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Canon released its new professional EOS R Mirrorless Full Frame Camera System with a 20mm flange distance and 54mm mount, along with four new RF mount lenses, the RF 28-70mm f/2L USM, RF 50mm f/1.2L USM, RF 35mm f/1.8 Macro IS STM, and RF 24-105mm f/4L IS USM and three separate mount adapters are being made available, with one standard EF-to-RF Adapter, an EF-to-RF Adapter with Control Ring, and an EF-to-RF Adapter with Drop-In Filter System.

The EOS R packs a 30.3MP CMOS sensor with Dual Pixel CMOS AF technology and the latest DIGIC 8 image processor making possible to work with native sensitivities to ISO 40000, which can be expanded to ISO 102400. The AF system is, perhaps, the shining achievement of Canon’s camera, because it has an insane 5,655 focus points with 100% vertical and 88% horizontal coverage of the image area and includes functions such as Eye Detection AF. It can even support f/8 and f/11 lenses in all AF areas.

At the rear of the camera, you will find a 0.5" 3.69m-dot OLED EVF for eye-level viewing. The comfortable 23mm eye point is designed to allow space between your face and the camera body. The other rear display is a 3.15" 2.1m-dot vari-angle touchscreen LCD that provides all the benefits you would expect in a Canon body, including touch-and-drag AF. Completely new is the multi-function bar, which can be customized for fast, intuitive access to many commonly used features. The top panel has a dot-matrix LCD for checking current settings and camera status.

The EOS R comes with UHD 4K video at up to 30 fps, including the ability to record in Canon Log for wide dynamic range capture of up to 12 stops. Boosting quality, videographers can output 10-bit 4:2:2 to an external recorder over HDMI using Canon Log or even the BT.2020 color space for wide color applications. Full HD shooting will be possible at up to 60p while standard HD has slow-motion, 120p recording. Focus Peaking and the Dual Pixel Focus Guide will help keep everything in focus.

Canon EOS R Mirrorless Digital Camera with 24-105mm Lens $3,399.00
Canon EOS R Mirrorless Digital Camera (Body Only)  $2,299.00


Lens Mount     Canon RF
Camera Format     Full-Frame
Pixels     Actual: 31.7 Megapixel
Effective: 30.3 Megapixel
Max Resolution     6720 x 4480
Aspect Ratio     1:1, 3:2, 4:3, 16:9
Sensor Type / Size     CMOS, 36 x 24 mm
File Formats     Still Images: JPEG, RAW
Movies: MP4, MPEG-4 AVC/H.264
Audio: AAC, Linear PCM (Stereo)
Bit Depth     14-Bit
Dust Reduction System     Yes
Memory Card Type     SD
Image Stabilization     Digital, 5-Way

AV Recording
Video Recording     Yes, NTSC/PAL
Video Format     3840 x 2160p at 23.98/24/29.97 fps
1920 x 1080p at 23.98/24/29.97/59.94 fps
1280 x 720p at 29.97/59.94/120 fps
Aspect Ratio     16:9
Video Clip Length     Up to 29 Min 59 Sec
Audio Recording     Built-In Mic: With Video (Stereo)
Optional External Mic: With Video (Stereo)

Focus Control
Focus Type     Auto & Manual Focus
Focus Mode     Continuous-Servo AF (C), Manual Focus (M), Single-servo AF (S)
Autofocus Points     Hybrid: 5655

Viewfinder Type     Electronic
Viewfinder Size     0.5"
Viewfinder Pixel Count     3,690,000
Viewfinder Eye Point     23.00 mm
Viewfinder Coverage     100%
Viewfinder Magnification     Approx. 0.71x
Diopter Adjustment     -4 to +2 m
Display Screen     3.15" Rear Touchscreen Swivel LCD (2,100,000)
Screen Coverage     100%

Exposure Control
ISO Sensitivity     Auto, 100-40000 (Extended Mode: 50-102400)
Shutter     Type: Electronic & Mechanical
Speed: 30 - 1/8000 Second , Bulb Mode
Metering Method     Center-Weighted Average Metering, Evaluative Metering, Partial Metering
Exposure Modes     Modes: Aperture Priority, Bulb, Custom, Intelligent Auto, Manual, Programmed Auto, Shutter Priority
Metering Range: EV -3.0 - EV 20.0
Compensation: -3 EV to +3 EV (in 1/3 or 1/2 EV Steps)
White Balance Modes:  Auto, Cloudy, Color Temperature, Custom, Daylight, Flash, Fluorescent
(White), Shade, Tungsten

Buffer/Continuous Shooting     Up to 8 fps at 30.3 MP for up to 47 Frames in Raw Format
Up to 8 fps at 30.3 MP for up to 100 Frames in JPEG Format
Up to 3 fps at 30.3 MP for up to 47 Frames in Raw Format
Up to 3 fps at 30.3 MP for up to 100 Frames in JPEG Format
Up to 2.2 fps at 30.3 MP for up to 47 Frames in Raw Format
Up to 2.2 fps at 30.3 MP for up to 100 Frames in JPEG Format

Flash Modes     Flash On
Slow Sync
Built-in Flash     No
Max Sync Speed     Not Specified by Manufacturer
Flash Compensation     -3 EV to +3 EV (in 1/3 or 1/2 EV steps)
Dedicated Flash System     eTTL
External Flash Connection     Hot Shoe
Start-up Time     0.9 seconds
Shutter Lag     0.05 seconds
Self Timer     10 Seconds, 2 Seconds
Connectivity     1/8" Microphone, HDMI C (Mini), USB Type-C
Wi-Fi Capable     Yes

Battery     1 x LP-E6N Rechargeable Lithium-Ion Battery Pack, 7.2 VDC, 1865 mAh
AC Power Adapter     Not Specified by Manufacturer
Operating/Storage Temperature     Operating
32 to 104°F (0 to 40°C)
Humidity: 0 - 85%
Dimensions (W x H x D)     5.3 x 3.9 x 3.3" / 135.8 x 98.3 x 84.4 mm
Weight     1.45 lb / 660 g with battery and memory card

Courtesy of
Courtesy of  Canon USA


Introducing flowtech™. The world’s fastest tripod legs.
Performance tested in extreme conditions, the unique flowtech™75 is easier and faster to deploy and adjust than any other tripod, giving the camera operator ultimate versatility and improving their workflow. 2-stage 75 mm carbon fiber tripod with unique quick release brakes for instant and easy deployment, ergonomic carbon fiber design with strong magnetic legs locks for comfortable transport, exceptional torsional stiffness and a versatile hinge lock mechanism for low and high shots.

flowtech™75 is a 2-stage 75 mm carbon fiber tripod with unique quick release brakes for instant and easy deployment, ergonomic carbon fiber design with strong magnetic legs locks for comfortable transport, exceptional torsional stiffness and a versatile hinge lock mechanism for low and high shots.

The Sachtler System FSB 8 Touch & Go fluid head with flowtech™75 carbon fiber tripod legs offer a professional tripod system for videographers who use cameras weighing up to 10 kg / 22 pounds. The FSB 8 head provides friction-less leak-proof fluid drag with five levels of drag, for perfect pictures while panning, without jerks and vibrations. Identical across both horizontal and vertical planes, and allows complete disengagement of drag for fast panning. The system includes a mid-level spreader and bag. Height range in spreader less mode: 41 - 169 cm (16.1 - 66.5 in); height range with mid-level spreader: 78 - 173 cm (30.7 - 68.1 in).

Supports cameras to up to 10 kg / 22 lb. Friction-less Leak Proof Fluid Drag. Sachtler's Touch & Go plate mechanism Dynamic Counterbalancing System. Operates without any frictions from -40° to +60°C / -40°F to +140°F. Unique quick release brakes. Deploy and adjust your tripod in an instant. New ergonomic carbon fiber leg design. Easy to transport and exceptional torsional stiffness.Versatile hinge lock mechanism. Capture extremely low and high shots. Extensive endurance and environmental testing. Superior performance and reliability.

FSB 8 T fluid head (0705) + tripod flowtech 75 MS with mid-level spreader and rubber feet + padded bag flowtech 75 (9116); FSB 8 T: SRP: $2,755.00



Sony THOUGH is the world's toughest and fastest SD memory card, with a monolithic construction with high hardness materials have resulted in the world's highest level of bend strength, 18 times greater than the SD standard (180 N). This design eliminates the risk of physical damage and protect the data recorded onto the card, ideal for busy professional photographers even under severe shooting locations. The monolithic construction with rock-solid materials provides shock resistance, withstanding drops test from a height of 5 meters.This design reduces the risk of damage from dropping when swapping the card out frequently at busy shooting locations. THOUGH is the world's first rib-less, with no write protection switch design SD card. 

THOUGH is the world's fastest SD card. Get the most out of burst shooting. Sony developed high-speed capture technology to achieve the world's fastest write speed of up to 299MB/s. Along with the supporting UHS-II interface, this revolutionary write speed maximizes the burst-shooting capabilities of high-end DSLRs. The SF-G series supports the continuous shooting of 241 compressed RAW or 362 JPEG images when shooting by Sony α9, which has burst-shooting capability up to 20 frames per second. Dependable High-resolution 4K Video Recording, with the world's fastest write speed, up to 299MB/s, the SF-G series memory card can record high-quality 4K video. It supports V90, highest standard of video speed class, UHS speed class 3* and SD speed class 10 formats.

Highest level of water proofing (IP8X) and dust proofing (IP6X). Completely sealed with monolithic structure, this card is waterproof (compliant to IPX8) and recorded data is undamaged even if the card is submerged in 5 meters of water for up to 72 hours. Also, completely sealed with monolithic structure, the card is dust proof (compliant to IP6X) and keeps out all dust particles, and can be used in severe shooting environment. Even if the card is used in dusty or dirty areas or dropped in mud, it can be washed in fresh water and wiped off to be used again for perfect flexibility. In addition to the world's highest level of durability, this card offers has X-ray proof(ISO7816-1), Magnet-proof, Anti Static, temperature proof, UV Guard, and wide-ranging compatibility with major UHS-II supporting DSLR and mirrorless cameras.


Nikon Introduces Z Mount System, and Full-Frame Mirrorless Cameras: Nikon Z 7 and Nikon Z 6.
At the heart of the Z mount system is the new, larger-diameter mount, which unlocks further possibilities of lens design. The Z mount system will offer a variety of high-performance lenses, including the fastest lens in Nikon history, with f/0.951. Additionally, the new mount adapter will enable compatibility with NIKKOR F mount lenses, adding to the range of choices for photographers.
The Z 7 and Z 6 are equipped with a new backside illumination, Nikon FX-format CMOS sensor with focal-plane phase-detection AF pixels, and the latest image-processing engine, EXPEED 6. The Z 7 has 45.7 effective megapixels and supports ISO 64–25600 range of standard sensitivities (reduction to the equivalent of ISO 32 and expansion to the equivalent of ISO 102400 is also possible). The Z 6 has an effective pixel count of 24.5 megapixels, and supports a broad range of standard sensitivities, from ISO 100–51200 (additional reduction to the equivalent of ISO 50 and expansion to the equivalent of ISO 204800).
The Z 7 has 493 focus points2 and the Z 6 has 273 focus points2, enabling broad coverage of approximately 90% of the imaging area both horizontally and vertically. This hybrid AF system uses an algorithm optimized for the FX-format sensor, to automatically switches between focal-plane phase-detection AF and contrast-detect AF when focusing to achieve focus. Newly-designed NIKKOR Z lenses take full advantage of this system, providing faster, quieter and with increased AF accuracy than previously possible for both still images and videos.

The Z 7 and Z 6 are equipped with the new EXPEED 6 image-processing engine. Employing the superior resolving power of NIKKOR Z and NIKKOR F mount lenses, subjects are rendered more sharply than ever before. Noise is also effectively reduced. Additionally, a mid-range sharpening option has been added to Picture Control sharpness parameters. This option, along with existing sharpening and clarity parameters, allows users to make various textures within the screen sharper or softer, for both still images and video3. The cameras also offer 20 options of Creative Picture Control, supporting creative  imaging expression. The effect level is adjustable from 0 to 100.

The Z 7 and Z 6 are equipped with the new EXPEED 6 image-processing engine. Employing the superior resolving power of NIKKOR Z and NIKKOR F mount lenses, subjects are rendered more sharply than ever before. Noise is also effectively reduced. Additionally, a mid-range sharpening option has been added to Picture Control sharpness parameters. This option, along with existing sharpening and clarity parameters, allows users to make various textures within the screen sharper or softer, for both still images and video3. The cameras also offer 20 options of Creative Picture Control, supporting creative imaging expression. The effect level is adjustable from 0 to 100.

The electronic viewfinder adopted for the Z 7 and Z 6 is comfortable and easy to use, comparable to optical viewfinders. Both cameras are equipped with an electronic viewfinder for which an approximately 3690k-dot OLED panel has been adopted. The electronic viewfinder has frame coverage and magnification of approximately 100% and 0.8×, respectively, as well as an approximately 37.0° diagonal viewing angle. It draws on Nikon's superior optical technologies and image-processing technologies, ensuring a clear and comfortable view, with reduced aberration and minimum eyestrain, even during extended shoots. Furthermore, a fluorine coat that effectively repels dirt has been applied to the eyepiece protection window. In addition, the  menu can be displayed in the electronic viewfinder, allowing users to quickly view and adjust a variety of shooting settings, including ISO sensitivity, AF-area mode, and Picture Control, all while looking through the viewfinder.

The Z 7 and Z 6 support recording of not only full-frame 4K UHD (3840 × 2160)/30p movies using the FX-based video format, but also Full-HD/120p movies. Sharper 4K UHD movies are made possible, using the full-pixel readout4. Additionally, Active D-Lighting, electronic vibration reduction, and focus peaking can be used with 4K UHD and Full-HD movie recording.

Nikon’s original N-Log color profile can also be used with 10-bit5 HDMI output. The N-Log setting utilizes extensive color depth and twelve-stop, 1,300% dynamic range to record a wealth of tone information from highlights and shadows for more effective color grading. Timecode support makes synchronizing video and sound from multiple devices easier. Additionally, the control ring built into NIKKOR Z lenses  can be used to quietly and smoothly adjust settings such as aperture and exposure compensation.

The Z 7 and Z 6 are built for video. Portable cinematic powerhouses.  Bend time with ultra-smooth 1080p 120 FPS slow motion sequences. Preserve maximum detail, dynamic range, shadows and highlights for more control and creativity in post-processing with the new Nikon N-Log. Full-frame 4K Ultra HD. Cinematic 16:9 4K UHD/30p video with the sharpness and dynamic range of Nikon’s full-frame image sensors. Hybrid AF for video. Silky smooth, near-silent AF with automatic switching between phase-detect and contrast-detect AF. 10-bit HDMI Output. Record uncompressed footage with 64X more color data directly to an external capture device,compared to 8-bit. Requires optional HDMI Connecting Cable.  8K Time-lapse.

Other Features
Same level of strength and durability, as well as dust- and drip- resistance, as the Nikon D850, offered in a compact body.A 3.2-in., approximately 2100k-dot touch-sensitive LCD monitor, with a tilting mechanism. Silent photography function eliminates shake and noise caused by shutter release.
Peaking stack image function enables confirmation of the area in focus after shooting using focus shift, which is convenient for focus stacking. High-speed continuous shooting (extended) at approximately 9 fps (Z 7) and 12 fps (Z 6) captures fast motion. Interval timer photography that makes 8K (Z 7) time-lapse movie creation possible

An extended low-light metering range allows users to easily capture scenes such as the transition from sunset to starry night sky, using aperture-priority auto exposure. Built-in Wi-Fi® for direct connection to a smart device using SnapBridge Built-in Wi-Fi® makes the transfer of images and movies to a computer possible Support for existing digital SLR camera accessories such as the EN-EL15/a/b batteries, WT-7/A/B/C Wireless Transmitter (available separately) for transferring images and movies at high  speed over a wired or wireless LAN, and radio-controlled/optical controlled Advanced Wireless Lighting, which makes flexible multi-flash photography possible.

The MB-N10 Multi-Power Battery Pack that is currently in development will hold two EN-EL15b, effectively increasing the number of shots possible and/or movie recording time by approximately 1.8×. It will provide the same level of dust and drip resistance as the Z 7 and Z 6, and will support USB charging using the EH-7P Charging AC Adapter. Information regarding the release of this product will be announced at a later date.

Price and Availability
The Nikon Z 7 will be available September 27 for a suggested retail price (SRP) of $3399.95 for the body-only configuration, or for $3999.95 SRP as a kit with the new NIKKOR Z 24-70 f/4 S lens.
The Nikon Z 6 will be available in late November for the $1995.95* SRP for the body only configuration, or for the $2,599.95 SRP with the NIKKOR Z 24-70mm f/4 S lens kit.

For more information on these and other Nikon products, please visit


On the following video, Sony's Peter Crithary talks about what is new with the Sony Venice Version 2 Firmware, including variable frame rates, ProRes capabilities, simultaneous recording, false color, user uploadable 3D LUTs, new imager modes, native E-Mount, Dual Base ISO 2500 mode, wired LAN control and more.

VENICE is equipped with a 36x24mm full-frame image sensor, designed specifically for the demands and performance of high end cinematography, and can capture images up to a maximum resolution of 6048 x 4032. By switching imager modes, VENICE can natively support Super35 24.9×18.7mm, 4096 x 3024 resolution (equivalent to 4-perforation motion picture film) and Super35 24.9×14.0mm 4096 x 2160 resolution  (equivalent to 3-perforation motion picture film). 

VENICE’s new full-frame sensor can capture in almost any format, including full 18mm-height Super35 anamorphic and spherical and full-frame 24mm-height anamorphic and spherical. Almost any aspect ratio can be conjured up: 1.85:1, 2.39:1, 17:9, the list goes on in full-frame or Super35.

For more information visit,


Click Chart to View and for Printable PDF
Click Chart to View and for Printable PDF
2018 Camera Comparison Chart. ARRI - Blackmagic Design - Canon - Kodak - Panasonic - RED - Sony. Compiled by Thomas Fletcher and Gary Adock with information gathered from numerous conversations with various cinematographers, rental houses, and manufacturers.

Please note portions of these chart are subjective. This is not scientifically tested and collected data. We have sincerely tried to assemble accurate information to share with the industry. Our goal is to help producers make an educated decision in a rapidly changing camera and optical landscape - that said - numbers do not tell the whole story - look at the images and consult your cinematographer. We encourage you to test for yourself!

Click Chart to View and for Printable PDF
Click Chart to View and for Printable PDF
Thank you to all that offered assistance and feedback in the collection of the data:

Geoff Boyle, Cinematographer
Scott Dale, VER
John Deboer, Sim
Megan Donnelly, AbelCine
Stosh Durbacz, Fujifilm
Phil Holland, Cinematographer
Michael Koerner, Koerner Camera
Jim Mathers, Cinematographer
Mike Sippel, Arri Rental
David Stump, ASC, Cinematographer
Marcelo Trotta, ABC Cinematographer
Bruno Vieira, Cinematographer
Adam Wilt, Technologist

Susanne Mayer
Frederick Merten
Marc Shipman-Mueller

Tor Johansen
Tim Schumann

Joe Bogacz
Alan Craig Lewis
Tim Smith
Larry Thorpe

Brent Carter
Brian Henderson
Kenta Honjo
Alan Zarnegar

Steve Cooperman
Mitch Gross
Stephen Mahrer
Barry Russo

Peter Crithary, Sony
Simon Marsh, Sony

Mike Brown, Kodak


Cinematographer Edward Lachman ASC, walk the red carpet of the Palais des Festivals at the 71st Festival de Cannes to receive the 2018 Pierre Angénieux ExcelLens in Cinematography, accompanied by film director and long time collaborator Todd Haynes. He was escorted also by Raphaël Keller, Director of Innovation Video and Technical industries at the CNC- Centre National du Cinéma et de l’Image Animée, Severine Serrano, Managing Director, Angénieux International Sales & Marketing, and Emmanuel Sprauel, Vice-President of Angénieux and Cinematographer Cecile Zhang.
Lachman was the cinematographer on four movies directed by Tod Haines, Far from Heaven, I’m not There, Carol and Wonderstruck. 

A delegation of the new artistic generation posed in a photo call with cinematographer Ed Lachman.   Among the actors were, American actor Michael Pitt, French actors Élodie Bouchez and actor Nahuel Pérez Biscayart, and French-Spanish actress Astrid Bergès-Frisbey.

Edward Lachman received an Angénieux Optimo 28-76 lens specially engraved to his name as a trophy, from Emmanuel Sprauel, Vice-President Angénieux brand who said: "As the President of the Angenieux brand, be sure all people in Angenieux share the passion to help you bring your vision to life. We all are truly dedicated to make the best products for your eyes and hands so that you can simply forget them because it simply suits you the best", said Sprauel.

Tod Haines and Ed Lachman viewing the video 
tribute video prepared for the occasion 

During his speech, Ed Lachman said: “For me the challenge of cinematography is revealing or trying to evoke the poetic or psychological authenticity of the image in the story you are telling...Images aren’t only around pleasant pictorial aesthetics but also can be the projection of the emotions for the characters in the story. Images are about experiencing something with your camera, it is the immediacy of that experience inside yourself that you are able to translate, and you can share in a documentary or narrative form.”

Angénieux also distinguished Chinese young cinematographer Cecile Zhang (right) who graduated with honors from the Beijing Film Academy – got the opportunity to use an Angénieux zoom lens of her choice on her next project. She received this Angénieux special encouragement from Severine Serrano’s (far right) Angénieux Managing Director and famous Chinese actor Xu Zheng.

The ceremony reached a particular emotional point with an impressive series of video testimonials from directors, actresses and actors who crossed Ed’s creative life (Christopher Doyle, Julianne Moore, Mark WIener, John Malkovich, Volker Schlondorff, Peter Sellars, Ulrich Seidl, Michelle Williams, Werner Herzog, Willem Dafoe, Sofia Coppola, Greta Gerwig, Steven Soderbergh, Meryl Streep, Wim Wenders) and a very nice attention from Daft Punk member and former creative collaborator Thomas Bangalter from Random Access Memories Album release time.

About the “Pierre Angénieux ExcelLens in Cinematography”
The Pierre Angénieux ExcelLens in Cinematography award ceremony pays tribute to a director of photography whose work has marked the history of world cinema. After Philippe Rousselot (2013), Vilmos Zsigmond (2014), Roger A. Deakins (2015), Peter Suschitzky (2016), Christopher Doyle (2017), Edward Lachman distinguished cinematographer is the 6th awarded.


ARRI launched at the BSC Expo in London a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom. Based on a large-format 4K version of the ALEXA sensor, the system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter. It is also compatible with existing lenses, accessories, and workflows.

Featuring a sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Versatile recording formats,including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150fps, provide total flexibility.

“The larger ALEXA LF sensor has the same optimal pixel size as other ALEXAs, resulting in a 4448 x 3096 image,” says Marc Shipman-Mueller, ARRI Product Manager for Camera Systems. “This doesn’t just add definition, it creates a whole new look—one that is truly immersive, with a three-dimensional feel. The various recording formats and sensor modes make this look available to all productions and satisfy any possible deliverable requirement.”

ARRI Signature Prime lenses
Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotionally engaging images, gently softening and texturizing the large format.

A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame. Thorsten Meywald, ARRI Product Manager for Optical Systems, comments: “The ARRI Signature Prime lenses are incredibly lightweight and robust, due to the magnesium lens barrels. They also feature LDS-2, ARRI’s next-generation Lens Data System.

What has impressed cinematographers most, however, is the look. Skin tones are rendered beautifully and kindly, while all the detail of landscapes can be captured. Our focus was on the emotional impact of images, creating unique and pleasing bokeh both in the foreground and background.”
New LPL lens mount
Optimized for large-format sensors, the new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh—a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

Backwards compatible with lenses, accessories, and workflows Although the camera, lens mount, and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system's design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

“As always, we want to make sure that our customers get the best possible return on their investments in ARRI equipment,” says Stephan Schenk, Managing Director of ARRI Cine Technik and responsible for the business unit Camera Systems. “Providing compatibility with existing lenses, camera accessories, workflows, ARRI Look Files, lens metadata, and software tools makes it easier for crews to work with ALEXA LF on set and for rental houses to incorporate it into their inventories.

We think the system sets a new standard for the future, but it also minimizes redundancies and leaves no one behind.” The first ALEXA LF cameras will be shipped at the end of March 2018. The initial set of four Signature Prime lenses (35 mm, 47 mm, 75 mm, and 125 mm) will be shipped in early June 2018. The remaining lenses will be available over the course of the year.

For more information, please visit:
For a complete technical report, see sidebar. FDT ARRI LF standalone report.


Panavision  introduced the new Millennium DXL2 8K camera at BSC Expo 2018, running Feb. 2-3 at Battersea Evolution (Stand 502). The large-format camera is the heart of a complete imaging ecosystem designed from filmmakers’ perspectives, seamlessly incorporating Panavision’s unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from Panavision’s unique and storied partnership with cinematographers, whose real-world experience and input are manifested in the DXL2’s many significant advances.

“The Millennium DXL2 8K camera system was conceived with the goal of maximum creative control from the moment of capture through delivery and display,” says Michael Cioni, senior VP of Innovation at Panavision and Light Iron. “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with RED’s MONSTRO imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.”

As a camera and lens manufacturer that also serves filmmakers as a trusted rental house, Panavision is uniquely positioned to respond to the needs of the community. Since its introduction, the DXL has been used on over 20 feature films, and countless television shows, commercials and music videos. Oscar® nominee John Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, providing input that has guided the design.

Schwartzman says, “When you take an 8K image and super-sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2 is a no-brainer. It’s something I would use on anything. It does it all. And in fact, I’m currently planning to shoot my next feature with it.”

The RED MONSTRO 8K VV sensor in the DXL2 offers a healthy 16-plus stops of dynamic range with improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using Light Iron color science.

An integrated PX-Pro color spectrum filter custom-made for the DXL offers a significant increase in color separation and dramatically higher color precision to the image. Built-in Preston MDR, 24v power and expanded direct-to-edit features are also standard equipment on the DXL2. An anamorphic flare attachment (AFA) offers a convenient, controllable method of introducing flare with spherical lenses.

New to the DXL2, LiColor2 streamlines the 8K pipeline, smoothly handling the workflow and offering convenient and quick access to high-quality RAW images, accommodating direct to edit without delays.

“We are proud to provide an ecosystem of tools that gives filmmakers more choices to express their vision,” adds Panavision CEO and President Kim Snyder. “We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2. We remain committed to continuous technological development and are excited to bring this new camera to market.”

The Millennium DXL2 will be presented at the Panavision booth (Stand 502) alongside a showcase of the company’s large-format and anamorphic optics, as well as the latest products and solutions from Panalux, Light Iron and Panavision Grip and Remote Systems.

Also at BSC Expo, Panavision presents “The Beauty of Large Format 8K” at 14:00 on Feb. 2 in the seminar room. The session will offer a preliminary introduction to the DXL2 while taking a deep dive into the relationship between resolution and large-format optics. Cioni will guide the discussion and present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to creative control with smoother imagery.

DXL2 cameras are available now to rent exclusively from Panavision on a worldwide basis.

Courtesy of Panavision. For more information, visit


SmallHD introduces the 502 Bright daylight viewable on-camera 5-inch monitor. The 1,000nit display incorporates the extensive feature set of the 500 Series monitors, while raising the bar on view-ability in direct sunlight.

The 502 Bright displays 100% of Rec. 709 color gamut. The 1920x1080 resolution LCD screen provides full high-definition viewing. It utilizes SmallHD’s latest software, version OS3, which provides false color and waveform tools. The unit also features is a new battery meter and the ability to adjust color computer-free with the SmallHD Color Probe.

For those who prefer to use waveform to compose an image, OS3 features spot metering to an already extremely customizable waveform. The spot meter indicates the exposure level of a particular area of an image without the psychedelic appearance false color can create. It is particularly useful for exposing faces.

Consistent with other SmallHD monitors, the unit is extremely rugged thanks to a milled aluminum frame and a Gorilla Glass protective screen. The 502 Bright has both HDMI and SDI inputs and outputs, with lightning fast cross conversion between the two video formats.

The new 502 Bright weighs just 9.4oz (267.5g), and is 6.4"W x 3.4"H x 1.1"D (16.2 x 8.6 x 2.8 cm). Deliveries begin in February 2018 with an MSRP of $1299.

The 502 Bright is available from SmallHD authorized dealers or SmallHD’s website. 
For more information visit


The American Society of Cinematographers announced the nominees in all five competitive categories for the 32nd annual ASC Awards for Outstanding Cinematography.


Roger Deakins, ASC, BSC for Blade Runner 2049

Bruno Delbonnel, ASC, AFC for Darkest Hour

Hoyte van Hoytema, ASC, FSF, NSC for Dunkirk

 Rachel Morrison, ASC for Mudbound

Dan Laustsen, ASC, DFF for The Shape of Water

Máté Herbai, HSC for On Body and Soul
Mikhail Krichman, RGC for Loveless
Mart Taniel for November

Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles”) on Amazon
Adriano Goldman, ASC, ABC for The Crown (“Smoke and Mirrors”) on Netflix
Robert McLachlan, ASC, CSC for Game of Thrones (“The Spoils of War”) on HBO
Gregory Middleton, ASC, CSC for Game of Thrones (“Dragonstone”) on HBO
Alasdair Walker for Outlander (“The Battle Joined”) on Starz

Dana Gonzales, ASC, ABC for Legion (“Chapter 1”) on FX
David Greene, ASC, CSC for 12 Monkeys (“Mother”) on Syfy
Kurt Jones for The Originals (“Bag of Cobras”) on The CW
Boris Mojsovski, CSC for 12 Monkeys (“Thief”) on Syfy
Crescenzo Notarile, ASC for Gotham (“The Executioner”) on Fox

Pepe Avila del Pino for The Deuce pilot on HBO
Serge Desrosiers, CSC for Sometimes the Good Kill on Lifetime
Mathias Herndl, AAC for Genius (“Chapter 1”) on National Geographic
Shelly Johnson, ASC for Training Day pilot (“Apocalypse Now”) on CBS
Christopher Probst, ASC for Mindhunter pilot on Netflix

Four cinematographers selected as this year’s ASC Awards honorees were announced in October  Russell Carpenter, ASC (Lifetime Achievement Award), Russell Boyd, ASC, ACS (International Award), Alan Caso, ASC (Career Achievement in Television Award) and Stephen Lighthill, ASC (Presidents Award).

2017 ASC Board of Governors Award recipient Denzel Washington

The winners will be revealed at the organization’s February 17 ceremony, which will be emceed this year by Ben Mankiewicz, a longtime host on Turner Classic Movies (TCM). The event will be held at the Ray Dolby Ballroom at Hollywood & Highland.


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The British Academy of Film and Television Arts (BAFTA) announced  this morning, their 2017 Nominations in all categories, all awards are presented Sunday 18, February 2018.

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BLADE RUNNER 2049,   Roger Deakins
DARKEST HOUR, Bruno Delbonnel
DUNKIRK,  Hoyte van Hoytema

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BLADE RUNNER 2049,  Denis Villeneuve
CALL ME BY YOUR NAME,  Luca Guadagnino
DUNKIRK,  Christopher Nolan
THE SHAPE OF WATER,  Guillermo del Toro

CALL ME BY YOUR NAME,  Emilie Georges, Luca Guadagnino, Marco Morabito, Peter Spears
DARKEST HOUR,  Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas Urbanski
DUNKIRK,  Christopher Nolan, Emma Thomas
THE SHAPE OF WATER,  Guillermo del Toro, J. Miles Dale
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI,  Graham Broadbent, Pete Czernin, Martin McDonagh

The nominations were announced this morning, January 9th by Natalie Dormer and Letitia Wright at BAFTA’s London headquarters, 195 Piccadilly.

The EE British Academy Film Awards take place on Sunday 18 February at the Royal Albert Hall, London. The ceremony will be hosted by Joanna Lumley and will be broadcast exclusively on BBC One and BBC One HD. The ceremony is also broadcast in all major territories around the world.
*Nominations are correct at the time of going to print. BAFTA reserves the right to make changes to the names listed at any time up until 18 February 2018.

For a complete list of Nominees, visit The British Academy of Film and Television Arts (BAFTA)

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