Author Archives: FDT Special
Gear Expo Tokyo 2021
Text and photos by Arato Ogura. Gear Expo Tokyo Show & Workshop was held at Toho Godzilla Studios on December 3 and 4.
The event was co-hosted by JSC (Japan Society of Cinematographers) and JSL (Japan Society of Lighting Directors).
The mornings were used for equipment demos and trials.Each manufacturer was given time to explain their products on stage. The afternoons had workshops led by JSC and JSL instructors.
A small set was prepared and had actors, showing actual camera movement and focusing techniques, while the lighting department was explaining wireless lighting control and LED technology. read more…
Tags: Arato Ogura, Gear Expo Tokyo 2021, JSC, JSL
Panasonic LUMIX DC-BGH1
Panasonic calls it a box camera. Perhaps that is too modest a name for the LUMIX DC-BGH1. “Box” reminds me of the first Kodak box camera of 1888. It had a simple fixed lens and lacked controls. “You take the pictures, we do the rest.” Calling the BGH1 a box camera could be like comparing a Jiro (dreams of Sushi) Omakase experience to a box lunch. Yes, the LUMIX BGH1 is boxy on the outside, with sculpturally beveled and rounded edges. It will feel familiar for broadcasting, streaming, multi-cam and IP remote control. But the BGH1 is much more. read more…
Tags: Panasonic, Panasonic LUMIX DC-BGH1
SmallHD Indie 7 Monitor
Indie 7 is a new SmallHD 7″ touchscreen monitor, well, for independent filmmakers and many others. Some call it an entry level model, but perhaps that is a bit modest for something so packed with helpful features. This is probably the affordable monitor you’ll want to tame your new KOMODO. Optional software upgrades provide touchscreen camera control of RED KOMODO and DSMC2 cameras. read more…
Vocas Accessories for RED KOMODO
Vocas has a range of compact and handy accessories for the RED KOMODO.
With the side cage as the starting point, you can add components to build a complete cage with different top handles, handles, lens motors, microphone holder, additional 15 mm rods for mounting focus motors and shoulder supports. read more…
TILTA Kits for KOMODO
The TILTA Full Camera Cage for RED KOMODO protects the camera and provides 1/4-20 and 3/8-16 mounting threads for accessories. Handgrips attach to industry-standard Hirth-Tooth Rosettes in front and at the back of each side. A cold shoe on top accepts carrying handles. There are numerous configurations. The base of the cage has mounting threads to attach your camera to gimbals, drones and other places where balance is important. Several baseplates attach to the bottom of the cage for lens rods, Arca Swiss and Manfrotto as well as other quick release plates, and underslung battery plates. read more…
Tags: KOMODO, TILTA, TILTA Kits for KOMODO
Teradek Bolt 4K LT
I have been singing the praises of 4K and HDR wireless video on set and location. But there was a concurrent chorus of users who wanted a more affordable alternative. Now Teradek adds their new Bolt 4K LT Transmitter and Receiver to their Bolt 4K line-up. “Bolt 4K LT represents the culmination of a massive effort at Teradek,” said Nicol Verheem, Creative Solutions CEO. “We’ve added considerable technology upgrades without raising the price to the end-user.” What’s this? Same price as previous Bolt 2K models? Why would I want to upgrade? And at half the price of the current Bolt 4K systems, what’s missing? Yes, Bolt 4K LT is the same price as earlier 2K models. You want to upgrade because the image quality and signal range is greatly improved compared to your older 2K Bolts. But you don’t have to ditch them. For example, you can use them for B camera or second unit. read more…
Cinematography Electronics /i Lens Display
Larry Barton, President of Cinematography Electronics, was on the other end of a Zoom chat in high resolution, with dramatic lighting and Full Frame shallow depth of field. It was time to learn about the Cinematography Electronics /i Lens Display. Larry said: “What we’ve done with our /i Lens Display was to take the iris, focus, focal length and other metadata from the lens—combined with information from the CINETAPE 2—and make the information more user-friendly for focus pullers and lens technicians at rental houses.” read more…
Panasonic LUMIX DC-S5
The new LUMIX DC-S5 joins Panasonic’s growing line of Full Frame L-Mount hybrid mirrorless cameras that shoot stills and video. A quick review. The LUMIX DC-S1H is still the flagship for hybrid video, with a crisp 5.76 million dot OLED EVF and numerous video choices that include C4K Full Frame 4096×2160 All-I 4:2:2 10-bit 400 Mbps MOV H.265 files internal recording up to 30 fps. The LUMIX S1H has a 24.2 MP sensor. LUMIX DC-S1R has a high resolution 47.3 MP sensor. Both have 5.76 million dot finders. Now, if you want a lighter, smaller, cheaper companion to the S1H, the new LUMIX S5 beckons. It uses the same 24.2 Megapixel Full Frame sensor as the S1H. read more…
Tags: Lumix, Panasonic LUMIX DC-S5, panosonic
Grading Ford v Ferrari with Skip Kimball
In last month’s FDTimes, Nicol Verheem (Founder & CEO of Teradek and CEO of Creative Solutions) said, “One of my recent favorite memories was watching Ford v Ferrari with my 12-year- old son. I can remember walking out and he said, ‘First off, that was a really good movie. And second, when can we come back and see it again?’” I saw it again as well and was delighted to get in touch with Company 3’s Senior Colorist Skip Kimball about the film’s impressive grading.Ford v Ferrari was directed by James Mangold. Cinematography was by Phedon Papamichael ASC, GSC. It’s based on the true story of Carroll Shelby (Matt Damon) and Ken Miles (Christian Bale) as they work to win the 24 hour race at Le Mans in 1966. read more…
Canon EOS C70 4K Super35 Cine Camera
This is the first Canon Cinema EOS Camera with an RF Mount. It has a Super 35mm Sensor. If you’re familiar with the C300 Mark III, you’ll be at home with many of the C70 capabilities. Why would you want a new EOS C70 4K Digital Cinema Camera then? Because it is smaller than the C300 Mark III, is half the cost, has a versatile RF mount, can record H.265 video. Canon explained, “One request that Canon consistently heard was to put an RF mount on a Cinema EOS camera so that future lens performance could capitalize on the short flange depth. Those wishes have come true with the new C70 camera.” read more…
Tags: Camera, Canon, Canon EOS C70, Cine Camera, Super35
The Business of the Business: CVP
Fitzrovia, London. January 28, 2020. Jon Fry, Darren Simpson, Yevgeny Subbotin, Aaron George and I met in the nicely appointed club at CVP Creative Space on Charlotte Street. As often happens in our world of moveable feasts, we soon adjourned to continue the discussion at Berners Tavern.
In a large elegant room festooned floor to ceiling with paintings, the menu included traditional British pork pie prepared tableside with showmanship, chargrilled Buccleuch Estate Scottish beef with triple cooked chips, battered Cornish haddock with crushed peas. As anyone familiar with this CVP and FDT cast of characters, the drinks and wine flowed copiously. read more…
Tags: ARRI, Business, Charlotte Street, CVP, Newman Street, Sales
ARRI Accessory Rail System ARS
ARRI’s Accessory Rail System ARS consists of Rails that attach to camera or mattebox, and Cubes that slide onto the rails and provide 3/8-16 and 1/4-20 mounting points for accessories, monitors, motor drivers, video transmitters, focus aids and whatever else you need to attach to the growing Christmas tree that is the camera.
ARRI Handle Extensions HEX
Once upon a time, there was an ARRI top handle called CCH-4. Its full name was Camera Center Handle 4. But not all camera crews carry cameras the same way. And so, the ARRI PCA team conceived of a modular system of handle extensions. The ARRI Handle Extensions HEX system carries on the design of the Camera Center Handle CCH-4. Each component can be connected in multiple ways to extend out from the top handle. It lets you customize your own top handle or turn it into a Hollywood Handle.
Leitz M 0.8 Full Frame M-Mount Primes
Leitz M 0.8 are iconic Leica M lenses with a click-less iris, 0.8M industry-standard gear rings for lens motors, an 80 mm front diameter and 77 mm screw-in front filter threads. You can shoot with M 0.8 lenses on cameras fitted with M mounts, and of course, Leicas. These are among the smallest and lightest Leica Format / Full Frame lenses anywhere — and their look is the stuff of legends. read more…
Tags: Full Frame, Leica Format, Leica M lenses, Leitz, M 0.8
Leitz THALIA Large Format Primes
Leitz Thalia primes cover Large Format, Full Frame, Leica Format and 65mm Format cameras like ARRI ALEXA 65, Fujifilm GFX 100, etc. The image diagonal is 60 mm. There are three Makro lenses in the Leitz THALIA set. They focus to 1:2, meaning that you can fill the frame with an object that in real life is twice as large as the sensor. The focus barrels are marked not only with distance, but also magnification factor and exposure (light loss) for which you have to compensate. The German spelling of Makro is used, with a “k.”
Tags: Leitz, LEITZ THALIA, Makro lenses, THALIA
Etienne Sauret and MYT Works
Etienne Sauret is an award-winning New York filmmaker. A few years ago, he started his own company, MYT Works (pronounced “Mighty”). As his logo says, it was “born out of frustration” with the equipment he was using. One of these is the MYT Works Opti-Glide checkout system: an ingenious overhead track under which a motorized focus chart glides from near to far. Instead of running your tape measure from camera to chart, a large monitor automatically displays the exact distance, accurate to 1/100 inch. There are various theories on doing this: some rental houses move the camera; others move the chart. Optic-Glide can accommodate both. read more…
Tags: Etienne Sauret, MYT Works
LEITZ PRIME Lenses
LEITZ PRIME lenses have been described as “cinematic with an iconic confluence of coatings, glass, design, art and craft.” Development began in 2015. In 2019, I remember rhapsodizing, “LEITZ PRIME lenses has the look of glowing, lusciously smooth skin tones, detailed details where you want them—sharp eyelashes and eyebrows—with silky sympathetic focus roll-off, gently tempered depth of field dimensionality, impressionistic luminous backgrounds, beautiful bokeh and harmonious contrast.
Tags: LEITZ PRIME, LEITZ PRIME Lenses
LEITZ ZOOM Lenses
All four lines of LEITZ Full Frame / Large Format / Leica Format cine lenses are delivering now. The M 0.8 series was introduced in 2016. THALIA came next, in 2017. September 2018 saw a new set of unnamed and untouchable Leica Format prime lenses inside a locked glass case at IBC. The name came in February 2019: LEITZ PRIME. Shortly after, LEITZ ZOOM lenses were announced. Here are the zooms.
Tags: LEITZ ZOOM, Lenses, MacroLux
P.A.T. Lens Charts
Stéphane Paillard is a former Camera Operator and Camera Assistant who turned his sharp knowledge into a thriving business designing and supplying high-tech lens charts and essential accessories. His company P.A.T-Accessories (Prêt à Tourner—Ready to Shoot) is a few miles from the location where the Lumière Brothers shot The Arrival of a Train at La Ciotat Station with their Cinematograph in 1895. P.A.T. charts let you check the resolution of a lens or the camera’s sensor. read more…
Takumi 40.6 – 332 mm Full Frame
Musashi Optical System Company is located in Saitama, Japan. Their expanders, extenders and optical adapters are well known, including the OptMag, OptMag Plus and OptMore. Now, Mushashi-Opt presents their new Takumi 40.6-332 mm T4.8 Full Frame zoom lens.
