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.


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

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