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NO SUBTITLES NECESSARY: LASZLO AND VILMOS
TO AIR NATIONALLY ON THE PBS SERIES INDEPENDENT LENSON THURSDAY, NOVEMBER 17, 2009
NO SUBTITLES NECESSARY: LASZLO AND VILMOS follows the lives of renowned cinematographers Laszlo Kovács and Vilmos Zsigmond from escaping the 1956 Soviet invasion of Hungary to present day. An Official Selection of the Cannes Film Festival, James Chressanthis’ NO SUBTITLES NECESSARY will air nationally on the Emmy and Peabody Award winning PBS series Independent Lens on Tuesday, November 17, 2009 at 10PM (check local listings.)
As film students in Hungary, Laszlo and Vilmos took to the war-torn streets of Budapest to shoot footage of the Russian invasion, and subsequently volunteered to smuggle it out of the country. Barely escaping with their lives, the two friends fled to America and settled in Hollywood, eventually saving enough money to buy their own 16mm camera.
After working on a string of low-budget horror and biker movies, both men soon rose to prominence in the late 60's and 70's, shooting the films that defined what came to be known as the American New Wave: Easy Rider, Five Easy Pieces, McCabe and Mrs. Miller, Deliverance, Paper Moon, Close Encounters of the Third Kind, and more. Working with directors including Robert Altman, Bob Rafelson, Peter Bogdanovich, and Martin Scorsese, they helped create a new American film aesthetic, and pioneered innovative, fearless ways to tell stories.
“When it comes to Laszlo Kovacs and Vilmos Zsigmond, it's clear that the American New Wave of the late 1960's and early '70s wouldn't have flowered as it did without them." – Leonard Maltin
Told through interviews with Laszlo (who died in 2007) and Vilmos, as well as directors including Rafelson, Bogdanovich, John Boorman, Graeme Clifford, Richard Donner, William Richert, Mark Rydell, composer John Williams and actors such as Jon Voight, Peter Fonda, Sandra Bullock, Karen Black, Dennis Hopper and Sharon Stone, NO SUBTITLES NECESSARY is an intimate portrait of two giants of modern imagemaking and their deep bond of brotherhood that transcended every imaginable boundary. Two heroes. One road.
http://www.laszloandvilmos.com/
http://www.pbs.org/independentlens/
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ROGER DEAKINS, KEEPING AN EYE ON THE SMALL THINGS
Roger Deakins sat down with NPR's Melissa Block for an interview at his Santa Monica home. As twilight fell, they watched two of the cinematographer's favorite scenes — from No Country For Old Men and The Shawshank Redemption — and talked about how the play of light and shadow helped him shape each shot.
Roger Deakins' least favorite phrase? "We'll fix it in post." "It's one of the worst expressions to come into the industry," says the veteran cinematographer, an eight-time Oscar nominee who shot The Shawshank Redemption, A Beautiful Mind and every Coen Brothers movie since Barton Fink. Digital post-production tweaks — everything from subtle cleanup to the deletion of geographical features and the insertion of thousands of computer-generated extras — are increasingly common in modern moviemaking. "If it's used correctly, it's a fantastic technique," Deakins tells NPR's Melissa Block. In fact, in Jarhead, which Deakins shot with handheld cameras in a California desert, director Sam Mendes wanted "this flat, surreal landscape, emptiness, the horizon going into nothing," Deakins remembers. So, in post-production, the mountains that had actually loomed on the horizon were digitally erased.Better yet: In the Coens' O Brother, Where Art Thou?, there's a scene where a car full of convicts hits a cow in the road. The sequence was convincing enough, Deakins recalls, that animal-cruelty watchdogs cried foul. The filmmakers invited the activists to visit the Digital Domain special-effects lab, "and the effects guys had to show them through the stages of how they'd animated this cow so it looked like it had been run over by the car." Still, to a man like Deakins — an avid still photographer, and a connoisseur of "the little things" like the quality of light or the angle of a shadow — an over-reliance on post-production magic is anathema.
"There are certain things you can't fix in post, certain things that would no longer look organic if you did it in post, really," he says. "It's one thing removing a mountain in the background of a shot; it's another thing adding 15,000 people and changing somebody's face. That kind of manipulation, I think, gives itself away eventually. ... And that's when you lose an audience." Deakins says what's essential, at least in his filmmaking philosophy, is remembering that the big things and the little things alike — "the camera style and the lighting ... the imagery and the photography and the effects" — are there to serve the movie's characters and story. He cites The Shawshank Redemption* as a case in point.
"A lot of people say it's nicely photographed, and I think it is," he says. "And I think it's the simplicity that makes it well photographed. ... It's not like these are necessarily fantastic images; it's really about the content. It's not about making great images." "I like simplicity," Deakins reiterates. When he's lighting a scene, especially, "I like using natural sources. I like images to look natural — as though somebody sitting in a room by a lamp is being lit by that lamp." In a film framed by such a naturalistic vision, Deakins insists, attention-getting gestures have to be especially well thought out. "When you move the camera, or you do a shot like the crane down [in Shawshank] with them standing on the edge of the roof, then it's got to mean something," he says. "You've got to know why you're doing it; it's got to be for a reason within the story, and to further the story." "There's nothing worse than an ostentatious shot," Deakins argues. "Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story."
To watch The Shawshank Redemption* clip with commentary, click ON DEMAND on main video window above and click Roger Deakins 2009B
FROM A BIRD'S EYE POINT OF VIEW
By George Leon
Aerial cinematography often encompasses more than air-to-air photography of other aircraft. Sometimes the aerial cinematographer is called upon to facilitate photography from the ground and within the aircraft itself. Aircraft used in aerial cinematography are designated by the Aerial Cinematographer and Aerial Coordinator as either a camera ship or story ship.
Aerial cinematography often encompasses more than air-to-air photography of other aircraft. Sometimes the aerial cinematographer is called upon to facilitate photography from the ground and within the aircraft itself. Aircraft used in aerial cinematography are designated by the Aerial Cinematographer and Aerial Coordinator as either a camera ship or story ship.
Many types of fixed-wing and rotorcraft aircraft are utilized with helicopters being the most versatile for most camera ship duties. The choice and use of camera ship aircraft should be decided upon by the aerial cinematographer working closely with the aerial coordinator and camera ship pilot. However, the aerial coordinator is the first and last word on all matters regarding the acquisition, permitting and use of all aircraft on a motion picture aerial unit production.
Eclipse Camera System
Helicopters are the aircraft of choice for the majority of aerial cinematography duties as they offer the most in versatility. The ability for multidirectional flight gives the aerial cinematographer control and finesse over the movement of the camera much like the director of photography would do with any ground-based camera dolly.
Eclipse Camera SystemHelicopters are the aircraft of choice for the majority of aerial cinematography duties as they offer the most in versatility. The ability for multidirectional flight gives the aerial cinematographer control and finesse over the movement of the camera much like the director of photography would do with any ground-based camera dolly.
Choosing a suitable rotor craft camera ship is predicated on the demands of the shot and the camera mounting system to be used. The ones shown here are the most utilized with the majority of commercially available filming systems having been designed and/or certificated for installation. Equally important to consider are the many variables affecting the inflight performance characteristics of the helicopter, the most significant being air temperature, pressure & density altitude, moisture content of the air, gross weight, external stores (ball mounts in particular fall under this heading) and wind.
In addition, each helicopter has its own maximum airspeed limitations (expressed as VNE - velocity never to exceed) which will be further reduced by the installation of any camera mounting system. There are definite reasons for these limitations and under no circumstances should they ever be exceeded. Number of people on board factors into the aircraft gross weight which will affect performance, particularly at altitude or during hover. Increased weight aside, with certain camera mounts there quite frankly will not be enough room left, beyond the pilot and operator, to accommodate any more passengers other than maybe the director.
Consult all aspects of the shot with the Aerial Cinematographer, Aerial Coordinator and Camera Ship Pilot will ensure a safe and intelligent choice of helicopter for all camera ship duties on the production. Safety for all cast and crew members actively involved in the film production is the number one priority for the aerial cinematographer, aerial coordinator and the aerial filming unit. Working around aircraft can prove to be hazardous if sufficient care is not taken to ensure personal safety. Those individuals who make their primary living in aerial cinematography know all too well the dangers involved and strive to maintain a safe working environment in the air and on the ground for themselves and their colleagues.
In addition, each helicopter has its own maximum airspeed limitations (expressed as VNE - velocity never to exceed) which will be further reduced by the installation of any camera mounting system. There are definite reasons for these limitations and under no circumstances should they ever be exceeded. Number of people on board factors into the aircraft gross weight which will affect performance, particularly at altitude or during hover. Increased weight aside, with certain camera mounts there quite frankly will not be enough room left, beyond the pilot and operator, to accommodate any more passengers other than maybe the director.
Consult all aspects of the shot with the Aerial Cinematographer, Aerial Coordinator and Camera Ship Pilot will ensure a safe and intelligent choice of helicopter for all camera ship duties on the production. Safety for all cast and crew members actively involved in the film production is the number one priority for the aerial cinematographer, aerial coordinator and the aerial filming unit. Working around aircraft can prove to be hazardous if sufficient care is not taken to ensure personal safety. Those individuals who make their primary living in aerial cinematography know all too well the dangers involved and strive to maintain a safe working environment in the air and on the ground for themselves and their colleagues.Camera mounts are the essential tool of the aerial cinematographer, linking camera to aircraft. There are many from which to choose and generally fall into the following categories: Gyro Stabilized Ball Mounts, simply referred to as ball mounts due to the spherical wind shroud. Utilized for highly stable, plate-quality images. Door Mounts Also known as side mounts. Mainly designed for helicopter usage. Some fixed-wing available. Nose Mounts Also known as belly mounts. Can be an articulated system, however, some are fixed position (hard) mounts.
Helicopter or Fixed-Wing
Choice of system depends entirely on the nature of the shot. No one filming system is superior over another. Rather it boils down to suitability to task. It's common to employ any combination of these mounts during a film production. For budgetary reasons, consult the aerial cinematographer on the demands of the shot to ensure the correct choice of mount.
As a cross section example of the aerial cinematography technology, I will describe the services of a well known helicopter aerial cinematography company and some the features they offer to the rotor, fixed wing and telescopic crane market for air, dry land and maritime uses.
Pictorvision is the first aerial equipment stabilization rental company to provide customers with an entire spectrum of stabilized camera product solutions for capturing aerial images. Pictorvision provides choice: matching the right system to any budget, removing single system and rigid price point constraints. Whether your production calls for high-end 4K digital, 35mm, cost effective SD, Super 16mm, or anything in between, Pictorvision's product suite covers the entire range of output options, offering you the flexibility to pick and choose as you see fit.
Pictorvision offers "choice" - a revolutionary concept in the aerial camera system rental market through a product suite of aerial systems: eclipse, Cineflex Wescam, RED One, Wescam 35mm, Wescam HD and Wescam SD
The Originator of the Gyro-Stabilized Camera
The same people who brought you the pioneering stabilization work at Wescam stand behind Pictorvision today. As Wescam, we originated the gyro-stabilized aerial camera platform – an innovation that won us an Academy Award for widening the entertainment industry’s creative possibilities. As Pictorvision, we evolved to become the industry leader not only in stabilized technology, but also in service. We take a strong customer-centric approach as your stabilized equipment solution partner. Our highly responsive and knowledgeable team is committed to ensuring that Pictorvision exceeds your expectations – every time! eclipse - A Helicopter Camera Mount with Unrivalled Stability Pictorvision is proud to introduce the eclipse - the first truly revolutionary advancement in aerial camera systems in a generation.
Designed by the team who invented aerial stabilization over 35 years ago, and in partnership with cinematographers, the eclipse embodies a commitment, focus and passion for aerial cinematography. At the core of the eclipse's superior stability is the patented XR Motion Management technology, enabling the most advanced steering, stability and pointing capabilities available on the market. Pictorvision's engineering group - the team behind every major advancement in aerial stabilization - partnered with the world's most creative DP's to develop the eclipse, ushering in a new dawn in cinematography.
The Pictorvision eclipse features XR Motion Management technology that enables the highest level of stability, unmatched precise and responsive steering, Geo steering, will not topple, absolute level horizon and faster start-ups and resets.
Wescam RED One
A First for Aerial Cinematography Pictorvision is the first aerial stabilization company to use the revolutionary RED ONE digital cinema camera in aerial shooting. Capitalizing on their expertise in camera stabilization technology, the team at Pictorvision can quickly make modifications necessary to successfully stabilize and accurately integrate the RED ONE camera package into our Wescam Film/HD System. The modular design of the Wescam Film System makes the integration very simple. Our multi-format, HD ready operator’s monitor (standard equipment with the system) makes monitoring the HD-SDI output from the camera effortless for our technicians. Pictorvision customers can immediately make reservations for the company’s proprietary RED ONE aerial stabilization and precision control turnkey package or integrate their own RED ONE camera.
The Pictorvision XR
The Most Stable Ground Camera System for the Most Challenging Environments Pictorvision provides customers with the most stable and versatile gyro-stabilized remote head in the industry. The XR has exceeded expectations on some of the largest productions and is recognized for its stabilization performance and reliability in the most challenging of environments.The XR was the first system to utilize Pictorvision's patented XR Motion Management technology, setting new industry standards for pushing creative limits.
The Most Stable Ground Camera System for the Most Challenging Environments Pictorvision provides customers with the most stable and versatile gyro-stabilized remote head in the industry. The XR has exceeded expectations on some of the largest productions and is recognized for its stabilization performance and reliability in the most challenging of environments.The XR was the first system to utilize Pictorvision's patented XR Motion Management technology, setting new industry standards for pushing creative limits.
The Pictorvision XR, is an advanced open mount, digitally controlled and gyro-stabilized camera platform capable of supporting and stabilizing film and video camera packages up to 70Kg at film camera focal lengths of 3000mm or more. The system is extremely flexible and can be mounted in hanging or sitting mode on camera cars, boats, cranes as well as rail camera and flown wire systems. The XR can be either configured for 2 axis operation or in 3 axis where it is capable of maintaining a level horizon regardless of the angular changes encountered by the mount. From simple shots to demanding VFX plates, the Pictorvision XR is able to meet your requirement for stabilized images on set or location and provides rock solid performance in the most demanding of environments.
LATEST TECHNOLOGY IN AERIAL PHOTOGRAPHY
Tom Hallman , Pictorvision and CINNERS President along with
Dave Arms, Aerial Operator and Technician showcasing at
CINEGEAR 2009 the new PictorFX 3D scanning and modeling system.
Set Design Visualization
PictorFX Capabilities
For more info:
Courtesy of Aerial Cinematography
Photo courtesy of Airborne Images and Aaron Fitzgerald
Watch a video clip, click -ON DEMAND- and choose Pictorvision
Dave Arms, Aerial Operator and Technician showcasing at
CINEGEAR 2009 the new PictorFX 3D scanning and modeling system.
What is the PictorFX
The PictorFx enables set designers, special effects teams and production crews to create high-quality, accurate D models – this creative, innovative system helps to solve some of the tough technical challenges associated with the creation, coordination and management of digital information in both pre and post production.
Set Design VisualizationThe PictorFx enables users to plan, track and digitally construct and reconstruct production-sets. Information Modeling PictorFx enables production teams to obtain structural and spatial information, from the air or ground providing users with a 3-D view of every shot, from every camera, at every angle.
Visual Effects
Using the PictorFx system, image data can easily be integrated with CG objects a creative and cost effective approach in generating digital 3-D images and graphics.
PictorFX CapabilitiesBackground 3-D plate shots, set documentation & 3-D blue prints,
pre-visualization with virtualsets: Plan and test camera and lighting angles, plan and test camera moves, pre-plan shooting and equipment logistics, set extensions , composites, topography to ground characters feet, accurate shadow casting, match moving virtual camera to live-action camera
pre-visualization with virtualsets: Plan and test camera and lighting angles, plan and test camera moves, pre-plan shooting and equipment logistics, set extensions , composites, topography to ground characters feet, accurate shadow casting, match moving virtual camera to live-action camera
For more info:
Courtesy of Aerial Cinematography
(Aerial Cinematography does not endorses any aerial company but its own and kindly offers information to the benefit of all operators). Courtesy of Laurie K. Gilbert S.O.C. of L'Image Cinematography, an aerial and marine cinematographer who operates globally from an operational base in South East Asia.
Courtesy of PictorvisionPhoto courtesy of Airborne Images and Aaron Fitzgerald
Watch a video clip, click -ON DEMAND- and choose Pictorvision
SOCIETY OF CAMERA OPERATORS (SOC) TO MAKE A DOCUMENTARY AND PSA FOR THE VISION CENTER AT CHILDREN HOSPITAL
The Society of Camera Operators (SOC) will make a 15 minutes short docu
mentary and two Public Service Announcements about the scientific achievements of The Vision Center at Childrens Hospital of Los Angeles. The documentary untitled 'Let It Be Light" and the two PSAs will be filmed at the center during the next three months and is expected to be screened at the annual SOC Lifetime Achievement Awards and later entered in several international film festivals in 2010. The PSA will be placed in different TV networks and cable television stations.
mentary and two Public Service Announcements about the scientific achievements of The Vision Center at Childrens Hospital of Los Angeles. The documentary untitled 'Let It Be Light" and the two PSAs will be filmed at the center during the next three months and is expected to be screened at the annual SOC Lifetime Achievement Awards and later entered in several international film festivals in 2010. The PSA will be placed in different TV networks and cable television stations.The SOC has been making charitable donations to The Vision Center since 1981. According to Dan Kneece, SOC president, "The documentary will be shot and edited by society members. It will feature the lives of children whose sight has been saved by the surgeons at The Vision Center. The center has some of the most skilled physicians and advanced ophthalmic surgical technology in the world, but it is the stories of the families that will capture viewers' hearts."
The creation of the documentary and the PSA will strengthen and increase the public awareness of the charitable bond between The SOC and The Vision Center and it will create a window of opportunity for financial contributions toward the Vision Center.
A production team composed by seasoned professionals of the motion picture industry and members of the Society of Camera Operators (SOC) will create, produce and direct all aspects of the making and delivery of “Let it be Light“. In order to achieve an outstanding final product, the team will write a compelling short narrative based on on the intersection of the lives of several patients and their families. Project producers for the documentary are George Leon and Bonnie Blake, SOC. David Mahlmann, SOC events chairman and Dan Kneece will also assist in the production.
Leaders of the Society of Camera Operators (SOC) and
Leaders of the Society of Camera Operators (SOC) andThe Vision Center at Childrens Hospital Los Angeles
announce a new documentary project by the SOC
on the center's work to save children's sight.
The group also displays the latest donation by
the society to the children's contact lens program.
Left to right: George Leon, Dan Kneece, President, SOC;
Dr. Natalia Uribe and Dr. Mark Borchert,
both of The Vision Center and David Mahlmann, SOC
announce a new documentary project by the SOC
on the center's work to save children's sight.
The group also displays the latest donation by
the society to the children's contact lens program.
Left to right: George Leon, Dan Kneece, President, SOC;
Dr. Natalia Uribe and Dr. Mark Borchert,
both of The Vision Center and David Mahlmann, SOC
In addition to announcing the new documentary, the SOC also made its latest gift to the children's contact lens program at The Vision Center. The program, conducted by optometrist Dr. Natalia Uribe, sees about 700 patients a year, some as young as one month old. Many of these very young children require contact lenses to restore their sight. The changes in a child's eye may require up to eight lenses a year.
The SOC, founded in 1979 and based in Hollywood, is dedicated to the advancement of the art and creative contributions of the camera operator in the motion picture and television industries. The SOC has made generous annual contributions over the past 25 years to The Vision Center in honor of the essential ingredient -- sight -- that bonds the society to children with vision problems.
The Vision Center at Childrens Hospital Los Angeles is an international referral center that treats children afflicted with all forms of eye disease. It is the largest pediatric ophthalmology program in the nation with multiple subspecialty programs that offer advanced diagnosis, treatment and research. CHLA is one of America's premier teaching hospitals, affiliated with the Keck School of Medicine of the University of Southern California since 1932.
HD EXPO, LOS ANGELES
Day One HD EXPO - Createasphere - A memorable day of killer speakers, education and exhibits
Against the backdrop of a packed exhibition area, HD EXPO - Createasphere raised the curtain on a jammed flagship show at the Burbank Marriott.
Today's buzz worthy event featured a Keynote Conversation with Lance Acord, ASC sponsored by American Cinematographer. Acord's "Where the Wild Things Are," is a critical and box office smash, and he shared creative and technical insights with AC's Jon Witmer.
Today's buzz worthy event featured a Keynote Conversation with Lance Acord, ASC sponsored by American Cinematographer. Acord's "Where the Wild Things Are," is a critical and box office smash, and he shared creative and technical insights with AC's Jon Witmer.
Planes Trains and Automobiles, or actually 3D truck, camera boats and production gear marked the premier of GEAR ALLEY, where the latest production tools took center stage; the area anchored by a West Coast appearance of the Panasonic 3D truck along with he companion panel for GEAR ALLEY, "Hard Core, Revolutionary and Indispensable: Must Have and Must See Gear." Featured Mark August, SOC, Dan Kneece, SOC, David Frederick, SOC and Larry Mole Parker, moderated by Jessica Sitomer. Debra Kaufman, MobilizedTV.com brought together a top notch panel from Fox Mobile (Mike Wallen,) Omelet (Steve Amato,) Fun Little Movies (Frank Chimendano) and Burbank Tonight's Hayden Black in a deeply insightful look at Producing for Mobile.
TOMORROW - 3D DAY!
For the third year in a row, HD EXPO - Createasphere Presents the Cutting Edge of the Art and Technology Behind 3D
DOORS OPEN AT 11:00 AM, REGISTRATION OPENS AT 10:00 AM
Screening of concert footage, movies, documentaries and animated 3D features will accompany two leading edge panels.
FROM SCRIPT TO SCREEN, moderated by POST Magazine's Dan Restuccio, features Buzz Hays (Sony Pictures Imageworks) Director Patrick Lussier (My Bloody Valentine 3D) Colorist Siggy Ferstl (Company3) Ami Dror (XpanD) and Brian Gaffney (Technicolor) will take the audience on a full on start to finish look at how 3D goes from idea to reality.
And, 3D Creativity, Imagery and Cinematography brings together a diverse group of artists and filmmakers including Wayne Miller (producer) Jed Weintrob (Director) Toshiaki Ozakawa (cinematographer) Rodney Taylor, ASC (Cinematographer) These talented filmmakers will discuss their often cutting edge work on feature films (SCAR 3D, The Evening Sun) and in concerts headed for theatrical release (Phish, JayZ, Kings of Leon, Yea Yea Yeas) and lead the audience in the creative exploration of 3D as a storytelling tool.
You can't afford to miss these panels, exhibits, intensives and community. We keep you plugged in.
QUICK LINKS: Schedule | Directions | Exhibitors | Panels/Speakers
*NOTE: Regrettably, Jeffrey Silver, scheduled to deliver the Keynote Conversation on November 5th, has been unexpectedly called out of the country for production.
**Photos by Ryan Miller/Capture Imaging
CINE LENSES FOR DIGITAL SRL CAMERAS AT DV EXPO 2009
by George LeonAfter visiting some of the annual video and film industry shows happening this year in other venues, I decided to stop by the DV Expo 2009 held at the Pasadena Convention Center and attend to one or two of the many seminars offered at the expo to report my findings and to keep abreast with the latest. The impression I had from my last year visit, was that the DV Expo was rather a small show with limited attendance, but then I was immediately proved wrong upon my arrival. I was pleasantly surprised to see a high turn out of attendees mingling around in he already crowded floor.
I spent a great day at the Digital Video Expo 2009. The exhibit floor was packed with attendees asking all kind of technical questions to the participating vendors. The variety of vendors spanned the wide gamut of video services and video manufacturers of pro-sumer and broadcast equipment, ranging from lighting to work-flow management to the latest in high definition video camcorders, to lens makers and much more.. To name a few with innovative products offering discount prices at the floor were Carl Zeiss Lenses, Azden Corp (audio), Lensbaby, Libtec Tripods, Dana Dollies, Zacuto, Sonnet, Sony, JVC, Panasonic, Litepanels, and others...
The Panasonic booth attracted many visitors
The seminars were popular and well attended
Footage Firm booth
Jessica Sitomer, The Greenlight Coach offering career
advancement advice
Brady Harris and Robert Orlando at the Tiffen booth
presenting the Dfx software, the IR filters, the Pilot
Steadicam and the Merlin handheld stabilizer
Answering technical inquiries at the Libtec booth
A new vendor I met in the Expo with a solid product was
Michael and Dana Hall, introducing their Dana Dolly,
a portable camera dolly system at an affordable price
Click here for more info, price and specs
ASC Master Lighting Seminar, George Spiro-Dibie ASC ,
Daryn Okada ASC, David Darby ASC
and Robert Primes ASC.
Isadore Mankosfky, ASC was also part of the Master Lighting
Seminar and shared with the audience his experience about
the making of the cult masterpiece "Somewhere in Time"
photographed by Mankosfky, and directed by Jeanot Swarc.
Starred by Jane Seymour and Christopher Reeves. Pictured
above with Martha Winterhalter, Publisher of American
Cinematography magazine.
Another seminar that was very informative was "Digital Still Camera as a Tool for the Cinematographer" presented by the Digital Cinema Society. The panel was composed by leading cinematographers, digital SLR experts and industry representatives as they elaborated in the technical pros and cons (read prior posting CMOS VS CCD) of this new variant of the CMOS video chip technology encased in a SLR still camera, specifically the Panasonic Lumix GH1 featuring full HD movie recording in AVCHD and using ν (nu) Maicovicon technologies. The 4/3-type 12.1-megapixel Live MOS sensor featured in the DMC-GH1 is able to offer the best of both worlds — the superior image quality of a full-frame CCD sensor, and the lower power consumption of a CMOS sensor.
A rigged Canon Eos D5 with a matte box and follow
focus and a daylight Marshall monitor
The other SLR camera presented by the panelists was the Cannon EOS D5, featuring full-frame 12.8 Megapixel CMOS sensor combined with Canon's DIGIC II Image Processor, and a high-precision 9-point AF system with 6 assist points, and a "Picture Style" color control to deliver images of superior quality with enough resolution for any application. The EOS 5D's full-frame CMOS sensor records 4,368 x 2,912 pixels-that's 12.8 Megapixels, larger than many other companies' top-of-the-line sensors. The same size as a 35mm image on a traditional camera, the sensor operates without a conversion factor.
The Panasonic booth attracted many visitors
The seminars were popular and well attended
Footage Firm booth
Jessica Sitomer, The Greenlight Coach offering careeradvancement advice
Brady Harris and Robert Orlando at the Tiffen boothpresenting the Dfx software, the IR filters, the Pilot
Steadicam and the Merlin handheld stabilizer
Answering technical inquiries at the Libtec booth
A new vendor I met in the Expo with a solid product wasMichael and Dana Hall, introducing their Dana Dolly,
a portable camera dolly system at an affordable price
Click here for more info, price and specs
The seminars were to down to the point. The two ASC Master Lighting seminars I went on Wednesday were inspirational and educative to the budding filmmaker and the seasoned cameraman as well. The panel was moderated by George Spiro Dibie ASC, and the guests speakers were Isadore Mankofsky ASC, David Darby ASC, Daryn Okada ASC, Johnny Jensen ASC, Donald Morgan ASC, and Robert Primes, ASC. After presenting a clip or two of one of their films, the panelists elaborated on their experience creating the lighting schemes seen on the screen, on set or on location and their collaborative process with the director along with other tips and tricks of the trade. The session culminated with a Q&A round in between the attendees and the panelists.
ASC Master Lighting Seminar, George Spiro-Dibie ASC ,Daryn Okada ASC, David Darby ASC
and Robert Primes ASC.
Isadore Mankosfky, ASC was also part of the Master LightingSeminar and shared with the audience his experience about
the making of the cult masterpiece "Somewhere in Time"
photographed by Mankosfky, and directed by Jeanot Swarc.
Starred by Jane Seymour and Christopher Reeves. Pictured
above with Martha Winterhalter, Publisher of American
Cinematography magazine.
Another seminar that was very informative was "Digital Still Camera as a Tool for the Cinematographer" presented by the Digital Cinema Society. The panel was composed by leading cinematographers, digital SLR experts and industry representatives as they elaborated in the technical pros and cons (read prior posting CMOS VS CCD) of this new variant of the CMOS video chip technology encased in a SLR still camera, specifically the Panasonic Lumix GH1 featuring full HD movie recording in AVCHD and using ν (nu) Maicovicon technologies. The 4/3-type 12.1-megapixel Live MOS sensor featured in the DMC-GH1 is able to offer the best of both worlds — the superior image quality of a full-frame CCD sensor, and the lower power consumption of a CMOS sensor.
A rigged Canon Eos D5 with a matte box and followfocus and a daylight Marshall monitor
The other SLR camera presented by the panelists was the Cannon EOS D5, featuring full-frame 12.8 Megapixel CMOS sensor combined with Canon's DIGIC II Image Processor, and a high-precision 9-point AF system with 6 assist points, and a "Picture Style" color control to deliver images of superior quality with enough resolution for any application. The EOS 5D's full-frame CMOS sensor records 4,368 x 2,912 pixels-that's 12.8 Megapixels, larger than many other companies' top-of-the-line sensors. The same size as a 35mm image on a traditional camera, the sensor operates without a conversion factor.
Richard Scheluning from Carl Zeiss,explains the advantages of the new
Compact Prime Lenses
Compact Prime Lenses
Zeiss Distagon Compact Set of PrimesT3,6/18 -T2,9/21 mm - T2,9/25 mm - T2,1/28 mm
T2,1/35 mm - T1,5/50 mm - T1,5/85 mm, ready for
SLR digital cameras with calibrated
T-stops markings
At the session, the new Zeiss Compact Prime set of lenses was introduced, a new proper Cinema lens for SLR cameras, featuring a PL mount, cine style housing, high optical performance and 14 precision iris blades for pleasing focus transition and rounded smooth bokeh. The session was visually demonstrated with outstanding footage shot by various of the participating cinematographers who are proponents of shooting SRL digital video for TV spots, music videos and even features on ergonomically rigged still SLR digital video cameras such as the Panasonic Lumix and the Canon D5.
I should point out that other companies such as Nikon offers digital video SLRs cameras , as well with outstanding quality at affordable price, like the D90, the world’s first D-SLR with an HD movie mode, recording cinematic-quality 24fps movie clips with sound at up to 720p HD (1280 x 720 pixels) in Motion JPEG format and the larger and more capable, D300S and D5000 with D-Movie HD Video capturing cinematic 24 fps, 720p HD movie clips, enhanced by NIKKOR interchangeable lenses and featuring external stereo Mic input and AF operation. One drawback heard from the shooters of any digital SLR video camera is the poor sound recoding quality and the lack of in and out audio connectors and no timecode feature of any kind.
DLSR Nikon D5000 with HD movie mode,
recording cinematic-quality 24fps movie clips with
sound at up to 720p HD (1280 x 720 pixels) in
Motion JPEG format, shown above with a swivel screen
I would like to recommend to any videographer or digital cinematographer to mark their calendars every year for this gathering of gear heads, creatives types, producers, camera operators, editors, Dit's and vendors under one roof. It is a bit smaller than other industry shows but allows you, the visitor, to spend more time learning about the latest of the digital video technology.
DLSR Nikon D5000 with HD movie mode,recording cinematic-quality 24fps movie clips with
sound at up to 720p HD (1280 x 720 pixels) in
Motion JPEG format, shown above with a swivel screen
I would like to recommend to any videographer or digital cinematographer to mark their calendars every year for this gathering of gear heads, creatives types, producers, camera operators, editors, Dit's and vendors under one roof. It is a bit smaller than other industry shows but allows you, the visitor, to spend more time learning about the latest of the digital video technology.
ARRIFLEX UNVEILS NEW ARRI DIGITAL CAMERA "THE ALEXA" AT IBC 2009
The next generation of ARRI digital cameras-
ARRI announced a new range of 35mm-format digital cameras at IBC 2009 - codenamed Alexa - that will redefine the limits of digital motion capture. Based around a newly developed CMOS sensor with unsurpassed sensitivity and dynamic range, the cameras will couple exceptional image quality with flexible, integrated workflows designed to meet the needs of modern postproduction. The Alexa product line-up, priced in the range €50k to €130k, will be available for sale commencing the second quarter of 2010.
ARRI announced a new range of 35mm-format digital cameras at IBC 2009 - codenamed Alexa - that will redefine the limits of digital motion capture. Based around a newly developed CMOS sensor with unsurpassed sensitivity and dynamic range, the cameras will couple exceptional image quality with flexible, integrated workflows designed to meet the needs of modern postproduction. The Alexa product line-up, priced in the range €50k to €130k, will be available for sale commencing the second quarter of 2010.
Superior sensitivity & dynamic range 35mm size format
sensor Film look New Electronic or Optical Viewfinder
Early adopter plan for ARRIFLEX D-21 customers. Prices
begin at 50K Euro, resetting the bar for cost & performance
sensor Film look New Electronic or Optical Viewfinder
Early adopter plan for ARRIFLEX D-21 customers. Prices
begin at 50K Euro, resetting the bar for cost & performance
Compact and lightweight, the new range of cameras will provide an affordable toolset to address every level of the broadcast and feature film markets. The planned entry level model utilizes a 16:9 sensor and the most advanced electronic viewfinder on the market. A more fully-featured version continues ARRI's tradition of offering a 4:3 sensor and a rotating mirror shutter linked to an optical viewfinder as the optimum choice for cinematographers. A number of recording options, including several innovative on-board solutions, have been designed specifically with modern workflows in mind to provide the greatest versatility both on the set and in postproduction.
ARRI managing directors Dr. Martin Prillmann and Franz Kraus
discuss and display the new ARRI digital camera system at the
IBC booth in Amsterdam. Click ON DEMAND in the video window
above to watch the introduction
discuss and display the new ARRI digital camera system at the
IBC booth in Amsterdam. Click ON DEMAND in the video window
above to watch the introduction
By combining 90 years of mechanical and optical expertise with state-of-the-art digital technology, ARRI products continue to offer features that other manufacturers cannot equal. Incorporating the key attributes of design and build quality on which ARRI's worldwide reputation is based, the new camera range will uphold the highest standards of reliability, precision and usability.
For more info, ARRI Digital
FILM FORMATS AT THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES
Presented by the Academy’s Science and Technology Council
Hosted by Rob Hummel. Continuing with screenings of “Manhattan” and “The Black Stallion” on September 10 and 11 at the Samuel Goldwyn Theater in Beverly Hills. “Cinema is a matter of what’s in the frame and what’s out.” – Martin Scorsese
The motion picture aspect ratio isn’t just a frame for the picture; in the hands of an accomplished filmmaker, the aspect ratio can have a significant influence on the storytelling process. Join Science and Technology Council member Rob Hummel for an illustrated lecture that traces the history of motion picture formats from the silent era through the 21st century. “Behind the Motion Picture Canvas” examined the role that emerging technology has played in the evolution of film formats, and how the technical choices made by Thomas Edison and William Dickson at the dawn of the film era continue to influence the way we look at movies today.
The Wednesday evening showcase was a success filling the Samuel Goldwyn Theater in Beverly Hills almost to capacity with over 800 filmmakers, cinematographers, producers, students, members of A.M.P.A.S and film buffs of all ages.
The Adventures of Robin Hood. Directed by Michael CurtizPhotographed by Tony Gaudio and Sol Polito 1938,
Academy aperture 1.37:1 -Technicolor 3 strip process
Technicolor 3 strip camera. Technicolor became knownand celebrated for its hyper-realistic, saturated
levels of color, and was used for filming
The Wizard of Oz and Singin' in the Rain,
The Adventures of Robin Hood and Joan of Arc,
Snow White and the Seven Dwarfs and Fantasia
The program included outstanding clips from such films as “The Great Train Robbery” (1903, full aperture 1.33:1), “The Adventures of Robin Hood” (1938, Academy aperture 1.37:1), “White Christmas” (1954, VistaVision 1.85:1), “Lady and the Tramp” (1955, CinemaScope 2.55:1), “Sleeping Beauty” (1959, Technirama 70 2.2:1, Composed for 2.55:1), “The Sound of Music” (1965, Todd-AO 65mm 2.2:1), “Ryan’s Daughter” (1970, Super Panavision 65mm 2.2:1), “Silverado” (1985, Super 35 2.40:1), and “The Accidental Tourist” (1988, Panavision 2.40:1).
Gone with Wind, 1939 Academy aperture 1.37:1 with avisible optical sound strip
Casablanca, 1.37:1 aspect ratio with an optical soundstrip compared with a wide screen format
The Sound of Music, 1965, Todd-AO 65mm 2.2:1
Directed by Robert Wise and photographed by Ted D. McCord
The Sound of Music, 1965, Todd-AO 65mm 2.2:1Directed by Robert Wise and photographed by Ted D. McCord
Sergio Leone's, Once Upon a Time in the West shot by
Tonino Delli Colli on Techniscope 235: 1
Techniscope or 2-Perf is a 35mm motion
picture camera film format introduced by
Technicolor Italia in 1963.
Tonino Delli Colli on Techniscope 235: 1
Techniscope or 2-Perf is a 35mm motion
picture camera film format introduced by
Technicolor Italia in 1963.
Cinematographers Allen Daviau, ASC, Caleb Deschanel, ASC, Stephen Burum, ASC and John Bailey, ASC, composed the panel moderated by Hummel and discussed the role of film formats in shaping their creative decisions, including the technical constraints and the creative opportunities that the choice of a film format brings to a motion picture.
Hummel has served on the Scientific and Technical Awards Committee and edited the 8th edition of the American Cinematographer Manual. During Hummel’s tenure at Technicolor, he worked closely with over 70 cinematographers ranging from John Alonzo to Vilmos Zsigmond, giving him a unique perspective on the creative process of working with film formats. “Behind the Motion Picture Canvas: Film Formats through the 21st Century” continues with two nights of screenings hosted by Rob Hummel. Both screenings will be held at the Samuel Goldwyn Theater.
Click link for more information about the ACADEMY OF MOTION PICTURE ARTS AND SCIENCES
MORE IPHONE & IPOD TOUCH APPS FOR FILMMAKERS
Following the enormous success of the iPhone and iPod Touch as a mobile communication device and a mobile entertainment center, I have to mention again the many resources or "apps" available for the cinematographer and the filmmaker in general.
In my original posts about the apps, I said the iPhone and iPod may soon become the Swiss Army Knife for the Cinematographer. Well, I have to say that the time is now, the iPhone and the iPod Touch are the Swiss Army Knife for the Cinematographer. Derrick Faw, a professional photographer and videographer living in Paris, France compiled the newest list of iPhone and iPod apps for the filmmaker on his website World Wide Angle.
iPhone apps exist in many flavors, everything from simple games to complex software for professional task. Most apps are very affordable, if not dirt cheap or free. Filmmakers have not been left behind in the app frenzy. While searching the web for some tools to help us, I was astonished by the amount of software available. Here is a list of apps for the iPhone and iPod Touch apps I was able to dig up.
**Opera web browser users: If you have difficulty with the “get app” function working properly with iTunes, see this fix
Native AppsA native app is a software that is installed directly to the iPhone. The iTunes store host all the apps approved by Apple.
Hitchcock by Cinemek inc (Cost: $19.99)
(iPhone, OS: 3.0 or later) Screenshots 
Cinemek® Hitchcock for iPhone and iPod Touch is a mobile storyboard and pre-visualization composer designed for Directors, Directors of Photography, Producers, Writers, Animators, Art Directors, film students and anyone who wants to be able to visualize their story. More Info
pCAM Film+Digital Calculator by David Eubank (Cost: $39.99)
(iPhone/iPod Touch, OS: 2.2.1or later) Screenshots
A Motion Picture and Still Photography calculator for Directors of Photography, Photographers, Camera Operators, Camera Assistants, VFX Supervisors, Script Supervisors, Gaffers, Grips, Editors, Production Designers, Art Directors, Film and Photography Students. Created by the same Hollywood Camera Assistant who created the widely used Palm version. More Info
iTC Calc by KPL Production Services, Ltd. (Cost: $9.99)
(iPhone/iPod Touch, OS: 3.0 or later) Screenshots
iTC Calc is the perfect companion for any producer, post-production producer, editor, Flame or After Effect artists and everyone who need to deal with timecode and frames. More Info
iTC Calc Light by KPL Production Services, Ltd. (Cost: $2.99)
(iPhone/iPod Touch, OS: 2.2 or later) Screenshot
iTC Calc Light is the perfect calculator for any producer, post-production producer, editor, flame or After Effect artists and everyone who need to make quick timecode calculations. More Info
TCCalc – Timecode calculator by Jean-Luc Pedroni (Cost: $4.99)
(iPhone/iPod Touch, OS: 3.0 or later) Screenshots
TCCalc is a powerful time code calculator. With its two views, horizontal and vertical springboard, you can choose between basic timecode operations, or more sofisticated operations and features. More Info
TimeCodeCal by Daniel Maskell (Cost: $2.99)
(iPhone/iPod Touch, OS: 2.2 or later) Screenshots
TimeCodeCal is the most flexible time / timecode calculator available. With it’s user configurable frame rate from 1 to 100 frames per second, plus hexadecimal mode it is aimed at anyone performing time based calculations, from the casual user to professionals in the broadcast industry. The hex mode was included with developers in mind looking at memory dumps of data. More Info
FreeTime Pro by Javier Hernanz Zajara (Cost: Free)
(iPhone/iPod Touch, OS: 2.1 or later) Screenshots
A powerful timecode calculator. Conversion and editing modes. Formats include NTSC, Drop Frame, PAL, Film edgecode (3:2 pulldown), and real-time. User preferences control behavior with field overflows, illegal (dropped) frames values, and key click sound.
TC Calculator by Javier Hernanz Zajara (Cost: Free)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshot
TC Calculator is a simple calculator for operating with TC’s (Time Codes) and frames. It can add, substract and convert TC’s between different speeds. It may be very useful for people working on video or film. Currently not available in iTunes US Store.
EditCalc by Brad Brooks (Cost: $0.99)
(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots
EditCalc is a frames, footage and timecode calculator app for the iPhone and iPod Touch. More Info
time:calc by WattenEarth (Cost: $1.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshot
time:calc is a time calculator that does conversions and calculations of time. It also works with timecode enabling calculations of frame rates for TV and film. More Info
timecoder app by zinc Roe Inc. (Cost: Free)
(iPhone/iPod Touch, OS: 2.1 or later) Screenshots
Timecoder converts video timecode between two different frame rates, from timecode to frame number and from frame number back to timecode. You can leave out the hours, minutes or seconds when they’re not necessary. You can also use large values that will “roll over”. For example, you can enter 90;00 (90 seconds) and Timecoder will automatically convert it to 00:01:30;00 (1 minute and 30 seconds). You can choose from a list of common framerates (frames, 24, 25, 29.97 and 30), or enter any framerate you like. Timecodes and framerates are rounded for display, but the conversions are accurate to more than three decimal places.
Film Editor’s Calculator by Michael Koperwas (Cost: $0.99)
(iPhone/iPod Touch, OS: 2.2 or later) Screenshots
The Film Editor’s Calculator is a valuable tool for any film editor which allows you to calculate feet and frames for 35mm motion picture film. The calculator’s database also gives you information such as manufacturer and film stock based on the keycode’s prefix. The keycode calculator interface is very simple to use and is helpful when working with film at the bench or working with telecines on an editing system.
Film Calculator by Noah Harlan (Cost: $0.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
The 2.1 Film Calculator is a multi-purpose tool for filmmakers to aid in common tasks of film conversion and counting in pre-production, production and post-production.** On Sale! Now only $.99 until we release the new version in a couple weeks. Enjoy! ** More Info
Action Log Pro by Andris Ltd (Cost: $29.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
Action Log is a film and television logging tool, designed for use on location or in a studio with up to 25 recording devices. At the touch of a button the logging system keeps track of all reel names and timecodes for each recorded piece of action. More Info
Action Log by Andris Ltd (Cost: $5.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
Action Log is a film and television logging tool, designed for use on location or in a studio with 1 recording device. At the touch of a button the logging system keeps track of all reel names and timecodes for each recorded piece of action. More Info
Movie★Slate by PureBlend Software. (Cost: $4.99)
(iPhone/iPod Touch, OS: 2.1 or later) Screenshots
Movie★Slate is a digital slate, clapper board, shot log, and shot notepad— designed for use with film, television, documentaries, interviews, and home movies. Movie★Slate provides an easy way to log footage and take notes as you shoot— saving you time later when you capture and edit the footage on your computer. More Info
FilmSlate by Idea Engine, Inc. (Cost: $4.99)
(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots
FilmSlate puts a portable “Smart Slate” in your hand. FilmSlate was developed by professionals, for professionals, and is designed to be used on set as an insert slate, a run-and-gun slate, or a portable backlit slate in your pocket. More Info
iSlate by ibuiltthis (Cost: $2.99)
(iPhone/iPod Touch, OS: 2.1 or later) Screenshots
iSlate is an easy to use portable digital clapper board that can help video enthusiasts add a touch of hollywood magic to their videos. Possible uses include video blogs, online video postings, and various video projects. More Info
iSlate Lite by ibuiltthis (Cost: Free)
(iPhone/iPod Touch, OS: 2.1 or later) Screenshot
Free Lite version of iSlate the portable digital clapper board.
AClapBoard by Rolf-dieter Klein (Cost: $4.99)
(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots
A digital clapboard/Slate and client time measurement system. New features: timecode calculator and color charts, 2-pop sync. The application combines many functions useful for film makers but also in general for free lancer. More Info
ClapBoardLT by Rolf-dieter Klein (Cost: $0.99)
(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots
A digital clapboard and client time measurement system. ClapBoardLT is the smaller version of AClapBoard which has more features like color chart and timecode calculator.
LlamaSlate by Scott Lawrence (Cost: $1.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
LlamaSlate is a filmmaker’s tool to help with the editorial process. LlamaSlate is a simplified digital version of a traditional “clapper board” or “slate”, which is used to mark the beginning and end of every shot filmed. LlamaSlate can also help you to sync multiple cameras easily. More Info
Pocket DIT by Clifton Production Services LLC (Cost: Free)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
RED Camera users, this is your cinematography “cheat sheet”. More Info
iSee4K by Edward Watkins (Cost: Free)
(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots
With this nifty little app spend your time ‘getting the shot’, rather than pouring over manuals and reference tables. Although primarily developed to aid users of the RED® Digital Cinema Camera, iSee4K is highly configurable and allows users to calculate DoF, FoV and Lens equivalence for virtually any camera and lens. More Info
DoF by Michael Neuwert (Cost: $1.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
DoF is a small utility for Photographer or Videographer allowing to calculate the depth of field. More Info
DOFMaster by Donald Fleming (Cost: $1.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshot
Use DOFMaster to calculate the depth of field in your photographs. You’ll be able to select the lens and f/stop combination that provides the zone of sharpness you need. Use it to calculate the hyperfocal distance for landscape photography. More Info
DOF Ruler by Devin Hartman (Cost: $1.99)
(iPhone/iPod Touch, OS: 3.0 or later) Screenshots
DOF Ruler is a Depth of Field calculator with a unique sliding ruler interface. It is a quick and easy way for Photographers to calculate Depth of Field. More Info
f/8 DoF Calculator by Thorsten Kramp (Cost: $3.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
Photojournalists have a saying, “f/8 and be there,” meaning that being on the scene is more important than worrying about technical details. Yet with f/8, the depth-of-field and hyperfocal distance calculator for the iPhone and iPod touch, you’ll be there with the depth of field spot-on, too! Anywhere, anytime! More Info
MatchLens by D Matthew Smith (Cost: $9.99)
(iPhone/iPod Touch, OS: 2.2 or later) Screenshots
This calculator computes the equivalent lens focal length to produce the same field of view between two cameras with different aperture/sensor sizes. It will do a “Match Lens” calculation, and produce the closest equivalent angle of view lens, in millimeters, for both vertical and horizontal frames, between the original camera’s focal length and the current camera’s focal length. More Info
ShootPad by David Brewster (Cost: $6.99)
(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots
Made for the guy shooting home video or the videographer shooting with their own camera. As the professional video guy is pausing and starting his video camera, he’s supposed to make notes for the starting and ending of cuts for later editing. More Info
Animation Timer by Randy Cartwright (Cost: $4.99)
(iPhone/iPod Touch, OS: 2.2 or later) Screenshots
Animation Timer is a simple stopwatch designed for animators. More Info
FrameTime by Patrick Spizzo (Cost: $0.99)
(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots
FrameTime is a simple animation timer that lets you time events down to fractions of a second. Use the simple controls to start the timer, then add keyframes based on the action you are timing out. Once you are finished, the timer controls conveniently move out of the way so you can see as many of the keyframes as possible. More Info
FPS Calculate by Wes McDermott(Cost: $0.99)
(iPhone/iPod Touch, OS: 3.0 or later) Screenshots
An animation timer is being added so that you can time movement and convert that into a given frame count! More Info
Screenplay by Black Mana Studios (Cost: $2.99)
(iPhone/iPod Touch, OS: 3.0 or later) Screenshots
Black Mana Studios’ Screenplay is the world’s first fully-functional mobile screenwriting application. It allows professionals and hobbyists alike to write complete movie and television screenplays directly on the iPhone or iPod Touch. More Info
Sync Points by Jon Lay (Cost: $0.99)
(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshot
Sync Points is a calculator for composers for film, video, or any medium where precise synchronization to picture or SMPTE timecode is needed. With this app, you can calculate hit points from tempo or beats, generate an exact tempo in BPM and FPB for a given number of beats or timing, and compute a number of beats given a tempo and timing. More Info
FiRe – Field Recorder by Audiofile Engineering, LLC (Cost: $5.99)
(iPhone, OS: 2.2.1 or later) Screenshots
FiRe is the world’s first professional field recorder built exclusively for iPhone and iPod Touch.. Combining powerful, elegant and uncluttered audio utilities with unparalleled technical support. More Info
PowerCalc by West Side Systems, LLC (Cost: $0.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
PowerCalc performs basic electrical power calculations with watts, volts, amps, and motor power factor. More Info
LightMeter by Frank Bauer (Cost: $2.99)
(iPhone, OS: 3.0 or later) Screenshots
Turn your iPhone 3G-S into a exposure meter.More Info
Helios Sun Position Calculator by Chemical Wedding (Cost: $29.99)
(iPhone/iPod Touch, OS: 3.0 or later) Screenshots
Helios is a Sun Position Calculator that graphically represents the position of the sun from dusk to dawn, on any given day, in any given place. More Info
Focalware by Spiral Development Inc (Cost: $9.99)
(iPhone/iPod Touch, OS: 2.1 or later) Screenshots
Focalware calculates sun and moon position for a given location and date. Use the interactive compass to determine the path and height of the sun or moon. Photographers and filmmakers who are always asked by their clients for the sun, moon and stars, can now deliver. More Info (with Video Demonstration)
MagicHour by Vela Design Group (Cost: $3.99)
(iPhone/iPod Touch, OS: 2.1 or later) Screenshots
MagicHour™ (formerly VelaClock) is a world clock that can quickly display the time of sunrise, sunset, three kinds of twilight (civil, nautical, astronomical) for dawn and dusk, moonrise, moonset, duration of daylight, current phase of moon, date and times for the next four moon phases, countdown to the next sunrise or sunset and next moonrise or moonset, and more. More Info
iFilmmaker Pro by Katha Films LLC (Cost: $4.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
For the movie making beginner, expert filmmaker or “been-there-done-that indie enthusiast”, iFilmMaker is loaded with 1500 questions, tips and tricks of the film making trade, presented in a very entertaining, and educational manner. With iFilmMaker application, you can learn about different aspects of filmmaking like editing, directing /producing, scriptwriting, acting, and cinematography with easy to answer questions, and click to live web links for detailed information about the particular subject. More Info
iFilmmaker Pro Lite by Katha Films LLC (Cost: $1.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
For the movie making beginner, expert or “been-there-done-that indie enthusiast”, iFilmMaker is loaded with hundreds questions, tips and tricks of the film making trade, presented in a very entertaining, and educational manner. With iFilmMaker application, you can learn about Editing, Directing/Producing, ScriptWriting, Acting, and Cinematography with easy to answer questions, and click to live web links for detailed information about the particular subject. More Info
Clz Movies by Bitz & Pixelz BV (Cost: $9.99)
(iPhone/iPod Touch, OS: 2.0 or later) Screenshots
This app is a supplement to Movie Collector software by Collectorz.com. Movie Collector is a must have for anyone with a large film collection. It is by far the most complete and versital database software available on the market. Clz Movies application for the iPhone allows your to take your movie collection with you on the go. More Info
Web Based Apps
Web applications (or web apps) combine the power of the Internet with the simplicity of Multi-Touch technology, all on a 3.5-inch screen. iPhone and iPod touch let you easily flick through news on Digg, play Sudoku or Bejeweled with a finger tap, and quickly check movie times, train schedules, and favorite blogs.
When you find a web app you like, you can put it front and center on your Home screen. Just open the web app on your iPhone or iPod touch, tap the plus sign, and then tap “Add to Home screen.” A Web Clip will be added to your Home screen automatically for easy, one-tap access. You have up to nine Home screen pages for all your Web Clips and you can organize them however you like.
Footage Calc by Digital Rebellion (Cost: free)
(iPhone/iPod Touch, OS: All) Screenshot
Enables you to calculate the amount of disk space required for various video codecs at varying frame rates. It offers an easy-to-use interface that allows you to quickly and easily view the required information whilst on the move – perfect for those awkward on-the-spot questions from clients. Along with the iPhone Version there is also a full browser version. Also available as an offline application.
Film Rate Calc by Digital Rebellion (Cost: free)
(iPhone/iPod Touch, OS: All) Screenshot
Calculates the relationship between film reels and shooting time. Use this calculator to work out how many rolls of film are required for a certain shooting ratio, or alternatively calculate how many minutes have been shot for a certain number of rolls. This is a useful tool for any script supervisor or producer. Along with the iPhone Version there is also a full browser version. Also available as an offline iPhone application.
Aspect Ratio Calculator by Digital Rebellion (Cost: free)
(iPhone/iPod Touch, OS: All) Screenshot
Allows you to calculate the aspect ratio, width or height of an image or video. Also displays extra information such as the film or video format that the aspect ratio is normally associated with. This enables you to work out the correct frame size to use when creating CG shots that will be broadcast or intercut with live action footage. Along with the iPhone Version there is also a full browser version.(iPhone/iPod Touch, OS: All) Screenshot
This tool will calculate the depth of field for a given sensor or film type, aperture, focal length, and subject distance (the distance from the camera to the person or object you are focusing on). A lower number means that a large proportion of the background will remain in sharp focus and a higher number means that a smaller proportion (if any) will be in focus. It also includes presets for popular video cameras. Selecting a preset will automatically change the sensor type to fit your camera. Please be aware that this tool is designed for cinematographers, not still photographers. Along with the iPhone Version there is also a full browser version.
Pixel Aspect Ratio Calculator by Digital Rebellion (Cost: free)
(iPhone/iPod Touch, OS: All) Screenshot
This tool will help you calculate pixel aspect ratios (PAR) of video formats. It also enables you to work out the proper resolution for a still image placed into a non-square pixel timeline. The source resolution is the square pixel resolution (ie. the dimensions of the still image) and the target resolution is the non-square resolution (ie. the final resolution of the image upon adding it to the timeline).
Along with the iPhone Version there is also a full browser version.
Lens Angle Calculator by Digital Rebellion (Cost: free)
(iPhone/iPod Touch, OS: All) Screenshot
Use this calculator to calculate the lens angle or focal length for a given sensor size. This is useful for planning out camera placements in advance, which is particularly invaluable for visual effects work. Along with the iPhone Version there is also a full browser version.
Power Load Calculator by Digital Rebellion (Cost: free)
(iPhone/iPod Touch, OS: All) Screenshot
Use this calculator to calculate the lens angle or focal length for a given sensor size. This is useful for planning out camera placements in advance, which is particularly invaluable for visual effects work. Along with the iPhone Version there is also a full browser version.
RED StrorageCalculator by Alex Boerger (Cost: free)
(iPhone/iPod Touch, OS: All) Screenshots
This calculator is specifically for Red Camera users. With it you can determine how much storage (in gigabytes) based upon your desired Redcode, Resolution, Aspect, Framerate, and time. Go to the iPhone Version.
A WORD ON GEARED HEADS
by George Leon
There are three types of heads and many brands of heads available to camera operators and directors of photography for use in studio or on location. The types of heads are fluid, friction and geared heads. Mostly, all new heads are made of aluminum alloy, some older heads and accessories were made of magnesium and much older heads were made of cast steel.
The fluid head employs the principle of fluid resistance. The restricted flow of a high viscosity liquid forced through grooves machined inside a metal drum creates drag on the lateral and vertical movements of the head. The friction head employs the the principle of surface resistance. The friction of fiber discs against metal washers creates drag on the lateral and vertical movements of the head. The geared head employs the principle of mechanical advantage. The ratio of the angular speed of driving members to driven members of a gear train, linkage, or cable creates force on the lateral and vertical movements of the head.
The Cartoni c 40 is hand-crafted from the latest hi-tech metal alloys, C40 S is a Heavy Duty fluid action head specifically designed to support Studio/EFP configurations or 35mm film cameras. The Counterbalancing system, activated by an 8 - position easy-grip selector, works with three reinforced groups of helicoidal high section springs. This mechanism combined with a 60mm. sliding base, allows the cameraperson to fine tune an extremely wide range of cameras weighing from 10 to 45 Kg (22 lbs to 100 lbs) throughout a tilt range of -/+ 65 degrees.
Technovision MKII geared head with 3 speed settings, built-in tilt plate. Optional gear reducers for this geared head are available, providing more control with gear ratios.Today, most friction heads-tripod combos are manufactured for low cost consumer still and video photography with the exception of Gitzo, that makes consumer and hi-end tripods and friction and fluid heads for the still photography market. Fluid heads are the most popular and are marketed for the consumer, pro-sumer, and professional market and mostly are offered as an option to a tripod according to your needs, type and weight of camera. Friction heads were in use for all types of still photographic and consumer motion picture cameras around world, until Chadwell O'Connor invented the fluid damped camera head in 1952.
Worrall Geared Head
The Mitchell Geared Head was a predecessor of the Worral head. Shown above with 3 speeds and built-in tilt plate.
The Mitchell Vitesse Geared Head allows 360 degrees movement on two axis; pan and tilt.Now days, the making of better, lighter and studier fluid heads with more features than ever, along with resistant lighter graphite tripods have become the equipment of choice for the broadcast news gathering industry, the documentary and the independent filmmaker. Sachtler, Bogen, Manfrotto, O'Connor and Vinten to name a few, have revolutionized the portability of fluid camera movement.
Sachtler’s fluid head Cine 30 HD features a side-load mechanism for the camera plate. A key advantage of this technology is that the fluid head can be side-loaded together with its camera set-up – quickly and easily. The mechanism is compatible with camera plates from OConnor and ARRI. The operating elements, manufactured according to 2K processes, are especially convenient. If you need a front box for all sorts of utensils or tools, it is simple to mount an adapter which is exceptionally practical for film and HD shooting.
The GearNex geared head is a precision, lightweight and compact pan and tilt gear head designed for independent and professional filmmakers. Perfect for all professional cameras such as: RED ONE • Panasonic Varicam • Panasonic HDX900 • Sony F900 • Panasonic DVX100 • Panasonic HVX200 • Sony FX1 • Sony EX1/EX3 • Other lightweight 35mm and 16mm film cameras. Nothing beats the smoothness of a geared head for certain moves, and some moves are actually much easier with a geared head than a fluid head as on dolly.
©George Leon photo 2009Among the remote and motion controlled heads I would like to mention , the Scorpio Head, the Hot Shot, Super Shot and Star Cam by Egripment, the Technovision Super Crane with 3 xis Z Head, the Louma 2 Camera System, the Talon by Ravens Claw and the Mark Roberts MOCO Milo . Check The Talon and Mark Robert's MOCO Milo at Camera Control in Santa Monica, USA in the video window above- click ON DEMAND- search for Talon or Milo on playlist.
All these choices of camera movement lead us to the next question: Which set-up is better, a fluid head or a geared head for your next project as camera operator? To answer this question, I would like to refer to the commentaries made by Roger Deakins, BSC/ASC in his oddly interrupted internet forum. (I spoke with Roger about the subject and about other camera and lighting setups he did during the production of the Big Lebowsky and Revolution Road while vising the ASC Open House in 2009).
Roger explains:
A geared head allows for a very accurate pan or tilt and a clean hard stop. I know it might seem like an old fashioned tool and I sometimes don't even carry one on some shoots but it is a surprisingly accurate and easy tool to use. I especially like it on a stage. Try it out! If you operate and want to use a remote head you might then have to use wheels in just the same way.
There are some cinematographers whom I admire a great deal and who never use a geared head. Even when they operate a remote head they might use a joystick instead of wheels. And, of course, many Cinematographers don't operate the camera themselves anyway. Maybe it is just a personal preference but I do find I have a lot of control on a geared head. I don't always use one and there have been films where I haven't had one on the shoot at all, but I would say that more often than not I have one in my camera package. It really does depend on the look I am going for and the nature of the work. It seems to me that a geared head gives me a more solid feel, a kind of forced formality to my shots and I will use one for those films or scenes where I want to have a more 'controlled' look. I will also tend to use one in a studio situation, for long dialogue scenes and for many specific dolly moves that require speed and a firm stop.
The first time I used one on a professional production was on '1984'. I didn't have a geared head in my camera package but the Line Producer ordered one for me to use on a particular long lens shot. He was playing a trick on me really. As had no confidence in me as a cinematographer he thought that hiring the geared head would show up my failings. He had no way of knowing that I had practiced with a geared head whilst at Film School and could sign my name with one. He never found out though. Whilst he was looking over my shoulder, I completed the shot, which was purely static, and then suggested he send the head back as it was an expensive rental item.
The compact geared head smaller, lighter in weight and equally efficient is the formula of the future. The ARRIHEAD 2 is it is successful product. With an equal equipment range and operating convenience, it is 8 cm shorter and approximately 4 kg‘s lighter than the large ARRIHEAD. With this design, the ARRIHEAD 2 is an ideal production tripod head not only for 35 mm cameras, but also for 16 mm filming. (Arrihead shown above)The head I prefer is the Arri Lightweight head and I use a set of large wheels instead of the smaller ones that come with this particular model. Much of the work I do is with a remote Power Pod head mounted on an Aerocrane jib arm and,in much the same way, this requires the use of a set of wheels to control the head. One way or another it is important, for me at least, to be able to use the wheels.
Practice? Just get a geared head and practice signing your name - or you might start with a figure of eight and build up to it. By the time you can achieve your signature you will find that operating by the wheels has become second nature to you and that is what it's about. You need to be able to get behind the camera and, without a rehearsal, operate the shot you want. It is no use having to practice with the stand ins or the actors. If you plan to be a cinematographer who operates the camera, you need to be able to concentrate on the WHY of the shot and not the HOW.
The gear head does take some practice and I wouldn't recommend using one without being very confident in your ability with it. I was taught to use a stick with a felt tip at the end of it, instead of a camera, and practice until I could sign my name with it! Roger concludes.
So, I say that the choice and the use of a fluid head versus a geared head is one of the decisions a director of photography or camera operator have to resolve early in pre-production. Any of the two choices are O.K. Both choices represent only another tool in the cinematographer's bag.
Here is a list of geared heads. Some are new models in active use by many cinematographers and other are older models but still found at different rentals houses or found for sale at different used motion picture equipment companies.
• Arrihead
• Arrihead 2
• Arri/Mitchell Geared Head
• Ceco Blimp Type 2-Speed Geared Head (TH-7)
• Ceco Pro-Jr. Geared Head
• GearNex Gearhead
• Houston Fearless Cradle Head
• MGM Geared Head
• Mitchell Geared Head
• Mitchell Mini (Lightweight) Geared Head
• Mitchell Vitesse Geared Head
• Mitchell Vista-Vision Geared Head
• Moy 16” Classic
• Moy 16” Standard
• Samcine Moy Geared Head
• Samcine Moy MkIII Geared Head
• Moy 16” Neptune Underwater Head
• Moy 22” Legend
• Moy 12” Mini
• NCE Geared Head
• NCE Cradle Geared Head & Model CGH
• NCE Jr. Geared Head
• NCE/Ultrascope MkI
• NCE/Ultrascope MkII
• NCE/Ultrascope MkIII
• Panahead
• Panahead, Super
• Panahead, Compact
• Sea Head
• Technovision Technohead MkI
• Technovision Technohead MkII (H)
• Technovision Technohead MkIII
• Worrall
• Worrall Mini
(List compiled by Ryan Patrick O'Hara)
Roger Deakins photo © George Leon 2009
So, I say that the choice and the use of a fluid head versus a geared head is one of the decisions a director of photography or camera operator have to resolve early in pre-production. Any of the two choices are O.K. Both choices represent only another tool in the cinematographer's bag.
Here is a list of geared heads. Some are new models in active use by many cinematographers and other are older models but still found at different rentals houses or found for sale at different used motion picture equipment companies.
• Arrihead
• Arrihead 2
• Arri/Mitchell Geared Head
• Ceco Blimp Type 2-Speed Geared Head (TH-7)
• Ceco Pro-Jr. Geared Head
• GearNex Gearhead
• Houston Fearless Cradle Head
• MGM Geared Head
• Mitchell Geared Head
• Mitchell Mini (Lightweight) Geared Head
• Mitchell Vitesse Geared Head
• Mitchell Vista-Vision Geared Head
• Moy 16” Classic
• Moy 16” Standard
• Samcine Moy Geared Head
• Samcine Moy MkIII Geared Head
• Moy 16” Neptune Underwater Head
• Moy 22” Legend
• Moy 12” Mini
• NCE Geared Head
• NCE Cradle Geared Head & Model CGH
• NCE Jr. Geared Head
• NCE/Ultrascope MkI
• NCE/Ultrascope MkII
• NCE/Ultrascope MkIII
• Panahead
• Panahead, Super
• Panahead, Compact
• Sea Head
• Technovision Technohead MkI
• Technovision Technohead MkII (H)
• Technovision Technohead MkIII
• Worrall
• Worrall Mini
(List compiled by Ryan Patrick O'Hara)
Roger Deakins photo © George Leon 2009
REST IN PEACE, POLAROID FILM 1928-2009
By George Leon
Another of my favorite products has passed away to the annals of photographic history this month. Polaroid, the instant camera outfit with the ubiquitous instant self-developing film packaged in a blue box or a rainbow wrapped box, lost the battle against the gratifying immediacy of digital photography. The company which stopped making instant cameras for consumers a year ago and for commercial use a year before that, said that as soon as it had enough instant film manufactured to last it through 2009, it would stop making that, too. Three plants that make large-format instant film will close by the end of the quarter, and two that make consumer film packets will be shut by the end of the year.
Another of my favorite products has passed away to the annals of photographic history this month. Polaroid, the instant camera outfit with the ubiquitous instant self-developing film packaged in a blue box or a rainbow wrapped box, lost the battle against the gratifying immediacy of digital photography. The company which stopped making instant cameras for consumers a year ago and for commercial use a year before that, said that as soon as it had enough instant film manufactured to last it through 2009, it would stop making that, too. Three plants that make large-format instant film will close by the end of the quarter, and two that make consumer film packets will be shut by the end of the year.
Polaroid® (a trademark of the Polaroid Corporation) is the name of a type of synthetic plastic sheet which is used to polarize light. The original material, patented in 1929 and further developed in 1932 by Edwin H. Land, consists of many microscopic crystals of iodoquinine - sulphate herapathite embedded in a transparent nitrocellulose polymer film. The needle-like crystals are aligned during manufacture of the film by stretching or by applying electric or magnetic fields. With the crystals aligned, the sheet tends to absorb light, which is polarized parallel to the direction of the crystal alignment, but transmits light, which is polarized perpendicularly to it. This allows the material to be used as a light polarizer. Its crystalline structure also blocks the transmission of non-perpendicular light. Not only did Polaroid’s techniques work in film, but they also work in sunglasses, window coatings, liquid crystal displays and microscopes.
Limited edition of 4x5 Alpenhause Polaroid with a 127mm,
f/4.7, 4-element Rodenstock Ysarex and double-window
viewfinder/rangefinder on top of the camera and
automatic parallax compensation
f/4.7, 4-element Rodenstock Ysarex and double-window
viewfinder/rangefinder on top of the camera and
automatic parallax compensation
Polaroid Land 180 with a 114mm, f/3.8 4-elementTominon lens. Separate-window range/viewfinder
assembly. Built-in mechanical development timer
Among other photographic products of my choice that had come to a rather inglorious end is the Agfa-Gevaert XT series of motion picture camera negative stock, an emulsion that rendered beautiful subtle pastels and warm earthy tones and a first choice of many cinematographers around the world. I was fortunate enough to shoot many cans of Afga XTR250 and XTS400 and also compare its characteristics against Kodak and Fujifilm stocks in different workshops and presentations held in a short-lived cine club for professional cinematographers underwritten by Carol Dean of now defunct Studio Film and Tape and members of the old IATSE local 644 in New York City. Until not long ago, I had in my possession 1,200 feet (6 cans) of AgfaXT320 in my fridge.
But the saddest of all losses, is the retirement of the 35mm Eastman Kodak Kodachrome transparency film, with its durable polyester base and the sharpest dye couplers emulsion of the any era. Kodachrome was processed exclusively using its proprietary K-14, a predecessor of the common slide E-6 process, yielding a unique look, deep contrast and rich vibrant lasting colors. I was also lucky to shoot hundred of rolls of Kodachrome 25 ASA, 64ASA or 200ASA film, my favorite emulsion for corporate portraiture and fashion shoots. It was always a hit, if printed in Cibachrome. Fantastic looking prints! For more information about cibachrome prints, visit the website of a master printer and friend of mine at http://www.cloneachrome.com/
Kodachrome 64In 1947, with World War II over and government contracts drying up, Edwin H. Land rushed his instant camera into production, with spectacular success. Consumers bought millions of Polaroid cameras and hundreds of millions of Polaroid film packs, establishing the company as one of Massachusetts' biggest manufacturers, with as many as 15,000 employees, and revenue that peaked at $2.31 billion in 1994.
According to the Photo Marketing Association, Americans bought 4.2 million instant cameras in 2000, nearly all of them Polaroid. However, they bought 4.5 million digital cameras that same year. It was a harbinger of hard times for Polaroid; digital cameras steadily got cheaper and better, and users became accustomed to sharing snapshots over the Internet. Last year, Americans bought 28.2 million digital cameras, and just 240,000 instant cameras.
But also, Polaroid had other problems: Its successful fight against a hostile takeover bid in the late 1980s left the company swamped with debt. It filed for bankruptcy protection in 2001, and is now owned by privately-held Petters Group Worldwide, of Minnetonka, Minn. “We’re trying to reinvent Polaroid so it lives on for the next thirty to forty years,” said Tom Beaudin, Polaroid’s President, COO and CFO in an interview to the Boston Globe. Petters changed its direction from instant cameras and instant film to digital cameras, flat-panel TV sets, DVD players and computer monitors under the Polaroid brand.
Polaroid’s decision to halt film production of their cameras and instant film distressed photo professionals and photo amateurs around the globe. Polaroid pack or sheet film is a very important tool for the non-digital professional, commercial and art photographer, allowing us to evaluate lighting, exposure and composition prior shooting our chosen emulsion in 35mm 120, 4x5, 5x7 or 8x10 formats. Every medium and large format camera maker offered a Polaroid back or facilitated the way for other aftermarket companies to adjust a Polaroid back in their cameras.
Prior every still shooting I did, regardless of the format, (except 35mm) and client, from corporate, to fashion to tabletop (2 1/4x 2 1/4 Hasselblad, 6x7 Mamiya or 4x5 Linhof/ Sinar) at my New York City/Hoboken studio or anywhere on location, I always used Polaroid pack or sheet film to evaluate lighting, exposure and composition. It was beautiful. It created a sense of anticipation, crew-client collaboration and sometimes worked as currency to pay agency “go-see” models, makeup artists or lunch. It was the proof of proofs of a successful shoot.
According to the Photo Marketing Association, Americans bought 4.2 million instant cameras in 2000, nearly all of them Polaroid. However, they bought 4.5 million digital cameras that same year. It was a harbinger of hard times for Polaroid; digital cameras steadily got cheaper and better, and users became accustomed to sharing snapshots over the Internet. Last year, Americans bought 28.2 million digital cameras, and just 240,000 instant cameras.
But also, Polaroid had other problems: Its successful fight against a hostile takeover bid in the late 1980s left the company swamped with debt. It filed for bankruptcy protection in 2001, and is now owned by privately-held Petters Group Worldwide, of Minnetonka, Minn. “We’re trying to reinvent Polaroid so it lives on for the next thirty to forty years,” said Tom Beaudin, Polaroid’s President, COO and CFO in an interview to the Boston Globe. Petters changed its direction from instant cameras and instant film to digital cameras, flat-panel TV sets, DVD players and computer monitors under the Polaroid brand.
Polaroid’s decision to halt film production of their cameras and instant film distressed photo professionals and photo amateurs around the globe. Polaroid pack or sheet film is a very important tool for the non-digital professional, commercial and art photographer, allowing us to evaluate lighting, exposure and composition prior shooting our chosen emulsion in 35mm 120, 4x5, 5x7 or 8x10 formats. Every medium and large format camera maker offered a Polaroid back or facilitated the way for other aftermarket companies to adjust a Polaroid back in their cameras.
Prior every still shooting I did, regardless of the format, (except 35mm) and client, from corporate, to fashion to tabletop (2 1/4x 2 1/4 Hasselblad, 6x7 Mamiya or 4x5 Linhof/ Sinar) at my New York City/Hoboken studio or anywhere on location, I always used Polaroid pack or sheet film to evaluate lighting, exposure and composition. It was beautiful. It created a sense of anticipation, crew-client collaboration and sometimes worked as currency to pay agency “go-see” models, makeup artists or lunch. It was the proof of proofs of a successful shoot.
Polaroid 669 film is balanced for averagedaylight (5500K) at 1/125 of a second,
as well as for electronic flash units
Polaroid 57 4 x 5 Black and White Sheetfilm is a high speed, panchromatic general
purpose black and white print film.
Ultra high-speed Medium contrast,
medium grain
The ritual to time the processing of a Polaroid sheet or pack film coming out the rollers of a Polaroid back was sometimes a comical or a dramatic event among professional photographers. Usually, only assistants that had gained enough trust from the photographer could peel apart the Polaroid film. Timing and correct peeling apart of the film was key to offer a perfect proof to the client. The pungent smell of the gooey chemical left in my fingers after every peeling apart is a smell I will never forget.
A Polaroid 4x5 sheet holder, standardfor every 4x5 view camera
A Polaroid holder for pack film 6x 7 RZ MamiyaThe beauty of the subtle image etched into the negative of the Polaroid film is an object of admiration and manipulation by creative photographers and artists. A favored Polaroid camera by many artists, law enforcement, insurance companies and Polaroid aficionados was the high-end SX-70 because it’s many features as a reflex camera using integral print film.
Polaroid SX-70 the first foldable "reflex" instantcamera with integral film and coated 4-element
116mm f/8 coated glass lens and electronic shutter.
The SX-70 film was the favorite of artists for
creative manipulation (read more)
116mm f/8 coated glass lens and electronic shutter.
The SX-70 film was the favorite of artists for
creative manipulation (read more)
Time is changing everything rapidly; a new camera or new photographic technology could become obsolete faster than ever. Film and analog video is being replaced by HD video. High-speed film cinematography is being replaced by super high-speed video. 2D imagery acquisition is being fiercely courted by 3D acquisition, postproduction and distribution. (see Avatar, James Cameron's new movie)
An example in how fast a new technology becomes obsolete faster than ever, dwells in two little wonder cameras of early 2000, the Cannon XL and the Panasonic DVX100A/B, now dwarfed to say the least, by their HDV updated versions. It is technology-eating technology. The gratifying immediacy of a beautiful and grain less high-definition image is the incentive, is the Holy Grail, is the raison d’être.
As many other people, I will miss the different cheap Polaroid cameras I have owned through the years, spitting integral film with a toying sound and seeing the ethereal images forming in front of my eyes. Also, will miss a retrofitted 185 Land with a Copal leaf shutter I sold not too long ago and the screw-ups that happened every time I pulled wrongly the protective tab of a 669 or a 667-pack film. But overall, what I will miss the most is the wonderment offered by a technology that lasted over eighty years. A longevity record now days, that’s for sure.
As many other people, I will miss the different cheap Polaroid cameras I have owned through the years, spitting integral film with a toying sound and seeing the ethereal images forming in front of my eyes. Also, will miss a retrofitted 185 Land with a Copal leaf shutter I sold not too long ago and the screw-ups that happened every time I pulled wrongly the protective tab of a 669 or a 667-pack film. But overall, what I will miss the most is the wonderment offered by a technology that lasted over eighty years. A longevity record now days, that’s for sure.
VIDEO ASSIST PREDATES JERRY LEWIS "PATENT"
It is said that necessity is the mother of invention and Jerry Lewis, the director and actor of The Bellboy (1960) said these words about his invention of the "Video Assist " in a conversation in 2008
with Peter Bogdanovich.
Peter: Well, it is incredible. I don't know how the hell you did it. That was your first movie as a director for a commercial release. And then you made five or six pictures right one after the other...
Jerry: Yep.
Jerry: Is that when you invented the video assist?
Jerry: 1956. I had already invented the video assist.
Jerry: The video assist is a closed-circuit monitor that enables you to see while you're shooting—it enables you to see what you're shooting on a TV monitor. Jerry invented that and for years was the only person using it. Now everybody in the industry uses it on every picture.
Peter: How did you come...how did that happen?
Jerry: Because nobody was doing it. I just thought, if I was going to direct a film of myself, I'm going to have to have that information. I'm not going to direct a film and say to someone, "Bernie, how was it?" "It was funny!" "Print it!" No way, no, sorry. So before I would take the directorial reins, knowing what that meant, I figured I'm going to have a tool that's going to help me that I could trust. I went to see Mr. Morita of Sony. I flew to Japan about 35 times in the next four years and I was working with Hideo, his son, who helped me tremendously in getting the beam splitter, getting the electronic code and making what I had to have to do what I wanted to do. So I put it together, made it work, and the first time I had a chance to work with it was on The Bellboy.
Jerry: So you can see yourself.
Peter: Yeah. Of course.
Peter: Amazing.
Jerry: I used only video monitors. I‘d use 30 or 35 of them on the set. Everywhere I was, I could see where we were when I was shooting and I would either make the entrance or cut it. If it was fine, I'd continue. I'd have all that information wherever I looked. No one could understand how I would know what that meant. Well, you work it out.
My interest into the matter is that grew up admiring and laughing at the nutty slapstick screwball comedy of Jerry Lewis and I still remember seen him directing Smorgasbord back in 1982 on location. Also, I have many years of experience using video assist or video taps as they are commonly known. I used them for music videos and television commercials. But, I never was a fan of the gizmo. It was blessed curse. It was the choice of directors or producers , but not necessarily mine as a cinematographer or camera operator for many obvious reasons.
In light of the conversation between Jerry and Peter and other claims of such technical achievement, Peter Glaskowsky, writer of Speeds and Feeds and technology analyst of CNET News decided to investigate the movie star patent registration.
A few weeks ago, he wrote about Jerry Lewis' role in the development of "video assist" technology, the use of video technology to support film making (see "Jerry Lewis and the elusive Video Assist patent"). Lewis was credited as the inventor of video assist during the Academy Awards telecast in February, and more specifically, was said to hold a patent on the technology. He looked for this patent because he thought it would be interesting to write about it here, but didn't find it. After he contacted the U.S. Patent and Trademark Office for help with the story, it looked too. The bottom line is that there is no such patent.
It turns out that video assist goes back to well before 1956, when Lewis claims to have invented it--as he did in a 2008 interview with Peter Bogdanovich. Thanks to a commenter on my original post, plus some long discussions with Jim Songer, an engineer who made substantial contributions to video assist in the 1960s, I have tracked down what may be the earliest patents on video-assist technology. But before I get into those patents, let me describe the elements of video assist technology in a little more detail. First, video assist relates primarily to motion picture production. As the name suggests, the purpose of the video is to assist the production by allowing the director, actors, and other crew members to review what's being filmed. This can be done live, or if video recording is used, the video can be reviewed after the shot.
The ultimate implementation of video assist requires simultaneous film and video recording of the same scene with the greatest possible quality and convenience. Accordingly, both film and video recording should be accomplished with what amounts to one camera, which should meet all the other requirements for motion-picture principal photography, use the same viewfinder and all of the same controls, and work with the same lenses and lighting. There can still be considerable value to a system that doesn't meet all these requirements. Indeed, the earliest video-assist systems were very simple. US Patent 2,420,197 by Adolph H. Rosenthal, issued in 1947 with a 1944 filing date, describes combining film and video cameras on a common chassis. Each camera used its own lens, which means they couldn't record exactly the same view (a condition known as parallax). Parallax can be a problem, especially for a tightly framed shot. Sometimes it isn't a problem. Lewis, for example, used video assist to help set up the timing of his scenes, so precise framing wasn't essential. From what I've been able to learn, Lewis' original video-assist system used separate video and film cameras, possibly mechanically attached for convenience, and so may have been unpatentable in light of the the 1947 patent.
Jerry Lewis Video Assist console with a scope,
monitor and reel-to- reel tape playback
The next major step was to combine the two optical systems to eliminate the parallax error. This combination was described in U.S. Patent 2,698,356 by Paul Roos, issued 1954 with a 1951 filing date, which describes the combination of a movie camera with a TV camera recording the image through the same lens using a beamsplitter. It appears that the Roos adapted an existing camera design that used the beamsplitter to provide an optical viewfinder; Roos realized he could put a video camera in the viewfinder path. This development earned Roos a 1988 Technical Achievement Award from the Academy of Motion Picture Arts and Sciences (AMPAS) "for the invention of a method known as Video Assist."
A 1955 patent filed in 1953 by Arthur E. Reeves and Robert Gordon Nichols (U.S. 2,709,391) goes one more essential step by adding a second beamsplitter so that both an optical viewfinder and a video camera could be used simultaneously. Songer explained to me a limitation of the Reeves/Nichols design: the three optical paths in this system, each with a different length, would cause undesirable variations in image size. For one lens, the film might see a wider view than the video camera; for another, the image on the film might be larger and thus have a narrower view. Solving this problem would require making significant adjustments to the camera when changing lenses.
Also, since the video camera is so far from the lens, with so many optical elements in between, it would not receive very much light. The video cameras of those days were not extremely sensitive, so to make them work, more light had to be diverted from the film. There are a couple of patents from 1960 and 1965 describing the attachment of a 16mm film camera to a studio-style TV camera, but as far as I can tell, there were no further advances in video assist technology for motion-picture use until Jim Songer integrated a video camera into a Panavision film camera and solved these problems. Songer was hired by Gordon Sawyer of Samuel Goldwyn Studios in 1962 to work on video-assist technology, which he called "Instant Replay" at the time. Over the next several years the path of his developments echoed that of previous efforts, solving each problem in turn. Along the way,
Songer's project was spun out to create a company called "Video West," and Songer was kind enough to send me copies of articles from American Cinematographer magazine describing the "Video West Instant Replay System." Ultimately, Songer designed his own video camera using a high-resolution Saticon tube in which the video image was scanned from only a small portion of the tube face. This made it possible to divert a smaller portion of the light away from the film, so the combined camera system could work with standard studio lighting.
Songer's design made the video camera work as an almost invisible element in the film camera, eliminating the need for adjustments when changing lenses and minimizing the light loss so the camera would still work in typical studio conditions. Songer's design was also more practical for use in the fast-paced motion picture industry than previous systems. It eliminated the need for adjustments when changing lenses, and was built into the loading door for a standard Panavision camera so that it could be moved from one camera to another.
Previous systems, including a competing design from the Mitchell Camera Company, were built into the camera chassis, but Hollywood producers found it more convenient to rent standard cameras and install the video-assist module only when needed. With just two of these video-assist systems, Video West supported the production of a large number of motion pictures starting with Blake Edwards' "The Party." Songer also made his system wireless: the video signal was transmitted by radio to the video-tape recorder and multiple video monitors, including battery-operated portable monitors that could be brought onto the set for review by actors.
Songer received his own Technical Achievement Award from AMPAS for 2002. The research report prepared by AMPAS to support the award states: "...it can be concluded that the development of Video Assist by Jim Songer has had one of the most significant impacts of any technical development in the history of the fim industry." Referring to the various technical requirements for video assist as part of principal cinematography, the report concludes: "Since Jim Songer's Video Assist system was built inside the first sound reflex camera to be accepted by the motion picture industry for a camera in the 'A' position, it would make it chronologically impossible for anyone else to have achieved video assist any earlier."
(Songer didn't apply for patents on this work, which would have belonged to Video West in any event. But later in his career, he earned 17 US patents between 1976 and 2003, plus many more international patents. Some were very significant. One anticipated the Macrovision copy-protection technology for video-cassette recorders, for example. Others related to 3D video display and high-definition TV.) All of this information seems to put an end to Lewis' claims. He was undoubtedly a pioneer in the application of video assist, but others made more significant contributions to the development of this important technology.
Read On the Set with Video Assist by Michael Frediani, SOC
Jerry: So you can see yourself.
Peter: Yeah. Of course.
Peter: Amazing.
Jerry: I used only video monitors. I‘d use 30 or 35 of them on the set. Everywhere I was, I could see where we were when I was shooting and I would either make the entrance or cut it. If it was fine, I'd continue. I'd have all that information wherever I looked. No one could understand how I would know what that meant. Well, you work it out.
My interest into the matter is that grew up admiring and laughing at the nutty slapstick screwball comedy of Jerry Lewis and I still remember seen him directing Smorgasbord back in 1982 on location. Also, I have many years of experience using video assist or video taps as they are commonly known. I used them for music videos and television commercials. But, I never was a fan of the gizmo. It was blessed curse. It was the choice of directors or producers , but not necessarily mine as a cinematographer or camera operator for many obvious reasons.
In light of the conversation between Jerry and Peter and other claims of such technical achievement, Peter Glaskowsky, writer of Speeds and Feeds and technology analyst of CNET News decided to investigate the movie star patent registration.
A few weeks ago, he wrote about Jerry Lewis' role in the development of "video assist" technology, the use of video technology to support film making (see "Jerry Lewis and the elusive Video Assist patent"). Lewis was credited as the inventor of video assist during the Academy Awards telecast in February, and more specifically, was said to hold a patent on the technology. He looked for this patent because he thought it would be interesting to write about it here, but didn't find it. After he contacted the U.S. Patent and Trademark Office for help with the story, it looked too. The bottom line is that there is no such patent.
This illustration from an article written
by Jim Songer for American Cinematographer
magazine, shows a Panavision camera with the
video assist subsystem integrated into the loading door.
(Credit: Jim Songer and Video West)
by Jim Songer for American Cinematographer
magazine, shows a Panavision camera with the
video assist subsystem integrated into the loading door.
(Credit: Jim Songer and Video West)
It turns out that video assist goes back to well before 1956, when Lewis claims to have invented it--as he did in a 2008 interview with Peter Bogdanovich. Thanks to a commenter on my original post, plus some long discussions with Jim Songer, an engineer who made substantial contributions to video assist in the 1960s, I have tracked down what may be the earliest patents on video-assist technology. But before I get into those patents, let me describe the elements of video assist technology in a little more detail. First, video assist relates primarily to motion picture production. As the name suggests, the purpose of the video is to assist the production by allowing the director, actors, and other crew members to review what's being filmed. This can be done live, or if video recording is used, the video can be reviewed after the shot.
The ultimate implementation of video assist requires simultaneous film and video recording of the same scene with the greatest possible quality and convenience. Accordingly, both film and video recording should be accomplished with what amounts to one camera, which should meet all the other requirements for motion-picture principal photography, use the same viewfinder and all of the same controls, and work with the same lenses and lighting. There can still be considerable value to a system that doesn't meet all these requirements. Indeed, the earliest video-assist systems were very simple. US Patent 2,420,197 by Adolph H. Rosenthal, issued in 1947 with a 1944 filing date, describes combining film and video cameras on a common chassis. Each camera used its own lens, which means they couldn't record exactly the same view (a condition known as parallax). Parallax can be a problem, especially for a tightly framed shot. Sometimes it isn't a problem. Lewis, for example, used video assist to help set up the timing of his scenes, so precise framing wasn't essential. From what I've been able to learn, Lewis' original video-assist system used separate video and film cameras, possibly mechanically attached for convenience, and so may have been unpatentable in light of the the 1947 patent.
Jerry Lewis Video Assist console with a scope,monitor and reel-to- reel tape playback
The next major step was to combine the two optical systems to eliminate the parallax error. This combination was described in U.S. Patent 2,698,356 by Paul Roos, issued 1954 with a 1951 filing date, which describes the combination of a movie camera with a TV camera recording the image through the same lens using a beamsplitter. It appears that the Roos adapted an existing camera design that used the beamsplitter to provide an optical viewfinder; Roos realized he could put a video camera in the viewfinder path. This development earned Roos a 1988 Technical Achievement Award from the Academy of Motion Picture Arts and Sciences (AMPAS) "for the invention of a method known as Video Assist."
A 1955 patent filed in 1953 by Arthur E. Reeves and Robert Gordon Nichols (U.S. 2,709,391) goes one more essential step by adding a second beamsplitter so that both an optical viewfinder and a video camera could be used simultaneously. Songer explained to me a limitation of the Reeves/Nichols design: the three optical paths in this system, each with a different length, would cause undesirable variations in image size. For one lens, the film might see a wider view than the video camera; for another, the image on the film might be larger and thus have a narrower view. Solving this problem would require making significant adjustments to the camera when changing lenses.
Also, since the video camera is so far from the lens, with so many optical elements in between, it would not receive very much light. The video cameras of those days were not extremely sensitive, so to make them work, more light had to be diverted from the film. There are a couple of patents from 1960 and 1965 describing the attachment of a 16mm film camera to a studio-style TV camera, but as far as I can tell, there were no further advances in video assist technology for motion-picture use until Jim Songer integrated a video camera into a Panavision film camera and solved these problems. Songer was hired by Gordon Sawyer of Samuel Goldwyn Studios in 1962 to work on video-assist technology, which he called "Instant Replay" at the time. Over the next several years the path of his developments echoed that of previous efforts, solving each problem in turn. Along the way,
Songer's project was spun out to create a company called "Video West," and Songer was kind enough to send me copies of articles from American Cinematographer magazine describing the "Video West Instant Replay System." Ultimately, Songer designed his own video camera using a high-resolution Saticon tube in which the video image was scanned from only a small portion of the tube face. This made it possible to divert a smaller portion of the light away from the film, so the combined camera system could work with standard studio lighting.
Songer's design made the video camera work as an almost invisible element in the film camera, eliminating the need for adjustments when changing lenses and minimizing the light loss so the camera would still work in typical studio conditions. Songer's design was also more practical for use in the fast-paced motion picture industry than previous systems. It eliminated the need for adjustments when changing lenses, and was built into the loading door for a standard Panavision camera so that it could be moved from one camera to another.
Previous systems, including a competing design from the Mitchell Camera Company, were built into the camera chassis, but Hollywood producers found it more convenient to rent standard cameras and install the video-assist module only when needed. With just two of these video-assist systems, Video West supported the production of a large number of motion pictures starting with Blake Edwards' "The Party." Songer also made his system wireless: the video signal was transmitted by radio to the video-tape recorder and multiple video monitors, including battery-operated portable monitors that could be brought onto the set for review by actors.
Songer received his own Technical Achievement Award from AMPAS for 2002. The research report prepared by AMPAS to support the award states: "...it can be concluded that the development of Video Assist by Jim Songer has had one of the most significant impacts of any technical development in the history of the fim industry." Referring to the various technical requirements for video assist as part of principal cinematography, the report concludes: "Since Jim Songer's Video Assist system was built inside the first sound reflex camera to be accepted by the motion picture industry for a camera in the 'A' position, it would make it chronologically impossible for anyone else to have achieved video assist any earlier."
(Songer didn't apply for patents on this work, which would have belonged to Video West in any event. But later in his career, he earned 17 US patents between 1976 and 2003, plus many more international patents. Some were very significant. One anticipated the Macrovision copy-protection technology for video-cassette recorders, for example. Others related to 3D video display and high-definition TV.) All of this information seems to put an end to Lewis' claims. He was undoubtedly a pioneer in the application of video assist, but others made more significant contributions to the development of this important technology.
Read On the Set with Video Assist by Michael Frediani, SOC
PANAVISION'S FUTURE IS IN NEED OF FOCUS
By Richard Verrier
When producer John Wells was preparing to shoot his crime drama "Southland," he chose a digital camera that few had heard of a few years ago. The Red One was inexpensive, easy to use and enthusiastically endorsed by his friend and director Steven Soderbergh, who used it to film his two-part movie last year about Che Guevara. Wells was so taken with the Red camera that he even used it to film the final six episodes of "ER." That was a blow to Panavision Inc., the movie camera rental company whose roots go back more than half a century in Hollywood and which had provided cameras for hundreds of episodes during the hospital drama's 15-year run.
Panavision was completely in shock," recalled Arthur Albert, cinematographer for "ER." "It was like a slap in the face." Panavision's movie camera, with the director squinting into the eyepiece behind it to line up the shot, has been a ubiquitous presence on film sets. But now the company, beset by cheaper rivals moving into its turf, a sharp drop in film production and huge debt acquired in a 1998 takeover by investor Ronald O. Perelman, is struggling to hold on to its reputation as the industry's leading supplier of cameras and lenses.
Once known for its stable management, Panavision in recent years has more resembled the revolving executive suite door of a Hollywood studio, with four chief executives in the last six years. The most recent, William M. Campbell, lasted less than three months on the job. "Anybody who uses Panavision equipment has to be concerned," said Richard Crudo, past president of the American Society of Cinematographers. "Our biggest concern is that something disastrous might happen and suddenly they're not with us any longer. That would be a major blow to the industry."
Some of Panavision's problems parallel those facing other companies in the production industry. The company has been hit hard by the steep downturn that began last year during the Hollywood writers strike and the subsequent standoff between the major studios and the Screen Actors Guild. The economic recession also led studios to make fewer movies and advertisers to cut back on making commercials, further weakening demand for filmmaking equipment.Panavision is a unit of Perelman's privately owned holding company, MacAndrews & Forbes Holdings Inc., which doesn't release the company's financial results. But people close to Panavision say camera and lens orders for feature films, which account for most of the company's revenue, are down 15% to 20% this year.
The company generated about $250 million in revenue in 2008, slightly below that of 2007. The company would not provide an estimate for total revenue in 2009. In response to the slowdown, Panavision laid off about 200 employees, reducing its total workforce to 1,200. It plans to consolidate offices, currently split between Woodland Hills and Hollywood, into a location in Burbank this year. The close-knit cinematography community first sensed things may not have been going well at Panavision in April, when Perelman ousted Bob Beitcher, who had been CEO since 2003, after the two sparred over how to turn the business around. The news surprised many in the industry, where Beitcher was respected for his efforts to improve Panavision's service and upgrade its products.
Beitcher declined to discuss his exit, but said, "Panavision is dealing with many of the same issues as all the other service providers in the industry are." Beitcher was succeeded by Campbell, a former president of Discovery Networks USA who also had been an executive at ABC, CBS and Warner Bros. Television. But Campbell barely had a chance to unpack his boxes before Perelman asked him to step aside in June, after other executives complained that Campbell lacked an understanding of the business and was not sufficiently engaged in the day-to-day affairs of the company, according to people familiar with the situation.
But one person close to Campbell disputed that account and said he stepped down because Perelman didn't share his strategy to rejuvenate the company, which included beefing up the company's website and more aggressively taking on rivals like Red Digital Cinema, the Lake Forest maker of the Red One camera. Campbell, who will continue to work for the company as a consultant, declined to comment for this article.
He was succeeded by William C. Bevins, a longtime Perelman associate who had worked as a top executive at the billionaire investor's other Hollywood companies, New World Communications Group Inc. and Marvel Entertainment Inc. Bevins declined to discuss the management upheaval but said that "the most important thing right now is to make sure that we manage through this recovery and that as the economy improves we have equipped ourselves to provide not just the service, but the gear that will allow us to maintain and possibly even improve our market share." Despite the drop in business, Panavision still generates an operating profit and has cash flow of about $70 million, said people familiar with the company. But much of that goes toward servicing its debt, which is held by a consortium of banks headed by Credit Suisse.
"We can very effectively manage the debt level that we have," Bevins said. "But if at any point in time we have capital needs that go beyond that, we can always look to our shareholder [Perelman], and he's been supportive of us." Aside from a production slowdown, Panavision is grappling with a more fundamental shift: Its business was built around manufacturing and leasing costly, high-end film cameras. It was a model that worked well for decades, when its cameras and lenses became a fixture in Hollywood and had little competition.
But demand for film cameras has steadily declined in recent years. Although filmmakers still debate the merits of shooting on 35-millimeter film versus shooting digitally, the switch to digital equipment has been dramatic, especially in television, where studios have been pressuring producers to cut costs. Virtually all the TV pilots were shot digitally this year. Panavision rents digital cameras, including its well-regarded Genesis, which it developed with Sony Electronics.
Panavision GenesisIn addition to renting the camera, Red Digital Cinema sells its camera and accessories for about $30,000, making digital cameras affordable for filmmakers. By contrast, Panavision cameras aren't for sale and typically rent from $10,000 to $60,000 a week. "Suddenly the camera that nobody has access to, everybody has access to," said Brook Willard, a digital imaging technician who works with the Red camera and served as an advisor on "Southland" and "ER."
Bevins acknowledged that Panavision needs to more quickly adapt to the changing marketplace. To that end, the company recently acquired 15 Sony digital cameras for $35 million and is developing a new line of digital cameras. "We've decided to redouble our efforts to develop product for the digital marketplace," he said. "We can't rent what people don't want."
LOUIS VUITTON SALUTES THE 40TH ANNIVERSARY OF THE LUNAR LANDING
Sally Ride, Buzz Aldrin, Jim Lowell, the Moonphotographed by Annie Leibovitz
click the photo for a fantastic journey
DIGITAL CINEMATOGRAPHERS: SAY GOODBYE TO IR POLLUTION
Until recently, the use of film for Motion Pictures allowed DOP's the greatest latitude. When lighting characteristics and exposure needs varied, the appropriate film stock could be selected to provide the optimum results. Filters could be used to fine tune the optimum results. Color timing in developing added further to the filmmaker’s options.Now with the advent of Digital Motion Picture Cameras and a digital imaging device taking the place of film, DOPs no longer have the option of selecting the optimum film for their application. They must now deal with a one size fits all imaging device that is designed to replace all the various film types; what you see is what you get. This means that the use of filters regardless of the capture format rate is even more critical in achieving the desired results.
Because the imaging device is designed to be sensitive in low light conditions it is easily over exposed in bright situations. The Neutral Density filter is used to help control this situation as well as to gain more control over depth of field. Up to now ND filters made with dyes did this job, but passed small amounts of red and near infra-red light to create their transitional slope between attenuating visual and passing infra-red.
Sony F35In addition to the visual spectrum, digital imaging devices are sensitive to Infra-Red. This Infra-Red can have an effect on the quality and the color of the image. Digital imaging devices require higher grade neutral density filters but are sensitive to infrared (IR). This IR pollution has an adverse effect on the quality and the color rendition of the images – stealing contrast and color, resulting in unwanted color shifts. Greens become a reddish muddy brown and blacks have a magenta hue. To combat this problem, some camera manufacturers use an IR blocking filter in front of the imaging device – most notably, the Sony F23, F35 and the Panavision Genesis. However, when you combine a neutral density filter with cameras containing a built in IR blocking filter, the result is a spike in the near infra red.
Putting Them to the Test
Putting Them to the TestArt Adams recently put Tiffen’s Full Spectrum IRND filters to the test on a Sony F35 – he compared them to our competitors! His results speak for themselves, but we want to show you anyway. Art tested the IR ND 2.1, and after white balancing (recommended) to remove the yellow-green cast, this was the result:
In his own words,
“This filter works perfectly.” “The Tiffen IR ND filters are the only filters that effectively cut far red contamination on those cameras [Panavision Genesis/Sony F35/F23].” “I have to state how impressed I am that they [Tiffen] came up with this dye formula to cut far red….” “That makes the Tiffen IRND filters the best choice …., and the fact that there’s no dichroic Hot Mirror coating reduces the cost ….”
“This filter works perfectly.” “The Tiffen IR ND filters are the only filters that effectively cut far red contamination on those cameras [Panavision Genesis/Sony F35/F23].” “I have to state how impressed I am that they [Tiffen] came up with this dye formula to cut far red….” “That makes the Tiffen IRND filters the best choice …., and the fact that there’s no dichroic Hot Mirror coating reduces the cost ….”
In Conclusion
The Tiffen Full Spectrum IR ND filters extend the light transmission characteristics into the infra red region of the spectrum and are essential for the cinematographer using the Sony F23/F35 or Panavision Genesis to control the near infra red, particularly when using heavier densities. Tiffen Full Spectrum IRND Filters can be used in conjunction with the Tiffen Clear Hot Mirror for Digital Motion Picture Cameras using a CMOS chip sensor which does not use an internal IR Blocking filter such as the RED ONE and SI2K, to fully combat near and far IR pollution across the range. Tiffen Full Spectrum IRNDs are also manufactured in combination with the Tiffen Hot Mirror for ease of use in sunshades or smaller Matte Boxes when using these cameras.
These filters are manufactured using our proprietary lamination process, which means that each effect is captured between two pieces of glass, allowing us to grind and polish both surfaces to achieve perfect parallelism. For the cinematographer, this means worry free handling. These filters are made with Water White glass and are available in sizes 4x4, 4x4.650, 5.65x5.65, 6.6x6.6, 138mm, 105C, & 77mm.
Panavision GenesisArt Adams is a well-respected Director of Photography and has over 25 years experience in the film industry. He has many feature film and television credits and is currently focusing his energies on high end corporate productions, as well as, special venue and blue/green screen production. He is a regular Contributor for ProVideo/Cinematography Coalition where you can view complete test results at http://provideocoalition.com/index.php/aadams/story/f35_ir_filter_shoot_out/. You can read more about Art at www.artadams.net.
NEW! ROSCO iGOBO APPS FOR iPHONE AND iPOD TOUCH
By George Leon
Courtesy of Chris Alexander, Rosco Canada
The iPhone and iPod Touch shines again as a tool for the Cinematographer and the Lighting Designer.In past postings I called the iPhone and the iPod "The Swiss Army Knife for the Cinematographer" given to the many new apps available to the operating cameraman, director of photography and lighring designer. For the Camera Department, we count with the Depth of Field (DOF) Calculator, the Footage Calculator, the Aspect Ratio Calculator, the Lens Angle Calculator, and a gaffer's delight, the Power Load Calculator.
For the Lighting Department, the Rosco iGobo for iPhone and iPod Touch is the perfect tool for lighting designers, technicians and creative directors on the go. Containing the entire Rosco gobo library of more than 2300 images, iGobo makes it easy to browse, compare and select steel, glass or effects gobos, black and white or color, no matter where you are -- in your studio, at the tech table, in a design meeting or even in transit. iGobo uses the familiar look and feel found on the Rosco Gobo Website and printed catalog, with gobos sorted into helpful categories and shown along side similar, related images. The app defaults to the same order and layout found in the Rosco Gobo Catalog, but you can re sort by gobo code or name or by category
Your most recently browsed gobos are always available for review in case you want to go back to something you know you saw before. A comprehensive table of keywords helps you to zero in on the right gobo. Choose any 2 gobos to compare side by side, replacing one or both images quickly and easily. When you find something you like, add it to a Favorites list so you can recall it at another time. Make notes about how you might use it, or on what project. Finally the powerful search finds gobos by name, code, category, keyword, designer name or even the DHA gobo code familiar to many designers in Europe and Asia. And of course all of the iPhone’s magical gestures have been implemented allowing you to flick back and forth among gobos, rotate or reposition them with a simple twist of your finger and double tap into new screens.FEATURES
More than 2300 gobo designs in steel and glass, b/w, full color and iPro images
Crisp clear thumbnails and brilliant full screen images
Arranged by category and easily sorted by code, name, category or catalog order
Search by name or code
Rotate or spin gobos with the flick of your finger
Compare any two designs
Store your selections as a Favorite’s list for easy recall later
Rosco iGobo for iPhone and iPod Touch is the perfect tool for lighting designers, technicians and creative directors on the go. Containing the entire Rosco gobo library of more than 2300 images, iGobo makes it easy to browse, compare and select steel, glass or effects gobos, black and white or color, no matter where you are -- in your studio, at the tech table, in a design meeting or even in transit. iGobo uses the familiar look and feel found on the Rosco Gobo Website and printed catalog, with gobos sorted into helpful categories and shown along side similar, related images.
The app defaults to the same order and layout found in the Rosco Gobo Catalog, but you can re sort by gobo code or name or by category Your most recently browsed gobos are always available for review in case you want to go back to something you know you saw before. A comprehensive table of keywords helps you to zero in on the right gobo. Choose any 2 gobos to compare side by side, replacing one or both images quickly and easily. When you find something you like, add it to a Favorites list so you can recall it at another time. Make notes about how you might use it, or on what project. Finally the powerful search finds gobos by name, code, category, keyword, designer name or even the DHA gobo code familiar to many designers in Europe and Asia. And of course all of the iPhone’s magical gestures have been implemented allowing you to flick back and forth among gobos, rotate or reposition them with a simple twist of your finger and double tap into new screens.
The app defaults to the same order and layout found in the Rosco Gobo Catalog, but you can re sort by gobo code or name or by category Your most recently browsed gobos are always available for review in case you want to go back to something you know you saw before. A comprehensive table of keywords helps you to zero in on the right gobo. Choose any 2 gobos to compare side by side, replacing one or both images quickly and easily. When you find something you like, add it to a Favorites list so you can recall it at another time. Make notes about how you might use it, or on what project. Finally the powerful search finds gobos by name, code, category, keyword, designer name or even the DHA gobo code familiar to many designers in Europe and Asia. And of course all of the iPhone’s magical gestures have been implemented allowing you to flick back and forth among gobos, rotate or reposition them with a simple twist of your finger and double tap into new screens.For other lighting control and lighting color changing applications for the iPhone and iPod read more "The Next Swiss Army Knife for the Cinematographer"
For more information about Rosco
LOOKING THROUGH A DIRECTOR'S VIEWFINDER
A Short Story about Director's Viewfinders
In the beginning, capturing the vision that directors have in their heads and communicating it to the cameraman was inefficient and the movie director used his hands and a good deal of imagination to frame the shots. As time progressed and technology developed, he would "borrow" the viewfinder located on the side of the early motion picture camera. Later, a version of the famed Mitchell camera viewfinder was used. Eventually, directors and cinematographers with a sufficient amount of clout at the studios asked studio machine shops to make an optical device or viewfinder that would come close to simulating set-ups as seen by the camera lens.
An early wooden and brass director's viewfinder
Viewfinder with cut-out mattes
Armed with these early viewfinders, they used cut-out mattes to represent the focal lengths of various lenses. The studio machine shops even developed a zooming device for use with the early viewfinders. Several versions of directors viewfinders were developed during this time. Just after World War II in 1946, Tewe, a German optical company, developed a small viewfinder which could be hung around the neck. It was soon being used and worn by directors and D.P.'s throughout the motion picture industry around the world.
An early wooden and brass director's viewfinder
Viewfinder with cut-out mattes
Orson Wells and Cinematographer Gregg Tolandline up a camera angle using a Mitchell viewfinder
on the set of "Citizen Kane" in 1940
Tewe Director's Viewfinder Model 3B, circa 1970With the introduction in the 1960's of wide angle prime lenses and the 25-250mm Angenieux zoom, the Model 3B could not be used to accurately simulate the new 10:1 zoom ratio.
In 1975, Alan Gordon Enterprises in Hollywood, California started the development of what would become the 10:1 Mark IV Directors Viewfinder. The Mark IV was introduced at the S.M.P.T.E. conference and trade show in 1979. This was the beginning of the modern day Director's Viewfinder. Subsequent updated models have been the Mark V, introduced in 1991 and the current Mark Vb model in 2005. In addition to its 10:1 zoom range, the Mark IV featured windows through which the director could easily see the lens focal length he was considering. These windows represented 16, 35 & 35 anemographic formats, and gave the cinematographer instant information about lens focal length and scene framing.
Mark IV evolved into Mark V Director's Viewfinder in 1987. With the Mark V, Alan Gordon Enterprises introduced an enhanced 12:1 zoom range, a wider angle capability, and two additional windows covering Super 16, 1/2" & 2/3" video formats.
TODAY'S DIRECTOR VIEWFINDERS
In 1975, Alan Gordon Enterprises in Hollywood, California started the development of what would become the 10:1 Mark IV Directors Viewfinder. The Mark IV was introduced at the S.M.P.T.E. conference and trade show in 1979. This was the beginning of the modern day Director's Viewfinder. Subsequent updated models have been the Mark V, introduced in 1991 and the current Mark Vb model in 2005. In addition to its 10:1 zoom range, the Mark IV featured windows through which the director could easily see the lens focal length he was considering. These windows represented 16, 35 & 35 anemographic formats, and gave the cinematographer instant information about lens focal length and scene framing.
Mark IV evolved into Mark V Director's Viewfinder in 1987. With the Mark V, Alan Gordon Enterprises introduced an enhanced 12:1 zoom range, a wider angle capability, and two additional windows covering Super 16, 1/2" & 2/3" video formats.
TODAY'S DIRECTOR VIEWFINDERS
The Mark Vb Director's Viewfinder represents the industry's state-of-the-art. It precisely defines choice of lenses, angles and coverage in a wide variety of formats for both film and video. The Mark Vb enables film profesisonals to communicate their visions to each other instantly and with complete accuracy, allowing the time saved to be used in the art of filmmaking. With a 12:1 zoom ratio, the Mark Vb Director's Viewfinder addresses all framing situations, making it an essential tool for today's professional filmmaker. Setting up shots using the 16mm and 35mm direct-reading windows provides a wide range of film and video formats including 2/3", and Super 16.
Michael Bay's retrofitted and engraved Mark VB by Panavision
Cavision VFC52PL with Arri PL bayonet mount for35mm standard lenses with extension eyepiece
The Fries/Mitchell "Special Effects 35mm Director's Viewfinder" is a highly costomizable and flexible system. The standard finder comes with your choice of lens mount, Arri-PL, Panavision or BNC-R, (1) ground glass, handle, rubber eyecup and case. The mount is easily changed and re-centered for Standard and Super 35 formats. Inside the finder is a set of registration pins to hold a film clip.
The Panavision Mini-DV Director’s Viewfinder, made in Australia, uses Panavision Millennium 35mm camera ground glasses. The ground glass image can be viewed through a colour viewfinder or flip-out colour LCD monitor and instantly recorded to high quality digital video or stills. An on-board microphone enables the recording of location sound or commentary. An additional video monitor can be fed from its video out connector. The unit has a FireWire connector so that your video and still images can be easily transferred to computer. Power is supplied by an on-board Canon camcorder battery. An infrared remote control is included for convenient playback control. Available in PV or PL lens mount, the Panavision Mini-DV Director’s Viewfinder will make a valuable addition to your next shoot.
Denz OIC-35mm Director's ViewfinderThis high-end director's veiwfinder allows you to use your actual camera lens to view and set shots. The OIC-35 is a precise instrument which was conceived for the rough environment of a film shoot, the housing is a light alloy, hermetically sealed and fitted with a 54 PL mount (BNC socket available).
Features: Specially computed and designed optical light path. Ergonomic eyepiece with diopter balance from -4 to +4 . Eyepiece adjustable for right or left eye. Ergonomically designed cherry wood handle, for left or right hand or universal grip. Carrying belt, made of fine nappa leather. Delivered without ground glass (Arri 435/535)
The UltiMate 16 Kish Optics Director viewfinderCourtesy of Allan Gordon Enterprises
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