underwater we cannot use medium or telephoto lenses due to the fact that we are shooting through water, with drastically reduced visibility, increased particle, and suffer from loss of light information over vertical and horizontal distances. Underwater anything tighter than approximately 20-24mm usually gives off a very dirty and unclean looking image, with reduced sharpness, contrast, and colour due to the distances we have to shoot from to properly compose our image. Essentially, we have to physically get as close to our subject as possible underwater, and can’t rely on zoom lenses or tighter lenses to close that gap for us. The closer we are, the better quality our shot is as we are removing dirty water from our image. This is why underwater shooters always shoot with ultra wide angle lenses, around 10 – 16mm full frame equivalent, or alternatively to shoot macro.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/findyourfilmmakingsubniche</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/1b4bb55d-da7d-4092-a23b-166dcd4b418a/Behind+The+Scenes+Scuba+Diving+Australian+Underwater+Cinematographer+Tom+Park</image:loc>
      <image:title>Cinematography Blog - Finding Your Filmmaking Sub Niche</image:title>
      <image:caption>With so many hats to wear videographers starting out inevitably spread themselves so thin, that they fall into the jack of all trades, master of none category. This is by no means a bad thing, and it does provide a really good understanding of how the entire process works, and I’d argue that starting here is actually beneficial in the long run, but should you wish to move onto bigger and better productions this is something that almost all of us have had to deal with at one point or another.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/16-35genericperfection</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/ffb49bff-97c0-4bcb-80b1-5a68bd9ab88c/Australian+Underwater+Cinematographer+Tom+Park+Scuba+Diving</image:loc>
      <image:title>Cinematography Blog - The Case Against 16-35mm Lenses: Generic Perfection</image:title>
      <image:caption>One of the reasons the 16-35mm is a staple in most beginner shooters camera bags, is that this lens is quite versatile. The lens covers a wide focal length range, from 16mm for landscapes to 35mm for a touch of zoom. It's the go-to lens for a lot of tourism and travel, street, and underwater photography, and if you’ve invested in an f2.8 model, it allows for some slight depth of field at the tight end. But what this lens makes up for in versatility, it lacks in mastery. In my opinion, the 16-35mm look provides the most generic looking image available. It’s not wide enough to be interesting, nor is it tight enough to provide close ups or produce any real depth of field. On either end of it’s focal length, it produces such a classically generic image, from sorta wide, to sorta not wide.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/managedatalikeapro</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/travelwithkitasafilmmaker</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/27f86d23-24bd-42f9-aadf-715b62fb7031/Australian+Underwater+Cinematographer+Tom+Park+Camera+Equipment</image:loc>
      <image:title>Cinematography Blog - How to Travel With Gear as a Filmmaker</image:title>
      <image:caption>Whether you're a wildlife cinematographer, a documentary filmmaker, or just someone passionate about telling stories through a lens, knowing how to move your equipment safely and efficiently is a skill you've got to master. One of the most important things to do before you even pack your bags, is to plan ahead for your destination. This includes everything from researching what the drone laws are, understanding the rules on how many camera bodies are allowed into the country, and if there are rules on what the maximum value of camera equipment brought into the country is.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/dontmakethismistakediscussion</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/cinemalensesdiscussion</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/ad5dac76-7bd5-4a19-a7fd-716761f46051/BTSHatchlings.jpg</image:loc>
      <image:title>Cinematography Blog - I Bought a Set of Cinema Lenses, Was it Worth it?</image:title>
      <image:caption>The allure of cinema lenses is undeniable. The promise of superior image quality, precise optics, and creative possibilities beckons filmmakers into this fascinating world. But the big question looms - are they worth the price tag? Now I already owned the Sigma 18-35 f1.8 photo lens which retails for about $800 Australian dollars, and shown on my rig here is almost the exact same lens, the Sigma 18-35 T2 Cinema Lens, which retails for $7,300, a very steep price difference. Most people commonly assume the difference must be in the optical quality, but while the cine lens is slightly improved with more advanced optical coatings, they are more or less optically the same. The cinema lens is also manual focus only where the f1.8 version caters to manual and autofocus, and the cinema lens is also almost double the weight, so the question again looms, why?</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/cineprimevscinezooms</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/7445ae9b-9da0-49bc-a489-d7be465d40ca/Australian+Underwater+Cinematographer+Tom+Park+Filming+Turtle+Hatchlings+RED+RAPTOR+8K</image:loc>
      <image:title>Cinematography Blog - Cine Prime vs Cine Zooms For Documentary Work</image:title>
      <image:caption>Choosing the right lens is a bit like selecting the perfect tool for the job. And in wildlife cinematography, it's a decision that can make or break your shots. Starting off with Cine prime lenses, such as the Sigma 14mm T2 which is in my kit, these lenses are celebrated for their optical excellence. With a fixed focal length, they produce images with remarkable clarity and sharpness, without distortion. These lenses also commonly have wider irises or apertures offering better low light performance, and have wider focal range options, such as this 14mm T2. They shine in scenarios such as interviews, and high budget movies where sharpness and clarity are of sole importance, and where film crews have the ability and time to retake shots.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/whyiloveunderwatercinematography</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/efcda7a8-74ce-404d-a311-56b3b75e6b85/Australian+Underwater+Cinematographer+Tom+Park+Filming+on+the+RED+RAPTOR+8K</image:loc>
      <image:title>Cinematography Blog - Why I Love Underwater Cinematography</image:title>
      <image:caption>For underwater shooters, this is like a cheat code. Underwater, we often can’t capture good quality footage if we’re any more than 3 or 4 meters away. Putting this in perspective, if we were on a documentary and were looking to film lions hunting, we would have to be standing right next to them as they prowled through the jungle looking for food, not from the safety of a car 200 meters away. We have to not only be in the action, we often find ourselves as part of it. And this is what makes underwater cinematography so epic.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/yourfirstshortfilm</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/1fb46716-d45e-42f2-97a2-cb8ba5614fec/Australian+Underwater+Cinematographer+Tom+Park+Filming+a+short+documentary</image:loc>
      <image:title>Cinematography Blog - Making your first short film beginner tips</image:title>
      <image:caption>Making your first short film may seem a bit overwhelming at first, but it's actually an incredibly exciting opportunity. You have the chance to exercise your creative freedom and bring your vision to life. Plus, you get to use your skills to craft something you'll truly be proud of. Additionally, having a few award winning short films behind your name can really boost your career, and put your name and work in front of some respected film producers in your field.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/filmmakersbiggestmistake</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/redrawunderwater</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-03-24</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/63ec744d1352a115bd02035e/efc727ec-6777-451c-b86a-61c101c285dd/Australian+Underwater+Cinematographer+Tom+Park+Filming+Turtle+Cleaning+Station</image:loc>
      <image:title>Cinematography Blog - The power RED RAW in underwater cinematography</image:title>
      <image:caption>Essentially, this means that underwater we have to very meticulously dial in our colours every minute or two while shooting depending on both the depth we’re filming at, and the distance of our subject, all while accounting for things like how far the beam of our artificial lights travel, and the kelvin of our artificial lights. Even for the most experienced underwater shooters, this is often something that is quite tricky to perfect.</image:caption>
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  <url>
    <loc>https://www.tomparkfilms.com/cinematographyblog/filmmakingtruths</loc>
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      <image:caption>For every day spent on location filming something epic, there’s likely another 10 days spent behind a computer tending to the business and commercial reality aspects of the job. Social media showcases the highlight moments, but the truth is if you’re ever going to be successful as a filmmaker most of your time is going to be spent in meetings, networking and running your business.</image:caption>
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      <image:title>Cinematography Blog - Why I bought a RED Raptor for underwater cinematography</image:title>
      <image:caption>To provide a little background, I’ve been working as an underwater cinematographer for over a decade now, and throughout that time most of my clients have been tourism clients, largely from government tourism boards, and ocean based commercial companies. I absolutely love this sort of work, and run a production company specialising in tourism and underwater filmmaking where we have a range of long term clients that I love working for, but a part of me has also been looking for the next challenge, and I’ve also had an increasing number of inquiries into documentary filming with cinema equipment.</image:caption>
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      <image:title>Cinematography Blog - Why you need to learn manual focus as a filmmaker</image:title>
      <image:caption>So, like many of you, I used and relied solely on autofocus for years, particularly when starting out with my career. I was heavily invested in the latest and greatest autofocus tech, and autofocus performance formed a large part of my purchasing decisions, buying cameras like the Sony A7SIII and FX3, which I still do use all the time and they produce a beautiful image.</image:caption>
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      <image:title>Cinematography Blog - Why you need to learn manual focus as a filmmaker</image:title>
      <image:caption>There’s a reason cinema cameras, like the RED I’m now using often don’t have autofocus, and it’s because autofocus often gives a very unnatural feel to the footage, with any imperfections or jumps in focus giving a very robotic feel, which removes a lot of the audiences immersion. On the flip side manual focus imperfections are often far more forgivable, as they look and feel natural. Even the most intense manual focus hunting, won’t look as robotic as an autofocus system hunting or racing to catch up.</image:caption>
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      <image:title>Cinematography Blog - Why you need to learn manual focus as a filmmaker</image:title>
      <image:caption>Once I started seeing the use of manual focus, I purchased a cheap follow focus second hand for $30, and this has lived on my rig ever since. I would highly suggest getting something like this if you are looking to learn manual focus, or level up your cinematography, as it does make pulling focus so so much easier than awkwardly trying to adjust focus on the lens. It also allows you to support your camera while focusing, and thus assists holding the camera stable. Simply this is just a set of gears attached to a large comfortable and easy to operate knob, that allows for far more convenient, and smooth focus pulling. Almost all of these systems attach to your camera rig via 15mm rods, which are industry standard. Even if you use autofocus, If it’s on your rig, you’ll use it far more often than you think, and you should start to realise that manual focus isn’t something to be scared of, it’s something to embrace.</image:caption>
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