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.


Courtesy of Massimo B.

ARRI ALEXA basic menu functions and setup

This a basic yet comprehensive tutorial of how to navigate the Alexa camera menus, from how to set the camera white balance and shutter angle, to how to set up the asa, resolution, and  recording size whether it is in pro res 444, 422 or 4444. Furthermore, Massimo B explains how to set  the camera frame rate, frame guides, shutter speed and how to perform playback.

He also explains how to format the SXS cards and  how to set color space in log c or rec709 recording internally or out, how to set the monitoring menu for a side/assistant monitor or for a director's monitor out or the operator's viewfinder among other important details need it in order to prep and setup the Alexa properly for a shoot.

Massimo Bordonaro is a cinematographer, Steadicam & camera operator, 1st & 2nd AC, living in Los Angeles.


Panavision Announced New Large-Format Digital Camera Working Prototypes of Millennium DXL and Reel on Display at Cine Gear Expo.

Panavision, a global brand synonymous with optics, innovation, and customer service, is introducing the Millennium DXL Camera (“DXL”), a revolutionary breakthrough in image acquisition and workflow. DXL was developed through an unprecedented combination of three companies’ best-in-class contributions: large format optics and modular accessories from Panavision, an 8K sensor from RED Digital Cinema, and new color science and optimized workflow from Light Iron.

According to Kim Snyder, President and CEO of Panavision, DXL is offered in response to heightened demand for large-format cinematography. “Our unparalleled fleet of large format and anamorphic lenses has been extremely popular in this resurgence of large format capture, and with the Millennium DXL, cinematographers now can capture more than 20-megapixels of true 4K anamorphic pictures.”

At the core of DXL is a proprietary image mapping process called Light Iron Color, which provides a unique, cinematic look directly out of the camera. Light Iron Color integrates seamlessly with DXL’s ultra-high resolution sensor, a new 8K imager manufactured by RED Digital Cinema, and with Panavision’s large format lenses.

The camera body was designed with ergonomics and temperature management in mind: its mid-size form factor is extra lightweight, yet allows for an airflow system that dissipates heat more quietly than compact competitors. DXL also has built-in,crew-friendly, modular accessories to improve versatility and quick changeovers during production.

“Our streamlined workflow includes simultaneous recording of 4K proxy files - ProRes or DNx -alongside the 8K RAW files,” states Michael Cioni, DXL Product Director and President of Light Iron. “This creates a direct-to-edit workflow with the NLE of your choice. Using efficient SSD media, the cost of capturing 8K files with DXL is more economical than using third-party recorders on lower resolution cameras. Light Iron Color and our Panavised Outpost Systems provide a workflow for DXL that can be easily adopted for shooting large format photography.”


“What is exciting,” adds Cioni, “is that cinematographers will notice how 8K acquisition creates images that are smoother, not sharper. With a full frame 35-megapixel imager, DXL provides a super-sampled image, much like large format still photography, so that its smoothness is retained whether you finish in 4K, 2K, or HD.”

Jarred Land, President of RED Digital Cinema, notes that the collaboration with Panavision marks the next step forward for the industry. RED pushed the motion picture industry into file-based RAW image capture a decade ago, but Panavision has been renowned for their optics and engineering for more than 60 years. Together with Panavision and Light Iron, we’re shaping the future of large format cinematography.”

Snyder concludes, “Panavision’s mission is to provide our customers with leading-edge tools and technologies that enable them to achieve their creative vision, and the Millennium DXL is a platform that allows us to expand the ways in which we can do just that. I am very excited about the next phase of our Company’s growth and cannot wait to present all of the products and ideas that we are developing.”

  • Sensor: 16-bit, 35.5 Megapixel CMOS
  • Resolution of full sensor: 8192 x 4320 (probably windows to 4K)
  • Maximum sensor size: 40.96 x 21.60 mm (Diagonal: 46.31mm), same as RED Weapon 8K.
  • Dynamic Range: 15 stops
  • Max Frame Rate: 60 fps at 8K Full Frame (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456)
  • Recording Codec: 8K RAW with simultaneous 4K proxy (ProRes or DNx)
  • Recording Media: SSD (up to 1 hour on a single magazine)
  • File Type: .r3d (supported in RED SDK)
  • Color Profile: Light Iron Color (compatible with all popular gamuts and transfer curves)
  • Weight: 10 lbs.
Additional Features
  • 6 independent video outputs
  • Supports 6 independent 1D LUTs or up to 4 independent 3D LUTs
  • Internally motorized Primo 70 lenses, wireless lens control
  • Built in wirelesss timecode for genlock (Ambient Control Network)
  • Dual menus (Operator side, Assistant side)
  • Advanced airflow system — dual fans
  • Custom cheeseplate with integrated electronics
  • Modular and tool-less quick changeover accessories

The Millennium DXL will be rented exclusively through Panavision and will be available in early 2017. Working prototypes and a demo reel will be on display at the Panavision and Light Iron booth at Cine Gear Expo this weekend

The 69th Festival de Cannes will be presided by the Australian director, screenwriter and producer, George Miller. Along with his Jury, it will fall to him to award the Palme d’or at the close of the Festival, to be held from 11 to 22 May. On receiving his invitation from the Festival, George Miller exclaimed, "What an unmitigated delight! To be there in the middle of this storied festival at the unveiling of cinematic treasures from all over the planet. To spend time in passionate discourse with fellow members of the jury. Such an honor. I'll be there with bells on!"

It was in Cannes last May that Mad Max: Fury Road set out on its fantastic cavalcade across our screens. The film, shown Out of Competition in the Official Selection, marked the return not only of the hero of the legendary saga for the millions of fans of Max Rockatansky, but also the comeback of his creator, George Miller, and of the visionary film-making that made him a household name around the world.

The roots of George Miller's career, alongside those of Peter Weir, Bruce Beresford and Phillip Noyce stretch back to the golden age of Australian cinema from the 1980s. Originally from a small village in Queensland, George Miller wrote and directed Violence in the Cinema, part 1 in 1971. Produced by his friend Byron Kennedy, with whom he founded the Kennedy Miller company, the short film picked up two prizes from the Australian Film Institute. This official recognition encouraged George Miller to pursue a career in film and to make his first feature. 

In 1979, Mad Max, inspired by the "outback gothic" genre sweeping Australia at the time, introduced Mel Gibson and was a worldwide smash hit. A superb pas-de-deux with American cinema, this ultra-violent futuristic film brought the action film genre a touch of class with its masterly combination of Road Movie, Western and Science-Fiction elements. A legendary saga was born which in turn gave rise to Mad Max 2: the Road Warrior in 1981, Mad Max Beyond Thunderdome in 1985 and Mad Max: Fury Road in 2015.

Throughout his career, George Miller has constantly experimented with a variety of genres, brilliantly reconciling mass audience expectations and the highest artistic standards. In 1983, along with John Landis, Steven Spielberg and Joe Dante, he directed the final segment of Twilight Zone: The Movie. Then came The Witches of 'Eastwick in 1987 and the intimate drama Lorenzo's Oil in 1992, starring Susan Sarandon and Nick Nolte, which picked up Oscar nominations for Best Screenplay and Best Actress.

In 1995, he adapted and produced Babe, directed by Chris Noonan, which picked up seven Oscar nominations including Best Film and Best Adaptation. In 2006, his first animated film Happy Feet was a huge box office hit and garnered the Oscar for Best Animated Feature. Happy Feet 2 took up the story in 2011.

In 2015, 30 years after the last Mad Max, the 4th chapter of the post-apocalyptic epic, complete with feminist and anti-totalitarian overtones, once again took cinemas by storm and has been the talk of the press and the festival circuit ever since. With ten nominations for the 2016 Oscars, including Best Film and Best Director, it recently scooped no fewer than nine prizes at the Critics Choice Awards, including that of Best Director. 

The 70-year-old Miller has won international acclaim for these spectacular and jubilant creations, as well as for his eclecticism, inventiveness and sheer audacity. His nomination marks a no-holds-barred celebration of genre cinema. But above all, the 2016 Festival de Cannes is all set to welcome a big-hearted film lover and a great human being.


Continuing with their professional educational series, Canon Hollywood Professional Technology &  Support Center presented  "Deconstructing Cinematography: The Friends of Eddie Coyle with Richard Crudo, ASC".

You can listen below the 25 minutes audio podcast:: Victor J. Kemper, ASC, and Richard Crudo, ASC, sit down to discuss Kemper’s work on the 1973 crime drama The Friends of Eddie Coyle, starring Robert Mitchum and shot entirely on location in Boston and Connecticut.

 Richard Crudo, ASC

With decades of work in commercials, episodic TV and feature films, cinematographer and ASC President Richard Crudo, examined the lighting plot, framing, camera movement and the cinematic language of several scenes composed  by Victor Kemper, ASC  on  the making of the crime drama  "The Friends of Eddie Coyle", released in 1973, directed by Peter Yates.

  Victor Kemper, ASC

Victor Jay Kemper, A.S.C. (born April 14, 1927) is an American cinematographer who has worked on over fifty films. He is a member of the American Society of Cinematographers (ASC), and was its president twice, from 1993 to 1996, and from 1999 to 2001. Kemper won an Emmy for Outstanding Achievement in Cinematography for his work on the 1987 television movie, Kojak: The Price of Justice.

 Medium CU of  Eddie Coyle (Robert Mitchum) at a diner

In a times of  feature films for theatrical release impregnated with fast editing techniques, advanced lighting schemes, and a plethora of 4K capturing choices with instant digital playback,  The Friends of Eddie Coyle, seems like the antithesis to the fast pace cinematography utilized on today's crime dramas. Nonetheless, the superb screenplay layered with shadowy characters was masterfully photographed in 35mm reflecting the intricacies of  the Massachusetts criminal  underworld and the inner struggles of a man, Eddie Coyle.

Reverse over the shoulder of Dillon (Peter Boyle) and Eddie (Robert Mitchum)

While dissecting scenes, Crudo expressed his admiration and puzzlement to the lighting scheme and concise actor blocking and directorial technique utilized by Kemper and Yates.  The unchanged shadowless flat lighting in interior scenes, and the punchy  directional spot key light on exterior night scenes and the long static takes are a cinematic signature of this film.

 Exterior night scenes are illuminated with a frontal directional  source.
Not even a reference back light or back wall wash.

The film counts with an stellar cast of the genre, Robert Mitchum, Peter Boyle and Richard Jordan fitting perfectly with the shadowy  gangsters. Eddie Coyle (a.k.a. "Eddie Fingers") an aging delivery truck driver for a bakery. He is also a low-level gunrunner for a crime organization in Boston, Massachusetts. He is facing several years in prison for a truck hijacking in New Hampshire set up by Dillon, who owns a local bar. Coyle's last chance is securing a sentencing recommendation through the help of an ATF agent, Dave Foley, who demands that Coyle become an informer in return. Unbeknownst to Coyle, Dillon is an informer for Foley.
Click the image to link to the podcast.. 
Victor J. Kemper, ASC, & Richard Crudo, ASC, discuss Kemper’s  work 
on the 1973 crime drama The Friends of Eddie Coyle

Amy Kawadler, Canon Hollywood & Richard Crudo ASC


 Lifetime voting rights reframed; new governor seats added and committees restructured. Goal to double number of diverse members by 2020.

In a unanimous vote Thursday night (1/21), the Board of Governors of the Academy of Motion Picture Arts and Sciences approved a sweeping series of substantive changes designed to make the Academy’s membership, its governing bodies, and its voting members significantly more diverse.  The Board’s goal is to commit to doubling the number of women and diverse members of the Academy by 2020.

“The Academy is going to lead and not wait for the industry to catch up,” said Academy President Cheryl Boone Isaacs. “These new measures regarding governance and voting will have an immediate impact and begin the process of significantly changing our membership composition.”

Beginning later this year, each new member’s voting status will last 10 years, and will be renewed if that new member has been active in motion pictures during that decade.  In addition, members will receive lifetime voting rights after three ten-year terms; or if they have won or been nominated for an Academy Award.  We will apply these same standards retroactively to current members.  In other words, if a current member has not been active in the last 10 years they can still qualify by meeting the other criteria.  Those who do not qualify for active status will be moved to emeritus status.  Emeritus members do not pay dues but enjoy all the privileges of membership, except voting.  This will not affect voting for this year’s Oscars.

At the same time, the Academy will supplement the traditional process in which current members sponsor new members by launching an ambitious, global campaign to identify and recruit qualified new members who represent greater diversity.

In order to immediately increase diversity on the Board of Governors, the Academy will establish three new governor seats that will be nominated by the President for three-year terms and confirmed by the Board.

The Academy will also take immediate action to increase diversity by adding new members who are not Governors to its executive and board committees where key decisions about membership and governance are made. This will allow new members an opportunity to become more active in Academy decision-making and help the organization identify and nurture future leaders.

Along with Boone Isaacs, the Board’s Membership and Administration Committee, chaired by Academy Governor Phil Robinson, led the efforts to enact these initiatives.


The #OscarsSoWhite controversy has been making headlines as some black actors voiced their discontent with the current outcome of the latest Academy Awards nominations.For a second year in row only white actors were nominated. Last year’s Oscar nominations also drew criticism for their lack of diversity.

Director Spike Lee, who recently received an Academy Governor’s Honorary Award and called from the podium for “a serious discussion about diversity” and actress Jada Pinkett Smith have both called for a boycott of this year's Oscars Award in behalf of the snubbed African-American actors, including Idris Elba “Beasts of No Nation” and Pinkett's Smith husband Will Smith “Concussion”, and for this year favorite but also snubbed African-American actors and films  “Straight Outta Compton" and “Creed.”

Many insiders of the entertainment industry and broadcast and printed media have echoed the discontent, making it the hottest topic of conversation and the headline news even surveying among readers and viewers the plausibility of a boycott on Oscars Night.

Paradoxically to the claims, the host of the ceremonies for this year is the African-American comedian Chris Rock, who called the Oscars the “White BET Awards” on Twitter.

In response to the long standing controversy, Academy president Cheryl Boone Isaacs released an official statement and said that she is “heartbroken and frustrated” by the lack of diversity among this year’s nominees, and  announced the Academy of Motion Picture Arts and Sciences is taking “dramatic steps to improve the makeup of our membership". 

Isaacs, who is also African-American, said the Academy will review its recruitment efforts in the coming days and weeks. The Academy has recently  taken steps to diversify its voters, adding non-white actors and directors to its 6,000-plus membership.

“In the ‘60s and ‘70s it was about recruiting younger members to stay vital and relevant said Ms. Isaacs. “In 2016, the mandate is inclusion in all of its facets: gender, race, ethnicity and sexual orientation.”

The controversy of lack of diversity has been declared as a "Crisis of Diversity in the Motion Picture Industry",  as reported and publicized by the media and recently by the complaining filmmakers. The observation is valid from the labor point of view in major film studios, but overblown from the creative point of view. 

The feature film industry is one of the most liberal and creatively inclusive industries in contrast to its counterpart, the television broadcasting industry. We are living in an era in which you can make whatever film you want to make. No holds barred, only the barriers could be those inside your mind or just  by lack of talent.

Anyone regardless of race, gender ethnicity or religion, could become the best director or the best actor or the best cinematographer. It is all up to you. The more creative you become, the more you are accepted among the venerable stars.  This rag to riches story has been repeated  thousand times over in the ranks of the creative force of Hollywood.

If not getting what I believe I deserve in matter of artistic differences is a "Crisis",  then more of a million of asylum seekers trekking the breadth and width of Europe looking for a better future is a just a bad film script.

The nominations in any category for an Academy Award are not an undeniable right to any filmmaker in competition, just because he or she made a movie tailored to win an award or because he or she is Asian, Hispanic or Black. (minority)

The nominations to any motion picture award in Hollywood and elsewhere should be based in the undeniable and honest acting ability of the actors of commanding an outstanding performance and to the ability of the directors and producers to translate the script into the best cinematic  language to compel an audience, case in point, the voting members of the Academy, regardless of  their race or gender.

To take art hostage declaring the boycott "I-will-not-attend-to-the-Oscars" citing race discrimination because my art (a feature film) was "snubbed " from the nominations seems like seeking for an opportunity to re-market the snubbed film to the masses as a star studded underdog during one of most watched telecasts in the world.

The Academy Awards nominations for outstanding achievement in any category should be based on performance and technical merits only as it is presently established by the Academy of Motion Pictures Arts and Sciences.

The implementation of the new membership mandate of inclusion by gender, race, ethnicity and sexual orientation to tabulate or nominate any film into competition, as proposed by Academy President Cheryl Boone Issacs  in response to the threats of boycott, will most likely produce a larger scope of future nominated films and could be the catalyst need it to maintain a fair outcome on the largest film competition in the world.  


Complete list of Nominees for the 88th Academy Awards

Performance by an actor in a leading role
Bryan Cranston in “Trumbo”
Matt Damon in “The Martian”
Leonardo DiCaprio in “The Revenant”
Michael Fassbender in “Steve Jobs”
Eddie Redmayne in “The Danish Girl”

Performance by an actor in a supporting role
Christian Bale in “The Big Short”
Tom Hardy in “The Revenant”
Mark Ruffalo in “Spotlight”
Mark Rylance in “Bridge of Spies”
Sylvester Stallone in “Creed”

Performance by an actress in a leading role
Cate Blanchett in “Carol”
Brie Larson in “Room”
Jennifer Lawrence in “Joy”
Charlotte Rampling in “45 Years”
Saoirse Ronan in “Brooklyn”

Performance by an actress in a supporting role
Jennifer Jason Leigh in “The Hateful Eight”
Rooney Mara in “Carol”
Rachel McAdams in “Spotlight”
Alicia Vikander in “The Danish Girl”
Kate Winslet in “Steve Jobs”

Best animated feature film of the year
“Anomalisa” Charlie Kaufman, Duke Johnson and Rosa Tran
“Boy and the World” Alê Abreu
“Inside Out” Pete Docter and Jonas Rivera
“Shaun the Sheep Movie” Mark Burton and Richard Starzak
“When Marnie Was There” Hiromasa Yonebayashi and Yoshiaki Nishimura

Achievement in cinematography
“Carol” Ed Lachman
“The Hateful Eight” Robert Richardson
“Mad Max: Fury Road” John Seale
“The Revenant” Emmanuel Lubezki
“Sicario” Roger Deakins

Achievement in costume design
“Carol” Sandy Powell
“Cinderella” Sandy Powell
“The Danish Girl” Paco Delgado
“Mad Max: Fury Road” Jenny Beavan
“The Revenant” Jacqueline West

Achievement in directing
“The Big Short” Adam McKay
“Mad Max: Fury Road” George Miller
“The Revenant” Alejandro G. Iñárritu
“Room” Lenny Abrahamson
“Spotlight” Tom McCarthy

Best documentary feature
“Amy” Asif Kapadia and James Gay-Rees
“Cartel Land” Matthew Heineman and Tom Yellin
“The Look of Silence” Joshua Oppenheimer and Signe Byrge Sørensen
“What Happened, Miss Simone?” Liz Garbus, Amy Hobby and Justin Wilkes
“Winter on Fire: Ukraine’s Fight for Freedom” Evgeny Afineevsky and Den Tolmor

Best documentary short subject
“Body Team 12” David Darg and Bryn Mooser
“Chau, beyond the Lines” Courtney Marsh and Jerry Franck
“Claude Lanzmann: Spectres of the Shoah” Adam Benzine
“A Girl in the River: The Price of Forgiveness” Sharmeen Obaid-Chinoy
“Last Day of Freedom” Dee Hibbert-Jones and Nomi Talisman

Achievement in film editing
“The Big Short” Hank Corwin
“Mad Max: Fury Road” Margaret Sixel
“The Revenant” Stephen Mirrione
“Spotlight” Tom McArdle
“Star Wars: The Force Awakens” Maryann Brandon and Mary Jo Markey

Best foreign language film of the year
“Embrace of the Serpent” Colombia
“Mustang” France
“Son of Saul” Hungary
“Theeb” Jordan
“A War” Denmark
Achievement in makeup and hairstyling
“Mad Max: Fury Road” Lesley Vanderwalt, Elka Wardega and Damian Martin
“The 100-Year-Old Man Who Climbed out the Window and Disappeared” Love Larson and Eva von Bahr
“The Revenant” Siân Grigg, Duncan Jarman and Robert Pandini

Achievement in music written for motion pictures (Original score)
“Bridge of Spies” Thomas Newman
“Carol” Carter Burwell
“The Hateful Eight” Ennio Morricone
“Sicario” Jóhann Jóhannsson
“Star Wars: The Force Awakens” John Williams

Achievement in music written for motion pictures (Original song)
 “Earned It” from “Fifty Shades of Grey”
Music and Lyric by Abel Tesfaye, Ahmad Balshe, Jason Daheala Quenneville and Stephan Moccio
“Manta Ray” from “Racing Extinction”
Music by J. Ralph and Lyric by Antony Hegarty
“Simple Song #3” from “Youth”
Music and Lyric by David Lang
“Til It Happens To You” from “The Hunting Ground”
Music and Lyric by Diane Warren and Lady Gaga
“Writing’s On The Wall” from “Spectre”
Music and Lyric by Jimmy Napes and Sam Smith

Best motion picture of the year
“The Big Short” Brad Pitt, Dede Gardner and Jeremy Kleiner, Producers
“Bridge of Spies” Steven Spielberg, Marc Platt and Kristie Macosko Krieger, Producers
“Brooklyn” Finola Dwyer and Amanda Posey, Producers
“Mad Max: Fury Road” Doug Mitchell and George Miller, Producers
“The Martian” Simon Kinberg, Ridley Scott, Michael Schaefer and Mark Huffam, Producers
“The Revenant” Arnon Milchan, Steve Golin, Alejandro G. Iñárritu, Mary Parent and Keith Redmon, Producers
“Room” Ed Guiney, Producer
“Spotlight” Michael Sugar, Steve Golin, Nicole Rocklin and Blye Pagon Faust, Producers
Achievement in production design
“Bridge of Spies” Production Design: Adam Stockhausen; Set Decoration: Rena DeAngelo and Bernhard Henrich
“The Danish Girl” Production Design: Eve Stewart; Set Decoration: Michael Standish
“Mad Max: Fury Road” Production Design: Colin Gibson; Set Decoration: Lisa Thompson
“The Martian” Production Design: Arthur Max; Set Decoration: Celia Bobak
“The Revenant” Production Design: Jack Fisk; Set Decoration: Hamish Purdy

Best animated short film
“Bear Story” Gabriel Osorio and Pato Escala
“Prologue” Richard Williams and Imogen Sutton
“Sanjay’s Super Team” Sanjay Patel and Nicole Grindle
“We Can’t Live without Cosmos” Konstantin Bronzit
“World of Tomorrow” Don Hertzfeldt

Best live action short film
“Ave Maria” Basil Khalil and Eric Dupont
“Day One” Henry Hughes
“Everything Will Be Okay (Alles Wird Gut)” Patrick Vollrath
“Shok” Jamie Donoughue
“Stutterer” Benjamin Cleary and Serena Armitage

Achievement in sound editing
“Mad Max: Fury Road” Mark Mangini and David White
“The Martian” Oliver Tarney
“The Revenant” Martin Hernandez and Lon Bender
“Sicario” Alan Robert Murray
“Star Wars: The Force Awakens” Matthew Wood and David Acord

Achievement in sound mixing
“Bridge of Spies” Andy Nelson, Gary Rydstrom and Drew Kunin
“Mad Max: Fury Road” Chris Jenkins, Gregg Rudloff and Ben Osmo
“The Martian” Paul Massey, Mark Taylor and Mac Ruth
“The Revenant” Jon Taylor, Frank A. Montaño, Randy Thom and Chris Duesterdiek
“Star Wars: The Force Awakens” Andy Nelson, Christopher Scarabosio and Stuart Wilson

Achievement in visual effects
“Ex Machina” Andrew Whitehurst, Paul Norris, Mark Ardington and Sara Bennett
“Mad Max: Fury Road” Andrew Jackson, Tom Wood, Dan Oliver and Andy Williams
“The Martian” Richard Stammers, Anders Langlands, Chris Lawrence and Steven Warner
“The Revenant” Rich McBride, Matthew Shumway, Jason Smith and Cameron Waldbauer
“Star Wars: The Force Awakens” Roger Guyett, Patrick Tubach, Neal Scanlan and Chris Corbould

Adapted screenplay
“The Big Short” Screenplay by Charles Randolph and Adam McKay
“Brooklyn” Screenplay by Nick Hornby
“Carol” Screenplay by Phyllis Nagy
“The Martian” Screenplay by Drew Goddard
“Room” Screenplay by Emma Donoghue

Original screenplay
“Bridge of Spies” Written by Matt Charman and Ethan Coen & Joel Coen
“Ex Machina” Written by Alex Garland
“Inside Out” Screenplay by Pete Docter, Meg LeFauve, Josh Cooley; Original story by Pete Docter, Ronnie del Carmen
“Spotlight” Written by Josh Singer & Tom McCarthy
“Straight Outta Compton” Screenplay by Jonathan Herman and Andrea Berloff; Story by S. Leigh Savidge & Alan Wenkus and Andrea Berloff


 An outstanding new lens, the 135mm Leica Summilux-C
showcased  by CW Sonderoptik 

A winter themed Band Pro’s Annual Open House & Showcase on December 10 at their Corporate Offices in Burbank

The event was held inside of a large tent converted as a wintry ski destination where participant vendors and manufacturers showcased the latest products and technology. The landing of a snow covered vintage ski lift, propped up with pine trees, snow man and live models served as the target to experience a hands-on test of the different digital cinematography cameras brands and cinema lenses on set, all illuminated by the latest technology of LED flat panels and LED fresnels. 

To complete the wintry theme, two apres-ski looking bars were open serving libations along with a tasty buffet style menu serving Swedish meatballs and more. Hey, This is an industry showcase worth to visit every year!

 Band Pro President Amnon Band and IB/E President Klaus Eckerl announcing the 
introduction of a new line FF Macro Cine Lenses. 

The center piece of the event was the presentation of a line of new FF Macro lenses which are a notable new advancement in professional optics as announced by IB/E President Klaus Eckerl. “These new macro lenses were designed to address the industry-wide movement toward larger format sensors".

Band Pro’s President Amnon Band and IB/E President Klaus Eckerl introduced to the industry the B/E Optic Macro FF 100mm T2.9, it which it was at hand to test. The available focal lengths in new IB/E Macro FF lens family are the 100mm T2.9, 150mm T2.9, and 180mm T2.9.

Band Pro's CTO Jeff Cree setting up the dolly into position  
to showcase the IB/E Optics prototype 100mm Macro FF

As Macro, the lenses cover full frame (24×36 mm / 44 mm diagonal)with a close focus of 1:1 magnification, so you could fill the 24×36 format with an object that is also 24 x 36 mm. At 1:1 Magnification, you lose 1⅔ stops.

The B/E OpticMacro FF are also superb throughout the rest of focus range. They all focus to 1:1 and have internal focus, consistent position of the focus and iris gears (no need to move follow focus or lens motors when changing lenses). The front diameters are all the same: 95mm—same as Leica Summilux-C and Summicron-C.

The lens mount is UMS PL—Universal Mount System—familiar to users of IB/E Exenders, Expanders, and conversion kits. It quickly converts, without tools, between PL, Canon EF, Nikon F, Sony E and MFT mounts. 

IB/E Optics is a Bavarian company well known for expanders, adapters, BavEyes, IBELux 40mm T1.9, S35 Scope, industrial, machine vision, as well as the ARRI Alexa 65 primes and the 50-110 zoom. The IB/E Macro FF lenses are expected Summer 2016 and are available exclusively from Band Pro Film & Digital worldwide.  For more info, visit

(Technical descriptions of I/BE  Optics lenses, courtesy of  Jon Fauer's FDTimes) 

Among other celebrations was the 10th Anniversary of FDTimes (Jon Fauer's Fim & Digital Times Magazine). FDTimes certainly is an essential journal documenting the fast changing advances and technologies in the manufacturing, art and practices of today's  motion picture industry. Jon was awarded a spectacularly gorgeous analog 10th anniversary limited edition snakewood Faber-Castell writing instrument (pen) in a Harry Potter/Olivander Wand Shop worthy case. Snakewood is a magical, rare and expensive wood, also used for musical instruments.  

Jon said in the latest issue of FDTimes " It’s going to be difficult going back 
to a keyboard after wielding this pen. As the medieval monks said while
 breaking a new pen, “Probatio penne". Our comment is: "By digital keystroke 
or iron gall ink, FDTimes plays a similar service to the motion picture industry 
as medieval Illuminated books of yore did to history".

 Band Pro congratulated DP James Neihouse 
(IMAX Space Station 3D, Imax Hubble 3D) 
on his recently announced ASC Membership.  
James shared 4K footage from his films.

The talented and experienced made a beeline to the CW Sonderoptik booth.
Pictured here is Roy H. Wagner, ASC  having an hands-on test.

A busy corner was the CW Sonderoptik booth, showcasing their new Leica’s 16mm and 135mm Leica Summilux-C lenses.CW Sonderoptik, showcased their new Leica’s 16mm and 135mm Leica Summilux-C lenses. Summilux refers to the maximum lens aperture of f/1.4.  The Leica Summilux-C Multi-Aspherical lenses line also are available in 18mm, 21mm, 25mm, 35mm, 40mm, 50mm, 75mm, 100mm with additional focal lengths 16mm, 29mm, 65mm. 

Otto Nemenz carries the full line of Summilux-C lenses in his
 Hollywood rental house. Otto Nemenz Int,  is pictured  here (right)
chatting with Seth Emmons of CW Sonderoptik

Summilux-C lenses T1.4 close focus primes, employ a unique multi-aspheric design and high-precision cine lens mechanics to provide unmatched flat field illumination across the entire 35mm frame and suppression of color fringing in the farthest corners of the frame with no discernible breathing. All Leica Summilux-C are made of Titanium. Summilux-C lenses T1.4 close focus primes employ a unique multi-aspheric design and high-precision cine lens mechanics to provide unmatched flat field illumination across the entire 35mm frame and suppression of color fringing in the farthest corners of the frame with no discernible breathing. For more info visit CW Sonderoptik gmbH   or Otto Nemenz Int  For further reading visit Thorsten Overgaard 

 Norm Kellog and Greg Prentiss,  the battery experts
 in cinematic, lighting & video production

 Newcomers to the show was Block Battery,  a battery systems and custom solutions for all your cinematic, ENG/EFP, and lighting production needs, BlockBattery innovations support the most challenging power requirements with respect to high current, high capacity, multiple voltages (14.4V, 24V, 28.8V & 30V) with robust electrical/mechanical designs.

BlockBattery designs & manufactures in the USA. BlockBattery engineer systems with an emphasis on addressing high current DC applications with robust electrical and mechanical designs to improve product longevity and provide product solutions yielding a lower total cost of ownership. BlockBattery products are regularly used in the production of feature films and other commercial video production, powering cameras such as the Alexa, Phantom, Red, Sony CineAlta and a range of other portable video & lighting equipment. Available for  rent and purchase at Band Pro and other qualified dealers. For more info, visit BlockBattery

Dan Keaton, Sales Director of Convergent Designs

A veteran of the motion picture industry is the the display I/O manufacturer of portable HD multicamera recorder/switchers, Convergent Design. For 10 years, Convergent Design has been manufacturing industry-changing digital recording products, enabling videographers and cinematographers to capture at the ultimate video quality, in a small, low power, lightweight package. 

Their breakthrough product was the NanoFlash, with over 5,000 units in the field, it began a revolution of tapeless workflows. The next generation Gemini 4:4:4, is the first uncompressed professional recorder, and the first to include a touch-screen monitor. Showcased at Band Pro's was the Apollo and  the Odyssey7Q+ which is the most versatile monitor/recorder in the world.

With updated features such as, HD/2K/UHD/4K, 4K/UHD capture over HDMI or SDI,  SDI Single, /Dual/Quad Link, RAW to Apple ProRes Conversion, 4K/UHD->2K/HD conversion, Low Power/Light Weight and Intuitive touchscreen interface makes the Odyssey7Q+ a dream come true for TD's (technical Directors), DP's, Camera Operators, Directors, DIT's and even Lighting Directors. 

One professional monitor/recorder, 7.7” size, with 1280x800 OLED  featuring true blacks, and accurate color with a full range color gamut for Rec709 or DCI-P3 viewing.  It features,  Waveform, Vectorscope (in future update), Histogram, False color exposure view, Zebra, three-mode Focus Assist, Pixel Zoom (1:1 & 2:1), LUTs, and Frame Guides. And it records Apple ProRes 422 (HQ) up to 1080/60p, 1080/60i and 720/60p in a high-speed Solid State Drive (SSD), available in 256GB, 512GB and 1TB capacities.
For more info, visit Convergent Design 

At the Ikan booth, I found the  Tilta Armor-Man Ultimate Gimbal. It features a Quick release dual spring arms with adjustable tension control compatible with Movi, Ronin, and others gimbals support systems, with height adjustable vest, V-Lock battery plate with 12v - 5V, Two quick release dual spring arms with adjustable tension control, Wrist and gimbal handle support. In this case the operator was "gymbaling"  (stabilizing) a pint of beer. Great to avoid spills!

Without these two illustrious gentlemen, Denny Clairmont and Otto Nemenz 
the motion picture rental industry would have been certainly different.

16 x 9  Movcam Camera Cage and Shoulder Support

Michael Bulbenko and the Fujifilm team

Canon C-300 with 15.5-47 zoom lens and C-motion focus servo control

Tim Smith and his Canon Team and friends

Hands-on testing

Roy H. Wagner ASC, Michael Horowitz and Jody Eldred

The Team Angenieux table showcasing une belle dame and a  25-250 Optimo 
and a 16-40 Optimo zoom lenses.

Interview time at the lodge with Sony cameras

Technical descriptions of I/BE  Optics lenses, courtesy of  Jon Fauer's FDTimes.

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