THE MAKING OF A LEGENDARY TV SPOT: SHALIMAR BY GUERLAIN

The Making of a Legendary Film Spot: "The Legend of Shalimar" directed by Bruno Aveillan.


Once  upon a time in India, a love story unraveled  between a Mughal emperor and his beloved wife.  In the 17th century, the troubadours playing their sitars exalted the amours of  Shah Jahan, who built the Taj Mahal for his beloved wife, Mumtaz Mahal. The gardens around the ornated palace are known as the "Shalimar Gardens." It is a true story that has become a legend. Shalimar, it is also the signature perfume created by Jack Guerlain in the 1920s. He took inspiration  from the love story of the Indian emperor and his beloved wife to create this refined oriental fragrance. 


To promote its iconic fragrance, Guerlain released a new epic television spot, 5:45 long, featuring the Russian top model Natalia Vodianova who has been representing the brand since 2009. The short film is called, The Legend of Shalimar.


Guerlain tapped director Bruno Aveillan and Quad to bring this timeless romance to life. The epic  project required a crew of over 100 creative technical  people and the film was shot on locations all over India, from Jaipur for the Jaigarh Fort and Mawtaw Lake, to Upaipur for Badi Lake and its mountains with white marble dust that conjure the illusion of snow, to the Himalayas, and of  course, to the Taj Mahal in Agra.


The stunning visuals were captured by cinematographer Patrick Duroux, AFC using the Phantom camera for special effects plates and the live beauty sequences film were shot in 35mm using anamorphic lenses to capture the sweeping vistas and exotic locations These techniques allowed Bruno to retain his keen aesthetic sensibility and blend seamlessly with the visual effects by Digital District. 


 This mix of techniques is seen on full display in the breathtaking final scene of the Taj Mahal, which was filmed in Agra and then integrated with images from a lake in Rajasthan. The evocative score "Chevaliers de Sangreal" was composed by legendary Hans Zimmer. Yiqing Yin, the Beijing-born costume designer who designed Audrey Tautou’s 2013 Cannes Film Festival dress, also took part in the film’s production. The long formTV spot premiered in Paris and was shown throughout internationaly on TV and in cinemas garnering many awards and accolades.


La Jolla Fashion Film Festival, the global marketplace of fashion film production and distribution, will present a Bruno Aveillan restrospective on July 25, 2014. La Jolla Film Festival will be hosting the premiere film retrospective of one of the most sought after luxury commercial film directors in the world – Paris based Bruno Aveillan. From his ground breaking work with his Louis Vuitton “Journey” series to his globally acclaimed films for Cartier and Guerlain, Bruno Aveillan is truly at the pinnacle of fashion film production.

http://www.ljfff.com/

CINEC 2014 FOCUSES IN FINE TUNING 4K TECHNOLOGY

"4k-technology is becoming established although some important issues remain". These are some of the topics at the core of discussions in the Cine Congress seminars at the tenth anniversary of CINEC (The International Trade Fair for Cine Equipment and Technology) that will take place from 21st to 23rd of September in Munich, Germany.
 The novelty of 4k has slowly abated as almost every camera manufacturer now offers such equipment. This recent innovation is becoming commonplace even though the full advantage to the users remains somewhat unclear. In addition to the question of Resolution, other issues such as Contrast, Dynamics, Colour rendering and Frame Rates also remain. These issues will play a significant role at this year’s trade show cinec and its accompanying cineCongress.

 At this year’s NAB 2014 in Las Vegas, the exhibitors presented more 4k-equipment. This equipment is standardized in accordance with the Digital Cinema Initiatives (DCI) Consortium at a resolution of 4096 pixels per line x 2160 lines, thus doubling the specifications of its predecessor, DCI 2k.

 DCI 4k has 8 847 360 pixels (each one consisting of a red, a green and a blue fraction) but this differs from the ultra HD TV format, which has a resolution of 3840 x 2160 and displays only 8 294 400 pixels. To further add to the confusion other systems of high-resolution equipment for cinema and TV technology exist but they all share a characteristic with DCI 4k, namely that you can only benefit from a better resolution if you are the right distance from the screen or display. The human eye can hardly differentiate between Ultra HD and current HDTV (resolution: 1920 x 1080) on a 40 inch display if further than one metre away. "If we enlarge this example, this probably means that only the front rows of a cinema audience will benefit from the sharper image of a 4k movie”, asserts cinec manager Angelika Albrecht. Hollywood feels however that a cinema fills up from the back and therefore rejects 4k technology although for new 3D movies, 4k would seem to be a must.

Canon NABShow 2014 george leon/filmcastive
Higher resolution is also raising financial issues; it is estimated that the costs to print 4k to film are 10% to 20% higher than for a 2k resolution. The substantial additional Memory requirements also has an impact on the distribution; a 90 minute movie in HD resolution occupies about 70 GB and fits a Blu-Ray disk but for a similar 4k movie, the disk’s capacity is not sufficient. The industry is already working on the development of a new disk with a 300 GB memory capacity which should be available at the end of 2015.

4k technology also needs a better network system as there is more data to be transferred. Gordon Smith, NAB President and CEO, referred to the connection between transmitter and wire in his opening speech in Las Vegas: "Throughout the marketplace, we are beginning to see the incredible power of the convergence between broadcasting and broadband.” For Smith broadband is nothing less than a “Game-changer”. It is in the nick of time that the German government has attached importance to this topic and wants to provide Broadband access nationwide or in at least 75 % of the households.

But the fundamental and compelling question is when are there going to be enough original content in adequate quality to make appropriate investments profitable?

The German industry leader ARRI has already been involved in this issue for some time and is focusing efforts on the digital distribution of movies. In 2012 ARRI entered a cooperative arrangement with DELUXE Digital Cinema covering the commercialization of digital cinema movies on hard disks. This has resulted in a marketing concept developed by Deluxe and Hewlett-Packard called „Deluxe Connect”  (Deluxe Connect plans 8,000 cinema roll-out) involving a point-to-point connection likely to be offered by ARRI as part of a package to German cinemas.

 The world of cinema is changing and we need to set the course for the way ahead. The specialized trade fair “cinec”, which this year celebrates its 10th anniversary provides the framework for this. In addition to the cineCongress which will include exciting seminars and discussions for professionals of the industry, the glamorous ceremony of the cinecAward will form the social highlight of this Septembers’ event. The association Cine Technik Bayern e.V. (CTB) will once again award the prize for pioneering and innovative achievements in the different areas of film and television technology.
The exhibition brochure and additional information as well as a short presentation about the development of the fair can be found at www.cinec.de/en.

AJA INTRODUCED CION AT NAB 2014

A very sharp looking camera, ergonomically designed to go up easy in your shoulder and to be configured as a studio camera. CION, is the new 4K/UHD and 2K/HD production camera from AJA Video Systems. It records directly to Apple ProRes 422 and 444 at up to 4K 60fps or output AJA Raw at up to 4K 120fps. CION features a 4K APS-C sized CMOS sensor with an electronic global shutter and 12 stops of dynamic range. Lenses designed for Super 35mm cover the sensor imaging area and the global shutter eliminates the undesirable qualities associated with rolling shutter-based sensors.


CION can record at 4K (4096x2160), UltraHD (3840x2160), 2K (2048x1080) and HD (1920x1080). 2K and HD are hardware scaled from the full 4K sensor, resulting in beautiful over-sampled images, which also retain your lens’ focal length at any desired resolution. Frame rates up to 50 and 60p are supported - even at full 4K resolution.


CION uses AJA’s proven SSD-based Pak storage. The robust high speed compact storage mounts directly in-camera and allows recording of 4K/UHD and 2K/HD as ProRes 4444, ProRes 422 (HQ), ProRes 422, ProRes 422 (LT) and ProRes (Proxy). Choose from generous 256GB or 512GB capacities and by utilizing the AJA Pak Dock (sold separately) you can transfer your footage over high-speed Thunderbolt™or USB3.


CION is also fully capable of outputting frame rates up to 120 fps as either 4K or UHD from its 4 x 3G-SDI outputs as AJA Raw. AJA’s Corvid Ultra in conjunction with TruZoom™ software can take the AJA Raw output and replay it at up to 60 fps. Output up to 30fps AJA Raw via the Thunderbolt™ connector. CION can also record HFR 4K 50 and 60p to Pak media, as Apple ProRes 422. The AJA Cion will be available in summer of 2014 and sell for $8,995 (~£5,413).

For more information, CION AJA Video Systems

THE FUTURE IS HERE! URSA AND BLACKMAGIC STUDIO CAMERAS

On my visit to NAB Show last week, I was eager to see the unveling of two brand new cameras, the newly developed Blackmagic Design Studio Camera and the ENG/Film style URSA. As I walked down to the enormous Blackmagic Design booth  at the entrance of the massive C Hall of Las Vegas Convention Center, I almost could not have a glimpse of  the cameras due the to inmense crowd packing the booth, all of them thirsty for everything Blackmagic.
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 As all camera manufacturers have done up to now, a shooting gallery-studio- style was set up for a hands-on experience so you could press every new button or peek thru their latest viewfiinder (if any..!!!) or ascertain its egonomical design with a test-ride around the floor while barraging the manufacturer's representative with your "norm" technical questions and then translated them into the aesthetic reasoning of your artistic self. 

 Right under their limelight, I got familiar with the new Broadcast Studio Camera, which at first sight seemed just like a pocket camera fused to a large hooded monitor (10 inches) and capable to record HD video, but after a closer look and handling, the advantages of this revolutionary EFP/Studio configuration were obvious. Blackmagic call this camera "The world’s smallest broadcast camera with the world’s largest viewfinder!

 Blackmagic Design defines it as the world’s most advanced broadcast camera for live  production. Inside its incredibly tough, lightweight magnesium alloy body you get a massive 10” viewfinder, the New Ultra HD display delivers a picture that has 4 times the resolution of 1080 HD, a massive 3840 x 2160 pixels, 4 hour battery, talkback, tally indicators, phantom powered microphone connections and built in optical fiber and SDI connections that let you connect to your switcher with a single cable.

The Blackmagic Studio Camera is available in HD and Ultra HD models, and is packed with all the advanced features you need for multi camera production and broadcast. The camera comes in two resolution flavors to suit your production needs and pocket (even shallow ones!), the Blackmagic Studio Camera HD, an advanced broadcast camera for live HD production at $1,995 and the Blackmagic Studio Camera 4K, the world’s first 12G-SDI broadcast camera for live Ultra HD production with 10” viewfinder, 12G- SDI, MFT lens mount, supporting for up to 2160p60, 4 hour battery, talkback, tally indicators, phantom powered microphone connections and built in optical fiber and SDI connections that let you connect to your switcher with a single cable at $2,995

I think both cameras are very economic next to what it was the cost of any regular broadcast EFP /studio camera in recent past. Let's take in consideration that the price of both cameras was approximately the cost of a power supply for an older generation Thomson, Grass Valley, Sony or Ikegami..Blackmagic is really delivering us tools to make brodcast video and digital cinematography affordable to all.

Ursa is Blackmagic's flagship camera. Ursa's design and body is a total departure of their past models, here we have a truly "put it in shoulder" camera designed egonomical to meet the requirements of the camera operator. No more, are any needs of cumbersome bracketry or aftermarket handling components, from the box to your shoulder or tripod..or gimbal.

 At first sight, URSA is most impresive, it is a "real ENG/digital film" camera but curiosly, without an eyepiece viewfinder, (EVF conector available) and having instead a massive folding monitor/viewfinder 10.1” 1920 x 1200 and a 2 TFT-LCD5” -Integrated LCD capacitive touchscreens for menu control, one operator side and other on assistant side. It comes with large user upgradeable Super 35 global shutter 4K image sensor with an incredible 12 stops of dynamic range, 12G-SDI and internal dual RAW and ProRes recorders.

URSA is world’s first user upgradable 4K digital film camera. It comes in four models and prices, according to their lens mount, EF Mount, PL Mount and Video (B4) Mount (2). The camera is integrated with dual CFast card up to 350 MB/s recorders and all HD-SDi/BNC/Lanc/XLR and 12v power connectors to allow the operator to configure the camera to his/her needs. Ursa EF and Ursa PL are shipping out in July at $5,995 and $6,495 respectively.

GRACE OF MONACO OPENS 2014 CANNES FILM FESTIVAL

http://www.festival-cannes.com/en.html

French director Olivier Dahan’s Grace of Monaco is to open the next Festival de Cannes. The world preview will take place on Wednesday 14 May, 2014, in the Grand Théâtre Lumière of the Palais des Festivals, in the Official Selection category, Out of Competition.


The film portrays a period in the life of American Actress Grace Kelly (played by Nicole Kidman) who became Princess Grace of Monaco when she married Prince Rainier III (Tim Roth) in 1956, in what was dubbed “the marriage of the century”. An Oscar winner, she was already a huge film star, having worked with the very greatest (John Ford, Alfred Hitchcock, Fred Zinnemann) and acclaimed the world over. Six years later, amid occasional difficulties in fulfilling her role, she was invited back to Hollywood by Alfred Hitchcock, to play in his new film Marnie. At the time, France was threatening to tax and even annex Monaco, the tiny Principality whose monarch Kelly had become. Was she still an actress? Was she really Princess of Monaco?

Produced by Pierre-Ange Le Pogam, Uday Chopra and Arash Amel, who also wrote the screenplay, Grace de Monaco sees Nicole Kidman play the role of Grace, with Tim Roth as Prince Rainier. Their co-stars include Frank Langella, Parker Posey, Jeanne Balibar, Sir Derek Jacobi and Paz Vega, who plays Maria Callas.

 Eric Gautier, AFC with Julian Schnabel on set
while shooting Miral with an Aaton Penelope

 The film was shot in Scope 2.35 using Kodak 35mm film. The Director of Photography was France’s Eric Gautier and the 16-weeks shoot took place in Monaco, South of France, Paris, Vintimille, Gand and Bruxelles.

Oliver Dahan & Nicole Kidman

Born in 1967 in La Ciotat, Olivier Dahan previously directed La Vie en Rose (2007) which garnered Marion Cotillard the Oscar for Best Actress in 2008. Grace of Monaco will be released on the opening day of the Festival, Wednesday 14 May, in France and in several cities around the world. The opening ceremony will be broadcast to participating cinemas, with the kind cooperation of Canal+. Grace of Monaco (2014).

 A Stone Angels and YRF Entertainment production. Co-production by TF1 Films Productions, Gaumont, Lucky Red, OD Shots, Ufilm, in association with Silver Reel - Ufund. Distribution in France: Gaumont. Internationales Sales: Lotus Entertainment.

SUPER 8 FILM CELEBRATES 50 YEARS

Coming this April Super 8 film will celebrate its 50th anniversary and my friends at Pro8mm decided to celebrate it in style. It was April 1965 when the Eastman Kodak Company introduced a revolutionary new format called Super 8mm film that adapted traditional regular 8mm home movies to an improved cartridge system that we still use today in a variety of applications. 


At the same time in France, a French manufacturer of motion picture cameras called Beaulieu introduced their first Super 8mm film camera to work with the new Eastman Kodak system. The Beaulieu 4008 series introduced in 1965 quickly established a reputation as one of the high quality Super 8 cameras on the market because of its interchangeable lens system with a reflex type viewfinder. Although thousands of Super 8 cameras made by hundreds of manufactures were introduced over the next 30 years, the Beaulieu 4008 continues to be one of the best Super 8 camera models ever made. 


This year Pro8mm begins to celebrate 50 years of analog love and motion picture technology. While the format continues to be used by amateurs, professionals, film fanatics and some of the world most famous cinematographers, we celebrate this milestone year with a limited edition 50th Anniversary Super 8 camera.


The first celebration in the anniversary series is a Classic camera is a classic color. The Candy Red Classic Pro Super 8mm camera (rebuilt from a Beaulieu 4008) has been customized with Max 8 widescreen 16x9 formatting and a legendary 8-64mm Angenieux lens, the finest lens ever made for a Super 8mm film camera.

The anniversary editions will be limited production, making them special and unique. Only 10 cameras in the classic candy red finish have been manufactured! 

 For camera details and to celebrate 50 years of Super 8 film, visit Pro8mm

PANASONIC DEBUTS THE VARICAM® 35

Panasonic will Debut at NAB Show, a New 4K Camera/Recorder, VariCam 35, With New Super 35MM MOS Sensor, AVC-ULTRA Codecs For 4K. Ultimate Image Production for Cinema and Episodic Drama; Breakthrough Modular Design Enables Docking Either 4K or 2/3-Inch Camera Head to Same Recording Module

The VariCam® 35, incorporates a newly-developed super 35mm MOS image sensor and the company’s AVC-ULTRA family of video codecs. The new camera’s superb image handling in multiple formats including 4K, UHD, 2K and HD make it an unparalleled tool for high-end filmmaking, and commercials and episodic production as well as live 4K events.

With its innovative design, the 4K camera module unit (AU-V35C1) is separate but dockable to the recording module unit (AU-VREC1), which is also interchangeable with Panasonic’s new 2/3” camera module unit (AU-V23HS1) (see separate news release). This system flexibility can be expanded with an umbilical cable between the s35mm 4K camera and the AVC-ULTRA recorder, providing “box” camera functionality for jibs, cranes and other “remote” camera needs. This common recorder module is also interchangeable with Panasonic’s new 2/3” 1080p camera, enabling professionals to switch between s35mm and 2/3” camera heads to best suit their creative needs.

“Evoking the VariCam heritage of gorgeous, cinematic image rendition, this VariCam 35 establishes new standards for 4K production,” said Steve Cooperman, Product Manager, Panasonic System Communications Company of North America. “With its expanse of formats ranging from flawless 4K RAW output to more practical 4K, UHD, 2K and HD capture, the  VariCam 35 represents a matchless option for premier digital capture.”

The VariCam 35 utilizes a new Panasonic super 35mm MOS sensor for 4096 x 2160 (17:9) 4K image capture; this imager when combined with the AVC-ULTRA codecs for 4K enables very manageable and practical 4K production file sizes. The new imager boasts an impressive 14+ stops of latitude, and faithfully captures high-contrast, wide dynamic range imagery without compromise. Powerful color management capabilities provide a much extended color gamut for impeccable image fidelity, and permit support for an Academy Color Encoding System (ACES) workflow for full fidelity mastering of original source material.

Among the camera/recorder’s top-level production features are real-time, high frame rate, variable speed 4K recording up to 120fps, proving the capability for master level 2K/FHD recording; and advanced workflows with parallel simultaneous 4K/ UHD, reference 2K/HD and proxy recordings for in-camera on-set color grading and monitoring / editing ease.  The camera also features a newly-developed OLED electronic viewfinder (EVF) with optical zoom functionality. Lastly, 24-bit LPCM audio is added for in-camera audio master recording.

The VariCam 35 will deliver an unprecedented breadth of recording formats, including 4K and UHD in AVC-ULTRA 4K, and 2K and FHD in AVC-Intra 100/200.* Addressing the need for high-speed file exchange, the camera encodes high-resolution proxy files in parallel with 4K and 2K production formats, enabling fast, efficient offline editing, at bit rates from 6 Mbps down to 1.5Mbps.  Wireless workflows for proxy streaming and metadata management will also be available.

The VariCam 35 will use Panasonic’s new expressP2 card for high frame rate and 4K recording (see separate news release).  The camera is equipped with a total of four memory card slots, two for expressP2 cards and two for microP2 cards. The new expressP2 card can record up to 130 minutes of 4K/24p content.  The microP2 card is designed for recording HD or 2K at more typical production frame rates.

Professional interfaces include:  3G-HD-SDI x4 for 4K QUAD output; 3G-HD-SDI x2 for RAW output; an HD-SDI out for monitoring (down-converting from 4K); and two XLR inputs to record four channels of 24-bit, 48KHz audio. A multi-connector facilitates docking the camera head to the recording module. In another striking design innovation, the VariCam 35 boasts a removable control panel to facilitate real-time control and easy access when the camera is in a fixed position. The VariCam 35 features a standard 35mm PL mount.

The VariCam 35 will launch fall 2014, with pricing to be announced. For further information about Panasonic professional video products, visit www.panasonic.com/broadcast.

CINE LENSES SHOWCASING IN NABSHOW

NAB Show 2014. As camera makers make strides to 4K imaging, lens makers are challenged to provide high resolution prime and zoom lenses to deliver high-quality images to the camera sensor.

 
ARRI will showcase a range of seven high-performance prime lenses from the ARRI/Zeiss Master Anamorphic series. The Master Anamorphic series are the 50 mm T1.9, MA 35 mm, T1.9, 75 mm T1.9,100 mm T1.9, the 40 mm T1.9 and 60 mm T1.9. The 135 mm T1.9 will be showcased  in NAB 2014.  Small in size, very lightweight, fast and with minimal distortion, the lenses represent a significant step forward in the technology and practicality of anamorphic cinematography for 35 mm format digital and film cameras. They are designed to provide beautiful out-of-focus backgrounds and a smooth, cinematic look, while be as easy to use on set as other modern cine lenses.


CANON is introducing it first 35mm zoom lens with servo handgrip for documentary, handheld or ENG.Canon’s Cine-Servo 17-120 mm T2.9-3.9 zoom seems impossibly small for a lens that can deliver superb image quality with so much range.The servo focus/iris/zoom handgrip detaches with 3 screws. When re-installed, there’s no need for manual re-alignment.

THALES ANGENIEUX will showcase its Optimo DP Series 25-250 mm 10X zoom lens, designed to provide the perfect combination of zoom ratio, aperture and price.The proliferation of 4K digital screens and the advent of Ultra definition television are escalating the demands for high quality motion picture content.

  
 FUJINON is presenting in NABShow a new 25-300 mm joins the growing Cabrio series PL zoom lens family. Its range extends beyond the familiar 10:1 ratio — offering a 12:1 zoom in a comfortable size and weight. It is intended to be used as an all-around zoom lens for exteriors, locations, action, aerials, sports, cars, running shots, as well as interiors. With a size and weight comparable to the Fujinon Premier 24-180, the new Fujinon Cabrio 25-300 provides a longer range of focal lengths. A detachable digital servo drive unit with Focus, Iris and Zoom motors will be an option mid-year. The lens has rear flange focal depth adjustment. Macro (close-up) capability is available standard on the lens.

SCHNEIDER OPTICS announces a new family of prime lenses specially designed and built for digital cinematography with full-frame sensor HDSLR and other professional cameras. Built in Germany by Schneider-Kreuznach, the new Schneider-Kreuznach Xenon FF-Prime Lenses are the latest addition to the company’s line of high-end optics. The first focal lengths being introduced in the Xenon FF-Prime series are 25mm T2.1, 35mm T2.1, 50mm T2.1, 75mm T2.1, and 100mm T2.1. They are available in changeable Nikon F, Canon EOS or PL mounts.

 COOKE will premier its Anamorphic/i Prime lenses with seven focal lengths featuring an oval bokeh, and designed for film and digital cameras. They feature aberration correction over the entire image area. The company will also showcase its Metrology lens test projector.

 CW SONDEROPTIC will present its Leica Summicron-C Cine lenses with 10 focal lengths between 18 and 135 mm. These are among the smallest and lightest premium prime lenses available. The lenses feature custom coatings to closely match the color and natural skin tones of the Leica Summilux-C lenses while exhibiting excellent flare suppression with very low chromatic aberration and distortion.


 CHROSZIEL will unveil their Aladin MKII 4K live broadcast wireless lens control system which was successfully used at both the French Open and the soccer Champions League in 2013 and is optimized for “Cine-Style” lenses and broadcast cameras. Also new is the Chrosziel Magnum wireless system which is available in three models: single-axis focus only, an upgradeable system for two-axis, and a complete focus/iris system.

THE CAMERAS TO SEE AT 2014 NAB SHOW

Much of the camera buzz at the 2014 NAB Show will be about 4K imaging, although there’s still a thriving market for conventional HD camcorders as well.

 ARRI will introduce its AMIRA, a versatile documentary-style camera that combines exceptional image quality and affordable CFast 2.0 workflows. It sports an ergonomic design optimized for single-operator use and extended shoulder-mounted operation. It features in-camera grading with preloaded looks based on 3D look up tables, as well as 200 fps slow motion.

BLACKMAGIC DESIGN is holding off until the first day of the NAB Show to announce its product lineup, but expect the company to return with its current lineup of cameras including the Blackmagic Cinema Camera, Pocket Cinema Camera, and Production Camera 4K.

CANON will show its Cinema EOS C500 4K digital cinema camera, which capitalizes on the groundbreaking ergonomic design of the EOS C300 camera, and offers a Super 35 mm, 8.85-megapixel CMOS image sensor, DIGIC DV III image processor and an expansive range of recording and output options specifically for 4K and 2K image acquisition.

 FOR-A will showcase its FT-One high-speed camera, designed for super-slow-motion acquisition with 4K resolution at up to 900 frames per second. Internal RAM memory holds nearly 10 seconds of 4K content shot at 900 fps, and this can be transferred to optional internal SSD cartridges.


GRASS VALLEY will show the latest models in its LDX series and the LDX Compact series of advanced imaging cameras, including the LDX Première, LDX WorldCam, LDX Elite and the LDX Flex. The company will also showcase its XCU eXchangeable control unit.

HITACHI will introduce the Z-HD6000 CMOS HDTV studio camera which features a 2/3-inch 2.6 megapixel 1920 x 1080 CMOS RGB sensors. The camera provides greater operational efficiency as its head provides extra power and communications, eliminating the need for extra wiring and complexity not normally available in cameras of this class.


IKEGAMI will host an 8K technology exhibit to give attendees a up-close look at the latest advances in this extremely high-resolution format, Super Hi Vision. The company will also showcase its HDK-97ARRI, developed in collaboration with ARRI. This is a broadcast-style production camera with digital cinema characteristics. Also featured is Ikegami’s Unicam HD camera line which includes multiformat HD cameras with 3G-SDI 1080/59.94p performance.


I-MOVIX will present its X10 UM (Ultra Motion) Phantom-based high-speed camera system that provides frame rates of up to 2,600 in 1080i or up to 5,600 in 720p with instant replay. The company will also showcase its X10 SSM (Super Slow Motion) camera system, which delivers up to 10x normal speed capture in full HD resolution.


JVC will introduce the GYHM850 ProHD shoulder-mount camcorder which features a built-in streaming engine, FTP and 4G LTE connectivity. It provides live HD transmission directly from the camera without any external bonded cellular technology. The camera sports an interchangeable Fujinon 20x autofocus zoom lens, dual SDHC/SDXC card slots for simultaneous or relay (continuous) recording and native file recording compatible with most NLE systems. Also look for the GY-HM890 ProHD shoulder-mount camcorder with all the features of the HM850 plus multicamera production capability.


PANASONIC will unveil three new cameras, a handheld camcorder and a pair of new Varicams. The AJ-PX270 P2 HD camcorder is Panasonic’s first capable of recording to P2 and microP2 cards in the company’s AVC-ULTRA codec.  The 4K, PL-mount Varicam 35 employs a single 35 mm sensor to mount cinestyle lenses and shoots 4K at up to 120 frames per second. The high speed Varicam HS shoots HD at up to 240 frames per second, and with its 2/3-inch 3MOS imagers, is designed to mount long lenses for sports and other event remotes.

 SONY will feature its full line of cameras and camcorders including the newest 4K CineAlta cameras, XDCAM camcorders and compact NXCAM camcorders. The company will showcase F65, F55, F5 and FS700 production cameras. Sony is delaying announcements about 2014 camera premiers until the show’s opening.

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