The Wasp 100-C™ Omni-Color LED is the first LED with the color quality of Plasma. With up to a 98 CRI and 97 TLCI, Hive's first LED fixture uses a proprietary algorithm to combine 5 different color LEDs into brilliant white light and infinite color combinations.

Wasp 100-C™ Omni-Color
•   Saturation: 0% - 100% 
•   Hue: 360° Hue Control (Δ 6°) 
•   Output: 0% - 100% Dimming 
•   Temp: 1,650K - 8,000K (Δ 25K) 
•   Direct 100-240 VAC input via 4-Pin XLR 
•   Manual, DMX, Smartphone Control 
•   98 CRI / 97 TLCI 
•   5 lbs. (2.3 kg.) / 7.5 in (190 mm) long
Booth C10342.


New Canon 70-200 Cine Zoom: EF, AF, AE, IS

Exactly a year ago at NAB 2016, Canon introduced a new cine lens  for Super 35. The Compact Servo 18-80 mm T4.4 (CN-E18-80mm T4.4 L IS KAS) EF-mount zoom was a compelling hybrid that combined the best attributes of cine and still photography.

Three different lines of Canon lenses intersect in the design: more than 60 L-Series EF lenses for professional still photography, Cinema Zooms with manual focus/iris/zoom barrels (15.5-47, 30-105, 14.5-60, 30-300 mm), and Cine-Servo (17-120, 50-1000 mm) zooms. Now, a year later at NAB 2017, Canon's Compact Servo family gets a new sibling. The Canon 70-200 mm T4.4 (CN-E70-200mm T4.4 L IS KAS S) EF-mount zoom covers longer, essential focal lengths.

And so, with just two lightweight, compact, affordable, high performance lenses, you can cover any angle from wide 18 mm to long 200 mm. An accessory 2x extender gets you to 400 mm.   
NAB Booth C4325

SIGMA Cine Full Frame 14mm T2 & 135mm T2

SIGMA Corporation adds two more cine lenses at NAB. Covering incredibly wide and extremely tight,  the new cine lenses in  the SIGMA FF High Speed Prime Line are 14mm T2 FF and 135mm T2 FF.

 There are now seven prime lenses in the SIGMA FF High Speed Prime Line:  14, 20, 24, 35, 50, 85, and 135mm. All these cine lenses come with PL, EF and E-mounts. (Only the 24-35 T2.2 FF Zoom lacks a PL mount option: it comes in EF and E-mount only.) SIGMA offers a mount conversion service.
NAB Booth C11525 

Angénieux Optimo Style 48-130 T3.0

Angenieux welcomes a 3rd sister in their lightweight, high-class, high-quality, compact Optimo Style family of S35 mm format zooms. The new 48-130 T3.0  zoom lens joins the Optimo Style 16-40 T2.8 and 30-76 T2.8 zooms. Actually there’s a 4th Style sibling, a bit longer, less accustomed to hand-holding, but equally popular. He’s the bigger  brother: Angenieux’s Optimo Style 25-250 T3.5.

The new 48-130 T3.0 is the longest zoom in the lightweight series: excellent for close-ups, portraits, and tighter angles on all productions.

The Angenieux Optimo Style 48-130 has superb optical performances, covers an image circle up to 34.6 mm diameter, with a constant maximum aperture of T3.0. There’s no ramping (change of exposure) when zooming in. As with the rest of the Optimo Style family, there’s minimal breathing (changing image size when focusing), minimal distortion and minimal optical aberration. 
NAB Booth C9039

 New Cooke S7/i Full Frame Plus

The new Cooke S7/i lenses cover an image circle up to 46.31 mm diameter. That’s every format from RED 8K VV 21.60×40.96 mm (46.31 diagonal) to Full Frame 24×36 mm (43.3 mm diagonal) Full Frame and Large Format is gathering momentum. It is future-proof because these lenses work equally well on Super35, current Full Frame, VV and the inevitable arrival of new cameras to come.

The new Cooke S7/i lenses are extremely fast and go incredibly close. Maximum aperture is T2. Minimum object distance is around 4 to 6 inches in front of the wider ones. Front diameters are nicely compact at 110 mm.

Cooke /i Technology connections are in the expected places. Focus is the same familiar Cooke cam-drive mechanism that feels as smooth and silky as the image looks. The main difference is large format coverage.

Available beginning June 2017 in focal lengths: 18, 25, 32, 40, 50, 75, 100 and 135 mm..

NAB Booth C5414

Leica Thalia Large Format Cine Lenses

CW Sonderoptic introduces nine new prime lenses that cover all formats from Alexa 65, Panavision DXL, RED 8K VV, Full Frame, to Super35.

Leica Thalia primes ship with stainless steel PL mounts. An XPL version will be available for ARRI Rental. Thalia lenses have front diameters that are all 95 mm, just like Leica Summilux-C and Summicron-C lenses. They work with the same front accessories like clamp-on Leica Cine MacroLux +0.5, +1, +2 diopters. Thalias accept 92 mm screw-in front filters and have a rear net holder just like the Summilux-C. Incredibly, most of the large format Thalias are actually lighter and shorter than the Super35 Summicron-C primes, which are already extremely light and small. The mechanical design is consistently Leica-like, rugged and ergonomic.

The 15-bladed irises are totally round at every aperture and create the same beautiful, smooth bokehs across the entire set. The iris ring is linear—marks are evenly spaced across all T stops.

The initial set of 6 Thalia lenses is expected to ship around July: 30, 35, 45, 70, 100, 180 mm. The remaining 3 Thalias should ship towards the end of 2017: 24, 55, and 120 mm with close focus capability.  

NAB Booth C4345

Courtesy of  Film & Digital Times 
NAB Booth C10206


 New Technology showcasing this year at  NAB Show.


Audience Recognition Technology now uses Artificial Intelligence to control TV Content and Advertisement.
The recent trend to Digital Broadcast Television in conjunction with the advancements in Artificial Intelligence has provided the ability for Broadcasters and Marketers to know exactly who is watching the television. Using facial recognition and big data, FlySwipe has developed a technology that can determine which commercial to place in front of a viewing audience based on the groups gender and age. The technology is also able to limit adult oriented advertisement while children are present.

“This changes the way that advertisers can reach their intended audience while viewing TV in a group setting. Prior to this technology, you would not know who in the household is watching and could never use household Ad targeting effectively.” says William Delisi, managing partner and architect of the Audience Recognition Technology platform called A.R.T.™ The platform was developed by the Boca Raton based company FlySwipe LLC and will debut at the National Association of Broadcasters (NAB 2017) ( conference in Las Vegas, Nevada this year.

Marketers gather large amounts of data on TV subscribers called attributes which are based on their digital viewing habits, internet activity, buying habits and public records. TV is now transferring to the digital world enabling broadcasters to apply the same Ad techniques that are used on traditional web pages. Those Ads assume that the person who is logged on or is using the device is the same person that generated the individual’s attributes. This is not the case when using the typical family TV in the living room where multiple people view various forms of TV content.

The solution is to understand who is watching the content at any particular time. The A.R.T.™ platform distinguishes everyone in the viewing audience and matches multiple attributes against the inventory of Ads to deploy. The reliance on content to determine the Advertisement no longer works. Providing a commercial of women’s perfume fragrances to a male audience is not effective and would not happen when the A.R.T.™ platform is being utilized. The platform also can determine a mixed gender audience, or a mixed age group, and act accordingly to deploy the proper advertisement based on a brand’s requirement.

Marketers can acquire feedback from the TV audience without any interaction. A commercial may invoke a specific emotion such as sadness, laughter, anger or simply stress. This can be provided back to the marketer to determine if the correct response was anticipated. This same technique can be used by publishers to determine how a scene effects the TV subscriber. The platform can also determine if anyone is even watching the commercial or show that is being broadcast.
NAB 2017 Booth: SU13014 South Upper Hall


Wooden Camera's Director's Monitor  Cage v2 is engineered to be universally compatible with any monitor up to 9 inches (measured diagonally) and attaches via top, bottom, or rear 1/4-20 mounting locations. Newly designed main brackets also allow direct mounting to the rear of Convergent Design Odyssey and Apollo.

An included sun shade is adaptable to most monitors and snaps directly to the cage frame. The bottom of the shade is made of velcro, which can be adjusted to the proper width of the monitor and an included loop piece can be used to hook onto the bottom of the cage for a more permanent mounting of the shade. 

Vertical and side-by-side mounting of two monitors is also possible with the Dual Director's Monitor Cage v2! Works with: Blackmagic Video Assist, SmallHD DP4, DP6, AC7, DP7, TVLogic VFM-056W/WP, VFM-058W, Ikan D5, VK7i, VH8, VL5, VX9e, Odyssey 7, 7Q, Atomos Samurai, Ninja, Shogun. 

For more information, please visit:


Cineo Lighting will reveal the Quantum c80 (Qc80) full-gamut color lighting fixture at NAB 2017 (Booth C9945). Featuring 50,000 lumens of Cineo's proprietary color-tunable white light, the Qc80 also includes a full RGB gamut, which works in conjunction with the reference-quality white light as a complete, creative lighting toolkit.

To support the Qc80's innovative approach to saturated color technology, Cineo has developed a simple, four channel interface that provides control locally using the system's graphical control panel, through traditional wired DMX or with the Integrated LumenRadio™ CRMX bi-directional wireless DMX/RDM control.

The versatile Qc80 provides predictable, repeatable results for end users that are unachievable with any other lighting instrument. The same color shading can be realized through the camera regardless of the CCT used for photography. 

For example, +2 Green added to 3000K CCT will look the same as +2 Green at 4500K to the correctly white-balanced camera. In addition to Cineo's proprietary phosphor-converted white light LEDs, the Qc80 is the first unit designed with phosphor-converted saturated color LEDs, thus extending Cineo's deep-red color rendering technology. Cineo's Photo Accurate Dimming, which maps both local and DMX control to camera f-stops, is also fully supported.

“The Qc80’s color LEDs use the same die as its white LEDs, achieving identical thermal stability,” says Chuck Edwards, CTO, Cineo Lighting. “Ultimately, this allows for the color to remain consistent throughout the lifetime of a fixture. This product consistency means that our customers will achieve the highest quality results over the extended lifetime of the product.”

Weighing in at under 40 lbs., Qc80 measures 2 ft. x 4 ft. x 5.5 in., including the internal 800-watt power supply. As with all Cineo products, it features flick-free operation and a silent, passive cooling system without fans to ensure that no noise from the unit will disrupt a shoot.

The built-in USB port provides 5VDC power for accessories and supports uploading of new firmware as new features become available.

For more information, please visit


DoPchoice added  the new Octa 7 to its lineup of octagonal Snapbag® Rabbit-Ears softboxes. With a 7-foot (205cm) diameter, this larger octagonal-shaped softbox joins the smaller Octa 3  and Octa 5 to fit most LED soft lights. Each delivers smooth and even illumination across the  front with or without a baffle. The larger the Octa, the softer and smoother the light output around the subject.

Like the rest of DoPchoice’s Rabbit-Ears Snapbag family, Octas pack up small and set up fast. All 3 models are designed to employ DoPchoice’s revolutionary Rabbit-Ears™ system.

Rabbit-Ears are so versatile a single unit can quickly and securely mount to various LED light brands. All Snapbags feature a highly reflective inner fabric that provides maximum light output. Even without a baffle, they deliver even illumination across the front surface.

The spread of light from Octa Snapbags can be further controlled by simply installing a DoPchoice Snapgrid® on the front.

Octa Rabbit-Ears Snapbags fit a variety of softlights, including ARRI’s SkyPanel S30 and S60, THELIGHT Velvet 1 and 2 including the Power version, BB&S Lighting’s Area48 Softs, Cineo HS and Maverick Trucolors, Creamsource’s Full and Mini, Litepanels Astra1x1, and many more.

The Octa 7 weighs 6.5 pounds (3.45 kg) when installed (w/o Rabbit-Ears). When not in use, it conveniently folds to a compact and convenient 80x33x20-cm/31.5x13x7.8-inches. The Octa 7 Snapbag includes a Front Diffuser, Baffle and canvas carry bag. Setting up requires Rabbit- Ears which are sold separately but may be interchanged to use on a variety of Snapbags.

For more information visit


The new lenses were presented to a selected group of media professionals by the Optical Devices Division of FUJIFILM, with the participation of cinematographers Nancy Schreiber ASC, Bill Benett ASC, Eric Longden, Joe Slavin and Izzy Isidor Maxwell Pollak. 

 Fujinon’s MK 18-55 T2.9 is an affordable, lightweight, compact zoom lens intended for the rapidly growing independent owner-operator market. The MK 18-55 T2.9 is the first in a new series of Fujinon affordable E-mount zooms. (MK 50-135 T2.9 comes next.) The MK zoom only comes in E-mount (18mm flange focal depth) and represents a growing affirmation of a lens interface that was introduced by Sony.

 Nancy Schreiber, ASC sharing her thoughts in an interview 
of the new Fujinon MK 50-135mm zoom lens

Fujinon's Joshua Ewing answering questions 
about the new MK 18-55mm zoom lens

Bill Bennett, ASC taking a first look of the Fujinon MK 18-55 zoom lens

Shingo Harada, President of Fujifilm North America Electronic Imaging and Optical, 
presenting  the Mk series of cinema lenses at the ASC in Hollywood

Key Specs of both lenses: Parfocal, No Breathing, Built-in Macro, No Ramping and Lightweight Compact Design (2.2 lbs). The 18-55mm will be shipping in March and the 50-135mm T2.9 will be available this summer. Cinematographers can attach the MK 18-55 zoom onto Sony FS5, FS7, FS7 II, FS100, and FS700 cine cameras as well as Sony still cameras like the a7 series and a6500. Price $3799 USD

 Cinematographers and the Optical Devices Division of FUJIFILM gathered 
at the ASC clubhouse to launch the new MK series of cinema lenses, 
the MK 18-55mm zoom lens and the MK 50-135mm zoom lens.

The front diameter is a mere 85 mm and has 82mm threads for a front screw-in filter. There’s a Macro button for close focus to 1 ft 2.9 in / 0.38 m. You don’t need shims; a thumbscrew enables flange focal depth adjustment. (Once set, tape the barrel to avoid accidentally moving it.) Accessories include a lens support foot and rectangular lens shade.

for more information: read FDTimes article or visit FUJIFILM/Fujinon


The Society of Camera Operators (SOC)  was honored this year to present the Governor’s Award to Mr. Michael Keaton for his extraordinary body of work and commitment to the craft of Camera Operating on February 11, 2017 at the Loews Hollywood Hotel.

Mr. Keaton’s most recent successes with Birdman or The Unexpected Virtue of Ignorance, Spotlight, and The Founder are examples of his expanding creative genius and the depth and variety of his performances. Mr. Keaton has also been in the director’s chair with The Merry Gentlemen, starring Mary McDonald.

The Society of Camera Operators (SOC) advances the art, craft, and creative contributions of the Camera Operator. The SOC is an internationally recognized professional honorary society. The core activities of the Society are the annual SOC Awards, publishing the Society’s magazine Camera Operator and our charitable commitment to The Vision Center at Children’s Hospital Los Angeles.

 SOC AWARDS 2017- Nominees and Honorees

SOC Camera Operator Lifetime Achievement Award
Garrett Brown

SOC Camera Technician Lifetime Achievement Award
Bobby Mancuso

SOC Still Photographer Lifetime Achievement Award
Phil Caruso

 La La Land Camera Operator Ari Robbins 
won SOC Feature Film Award.

Andrew Mitchell won the SOC Television Camera Operator Award
for The People v. OJ Simpson: America Crime Story.

SOC Mobile Camera Platform Operator Lifetime
 Achievement Award Mike Moad

SOC Technical Achievement Award
That Cat: The Patented Silent Cat Camera Slider

 SOC Technical Achievement Award
SHOTOVER: K1 6-Axis Stabilizer

Camera Operator of the Year - Film

Stephen Campanelli, SOC – Sully
David Emmerichs, SOC – Nocturnal Animals
Mark Goellnicht, SOC – Hacksaw Ridge
Petr Hlinomaz – Manchester By the Sea
Jacques Jouffret, SOC – Deep Water Horizon
Ari Robbins, SOC – La La Land -WINNER

Camera Operator of the Year - Television
Andrew Mitchell, SOC – The People v. OJ Simpson: American Crime Story- WINNER
Ben Semanoff, SOC & Bruce MacCallum, SOC – The Night Of
Steven Matzinger & Greg Smith – Westworld
Bob Gorelick, SOC – Stranger Things
Aaron Medick, SOC – Mr. Robot
Sean Savage, Assoc. BSC & ACO – Game of Thrones

La La Land Camera Operator Ari Robbins Won SOC Feature Film Award.
Phil Caruso was handed the SOC Still Photography Lifetime Achievement Award.
Steadicam Inventor/operator Garret Brown received Camera Operator Lifetime 
Achievement Award. The Honorees and winner are accompanied by SOC 
President George Billinger.

John Toll, ASC presented the  SOC Mobile Camera Platform Operator Lifetime
 Achievement Award to Mike Moad
 Dr Thomas Lee, Vision Center, Children Hospital Los Angeles &  
Nichole Huenergardt, Chapman /Leonard Studio Equipment

 Caleb Deschanel, ASC  presented the SOC Camera Operator 
Lifetime Achievement Award to Garrett Brown

Tim Smith, Amy Kawadler, & Canon EOS Digital Cinema  team 
attended the award ceremony

 Ari Robbins, SOC addresses the audience on his experiences camera operating 
                                the multi-award winner feature film "La La Land"

For a extensive gallery of photos of the SOC Awards visit: SOC Awards  2017 Albums


Greig Fraser, ASC Awards ©George Leon/Filmcastive. Not to reproduce mechanically or digitally without written permission
Greig Fraser, ASC, ACS earned the coveted Theatrical Award for best cinematography 
in a motion picture for “Lion” at the 31st Annual American Society of Cinematographers 
(ASC) Awards for Outstanding Achievement.

Gorka Gomez Andreu, ASC Awards ©George Leon/Filmcastive. Not to reproduce mechanically or digitally without written permission
 The ASC Spotlight Award was given to 
Gorka Gómez Andreu, AEC for “House of Others.” 

Winners in the TV categories included Fabian Wagner, BSC for “Game of Thrones,” Tod Campbell for “Mr. Robot” and Igor Martinovic for “The Night Of.” The ceremony took place tonight at the Ray Dolby Ballroom at Hollywood & Highland.

Theatrical Release Category (presented by Giovanni Ribisi)

Greig Fraser, ASC, ACS, “Lion” - WINNER
James Laxton, “Moonlight”
Rodrigo Prieto, ASC, AMC, “Silence”
Linus Sandgren, FSF, “La La Land”
Bradford Young, ASC, “Arrival”

Spotlight Category (presented by Dakota Johnson)

Lol Crawley, BSC, “Childhood of a Leader”
Gorka Gómez Andreu, AEC, “House of Others” - WINNER
Ernesto Pardo, “Tempestad”
Juliette van Dormael, “Mon Ange” (“My Angel”)

Regular Series for Non-Commercial Television (presented by Darby Stanchfield)

John Conroy, “Penny Dreadful” (The Day Tennyson Died)
David Dunlap, “House of Cards” (Chapter 45)
Anette Haellmigk, “Game of Thrones” (Book of the Stranger)
Neville Kidd, “Outlander” (Prestonpans)
Fabian Wagner, BSC, “Game of Thrones” (Battle of the Bastards) - WINNER

 Regular Series for Commercial Television (presented by Patrick J. Adams)

Tod Campbell, “Mr. Robot” ( - WINNER
John Grillo, “Preacher” (Finish the Song)
Kevin McKnight, “Underground” (The Macon 7)
Christopher Norr, “Gotham” (Wrath of the Villains: Mr. Freeze)
Richard Rutkowski, “Manhattan” (Jupiter)

Movie, Miniseries, or Pilot for Television (presented by Jason Schwartzman and John Schwartzman, ASC)

Balazs Bolygo, HSC, BSC, “Harley and the Davidsons” (Amazing Machine)
Paul Cameron, ASC, “Westworld” (The Original)
Jim Denault, ASC, “All The Way”
Alex Disenhof, “The Exorcist” (Chapter One: And Let My Cry Come Unto Thee)
 Igor Martinovic, “The Night Of” (Subtle Beast) - WINNER

All recipients were first-time winners. Wagner was previously nominated for episodes of “Game of Thrones” in 2016 and 2015.
Special awards presented during the ceremony included:

Denzel Washington, ASC Awards ©George Leon/Filmcastive. Not to reproduce mechanically or digitally without written permission
 The ASC Board of Governors Award was presented to Denzel Washington 
(“Fences,” “Glory,” “Training Day”) by Samuel L. Jackson for his significant and 
indelible contributions to cinema through his body of work. It is the only ASC Award
 not given to a cinematographer, and is reserved for filmmakers who have been champions 
for directors of photography and the visual art form.

Ed Lachman, ASC Awards ©George Leon/Filmcastive. Not to reproduce mechanically or digitally without written permission
 The ASC Lifetime Achievement Award was given to Ed Lachman, ASC 
(“Carol,” “Far from Heaven,” “Mildred Pierce”) and presented by director 
and frequent collaborator Todd Haynes.

Ron Garcia, ASC Awards ©George Leon/Filmcastive. Not to reproduce mechanically or digitally without written permission
 The ASC Career Achievement in Television Award was presented
to Ron Garcia, ASC (“Murder in the Heartland,” “The Day Lincoln was Shot”)  
by Steven Poster, ASC.

Philippe Rouselot and Rachel Nichols, ASC Awards ©George Leon/Filmcastive. Not to reproduce mechanically or digitally without written permission
Philippe Rousselot, ASC, AFC (“A River Runs Through It,”
“Hope and Glory,” “Henry & June”) received the ASC International 
Award from actress Rachel Nichols.

Nancy Schreiber, ASC Awards ©George Leon/Filmcastive. Not to reproduce mechanically or digitally without written permission
 Nancy Schreiber, ASC (“Your Friends and Neighbors,” “The Nines,” “The Comeback,” “The Family,” “Better Things”) was bestowed the ASC Presidents Award by James Chressanthis, ASC, GSC. This award is given not only for the recipient’s body of work, but dedication to the organization and its mission of advancing the art of cinematography through education.

The ASC Bud Stone Award of Distinction was given to Bruce Berke, longtime motion picture marketing and sales executive and ASC Awards show director, and Frank Kay, marketing director at J.L. Fisher and chairman of the ASC Awards Sponsorship Committee. This award is presented to an ASC Associate Member who has demonstrated extraordinary service to the society and/or has made a significant contribution to the motion picture industry.

For more information regarding the ASC Awards, visit the ASC website at


World’s first Full Frame Cine Primes to offer dynamic Tilt functionality
on focal lengths of 25mm, 35mm, 50mm, 75mm and 100mm – all at T2.1.

To enhance today’s dynamic cinematography, Schneider-Kreuznach introduces Xenon FF-Prime Cine-Tilt lenses. This groundbreaking new version combines similar form-factor and capabilities of the company’s popular Full-Frame Primes with added tilt function up to ±4°.

By sustaining the field of view during focus and tilt actions, the new Cine-Tilt design makes possible previously unimaginable images from the freely moving and tilting focus planes. The new lenses offer the potential to utilize out-of-focus areas in the frame, especially when tilt is used with large apertures. A 4° tilt angle at the sensor plane corresponds to an 80° focal plane, which varies according to the focal length and aperture setting selected.

The lens’ tilt is controlled via a high precision ring with 120° rotation that is as intuitive to operate as pulling focus. Due to the common 0.8 module gear, the Cine-Tilt is usable with standard follow-focus systems.

Cine-Tilt lenses offer the multi-fold benefits of standard Xenon FF-Primes plus tilt functionality, so there’s is no need to swap out lenses during a shot. With the tilt set at 0° the Cine-Tilt lenses provide identical images as the standard FF-Primes. The consistent set comprises focal lengths of 25mm, 35mm, 50mm, 75mm and 100mm – all at T2.1. Cine-Tilt FF-Primes will be available this spring individually or as a set, in Sony E-Mount.

 For more information visit, Schneider-Kreuznach Optics


Emmanuael Lubezki ASC Awards winner The Revenant. ©george leon/filmcastlive
 Emmanuel Lubezki, ASC, AMC accepting the award for his work in 
The Revenant at the 30th ASC Outstanding Achievement Awards

The American Society of Cinematographers (ASC) has announced its Theatrical Release and Spotlight nominees for the 31st annual Outstanding Achievement Awards.

“Each of the nominated films offers a unique vision on the part of the director of photography,” said Kees van Oostrum, ASC President. “These movies also represent a less formulaic or traditional photographic style, and some of their stories highlight socially conscious subject matter that drives a strong surge in photographic realism.”

Introduced by Society vice-president Bill Bennett, ASC, former ASC president Richard Crudo  presented the nominations in these two categories before a luncheon held on January 11 at the ASC Clubhouse in Hollywood.

2016 ASC Spotlight Award Nominees
The Spotlight Award was created to recognize outstanding cinematography in a feature-length film that was exhibited in limited release, at film festivals or internationally.

Lol Crawley, BSC for Childhood Of A Leader
Gorka Gomez Andreu, AEC for House Of Others
Ernesto Pardo for Tempestad
Juliette van Dormael for Mon Ange (My Angel)

2016 ASC Award Theatrical Nominees
Greig Fraser, ASC, ACS for Lion
James Laxton for Moonlight
Rodrigo Prieto, ASC, AMC for Silence
Linus Sandgren, FSF for La La Land
Bradford Young, ASC for Arrival

This is Prieto’s third ASC nomination. He was previously recognized by the organization for his work on Frida (2003) and Brokeback Mountain (2006). The remaining nominees are first-time contenders. In 2016, Emmanuel Lubezki, ASC, AMC took home the ASC Theatrical Award for “The Revenant,” and the Spotlight prize was a tie between Adam Arkapaw and Mátyás Erdély for Macbeth and Son of Saul, respectively.

The 31st annual ASC Outstanding Achievement Awards will be held on February 4, 2017, during a ceremony held at Hollywood & Highland’s Ray Dolby Ballroom.

For a complete list of all nominated categories visit the ASC


Band Pro celebrated French Cinema at Band Pro One World Open House 2016.

Each December Band Pro’s One World Open House combines the best broadcast and cinema technology along with fine food, drink, and attendees comprising a who’s who of the global cinematography community.

This year’s guest of honor was acclaimed French director and cinematographer, Pierre-William Glenn, AFC. William Glenn is a former President of the French Society of Cinematographers and known for his work on such films as Truffaut’s Day for Night, Coup de Torchon, and Small Change, among many others.

Band Pro kicked off the French Cinema celebrations at Sony Studios with the screening of a 35mm projection print of the "Novuelle Vague" Oscar winning film "La Nuit Americaine"  (Day for Night) written and directed by François Truffaut and photographed on 35mm Eastmancolor and Panavision cameras and lenses by Pierre-William Glenn, AFC, who attended the screening and participated in a Q&A moderated by Jon Fauer ASC, revisiting the making of the film. (Synopsis: A committed film director struggles to complete his movie while coping with a myriad of crises, personal and professional, among the cast and crew.) 

 Klaus Eckerl, IB/E Optics, Amnon Band & guest of honor, Pierre-William Glenn, AFC

Introducing the new addition to the Raptor large format prime lens line, 40, 60 and 80 mm. 

 IB/E Optics 180mm T2.9 Macro Raptor lens

Hands-on demos on main stage

The newest digital cinematography camera for the feature film/episodic tv industry,
the Canon C700. A detail of the master control panel

Canon's Tim Smith explained all  features of the ergonomic ready-to-shoot C700

 C700 is a production-ready camera with modular design. 4.5K CMOS image sensor.
with internal 4K ProRes and XF-AVC recording.15 stops of dynamic range. 
Available in both EF and PL versions.

 Artisans of  French Cinema, Denis Lenoir, ASC AFC & Pierre-William Glenn, AFC

 Freefly Movi on a Easyrig stabilizer

New affordable  35mm, 50mm, 85mm, T1.5 Tokina Vista  Cinema Prime Lenses

On-board 4K log record /monitor Ninja Flame with HDMI I/O

StarLink Wireless Video/Audio transmitter & repeater. 
It features no video/audio lag

 CForce/Arri 3 motor control system for Focus, Iris, Zoom on a Zeiss lens.

Snehal Patel of Carl Zeiss demo of the Cvolution hand unit with knob-advance, slider 
and zoom unit to control three motors 

 The C700 ergonomics tested by an seasoned camera operator.

Wireless MCS-1 FIZ (focus,iris, zoom) control system on a Angenieux Type EZ Series lens

 It cannot be a French Cinema celebration without Angenieux lenses dans la maison

Participants this year included Sony, Canon, RED, Angenieux, Zeiss, Fujinon, IB/E Optics, Sigma, 16x9, Inc., ORCA Bags, Atomos, and many more.

For more information, visit Band Pro Film & Digital, Inc.

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