3ality Technica™ steps up its role as the largest innovator and supplier of S3D production technology. The newly merged companies will become known as 3ality Technica and under the new brand, the company will produce unique 3D rigs configurations combining 3ality's stereo image-processing software with Element's mechanical designing expertise. The company will unveil the merger at IBC 2011 in Amsterdam (booth 9.B40 Hall 9).
Atom™ by Element Technica is a new breed of light weight,
camera specific 3D camera platform designed from the
ground up for the world’s most innovative game changing
camera, Epic from RED Digital Cinema
IBC Note: Steve Schklair, founder, and CEO of 3ality Digital, will speak on Monday, September 12, at 1:30pm in the RAI Big Screen Auditorium during the 2011 IBC event. His presentation entitled, “The reports of S3D's death have been greatly exaggerated,” is set to discuss the future of S3D as a genre that exceeds traditional use in big action films and that will take up permanent residence in homes around the globe.
3ality Digital, considered to be the leading innovator of the most sophisticated S3D production technology in the industry, announced today it has acquired Element Technica, a company long-known for its manufacturing expertise, accessories, and mechanical engineering of motorized S3D camera rigs. 3ality Digital has been named in the 2011 Inc. 500 list and is considered one of the fastest growing private companies in the nation. 3ality Digital is now 3ality Technica, and with its acquisition of Element Technica, 3ality Technica now provides all of the control, accuracy, breadth, automation, modularity, accessories, and design of both existing product lines.
Element Technica’s product line has become synonymous with ease of use, great design, affordability, and durability. 3ality Digital’s product line has become synonymous with precision components, speed of use, incredible accuracy, and advanced image processing. In acquiring Element Technica, – the Company gains an in house manufacturing and design capability, and the opportunity to further expand its already sizable R&D infrastructure. Physically, the companies will combine in an expansion to the 3ality Digital headquarters in Burbank, CA.
Quasar 3D rig
“As our primary competitor, we have always had great respect for Element Technica and their achievements. The complete compatibility and lack of redundancy between the companies has made this an ideal acquisition, strengthening the Company’s position to provide the most advanced and dependable S3D solutions to the market. Perhaps the greatest benefit of this acquisition will be to the motion picture and broadcast producers who will now have an unprecedented amount of tools and technology tailored to meet their specific needs” said Steve Schklair, CEO of 3ality Technica. The combined engineering skills of the two companies will help push 3D production to levels of integration and refinement previously unmatched. Many of Hollywood’s major theatrical releases which have been shot utilizing these two companies systems and technology include “Jack the Giant Killer,” “The Amazing Spider-Man, “The Hobbit: An Unexpected Journey,” “Prometheus,” “Underworld 4,” “Oz,” and “The Great Gatsby.” Also, companies like BSkyB, the world’s leading 3D broadcaster, and the HBS feeds from the FIFA World Cup have based their productions of live events on the backbone of 3ality Technica technology.
“With this acquisition, 3ality Technica will be a decade ahead of the rest of the industry. Not only will automation become more common, it will be the standard as the industry begins to enjoy the simplicity and speed it affords,” said Hector Ortega, Senior Vice President of 3ality Technica. “Integration will fast-forward as the merging systems require fewer and fewer ancillary components. Compatibility with other industry systems will cease to be an issue as 3ality Technica alone already leads the way in seamless connectivity from post production, to VFX, and live broadcast,” said Stephen Pizzo, Senior Vice President of 3ality Technica.
The combined expertise that forms 3ality Technica ranges from Hollywood feature films and television, to live-broadcast sports events and concert performances, to NASA. It also positions the company to offer the world the most comprehensive advanced 3D educational program (3DIQTM) to filmmakers, broadcasters, and craftspeople. Element Technica is also well known for their line of both 2D and 3D accessories, and it is planned that this product line will continue under the existing “You cannot believe the level of excitement we all share, but it’s not just us that are so elated. Some of our key customers and partners that were recently made aware of this deal have shared in this excitement as they all understand the benefit this will have to their work. We have already integrated some of the best aspects of both companies’ product offerings, so the market will see an immediate improvement in tool sets, component integration, and customer service,” said Schklair.
About 3ality Technica™
3ality Technica is headquartered in Burbank, California, and is the leading provider of stereoscopic 3D (S3D) production products that enable the highest quality live-action S3D. 3ality Technica systems have been deployed for “The Amazing Spider-Man,” “The Hobbit: An Unexpected Journey,” “Jack the Giant Killer, “Oz,” “Prometheus,” “The Great Gatsby,” and “Underworld 4.” 3ality Technica has enabled most of the world’s first S3D cinematic and broadcast achievements, including U2 3D (the movie), and the first live S3D broadcasts from the NFL, BCS Championship, BSkyB, the Super Bowl, the World Cup and NBC television. In broadcast, 3ality Technica is the technology and production systems behind the BSkyB launch of their 3D channels, and has been used on a wide range of events including the Isle of Wight Festival, the Ryder Cup, and Champions League Football. To learn more about the advanced products and services available from 3ality Technica, visit http://3alitytechnica.com or for further reading visit QUASAR3D/PANAVISION AT THE SOC
The American Society of Cinematographers is a non-profit association dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography; it accomplishes this by publishing the internationally renowned magazine American Cinematographer and the venerable American Cinematographer Manual, through seminars at schools and industry events, and via one-on-one mentoring. ASC members volunteer their time for such activities.
SOCIETY OF CAMERA OPERATORS
The principal purpose of the SOC is to recognize and nurture excellence in the field of camera operation and, secondarily, in the allied camera crafts, and to encourage development of both technology and production methods which will help our members achieve that excellence
INTERNATIONAL CINEMATOGRAPHERS GUILD
The International Cinematographers Guild represents the most talented camera professionals in the world. The technicians and artisans in our union are the creators of the visual images on the big screen, the television screen and - as we move into the 21st century - our computer screen. That's why we're so excited about offering this site to our members, everyone in our industry and to people everywhere who want to know more about what we do. International Cinematographers Guild members - Directors of Photography, Camera Operators and Assistants, Computer Graphics Specialists, Visual Effects Supervisors, Still Photographers and more - are part of the International Alliance of Theatrical Stage Employees.
THE BRITISH SOCIETY OF CINEMATOGRAPHY
The British Society of Cinematographers is an educational, social and professional organisation. Since its formation in 1949 its prime objective has been to promote and encourage the highest standards in the art and craft of cinematography. Our membership, which is by invitation only, comprises of some of the most talented Directors of Photography and Camera Operators in the United Kingdom. It also encompasses many distinguished friends and patrons from the film and television industry.
BSC
BSC Film and Digital Image Evaluation
BSC FILM AND DIGITAL IMAGE EVALUATION VIDEO 2009
Lower volume on main window.
Available in ON-DEMAND playlist above.
VILMOS ZSIGMOND,ASC. THE BLACK DAhLIA
American Cinematographer Magazine sponsored a Q&A with Academy Award-winning cinematographer Vilmos Zsigmond, ASC and LaserPacific Senior Colorist Mike Sowa to discuss their collaboration on the Brian DePalma feature The Black Dahlia. Shown above is clip# 2 of 7. Video stream courtesy of HD EXPO.
SUMMER CHILDREN @ SLAMDANCE 2011
Summer Children
A Special Screening At Slamdance 2011 last Monday 24.
An early work from the American New Wave movement, Summer Children is a time capsule of the culture of the ‘60s.
A view into the duality of human perception as the sunlight of day obscures the drama illuminated in the shadows of night. West (Stuart Anderson), a handsome young man born to a wealthy yet absent family, falls in love with the ethereal Diana (Valora Noland).
Their innocence was forever lost as the Summer Children became tangled in seduction, deception and betrayal resulting in tragedy.
A 1965 American New Wave Black and White film - ensemble cast/coming of age romantic drama set against backdrop of Catalina Island. Visually intoxicating, photographed in a 1960s European-style by Academy Award® winning cinematographer, Vilmos Zsigmond, ASC and fully restored from the negatives and optical tracks in 2010.
CINEMATOGRAPHY NEWS!!
ASC TECHNOLOGY COMMITEE. The commitee presents a guide to maintain your vision in a fillm/digital workflow. Click above to view the presentation. Curtis Clark, ASC. Remember to click back the top left arrow to get back to FILMCAST Live!
4K+ SYSTEMS-THEORY BASICS FOR MOTION PICTURE IMAGING
A must read for the serious cinematographer. pdf download.
KODAK CINEMATOGRAPHER'S FIELD GUIDE (pdf)
This pocket-sized publication provides up-to-date and easy-to- use information about all KODAK Motion Picture Camera Films and several related subjects. We designed the book to help you choose and order the right films for your needs and to help you use the films most effectively. The guide is divided into five major sections for easy reference: * Motion Picture Camera Films * Filter Information * Tips and Techniques * Formats and Packaging * Ordering Raw Stock
TRICKS OF THE TRADE FROM THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Roger Deakins, BSC, ASC
'Gag' lights form an ever increasing part of the package which follows me from film to film. At least one new variation is added on each production and The Big Lebowski was no exception.
Imagine a scene between three characters in a large darkened room where one character sits in a wheelchair facing the only source of light--a small fire in an equally small fireplace. All the coverage of this character would include the fire.
For a sense of naturalism, I needed to hide my own lighting units within a very small space to one side or another of the real fire, depending on the camera position. I needed a physically flat light source which would also project its light into the room. Even a Tota light was too big and unwieldy.
My new gags (I made three of these) consist of six double end 2K bulbs mounted on an 8" x 14" piece of aluminum--simply blonde bulbs and holders which together with the cabling have a depth of less than 2".
The units were hidden next to the real fire, flush against the side of the chimney. Each pair of bulbs were patched through a flicker generator and dimmed down to about 50 volts to simulate the correct color of firelight.
The new gags will stay on the truck from now on--ready for the next small fireplace. But I am sure they could well be brought out to solve some other, very different, problem.
These filters are intended for use whenever significant changes in the color temperature of the illumination are required (for example, daylight to artificial light). The filter may be positioned between the light source and other elements of the system or over the camera lens. *These values are approximate. Check critical work accurately, especially ifyou use more than one filter.
WRATTEN FILTER Filter Exposure Increase Conversion Color Number In Stops in Degrees K 80A 2 3200 to 5500 Blue 80B 1 2/3 3400 to 5500 80C 1 3800 to 5500 80D 1/3 4200 to 5500 85C 1/3 5500 to 3800 85 2/3 5500 to 3400 85N3 1 2/3 5500 to 3400 Amber 85N6 2 2/3 5500 to 3400 85N9 3 2/3 5500 to 3400 85B 2/3 5500 to 3200 85BN3 1 2/3 5500 to 3200 85BN6 2 2/3 5500 to 3200
SHOOTONLINE provides a full range of creative and production news about the ever-changing landscape of advertising and TV spot production making.
Clint Eastwood to be Honored by Society of Camera Operators Lifetime Achievement Awards.
The premier Governors Award for Lifetime Achievement is to be presented to Clint Eastwood.
The recipient of the Lifetime Achievement as Camera Operator is Paul Babin, SOC. Beginning his credited work as a camera operator in 1987 Babin has operated on motion picture projects from blockbuster box office hits to hit television shows. Babin is known for Terminator 2: Judgement Day, Magnolia and The Soloist.
The recipient of the Lifetime Achievement as Camera Technician is Zoran Veselic. Beginning in 1979 Veselic has been the A Camera Technician of many major blockbuster feature films. Veselic is known for Moneyball, The Muppets, Men in Black, Spider-Man and Up in the Air.
The recipient of the Lifetime Achievement as Mobile Camera Platform Operator is Dolly Grip Harry Rez. Starting with credited work in 1973 Rez has a resume filled with feature films and television programs that have been major successes. Rez is known for Doogie Howser, M.D., Providence and Nashville.
The recipient of the Lifetime Achievement as Motion Picture Stills Photographer is Andrew E. Cooper, SMPSP. Starting with credited work in 1984 Cooper has built a portfolio of some of the industry's most iconic images. Cooper is known for The Departed, Braveheart and War Horse.
The SOC will be presenting a Lifetime Achievement Award for Distinguished Service to the Motion Picture Industry to Sol Negrin, ASC. Negrin has been a long time leader of the IATSE Local 600, a film school professor, Director of Photography and great supporter of the work of the SOC. He is known for his work on Kojak, The Patty Duke Show and Coming to America.
The award for “Historical Shot" will be presented to George Richmond for his work on the hand held shot titled The Siege of Bexhill in “Children of Men."
The finalist nominees in the Camera Operator of the Year contest are:
Feature Film
P. Scott Sakamoto, SOC—"The Descendants"
Stephen Campanelli, SOC—"J. Edgar"
Mitch Dubin, SOC—"War Horse"
Will Arnot, SOC—"The Help"
Peter Rosenfeld, SOC—"Cowboys and Aliens"
Television
Simon Jayes, SOC—"True Blood"
Andrew Mitchell, SOC—"Glee"
Gregory P. Collier, SOC—"Bones"
Chris Tufty, SOC—"The Closer"
Greyson Austin, SOC—"Memphis Beat
The SOC 2012 Technical Achievement Awards are being presented to:
1. “Thales Angenieux" for the “Optimo family of hand-held zoom lenses: 15-40, 28-76, 45-120."
2. The Grip Trix Tracker XL Electric Camera Motorized Camera Platform by Local 80 Key Grip Herb Ault.
The Society of Camera Operators began in 1979 as the Society of Operating Cameramen (SOC)—an organization dedicated to the advancement of the art and creative contributions of the Camera Operator in the Motion Picture and Television Industries.
Our member-based Lifetime Achievement Award nominations highlight the careers of the best in the industry. These artists of the camera crew receive a golden CAMMY as a token of our admiration.
Technical Achievement Awards are presented to the corporate community for their contributions to the advancement of equipment and techniques vital to the work of Camera Operators. The Awards Ceremony will be held on February 19th, 2012.
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