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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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Vitec acquires Syrp Sliders & MoCo

Vitec Imaging Solutions has acquired Syrp Limited. This New Zealand company makes highly portable sliders and motion control equipment. Syrp designs and develops hardware and software aimed at the independent owner-operator market. Those beautiful night sky scenes where the camera slides past rock formations are often achieve with Syrp’s motorized sliders and timelapse controls. read more…

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ROMA and the Look of Large Format

If anyone is still wondering whether larger formats have legs, look no further than last night’s Oscars. Alfonso Cuarón won Awards for best Foreign Language Film, best Director and best Cinematographer on ROMA. Outside of commercials, it is not common for one person to both  direct the talent and manage the camera work. Even though Cuarón studied cinematography and shot… read more…

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The Show will Go On

The Academy’s Board of Governors did the right thing today, issuing this statement: “The Academy has heard the feedback from its membership regarding the Oscar presentation of four awards – Cinematography, Film Editing, Live Action Short, and Makeup and Hairstyling. All Academy Awards will be presented without edits, in our traditional format. We look forward to Oscar Sunday, February 24.”  

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Cinematography Oscar during Commercial Break?

At the ASC Awards on Saturday, I thought someone was joking when he mentioned that the Oscar for Best Cinematography would be presented during a commercial break. Alas, it is true: “We [The Academy] believe we have come up with a great way to do this, and keep the show to three hours. While still honoring the achievements of all… read more…

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BSC Expo 2019

BSC Expo in London was the best ever. More than 5500 visitors gathered in the Battersea Park Evolution exposition space on Feb 1-2. If there was a theme, it was full frame and large format lenses. Panavision had 11 or 12 series of large format sphericals and anamorphics at their lens bar. Michael Cioni’s 4-screen display let you compare the… read more…

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Leitz Cine Leica Format Primes

Leitz Leica Format Cine Lenses (not the official name) made a prominent prototype debut at the CVP Lens Bar in BSC Expo. Four focal lengths were shown: 18mm, 21mm, 65mm and 100mm — all T1.8. The new Leitz lenses were first presented to the world inside an untouchable glass case at IBC. This time the Leitz Leica Format Primes were… read more…

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