JVC Shows Handheld 4K Camcorder at CES

1/10/12 | by Jon Fauer
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It’s here! JVC Professional Products Company, a division of JVC Americas Corp., today announced the GY-HMQ10, the world’s first handheld consumer-priced but professionally potent 4K camcorder at CES. Anyone wondering whether all the flurry over 4K monitors would be in vain for lack of 4K content has only to fight through the crowds at JVC’s booth to see a breakthrough 4K camera. You may not be watching network 4K broadcast for a while, but you can simply plug in your new HMQ10 directly.

It which captures, records, and plays video images at 3840×2160, which is 4 times the resolution of HDTV 1920×1080. JVC’s Falconbrid large-scale integration (LSI) chip for high-speed signal processing and a 1/2-inch CMOS imager with 8.3 million active pixels, delivers real-time 3840×2160 footage at 24p, 50p, or 60p.

The big thing here is the ability to capture, process, display and record full 4K images in real time, without external processing.

JVC’s Falconbrid LSI processing takes raw image data from the camera’s CMOS device and debayers it in real time. Unlike many high end 4K cameras, the GY-HMQ10 is able to output 4K images to a monitor or projection system in real time with virtually no latency. This capability opens up applications in cinematography, medical microscopy, specialized observation, surveillance, and live wide-view event coverage.

Using MPEG-4 technology and a variable bit rate H.264 codec operating at up to 144 Mbps, the GY-HMQ10 records up to two hours of 4K video to economical SDHC or SDXC memory cards.

In addition to 4K imaging, the GY-HMQ10 also captures and records 1080i or 1080/60p full HD. HD is recorded on a single memory card in a format compatible with most editing systems. This combination of 4K and HD imaging was requested by attendees of JVC’s 4K forums (we participated at Cine Gear Expo 2011), conducted throughout North America last year, and is unique in the camera industry.

Similar in size to JVC’s popular GY-HM150 ProHD camcorder, the GY-HMQ10 includes a build-in F2.8 10x zoom lens with optical image stabilizer, as well as a color viewfinder and 3.5-inch touch LCD monitor with a new user interface.

The GY-HMQ10 is equipped with manual level controls for audio, with audio metering in the LCD and viewfinder displays. A microphone holder and two balanced XLR connectors with phantom power are located on the handle. The camera is equipped with a built-in stereo mic for ambient sound pickup.

Other features include JVC’s patented Focus Assist, as well as manual and auto control of focus, iris, gain, shutter, gamma, color matrix, and white balance. The cameraman output  live 4K via four HDMI terminals.

“Historically, JVC has been a leader in camcorder and display technology, and the GY-HMQ10 is our latest breakthrough,” said Edgar Shane, general manager of engineering.  “It’s part of a larger move at JVC to bring 4K technology to a wide range of customers.” In September 2011, JVC introduced an affordable line of 4K projectors to the home theater market. The company’s high-end 4K projectors are widely used in commercial flight simulators and planetariums. “4K is the logical step beyond HD,” said Shane. “And JVC is uniquely positioned to lead the industry in this new direction.”

JVC’s move into professional 4K will be unveiled in a series of industry announcements beginning at CES and continuing throughout 2012. We’ll stay tuned.

At a retail selling price of $4,995, the GY-HMQ10 launches today, with market deliveries beginning in March 2012..

Topics: JVC

FUJIFILM X-Pro1 FUJIFILM X-PRO1

1/10/12 | by Jon Fauer
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 FUJIFILM North America Corporation introduced the FUJIFILM X-Pro1 interchangeable lens digital camera system at CES today. Three technological advances make this camera interesting not only for still photographers but also for cinematographers and the people who design motion picture cameras.

1. CMOS Sensor without low-pass filter

Fujifilm has developed a new CMOS sensor called the X-Trans CMOS. It does not need an optical low-pass filter. The new color filter array is inspired by the random arrangement of fine film grain, removing the need for an optical low-pass filter to solve moiré and false color issues.

In the array, RGB pixels are arranged in 6×6 pixel sets with high aperiodicity (randomness). Increasing the degree of randomness eliminates the fundamental cause of moiré and false colors – a problem that occurs in conventional arrays when shooting stripes and other repeating patterns. The presence of an R, G and B pixel in every vertical and horizontal pixel series minimizes the generation of false colors and delivers higher color reproduction. Furthermore, the absence of optical low-pass filter improves resolution.

As a result of using a film-inspired array, a more powerful processor was required to process the image signal data. So Fujifilm has developed the EXR Processor Pro for  high speed and high precision image processing.

Cine cameras will benefit from this low-passless technology. I’m reminded of the P+S TECHNIK PRO35 Image Converter that used an oscillating ground glass to capture video images with 35mm format lenses. The random pattern of the moving grains gave a film-like look to the video images.

2. Hybrid Multi Viewfinder

First introduced in FUJIFILM’s X100 digital camera, the X-Pro1 Hybrid Viewfinder has the ability to instantly switch between an Optical Viewfinder and Electronic Viewfinder. For the brightest viewing image, and to keep shutter lag to a minimum, users should choose the Optical Viewfinder. Those wanting focus confirmation, exposure information, white balance information and depth of field indicators should switch to the Electronic Viewfinder.

The Electronic Viewfinder provides a “Live View” of your composition. This fusion of technologies allows “Leica-like” composing of images through a bright rangefinder viewfinder, and also has the option to overlay vital picture taking information should this be required.

Changing between the two viewfinders is simple, thanks to the switch on the front of the X-Pro1 body. When attaching a FUJINON XF-series lens on the X-Pro1, both the viewfinder magnification and bright frame size automatically switch to support the lens focal length. Viewfinder magnification switches to 0.37x for the 18mm lens, and to 0.60x when the 35mm or 60mm lens is mounted, letting you compose your shot with the bright, crystal clarity of an optical image. The X-Pro1 also lets you manually set a focal distance and switch between viewfinder magnifications.

Someday cine cameras will use hybrid viewfinders, I think.

3. FUJIFILM X-Mount

Flange focal depth is getter shorter. This allows lenses to be designed that are smaller, lighter, faster, less expensive. Specifically designed to take advantage of the mirrorless design of the X-Pro1 body, the X-Mount has a short flange-to-image-plane distance of 17.7mm.

I can hear the CNC machines revving up in Munich, LA, London and elsewhere. P+S TECHNIK, 16×9 Inc, Hot Rod Cameras, Denz, Mike Tapa, Peter Denz, Alfred Piffl, Ken Robings are all surely yearning for this camera as a wonderful platform onto which to fabricate PL to X-Mount adaptors–to be used as directors finders, lens test cameras, and PL still cameras.

What does this mean for the motion picture market? Shorter flange focal depths in the future.

Specs

Complete camera specs are available online on Fujifilm’s X-Pro1 Website.

 

The FUJIFILM X-Pro1 will be available in February 2012, and the price will be announced in late January 2012.

Topics: Fujifilm

Charlie Davidson at Tiffen

1/8/12 | by Jon Fauer
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Charlie Davidson has been appointed Vice President at Tiffen for Strategy and Market Development. He will be responsible for all of Tiffen’s product lines.

“As Tiffen expands its consumer and professional product, it is important that we align our management team to support our growth. Charlie possesses the key combination of technical expertise and a successful track record of business leadership and innovation. This is extremely important for helping managing the growth of our business,” said Steve Tiffen, President and CEO, The Tiffen Company. “We look forward to the benefits and new business opportunities that Charlie will bring to the Tiffen family.”

Charlie joins Tiffen from ARRI Inc, where he was Chief Operating Officer. He has worked in  the camera and lighting industry for more than 30 years. As head of lighting at ARRI Inc, he developed ARRI’s markets in the US, North and South America.

Charlie said, “I’m excited to join the Tiffen Company and help each of its great brands plan for future growth.”

In addition to having been a long-time guru to FDTimes on all things camera and lighting,  Charlie’s exploits as an avid sailor have put him on our speed-dial list.

Topics: Tiffen

Angénieux in Singapore

1/4/12 | by Jon Fauer
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The First Rendezvous with French Cinema festival took place in Singapore from December 8 to 13. Organised by Unifrance, Institut Français and Alliance Française de  Singapour, the festival helped promote the latest French films to International and Asian audiences. Over 20 films were screened at four venues: Golden Village Vivocity, Shaw Theatres Lido, The Cathay Cineplex cinemas as well as the Alliance Française Theatre.

(Picture above: Artistic delegation, L to R: Antoine de Clermont-Tonnerre -président of Unifrance, Mme Carole Bouquet, Stéphane Rybojad director, Ismaël Ferroukhi director, Gilles Paquet-Brenner director, Fred Cavayé director, Rithy Panh director, Catherine Dussard producer, Mathieu Demy director and actor, Pio Marmaï actor, Rémi Bezançon director.)

As official Film Industry Sponsor, Angénieux was prominently in attendance, showing its commitment to French cinema, demonstrating its cinema lenses for high-quality filmmaking, and supporting Singapore’s cinema student community. Angénieux zoom lenses were used on the production of many of the films selected for the festival, including Un Heureux Evenement / A Happy Event (Director of Photography: Antoine Monod), Sarah’s Key (Pascal Ridao), The Well Digger’s Daughter (Jean-François Robin), The Monk (Patrick Blossier), Free Men (Jérôme Almeras), Beloved (Rémy Chevrin), and The Minister (Julien Hirsch).

Optimo 24-290 in Unifrance booth at ATF - Asia Television Forum

Singapore is becoming an international media hub and offers several degree programs for cinema students. Angénieux presented its zoom lenses to students at master classes organised at Ngee Ann Polytechnic and Nanyang Technological University School of Art, Design and Media.

During the master classes, Remi Bezançon (Director), Pio Marmaï (Actor) and Antoine Monod (DP) presented their movie A Happy Event and answered general questions.

L-R: Dominique Rouchon, Angeneiux Int'l Sales Director; "A Happy Event" crew: Pio Marmaï actor, Remi Bezançon director, Antoine Monod AFC, DP

Antoine Monod shared his experiences using Angenieux zoom lenses:

“I immediately accepted Angenieux’s proposal to present my experience to future cinema professionals. It was the occasion to show exacting pictures and to explain technical and artistic aspects of my way of working. On all my latest movies, most of the time I’ve used an Angenieux Optimo 24-290 that perfectly matches with the best prime lenses. This choice allows me to have permanently on set the longest focals that I particularly appreciate. Moreover, from a practical and economical point of view, a zoom lens allows the second unit to be autonomous to shoot without the need to rent extra equipments, which is really appreciated by productions! On Coach, one of my last movies, I used exclusively the lightweight Optimo 15-40 and Optimo 28-76. They gave us opportunity to improvise on set while keeping the highest image quality. I’ve also just finished the 3D short film Eve with a set of two matching Optimo DP 16-42 zooms. We wouldn’t have been able to make this movie without them. 3D requires many very precise camera adjustments each time we change the lens. That can last up to one hour. Thanks to Optimo 3D-ready zooms, the focal length change is nearly instantaneous. We can double number of takes in one day.”

About the First Rendezvous with French Cinema Festival

Organised by uniFrance (the association responsible for the promotion of French cinema internationally) the Institut Français and the Alliance Française de Singapour, the First Rendezvous with French Cinema festival was organised to promote the best of contemporary French cinema to international and Asian audiences and, in partnership with Asia Television Forum (ATF), Asia’s leading content market, to offer a business platform and networking opportunity for French and regional cinema industry players.

Mr Olivier Caron, French Ambassador in Singapore, Mme Carole Bouquet, Mr Antoine de Clermont-Tonnerre, President of Unifrance, Mr Pio Marmaï actor, Mr Olivier Gougeon, Regional Chief Executor Officer-Asia Pacific

The festival paid homage to Carole Bouquet, who led the delegation of actors and directors in Singapore for the occasion, through a retrospective segment featuring five of her films. French cinema icon Catherine Deneuve also took part in the festival to present her latest film Beloved / Les Bien-Aimés.

Linda Carriel

At the opening ceremony, Angénieux’s égérie (fashion icon) Linda Carriel was dressed by French couturier Julien Fournié and jeweller Swarovski, the festival’s official fashion sponsor. Whenever you see a crowd of cinematographers allegedly testing lenses in the  Angénieux booth at any worldwide trade show (IBC, NAB, Cannes), Linda is sure to be there posing for the cameras in her latest fashions.

Additional Interesting facts:

Unifrance

Unifrance promotes French cinema throughout the world. Created in 1949, Unifrance is under the supervision of the CNC (Centre national du cinéma et de l’image animée). The association has nearly 600 members: producers of feature films and shorts, exporters, sales agents, directors, actors, authors (screenwriters) and talent agents.

Alliance Française de Singapour

The Alliance Française de Singapour, founded in 1949, is a non-profit educational organization. With headquarters in Paris, it is one of 1,085 Alliances Françaises worldwide and serves 6,000 students every year. It is Singapore’s premier French language school as well as a cultural center. bringing together artists from around the world.

 

 

 

Topics: Angénieux

DENZ Camera Base Plate

1/4/12 | by Jon Fauer
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DENZ has designed and manufactured a new camera base plate for most film and digital cameras.

With  black anodized aerospace materials, Denz’s BP-multi (code 301.0377) was introduced at IBC 2011 for video and film cameras from ARRI, RED, Sony and Panasonic. Cameras attach with 3/8 x 16 or ¼ x 20 screws (included). The BP-multi is designed for 19 mm rods. The dovetail plate attaches to standard sliding baseplates. At the front and back there are two ¼” holes at a distance of 60mm. You can also use Ø 15mm rods. A center offset of 16 mm (like BP8) is achieved if you unscrew the mounting plate.

A matching adapter plate RED/Epic (code 301.0376) can be supplied. This compensates for RED’s height difference when using all standard accessories (matte box, studio follow focus, etc). The adapter is supplied with two 3 / 8 “screws.

More information: www.denz-deniz.com 

Topics: Accessories

Leica and Kodak Articles in Spanish

1/1/12 | by Jon Fauer
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Two Film and Digital Times articles in Spanish: “Interview with Leica’s Dr. Andreas Kaufmann” and “Tour of Kodak.”

The Leica article was translated by Delfí Reinoso from Barcelona on the Leicaeme.com Website (12/2011). Leicaeme.com is a collaborative project of people involved in the Leica (en Español) Flickr group.

Leica users are everywhere. The Leicaforum is in English, German and Russian; Summilux.net is in French; Leica Forum and Red Dot Forum are in English, Leicapassion is in Italian, and Leicaeme.com is in Spanish.

Delfí Reinoso, webmaster and the person in charge of Leicaeme.com development, explains, “Leicaeme stands for Leica M in Spanish (Leica-Eme). We want to serve the Spanish speaking community with information on Leica photography. Especially the rangefinders from the screw mount cameras to the digital M9-P. We would love to have more S2 users. Now we have a forum and the blogs, a gallery, news on the front page and soon we’ll have a Documents repository, a Wiki and more news pages.

The Kodak article was translated by Pedro Luis Bello, with editing and layout by Marcelo Ragone, a professor at the Cinema School in Buenos Aires, Argentina.

Delfí, Marcelo, Pedro: Thank you very much for widening our horizons.

Bookmark this page for FDTimes Spanish editions:  fdtimes.com/spanish

Topics: Kodak, Leica

Y4K

12/29/11 | by Jon Fauer
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The Oracle of FDTimes speaks: two more days before 2012 futures are due. Here are our soothsayings.

Y4K

2012 will be the “Year of 4K.”

Like HDTV, it could be premature. 2013 and 2014 will also be the “Year of 4K.” Remember when 2005 was the “Year of HD,” after its US introduction in 1998? This time, it will not take so long. In fact, 4K home TVs should soon be on display in Best Buy stores everywhere, and in your home as soon as prices drop to affordable levels and carpenters can be rounded up to pry the current crop of HDTV and 3D sets from your home theater, den and living room wall systems.

We’ll know for sure beginning January 10 when CES opens in Las Vegas. I’ve heard of at least a dozen vendors planning to introduce big flatscreen 4K consumer televisions. The Consumer Electronics Association (CEA) represents the $186 billion U.S. consumer technology industry. All those televisions, tablets and tele communicators make the $10 billion US movie box office look almost like petty cash.

Although we think of 4K as 4096 x 2160, consumer 4K television is usually 3,840 x 2160 resolution.

At CES, LG will be showing an 84″ 4K television. Sony and JVC are expected to show 4K home theater projectors. The list will grow.

There will be the usual salvo of denial about whether you can see the difference between HD and 4K. This will follow the “my grandmother can’t tell the difference between color and her old black and white set” discussion. Your grandmother will not have to sit at the the old 4 to 6 times screen-width optimum viewing distance. She can sit at myopic distances for an immersive, almost 3D and lifelike experience. HD at 1920×1080 is 2,073,600 pixels. 4K is 4 times more resolution at 3,840×2160=8,294,400 pixels.

Bit depth, contrast, dynamic range, longevity of circuits, life of bulbs, and quality of close-up reading glasses may be considered.

4K Cinema

A prominent image scientist told me, “We all know that there are different places to sit in a movie theater. The last rows are good for kissing in the dark. The middle is good for enjoying the film. And the first row is for geeks, pixel-counters, and people who arrive late.”

You don’t have to be a geek to enjoy the new 4K projectors from the front rows. Which may be why theater owners and producers are going to love 4K production and 4K projection: you can sit it the front row and it still looks great. There’s no noise or grain. They will be able to pack more people into the theater, even up front.

Rob Hummel is well-known for his lectures on scanning motion picture film at 4K. Up to now, that has been the realm of high-end effects films, rare restorations and a few big budget studio features. I think we’ll see more 4K DI scans and film-outs, as storage of the estimated 65 Terabytes required gets cheaper and more prevalent.

And, of course, Richard Edlund ASC predicted long ago where we are today with 4K digital cinema cameras that are raising the bar in the production process.

Apple TV

Rumors already abound (AppleInsider, MacRumors) about Apple introducing 32″ and 37″ TV sets in 2012. They probably will not be 4K at first (although I hope they are.) Content will probably come via Internet, and control could be Siri style voice command. The holy grail of “any program anytime anywhere” has so far been saddled by slow download times: typically it takes an agonizingly long 1.5 hours to get an HD movie from iTunes Store to iPad here in New York with high speed Time Warner Cable. A few years ago, it took a mere five minutes to rent a DVD from the local video store across the street. Unfortunately, DVD stores in New York are as vestigial as another good technology that worked quite well in New York and LA, but was too hastily replaced: trolley cars.

Happy New Year. I should heed the advice of Clyde Haberman in the New York Times: “We remember words of caution from the late New York columnist Murray Kempton, who once said that his main virtue as a prognosticator was to be wrong 10 minutes ahead of everyone else.”

Picture above: “The Delphic Sibyl,” Michelangelo Buonarroti, 1509, fresco, Sistine Chapel, Rome  (138 x 150 inches) 

 

 

Topics: Products of Note

Royal Photographic Society Gets Moving

12/29/11 | by Jon Fauer
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The Royal Photographic Society (founded 1853) announces a new category for its renowned Distinctions program. Called Multimedia and Narrative, it embraces moving image, audio visual and multimedia, and launches in January 2012.
The new category consists of work that needs to be viewed over a period of time. The “narrative” of the title emphasizes the universal storytelling element of all areas to be considered by the panel.
Dr Michael Pritchard FRPS, the Society’s Director-General, said: “We are well known for our still images with some of the world’s best photographers represented. What has made The Society a world leader for more than 150 years is its ability to change with the times. That is why it is embracing the fact that people take – and make – images in ways unimaginable to our predecessors. We now have iPads, iPhones, apps, mobile phones, 3D, motion capture and thermal imaging and we have to recognise them. The tools to create images may have evolved but our distinctions assessment remain about recognising technical competence and creativity”
The Society recognises that more people take images on their mobile phones than with a digital camera and welcomes new and creative techniques.  Submissions are invited from anyone of any age and using any platform. Licentiate applicants do not have to be a member of The Society.

here are two Levels for the Multimedia and Narrative Distinction:

  • Licentiateship: one sequence/production (moving image, audio visual or multimedia) with a maximum duration of 10 minutes.
  • Associateship: one or more sequences/productions (moving image, audio visual or multimedia) with a maximum duration of 20 minutes.

Full distinction requirements can be found here: http://www.rps.org/resources/downloads/MULTIMEDIA.pdf

The Society is holding a special advisory day for anyone considering submitting work for the new Multimedia and Narrative Distinction at Fenton House in Bath on 29 February 2012. Applicants will receive advice on their submissions from three members of the new panel, and work in progress is welcomed: http://www.rps.org/distinctions_workshops/view/2422
The first assessment day for the new distinction is at the same venue on 4 April 2012.
Image above: Arthur Clive Banfield (1875-1965), ‘The Life History of a Splash, Series II’, c. 1905, Carbon print, The Royal Photographic Society Collection at the National Media Museum

Topics: Museums and Societies

Epic Rain Covers

12/28/11 | by Jon Fauer
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Elaine Fasula and crew at Ombre have created a new rain cover for RED Epic and Scarlet cameras. Made of breathable waterproof fabric and see-through material, you should never leave your studio without an Ombre rain cover. Come to think of it, they could come in handy even in a studio when the roof leaks or the sprinklers sprinkle.

This is the same Elaine who makes Alexa rain covers, laptop sunshades, and legendary camera barneys.

Available from Off Hollywood, Handheld Films, and directly from OMBRE.US

Topics: Accessories, Red

The Lighting of Tintin

12/21/11 | by Jon Fauer
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“The Adventures of Tintin” opens today. Director Steven Spielberg gets an additional end credit for lighting. The lighting is exquisite. It truly is a work of animated art. Attention to detail, single sources, shadows, composition, separation, and all the ingredients of good gaffing abound.

Thundering typhoons, the virtual camera work is astounding–swooping, looping, flying, moving in places real cameras on real remote heads couldn’t possibly navigate. Flashing back three centuries earlier, a naval battle that would shiver the timbers of any live-action marine coordinator takes us to places few have imagined. Spielberg should also get credits as virtual dolly grip, remote camera operator and rigging ringmaster.

This is the best 3D I have seen. After a few minutes, I forgot I was watching an animated movie and never had the urge to pull off my 3D glasses. Although some Tintinologists have lamented the richness of technique or whined about more character development, it’s all about the technique, lighting, style, and adventure. “The Adventures of Tintin” is not to be missed. It is a resoundingly rollicking ride of a 3D movie.

Picture above: WETA Digital Ltd. © 2011 Paramount Pictures. All Rights Reserved.

 

Topics: 3-D

Chrosziel at Schneider Optics

12/21/11 | by Jon Fauer
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Chrosziel collimators and lens projectors are industry standards in almost every rental house worldwide.

Their new CamCollimator C-LCC is smaller, less expensive, and more versatile. What does a collimator do? A collimator measures the flange focal distance (distance from lens mount to image plane) of lenses. For PL lenses, the magic number is 52 mm.

Whereas some collimators use a Siemens star (whose relative sharpness may be subjective), Chrosziel collimators graphically show a vertical bar between two other bars.

The previous Chrosziel Universal CamCollimator came in two different versions. One had a universally adjustable sensor head for lenses and cameras. The other was for testing and adjusting lenses only, with a fixed optical set up.

The new CamCollimator C-LCC is modular, adjustable, and the length has been reduced to 1000 mm. The lens testing module includes a sliding lens support with height adjustment. For a quick camera test without changing the measuring block, an optional second sliding platform is available (C-LCC-P2).

A TFT monitor is attached with a flexible arm and can be adjusted. The switching power supplies power for light, camera and monitor. The new Schott LED light source should last about 50,000 hours. The Chrosziel calibration equipment and all lens mounts remain unchanged and are compatible with the Chrosziel Lens Test Projector MK5 for visual inspection of lens characteristics and determining the modulation-transfer function with the MTF Star System.

By the way, all Chrosziel products are now distributed in the US by Schneider Optics. Ron Ayers is the Product Manager:

Schneider Optics Inc. 7701 Haskell Ave. Van Nuys, CA. 91406.  818-766-3715 ext 112

 

Topics: Chrosziel, Schneider Optics

Band Pro Open House

12/20/11 | by Jon Fauer
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Additional images and information on the Band Pro Open House and party on December 15th in Burbank.

Topics: Band Pro

Band Pro Open House 2011

12/13/11 | by Jon Fauer
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It will be a celebration of Italian food, wine, desserts, opera, music and…oh, yes…lots of equipment at the 2011 running of Band Pro One World Open House. FDTimes will be there–the event is always one of the highlights of the year, and a great way to catch up with colleagues, vendors and the latest news.

When: Band Pro One World Open House takes place this Thursday, December 15th, 2011 from 1 pm – 8 pm.

Where: Band Pro Burbank Headquarters at 3403 West Pacific Avenue, Burbank, CA 91505. (google maps)

What: Film and Digital Times has learned (another scoop) that the movable feast will include pasta, lasagna, garlic bread, Grissini, Chianti, Pinot Grigio, and renowned Tiramisu.

Who: It will be a who’s who of vendors exhibiting at the event–a record 38 companies so far, including:

  • 16×9
  • 3ality Technica
  • AJA
  • Angenieux
  • Anton/Bauer
  • ARRI Lighting
  • Astrodesign
  • Codex Digital
  • Colorfront
  • Convergent Design
  • Dolby Laboratories
  • Focus Optics
  • Fujifilm Optical Devices
  • Gekko Lighting
  • K5600
  • K-Tek
  • Leader
  • Lectrosonics
  • Litepanels
  • Manios Digital & Film
  • Marshall Electronics
  • Matthews Studio Equipment
  • Nevion
  • NextoDI
  • OConnor
  • Oppenheimer
  • P+S Technik
  • Petrol Bags
  • PRG
  • Red Digital Cinema
  • Sachtler
  • Sony
  • Tiffen
  • TVLogic
  • Zeiss

 Register online.

Topics: Band Pro

FDTimes December Issue 45 Ready

12/8/11 | by Jon Fauer
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Happy Holidays. Download a free copy of our latest edition, courtesy of Film and Digital Times and our sponsors. Click here for your low-rez, iPad-friendly 12 MB PDF.

The printable High and Medium Rez digital editions of Film and Digital Times December Issue 45 are now ready for subscribers. The paper edition is at the printers, to be mailed next week.

The new Canon C300 is the cover story. We’re the first to reveal new anamorphic lenses from ZEISS, along with a new Compact Zoom and more Compact Primes. There’s lots of exclusive coverage, exciting new products, industry interviews, and a year-end gear wrap-up. Here’s the contents:

  • Cover Story: Canon’s new Cinema EOS System and C300 35mm Camera
  • ZEISS Compact Primes, Compact Zoom, Anamorphic Lenses
  • The Math of 4:3 and 16:9 Anamorphic Cinematography
  • ARRI Alexa Studio
  • ARRI/ZEISS Master Prime 135 mm
  • Cooke 135 mm Panchro/i and 135 mm 5/i
  • Cooke Uncoated Panchro/i Primes
  • Two New ARRI/FUJINON Alura Zooms
  • FUJINON Premier Zoom BLT Net Holders
  • Angénieux ADS/i on Optimo Zooms
  • Interview with Angénieux’s Dominique Rouchon
  • It’s the Wand that Makes the Wizard—Wood Handgrips
  • P+S Technik PS-CAM X35 and Hirth Tooth Rosettes
  • AbelCine Expansion and ProVFM Viewfinder
  • ARRI Alexa M
  • Red Scarlet
  • Schneider iPhone Lens
  • Data Wrangling: Codex, Avid, Alexa
  • Aaton Delta Penelope
  • Sony F3
  • Chrosziel Support for Sony F3
  • SRMemory
  • Sony F65
  • Iain Neil at Leica Historical Society
  • Interview with Leica’s Andreas Kaufmann
  • OConnor Universal Camera Baseplate, O-Focus, Tripod
  • Hugo’s Hardware Store
  • Tiffen Dfx 3.0.5
  • Tiffen Variable ND
  • Micro Scorpio Head
  • Movcam Tech
  • 16×9 Inc Cine Base
  • 3 New Leica Summilux-C Primes
  • Kodak Vision3 50D
  • Cartoni Maxima
  • iDCPhotoVideo Rods
  • MTF Services Aperture Control for F3
  • Sachtler Ace Fluid Head
  • Manfrotto
  • Dedolight
  • Andrew Laszlo, ASC 1926-2011

Topics: Film and Digital Times

New Leica Headquarters

12/3/11 | by Jon Fauer
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At the annual meeting of the Leica Historical Society In Pittsburgh last month, ACM Managing Director Andreas Kaufmann showed renderings of Leica’s proposed new headquarters in Wetzlar. Planning began in 2007 for a new development called Leitz-Park. On December 1, a group of Leica executives, bankers, associates, advisors, and architects met with Wetzlar officials to present 15 volumes and 1000 sheets of paperwork, plans and building permit applications.

Leica’s new headquarters will be huge: 27,000 square meters (260,625 square feet, which is almost 7 football fields). It will have easy access from the highway, and is about 45 minutes north of Frankfurtwhen driving at less than maniacal Autobahn speeds.

The design is inspired by the curves and rounded sculptural shapes of early Leica cameras. The building will house customer service, R&D, a huge Leica showroom, store, gallery, cafeteria, museum, finance, administration, and production.  Currently, Leica cameras are manufactured in Solms, about 6 miles away.

Construction is planned to begin in Spring 2012 and completion is scheduled for 2013, in time for the 100th anniversary of the brand.

Architect Marcel Koch-Mehrin has designed a “green” building with geothermal and solar power, and lots of natural light.

 

Topics: Leica

InterBEE 2011 Tokyo

11/19/11 | by Dorian Weber
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InterBEE 2011, held November 16-19 near Tokyo, had companies from 34 countries exhibiting cinema, video and audio products in 1329 booths. There were more than 30,000 visitors–a record attendance.

Slideshow, above. My quick impressions: 3D was almost gone. The flavor of the show was 4K and 8K.

The company that introduced a 4K recorder 2 years ago introduced an 8K UNCOMPRESSED recorder.

Sony had a hugh screen, with projectors.
Canon introduced their C300 in Japan.
Mitsubishi to my surprise only consumer Panels.
GIN-ICHI, previously importer of Pro Photo gear and also Pro Foto Studio Flash, suddenly turned motion….They now also represent GoPro.

We saw our friends from Band Pro, 16×9 Inc, Chrosziel, Tiffen, Steadicam, Lowel, cmotion, Fujifilm Corp, etc.

Topics: Trade Shows

ARRI Alexa at 120 fps

11/17/11 | by Jon Fauer
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With ARRI’s new Software Upgrade Packet SUP 5.0,  your Alexa can now shoot up to 120 fps.

While SUP 5.0 is a free update for Alexa customers, its High Speed mode can only be activated through the purchase of a license key at the Alexa License Shop. Each license key is coded to a particular camera and can be selectively enabled or disabled, allowing rental facilities control over which cameras are sent out with High Speed mode.

High Speed mode allows Alexa cameras to shoot slow motion using Apple ProRes codecs (up to 422 HQ 16:9) on Sony SxS Pro 64 GB cards. By using the same Super 35 sensor area as Regular Speed mode, High Speed mode maintains the same depth of field and angle of view for all lenses.

Recording 120 fps requires the use of Sony’s new SxS Pro 64 GB cards. These cards provide twice the recording capacity at twice the data rate of previous SxS PRO 32 GB cards . If you don’t want to shell out for High Speeds, your SxS Pro 64 GB cards can record ProRes 4444 up to 60 fps (with SUP 5.0).

 

Other key features of Alexa SUP 5.0:

  • 60 fps ARRIRAW over 3G Dual Link
  • 60 fps HD-SDI 4:4:4 over 3G Dual Link
  • 60 fps ProRes 4444 when using SxS PRO 64 GB cards
  • Horizontal Image Mirroring (3D)
  • ARRI Look Files for playback of QuickTime/ProRes Log C files
  • Reel & clip number on MON OUT
  • Secure camera display dimming
  • Active look indication
  • Dual record error handling
  • Open Camera Access (OCA) initiative
  • Support for Lens Data Display for Focus Puller (ALEXA Plus only)

 

Topics: ARRI

Sony F65 Intro in LA

11/17/11 | by Jon Fauer
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Sony F65 cameras will make bi-coastal debuts in LA and NY on November 22, 2011.

In LA, Band Pro will host free seminars at their Burbank office. Band Pro’s Jeff Cree and Randy Wedick will demonstrate the Sony F65 35mm digital motion picture camera system and discuss the ingredients of this high-end-to-end 16-bit 4K capture, edit and delivery system and how they all work together. There will be hands-on time with the camera and Q&A.

The same seminar will be offered twice on Nov 22. RSVP for one seminar online.

  • Morning: 10am – 12:30pm
  • Afternoon: 2:30pm – 5pm
Band Pro Film & Digital
403 West Pacific Ave
Burbank, CA  91505
Tel: 818.841.9655


Topics: Band Pro

Sony F65 Intro in NY

11/17/11 | by Jon Fauer
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Abel Cine will host the East Coast debut of the Sony F65 digital cinema camera system on Tuesday, November 22, from 6-9 pm. Experts from AbelCine and Sony will provide a complete tour of the camera system.

The evening will begin with an overview of the F65 and a discussion of the new advancements in the camera’s sensor design, including its 8K sensor and increased color space.

This will be followed by a live camera demo and presentation of the F65’s key features. Recording options, including RAW and SR Codec, will be discussed, as well as a summary of the available recording media.

A workflow presentation will show the flexibility of the system and the support of third party manufacturers. On-set data management and editing systems will be presented. The road map for additional post support also will be discussed.

The evening will conclude with a panel discussion featuring the evening’s presenters, as well as representatives from the post-production community.

Attending and presenting will be:

Joel Ordesky – Senior Product Marketing Manager, Digital Motion Picture Production, Sony

Dhanendra Patel – Senior Product Manager, Sony Professional Solutions of America

Moe Shore – Director of Business Development & Strategic Relations, AbelCine

Jesse Rosen – Director of Technical Development, AbelCine

Mitch Gross – Applications Specialist, AbelCine

Andy Shipsides – Camera Technology Specialist / Training Department Manager, AbelCine

Space is limited for this free event: RSVP directly.

AbelCine New York
609 Greenwich Street
New York, NY 10014
(212) 462-0100

Topics: Abel

Call for SOC Tech Awards

11/16/11 | by Jon Fauer
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 2012 SOCIETY OF CAMERA OPERATORS TECHNICAL ACHIEVEMENT AWARDS CALL FOR ENTRIES

The Society of Camera Operators (SOC) invites innovators, businesses, and inventors to submit products and technology that have made a distinct contribution to the art and craft of the camera operator. The awards will be presented by the SOC at the 2012 Society of Camera Operators Lifetime Achievement Awards, on Sunday, February 19th, 2012 at the Leonard Goldenson Theater, Academy of Television Arts and Sciences Campus in North Hollywood, CA. Submissions will be evaluated and decided upon by members of the SOC Technical Standards committee.

Past recipients have helped camera operators shoot in every environment, from under the ocean to the surface of the moon. Past awardees include: Arriflex Corporation, Buzz Aldrin and NASA, Cartoni USA, Chapman Studio Equipment, Cinema Products, Inc. and Garrett Brown, SOC, Doggiecam, Fuji Photo Optical Company, Inc., Geo Film Group, George H Worral, Sr., GPI/PRO Camera Support System, Hot Gears and Mehran Salamati, Hydroflex, JL Fisher, Inc., John M. Stephens, Louma Crane, Matthews Studio Equipment and Bob Nettmann, Nelson Tyler, OConnor, Panavision, Inc. and Albert Mayer, Sr., Preston Cinema Systems, Sachtler, Shotmaker Company, Slit Scan Motion Picture Photography Process, Sony Corporation, Technocrane, Ltd., Tiffen, Inc. and Steadicam Ultra2, Ultimate Arm Gyro Stabilized Camera Crane, Vinten, and Weaver/Steadman.

Applications are due no later than Midnight, December 9, 2011. To receive an application for consideration, please contact any of the following:

David Emmerichs, SOC; SOC Tech Standards Chair:  soctechawards (at) gmail.com

David Frederick, SOC; SOC Awards Event Chair:  socnoms (at) gmail.com

Stan McLain, SOC; SOC Corporate Liaison:   corporate (at) soc.org

 

 

 

For more information about the Society of Camera Operators, please visit www.soc.org.

 

 

Topics: Awards