Stash

6 stories

StashVFXInfinte & Invisible: Bleed Get Clean With LOLA MullenLowe Director Paolo Cavalieri and Buenos Aires studio Bleed pull back the curtain on the pitch they used to win the assignment of visualizing the invisible for the global launch of Unilever’s probiotic…

11.05

StashVFXMore Holiday Warmth and Wit from Wallace & Gromit Following the success of their 2025 holiday collab , Aardman and luxury British fashion brand Barbour re-enlist Wallace & Gromit for another bit of snowy stop-motion mayhem balanced with warmth and…

11.05

StashVFXTom Noakes & Black Kite Deliver the Doom Burger for KFC Business Club director Tom Noakes teams with London post/VFX house Black Kite to conjure a weirdly light-hearted post-apocalypse for KFC’s collab with Marvel Studios’ Avengers: Doomsday thru ad…

11.04

StashVFXAlt Western: Buck Opens Bass X Machina on Netflix Bass X Machina , the six-episode animated steampunk Western premiered on Netflix Nov 3 with this gritty title sequence, created by the motion crew at BUCK and powered by a track from…

11.04

StashVFXMotion Plus Design Returns to Paris 2026, November 14th On Saturday, November 14, Motion Plus Design brings together some of the most inspiring artists on the international motion design scene at Le Grand Rex in Paris.

11.03

StashVFXThe Loc Studios Expands into 3D and on-set VFX From the release: The Loc Studios , the independent London VFX studio founded by Jamie Leonard and Chris Chitty, has expanded into 3D and on-set VFX this year and grown its grading and deliverables…

11.03

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo