A GUIDE TO HAND HELD CAMERA OPERATION W/ SEAN BOBBIT, BSC

A Guide to Handheld Camera Operating with Sean Bobbitt, BSC, from the ARRI Workshop at this year's Camerimage Film Festival. This is a must see presentation for all cameraman. Enjoy!

 Sean Bobbit, BSC and Steve McQueen on the set of 12 Years a Slave.

Bobbit is a Film Independent Spirit Awards Best Cinematography Nominee.

BEST CINEMATOGRAPHY NOMNEES. SPIRIT AWARDS 2013

Nominations Best Cinematography

 
 Sean Bobbitt Best Cinematography 
 

 
 Benoit Debie Best Cinematography 
 

 
Bruno Delbonnel Best Cinematography 
 

Frank G. DeMarco Best Cinematography 
 

 Matthias Grunsky, Computer Chess

 Best Cinematography
Sean Bobbitt, 12 Years A Slave
Benoit Debie, Spring Breakers
Bruno Delbonnel, Inside Llewyn Davis
Frank G. Demarco, All Is Lost
Matthias Grunsky, Computer Chess

Best Director
Shane Carruth, Upstream Color
J.C. Chandor, All Is Lost
Steve McQueen, 12 Years A Slave
Jeff Nichols, Mud
Alexander Payne, Nebraska

Best Feature
12 Years A Slave
All Is Lost
Frances Ha
Inside Llewyn Davis
Nebraska

Best Screenplay
Woody Allen, Blue Jasmine
Julie Delpy, Ethan Hawke & Richard Linklater, Before Midnight
Nicole Holofcener, Enough Said
Scott Neustadter & Michael H. Weber, The Spectacular Now
John Ridley, 12 Years A Slave

DECLAN QUINN, ASC MASTER CLASS. ONE FILM. ONE DAY

Master Class: One Cinematographer. One Film. One Day. 

Declan Quinn, ASC - Leaving Las Vegas

SATURDAY, DECEMBER 7, 2013

Registration: $50 

Sign Up

In this Master Class, Quinn will deconstruct Leaving Las Vegas, scene-by-scene, while discussing his process, choices, obstacles, challenges - what worked and what didn't.

10:00 AM Screening: Leaving Las Vegas. 

12:00 PM Catered Lunch. 

1:00 PM  Master Class 

3:00 PM  Day Ends.

About The Film

Leaving Las Vegas,  Color, 111 min, Drama | Romance 27 October 1995 (USA)

Distributed by United Artists/ Park Circus

Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.

Leaving Las Vegas won Declan Quinn, ASC the first of three Independent Spirit Awards for Cinematography. In her October 27, 1995 New York Times review, Janet Maslin described his work as "subtly distinctive...a neon apparition, beautifully evoked by other worldly contrasts and lurid nocturnal light."

About Declan Quinn, ASC

Declan Quinn, ASC, is an Irish-American cinematographer and a three-time winner of the Independent Spirit Award for Best Cinematography.

Originally from Chicago, Illinois, Quinn spent several years growing up in Ireland before returning to the United States to earn a degree in film from Columbia College Chicago.

After working as a News Cameraman in Illinois, he returned to Ireland, where he was employed at Windmill Lane Studios in Dublin, filming several music videos and documentaries including U2: Unforgettable Fire (1984) and U2: Outside It's America (1987).

 Quinn returned to the United States in 1986 and filmed videos for bands such as REM and SMASHING PUMPKINS. Maggie Greenwald’s The Kill Off was his first feature in the US. Since then, Quinn has collaborated with several top directors, including Louis Malle: Vanya on 42nd Street,  Mira Nair on Kama Sutra: A Tale of Love, Monsoon Wedding, Vanity Fair and Reluctant Fundamentalist.

Quinn collaborated with his writer/director brother Paul Quinn and actor brother Aidan Quinn on This is My Father. He has also worked with director Jonathan Demme on Fear of Falling and most recently, the AMC pilot episode for Line of Sight. Additional credits include 2x4, which won him the Cinematography Award at the 1998 Sundance Film Festival, as well as Leaving Las Vegas, One True Thing, In America, Cold Creek Manor, Pride and Glory, Rachel Getting Married and The Private Lives of Pippa Lee. Quinn resides in the Hudson Valley, New York with his wife Edda where they raised four daughters.

CINEMATOGRAPHERS ROUNDTABLE

Cinematographers Roundtable Full Interview by The Hollywood Reporter.

Barry Ackroyd (Captain Phillips), Sean Bobbitt (12 Years a Slave), Bruno Delbonnel (Inside Llewyn Davis), Phedon Papamichael (Nebraska) and Stuart Dryburgh (The Secret Life of Walter Mitty) sit down for a candid conversation.

FUJIFILM RELEASES A NEW LENS. THE CABRIO 19-90MM

The 19-90mm Cabrio (ZK4.7x19B) features an exclusive detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-Style lens. The ZK4.7x19B also features flange focal distance adjustment, macro function, and is LDS (Lens Data System) and /i metadata compatible. With a 19-90mm focal range and weight of only 2.85kg including servo motors, this lens has the longest focal range available in a light weight zoom.

 Videographers used to shooting video in a typical ENG-style will be very comfortable with the servo. Cinematographers will also be right at home with this lens. With the detachable drive removed, the lens is set to accept industry standard cine motors and matte boxes. Plus, the lens has all the lens data output that appeals to a Cine-style shooter. LDS and /i metadata compatibility is very useful when you want to record the position information of zoom, iris and focus for computer animation and other uses.

The digital servo on the 19-90mm Cabrio has 16-bit encoding, so operators can be assured that all lens data output is extremely accurate.

The 19-90mm covers 31.5mm sensor size on a digital cinema style camera. While sensors on standard broadcast cameras are all the same size, sensors on digital cine cameras vary greatly. This new zoom ensures the image captured will cover large sensors for optimal, full-frame resolution. A nine-blade iris part of the design as well, creating the most natural-looking imagery possible.

Barrel markings are luminous for visibility in dark shooting situations. Distances are listed in feet or meters and can be changed in the field.

The 19-90mm can be controlled using cinema industry standard wireless controllers, as well as existing Fujinon wired and wireless units. Whether you are from a film background or a video one, the Premier PL 19-90 offers uncompromising quality and unprecedented flexibility.

PANAVISION UNVEILS NEW PRIMO V LENSES OPTIMIZED FOR DIGITAL CAMERAS

 Panavision, the company behind many of the industry’s most respected cinema lenses for the last 60 years, has introduced a new line of Primo lenses, the Primo V series, specifically designed to work with today’s high-resolution 35mm digital cameras.

 “Panavision’s unmatched optical expertise and high-quality manufacturing capabilities have now been brought to bear on lenses adapted for digital cameras,” says Kim Snyder, Panavision’s Chief Executive Officer. “We’re focused on providing cinematographers with the best tools to tell their stories with vision and creativity. With the industry’s ongoing transition to digital capture, we want our customers to know they can continue to trust Panavision to bring innovative, world-class solutions to the marketplace.”

The Primo V lenses are designed to bring the look and feel of Panavision Primos to digital cinematography, using the lens elements from existing Primo lenses, long an industry standard for top cinematographers. Primo V lenses take advantage of specific design adaptations to work in harmony with digital cameras, maximizing image quality while delivering Primo quality and character.

“Cinematographers tell us that the hyper-sharp sensors in today’s digital cameras can result in images that are harsh and lack personality,” says Panavision’s VP of Optical Engineering Dan Sasaki. “That’s one reason why there’s so much emphasis on glass these days. The Primo V lenses bring the smooth, organic flavor of Primo lenses to the high fidelity digital image. Our philosophy is to take what cinematographers love about the Primos, and update them for the digital world.”

Digital cameras require additional optical elements including low-pass and IR filters that increase off-axis aberrations. ND filters are sometimes part of the chain. Primo V lenses have been re-engineered to correct for this. Patent pending modifications eliminate the coma, astigmatism, and other aberrations introduced by the additional glass between the lens and the sensor, while preserving the desirable imaging characteristics of the Primo optics. The resulting image appears more balanced center-to-edge.

The Primo V lenses are compatible with any digital camera equipped with PL or Panavision 35 mount systems. They cannot be used on film cameras. The internal transports and mechanics of the Primo V lenses will retain the familiar Primo feel. Since the Primo V lenses retain the essential Primo character, imagery from Primo V and standard Primo lenses will intercut well. A set of Primo V primes will include 14.5, 17.5, 21, 27, 35, 40, 50, 75, and 100mm focal lengths.

“Filmmakers have embraced Panavision Primo lenses since their introduction 25 years ago,” notes Snyder. “Now the classic Primo look has been refined and optimized for use with the latest generation of 35mm sensor digital cameras.”

Panavision

CINE METER APP FOR iOS 5

In the past I have provide you with resource lists of  iOS and Android applications for the cinematographer, some still are free offering basic software and others are paid, offering more  professional software like the Depth of Field (DOF) Calculator that can help you get a job done a little better or a little faster than before.

Cine Meter viewing a DSC Labs ChromaDuMonde® 12 chart, 

showing an RGB waveform

I would like to bring your attention to this application by Adam J. Wilt which is ready to download from the App Store in iTunes for $4.99 and I think it is worth every penny to add it to the short list of favorite working iOS apps for cinematographers. It is an application that rolls three functions into a one screen for fast measuring and readout at a glance turning your iOS device into a very capable light meter, RGB waveform monitor, and a false-color picture mode monitor.

Cine Meter is a professional film/video/photo application for your iPhone®, iPad®, or iPod touch®, using the built-in camera to provide a shutter-priority reflected light meter, an RGB waveform monitor, and a false-color picture mode. Cine Meter works on any iDevice with a camera running iOS 5.0 or higher.

Cine Meter not only gives you exposure information, it shows you at a glance how evenly your greenscreen is lit, and where high-contrast hotspots and shadows may give you trouble. With Cine Meter, you can walk around, light your set, and solve problems long before your real camera is set up, making pictures, and running down its batteries.

The light meter shows you the stop to set as decimal readings (such as f/5.0, good for cameras with EVF iris readouts) or full stops and fractions (like f/4.0 ⅔, good for cine lenses with marked iris rings). You can calibrate Cine Meter to match other meters to a tenth of a stop, and take readings using matrix or spot metering.

The waveform monitor shows you how light levels vary within and across a scene. They show you how even the lighting is on a greenscreen or white cove, and let you see hotspots and imbalances at a glance. The waveform’s RGB mode shows you color imbalances in the image and gives you a handy way to check for color purity on a greenscreen or bluescreen.

The false-color picture lets you define allowable contrast ranges, and see instantly which shadows are underexposed and what highlights risk clipping:

 
Cine Meter viewing a DSC Labs ChromaDuMonde^® 
12 chart in false-color mode

Cine Meter runs entirely on your iDevice: it doesn’t use WiFi or mobile data. If you have power in the battery and light in front of the lens, it will work.

How To...

Calibrate the meter: shoot a gray card or other solid target with Cine Meter and your most trusted reflected meter, DSLR, or video camera. Adjust the Meter Compensation control on the Settings and Info page to make Cine Meter’s readings match those of your reference device. (The camera picture is unaffected by any compensation you set; the camera always sets its own exposure and its waveform and false-color levels may not match those the light meter reading would indicate!)

Check exposure: aim the camera at the scene, and read off the exposure (use the spot meter if necessary to narrow down the area of interest). You can tap EXP to freeze the reading, and then vary ISO and shutter to see how aperture changes even if you are no longer pointing the camera at the scene.

Compare exposures: aim the camera at a gray card or other reference target, and tap EXP. Cine Meter will hold that exposure, letting you walk around the set and look at the waveform monitor and false-color displays to compare light levels to your reference.

Compare white balances: aim the camera at a white or gray card under your reference lighting, and tap EXP to lock the white balance. Cine Meter will hold that white balance, and you can use the RGB mode of the waveform monitor to examine the color balance as you walk around the set. (The range of color temperatures and lighting spectra that Cine Meter will properly white balance to is entirely dependent on the camera in your iDevice: some accommodate a wider range of white points than others do.)

Check lighting evenness: when you need flat, even lighting (on a greenscreen, white cove, test charts, or flat art), Cine Meter’s waveform monitor shows you the relative light levels across the camera’s field of view in a single glance. It’s a lot quicker to use the waveform monitor than to spot-meter several points across the field of view, or to take multiple incident readings to get the same information.

Match color temperatures: using WB and the RGB waveform monitor makes it very simple to compare LCD displays, different LED lights, or any other combinations of radiant or reflected lights. If you use WB on a known-good source (or a white card illuminated by it), the differing RGB levels when looking at another source will indicate how you have to color-correct it to make it match, without the subjectivity of the human eye.  
more how to...

Compatibility: Requires iOS 5.0 or later. Compatible with iPhone, iPad 2 Wi-Fi, iPad 2 Wi-Fi + 3G, iPad Wi-Fi (3rd generation), iPad Wi-Fi + Cellular (3rd generation), iPad Wi-Fi (4th generation), iPad Wi-Fi + Cellular (4th generation), iPad mini Wi-Fi, iPad mini Wi-Fi + Cellular, iPad Air, iPad Air Wi-Fi + Cellular, iPad mini with Retina display, iPad mini with Retina display Wi-Fi + Cellular, iPod touch (4th generation), and iPod touch (5th generation). This app is optimized for iPhone 5.

SEAMUS MCGARVEY, ASC BSC AT GCI

Seamus McGarvey, ASC BSC was a guest instructor at Global Cinematography Institute GCI  The class was Cinematography for Independent/Low Budget Films. Level 1.

Seamus shared with students lighting and camera movement techniques used in Atonement and Anna Karenina. Yuri Neyman, ASC moderated the class. Part 1

Seamus shared with students lighting and camera movement techniques used in Atonement and Anna Karenina. Yuri Neyman, ASC moderated the class. Part 2

©georgeleon/filmcastlive 2013

CANON FIRMWARE UPDATES FOR EOS -1DX AND EOS 1D-C

FILMCASTLive

39 minutes ago

Canon Firmware Upgrades for the EOS-1D X and EOS-1D C Digital SLR Cameras Deliver Improved Creative Control and Convenience Firmware Version 2 for the EOS-1D X is Based on Extensive User Input and Provides More Efficient Autofocus Performance in Low Light, Custom Controls, and Improved User-Programmed Functionality

MELVILLE, N.Y., October 22, 2013 – Canon U.S.A., Inc., a leader in digital imaging solutions, announces improvements in the functionality and convenient operation of the EOS-1D X Digital SLR camera and the EOS-1D C Digital SLR Cinema camera through new firmware scheduled to be available starting in January 2014 and November 2013, respectively. Firmware enhancements for the EOS-1D X Digital SLR camera are designed to provide photographers with greater creative freedom and speed, especially in sectors such as sports, wedding, nature/wildlife, and journalism, which often contain rapidly changing action, sometimes in low-light environments. Service enhancements for the EOS-1D C Digital SLR Cinema camera improve lens performance, lens status display, metadata storage, and audio recording.

“Canon constantly strives to provide our customers with advanced and innovative technology in our products,” noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “We understand the daily life of photographers, we listen closely to what they have to say, and we use their feedback in our constant efforts to improve existing products and develop new ones. The latest Canon firmware for the flagship EOS-1D X Digital SLR camera provides better automation to help photographers fine-tune how the camera operates moment-by-moment so users can concentrate on creativity and success. Filmmakers have also requested improved functionality for the EOS-1D C Digital SLR Cinema camera, and its new update delivers.”

Improved Operability for the EOS-1D X

Developed as the ultimate Canon EOS camera, the EOS-1D X Digital SLR is designed with foresight that enables its performance to be periodically improved with new firmware upgrades, helping to ensure maximum long-term value for owners and users of the camera. These improvements are engineered to support and advance the evolving creative needs and business imperatives of professional photographers and committed high-end amateurs. The features provided by firmware version 2 are designed for more efficient automation that takes the task of changing settings away from the “heat of the moment” and enables photographers to concentrate on creativity and obtaining valuable shots. 

Firmware version 2 upgrades and operability additions include a total of 10 features that are now new or improved:

• AF Performance with Moving Subjects – For greater creative control, additional parameters have been added to AI Servo 2nd Image Priority, enabling users to adjust these settings for more accurate AF performance according to the situation at hand. Photographers can fine-tune the balance between prioritizing focus versus the framing rate for the second and subsequent shots in a burst.

• Enhanced AI Servo AF Performance in Low Light Conditions – The AI Servo focusing algorithm has been improved to allow more time for light sampling during AF activation prior to shutter release, enhancing AF performance in low-light situations. Additionally, initial AF control is now based on the new “+2 focus priority” setting of AI Servo 2nd Image Priority, which has higher distance measurement capabilities under low-light conditions. Upon full depression of the shutter button, settings from AI Servo 1st Image Priority take over and then settings from AI Servo 2nd Image Priority are applied on any subsequent images in the burst. This increases the probability that the first image in a burst sequence will be as sharp as possible.

• Improved Acceleration/Deceleration Tracking Parameters – To improve tracking performance of fast-moving subjects that fill the frame, additional parameters for acceleration/deceleration tracking in AI Servo AF have been added to provide photographers with more precise control when photographing rapidly moving subjects that accelerate or decelerate quickly or unexpectedly. In response to feedback from professional photographers, these new settings have been added to handle larger differences in speed (i.e., the rate of change in image magnification) compared to the previous firmware.

• Selection of Initial AF Point While Shooting in 61-Point Auto Selection AF – This new option in the AF Menu provides more continuity when switching to 61-Point Auto Selection AF from any other AF Point Selection mode. The option maintains the AF point selected from the previous Selection mode as a starting point for 61-Point Auto Selection AF. It also maintains the ability to change to a pre-programmed AF point when changing the Selection mode. This time-saving option is designed to help eliminate the need to stop and think, and helps photographers to customize their individual shooting style.

• AF Point Switching According to Camera Orientation – In addition to programming the EOS-1D X camera to automatically switch to a different AF point and area selection mode based on camera orientation, firmware version 2 adds the option of programming only the AF point according to camera orientation (horizontal, grip up and grip down). This new ability to select up to three different AF points according to camera orientation allows for greater customization of the camera to specific shooting styles.

• Expanded Minimum Shutter Speed in Auto ISO – In response to user feedback, this improved functionality in Auto ISO enables photographers to select a minimum shutter speed as high as 1/8000th of a second to freeze moving subjects.

• Exposure Compensation in Auto ISO with Manual Mode Set – This new function enables photographers to manually set a desired shutter speed and aperture, use Auto ISO to control the exposure, and use Exposure Compensation to adjust the exposure for challenging lighting conditions (e.g., a very dark or very bright background). This new function can be activated through the Quick Control Dial or by using the Main Dial while pressing the SET button.

• Toggling Between Alternate Camera Settings – EOS-1D X camera users can now toggle between three groups of camera settings instantly by pressing the shutter button, AE Lock button [*] or the AF-ON button. Selectable settings that can now be assigned to the AE Lock and AF-ON buttons via Custom Controls include:

- Currently selected AF point vs. pre-registered AF point

- AI Servo AF configuration sets (Case 1 through Case 6)

- One-Shot AF vs. AI Servo AF

- Currently selected drive mode vs. 14 fps Super High Speed drive mode

With these new options, photographers can reconfigure their EOS-1D X camera on the fly, while keeping their eye on the viewfinder to maintain concentration on the shot they are trying to get. For example, the camera could be set up for One-Shot AF and single shot drive mode on the shutter button, AI Servo AF in Case 1 with high-speed continuous drive mode on the AE Lock button, and AI Servo AF in Case 4 with super-high-speed 14 fps continuous drive mode on the AF-ON button.

• Same Exposure for New Aperture in Manual Mode – This new firmware feature provides users with the ability to maintain consistent exposure levels in Manual mode when the aperture changes, for example when a photographer shoots at maximum aperture with a variable-aperture lens (such as the Canon EF 70-300mm f/4-5.6L IS USM telephoto zoom) or when using a lens equipped with built-in extender (such as the EF 200-400mm f/4L IS USM Extender 1.4X). The feature gives users the option to have the camera adjust the shutter speed or the ISO to compensate for the aperture change.

• Display Protected Images Only – Users can now page through protected images only via an option on the main dial. This feature already exists with rated images, and is an expansion of that capability.

 Enhancements for the EOS-1D C

 A versatile, self-contained 4K cinema camera as well as a robust still photography camera, the Canon EOS-1D C will also benefit from a new service update that further enhances the performance of this unique imaging device.

• EF Lens Communication – The new service update for the EOS-1D C Digital SLR Cinema camera will enable Canon EF-mount Cinema lenses to store lens metadata in the video recorded by the camera. Furthermore, Canon EF-mount Cinema lenses will be supported by Peripheral Illumination and Chromatic Aberration Correction functions, helping to improve overall image quality [1].

• Audio Recording – In response to user requests, audio on the EOS-1D C camera has also been enhanced. Currently audio recording is limited to a MIC input, but the forthcoming service update will permit selection of LINE or MIC input, allowing use of a wider variety of external audio sources.

New Firmware Release Schedules and Installation Procedures

 Firmware version 2 for the EOS-1D X Digital SLR camera is scheduled to be posted on the Canon U.S.A. website in January 2014. Users will be able to download and install the new firmware on their own, or have it installed by an authorized Canon Factory Service Center. For more information please visit: www.usa.canon.com/eos1dxfirmware.

The update for the Canon EOS-1D C Digital SLR Cinema camera is scheduled to be available November 2013, and will be installed at no charge as a service upgrade that requires the camera to be sent to an authorized Canon Factory Service Center. For more information please visit: www.usa.canon.com/CinemaEOS Firmware Update.

PANASONIC LAUNCHES A NEW AFFORDABLE HD CAMERA

The Panasonic AG-AC8PJ is a powerful, Full-HD 1080P shoulder-mount camera featuring exceptional ergonomics, functionality and affordable price. It is available this October at $1,450 in your nearest Panasonic camera dealer.

The lightweight but powerful AC8PJ  camcorder is ideal for shooting corporate and events, weddings and documentaries and action packed sporting events, boasting 720p at 8Mbps. The camera weights 5lbs offering less shoulder strain for long shooting periods.

Its wide angle 28mm/F1.8 lens allows the operator to fit more people and background into the frame, especially useful in narrow spaces. A powerful 21X optical/50x super-high resolution zoom permits you to shoot scenes that you can't get close to. Intelligent resolution technology lets you shoot at high zoom rates while preserving the image resolution. With dual SD card slots and the capability to record on both cards simultaneously, the AC8 provides dependable back-up recording or the ability to switch from one card to the other for extended recording times.

The AC8 comes with a powerful zoom lens 21x optical/50x super-high-resolution and a five -access Hybrid O.I.S Image Stabilization technology permitting the operator to shoot crisp scenes that you can't get close to. Intelligent resolution technology lets you shoot at high zoom rates, while preserving the image resolution. Its wide-angle 28mm/F1.8 lens allows you to fit more people and background into the frame, especially useful in narrow spaces and its Dynamic Range Stretch (DRS) helps compensate for wide variations in exposure in a contrast-heavy scene, from light to dark. A Focus in Red function shows the sharp edges of your subject in red, making it stand out better.

The AC8 records in a wide variety of recording modes to suit your workflow and post-production needs:  1080/60p [Max. 28Mbps/VBR], (1920x1080/60p); PH [Max. 24Mbps/VBR], (1920x1080/60i); HA [Ave. 17Mbps/VBR], (1920x1080/60i); HG [Ave. 13Mbps/VBR], (1920x1080/60i); HE [Ave. 5Mbps/VBR], (1440x1080/60i); PM [Ave. 8Mbps/VBR], (1280x720/60p); and SA [Ave. 9Mbps/VBR], (720x480/60i).

Your acquired content is safely recorded into dual SD card slots and the capability to record on both cards simultaneously, the AC8’s Relay Auto Switch functionality provides dependable back-up recording or the ability to switch from one card to the other for extended recording times.

for more info visit Panasonic

SAN DISK INTRODUCED THE FASTEST CF CARD

SanDisk announced two new CompactFlash cards to its Extreme Pro CF cards  line up. The cards are designed to meet the demands of 4K video recording.

SanDisk’s Extreme Pro CFast 2.0 card are available in 60GB; 120GB: and is the first to utilize the CFast 2.0 standard, which is designed for broadcast, cinematography, and  professional photography. The documentary-style camera  AMIRA  from ARRI, is the first camera to support the card with  read speeds  up to 450MB/s (3000X) and write speeds of up to 350MB/s (2333X). The CFast 2.0 card was designed in collaboration with the CompactFlash Association, Canon and ARRI..  The card–with a CODEX Capture Drive to CFast 2.0 adapter for ARRI cameras will be sold directly to ARRI and will be available at ARRI specialty retailers and other photo specialty stores.

 Also a world’s first, SanDisk also introduced the massive, 256GB Extreme Pro CompactFlash card with  a whopping price tag of $1,810. The card has  the VPG-65 (Video Performance Guarantee) specification. The 256GB CF card offers transfers up to 160MB/s and  write speeds of up to 140MB/s. At the same time, SanDisk has pumped up the speed across its Extreme Pro line, with CompactFlash receiving a boost by about 50 percent to read and write speeds of up to 160MB/s and 150MB/s, respectively. SD card users will be happy to hear that SanDisk’s Extreme line of SD cards will also receive a speed increase of up to 80MB/s (read) and up to 60MB/s (write).

ARRI UNVEILED AMIRA. A NEW DOCUMENTARY STYLE CAMERA

ARRI introduced today at IBC 2013 their new documentary-style camera with CFast 2.0 workflows and ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA is hardy enough to take anywhere  featuring in-camera grading with preloaded looks based on 3D LUTs, as well as 200 fps slow motion.

AMIRA comes with the same sensor and exceptional image quality as the ARRI ALEXA, recording HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA deliver beautiful, life-like images in any situation.

AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into postproduction is made as simple as possible. CFast 2.0 is an open format, easily accessible to anyone and delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low budget productions.

AMIRA boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. In the time it takes to lift the camera to an operator's shoulder, it will be ready to record, making AMIRA perfect for 'run-and-gun' shoots where the action is unpredictable and the camerawork responsive. Integrated, motorized ND filters as well as zebra and false color tools aid exposure control, while an advanced peaking function makes accurate focusing easy and swift.

Access to switches and configurable user buttons is quick and intuitive. An innovative multi-viewfinder makes life even easier for the single user by combining a high resolution OLED eyepiece with a fold-away LCD monitor that displays a live image when the eyepiece is not in use and also provides full access to camera functions, without AMIRA having to be removed from the operator's shoulder. Flexible multi-channel audio options are accessed from the camera right side, again minimizing disturbance to the operator.

AMIRA comes with a number of preloaded 3D LUT-based looks that can be applied on set during the shoot or  custom-build their own 3D LUTs in external grading systems, load them into the camera during prep, and even modify them in-camera while filming. With 3D LUTs, literally any look that can be imagined can be created, giving cinematographers and directors a greater degree of creative control, while keeping postproduction costs down.

ibc 2013 

ARRI SHOWS PROTOTYPE RGB+Z CAMERA AT IBC 2013

On display at the IBC Future Zone is the Arri Alexa SCENE, a prototype RGB+Z camera that couples an Alexa Studio with a time-of-flight camera, allowing it to capture RGB images fused with depth information on the Z-axis.

This is part of ground-breaking European research project SCENE which aims to develop novel representations and tools for digital media beyond sample-based (video) or model-based (graphics) systems.

By delivering synchronized video data and depth data, the camera will permit video images to be manipulated in the same way as CGI. Work by project partners will allow CGI models to be animated “with all the naturalism of real actors and real locations”. It is presented by Thomas Hach.

The experimental prototype presented here is a set-ready RGB+Z camera equipped with the newly-developed integrated time-of-flight sensor and capable of recording RGB and Z information synchronously. Both image sensing devices capture their respective images through a common entrance pupil, resulting in a naturally occlusion-free representation of RGB and Z video, with the same field of view. Special hardware, optics, electronics and software have been built to adapt the Alexa into what might be termed the first ‘motion scene camera’.

Dr Johannes Steurer, Arri’s principal research & development engineer, explained: “Even though it is still a prototype we are confident that the post production industry will be highly interested in the new possibilities this technology offers. Compositing, color grading, keying and many more post tasks can be facilitated by our new camera.

“It provides cutting-edge, high resolution RGB images with fully synchronized depth maps, where both are taken through the same lens and hence feature a parallax-free 3D image of the scene.”

View Arri's  timetable at IBC Big Screen

CANON EOS-1DC. THE FIRST HD TIER 1 DSRL

Broadcasters add Canon EOS -1DC to list of HD approved cameras. 

The 4K capable camera is the first DSLR to meet the EBU Tech 3335 requirements that show it delivers an image of high enough quality for broadcast production.The camera was specifically designed for motion picture capture has been tested and approved by the European Broadcasting Union (EBU) for HD content acquisition. It's the first DSLR to get on the EBU's list as a camera of high enough quality for use as a broadcast production tool. 

The EBU's test results concluded the EOS-1D C  yields  an ‘exceptional’ HD resolution from a 4K source with ‘very low’ aliasing, and ‘good’ color performance and motion portrayal. The test results confirmed that the EOS-1D C complies with the recommended specification for inclusion in HD Tier 1 for HD production. The camera is based on the EOS-1D X, but is designed for video-supporting in-camera 4K (4096x2160) recording with 4:2:2 colour sampling.

The camera is also getting several feature upgrades via a firmware update. It will become possible to display current aperture (f-number) when shooting with Canon EF Cinema lenses, and to store lens metadata. EF Cinema lenses will also be supported by the Peripheral Illumination and Chromatic Aberration Correction functions, to improving overall image quality. One of the main user requests was improved audio, which is currently limited to a mic input. The forthcoming update will permit selection of Line or Mic, for use of an external audio source. 

The EOS-1D C features an 18.1-megapixel full frame CMOS image sensor that offers a wide range of image acquisition options, including 4K (4096 x 2160), HD (1920 x 1080); or 18-megapixel (5184 x 3456) still images. The 4K is recorded as Motion JPEG; the HD is recorded as H.264; and the still images are recorded as RAW or JPEG. All of the selected motion imaging formats can be recorded as normal gamma-corrected video or with Canon Log. In addition,  the EOS-1D C exhibits incredible low-light performance, ensuring optimum image quality under conditions of extremely low scene illumination, essential for natural-looking image capture when shooting in challenging environments. With onboard 4K recording at 24p or HD recording at a range of frame rates up to 60p; and Clean HD via HDMI, the EOS-1D C offers additional capabilities for film and TV production as well as specialty image acquisition applications.

 http://tech.ebu.ch/camtest

MASTER WORKSHOP ON DIGITAL CINEMATOGRAPHY IN VENEZUELA

The “Master Workshop on Digital Cinematography” will take place between September 2-15, 2013, in the city of Caracas, as a technical module part of the “First Certification Program for Directors of Photography”, promoted by the Venezuelan Cinematography Society (SVC for its Spanish initials), with the support of the Autonomous National Center for Venezuelan Cinematography (CNAC for its Spanish initials) and based on the academic platform of the recently founded School for Cinematographic Technicians José Manuel Funes.

It will be the first time that such a rich number of professional cinematographers of the highest level in the, advertising, documentary and fiction, short and feature film industry meet; to carry out sessions to thoroughly update technical knowledge. Providing adequate preparation to face the challenges set by the dramatic changes of the digital revolution.

Alfonso Parra AEC, ADFC and Jesús Haro from Spain, will be the international specialists in charge of leading the sessions for the Venezuelan Directors of Photography, during this technical phase of the program. These are professional of renowned careers in the field of Digital Cinematography and who frequently publish specialized articles in the famous European magazine “Cameraman”.

The First 2013 Certification Program for Directors of Photography, endorsed by the Autonomous National Center for Venezuelan Cinematography (CNAC for its spanish initials), consist of a number of sessions that will provide a first group of veteran and experienced cinematographers, the license to add the initials SVC of the Venezuelan Cinematography Society to their credits. These initials will back their capacity to fully assume the responsibilities of the workflow required to guarantee image quality over the production process. Such recognition will generate the commitment of Venezuelan cinematographers towards the highest aspirations of quality and work flow management currently demanded by both the national and international markets, paving the way towards the professionalization of cinematographic work in Venezuela.

The First 2013 Certification Program for Directors of Photography, will end with a significant act in tribute and recognition of the extensive career of Ricardo Younis, colleague and dean of many of the current generation of photographers; who, together with Mexican José Manuel Figueroa, was one of the only two Latin Americans recognized by the American Society of Cinematographers (ASC), among the 100 best Directors of Photography of the first 100 years of movie history. For this tribute to master Younis, they expect the presence of Félix “Chango” Monti, one of his most prestigious disciples, Director of Photography of “The Official Story” and “The Secret in Their Eyes”, winners of the Oscar for best foreign film, as spokesman during the tribute ceremony and the awarding of the first certifications.

The academic activities of the Master Workshop on Digital Cinematography 2013, have the academic institutional support of the new School for Cinematographic Technicians José Manuel Funes, as a platform to prepare highly qualified professionals and technicians, based upon moral and ethical values, seeking an organic growth of the cinematographic industry, driven by the current policies given by the Autonomous National Center for Venezuelan Cinematography (CNAC for its spanish initials).

The Venezuelan Cinematography Society (SVC for its Spanish initials), is a non profit Organization created by and for the professional cinematographers. It was created to gather to meet the highest levels of technical, creative, moral an ethical standards in all areas of the cinematographic profession. The mission of the Venezuelan Cinematography Society (SCV for its Spanish initials) is to promote and protect the interests of these professionals, in order to enhance their overall condition; encourage quality and excellence of their work, their competitiveness and well-being; while providing them with the necessary support within an ever changing environment. SVC, also seeks to positively influence the relationships with other artists, professionals and technicians of the different fields of specialization involved in the production processes, corresponding to the areas of responsibilities of the Director of Photography. 

The Master Workshop on Digital Cinematography, also counts with the valuable sponsorship of: Centro Nacional Autónomo de Cinematografía CNAC, Escuela de Técnicos Cinematográficos José Manuel Funes, Publiplay Agencia Creativa, Abicine, Tremendo Group, Cinema Caribbean Films, ABICINE, PDVSA La Estancia, Fundación Villa del Cine, Corporación Video, Sony Professional, David & Joseph, Bolívar Films, Cines Unidos, Produrama, Cinequipos, Cinemateriales Servicios, Hormiga Films, Propela Creatíva, Christian Porras Designs, Futuro Films, Patanegra, Cinet Producciones, Centro Cultural Chacao, Fundación Cultura Chacao, A&B Producciones,Cines Unidos and a series of professionals and technicians who have made it possible to successfully develop this activity. 

CINEMATOGRAPHY IS CHANGING: VILMOS ZSIGMOND, ASC

We are all cinematographers now. Using any camera we can afford – Alexa, Red, Sony, Go Pro, iPhone - we are producing now myriads of images. But, is this a great time for cinematography?

Cinematographers are hired for their taste, and taste is cultivated through their experiences in life and knowledge and understanding of film, music, art, literature, photography -- everything that helps to define and create a unique point of view.

When we go into pre-production on a project, we draw on all these experiences to shape a look for the film. I feel this is often neglected in pre-production, leaving the look to be achieved and refined in post. There’s nothing wrong with post manipulation, especially as it can often be more precise to adjust an image in a colorist’s suite than on set. But these powerful tools do not mean we can curb our vision until the post-production phase of a film. So much of the look is created by the close collaboration between the director, production designer and director of photography. For example, if the sets are painted the wrong color with too much saturation to begin with, you’re already fighting a losing battle when you get to color correction.

With digital capture and even digital intermediates, it becomes very easy to think of the image in the simplest of terms: contrast, saturation and color bias. But I think too often we forget about texture and sharpness. Film has organic grain texture that simply doesn’t exist in digital cinematography. I’m not a film "purist" but I think it’s safe to say that with the advent of radical advances in digital cinema technology there has been a certain homogenization of the cinematographic image in regard to look and texture. It is common to shoot for an evenly distributed rich digital negative (protect the highlights, see into the shadows) with plenty of sharpness to endure the color correction suite and create the look in post. Everybody shoots the sensor the same way.

Painting is a great influence on me. Whenever I can I go to museums and look at the classics, the Dutch masters, Rembrandt and Georges de la Tour. Looking at these old paintings can be inspiring. These are the basics for cameramen because we can learn lighting from them. We can study the classic paintings and try to use that technique of lighting in our photography. I have lots of picture books at home – photography books and art books. When we did McCabe and Mrs. Miller, I showed a book of Andrew Wyeth's paintings to Bob Altman and said, “What do you think of these faded, soft, pastel images?” And he liked it. Then I took the same book to the lab and explained to them that this was what we were aiming for. They understood right away why we were flashing the film. So it helps; a picture is worth ten thousand words. A picture can immediately tell you your feelings about something.

With digital capture, we have been given a completely different set of tools, trading physical lab processes for computer-driven non-destructive techniques, creating possibilities for the image to be pushed any way we wish in post. In a time when film is disappearing fast and digital is making progress in image quality improvement, it has become important for cinematographers to master these new tools.

“Kickstart Theft” is a 7-minute movie-trailer/narrative short commissioned by Band Pro Film & Digital. Frederic Goodich, ASC directed and I was cinematographer. “Kickstart Theft” was premiered at IBC and Cinec. The story is inspired by Vittorio de Sica’s neo-realist film Bicycle Thieves (1948), shot in black-and-white on an Arriflex 2C by Carlo Montuori. For “Kickstart Theft”, I used a Sony F65 for the first time, with Leica Summilux-C primes and a Canon 30-300 zoom.

We wanted to work in available light as much as possible, and thanks to digital technology we could use exposures even at low light levels of less than a foot candle. There were times when my lightmeter didn’t even register, and we rated the camera at 800 ISO. But the quality of camera, quality of lenses, that’s almost secondary for me. The lighting and composition are the most important things, as most cinematographers know.

Camera technology is just a medium, and media was, is and will be changing, but an ability to create images that possess artistic and symbolic qualities continues to be the major task of the cinematographer.

We are faced with many changes in the complex world of technology but the art of lighting, the art of camera movement, the art of color, tone and composition are the basic tools of our profession.

How to deal with the demands of the rapidly evolving new technology and yet further the aesthetics of our filmic art?  I suggest we must re-educate and retrain ourselves creatively, to learn how to evaluate what we are doing from the technical point of view while at the same time constantly working to raise the standards of visual storytelling to ever-higher levels.