Canon 7D FGV-PL at CSC

March 9, 2010

We tested the new FGV PL-mounted Canon EOS 7D at ARRI/CSC today. Solid as a block–which is how the mount is machined–from the same custom block of metal that holds the CMOS sensor. FGV removed the entire mirror and optical finder assembly, and replaced it with theirs. This saves weight, and as you can see, supports a big ZEISS Master Prime without sagging. The flange focal distance came up perfectly using test targets and tapes. (yes, you can have your favorite lens technician adjust its shims).

Be sure to get the custom riser plate made by FGV for the Canon 7D.

Take a look at this clip of the FGV-PL 7D, shot with a Canon 1D mk IV at 24p 1920×1080. Although it looks kind of impressive on an Arrihead, that’s sort of the digital equivalent of using an Eyemo on a geared head. How often would you do that? As Joe Longo used to say, “It’s like taking a bath with your socks on.” In other words, you probably wouldn’t do it too often. The point of the FGV-PL is to provide a solid grab camera, for POV shots, rigs, handheld, run ‘n gun, action, sports, adventure. This is the perfect Directors and Cinematographers Finder. It accepts all PL mounted lenses. It’s also a great B camera, or B through Z camera on multiple camera setups like stunts.

The first FGV-PL Canon 7D cameras are being delivered to ARRI/CSC in New York, ARRI Rental in Munich, and I heard Otto Nemenz is getting six. Be there. Aloha.

Assisted by: Clementine Garcia, Pedro Corcega, Gus Gustafson, Phil Gosiewski.

Topics: ARRI, Canon, EOS 7D, Otto Nemenz Intl and ZEISS

PL Mount for Canon 7D from FGV

March 6, 2010

FGV Schmidle is a respected rental house in Munich and Berlin, with more than 35 years’ experience. Their PL retrofits for Canon EOS 7D HDSLR cameras appear to be the most sophisticated yet; we’ll be testing them next week. The excellent idea is how they’ve attached the PL mount to the base, which adds rigidity and provides three 3/8 x 16 standard threaded tripod mounts to prevent the camera from twisting–which it normally does with its standard, puny, single 1/4 x 20 socket.

You can use all known 35mm PL-mount motion picture prime or zoom lenses (Zeiss, ARRI, Cooke, Angénieux, Red…). However, since I suspect many of you are planning to use this camera as an Eyemo style crash camera, be sure to rent a real crash or splash housing, and consider using lenses that you would, as they say in the stock market and financial world, be willing to lose.

To use all PL mounted lenses, FGV redesigned the original plastic housing for the mirror and the sensor mount, and fabricated the mount assembly out of a single metal block. The SLR mirror, autofocus unit, groundglass and the prism viewfinder had to be removed. So, for focus and viewing, you need to use the Live-View mode, which has a decent magnification for critical settings. The FGV-PL7D is designed to be truly rock-solid even with big and heavy zoom lenses known from film sets: the new FGV sensor carrier module weighs more than 300g alone. The new sensor carrier for the original 7D CMOS sensor is a rugged and very precise imaging unit. For external Start/Stop with a Lens Control System or a simple remote switch there is a 3-pin Fischer connector. The rest of the camera stays the same.

The 7D shoots frame rates of 23.98 / 25 / 29.97 fps @1920×1080 as well as 50 / 59.98 fps@1280×720 or 640×480.

The sensor format is good for 1:1.78. The actual sensor size is 22.3 x 12.53mm, which is comparable to motion picture Super 35 – 3 Perforation ANSI 1.78 format (23.11 x 12.98mm). So, the 7D active senor size is very close to the standard 3 Perf film format.

On that subject: the 5D covers 36 x 24mm, but most motion picture lenses cover  24 x 18mm.

Delivery begins now with ten units for the ARRI Rental Group in Munich, ARRI CSC in New York, and six units for Otto Nemenz International in Los Angeles. You too can buy one on a “first come, first served” basis, for around 4.750 Euros + VAT (around $ 6,500). Take a number. Can you still use the PL7D as a stills camera? Yes you can. The shutter remains intact in the camera, so you are able to take photos in “Manual” and “Av” mode. However, you have to focus manually with the live view function on the LCD screen at the back of the camera (or an external monitor). Since there is no mirror, the autofocus unit and the optical viewfinder were also taken out. Consider the PL7D just like a regualr point and shoot camera – just a lot more expensive, with PL mount, and but it comes with a great display and an easy magnification mode for critical focus.

Of course, the modification voids the original Canon warranty. However, check with FGV on their liberal warranty and repair policy. www.fgv-rental.de

Topics: Canon and EOS 7D

OConnor Follow Focus

March 5, 2010

OConnor Introduces Cine Follow Focus CFF-1
Jim Elias and Eric Johnston are now at OConnor, and  introduce the first product off their assembly line: the Cine Follow Focus CFF-1. What’s different or special about it?

1. It attaches to 15mm or 19mm studio rod systems.

2. It has the lowest clearance of any double-sided studio unit, so it works with large diameter lenses such as the Angenieux 24-290mm, Red 18-85mm, Fujinon 18-85mm, Fujinon 75-400mm, and almost any other fat lens.

3. Works with existing popular accessories such as whips, gears, and cranks.

4. Mounts to either side of the lens, and slides horizontally to adjust the focus drive gear for a clear line of sight.

List price for the OConnor Cine Follow Focus starts at $4,500. A variety of options – such as a wooden handle – will be available. Nice idea. Scheduled for April 2010 delivery.

Go to Youtube Video…

Topics: OConnor

Earthquake in Chile, Report by Juan Pablo Fabres

March 5, 2010

TOTALLY UNOFFICIAL REPORT, JUST PLAIN NEWS AND PERSONAL COMMENTS

by Juan Pable Fabres, Even though we should be used to and prepared for these events, an 8,8º earthquake affects and scares us all.

As you can see on the map below, the center of it was around 400 KM. (248 miles) south of Santiago, by the shore. A big circle around the epicenter (my guess, 400 km. diameter) is really hurt. Rural areas, small villages and towns with old adobe houses were devastated. To make things worse, a tsunami affected a big part of the cost, causing more destruction, personal loss and missing people. Energy and water cuts are affecting most of that area. The damage to modern buildings and public infrastructure are blamed for construction errors, or even builders greed, unjustified cost savings, even considering the strength of the earthquake. Food supply is assured, medical aid is there, and rescue teams have been working nonstop. As I said before, we do have to thank our building regulations, good engineering and general quality of our building system.

Most of Chile is up and working, and many, many more lives were saved for this reason. Chile mourns today the loss of around 1000 fellow men, women and children. Today, the best of Chile is showing up. Solidarity, commitment, generosity and compassion, as always on these occasions, are moving us all. We are working hard to be back on track again, and help all people in need. Schools and universities were finishing their summer holidays, and all students are committing their time to help, collect goods, organize, and contribute. Santiago is back to almost normal. Very few spots in the city show damage. Everywhere, different organizations are collecting whatever might be of help. We see, at every level of society, concern, sacrifice, and a spirit of progress, growth, reconstruction, support and hope that is stronger than ever.

Our Cine Industry is pretty much unaffected. All Rental Houses are up and working. Labs, Transfer Houses, Post Production Facilities, Crews, Technicians and Talent, as far as I know, are healthy and eager to work. All of us had things broken and lots of cleaning to do. A couple of Advertising Agencies had more serious damage on their premises, but normal life is back for most of us. We at JPF, our families and homes, are well. We’ve been shooting steadily since Tuesday. Our studio is working, equipment almost untouched. A big mess on papers and files, and minor repairs will have to be done. Many thanks to all of you for your phone calls, messages and prayers. We hope to see you around here sometime soon. It may shake a bit, but it’s part of the package.

Juan Pablo Fabres
JPF Cine S. A.
www.jpfcine.cl

Topics: General

Alexa’s Left Hand

March 2, 2010

Great news for everyone who wants a camera that doesn’t assume you’re right-handed, right-eyed or right-shouldered. Here’s an unofficial sneak peek at the camera-left side of a very recent prototype ARRI Alexa A-EV. They’ve moved the operating controls up, making room for a handgrip rosette mirroring the one on the camera right side. Last seen on the Arriflex 16SR3, I’ve been whining and pining for the return of the left handgrip rosette lacking on every camera ever since. Looks like ARRI listened. A symmetrical camera once again. I find it much easier to attach left and right handgrips directly to the rosettes instead of the rods–much simpler, and they don’t twist. I trust I’m not the only one who wanted this; please let us know using our contact form. Alexa makes her grand debut at NAB. Check here for further updates.

Topics: ARRI

Clairmo – Clairmont Canon 1D PL

February 23, 2010

The race is on. Canon PL. Eyemo of the digital age. This just in from Alan Albert, Executive VP of Clairmont Camera, Hollywood: “Right now we have this one camera only, but plan on making more for our rental departments in the U.S. and Canada. The camera functions in both the Video and Still modes albeit without the optical reflex viewing. Time will tell if we will offer this conversion as a “sales” item to 1D MK4 owners, since our main objective is to support our Rental clients first.”

Topics: Canon, Clairmont and Cooke

ARRI Alexa first working prototype

February 23, 2010

The first working prototype of ARRI’s Alexa was shown “out of competition” at the AFC Micro Salon last week in Paris. Introduced by ARRI General Manager Stephan Schenk and Cinematographer Frank van Vught, this is the first of the three Alexa siblings–the A-EV (Electronic Viewfinder). Last seen (by me) at IBC as mockups and breadboards, this was the real deal. The official launch will be at NAB.

What astonished me was how easy it was to work with Alexa. Dare I say it? Menus easy enough to navigate that even a cinematographer can understand. But seriously, I was able to learn how to use the camera in about 5 minutes. The commands and buttons are familiar, like a film camera: FPS, Shutter, EI (Exposure Index, ISO), and WB (Color Temperature). Real buttons control each function; you don’t have to drill deep into menus. The display is intuitive, and you can see all your settings at once.

Alexa sits comfortably on the shoulder. Lightweight support rod receptacles are molded into the front of the casting. You’ll be able to use a 235-style baseplate or a video-style mounting plate. Shoulder pads attach to the bottom. The viewfinder is adjustable for almost any camera operator’s comfort. I think there will be a handgrip rosette on the camera left side, like the 16SR–which should make this a symmetrical camera that works equally well handheld on either left or right shoulder.

People were wondering whether Angénieux Optimo Rouge lenses would fit on Alexa. They do. That’s Angénieux CEO Philippe Parain, below. I wonder whether ARRI-Blue rubber rings will be available as a future option, offering a choice of Optimo Rouge or Optimo Bleu? The significant thing about Optimo DP (Rouge or Bleu) lenses on the Alexa is how well they balance for handheld shooting. The DP 16-42 gets you close (and wide) to medium; the DP 30-80 covers medium to portrait CU angles. Of course, the original Optimo 15-40 and 28-76 fit Alexa just as well–the difference is cost and quality.

The color electronic viewfinder adjusts to almost any viewing position. I understand the mounting system may be modified slightly from this picture. Notice the lightweight support rod receptacles below.

There may be a handgrip rosette on the camera left side. The buttons might be moved higher.

Topics: ARRI, Arriflex and General

Aaton Penelope-D (Digital)

February 23, 2010

The eagerly awaited Aaton Penelope-D Digital Magazine will have her world premiere at this year’s NAB. She snaps onto the Aaton 35mm Penelope, which will become the first hybrid 35mm camera–numérique et argentique (digital and silver).

At last week’s AFC Micro Salon, Jean-Pierre Beauviala told me that Penelope-D’s 95% Pixel-Fill Ratio CCD chip is 3-Perf size (perhaps a new sensor from Dalsa), and might reach a dynamic range of 13 stops.

More details coming soon…

Topics: General

Kodak App

February 20, 2010

Kodak’s new Film Calculator and Glossary is now available as a free download from the iTunes App Store.

It helps you calculate the running time for any length of film in any format. It also tells you how much film you’ll need for a specific amount of time.

To use the Film Calculator, enter the information you know: format, length, run time or frame rate. The App then calculates and supplies the other variables. Film length can be measured in feet or meters for all formats, including Super 8, 16 mm, 35 mm, three-perf 35 mm, and 65 mm film.

For more information, visit the Kodak website or go to the iTunes App Store

The application also includes Kodak’s very helpful and well-written glossary of practical definitions for hundreds of production terms–useful for everyone, from students to grizzled experts.

It’s a good airport read next time your flight is delayed, and by the time you arrive on set or for a panel discussion, you’ll sound like a guru or grand wizard of a technical committee. Here’s a sampling:

4K: A digital image 4096 pixels wide. A standard 4K scan of a full 35 mm film frame is 4096 x 3112 pixels.

3D LUT: A 3-dimensional lookup table is a static color translation table that converts a set of three input color values to another set of three output color values.

Anamorphic: An optical system having different magnifications in the horizontal and vertical dimensions of the image. Basically, special camera lenses squeeze the image horizontally at the time of exposure. This 2-to-1 (sometimes 1.3:1) squeeze uses as much of the negative available and still allows room for an optical sound track on the release print. The print is un-squeezed by the projector lens, which gives the characteristic wide screen (2.35:1) aspect ratio.

Gamma: Measurement of the contrast of an image, representing the slope of the straight-line portion of the characteristic curve.

D Log H Curve: The curve showing the relation between the logarithm of the exposure and the resultant density on the processed film. Also called the characteristic curve.

Topics: Kodak and iPhone

Canon Rebel T2i

February 18, 2010

When I told my Columbia University graduate students about the new Canon Rebel T2i HDSLR camera today, the class almost evacuated in a rush to try to buy one. It will cost less than a round trip ticket to Sundance, and is expected to deliver in early March for an estimated retail price of $799.99 for body only, and $899.99 for body and Canon EF-S 18-55mm f/3.5-5.6 IS zoom lens. The Rebel T2i Digital SLR camera shoots 18-megapixel still images at up to 3.7 fps, has an ISO range of 100-6400 (expandable to 12,800), a 63-zone Dual Layer Metering System, and Canon’s DIGIC 4 Imaging Processor. Yes, of course: it does full HD 1920 x 1080 at 30 (29.97), 25 or 24 (23.976) fps, and HD 1280 x 720 or Standard Definition 640 x 480 quality video, at 60 (59.94) or 50 fps–with manual exposure control, selectable frame rates and an external microphone input. Sounds very similar to the specs of an EOS 7D at entry-level prices in a less rugged, but still very capable body.

My friend Bruce Dorn adds: “The T2i uses SD cards (the 7D uses Compact Flash cards).  This thing is feather-light, and probably great for awkward or high-velocity mounts.  Perfect for potentially destructive set-ups. The ability to pick up a last-minute back-up body at Costco or Best Buy could be a significant advantage in some circumstances…no weatherizing at this level, however.”

Topics: Canon