August 23, 2012
The International Cinematographers Guild Celebrates The Work of
Their Visual Artists at the Annual Emerging Cinematographer Awards
Once again we celebrate the achievement of our annual selection of honorees at our Emerging Cinematographer Awards. We at ICG feel that nurturing talent and creating opportunities for our members are at the heart of our organization. From the very beginning, we have dedicated ourselves to creating and promoting events that will benefit our members. One of the ways we do this is by showcasing their talents and giving them the crucial exposure they need to succeed in the Motion Picture Industry.
In 1996, the Film Showcase debuted as a unique forum for artists to showcase their films and get crucial exposure in an increasingly competitive industry. This event was created under the guidance of two founders, Former President George Spiro Dibie, ASC, and Former Chairman, Robert Kositchek. Over the course of twelve years, the Film Showcase received more than 1000 entries, proving its overwhelming success and popularity. In 2007, the Film Showcase rebranded itself as the Emerging Cinematographer Awards (ECA) which was expanded under our current President Steven Poster, ASC, and Chairman, Jim Matlosz.
ICG will present the Emerging Cinematographer Awards on Sunday, September 30, 2012 at the Directors Guild of America, Los Angeles, CA. The event will begin with an awards presentation and screening program. Immediately following the program will be a cocktail reception. Each year, ICG also holds a second screening and cocktail reception in New York City, which is scheduled for Sunday, October 21, 2012, at the School of Visual Arts (SVA).
June 12, 2012
Cine Gear LA 2012 Interviews and Coverage from Production Hub
June 11, 2012
Cine Gear LA 2012 – 37 Video Segments
A selection of Video Segments from Digital Cinema Training.
June 11, 2012
Cine Gear LA 2012 – Video Coverage
A selection of product reviews from NextWaveDV.
June 6, 2012
Cine Gear LA 2012 Highlights from the Motion Picture Editors Guild
June 5, 2012
New Gear at Cine Gear LA 2012
A quick selection of some new gear seen at Cine Gear by Jon Fauer of Film & Digital Times.
June 5, 2012
Cine Gear Expo LA 2012 Slideshow
Photos by Jon Fauer of Film & Digital Times.
June 5, 2012
Product Updates from Cine Gear LA 2012
“Cinematography For Videogames” – First Ever To Be Taught in a Film School
The New Class To Be Presented At CineGear Expo 2012 By The Global Cinematography Institute
HOLLYWOOD, CA. May 21, 2012 — Cinematography in Video Games and Virtual Cinematography will be shown as part of
the presentation by the Global Cinematography Institute ( www.globalcinematography.com ) founded recently by Directors of
Photography Vilmos Zsigmond, ASC and Yuri Neyman, ASC. It is the advanced program which combines classical and virtual
cinematography in the new discipline called “Expanded Cinematography” which includes Advanced Lighting for Feature Films,
Cinematography for Music Videos, Fundamentals of Lighting and Composition, Digital Lighting, Previsualization, Digital
Cinematography, Virtual Cinematography, On The Set Image Management, Postproduction Technology, The History of
Cinematography & Photography, and more.
Video games are the fastest growing multi-billion dollar industry and in modern society it is approaching the level of influence of
other forms of art, such as films and literature. Videogame plots and the demand for visual sophistication and design already
requires an image creating experience of professionals who are equally knowledgeable in traditional and virtual cinematography.
GCI plans to add the class “Cinematography for Videogames” in the nearest future.
Cinematography is an art that requires the mastering of a constantly evolving craft. The goal of the Global Cinematography
Institute is to prepare cinematographers like postgraduate students and veteran filmmakers to take advantage of on-going
advances in digital and virtual cinematography technologies.
The Global Cinematography Institute has coined a new category of image-makers – Directors of Imagery – and just few weeks
ago the first class of future Directors of Imagery graduated. The new class, consisting of students from USA, Brazil,
Mozambique, India and Russia, started their study on May 12.
The presentation will take place during CineGear Expo 12 on Saturday, June 2nd from 4 to 5pm in the Sherry Lansing Theater at
Vilmos Zsigmond, ASC, Yuri Neyman, ASC, Ashley Barron, Cinematographer, recent graduate of AFI, Jason Knutzen,
Cinematographer, Student of UCLA, Jason Bauer, Cinematographer/DIT, recent graduate of Chapman University, Ron Fischer,
Technical Director of Universal Virtual Stage One (UVS1), Naty Hoffman, Technical Director, and Sylvain Doreau, Cinematics
Director of Activision (publishers of “Call of Duty”) will take part in the presentation and discussions.
Students of GCI who recently finished their first course are very excited by the new opportunities to upgrade and enlarge their
knowledge about the art of cinematography and new technologies. All of their responses reflect this:
“My understanding of cinematography has improved. Both aesthetically and technically… “ -Michael Watson, Director of
“The Global Cinematography Institute has been the most incredible experience…Worth every mile traveled to get there! “ – João
Jasmin, Director of Photography, Brazil
“I believe that I will be much more effective at my job as a result of the holistic approach the course took. I will be in a much
better place to make informed choices in all areas of cinematography, camera choice, lighting instruments, workflows, aesthetic
approach, etc.” – Milton Santiago, Director of Photography
“GCI is a revolution in education, …it is an intimate tutorial by veteran filmmakers impressing their knowledge, secrets, and
experience to a new generation of filmmakers. Their aim, in this fast changing technology, is to elevate the cinematographer , …
to “Director of Images”… – Douglas Chase, Producer
The application process starts today for the fourth session which will start in September 2012. For information about the Global
Cinematography Institute go to our web site and to the Facebook page of Global Cinematography Institute.
ASC Members To Share Experiences and Expertise at Cine Gear Panel
The American Society of Cinematographers (ASC) continues its mission of inspiring the next generation of cinematographers and advancing the art of filmmaking by presenting a discussion on the art and craft of cinematography at this year’s Cine Gear Expo.
The June 2 panel at Cine Gear Expo will be held at 1 p.m. in the Sherry Lansing Theater. ASC members will delve into the artistic nature of cinematography, using real-world examples to demonstrate the process of creating a visual style for projects based on each member’s experiences.
The panel will feature: Dion Beebe, ASC, ACS; Stephen H. Burum, ASC; Patrick Cady, ASC; James L. Carter, ASC; George Spiro Dibie, ASC; Michael Goi, ASC; Karl Walter Lindenlaub, ASC; Donald A. Morgan, ASC; Dave Perkal, ASC; Roberto Schaefer, ASC; Dante Spinotti, ASC, AIC; and Haskell Wexler, ASC.*
Cine Gear Expo in Los Angeles is held at The Studios at Paramount in Hollywood. Registration in advance is free for attendees. Visit www.cinegearexpo.com for details.
The dialogue is structured so that questions from the audience drive the conversations, and will be moderated by Dibie, chairman of the ASC Education and Public Outreach Committee for the organization.
“As production and post-production become more intertwined in today’s filmmaking environments, the role of the cinematographer as artist of the images is more important than ever,” says Dibie. “The ASC is dedicated to supporting emerging filmmakers, sharing our knowledge, and collaborating with all departments in the creation of moving images.”
Dibie notes that ASC members frequently speak at colleges and universities around the world, as well as at the ASC Clubhouse in Hollywood, where many film school students join members for intimate dialogues regarding movie-making.
“We open our doors to anyone studying screenwriting, directing, producing, design, acting, etc. because it takes a collective effort to succeed in the process of telling a story for the screen with compelling visuals,” adds Dibie.
For additional information about the ASC, visit www.theasc.com, or join ASC on Facebook at http://www.facebook.com/the.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer.
Cine Gear Expo LA
Call for Entries!!!
Deadline extended to April 16. 2012
There’s still time to submit your film to the Film Series and Competition at Cine Gear Expo 2012. This year’s focus is “The Visual Art of Film Making.” With over $100,000 USD in prizes already pledged – and more on the way – this exhibition opportunity on the Paramount Studio Back Lot in Hollywood, California is a great way to get noticed, gain recognition, and take home stellar awards. All finalists will be invited to the VIP Party and the awards ceremony. For the chance to showcase your work to an audience of industry professionals from more than 60 countries, submit your film today!
Cine Gear Expo LA 2011 Slideshow
Photos by Jon Fauer of Film & Digital Times.
June 7, 2011
Cine Gear Expo LA 2011 Reviews
June 5, 2011
Cine Gear Expo LA 2011 Reviews
July 23, 2010
Cine Gear Congratulates Expo Participants on First 3D FIFA World Cup
Stereo 3D production was a big topic at Cine Gear, with a day-long program dedicated to it.
Just after the annual Expo, numerous companies and individuals – including Cine Gear participants such as Canon and Sony – contributed to the first 3D broadcast of the FIFA World Cup, live from South Africa. Cine Gear Expo congratulations all who participated in this historic broadcast effort.
A full 25 matches from the multi-city tournament – which ran from June 11 through July 12 – were lensed in 3D for broadcast to 3D ready TV stations including ESPN3D as well as to 3D digital cinema theaters and specially built 3D public viewing areas. FIFA, World Cup production company HBS, and sponsor Sony were integral in getting the project off the ground.
Sony’s new MPE200 image processor was used for stereo acquisition to correct slight mechanical misalignment as well as to make color correction match between the two cameras in real time. The rig had to integrate with the image processor box. Element Technica’s Quasar 3D rigs were selected for the tournament with Sony’s HDC-1500 HD broadcast cameras and Canon HJ zoom lenses.
Also tapped for the event was Canon’s FPB-10 serial divider box for simultaneous operation of the two lenses on the rig, using one standard zoom demand and one standard focus demand.
For those who missed the stereo coverage of the FIFA World Cup, later this year a documentary of the 2010 tournament will be produced and released by Sony Pictures on the 3D Blu-Ray format.
July 22, 2010
Band Pro Introduces Ruby Zoom
The Band Pro Film & Digital exhibit is always a popular destination at Cine Gear, and this year was no different.
A featured product introduction was the wide and short Ruby 14-24mm T2.8 zoom from Focus Optics, available exclusively from Band Pro.
Also during Cine Gear, observed Jeff Cree, SOC, Band Pro’s VP technical services: “Along with the normal interest in the top of the line camera systems like the Sony F35, this year’s attendees at CineGear showed an unusual degree of interest in the use of DSLR systems like the FGV Schmidle PL mount Canon 7D. The surprising aspect of this interest was that it was for mainstream production and not the special applications that these systems had been used for in the past.”
The Ruby weighs 3pounds and measures 138mm long, and it has a front diameter of 110mm and will accept a 102mm screw-in filter. The lens works on all 35mm PL mounted cameras including the Sony F35, Arri, Red, and Canon D7, and on the Canon D5 with an adapter.
Focus direction is reversed to go in the traditional cine direction. Also the lens offers focus travel of 126 degrees.
Another highlight of the Band Pro exhibit was the Leica Summilux-C PL mount primes.
These new T1.4 close focus primes are designed to be lightweight yet rugged with the mount and lens barrel manufactured from titanium. Leica Summilux-C lenses weigh between 3.5 and 4.0 pounds (1.6-1.8kg).
Available exclusively worldwide from Band Pro, the lenses will initially be offered in focal lengths of 18mm, 21mm, 25mm, 35mm, 40mm, 50mm, 75mm, and 100mm. Product delivery is scheduled for Q4 and additional focal lengths will become available at a later date.
July 14, 2010
Wild About Harry Featured on USC’s Web Site
The winner of the Film Series at Cine Gear Expo Independent Feature Filmmakers Award and the Panavision New Filmmaker Program Award for Cinematography Wild About Harry was recently featured on the web site of the USC School of Cinematic Arts. Read the article.
July 9, 2010
Steadicam Dances the Tango; Cooke Mixes with Fujinon
During the busy 2010 Cine Gear Expo, Steadicam inventor Garrett Brown smiled as he watched over the crowded Tango demonstration at the Tiffen booth. Also in the outdoor exhibits, Cooke Optic’s chairman Les Zellan revealed that Fujinon would incorporate Cooke’s /i Technology in their lenses.
The Tango is a new lightweight Steadicam accessory designed to provide floor to ceiling boom range for miniature cameras up to 6 lbs.
“(Tango) represents a 35-year dream,” said Garrett Brown. “I wanted the lens to be free to go from floor to ceiling. It was impossible to do gracefully until smaller cameras came along.”
Tango features include: Nine-foot continuous elevation and traverse with back-pan and back-tilt; 360 degrees pan, and ±90 degrees tilt throughout boom range.
The Steadicam Zephyr – demonstrated with the Tango – features a 30lb. lift capacity no-tools (20lb. payload capacity), an adjustable Iso-Elastic Arm, a telescopic carbon fiber post, and a dual axis vernier adjustable stage.
The Zephyr vest assembly is an updated continuation of the Flyer vest. The new tools-free patented Iso-Elastic stabilizer Zephyr Arm has been upgraded from the Steadicam Flyer and supports 20lbs. of payload weight. The 2-section arm can be separated for compact storage and transport.
The Zephyr comes standard with a 7-inch, 16:9/4:3 composite NTSC/PAL LCD monitor, or optional 7-inch 16:9/4:3 HD/composite LCD monitor.
As to the Cooke/Fujinon news, /i Technology enables film and digital cameras to automatically record lens and camera data for every film frame shot and provide it to postproduction teams digitally.
Fujinon joining a growing list of manufacturers that support Cooke’s /i Technology. Others include Thales Angenieux, Aaton, Arri, Avid, Cinematography Electronics, CMotion, Dalsa, Mark Roberts Motion Control, Preston Cinema Systems, Red, The Pixel Farm, Service Vision and The Foundry.
July 8, 2010
Portable DDRs a Hit at Cine Gear
Portable DDRs from startup Cinedeck, along with those from companies including AJA Video Systems and Codex were on display at Cine Gear Expo. Cinedeck featured Cinedeck Extreme, an on-board recording, monitoring and playback device.
Cinedeck captures 10-bit 4:2:2 or 12-bit 4:4:4 CineForm files in MOV format, as well as other codecs and formats. The aim is to eliminate ingest and transcoding when entering postproduction. Ingest occurs via HDSDI or HDMI and files are recorded to 2.5-inch solid state drives.
The device is designed to monitor video in real-time and includes image analysis tools such as on-screen histogram/waveform/scopes. Audio is monitored via on-board headphone jack and recording levels can be viewed on-screen. Cinedeck is also designed so that shots can be reviewed instantly via on-screen transport controls.
The system lists for $9,995, and a ‘Hi-Brite’ display option is available for an additional $995.
AJA featured version 2.0 firmware for its Ki Pro portable digital video recording device, which records Apple ProRes 422 QuickTime files.
Version 2.0 includes support for 8-channel embedded audio, support for gang recording with multiple Ki Pro units via the web interface and RS-422 device control. And now, through its Avid Media Access Architecture (AMA), Avid enables users to connect the AJA Ki Pro to Mac-based Media Composer and Symphony systems to view, edit and play back ProRes QuickTime files with access to all clip metadata.
Codex featured its new on board DDR. The company also revealed that its on-board and portable systems were planned for use during production of Martin Scorsese’s first 3D feature, The Invention of Hugo Cabret.
June 23, 2010
Abel Cine Tech Named Authorized Reseller for ARRI ALEXA
ARRI’s new ALEXA was one of the most talked about technologies at the recent Cine Gear Expo. And on the heels of the confab, ARRI announced that Abel Cine Tech was named an authorized reseller for the digital camera. This strategic partnership will cover the U.S. market with sales, service and technical assistance.
The ALEXA camera is already being used for Roland Emmerich’s next film, Anonymous, and Martin Scorsese’s first 3D movie, The Invention of Hugo Cabret.
On the deal with Abel Cine Tech, ARRI reported that it would continue supporting its traditional film camera customer base in established rental houses and other avenues, while Abel Cine Tech is charged with reaching independents and owner/operators through new and existing channels. ARRI said this partnership had developed following Abel’s proven sales performance for ARRI’s professional camera accessories and lenses.
“ARRI, Abel and ALEXA. It’s a natural fit. We have established a great relationship with Abel over the past few years and expanding that with ALEXA makes perfect sense for both companies,” said Bill Russell, ARRI’s VP of camera products. “Our combined efforts will allow us to reach the greatest number of customers with this extraordinary camera system and provide the best service and support.”
Added Abel Cine Tech president/CEO Pete Abel: “Abel has a broad history with ARRI that spans a number of products and technologies. This gives us a unique perspective and a real technical appreciation of what ALEXA means to the industry. I’m confident that Abel will be a very effective sales and support partner for ARRI.”
The ALEXA camera begins shipping in late June.
June 18, 2010
Michael Goi Re-Elected President of ASC
Michael Goi, ASC has been elected to serve a second term as president of the American Society of Cinematographers.
The new officers include Vice Presidents Richard Crudo, Owen Roizman and John C. Flinn, III; Treasurer Matthew Leonetti; Secretary Rodney Taylor; and Sergeant at Arms Ron Garcia.
Members elected to serve on the ASC Board of Governors include John Bailey, Stephen Burum, Curtis Clark, George Spiro Dibie, Richard Edlund, Stephen Lighthill, Isidore Mankofsky, Daryn Okada, Robert Primes, Nancy Schreiber, Kees Van Oostrum, Haskell Wexler and Vilmos Zsigmond.
Goi related that the ASC’s top objective is educating aspiring filmmakers and others about the art and craft of cinematography. In addition to its focus on education, the organization is actively involved in the development of motion picture technologies. It also works to promote a better understanding of the cinematographer’s contributions to the filmmaking process. Last year, the ASC partnered with the PGA to produce the Camera Assessment Series, a study of various film and digital cameras. The society has also collaborated with industry professionals and organizations, exemplified by their recent participation in the Joint Technology Subcommittee on Previsualization with the Art Directors Guild, Visual Effects Society and PGA, which led to the formation of the Previsualization Society.
“Being elected to serve a second term as ASC president is a great honor and a privilege,” Goi said. “At a time when so much is going on in the industry, this is a tremendous vote of confidence that this body of incredible artists believes in my vision of where the ASC, and the art and craft of cinematography, is going in the future.”
June 18, 2010
Wally Pfister, ASC Draws Crowd with Inception Talk at Cine Gear
Panels have become a popular part of Cine Gear Expo, and this year was no different. One that reached full capacity was the standing room only session on Chris Nolan’s upcoming scifi thriller Inception featuring Wally Pfister, ASC, who won over the crowd with his “don’t compromise quality” message.
Inception was lensed on multiple formats, including 65mm, which he used for wide shoots and aerials for additional clarity. Pfister urged the filmmaking community to “keep large format alive.”
“I like my Canon 5D, but I’m making $200 million movies. I think the audience should see it the best it can be,” he said as the audience cheered. “Motion picture imaging is still strong on film and we have to keep it that way.”
Pfister related that Imax film – used on Nolan and Pfister’s prior collaboration, The Dark Knight – was considered for Inception but was not used due to the volume of planned handheld work in the film. Pfister remains a fan of the Imax format.
Naturally, the topic of stereo 3D was raised. Pfister – emphasizing that this is his personal opinion and not that of a studio or other filmmaker — admitted: “I like storytelling. I find it a little bit distracting. . It creates a false depth to me.” His other reasons for his view were that he finds the picture to be dark and that he isn’t a fan of wearing glasses in the theatre.
Despite the buzz surrounding 3D, Pfister’s remarks again received enthusiastic applause.
Bob Fisher moderated the session, during which Pfister invited members of his Inception crew to the stage.
June 4, 2010
Cine Gear Expo Opens with 3D Symposium
“If we do it right, if we don’t burn out our audience, 3D will move to the mainstream,” asserted Peter Anderson, ASC, who opened the Cine Gear 3D Symposium with a keynote address.
“We need to make good movies in 3D, not just 3D movies,” he warned. “If you get a good script, you can do good 3D.”
He also cautioned filmmakers to use the technology with care, or eyestrain and headaches may be the result. “In 3D, we are messing with the brain in way that you don’t in a 2D world,” he said. “The 3D needs to be incorporating with other storytelling tools in a way that enhances the experience.”
“Panning, perspective, vanishing point-all the things that give stereo cues in a 2D world-are taken advantage of in 3D,” he explained. “These are things that are part of the art of 3D. They don’t have to take over the story, but they can add to the value of the 3D experience, because they are naturals for it.”
Paramount VP of Production Technology Garrett Smith led a panel on 3D production. During the session, Geoff Boyle, FBKS, focused his talk on projects that might be around 90 minutes in length with budgets around $500,000. “It is that area that I ask to fight for the cinematographer to keep control,” he said. “We are in danger of not being able to use our cameras properly. The cinematographer has to be responsible for the stereo image.”
Panelist and supervising stereographer Paul Taylor added that he believes it needs to be a collaboration between cinematographer and stereographer. Speakers also screened 3D clips including Streetdance 3D and a Dave Matthews concerts, and offered commentary including discussion of camera rig technology.
June 3, 2010
ASC Throws Open the Doors to Refurbished Clubhouse
Hundreds gathered on June 3 for the reopening of the American Society of Cinematographers historic clubhouse, following an extensive restoration and refurbishment.
“The renovation project began four years ago with the goal of preserving the heritage of the original clubhouse, while adding 1,500 square feet of space to accommodate larger groups,” related five-time Oscar nominee Owen Roizman, ASC, who chaired the committee that guided and managed the clubhouse renovation project since its inception. “It’s a debt that we owed to past generations of ASC members as well our commitment to the future. I am grateful for the many members and supporters of ASC who helped to make this dream come true.”
Describing the collaboration, Roisman thanks many ASC members and friends of ASC who donated this time and expertise.
“It is great to have this link to Hollywood history,” said Hollywood Chamber of Commerce president and CEO Leron Gubler during the ceremony, held on the front lawn. Added Los Angeles Councilman Tom LeBonge: “To restore a building that is so important is key for us.”
“Our clubhouse has been a second home for the world’s most talented cinematographers for nearly 75 years,” said Michael Goi, president of the ASC. “We are committed to perpetuating the spirit of artistry that resides within the walls of the ASC clubhouse, and enhancing our capacity for educational outreach programs for the next generation of filmmakers from around the world.” The ceremony was followed by tours and lunch.
The renovated clubhouse contains pieces of film history, including a Kinetoscope projector that was designed by the Edison Company during the 1890s, early motion picture cameras, lenses, and photographs of cinematographers.
In 1936, ASC purchased a house that was built on the corner of Orange Drive and Franklin Avenue as part of a new Hollywood subdivision in 1903. The house was silent movie star Conway Tearle’s home during the 1920s. The first meeting in the new ASC clubhouse was held on February 28, 1937.
June 1, 2010
Kodak To Show New VISION3 Films at Cine Gear
Kodak reported the addition two new films to its VISION3 family of motion picture products as it continued to restate that its commitment to film is unwavering. The stock additions-which will be on display at CineGear this weekend-include a medium-speed, tungsten-balanced color negative camera film, and a color intermediate film developed to work with digital postproduction technologies.
“These new VISION3 films are the tangible results of our ongoing commitment to filmmakers,” said Kim Snyder, president of the Entertainment Imaging Division, and vp of Eastman Kodak. “They were designed based on our customers’ suggestions and with the goal of increasing creative freedom and efficiencies in production and postproduction.”
VISION3 5213/7213 is a 200-speed, tungsten-balanced film. It was designed to offer extended latitude, enabling cinematographers to record more details in highlights and deliver finer grain for natural-looking images in the darkest areas. The emulsion is developed for both controlled interiors and challenging high-contrast exteriors, and is available in all formats (65 mm, 35 mm, Super 16 and Super 8).
Said American Society of Cinematographers President Michael Goi (The Mentalist, My Name is Earl), who tested the film: “Kodak’s new VISION3 200T 5213 stock is a significant improvement over the already excellent VISION2 5217. Reds in skin tones have a noticeably more natural balance, and I felt I could almost touch the high resolution results in texture.”
David Mullen, ASC (Jennifer’s Body, Akeelah and the Bee), also tested the film. “This new film has an even finer grain structure with deeper black tones and richer color saturation, especially in the reds and flesh tones,” he said. “The images were slightly sharper . and more consistent in over-exposed areas. The white tones were cleaner after the film was scanned and converted to digital files. There is also a tighter grain structure . especially when it is used for daylight exterior scenes.”
VISION3 color digital intermediate film 5254/2254 is designed for use with film recorders-both laser recorders and numerous CRT recorders that are still widely used in the marketplace. Kodak reported that the imaging characteristics of this new intermediate film are designed to enhance the speed and efficiency of DI postproduction while rendering noticeably sharper images that more faithfully represent the intentions of filmmakers.
Kodak VISION3 technology was introduced in November 2007. The new 5213/7213 stock joins the VISION3 500T 5219/7219 and 250D 5207/7207 camera negative films.
“By capturing the highest possible amount of image information, far more than any digital format, the Kodak VISION3 family of films gives the filmmaking community incomparable flexibility throughout the motion picture chain,” Snyder adds. “That translates directly to time and cost efficiencies on set and in post, and greater creative control no matter what workflow is followed.”
May 31, 2010
Rosco, Thales Angenieux, Matthews, Anton Bauer Celebrate Anniversaries at Cine Gear
Four exhibitors will be celebrating milestones this year during Cine Gear Expo. Rosco Laboratories is celebrating a remarkable 100-year anniversary, Thales Angenieux is marking 75 years in business, and Matthews Studio Equipment and Anton Bauer are both enjoying their 40th year in business.
Rosco was founded in 1910 as manufacturer of four products—Film Cement, Colorine Bulb-Dip, Lens Cleaner and color filter made out of gelatin (that’s how ‘gels’ got their nickname, the company said). Rosco continues to manufacture most of those products, in some form, to this day.
Four Rosco products have been honored by AMPAS with Sci-Tech Academy Awards: Cinegel Color Correction Filters, Rosco Fog Systems, CalColor Color Filters, and Roscolite Day/Night Backings. The later also earned a Technical Emmy.
Rosco maintains offices on both coasts of the US and Canada, as well as Europe, South America and Australia. Among its newest products are LitePad, Rosco VIEW and Rosco RABBIT.
Thales Angenieux owes its name to its founder, engineer Pierre Angenieux. Its innovations have contributed to many firsts in the motion picture industry, as well as other industries. In 1969, the first steps of Neil Armstrong’s walk on the moon during NASA’s Apollo 11 mission were photographed with an Angenieux lens.
In 2005, Thales Angénieux received an Emmy Award for lens technology developments for solid state imagers for cameras in HD formats. Then in 2009, four engineers at the company received AMPAS Scientific and Engineering Award for the optical and mechanical designs of the compact and light-weight 15-40 and 28-76 zoom lenses for hand-held motion picture photography.
Anton/Bauer, a Vitec Group brand, is a leading provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries. The company was founded in 1970 when Anton Wilson, a former ABC cameraman and George Bauer, an electrical engineer formed a partnership to furnish the broadcast industry with reliable battery power. Using Anton’s real-world experience, Bauer was able to engineer the industry’s first smart chargers and digital batteries, yielding the company several patents. From there, Anton/Bauer progressed to develop its InterActive digital batteries featuring the industry’s first viewfinder fuel gauge.
“It is truly thrilling to see what Anton Wilson and George Bauer were able to accomplish for the professional broadcast, video and film industries, and we are proud to continue their tradition of excellence,” said Michael Accardi, president, Anton/Bauer. “From humble beginnings as a partnership between an engineer and a cameraman, to worldwide success as the standard for battery power solutions in a wide variety of industries – Anton/Bauer has broken new ground in developing multi-chemistry battery solutions and really led the way for continued growth in the market.”
Anton/Bauer is headquartered in Shelton, CT, with major regional offices in Europe and Asia.
MATTHEWS STUDIO EQUIPMENT
Today Matthews Studio Equipment employs a staff of more than 60, which services the entertainment industry throughout the United States and supplies high-quality grip and lighting support to 70 countries around the world.
Roy Isaia founded Matthews in 1970 creating universal ‘combo’ stands that could serve both grip and electric.. He began outfitting the new Cinemobile Systems trucks the construction of which was under the supervision of a young man by the name of Ed Phillips, now MSE’s president. Almost immediately, Isaia’s equipment and Said’s trucks began servicing movies like The Organization and Little Big Man.
Lured by Isaia’s enthusiasm and creativity, Phillips left Cinemobile for Matthews, which quickly became the place to be on a Saturday. There would often be a couple of six packs and a group of top notch professional cinematographers, gaffers or grips fielding needs to spark Isaia and Phillip’s creativity. The new company quickly found itself consulting with the “big guys” like John Alonso, ASC, for Steve McQueen’s film Bullet and on Chinatown with Jack Nicholson.
The company’s innovations included the Cam Remote, which won a Scientific and Engineering Award in 1985 and an Emmy Award for 1988-1989.
A few weeks ago, U.S. Commerce Secretary Gary Locke presented Ed Phillips and VP of Marketing and Sales Robert Kulesh with the President’s “E” Award for outstanding contributions for strengthening the economy, creating jobs here in the United States. These are the first “E” and “E” Star Awards given out since President Obama announced the National Export Initiative, which aims to double American exports and support two million U.S. jobs by 2015.
“President Obama’s National Export Initiative goal of doubling U.S. exports and supporting two million jobs over the next five years has raised the profile of the importance of exports to our nation’s continued economic recovery,” says Secretary of Commerce Locke. “Matthews Studio Equipment is being honored for its achievement in enhancing export growth which helps strengthen our economy and create American jobs.
“I want to congratulate Matthews on their achievement, and for supporting critical export-related jobs for American workers. President Obama’s initiative was designed with one overriding goal: to get people back to work in jobs that provide security, dignity, and a sense of hope for the futures. It is businesses like MSE, with a proven record of success, that are going to help us meet or exceed that goal.”
At MSE, plans are to keep innovating. Joked Phillips: “There’s always a need for something new in this ever-changing world. Maybe a lightweight portable folding Geriatric Walker we’ll call the EdMobile. All I can say is – tell us what you need and we’ll make it at MSE. Who knows – tooling around the factory floor in the EdMobile to make it happen just might be an awful lot of a lot of fun.”
May 31, 2010
ARRI, Zeiss, and Fujinon Team Up; ARRI Partners with Digital Vision
ARRI recently announced several strategic partnerships.
ARRI, along with Fujinon and Zeiss, announced that they had entered into an agreement to exchange ideas, standards and technologies, as well as to cooperate in the development of new products.
Already, the group offers its existing range of prime lenses that are the result of the decade long partnership between Zeiss and ARRI. Recently, the ARRI/Fujinon Alura zooms were introduced. No additional developments were announced.
The companies said they intend to push developments to encourage more effective integration and communication between cameras and lenses. They identified a need to combine affordability with enhanced electronic data transfer, in order to simplify postproduction workflows, especially those that incorporate visual effects elements.
In related news, ARRI also recently announced a partnership with postproduction equipment manufacturer Digital Vision. Per the deal, the two companies will launch a jointly developed digital dailies product tailored to the ARRISCAN digital film scanner.
The new system would incorporate various features found in Digital Vision’s DI toolset, including QC, color grading, audio and metadata management. The new software-based system, which also taps ARRI color and image technology, is slated for availability in Q3.
Said Stephan Schenk, ARRI’s general manager of the business unit for camera & DI systems, in a released statement: “More than one hundred ARRISCANs are currently in use worldwide for feature film scanning as well as in a wide range of commercials, film restoration and in digital dailies applications. Constant evolution since its introduction in 2004 has made the ARRISCAN the future proof investment in film digitizing and this latest technological development with Digital Vision’s Nucoda technology will redefine the digital dailies process. Digital Vision has an excellent reputation and we look forward to announcing the first sales later in the year.”
May 21, 2010
The Studios at Paramount Offers VIP Tours
Paramount Pictures, the site of the debut CineGear Expo in 1996, is once again the setting to the annual exhibition.
During Expo hours this year, Paramount Pictures’ Studio Group Division, known as “The Studios at Paramount,” is offering VIP Tours of its latest addition: a still under-construction state-of-the-art LEED Certified postproduction building.
In partnership with Technicolor, the new space boasts three floors totaling 85,000 sq. ft. “Paramount is proud to be aligned with Cine Gear as the host studio,” said Kurt Schwenk, Paramount’s VP of Post Production Services, “as well as showcase the services that we offer to everyone in industry.”
Two of the floors will house the new Technicolor full-service sound facility, which is currently slated to open in January 2011. The third floor, operated by Paramount and opening in July 2010, will include 32 cutting rooms, several conference rooms, recreation spaces, and green office space. These facilities are available to Paramount’s on-lot clients and the entire post production industry for rental. In addition to rooms, technology and services will be available. This includes Avid and Final Cut Pro systems, centralized secure storage, sound playback packages, as well as office and cutting room furnishings.
Joining Paramount will be some of their technology collaborators. Demonstrations will include 3Ality Digital and its stereo camera rigs, Arri with new Alexa digital camera, S.two with their solid state storage solution, and various Red camera workflows. The visual effects studio Gradient Effects will present its Gradient Location-Optimized Workflow (GLoW), and the post production house LightIron will show the Red camera with a DIT cart. “We want to demonstrate Paramount’s ability to deal with multiple workflows in the every evolving digital filmmaking environment,” explained Garrett Smith, Paramount’s VP of Production Technology. Schwenk added, “Understanding and managing digital workflows in a nonlinear fashion across all departments is becoming increasing complex.” “It should be an especially exciting Cine Gear with the industry expansion into stereo capture,” Smith related. “With the imminent creation of stereo distribution channels for terrestrial and satellite, the appetite for stereo production is increasing at a rapid rate.”
Paramount looks forward to welcoming all attendees to the Cine Gear show and plans to show the industry that the oldest continuously running major motion picture studio is on the cutting edge of technology.
April 30, 2010
Litepanels, Sachtler, Petrol Launch New Products
The Vitec Group brands Litepanels, Sachtler and Petrol Bags have all announced new products.
Litepanels has launched a new Sola series of daylight-balanced Fresnels. Offering beam control of 70° to 10°, the Solas provide many of the properties inherent in a Fresnel light and use less power. The company claims that the new line also offers dimming with no noticeable color shift. Litepanels also reported that output is flicker free and developed to remain consistent even as the battery voltage goes down.
The company suggested that the LEDs enabled Solas draw an estimated 90% less power than conventional tungsten lights, with very little heat generation. It also noted that a ‘cool-to-the-touch’ system could cut down on air conditioning requirements in studio applications.
Litepanels reported that the Solas are available in three models. The Sola6 draws 75 watts yet produces output equivalent to a 650W tungsten unit and weighs 6 lbs.; The Sola12 draws 250 watts and produces output equivalent to a 2000W tungsten and weighs 14 lbs. The SolaENG, designed for on-camera and off-camera mounting, is 4″ x 4″ x 5″ and weighs 10 ounces. With a 3-inch lens, it draws 30 watts and produces output equivalent to a 250W tungsten.
The SolaENG runs on 10-20VDC sources such as camera batteries, or via an AC power adapter. The fixtures have a universal AC input and can be used on any 85-245 watt power.
The latest from Vitec brand Sachtler are 18 S1 and Video 20 S1 100mm fluid heads, which are designed to support a variety of loads, from heavier accessorized newsgathering camcorders to lightweight DSLRs like the Canon 5D Mark II or 7D. The Video 18 S1 and Video 20 S1 offers 16-step counterbalance.
For work with heavier, fully accessorized camera systems, both S1 heads are fitted with a Boost Button. The Video 18 S1 handles up to 33 lbs. or up to 39.6 lbs. in Boost mode, while the 20 S1 holds up to 39 lbs. or over 55 lbs. in Boost mode.
Petrol Bags is now offering the Cambio convertible equipment bag/camera support system. The carry-on sized smooth-rolling camera carrier transforms into a lightweight support system for small video camcorders.
Within the Cambio is an expandable (up to 56-inch) rigid, nickel-plated center steel column. The column can accommodate cameras weighing up to 9.9 lbs., allowing use with Video DSLR cameras, as well as HD DV models.
April 29, 2010
Bahnemann Receives Cine Gear Expo Lifetime Achievement Award
Volker Bahnemann will receive the Cine Gear Expo 2010 Lifetime Achievement Award in recognition of the significant contributions he has made to advancing the art and craft of filmmaking. The presentation will be made at 9:00 pm on June 4th at The Paramount Theater.
“Volker Bahnemann has been a loyal and passionate friend of cinematographers and their crews for nearly a half a century,” says Juliane Grosso and Karl Kresser. “He is a true visionary who has made an indelible impression on both the art form and the countless numbers of people whose lives he has touched.”
Bahnemann retired as president and CEO of ARRI, Inc. and ARRI/CSC (Camera Service Center) this past spring after serving in that role for 32 years. He will stay onboard as a consultant through the end of the year. The career path he blazed has a storybook quality.
Bahnemann began a three-and-a-half year apprenticeship with Arnold & Richter, the ARRI Inc. parent company in Munich, Germany, when he was 16 years old. He worked for the company for another year and a half in a training job before joining a friend in Mexico for a relatively brief stint in another industry.
Within a year, Bahnemann moved to New York City as a service technician for a company that distributed ARRI cameras and lenses. He climbed up through the ranks and was the top executive when that company was acquired by Arnold & Richter in 1972.
In a 1992 interview, Bahnemann said, “Companies, like people, develop personalities. Arriflex has had a consistent personality from the beginning. We listen to cinematographers who create art and provide the tools they need to fulfill their dreams. Every decision we make begins with asking why rather than how.”
The Academy of Motion Picture Arts and Sciences presented the John A. Bonner Medal of Commendation to Bahnemann in 1996 for “outstanding service and dedication to upholding the high standards of the Academy.”
His most impressive days were still ahead of him. ARRI became the world’s largest manufacturer of motion picture cameras and lenses, a major supplier of lighting equipment and cutting-edge film scanner technology with Bahnemann at the helm.
His legacy will pay dividends to future generations of filmmakers.
April 28, 2010
Band Pro Introduces PL Mount Primes From Leica; Fujinon Grows Zoom Family
Some anticipated new lenses will be on display at the 2010 CineGear Expo, including new PL zoom lenses from Fujinon and the Leica Summilux-C lenses, a new line of PL mount primes that will be offered by Band Pro.
Band Pro reported that the Leica T1.4 close focus primes-designed for film and digital capture-share a uniform length, 95mm threaded lens front, advanced distance focus scales, and similar location of focus and iris rings. They include an integrated net ring threaded into the rear element.
The mount and lens barrel are manufactured from titanium, and the lenses each weigh between 3.5 and 4 lbs.
Available exclusively worldwide from Band Pro, the lenses will initially be offered in focus lengths of 18mm, 21mm, 25mm, 35mm, 40mm, 50mm, 75mm, and 100mm. Product delivery is scheduled for the fourth quarter. Additional focal lengths will become available in a second phase.
Meanwhile Fujinon is completing its family of four PL zoom lenses with the 24-180 mm T2.6 and 14.5-45 mm T2.0. The new lenses join two PL zooms previously introduced: the 18-85 mm T2.0 and 75-400 mm T2.8-T3.8.
Fujinon’s news lenses are designed for 35mm format film and digital cinema cameras. The series offers a focal range from 14.5 mm to 400 mm.
All four Fujinon PL zooms have 136mm front diameters. Focus, zoom, and iris gears are all in the same position-in order to speed up lens changes, since follow focus accessories and lens motors can stay in the same position on the rods. Focus barrel rotation is 280 degrees on all four lenses.
The four PL zoom lenses are now available for purchase, and are becoming increasingly available through rental houses.
April 13, 2010
Cooke, Thales Angenieux Form Partnership
Thales Angenieux will incorporate Cooke’s /i Technology into its range of lenses, as part of a new partnership.
/i Technology enables film and digital cameras to automatically record key lens and camera data for every film frame shot and provide it to postproduction teams digitally. The goal of the product is to streamline production and post, save time and costs and eliminate guesswork.
The /i capability is now built into an external box that will connect to the lens. Moving forward, i/ Technology will be built into Thales Angenieux’ new lens designs.
“/i Technology is an astounding development for our industry and one which drives it forward. We are delighted to work with Cooke to incorporate this technology into our lenses, in order to advance in the streamlining of the film production process,” said Philippe Parain, managing director, Thales Angenieux, France.
“We have great respect for Thales Angenieux and are thrilled to welcome them to the growing /i family,” said Les Zellan, Chairman, Cooke Optics.
Thales Angenieux is the latest company to adopt /i Technology. Others include Aaton, Avid, Arri, Avid, Cinematography Electronics, CMotion, Dalsa, Mark Roberts Motion Control, Preston Cinema Systems, Red, The Pixel Farm, Service Vision and The Foundry.
Cooke’s product line also includes its new 5/i Prime lenses and the Panchro by Cooke series, which were launched at IBC 2009, as well as the Cooke 4/i Prime lenses.
April 12, 2010
ARRI Introduces ALEXA
Before a full house at the DGA headquarters in Los Angeles, ARRI launched the first model in its new ALEXA line of digital cameras with a “direct to edit” workflow for productions including features, television and commercials.
During the presentation, ARRI’s president CEO Volker Bahnemann made his retirement official, introducing his successor Glenn Kennel. Bahnemann received a standing ovation as he thanked his friends and colleagues.
The ALEXA camera was met with an enthusiastic response. ALEXA’s new Super 35 format sensor enables a base sensitivity of EI 800, low noise and a dynamic range of 13.5 stops. The Dual Gain Architecture (DGA) design of ALEXA’s CMOS sensor is designed to ensure the same exposure latitude across a range of sensitivity from EI 200 to EI 1600. ARRI suggests that this creates opportunities in post-production, where it is easier and faster to get the most out of the images.
The ‘direct to edit’ workflow includes output options, metadata and integrated color management. Notably, ARRI announced that ALEXA can simultaneously record Apple QuickTime/ProRes files, output uncompressed HD video and uncompressed ARRIRAW data.
QuickTime files containing Apple ProRes encoded images can be recorded onto on-board SxS memory cards. The debut technology encodes ProRes 422 (and will soon support ProRes 444), along with audio, metadata and Final Cut Pro XML files. These files can load directly into FCP, and the edited result can be immediately distributed.
Two HD-SDI connectors supporting 1.5G dual link or two 3G signals can alternatively be used to output 4:2:2 or 4:4:4 uncompressed HD signals in addition to an ARRIRAW T-link signal. These different signals can be output to certified third party on-board recorders including those from S.two, Codex and Keisoku Giken.
The QuickTime/ProRes offline editing proxy is created directly in camera, carrying the same images, audio, timecode and metadata as the online HD or ARRIRAW material. ARRI’s ARRIRAW Image Converter provides image reconstruction features for the Windows, Linux and Mac OS platforms.
Alexa accepts 35mm PL mount lenses. ARRI also reported that the camera’s viewfinder includes a number of features inherited from its optical viewfinders, including overscan. Several features were designed to protect the customer’s investment. For instance, the module that holds the memory cards is removable. Should another recording technology prove more desirable in the future, this module can be replaced with other storage modules.
The ALEXA camera is available in June, pricing starts at 45,000 Euros (roughly $60,000).
April 2, 2010
Schneider Intros Five-Filter Kit
CineGear exhibitor Schneider Optics is releasing its new Century 5-Filter Kit with 4-inch filter holder.
Manufactured in cooperation with Lee Filters, the 4-inch filter holder allows the user to mount square filters on a round camera lens without a mattebox system. It can retain one or two filters and is compatible with DV and film cameras.
The first filter in the set is the Neutral Density .6 Solid filter, which is designed to reduce transmission by 75%, controlling exposure or depth of field without affecting color or contrast. Century’s ND .6 Soft Edge Grad offers a surface that’s 50% clear and 50% with a neutral density of 0.6 (2 stops), to balance exposure within a scene. The Century Polarizer was designed to reduce glare and unwanted reflections, saturate colors, deepen blue skies, improve contrast, and penetrate haze. The Black Frost 1/2 Diffusion filter was created to flare highlights and tone down contrast, without degrading image quality or black saturation. The Century Skintone Enhancer adds warmth to skin tones and accentuates foliage and architecture while reducing excessive blue in outdoor open shade. The kit includes a lightweight, multicompartment padded case with belt loop.
In addition to the Century 5-Filter Kit, a new Schneider Landscape Control Kit with a 4×5.65 ND .6 (2 stop) vertical soft edge grad filter is also available. Both packages include the 4-inch filter holder and a 77mm adapter ring in a carrying case. Other size adapter rings are available for purchase or the holder can be used with conventional step rings to accommodate other lens filter diameters. The filter holder and 77mm adapter ring can be purchased separately for work with 4mm-thick glass filters.
List prices are $649 for the Century 5-Filter Kit with 4-inch filter holder, $349 for the Schneider 4×5.65 Landscape Control Kit, and $195 for a separate 4-inch filter holder with 77mm adapter ring.
April 2, 2010
Pictorvision Goes Wireless in Vancouver
When Bob Wilson of RF Wireless won the bid to service OBS (Olympic Broadcast Services), the host broadcaster for the 2010 Winter Games, Pictorvision’s new wireless remote control system was a key part of the package.
Wilson worked with Pictorvision and Chris Chanda of Aerial Camera Operations to put together a unique turnkey system. “By offering them the new Pictorvision wireless remote control package, they could get live pictures from cameras mounted on snowmobiles as the drivers followed skiers cross country or through biathlon events,” Wilson explained. “With this system, we could control camera pan and tilt, zoom and focus remotely and wirelessly, even adjust camera remote iris and color temperature.”
At the Olympics, RF Wireless’ package of Cineflex HD camera heads and Pictorvision’s wireless remote system serviced not only OBS but CTV, the BBC and SRG (the Swiss feed). “It’s a system that our company, RF Wireless, will use over and over again, whenever we need to capture and deliver footage remotely,” Wilson related.
The OBSV Nordic Venue wireless Cineflex kit was developed in house by Pictorvision technician Jake Capistron and consists of four pairs of fiber optic and radio transmitters and receivers that allow up to four Cineflex camera systems to be operated remotely. It is now available for rent exclusively with Pictorvision’s Cineflex HD camera systems.
With this newly developed system, Pictorvision’s Cineflex Remote Control package can be used on camera cars, cranes, boats and snowmobiles – anytime the operator cannot be with the system during operation. Features include a range of up to 15 miles (depending on conditions), a frequency of 2.4 – 2.483GHz, license-free band, spread spectrum frequency hopping and error detection technology.
The fiber optic system allows the operator to be up to 75 miles from the receiver antenna site. The video signal could also be transmitted using analog or digital microwave systems.
April 2, 2010
CineGear Congratulates Arri, Fujifilm and All SciTech Award Winners
CineGear Expo congratulates its exhibitors, Arri and Fujifilm, as well as all of the recipients of AMPAS Scientific and Technical Awards.
At the Beverly Wilshire in February, Arri and Fujifilm technologies earned Scientific and Engineering Awards, which are presented as an Academy Plaque. Michael Cieslinski, Dr. Reimar Lenz and Bernd Brauner were honored for the Arriscan film scanner; and Fujifilm Corp., Ryoji Nishimura, Masaaki Miki and Youichi Hosoya were recognized for Fujicolor ETERNA-RDI digital intermediate film.
The digital intermediate process was the big topic at this year’s ceremony. In this area, Scientific and Engineering Awards were presented to Dr. Richard Kirk for Filmlight’s Truelight; Volker Massmann, Markus Hasenzahl, Dr. Klaus Anderle and Andreas Loew for DFT Digital Film Technology’s Spirit 4K/2K; Wolfgang Lempp, Theo Brown, Tony Sedivy and Dr. John Quartel for Filmlight’s Northlight; Steve Chapman, Martin Tlaskal, Darrin Smart and Dr. James Logie for Filmlight’s Baselight; Mark Jaszberenyi, Gyula Priskin and Tamas Perlaki for Autodesk’s Lustre; and Brad Walker, D. Scott Dewald, Bill Werner and Greg Pettitt for Texas Instruments’ DLP Projector technology.
Academy Plaques also went to Per Christensen, Michael Bunnell and Christophe Hery for the development of point-based rendering for indirect illumination and ambient occlusion for realistic shadows; and Paul Debevec, Tim Hawkins, John Monos and Mark Sagar for the Light Stage capture devices and the image-based facial rendering system.
The Academy also presented Technical Achievement Awards, an Academy Certificate, to developers of five technologies. They are Mark Wolforth and Tony Sedivy for Truelight: Dr. Klaus Anderle, Christian Baeker and Frank Billasch for DFT’s LUTher; Steve Sullivan, Kevin Wooley, Brett Allen and Colin Davidson for on-set performance capture system Imocap; Hayden Landis, Ken McGaugh and Hilmar Koch for advancing the technique of ambient occlusion rendering for CG lighting; and Bjorn Heden for the Heden Lens Motors.
Actress Elizabeth Banks hosted the ceremony.
April 2, 2010
Band Pro Distributing New Fujinon Zooms; OConnor Launches CFF-1
With the 14th annual CineGear Expo only two months away, exhibitors are starting to make product news that will be featured during the 2010 Expo, June 3-6 at The Studios at Paramount.
Band Pro Film and Digital is now distributing Fujinon’s new PL mount zoom lens series. Meanwhile, fluid head and tripod business OConnor, a Vitec Group brand, has introduced the Cine Follow Focus CFF-1, which is the first product in its new line of camera accessories.
OConnor’s modular CFF-1 system is constructed of lightweight, durable black anodized 7075-grade aluminum. A snap-on bridge clamps onto either 15mm or 19mm studio rod systems. OConnor’s follow focus is recommended for large diameter lenses such as the Angenieux 24-290mm, Red 18-85mm, Fujinon 18-85mm and Fujinon 75-400mm.
For better integration with all lens and mattebox configurations, the CFF-1 swing arm can be mounted on either side of the bridge. OConnor’s main follow focus bridge slides independently of the support bridge dovetail, increasing mounting options for specialty setups. The OConnor Cine Follow Focus line begins shipping this month and starts at $4,500. Options include a wooden handle.
Fujinon’s four new zoom lenses offer focal range choices from 14.5 to 400mm, and accommodate uniform front barrel size (136mm) and gear placement.
The first lens in the series, the 18-85mm T2.0, is currently available; and Band Pro is taking orders for the 75-400mm T2.8-T3.8. The 24-180mm T2.6 and 14.5-45mm T2.0 will become available in the coming months.
“We chose Band Pro as our distribution partner because of our long-standing business relationship and their history of bringing high-quality, high-performance products to the digital cinematography market” said Fujinon president and CEO Hank Hayashi.