News

Bruno Delbonnel, AFC, ASC and the Angénieux Excellens Award at Cannes

Bruno Delbonnel, AFC, ASC was born in Nancy, France and graduated in 1978 from ESEC film school in Paris. A distinguished cinematographer, he has worked with Jean-Pierre Jeunet, Tim Burton, the Coen brothers, Joe Wright and many others. Bruno Delbonnel has been nominated five times for Best Cinematography Oscar: Amélie (2001), A Very Long Engagement (2004), Harry Potter and the Half-Blood Prince (2009), Inside Llewyn Davis (2013), and Darkest Hour (2017). On May 24, 2019, Bruno receives the Pierre Angénieux ExcelLens Award in cinematography at the Cannes Film Festival. read more…

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C’est Cannes 2019

The 72nd Festival de Cannes is now open. Follow the 12 days of Cannes on the official Festival website. The Cannes 2019 poster celebrates filmmaker Agnès Varda. If anyone knows the name of the camera assistant or grip whose back she’s standing on, please contact FDTimes. It was August 1954 and, as the official Cannes press release describes, she was filming… read more…

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SIGMA Burbank Studio

Sigma recently opened a new 10,000 sq. ft. studio, showroom, screening room, lens repair shop and office facility. And, at NAB 2019, Sigma showed three new high-speed Full Frame cine prime lenses: 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF. This brings the total count of Sigma cine lenses to 13: FF Zoom, High-Speed Zoom and FF High-Speed Primes. They have PL, E and EF mounts. LF to come. read more…

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Sony VENICE Firmware Update 4.0 — 120 fps

VENICE at 120 fps in 4K 2.39:1, 60 fps in 6K 3:2 Full Frame and lots more…Sony VENICE continues to catch the attention and imagination of filmmakers worldwide. It is working on many features, commercials and television productions. Full Frame is gaining traction as almost every lens manufacturer rolls out an increasing number of Full Frame lenses. With Version 4.0, you can purchase an optional HFR license (High Frame Rate) that takes VENICE up to 120 fps in 4K Super35 2.39:1 (4096 x 1713) and 60 fps in 6K Full Frame 3:2  (6048 x 4032). read more…

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Pacific Northwest Lens Summit

5/4/19
Koerner Camera Lens Summit: Pacific Northwest Lens Summit

Koerner Camera Systems in Portland, Oregon will host their annual Pacific Northwest Lens Summit on May 4, 2019, 10:00am-5:00pm. It could be the center of the optical universe, with a load of lenses, lens technicians, gurus, users, wireless lens controls, supports, rigs and AKS from lots of manufacturers and exhibitors. read more…

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Micro Salon Italia 2019

Federico Fellini used various visual effects in his film Casanova, one of which was a gigantic overly graphic head of Medusa rising from the dark waters of Venice’s Canal Grande during the Carnival sequence. Now, this gigantic Medusa head rests in the Cinecittà Studios of Rome, not far from Stage 10 – right across Federico Fellini’s famed Stage 5. This is where the 2019 Micro Salon Italia took place on March 22nd & 23rd. read more…

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Guillermo Granillo on LF and Supremes

Guillermo Granillo, AMC, AEC graduated from the Escuela Activa de Fotografía in Mexico City, studied graphic design at the Universidad Autónoma Metropolitana (UAM) and film at the Centro de Capacitación Cinematográfica (CCC). He is a member of the Sociedad Mexicana de Autores de Fotografía Cinematográfica (AMC) and the Asociación Española de Cinefotógrafos (AEC). read more…

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Don Burgess, ASC, RED Camera Owner

“I want to have the cameras that I can really get to know. It gives me more control over the images that I’m delivering. We recently shot Sextuplets. The challenge was the fact that one actor was playing six, and at one time seven, parts in the movie. The RED camera with the MONSTRO 8K VV sensor was a perfect choice for the movie because you need to oversize. We decided on a 2:1 aspect ratio. Mike Tiddes, the director, and I basically had conversations about how this show would be viewed and what Netflix wanted. We wanted to fill up the frame with as big an image on the TV as possible. When we looked at the various ways to approach that idea, this one seemed to be a balance between shooting for the big screen in 2.39:1, which I love. I’m not crazy about 16:9. So 2:1 was something that could work for the director and me. read more…

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FDTimes Japan: ALEXA Mini LF

With thanks to NAC Inc for translating the FDTimes Japan ALEXA Mini LF Special Report, here is the Japanese edition.

Paper copies were printed for the ALEXA Mini LF Launch in Tokyo yesterday.  The event was held at NAC’s office and in the café in front.  Yas Mitsuwa reports, “More than 120 people participated in the event and people are looking forward to this new camera.  Mr. Schenk and Mr. Shipman-Mueller were in Japan for the event.”

Special thanks to Yas Mitsuwa and Keith for the translation, and Amemiya san (Mr. InDesign).

Here’s the landing page for all FDTimes Japan editions. read more…

NAB 2019 FDTimes Slideshow

NAB 2019 was the year of Full Frame, Large Format, VV. The Big Picture. Anyone illusions of insufficient Full Frame lenses were quickly dispelled. They were everywhere.

ARRI launched ALEXA Mini LF. It was the camera ARRI users were waiting for. Light, small, flexible, Large Format.

Mole-Richardson’s new 20K LED draws 30 Amps and outputs the equivalent of a 20,000 Watt tungsten unit. You can plug it into 2 household sockets, as long as they are separate circuits. I always remember gaffer Sal Martorano’s motto, “A 20K is like a 10K with a double until you ask me for more exposure.”

Here are some of the things we didn’t cover in FDTimes April editionread more…

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IB/E Optics, TRIBE 7, BLACKWING 7 Lenses

Greetings from NAB Las Vegas. The question most asked has been, “Which German company is building the Tribe7 lenses?” Now we know: it’s IB/E Optics in Freyung, Bavaria. Read on… read more…

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New Blackmagic URSA Mini Pro 4.6K G2 with Blackmagic RAW

The URSA Mini Pro 4.6K G2  (Generation Two) camera comes with new electronics, a new Super35 4.6K HDR image sensor, 15 stops of dynamic range, 300 fps high frame rate shooting, Blackmagic RAW and more.

Blackmagic Design’s URSA Mini Pro 4.6K G2 is the second generation URSA Mini Pro camera with fully redesigned electronics and a new Super 35mm 4.6K image sensor. URSA Mini Pro 4.6K G2 supports Blackmagic RAW and has a new USB-C connector for direct recording to external disks.

The new URSA Mini Pro 4.6K G2 has many technological advancements over the original model. It has entirely new electronics for higher speed processing. The new Super35 4.6K image sensor captures up to 4608 x 2592 pixels with 15 stops of latitude at up to 3200 ISO. You can record full sensor 4.6K images at up to 120 fps, windowed 4K DCI up 150 fps, and windowed 1080 HD up to 300 fps. That makes URSA Mini Pro 4.6K G2 an excellent choice for slow motion stunts, documentaries, nature photography, sports and tabletop food commercials. read more…

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Blackmagic RAW

Blackmagic Camera 6.2 update enables Blackmagic RAW in the Blackmagic Pocket Cinema Camera 4K. read more…

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Angénieux and Cinema—from Light to Image

For quite some time, Angénieux has entertained the idea of doing a book about the incredible story of the Angénieux brand since the creation of the company in 1935. Angénieux is pleased to release a book around NAB exclusively for the cinema community before its release in book stores. It will be available via the Angénieux web site’s new e-shop. The bookstore release will come at the end of April in Europe and Cinegear time in the US. Worldwide distribution will follow.  The common thread of the book is the Angénieux company’s 80-year, long-lasting passion for cinema, complemented by industrial adventures in photography, television, medical, optronics, and also space exploration. read more…

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Canon Sumire Prime Lenses

Here’s an FDTimes Special Report on Canon Sumire Prime lenses. Download the PDF.

Canon Sumire Prime lenses with PL mounts arrive just before NAB 2019, eight years into the  impressive Cinema EOS evolution. These lenses are an inevitable sequel in Canon’s “episodic series” of more than 140 million lenses, including EF, EF-S and Cinema EOS lenses. Canon’s cine lenses have been largely centered on  producing a broad range of Super 35mm zoom lenses. The recent flurry of interest in Full Frame for cine spurred Canon to create a contemporary set of prime lenses with PL mounts and a unique, esthetically pleasing look.

Our special report begins with a quick review of Canon cinema lenses and Cinema EOS developments, and then moves to in-depth interviews with the lens designers and planners, a visit to Canon’s Utsunomiya factory to see how these lenses are made, and much more. read more…

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All Roads Lead to CVP

CVP has been doing business for 30 years in the United Kingdom and Europe. Now they have opened a veritable playground for camera crews in a unique showroom in Newman Street, London. Their CVP Fitzrovia townhouse is called CVP Creative Experience and has five floors of production equipment from major manufacturers, including Sony, Canon, ARRI, RED, ZEISS, Panasonic, Blackmagic and many more.

With NAB 2019 approaching, it’s good to review CVP’s impressive showing at BSC Expo 2019. Their exhibit serves as a model for many expos to come. The exhibit area was thoughtfully laid out–with lots of space and room to move. There was a lens bar, Macro area with little live creatures, studio setup area on tripods and heads, handheld arena, gimbal and drone park, monitor wall, and an enormous bar and lounge area. read more…

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Sasaki, Cioni and Panavision Large Format

Dan Sasaki, VP of Optical Engineering at Panavision, and Michael Cioni, Senior VP of Innovation at Panavision and Light Iron, have a few things to say about Large Format. Dan began, “In the last two years, I have seen more changes to lens imaging traits than I have over my entire time at Panavision. The changes in cinematography trends have made it possible for a new lens class to be introduced at nearly all of the major trade shows.” Read the entire interview.

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Amimon and Creative Solutions Report

Amimon Inc. was acquired by The Vitec Group on November 9, 2018. Amimon will be integrated into Vitec’s Creative Solutions division. Creative Solutions, with headquarters in Southern California, comprises Teradek, SmallHD, Wooden Camera, Paralinx, Rycote—and now Amimon. If you work with wireless video, chances are that an Amimon chipset is inside. It’s somewhat like computers having the label “Intel Inside.” Amimon designs and provides the proprietary chips and circuits inside most of the wireless products from Teradek, Paralinx and SmallHD, as well as ARRI, Transvideo and other companies. Amimon’s technology paved the way for user-friendly and reliable wireless systems that “cut the cables” between camera, video village and video monitors on set—and has grown to the point where wireless video is now an expected and essential ingredient of most productions. read more…

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Sony’s Atsugi Technology Center

The Sony Atsugi Technology Center sits on about 25 acres next to the Sagami River in Kanagawa, Japan. It’s a 1 hour ride southwest of Tokyo. Opened in 1960, this is where Sony engineers devised Electronic News Gathering (ENG) in 1971. The digital VTR was launched here in 1987. F35 was Sony’s first Super35mm, PL-mount, single-CCD Cinealta camera–it came in 2008. Next came a rapid succession of digital cine cameras. And then came VENICE, in 2017. That’s the reason we’re here in Atsugi: to visit the team that developed, and continues to support, the Sony VENICE camera. read more…

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NAB 2019 Show Preview

The 2019 NAB Show exhibits will be open from April 8-11 in the Las Vegas Convention Center with many product announcements, a greater focus on cinema and a new area in Central Hall called Cine Central. read more…

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