Tag Archives: Large Format
Claire Mathon AFC wins César 2020 Best Cinematography
Claire Mathon AFC won the Best Cinematography award at the Césars last night. The Académie des Arts et Techniques du Cinéma (like the French Oscars) honored her for her work on “Portrait of a Lady on Fire.” FDTimes article about the film here. Tags: Claire Mathon AFC, Large Format, RED MONSTRO 8K VV, Leitz Thalia primes, Preston LR2 Light Ranger… read more…
Portrait of Large Format on Fire
Portrait of a Lady on Fire (Portrait de la jeune fille en feu) won the Best Cinematography Award at the 2019 New York Film Critics Circle on December 4. Directed by Céline Sciamma with stunning cinematography by Claire Mathon AFC, it is “a superbly elegant, enigmatic drama” (The Guardian) — an 18th century story of a young woman facing marriage and an artist commissioned to paint her portrait. It is also a portrait in Large Format cinematography: RED MONSTRO 8K VV, LEITZ THALIA primes, Preston Light Ranger 2 and more. read more…
CVP Large Format Test with ARRI
CVP recently hosted a Large Format event in collaboration with ARRI at the CVP & ARRI Creative Space. The CVP team set up a test with the ALEXA LF, ALEXA Mini (fitted with LPL mount) and ARRI Signature primes. The lenses were 18, 25, 35, 47, 75 and 125 mm. The event was overseen by CVP Account Manager Aaron George, who prior to joining CVP in 2017, spent almost 12 years at ARRI as UK Head of Camera Service. read more…
Tags: ARRI, CVP, Large Format, Signature Prime
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…
ARRI ALEXA Mini LF – Large Format
Here’s the new little camera from ARRI that shoots big pictures. It’s ARRI’s latest addition to their large-format camera system. This is what many cinematographers were asking for: Large Format, lighter, smaller, modular. ARRI ALEXA Mini LF is quintessentially an ALEXA LF stuffed into the body of a Super35 ALEXA Mini. It uses the same large format CMOS sensor (36.70 x 25.54 mm). To picture the engineering involved, imagine unloading the entire contents of your 22-foot long camera truck and squeezing almost everything inside a BMW X3. ALEXA Mini LF’s carbon fiber body plus LPL lens mount weighs a mere 2.6 Kg. How convenient—that’s the same size and weight (about 5.7 lb) as the ubiquitous Maß (1-liter beer mug) at Oktoberfest. Read the full 22-page FDTimes Report. read more…
Tags: 24x36, 36x24, ALEXA Mini LF, ARRI ALEXA Mini LF, Full Frame, Large Format
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.
Depth of Field Repealed
On page 49 of Film and Digital Times February 2018 Edition #86, I wrote, “The difference in depth of field between Large Format and S35, comparing lenses with the same angle of view, is the equivalent of about 2 stops.”
This unleashed a deluge of debate among PhDs, Professors and Lens Designers sprinkled with some solid real-life testing. Uh-oh. Please do your own tests. And let us know your results. read more…
Tags: Depth of Field, Full Frame, Large Format
Panavision DXL2
On Friday, Feb 1 at BSC Expo in London, Panavision launched their new Millennium DXL2 8K Large Format camera. Sensor size: 40.96 x 21.60 mm (46.31 mm diagonal). No one at BSC Expo could have missed the significance of having most of the major cine manufacturers embracing the new, larger format, variously called Full Frame – Full Format – Large Format… read more…
Gods of Focus Speak: Preston Light Ranger 2
Every Preston Light Ranger 2 user I’ve talked to refers to it as “a game changer.” For focus pulling on large sensor cameras I would add the phrases “an essential tool” and “job security.” My last two projects were both 65mm (one in 8K), and there is no way I could have perfectly achieved and repeated some of the shots without the LR2’s guidance. read more…
Leica Thalia Large Format Cine Lenses
Large format cinematography gets more interesting today with Leica Thalia. CW Sonderoptic introduces nine new prime lenses that cover all formats from Alexa 65, Panavision DXL, RED 8K VV, Full Frame, to Super35. Leica Thalia primes ship with stainless steel PL mounts. An XPL version will be available for ARRI Rental. Thalia lenses have front diameters that are all 95… read more…
Full Frame & S35 Lenses at IBC
Full Frame was careening inexorably down the corridors of IBC like the stagecoach in the opening of The Hateful Eight. But a curious thing was afoot. IBC was packed with a plethora of Full Frame cine lenses. But there was a perplexing paucity of Full Frame cine cameras. What’s going on here? Why was the cart before the horse? read more…
Tags: FDTimes, FFDTimes, Film and Digital Times, Formats, Full Frame, Large Format, S35
