FILMCAST Live!

SOCIETY OF CAMERA OPERATORS (SOC) TO MAKE A DOCUMENTARY AND PSA FOR THE VISION CENTER AT CHILDREN HOSPITAL

2008-03-06T17:45:00.000-08:00

The Society of Camera Operators (SOC) will make a 15 minutes short documentary and two Public Service Announcements about the scientific achievements of The Vision Center at Childrens Hospital of Los Angeles. The documentary untitled 'Let It Be Light" and the two PSAs will be filmed at the center during the next three months and is expected to be screened at the annual SOC Lifetime Achievement Awards and later entered in several international film festivals in 2010. The PSA will be placed in different TV networks and cable television stations.

The SOC has been making charitable donations to The Vision Center since 1981. According to Dan Kneece, SOC president, "The documentary will be shot and edited by society members. It will feature the lives of children whose sight has been saved by the surgeons at The Vision Center. The center has some of the most skilled physicians and advanced ophthalmic surgical technology in the world, but it is the stories of the families that will capture viewers' hearts."

The creation of the documentary and the PSA will strengthen and increase the public awareness of the charitable bond between The SOC and The Vision Center and it will create a window of opportunity for financial contributions toward the Vision Center.

A production team composed by seasoned professionals of the motion picture industry and members of the Society of Camera Operators (SOC) will create, produce and direct all aspects of the making and delivery of “Let it be Light“. In order to achieve an outstanding final product, the team will write a compelling short narrative based on on the intersection of the lives of several patients and their families. Project producers for the documentary are George Leon and Bonnie Blake, SOC. David Mahlmann, SOC events chairman and Dan Kneece will also assist in the production.

Leaders of the Society of Camera Operators (SOC) and

The Vision Center at Childrens Hospital Los Angeles
announce a new documentary project by the SOC
on the center's work to save children's sight.
The group also displays the latest donation by
the society to the children's contact lens program.
Left to right: George Leon, Dan Kneece, President, SOC;
Dr. Natalia Uribe and Dr. Mark Borchert,
both of The Vision Center and David Mahlmann, SOC

In addition to announcing the new documentary, the SOC also made its latest gift to the children's contact lens program at The Vision Center. The program, conducted by optometrist Dr. Natalia Uribe, sees about 700 patients a year, some as young as one month old. Many of these very young children require contact lenses to restore their sight. The changes in a child's eye may require up to eight lenses a year.

The SOC, founded in 1979 and based in Hollywood, is dedicated to the advancement of the art and creative contributions of the camera operator in the motion picture and television industries. The SOC has made generous annual contributions over the past 25 years to The Vision Center in honor of the essential ingredient -- sight -- that bonds the society to children with vision problems.

The Vision Center at Childrens Hospital Los Angeles is an international referral center that treats children afflicted with all forms of eye disease. It is the largest pediatric ophthalmology program in the nation with multiple subspecialty programs that offer advanced diagnosis, treatment and research. CHLA is one of America's premier teaching hospitals, affiliated with the Keck School of Medicine of the University of Southern California since 1932.

ROGER DEAKINS, KEEPING AN EYE ON THE SMALL THINGS

2009-12-06T22:39:00.000-08:00

Roger Deakins sat down with NPR's Melissa Block for an interview at his Santa Monica home. As twilight fell, they watched two of the cinematographer's favorite scenes — from No Country For Old Men and The Shawshank Redemption — and talked about how the play of light and shadow helped him shape each shot.

Roger Deakins' least favorite phrase? "We'll fix it in post." "It's one of the worst expressions to come into the industry," says the veteran cinematographer, an eight-time Oscar nominee who shot The Shawshank Redemption, A Beautiful Mind and every Coen Brothers movie since Barton Fink. Digital post-production tweaks — everything from subtle cleanup to the deletion of geographical features and the insertion of thousands of computer-generated extras — are increasingly common in modern moviemaking. "If it's used correctly, it's a fantastic technique," Deakins tells NPR's Melissa Block. In fact, in Jarhead, which Deakins shot with handheld cameras in a California desert, director Sam Mendes wanted "this flat, surreal landscape, emptiness, the horizon going into nothing," Deakins remembers. So, in post-production, the mountains that had actually loomed on the horizon were digitally erased.

Better yet: In the Coens' O Brother, Where Art Thou?, there's a scene where a car full of convicts hits a cow in the road. The sequence was convincing enough, Deakins recalls, that animal-cruelty watchdogs cried foul. The filmmakers invited the activists to visit the Digital Domain special-effects lab, "and the effects guys had to show them through the stages of how they'd animated this cow so it looked like it had been run over by the car." Still, to a man like Deakins — an avid still photographer, and a connoisseur of "the little things" like the quality of light or the angle of a shadow — an over-reliance on post-production magic is anathema.

"There are certain things you can't fix in post, certain things that would no longer look organic if you did it in post, really," he says. "It's one thing removing a mountain in the background of a shot; it's another thing adding 15,000 people and changing somebody's face. That kind of manipulation, I think, gives itself away eventually. ... And that's when you lose an audience." Deakins says what's essential, at least in his filmmaking philosophy, is remembering that the big things and the little things alike — "the camera style and the lighting ... the imagery and the photography and the effects" — are there to serve the movie's characters and story. He cites The Shawshank Redemption* as a case in point.

"A lot of people say it's nicely photographed, and I think it is," he says. "And I think it's the simplicity that makes it well photographed. ... It's not like these are necessarily fantastic images; it's really about the content. It's not about making great images." "I like simplicity," Deakins reiterates. When he's lighting a scene, especially, "I like using natural sources. I like images to look natural — as though somebody sitting in a room by a lamp is being lit by that lamp." In a film framed by such a naturalistic vision, Deakins insists, attention-getting gestures have to be especially well thought out. "When you move the camera, or you do a shot like the crane down [in Shawshank] with them standing on the edge of the roof, then it's got to mean something," he says. "You've got to know why you're doing it; it's got to be for a reason within the story, and to further the story." "There's nothing worse than an ostentatious shot," Deakins argues. "Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story."
To watch The Shawshank Redemption* clip with commentary, click ON DEMAND on main video window above and click Roger Deakins 2009B

FILMCAST Live!

2009-12-07T08:42:00.000-08:00

Click ON-DEMAND for Playlist

GORDON WILLIS RECEIVES 2009 GOVERNORS AWARD

2009-11-12T11:25:00.000-08:00

Cinematographer on some of the most acclaimed motion pictures of the 1970s and ’80s, two-time Oscar nominee Gordon Willis served as director of photography on three Best Picture winners in six years: “The Godfather” (1972), “The Godfather Part II” (1974) and “Annie Hall” (1977). Though his willingness to fly in the face of convention led him to break new ground with daring compositions, lighting schemes and lens choices, Willis’s iconoclastic ways were not fully appreciated until his influence on subsequent generations of cinematographers became undeniable. Now acknowledged as one of the form’s foremost stylists, Willis’s unwavering belief in what Longfellow called “the supreme excellence” in simplicity led him to employ surprisingly few lights and camera setups in creating his compelling visual storytelling. As a culmination of his fertile collaborations with Woody Allen and Francis Ford Coppola, Willis was Oscar-nominated for his work on “Zelig” (1983) and “The Godfather, Part III” (1990).

Born in Queens, Willis is a lifelong New Yorker and movie-lover who found his way to photography after an early stint in stage acting. In the 1950s, he cut his teeth as an assistant cameraman on documentaries and commercials but it took more than a decade to work his way up to shooting his first feature, “End of the Road” (1970), starring Stacy Keach and James Earl Jones. In the 1970s, working with filmmakers such as Allen, Coppola, Alan J. Pakula and Robert Benton, he defined the look of period films and perhaps the decade’s cinematic style as a whole. In films such as “The Paper Chase” (1973), “The Parallax View” (1974) and “All the President’s Men” (1976), he used new methods to convey mood, theme and emotion. To that end, his approach to a single place—New York City—varied immeasurably in its depictions in “Klute” (1971), “The Godfather,” “Annie Hall” and “Manhattan” (1979), among other films.

In subsequent years, Willis continued to garner wide acclaim for his artistry on films such as “Pennies from Heaven” (1981) and “The Purple Rose of Cairo” (1985), giving each the distinct and unified look that best served their individual stories. To this day, filmmakers send him scripts in hopes of having his unmatched eye behind the lens of their cameras.

Did You Know?

In the seven years from 1971 to 1977, six films shot by Willis accumulated 39 Oscar nominations with 19 wins, including three for Best Picture. For “All the President’s Men” (1976), he put a winch in the dome of the Library of Congress that enabled his remote-controlled camera to pull back from a desktop to a full view of the library floor, all in one shot. Willis enjoyed six cinematic collaborations with director Alan J. Pakula spanning 1971 (“Klute”) to 1997 (“The Devil’s Own”).

During the Korean War, he spent four years in the Air Force on a motion picture unit photographing instructional films. He has his own “theory of relativity,” which he explains as “I believe in the relativity of moviemaking, which includes a world of light and dark, big and small, high and low, good and evil.” Director Francis Ford Coppola, a collaborator on three films, once said of Willis, “He has a natural sense of structure and beauty, not unlike a Renaissance artist.”

Selected Filmography

The Devil’s Own (1997)
The Godfather, Part III (1990)
Presumed Innocent (1990)
Bright Lights, Big City (1988)
The Purple Rose of Cairo (1985)
Broadway Danny Rose (1984)
Zelig (1983)
A Midsummer Night's Sex Comedy (1982)
Pennies from Heaven (1981)
Stardust Memories (1980)
Manhattan (1979)
Comes A Horseman (1978)
Interiors (1978)
Annie Hall (1977)
All the President's Men (1976)
The Drowning Pool (1975)
The Godfather Part II (1974)
The Parallax View (1974)
The Paper Chase (1973)
Bad Company (1972)
The Godfather (1972)
Klute (1971)
The Landlord (1970)

WATCH VIDEO:
Jeff Bridhges present Oscar statuette to Gordon Willis

© Academy of Motion Picture Arts and Sciences ® "Oscar®," "Oscars®," "Academy Awards®," "Academy Award®," "A.M.P.A.S. ®" and "Oscar Night®" are the trademarks, and the ©Oscar® statuette is the registered design mark and copyrighted property, of the Academy of Motion Picture Arts and Sciences.

Courtesy of the Academy of Motion Picture Arts and Sciences ®
photo: Douglas Kirkland

CAR RIGGING & GRIP SEMINAR. GRIP, GRAB & GROG

2009-05-20T10:43:00.000-07:00

"When you want to set any fixture high of the ground, you should have a sure footing.The three points of contact or legs of your C-stand or grip assembly must be spread accordingly to hold the weight safely at all times”, said Mike Rogers to a crowd of motion picture professionals at the Car Rigging & Grip Equipment Techniques Seminar, Wednesday night in Burbank, California.

Demonstrating a wall spreader with a piece of lumber
to hang clamps, fixtures and other light control devices

Rigging a trapeze requires attention to
detail and knot making ability

The proper way to set a diffuser or gel frame
into a large hot fixture

Mike Rogers is a seasoned veteran of the motion picture industry and is currently the Lighting/Grip General Manager of Birns & Sawyer, the premiere rental and sales firm of motion picture equipment located in Hollywood. Birns and Sawyer, Inc. has been an industry standard for quality and dependability for the last fifty years and continues to assist the needs of filmmakers and progress with new technology.

No better said and demonstrated that with this hands-on seminar covering every detail regarding the selection of the right grip tool for your next job. Jesse Hurtado and John Ploucher, both employees of the company, assisted the evening seminar. Marty Meyer, Head of Marketing, introduced the Seminar and invited the attendees to savor a variety of appetizers, wine and drinks.

Mike started the seminar chronicling the origins and utilization of clamps, mounting equipment and lighting and grip stands for different uses. The clamps were separated in three groups: Clamps fitted to use on a speed rail or a hanging pipe and clamps fitted to hang from/to a piece of lumber, light poles, cables, branches or other unexpected mounting surface and car mounted grip equipment.

Also, safety in handling C-stands, Hi rollers and Low rollers were explained at detail including storage, spread, and correct tightening of the different sizes of grip heads.

Emphasizing safety when hanging fixtures.
Always use a safety chain or safety cord after
setting the fixture into place.

Some items on display at hand were, Cardellini clamps, Speed rail C-clamps, Bar, Studded, Scissor, Quaker, T-bones, Trapeze, Furniture clamps, Mafer clamps, Chain vise grip, Putty knife, the Tree branch holder, the Wall spreader with a piece of lumber, Pigeons, the Condor mount, Locking pliers, among others. Also, on display were Century stands, High rollers, Low rollers, Risers, gobo arms, grip heads (gags/double gags), the ubiquitous Lollipop, spuds, plugs, flags, fingers, scrims, butterfly frames and others.

Between descriptions, Mike revealed past experiences and well kept secrets of the trade when combining all these tools for a shoot, delivering the correct piece of grip equipment and solving a possible lighting control problem. “Get to know the location or situation, stay alert and troubleshoot safely any possible problem” “ Per instance, if on location and your DP requests a wall wash with a PAR fixture, you could use a pigeon plate instead an unsightly light stand. Screw the pigeon plate into a ½” plywood board and securely sandbag it into place and hide it out of sight in the bushes or hedges" “Grip rigging is all about versatility”, he added.

Stabilizing a boom arm in a C stand in
irregular terrain using an apple box.

The instruction given on the technique was comprehensive and put into action immediately showing to the attendees the correct mounting and positioning of the rigs and other tricks-of-the trade.

Birns & Sawyer maintains a continuous schedule of different outstanding one-evening seminars. I attended several months ago, the seminar “Lighting for Motion Picture” and I was happily surprised by the knowledge and experience displayed by the presenters in tackling any lighting situation on location or studio. Other recent past seminar were, “HMI Lighting” and “Audio for Emerging Filmmakers” Next one to come is “Lighting and Techniques for Green/Blue Screen”. For more information, check Birns & Sawyer website or call 818.766.2525

The last portion of the seminar included a detailed demonstration in how to rig a speed bar hood mount and a side door mount in a car, followed by different moving and stationary techniques and safety tips.

Explaining the correct way to adjust the speed
bar mount into a car hood

Side door car mount

Suction/pump cup head plate with a
300 watts fixture

Speed bar assembly for car hood mounting
The head plate slides to accommodate
camera position The four way leveling
head allows easy camera positioning
and framing

Articulated grip assembly with pump cups
for rigging lighting control devices

George, Jonathan, Greg and Mike.

SUNDANCE FILM FESTIVAL 2010

2009-11-07T18:38:00.000-08:00

On Thursday, January 28, 2010

New for 2010, the Sundance Film Festival expands to audiences across the country for one special night of film and dialogue.

Across America

On Thursday, January 28, the Sundance Film Festival dispatches eight filmmakers with their films from Park City to eight cities across the country to screen and discuss direct-from-Festival films with audiences. Tickets will be available through each theatre's individual box office. All films will be selected from the official Sundance Film Festival program to be announced in December.

Participating cities and art house theatres:

On the Mountain

Utah Festivalgoers celebrate this unique collective moment with audiences across the country. On Thursday, January 28, Park City audiences have the chance to screen the North American premiere of the socio-political documentary The Shock Doctrine from directors Michael Winterbottom and Mat Whitecross and based on the book by journalist Naomi Klein. The screening will be followed by a conversation with the filmmakers, Naomi Klein, and Robert Redford. Other special events to be announced later. FILMCAST Live! will announce the cinematographers and camera operators involved in the making of all selected films in competition.

HD EXPO, LOS ANGELES

2009-10-03T17:21:00.000-07:00

Day One HD EXPO - Createasphere - A memorable day of killer speakers, education and exhibits

Against the backdrop of a packed exhibition area, HD EXPO - Createasphere raised the curtain on a jammed flagship show at the Burbank Marriott.

Today's buzz worthy event featured a Keynote Conversation with Lance Acord, ASC sponsored by American Cinematographer. Acord's "Where the Wild Things Are," is a critical and box office smash, and he shared creative and technical insights with AC's Jon Witmer.

Planes Trains and Automobiles, or actually 3D truck, camera boats and production gear marked the premier of GEAR ALLEY, where the latest production tools took center stage; the area anchored by a West Coast appearance of the Panasonic 3D truck along with he companion panel for GEAR ALLEY, "Hard Core, Revolutionary and Indispensable: Must Have and Must See Gear." Featured Mark August, SOC, Dan Kneece, SOC, David Frederick, SOC and Larry Mole Parker, moderated by Jessica Sitomer. Debra Kaufman, MobilizedTV.com brought together a top notch panel from Fox Mobile (Mike Wallen,) Omelet (Steve Amato,) Fun Little Movies (Frank Chimendano) and Burbank Tonight's Hayden Black in a deeply insightful look at Producing for Mobile.

TOMORROW - 3D DAY!
For the third year in a row, HD EXPO - Createasphere Presents the Cutting Edge of the Art and Technology Behind 3D

DOORS OPEN AT 11:00 AM, REGISTRATION OPENS AT 10:00 AM
Screening of concert footage, movies, documentaries and animated 3D features will accompany two leading edge panels.

FROM SCRIPT TO SCREEN, moderated by POST Magazine's Dan Restuccio, features Buzz Hays (Sony Pictures Imageworks) Director Patrick Lussier (My Bloody Valentine 3D) Colorist Siggy Ferstl (Company3) Ami Dror (XpanD) and Brian Gaffney (Technicolor) will take the audience on a full on start to finish look at how 3D goes from idea to reality.

And, 3D Creativity, Imagery and Cinematography brings together a diverse group of artists and filmmakers including Wayne Miller (producer) Jed Weintrob (Director) Toshiaki Ozakawa (cinematographer) Rodney Taylor, ASC (Cinematographer) These talented filmmakers will discuss their often cutting edge work on feature films (SCAR 3D, The Evening Sun) and in concerts headed for theatrical release (Phish, JayZ, Kings of Leon, Yea Yea Yeas) and lead the audience in the creative exploration of 3D as a storytelling tool.

You can't afford to miss these panels, exhibits, intensives and community. We keep you plugged in.

QUICK LINKS: Schedule | Directions | Exhibitors | Panels/Speakers

*NOTE: Regrettably, Jeffrey Silver, scheduled to deliver the Keynote Conversation on November 5th, has been unexpectedly called out of the country for production.

**Photos by Ryan Miller/Capture Imaging

NO SUBTITLES NECESSARY: LASZLO AND VILMOS

2009-11-06T10:44:00.000-08:00

TO AIR NATIONALLY ON THE PBS SERIES INDEPENDENT LENS
ON THURSDAY, NOVEMBER 17, 2009

NO SUBTITLES NECESSARY: LASZLO AND VILMOS follows the lives of renowned cinematographers Laszlo Kovács and Vilmos Zsigmond from escaping the 1956 Soviet invasion of Hungary to present day. An Official Selection of the Cannes Film Festival, James Chressanthis’ NO SUBTITLES NECESSARY will air nationally on the Emmy and Peabody Award winning PBS series Independent Lens on Tuesday, November 17, 2009 at 10PM (check local listings.)

As film students in Hungary, Laszlo and Vilmos took to the war-torn streets of Budapest to shoot footage of the Russian invasion, and subsequently volunteered to smuggle it out of the country. Barely escaping with their lives, the two friends fled to America and settled in Hollywood, eventually saving enough money to buy their own 16mm camera.

After working on a string of low-budget horror and biker movies, both men soon rose to prominence in the late 60's and 70's, shooting the films that defined what came to be known as the American New Wave: Easy Rider, Five Easy Pieces, McCabe and Mrs. Miller, Deliverance, Paper Moon, Close Encounters of the Third Kind, and more. Working with directors including Robert Altman, Bob Rafelson, Peter Bogdanovich, and Martin Scorsese, they helped create a new American film aesthetic, and pioneered innovative, fearless ways to tell stories.

“When it comes to Laszlo Kovacs and Vilmos Zsigmond, it's clear that the American New Wave of the late 1960's and early '70s wouldn't have flowered as it did without them." – Leonard Maltin

Told through interviews with Laszlo (who died in 2007) and Vilmos, as well as directors including Rafelson, Bogdanovich, John Boorman, Graeme Clifford, Richard Donner, William Richert, Mark Rydell, composer John Williams and actors such as Jon Voight, Peter Fonda, Sandra Bullock, Karen Black, Dennis Hopper and Sharon Stone, NO SUBTITLES NECESSARY is an intimate portrait of two giants of modern imagemaking and their deep bond of brotherhood that transcended every imaginable boundary. Two heroes. One road.

http://www.laszloandvilmos.com/
http://www.pbs.org/independentlens/
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FROM A BIRD'S EYE POINT OF VIEW

2009-10-27T12:55:00.000-07:00

By George Leon
Aerial cinematography often encompasses more than air-to-air photography of other aircraft. Sometimes the aerial cinematographer is called upon to facilitate photography from the ground and within the aircraft itself. Aircraft used in aerial cinematography are designated by the Aerial Cinematographer and Aerial Coordinator as either a camera ship or story ship.

Many types of fixed-wing and rotorcraft aircraft are utilized with helicopters being the most versatile for most camera ship duties. The choice and use of camera ship aircraft should be decided upon by the aerial cinematographer working closely with the aerial coordinator and camera ship pilot. However, the aerial coordinator is the first and last word on all matters regarding the acquisition, permitting and use of all aircraft on a motion picture aerial unit production.

Eclipse Camera System

Helicopters are the aircraft of choice for the majority of aerial cinematography duties as they offer the most in versatility. The ability for multidirectional flight gives the aerial cinematographer control and finesse over the movement of the camera much like the director of photography would do with any ground-based camera dolly.

Choosing a suitable rotor craft camera ship is predicated on the demands of the shot and the camera mounting system to be used. The ones shown here are the most utilized with the majority of commercially available filming systems having been designed and/or certificated for installation. Equally important to consider are the many variables affecting the inflight performance characteristics of the helicopter, the most significant being air temperature, pressure & density altitude, moisture content of the air, gross weight, external stores (ball mounts in particular fall under this heading) and wind.
In addition, each helicopter has its own maximum airspeed limitations (expressed as VNE - velocity never to exceed) which will be further reduced by the installation of any camera mounting system. There are definite reasons for these limitations and under no circumstances should they ever be exceeded. Number of people on board factors into the aircraft gross weight which will affect performance, particularly at altitude or during hover. Increased weight aside, with certain camera mounts there quite frankly will not be enough room left, beyond the pilot and operator, to accommodate any more passengers other than maybe the director.

Consult all aspects of the shot with the Aerial Cinematographer, Aerial Coordinator and Camera Ship Pilot will ensure a safe and intelligent choice of helicopter for all camera ship duties on the production. Safety for all cast and crew members actively involved in the film production is the number one priority for the aerial cinematographer, aerial coordinator and the aerial filming unit. Working around aircraft can prove to be hazardous if sufficient care is not taken to ensure personal safety. Those individuals who make their primary living in aerial cinematography know all too well the dangers involved and strive to maintain a safe working environment in the air and on the ground for themselves and their colleagues.

Camera mounts are the essential tool of the aerial cinematographer, linking camera to aircraft. There are many from which to choose and generally fall into the following categories: Gyro Stabilized Ball Mounts, simply referred to as ball mounts due to the spherical wind shroud. Utilized for highly stable, plate-quality images. Door Mounts Also known as side mounts. Mainly designed for helicopter usage. Some fixed-wing available. Nose Mounts Also known as belly mounts. Can be an articulated system, however, some are fixed position (hard) mounts.

Helicopter or Fixed-Wing
Choice of system depends entirely on the nature of the shot. No one filming system is superior over another. Rather it boils down to suitability to task. It's common to employ any combination of these mounts during a film production. For budgetary reasons, consult the aerial cinematographer on the demands of the shot to ensure the correct choice of mount.

As a cross section example of the aerial cinematography technology, I will describe the services of a well known helicopter aerial cinematography company and some the features they offer to the rotor, fixed wing and telescopic crane market for air, dry land and maritime uses.

Pictorvision is the first aerial equipment stabilization rental company to provide customers with an entire spectrum of stabilized camera product solutions for capturing aerial images. Pictorvision provides choice: matching the right system to any budget, removing single system and rigid price point constraints. Whether your production calls for high-end 4K digital, 35mm, cost effective SD, Super 16mm, or anything in between, Pictorvision's product suite covers the entire range of output options, offering you the flexibility to pick and choose as you see fit.

Pictorvision offers "choice" - a revolutionary concept in the aerial camera system rental market through a product suite of aerial systems: eclipse, Cineflex Wescam, RED One, Wescam 35mm, Wescam HD and Wescam SD

The Originator of the Gyro-Stabilized Camera

The same people who brought you the pioneering stabilization work at Wescam stand behind Pictorvision today. As Wescam, we originated the gyro-stabilized aerial camera platform – an innovation that won us an Academy Award for widening the entertainment industry’s creative possibilities. As Pictorvision, we evolved to become the industry leader not only in stabilized technology, but also in service. We take a strong customer-centric approach as your stabilized equipment solution partner. Our highly responsive and knowledgeable team is committed to ensuring that Pictorvision exceeds your expectations – every time! eclipse - A Helicopter Camera Mount with Unrivalled Stability Pictorvision is proud to introduce the eclipse - the first truly revolutionary advancement in aerial camera systems in a generation.

Designed by the team who invented aerial stabilization over 35 years ago, and in partnership with cinematographers, the eclipse embodies a commitment, focus and passion for aerial cinematography. At the core of the eclipse's superior stability is the patented XR Motion Management technology, enabling the most advanced steering, stability and pointing capabilities available on the market. Pictorvision's engineering group - the team behind every major advancement in aerial stabilization - partnered with the world's most creative DP's to develop the eclipse, ushering in a new dawn in cinematography.

The Pictorvision eclipse features XR Motion Management technology that enables the highest level of stability, unmatched precise and responsive steering, Geo steering, will not topple, absolute level horizon and faster start-ups and resets.

Wescam RED One
A First for Aerial Cinematography Pictorvision is the first aerial stabilization company to use the revolutionary RED ONE digital cinema camera in aerial shooting. Capitalizing on their expertise in camera stabilization technology, the team at Pictorvision can quickly make modifications necessary to successfully stabilize and accurately integrate the RED ONE camera package into our Wescam Film/HD System. The modular design of the Wescam Film System makes the integration very simple. Our multi-format, HD ready operator’s monitor (standard equipment with the system) makes monitoring the HD-SDI output from the camera effortless for our technicians. Pictorvision customers can immediately make reservations for the company’s proprietary RED ONE aerial stabilization and precision control turnkey package or integrate their own RED ONE camera.

The Pictorvision XR
The Most Stable Ground Camera System for the Most Challenging Environments Pictorvision provides customers with the most stable and versatile gyro-stabilized remote head in the industry. The XR has exceeded expectations on some of the largest productions and is recognized for its stabilization performance and reliability in the most challenging of environments.The XR was the first system to utilize Pictorvision's patented XR Motion Management technology, setting new industry standards for pushing creative limits.

The Pictorvision XR, is an advanced open mount, digitally controlled and gyro-stabilized camera platform capable of supporting and stabilizing film and video camera packages up to 70Kg at film camera focal lengths of 3000mm or more. The system is extremely flexible and can be mounted in hanging or sitting mode on camera cars, boats, cranes as well as rail camera and flown wire systems. The XR can be either configured for 2 axis operation or in 3 axis where it is capable of maintaining a level horizon regardless of the angular changes encountered by the mount. From simple shots to demanding VFX plates, the Pictorvision XR is able to meet your requirement for stabilized images on set or location and provides rock solid performance in the most demanding of environments.

LATEST TECHNOLOGY IN AERIAL PHOTOGRAPHY

Tom Hallman , Pictorvision and CINNERS President along with
Dave Arms, Aerial Operator and Technician showcasing at
CINEGEAR 2009 the new PictorFX 3D scanning and modeling system.

What is the PictorFX

The PictorFx enables set designers, special effects teams and production crews to create high-quality, accurate D models – this creative, innovative system helps to solve some of the tough technical challenges associated with the creation, coordination and management of digital information in both pre and post production.

Set Design Visualization

The PictorFx enables users to plan, track and digitally construct and reconstruct production-sets. Information Modeling PictorFx enables production teams to obtain structural and spatial information, from the air or ground providing users with a 3-D view of every shot, from every camera, at every angle.

Visual Effects

Using the PictorFx system, image data can easily be integrated with CG objects a creative and cost effective approach in generating digital 3-D images and graphics.

PictorFX Capabilities

Background 3-D plate shots, set documentation & 3-D blue prints,
pre-visualization with virtualsets: Plan and test camera and lighting angles, plan and test camera moves, pre-plan shooting and equipment logistics, set extensions , composites, topography to ground characters feet, accurate shadow casting, match moving virtual camera to live-action camera

For more info:
Courtesy of Aerial Cinematography

(Aerial Cinematography does not endorses any aerial company but its own and kindly offers information to the benefit of all operators). Courtesy of Laurie K. Gilbert S.O.C. of L'Image Cinematography, an aerial and marine cinematographer who operates globally from an operational base in South East Asia.

Courtesy of Pictorvision
Photo courtesy of Airborne Images and Aaron Fitzgerald
Watch a video clip, click -ON DEMAND- and choose Pictorvision

CINE LENSES FOR DIGITAL SRL CAMERAS AT DV EXPO 2009

2009-09-24T11:02:00.000-07:00

by George Leon
After visiting some of the annual video and film industry shows happening this year in other venues, I decided to stop by the DV Expo 2009 held at the Pasadena Convention Center and attend to one or two of the many seminars offered at the expo to report my findings and to keep abreast with the latest. The impression I had from my last year visit, was that the DV Expo was rather a small show with limited attendance, but then I was immediately proved wrong upon my arrival. I was pleasantly surprised to see a high turn out of attendees mingling around in he already crowded floor.

I spent a great day at the Digital Video Expo 2009. The exhibit floor was packed with attendees asking all kind of technical questions to the participating vendors. The variety of vendors spanned the wide gamut of video services and video manufacturers of pro-sumer and broadcast equipment, ranging from lighting to work-flow management to the latest in high definition video camcorders, to lens makers and much more.. To name a few with innovative products offering discount prices at the floor were Carl Zeiss Lenses, Azden Corp (audio), Lensbaby, Libtec Tripods, Dana Dollies, Zacuto, Sonnet, Sony, JVC, Panasonic, Litepanels, and others...

The Panasonic booth attracted many visitors

The seminars were popular and well attended

Footage Firm booth

Jessica Sitomer, The Greenlight Coach offering career
advancement advice

Brady Harris and Robert Orlando at the Tiffen booth
presenting the Dfx software, the IR filters, the Pilot
Steadicam and the Merlin handheld stabilizer

Answering technical inquiries at the Libtec booth

A new vendor I met in the Expo with a solid product was
Michael and Dana Hall, introducing their Dana Dolly,
a portable camera dolly system at an affordable price
Click here for more info, price and specs

The seminars were to down to the point. The two ASC Master Lighting seminars I went on Wednesday were inspirational and educative to the budding filmmaker and the seasoned cameraman as well. The panel was moderated by George Spiro Dibie ASC, and the guests speakers were Isadore Mankofsky ASC, David Darby ASC, Daryn Okada ASC, Johnny Jensen ASC, Donald Morgan ASC, and Robert Primes, ASC. After presenting a clip or two of one of their films, the panelists elaborated on their experience creating the lighting schemes seen on the screen, on set or on location and their collaborative process with the director along with other tips and tricks of the trade. The session culminated with a Q&A round in between the attendees and the panelists.

ASC Master Lighting Seminar, George Spiro-Dibie ASC ,
Daryn Okada ASC, David Darby ASC
and Robert Primes ASC.

Isadore Mankosfky, ASC was also part of the Master Lighting
Seminar and shared with the audience his experience about
the making of the cult masterpiece "Somewhere in Time"
photographed by Mankosfky, and directed by Jeanot Swarc.
Starred by Jane Seymour and Christopher Reeves. Pictured
above with Martha Winterhalter, Publisher of American
Cinematography magazine.

Another seminar that was very informative was "Digital Still Camera as a Tool for the Cinematographer" presented by the Digital Cinema Society. The panel was composed by leading cinematographers, digital SLR experts and industry representatives as they elaborated in the technical pros and cons (read prior posting CMOS VS CCD) of this new variant of the CMOS video chip technology encased in a SLR still camera, specifically the Panasonic Lumix GH1 featuring full HD movie recording in AVCHD and using ν (nu) Maicovicon technologies. The 4/3-type 12.1-megapixel Live MOS sensor featured in the DMC-GH1 is able to offer the best of both worlds — the superior image quality of a full-frame CCD sensor, and the lower power consumption of a CMOS sensor.

A rigged Canon Eos D5 with a matte box and follow
focus and a daylight Marshall monitor

The other SLR camera presented by the panelists was the Cannon EOS D5, featuring full-frame 12.8 Megapixel CMOS sensor combined with Canon's DIGIC II Image Processor, and a high-precision 9-point AF system with 6 assist points, and a "Picture Style" color control to deliver images of superior quality with enough resolution for any application. The EOS 5D's full-frame CMOS sensor records 4,368 x 2,912 pixels-that's 12.8 Megapixels, larger than many other companies' top-of-the-line sensors. The same size as a 35mm image on a traditional camera, the sensor operates without a conversion factor.

Richard Scheluning from Carl Zeiss,

explains the advantages of the new
Compact Prime Lenses

Zeiss Distagon Compact Set of Primes
T3,6/18 -T2,9/21 mm - T2,9/25 mm - T2,1/28 mm
T2,1/35 mm - T1,5/50 mm - T1,5/85 mm, ready for
SLR digital cameras with calibrated
T-stops markings

At the session, the new Zeiss Compact Prime set of lenses was introduced, a new proper Cinema lens for SLR cameras, featuring a PL mount, cine style housing, high optical performance and 14 precision iris blades for pleasing focus transition and rounded smooth bokeh. The session was visually demonstrated with outstanding footage shot by various of the participating cinematographers who are proponents of shooting SRL digital video for TV spots, music videos and even features on ergonomically rigged still SLR digital video cameras such as the Panasonic Lumix and the Canon D5.

I should point out that other companies such as Nikon offers digital video SLRs cameras , as well with outstanding quality at affordable price, like the D90, the world’s first D-SLR with an HD movie mode, recording cinematic-quality 24fps movie clips with sound at up to 720p HD (1280 x 720 pixels) in Motion JPEG format and the larger and more capable, D300S and D5000 with D-Movie HD Video capturing cinematic 24 fps, 720p HD movie clips, enhanced by NIKKOR interchangeable lenses and featuring external stereo Mic input and AF operation. One drawback heard from the shooters of any digital SLR video camera is the poor sound recoding quality and the lack of in and out audio connectors and no timecode feature of any kind.

DLSR Nikon D5000 with HD movie mode,
recording cinematic-quality 24fps movie clips with
sound at up to 720p HD (1280 x 720 pixels) in
Motion JPEG format, shown above with a swivel screen

I would like to recommend to any videographer or digital cinematographer to mark their calendars every year for this gathering of gear heads, creatives types, producers, camera operators, editors, Dit's and vendors under one roof. It is a bit smaller than other industry shows but allows you, the visitor, to spend more time learning about the latest of the digital video technology.

THE PITCH

2008-04-20T22:50:00.000-07:00

The Pitch By Nash Edgerton

Anytime you are ready to do "the pitch" for that big flick of yours to your favorite agent, producer or investor, do it as Nash does it. I will assure you would be green lighted in no time. Important, be very physical and of course, very expressive and above all, work as a well oiled team, like these incredible stunt performers.

To view any of these video clips, lower volume
of main screen above

ARRIFLEX UNVEILS NEW ARRI DIGITAL CAMERA "THE ALEXA" AT IBC 2009

2009-09-12T17:21:00.000-07:00

The next generation of ARRI digital cameras-
ARRI announced a new range of 35mm-format digital cameras at IBC 2009 - codenamed Alexa - that will redefine the limits of digital motion capture. Based around a newly developed CMOS sensor with unsurpassed sensitivity and dynamic range, the cameras will couple exceptional image quality with flexible, integrated workflows designed to meet the needs of modern postproduction. The Alexa product line-up, priced in the range €50k to €130k, will be available for sale commencing the second quarter of 2010.

Superior sensitivity & dynamic range 35mm size format
sensor Film look New Electronic or Optical Viewfinder
Early adopter plan for ARRIFLEX D-21 customers. Prices
begin at 50K Euro, resetting the bar for cost & performance

Compact and lightweight, the new range of cameras will provide an affordable toolset to address every level of the broadcast and feature film markets. The planned entry level model utilizes a 16:9 sensor and the most advanced electronic viewfinder on the market. A more fully-featured version continues ARRI's tradition of offering a 4:3 sensor and a rotating mirror shutter linked to an optical viewfinder as the optimum choice for cinematographers. A number of recording options, including several innovative on-board solutions, have been designed specifically with modern workflows in mind to provide the greatest versatility both on the set and in postproduction.

ARRI managing directors Dr. Martin Prillmann and Franz Kraus
discuss and display the new ARRI digital camera system at the
IBC booth in Amsterdam. Click ON DEMAND in the video window
above to watch the introduction

By combining 90 years of mechanical and optical expertise with state-of-the-art digital technology, ARRI products continue to offer features that other manufacturers cannot equal. Incorporating the key attributes of design and build quality on which ARRI's worldwide reputation is based, the new camera range will uphold the highest standards of reliability, precision and usability.

For more info, ARRI Digital

FILM FORMATS AT THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES

2009-09-10T08:33:00.000-07:00

Presented by the Academy’s Science
and Technology Council

Hosted by Rob Hummel. Continuing with screenings of “Manhattan” and “The Black Stallion” on September 10 and 11 at the Samuel Goldwyn Theater in Beverly Hills. “Cinema is a matter of what’s in the frame and what’s out.” – Martin Scorsese

The motion picture aspect ratio isn’t just a frame for the picture; in the hands of an accomplished filmmaker, the aspect ratio can have a significant influence on the storytelling process. Join Science and Technology Council member Rob Hummel for an illustrated lecture that traces the history of motion picture formats from the silent era through the 21st century. “Behind the Motion Picture Canvas” examined the role that emerging technology has played in the evolution of film formats, and how the technical choices made by Thomas Edison and William Dickson at the dawn of the film era continue to influence the way we look at movies today.

The Wednesday evening showcase was a success filling the Samuel Goldwyn Theater in Beverly Hills almost to capacity with over 800 filmmakers, cinematographers, producers, students, members of A.M.P.A.S and film buffs of all ages.

The Adventures of Robin Hood. Directed by Michael Curtiz
Photographed by Tony Gaudio and Sol Polito 1938,
Academy aperture 1.37:1 -Technicolor 3 strip process

Technicolor 3 strip camera. Technicolor became known
and celebrated for its hyper-realistic, saturated
levels of color, and was used for filming
The Wizard of Oz and Singin' in the Rain,
The Adventures of Robin Hood and Joan of Arc,
Snow White and the Seven Dwarfs and Fantasia

The program included outstanding clips from such films as “The Great Train Robbery” (1903, full aperture 1.33:1), “The Adventures of Robin Hood” (1938, Academy aperture 1.37:1), “White Christmas” (1954, VistaVision 1.85:1), “Lady and the Tramp” (1955, CinemaScope 2.55:1), “Sleeping Beauty” (1959, Technirama 70 2.2:1, Composed for 2.55:1), “The Sound of Music” (1965, Todd-AO 65mm 2.2:1), “Ryan’s Daughter” (1970, Super Panavision 65mm 2.2:1), “Silverado” (1985, Super 35 2.40:1), and “The Accidental Tourist” (1988, Panavision 2.40:1).

Gone with Wind, 1939 Academy aperture 1.37:1 with a

visible optical sound strip

Casablanca, 1.37:1 aspect ratio with an optical sound

strip compared with a wide screen format

The Sound of Music, 1965, Todd-AO 65mm 2.2:1
Directed by Robert Wise and photographed by Ted D. McCord

Sergio Leone's, Once Upon a Time in the West shot by
Tonino Delli Colli on Techniscope 235: 1
Techniscope or 2-Perf is a 35mm motion
picture camera film format introduced by
Technicolor Italia in 1963.

Cinematographers Allen Daviau, ASC, Caleb Deschanel, ASC, Stephen Burum, ASC and John Bailey, ASC, composed the panel moderated by Hummel and discussed the role of film formats in shaping their creative decisions, including the technical constraints and the creative opportunities that the choice of a film format brings to a motion picture.

Hummel has served on the Scientific and Technical Awards Committee and edited the 8th edition of the American Cinematographer Manual. During Hummel’s tenure at Technicolor, he worked closely with over 70 cinematographers ranging from John Alonzo to Vilmos Zsigmond, giving him a unique perspective on the creative process of working with film formats. “Behind the Motion Picture Canvas: Film Formats through the 21st Century” continues with two nights of screenings hosted by Rob Hummel. Both screenings will be held at the Samuel Goldwyn Theater.

Click link for more information about the ACADEMY OF MOTION PICTURE ARTS AND SCIENCES

MORE IPHONE & IPOD TOUCH APPS FOR FILMMAKERS

2009-09-08T15:01:00.000-07:00

Following the enormous success of the iPhone and iPod Touch as a mobile communication device and a mobile entertainment center, I have to mention again the many resources or "apps" available for the cinematographer and the filmmaker in general.

In my original posts about the apps, I said the iPhone and iPod may soon become the Swiss Army Knife for the Cinematographer. Well, I have to say that the time is now, the iPhone and the iPod Touch are the Swiss Army Knife for the Cinematographer. Derrick Faw, a professional photographer and videographer living in Paris, France compiled the newest list of iPhone and iPod apps for the filmmaker on his website World Wide Angle.

One of the hottest commodities on the market today is the iPhone and iPod Touch. It is expected that Apple will have sold 80 million iPhones by 2012. The uses for this mini computer are growing everyday. Currently there is over 65,000 official applications available at iTunes for the iPhone. At the current growth rate this number could top 10 0,000 by the end of the year. This is not counting a vast amount of web based applications, over 1700 alone registered with Apple.

iPhone apps exist in many flavors, everything from simple games to complex software for professional task. Most apps are very affordable, if not dirt cheap or free. Filmmakers have not been left behind in the app frenzy. While searching the web for some tools to help us, I was astonished by the amount of software available. Here is a list of apps for the iPhone and iPod Touch apps I was able to dig up.

**Opera web browser users: If you have difficulty with the “get app” function working properly with iTunes, see this fix

Native Apps

A native app is a software that is installed directly to the iPhone. The iTunes store host all the apps approved by Apple.

Hitchcock by Cinemek inc (Cost: $19.99)

(iPhone, OS: 3.0 or later) Screenshots

Cinemek® Hitchcock for iPhone and iPod Touch is a mobile storyboard and pre-visualization composer designed for Directors, Directors of Photography, Producers, Writers, Animators, Art Directors, film students and anyone who wants to be able to visualize their story. More Info

pCAM Film+Digital Calculator by David Eubank (Cost: $39.99)

(iPhone/iPod Touch, OS: 2.2.1or later) Screenshots

A Motion Picture and Still Photography calculator for Directors of Photography, Photographers, Camera Operators, Camera Assistants, VFX Supervisors, Script Supervisors, Gaffers, Grips, Editors, Production Designers, Art Directors, Film and Photography Students. Created by the same Hollywood Camera Assistant who created the widely used Palm version. More Info

iTC Calc by KPL Production Services, Ltd. (Cost: $9.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots

iTC Calc is the perfect companion for any producer, post-production producer, editor, Flame or After Effect artists and everyone who need to deal with timecode and frames. More Info

iTC Calc Light by KPL Production Services, Ltd. (Cost: $2.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshot

iTC Calc Light is the perfect calculator for any producer, post-production producer, editor, flame or After Effect artists and everyone who need to make quick timecode calculations. More Info

TCCalc – Timecode calculator by Jean-Luc Pedroni (Cost: $4.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots

TCCalc is a powerful time code calculator. With its two views, horizontal and vertical springboard, you can choose between basic timecode operations, or more sofisticated operations and features. More Info

TimeCodeCal by Daniel Maskell (Cost: $2.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots

TimeCodeCal is the most flexible time / timecode calculator available. With it’s user configurable frame rate from 1 to 100 frames per second, plus hexadecimal mode it is aimed at anyone performing time based calculations, from the casual user to professionals in the broadcast industry. The hex mode was included with developers in mind looking at memory dumps of data. More Info

FreeTime Pro by Javier Hernanz Zajara (Cost: Free)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots

A powerful timecode calculator. Conversion and editing modes. Formats include NTSC, Drop Frame, PAL, Film edgecode (3:2 pulldown), and real-time. User preferences control behavior with field overflows, illegal (dropped) frames values, and key click sound.

TC Calculator by Javier Hernanz Zajara (Cost: Free)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot

TC Calculator is a simple calculator for operating with TC’s (Time Codes) and frames. It can add, substract and convert TC’s between different speeds. It may be very useful for people working on video or film. Currently not available in iTunes US Store.

EditCalc by Brad Brooks (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots

EditCalc is a frames, footage and timecode calculator app for the iPhone and iPod Touch. More Info

time:calc by WattenEarth (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot

time:calc is a time calculator that does conversions and calculations of time. It also works with timecode enabling calculations of frame rates for TV and film. More Info

timecoder app by zinc Roe Inc. (Cost: Free)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots

Timecoder converts video timecode between two different frame rates, from timecode to frame number and from frame number back to timecode. You can leave out the hours, minutes or seconds when they’re not necessary. You can also use large values that will “roll over”. For example, you can enter 90;00 (90 seconds) and Timecoder will automatically convert it to 00:01:30;00 (1 minute and 30 seconds). You can choose from a list of common framerates (frames, 24, 25, 29.97 and 30), or enter any framerate you like. Timecodes and framerates are rounded for display, but the conversions are accurate to more than three decimal places.

Film Editor’s Calculator by Michael Koperwas (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots

The Film Editor’s Calculator is a valuable tool for any film editor which allows you to calculate feet and frames for 35mm motion picture film. The calculator’s database also gives you information such as manufacturer and film stock based on the keycode’s prefix. The keycode calculator interface is very simple to use and is helpful when working with film at the bench or working with telecines on an editing system.

Film Calculator by Noah Harlan (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

The 2.1 Film Calculator is a multi-purpose tool for filmmakers to aid in common tasks of film conversion and counting in pre-production, production and post-production.** On Sale! Now only $.99 until we release the new version in a couple weeks. Enjoy! ** More Info

Action Log Pro by Andris Ltd (Cost: $29.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

Action Log is a film and television logging tool, designed for use on location or in a studio with up to 25 recording devices. At the touch of a button the logging system keeps track of all reel names and timecodes for each recorded piece of action. More Info

Action Log by Andris Ltd (Cost: $5.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

Action Log is a film and television logging tool, designed for use on location or in a studio with 1 recording device. At the touch of a button the logging system keeps track of all reel names and timecodes for each recorded piece of action. More Info

Movie★Slate by PureBlend Software. (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots

Movie★Slate is a digital slate, clapper board, shot log, and shot notepad— designed for use with film, television, documentaries, interviews, and home movies. Movie★Slate provides an easy way to log footage and take notes as you shoot— saving you time later when you capture and edit the footage on your computer. More Info

FilmSlate by Idea Engine, Inc. (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots

FilmSlate puts a portable “Smart Slate” in your hand. FilmSlate was developed by professionals, for professionals, and is designed to be used on set as an insert slate, a run-and-gun slate, or a portable backlit slate in your pocket. More Info

iSlate by ibuiltthis (Cost: $2.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots

iSlate is an easy to use portable digital clapper board that can help video enthusiasts add a touch of hollywood magic to their videos. Possible uses include video blogs, online video postings, and various video projects. More Info

iSlate Lite by ibuiltthis (Cost: Free)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshot

Free Lite version of iSlate the portable digital clapper board.

AClapBoard by Rolf-dieter Klein (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots

A digital clapboard/Slate and client time measurement system. New features: timecode calculator and color charts, 2-pop sync. The application combines many functions useful for film makers but also in general for free lancer. More Info

ClapBoardLT by Rolf-dieter Klein (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots

A digital clapboard and client time measurement system. ClapBoardLT is the smaller version of AClapBoard which has more features like color chart and timecode calculator.

More Info

LlamaSlate by Scott Lawrence (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

LlamaSlate is a filmmaker’s tool to help with the editorial process. LlamaSlate is a simplified digital version of a traditional “clapper board” or “slate”, which is used to mark the beginning and end of every shot filmed. LlamaSlate can also help you to sync multiple cameras easily. More Info

Pocket DIT by Clifton Production Services LLC (Cost: Free)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

RED Camera users, this is your cinematography “cheat sheet”. More Info

iSee4K by Edward Watkins (Cost: Free)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots

With this nifty little app spend your time ‘getting the shot’, rather than pouring over manuals and reference tables. Although primarily developed to aid users of the RED® Digital Cinema Camera, iSee4K is highly configurable and allows users to calculate DoF, FoV and Lens equivalence for virtually any camera and lens. More Info

DoF by Michael Neuwert (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

DoF is a small utility for Photographer or Videographer allowing to calculate the depth of field. More Info

DOFMaster by Donald Fleming (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot

Use DOFMaster to calculate the depth of field in your photographs. You’ll be able to select the lens and f/stop combination that provides the zone of sharpness you need. Use it to calculate the hyperfocal distance for landscape photography. More Info

DOF Ruler by Devin Hartman (Cost: $1.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots

DOF Ruler is a Depth of Field calculator with a unique sliding ruler interface. It is a quick and easy way for Photographers to calculate Depth of Field. More Info

f/8 DoF Calculator by Thorsten Kramp (Cost: $3.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

Photojournalists have a saying, “f/8 and be there,” meaning that being on the scene is more important than worrying about technical details. Yet with f/8, the depth-of-field and hyperfocal distance calculator for the iPhone and iPod touch, you’ll be there with the depth of field spot-on, too! Anywhere, anytime! More Info

MatchLens by D Matthew Smith (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots

This calculator computes the equivalent lens focal length to produce the same field of view between two cameras with different aperture/sensor sizes. It will do a “Match Lens” calculation, and produce the closest equivalent angle of view lens, in millimeters, for both vertical and horizontal frames, between the original camera’s focal length and the current camera’s focal length. More Info

ShootPad by David Brewster (Cost: $6.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots

Made for the guy shooting home video or the videographer shooting with their own camera. As the professional video guy is pausing and starting his video camera, he’s supposed to make notes for the starting and ending of cuts for later editing. More Info

Animation Timer by Randy Cartwright (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots

Animation Timer is a simple stopwatch designed for animators. More Info

FrameTime by Patrick Spizzo (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots

FrameTime is a simple animation timer that lets you time events down to fractions of a second. Use the simple controls to start the timer, then add keyframes based on the action you are timing out. Once you are finished, the timer controls conveniently move out of the way so you can see as many of the keyframes as possible. More Info

FPS Calculate by Wes McDermott(Cost: $0.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots

An animation timer is being added so that you can time movement and convert that into a given frame count! More Info

Screenplay by Black Mana Studios (Cost: $2.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots

Black Mana Studios’ Screenplay is the world’s first fully-functional mobile screenwriting application. It allows professionals and hobbyists alike to write complete movie and television screenplays directly on the iPhone or iPod Touch. More Info

Sync Points by Jon Lay (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshot

Sync Points is a calculator for composers for film, video, or any medium where precise synchronization to picture or SMPTE timecode is needed. With this app, you can calculate hit points from tempo or beats, generate an exact tempo in BPM and FPB for a given number of beats or timing, and compute a number of beats given a tempo and timing. More Info

FiRe – Field Recorder by Audiofile Engineering, LLC (Cost: $5.99)

(iPhone, OS: 2.2.1 or later) Screenshots

FiRe is the world’s first professional field recorder built exclusively for iPhone and iPod Touch.. Combining powerful, elegant and uncluttered audio utilities with unparalleled technical support. More Info

PowerCalc by West Side Systems, LLC (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

PowerCalc performs basic electrical power calculations with watts, volts, amps, and motor power factor. More Info

LightMeter by Frank Bauer (Cost: $2.99)

(iPhone, OS: 3.0 or later) Screenshots

Turn your iPhone 3G-S into a exposure meter.More Info

Helios Sun Position Calculator by Chemical Wedding (Cost: $29.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots

Helios is a Sun Position Calculator that graphically represents the position of the sun from dusk to dawn, on any given day, in any given place. More Info

Focalware by Spiral Development Inc (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots

Focalware calculates sun and moon position for a given location and date. Use the interactive compass to determine the path and height of the sun or moon. Photographers and filmmakers who are always asked by their clients for the sun, moon and stars, can now deliver. More Info (with Video Demonstration)

MagicHour by Vela Design Group (Cost: $3.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots

MagicHour™ (formerly VelaClock) is a world clock that can quickly display the time of sunrise, sunset, three kinds of twilight (civil, nautical, astronomical) for dawn and dusk, moonrise, moonset, duration of daylight, current phase of moon, date and times for the next four moon phases, countdown to the next sunrise or sunset and next moonrise or moonset, and more. More Info

iFilmmaker Pro by Katha Films LLC (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

For the movie making beginner, expert filmmaker or “been-there-done-that indie enthusiast”, iFilmMaker is loaded with 1500 questions, tips and tricks of the film making trade, presented in a very entertaining, and educational manner. With iFilmMaker application, you can learn about different aspects of filmmaking like editing, directing /producing, scriptwriting, acting, and cinematography with easy to answer questions, and click to live web links for detailed information about the particular subject. More Info

iFilmmaker Pro Lite by Katha Films LLC (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

For the movie making beginner, expert or “been-there-done-that indie enthusiast”, iFilmMaker is loaded with hundreds questions, tips and tricks of the film making trade, presented in a very entertaining, and educational manner. With iFilmMaker application, you can learn about Editing, Directing/Producing, ScriptWriting, Acting, and Cinematography with easy to answer questions, and click to live web links for detailed information about the particular subject. More Info

Clz Movies by Bitz & Pixelz BV (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots

This app is a supplement to Movie Collector software by Collectorz.com. Movie Collector is a must have for anyone with a large film collection. It is by far the most complete and versital database software available on the market. Clz Movies application for the iPhone allows your to take your movie collection with you on the go. More Info

Web Based Apps

Web applications (or web apps) combine the power of the Internet with the simplicity of Multi-Touch technology, all on a 3.5-inch screen. iPhone and iPod touch let you easily flick through news on Digg, play Sudoku or Bejeweled with a finger tap, and quickly check movie times, train schedules, and favorite blogs.

When you find a web app you like, you can put it front and center on your Home screen. Just open the web app on your iPhone or iPod touch, tap the plus sign, and then tap “Add to Home screen.” A Web Clip will be added to your Home screen automatically for easy, one-tap access. You have up to nine Home screen pages for all your Web Clips and you can organize them however you like.

Footage Calc by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Enables you to calculate the amount of disk space required for various video codecs at varying frame rates. It offers an easy-to-use interface that allows you to quickly and easily view the required information whilst on the move – perfect for those awkward on-the-spot questions from clients. Along with the iPhone Version there is also a full browser version. Also available as an offline application.

Film Rate Calc by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Calculates the relationship between film reels and shooting time. Use this calculator to work out how many rolls of film are required for a certain shooting ratio, or alternatively calculate how many minutes have been shot for a certain number of rolls. This is a useful tool for any script supervisor or producer. Along with the iPhone Version there is also a full browser version. Also available as an offline iPhone application.

Aspect Ratio Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Allows you to calculate the aspect ratio, width or height of an image or video. Also displays extra information such as the film or video format that the aspect ratio is normally associated with. This enables you to work out the correct frame size to use when creating CG shots that will be broadcast or intercut with live action footage. Along with the iPhone Version there is also a full browser version.

(iPhone/iPod Touch, OS: All) Screenshot

This tool will calculate the depth of field for a given sensor or film type, aperture, focal length, and subject distance (the distance from the camera to the person or object you are focusing on). A lower number means that a large proportion of the background will remain in sharp focus and a higher number means that a smaller proportion (if any) will be in focus. It also includes presets for popular video cameras. Selecting a preset will automatically change the sensor type to fit your camera. Please be aware that this tool is designed for cinematographers, not still photographers. Along with the iPhone Version there is also a full browser version.

Pixel Aspect Ratio Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

This tool will help you calculate pixel aspect ratios (PAR) of video formats. It also enables you to work out the proper resolution for a still image placed into a non-square pixel timeline. The source resolution is the square pixel resolution (ie. the dimensions of the still image) and the target resolution is the non-square resolution (ie. the final resolution of the image upon adding it to the timeline).

Along with the iPhone Version there is also a full browser version.

Lens Angle Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Use this calculator to calculate the lens angle or focal length for a given sensor size. This is useful for planning out camera placements in advance, which is particularly invaluable for visual effects work. Along with the iPhone Version there is also a full browser version.

Power Load Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

RED StrorageCalculator by Alex Boerger (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshots

This calculator is specifically for Red Camera users. With it you can determine how much storage (in gigabytes) based upon your desired Redcode, Resolution, Aspect, Framerate, and time. Go to the iPhone Version.

A WORD ON GEARED HEADS

2009-08-29T13:24:00.000-07:00

by George Leon

There are three types of heads and many brands of heads available to camera operators and directors of photography for use in studio or on location. The types of heads are fluid, friction and geared heads. Mostly, all new heads are made of aluminum alloy, some older heads and accessories were made of magnesium and much older heads were made of cast steel.

The fluid head employs the principle of fluid resistance. The restricted flow of a high viscosity liquid forced through grooves machined inside a metal drum creates drag on the lateral and vertical movements of the head. The friction head employs the the principle of surface resistance. The friction of fiber discs against metal washers creates drag on the lateral and vertical movements of the head. The geared head employs the principle of mechanical advantage. The ratio of the angular speed of driving members to driven members of a gear train, linkage, or cable creates force on the lateral and vertical movements of the head.

The Cartoni c 40 is hand-crafted from the latest hi-tech metal alloys, C40 S is a Heavy Duty fluid action head specifically designed to support Studio/EFP configurations or 35mm film cameras. The Counterbalancing system, activated by an 8 - position easy-grip selector, works with three reinforced groups of helicoidal high section springs. This mechanism combined with a 60mm. sliding base, allows the cameraperson to fine tune an extremely wide range of cameras weighing from 10 to 45 Kg (22 lbs to 100 lbs) throughout a tilt range of -/+ 65 degrees.

Technovision MKII geared head with 3 speed settings, built-in tilt plate. Optional gear reducers for this geared head are available, providing more control with gear ratios.

Today, most friction heads-tripod combos are manufactured for low cost consumer still and video photography with the exception of Gitzo, that makes consumer and hi-end tripods and friction and fluid heads for the still photography market. Fluid heads are the most popular and are marketed for the consumer, pro-sumer, and professional market and mostly are offered as an option to a tripod according to your needs, type and weight of camera. Friction heads were in use for all types of still photographic and consumer motion picture cameras around world, until Chadwell O'Connor invented the fluid damped camera head in 1952.

Worrall Geared Head

Geared heads were manufactured to cater the need of fluid camera movement using the heavy weight or cumbersome motion picture cameras of the past. The use of gears predates to the early days of cranking cameras, friction heads and poorly designed geared heads that were the norm for camera panning and tilting for several decades in Hollywood and the world over until George Worral created the Worral Geared Head in 1952. "The first stable, smooth and balanced triple-mode geared head." "It took very little force to move it." Worrall said. Epics such as "Lawrence of Arabia" and "Dr. Zhivago" were filmed using the Worrall Geared Head.

The Mitchell Geared Head was a predecessor of the Worral head. Shown above with 3 speeds and built-in tilt plate.

The Mitchell Vitesse Geared Head allows 360 degrees movement on two axis; pan and tilt.

Now days, the making of better, lighter and studier fluid heads with more features than ever, along with resistant lighter graphite tripods have become the equipment of choice for the broadcast news gathering industry, the documentary and the independent filmmaker. Sachtler, Bogen, Manfrotto, O'Connor and Vinten to name a few, have revolutionized the portability of fluid camera movement.

Sachtler’s fluid head Cine 30 HD features a side-load mechanism for the camera plate. A key advantage of this technology is that the fluid head can be side-loaded together with its camera set-up – quickly and easily. The mechanism is compatible with camera plates from OConnor and ARRI. The operating elements, manufactured according to 2K processes, are especially convenient. If you need a front box for all sorts of utensils or tools, it is simple to mount an adapter which is exceptionally practical for film and HD shooting.

The GearNex geared head is a precision, lightweight and compact pan and tilt gear head designed for independent and professional filmmakers. Perfect for all professional cameras such as: RED ONE • Panasonic Varicam • Panasonic HDX900 • Sony F900 • Panasonic DVX100 • Panasonic HVX200 • Sony FX1 • Sony EX1/EX3 • Other lightweight 35mm and 16mm film cameras. Nothing beats the smoothness of a geared head for certain moves, and some moves are actually much easier with a geared head than a fluid head as on dolly.

Geared heads have been the preferred choice of motion picture cameramen for decades. The gear head provides precision control over your shots. Make small detailed corrections to compositions. Rock solid control on long lenses. Minimizes fishtailing on dollies and cranes. Repeatable moves without overshooting your mark. (Panahead Geared Head, shown above)

Besides of the geared heads shown here, we should mention other important heads that allow the director of photography or the camera operator get the job done like, the Cartoni Dutch Head, the Van Diemen Swing Head or Tango Head, the Lambda Head or Nodal Swing Head and the Weaver Steadman 2 and 3 Axis Head to name a few.

Among the remote and motion controlled heads I would like to mention , the Scorpio Head, the Hot Shot, Super Shot and Star Cam by Egripment, the Technovision Super Crane with 3 xis Z Head, the Louma 2 Camera System, the Talon by Ravens Claw and the Mark Roberts MOCO Milo . Check The Talon and Mark Robert's MOCO Milo at Camera Control in Santa Monica, USA in the video window above- click ON DEMAND- search for Talon or Milo on playlist.

All these choices of camera movement lead us to the next question: Which set-up is better, a fluid head or a geared head for your next project as camera operator? To answer this question, I would like to refer to the commentaries made by Roger Deakins, BSC/ASC in his oddly interrupted internet forum. (I spoke with Roger about the subject and about other camera and lighting setups he did during the production of the Big Lebowsky and Revolution Road while vising the ASC Open House in 2009).

Roger explains:

A geared head allows for a very accurate pan or tilt and a clean hard stop. I know it might seem like an old fashioned tool and I sometimes don't even carry one on some shoots but it is a surprisingly accurate and easy tool to use. I especially like it on a stage. Try it out! If you operate and want to use a remote head you might then have to use wheels in just the same way.

There are some cinematographers whom I admire a great deal and who never use a geared head. Even when they operate a remote head they might use a joystick instead of wheels. And, of course, many Cinematographers don't operate the camera themselves anyway. Maybe it is just a personal preference but I do find I have a lot of control on a geared head. I don't always use one and there have been films where I haven't had one on the shoot at all, but I would say that more often than not I have one in my camera package. It really does depend on the look I am going for and the nature of the work. It seems to me that a geared head gives me a more solid feel, a kind of forced formality to my shots and I will use one for those films or scenes where I want to have a more 'controlled' look. I will also tend to use one in a studio situation, for long dialogue scenes and for many specific dolly moves that require speed and a firm stop.

The first time I used one on a professional production was on '1984'. I didn't have a geared head in my camera package but the Line Producer ordered one for me to use on a particular long lens shot. He was playing a trick on me really. As had no confidence in me as a cinematographer he thought that hiring the geared head would show up my failings. He had no way of knowing that I had practiced with a geared head whilst at Film School and could sign my name with one. He never found out though. Whilst he was looking over my shoulder, I completed the shot, which was purely static, and then suggested he send the head back as it was an expensive rental item.

The compact geared head smaller, lighter in weight and equally efficient is the formula of the future. The ARRIHEAD 2 is it is successful product. With an equal equipment range and operating convenience, it is 8 cm shorter and approximately 4 kg‘s lighter than the large ARRIHEAD. With this design, the ARRIHEAD 2 is an ideal production tripod head not only for 35 mm cameras, but also for 16 mm filming. (Arrihead shown above)

The head I prefer is the Arri Lightweight head and I use a set of large wheels instead of the smaller ones that come with this particular model. Much of the work I do is with a remote Power Pod head mounted on an Aerocrane jib arm and,in much the same way, this requires the use of a set of wheels to control the head. One way or another it is important, for me at least, to be able to use the wheels.

Practice? Just get a geared head and practice signing your name - or you might start with a figure of eight and build up to it. By the time you can achieve your signature you will find that operating by the wheels has become second nature to you and that is what it's about. You need to be able to get behind the camera and, without a rehearsal, operate the shot you want. It is no use having to practice with the stand ins or the actors. If you plan to be a cinematographer who operates the camera, you need to be able to concentrate on the WHY of the shot and not the HOW.

The gear head does take some practice and I wouldn't recommend using one without being very confident in your ability with it. I was taught to use a stick with a felt tip at the end of it, instead of a camera, and practice until I could sign my name with it! Roger concludes.

So, I say that the choice and the use of a fluid head versus a geared head is one of the decisions a director of photography or camera operator have to resolve early in pre-production. Any of the two choices are O.K. Both choices represent only another tool in the cinematographer's bag.

Here is a list of geared heads. Some are new models in active use by many cinematographers and other are older models but still found at different rentals houses or found for sale at different used motion picture equipment companies.
• Arrihead
• Arrihead 2
• Arri/Mitchell Geared Head
• Ceco Blimp Type 2-Speed Geared Head (TH-7)
• Ceco Pro-Jr. Geared Head
• GearNex Gearhead
• Houston Fearless Cradle Head
• MGM Geared Head
• Mitchell Geared Head
• Mitchell Mini (Lightweight) Geared Head
• Mitchell Vitesse Geared Head
• Mitchell Vista-Vision Geared Head
• Moy 16” Classic
• Moy 16” Standard
• Samcine Moy Geared Head
• Samcine Moy MkIII Geared Head
• Moy 16” Neptune Underwater Head
• Moy 22” Legend
• Moy 12” Mini
• NCE Geared Head
• NCE Cradle Geared Head & Model CGH
• NCE Jr. Geared Head
• NCE/Ultrascope MkI
• NCE/Ultrascope MkII
• NCE/Ultrascope MkIII
• Panahead
• Panahead, Super
• Panahead, Compact
• Sea Head
• Technovision Technohead MkI
• Technovision Technohead MkII (H)
• Technovision Technohead MkIII
• Worrall
• Worrall Mini
(List compiled by Ryan Patrick O'Hara)
Roger Deakins photo © George Leon 2009

DIGITAL CINEMATOGRAPHERS: SAY GOODBYE TO IR POLLUTION

2009-08-16T19:52:00.000-07:00

Until recently, the use of film for Motion Pictures allowed DOP's the greatest latitude. When lighting characteristics and exposure needs varied, the appropriate film stock could be selected to provide the optimum results. Filters could be used to fine tune the optimum results. Color timing in developing added further to the filmmaker’s options.

Now with the advent of Digital Motion Picture Cameras and a digital imaging device taking the place of film, DOPs no longer have the option of selecting the optimum film for their application. They must now deal with a one size fits all imaging device that is designed to replace all the various film types; what you see is what you get. This means that the use of filters regardless of the capture format rate is even more critical in achieving the desired results.

Because the imaging device is designed to be sensitive in low light conditions it is easily over exposed in bright situations. The Neutral Density filter is used to help control this situation as well as to gain more control over depth of field. Up to now ND filters made with dyes did this job, but passed small amounts of red and near infra-red light to create their transitional slope between attenuating visual and passing infra-red.

Sony F35

In addition to the visual spectrum, digital imaging devices are sensitive to Infra-Red. This Infra-Red can have an effect on the quality and the color of the image. Digital imaging devices require higher grade neutral density filters but are sensitive to infrared (IR). This IR pollution has an adverse effect on the quality and the color rendition of the images – stealing contrast and color, resulting in unwanted color shifts. Greens become a reddish muddy brown and blacks have a magenta hue. To combat this problem, some camera manufacturers use an IR blocking filter in front of the imaging device – most notably, the Sony F23, F35 and the Panavision Genesis. However, when you combine a neutral density filter with cameras containing a built in IR blocking filter, the result is a spike in the near infra red.

Putting Them to the Test

Art Adams recently put Tiffen’s Full Spectrum IRND filters to the test on a Sony F35 – he compared them to our competitors! His results speak for themselves, but we want to show you anyway. Art tested the IR ND 2.1, and after white balancing (recommended) to remove the yellow-green cast, this was the result:

In his own words,
“This filter works perfectly.” “The Tiffen IR ND filters are the only filters that effectively cut far red contamination on those cameras [Panavision Genesis/Sony F35/F23].” “I have to state how impressed I am that they [Tiffen] came up with this dye formula to cut far red….” “That makes the Tiffen IRND filters the best choice …., and the fact that there’s no dichroic Hot Mirror coating reduces the cost ….”

In Conclusion

The Tiffen Full Spectrum IR ND filters extend the light transmission characteristics into the infra red region of the spectrum and are essential for the cinematographer using the Sony F23/F35 or Panavision Genesis to control the near infra red, particularly when using heavier densities. Tiffen Full Spectrum IRND Filters can be used in conjunction with the Tiffen Clear Hot Mirror for Digital Motion Picture Cameras using a CMOS chip sensor which does not use an internal IR Blocking filter such as the RED ONE and SI2K, to fully combat near and far IR pollution across the range. Tiffen Full Spectrum IRNDs are also manufactured in combination with the Tiffen Hot Mirror for ease of use in sunshades or smaller Matte Boxes when using these cameras.

These filters are manufactured using our proprietary lamination process, which means that each effect is captured between two pieces of glass, allowing us to grind and polish both surfaces to achieve perfect parallelism. For the cinematographer, this means worry free handling. These filters are made with Water White glass and are available in sizes 4x4, 4x4.650, 5.65x5.65, 6.6x6.6, 138mm, 105C, & 77mm.

Panavision Genesis

Art Adams is a well-respected Director of Photography and has over 25 years experience in the film industry. He has many feature film and television credits and is currently focusing his energies on high end corporate productions, as well as, special venue and blue/green screen production. He is a regular Contributor for ProVideo/Cinematography Coalition where you can view complete test results at http://provideocoalition.com/index.php/aadams/story/f35_ir_filter_shoot_out/. You can read more about Art at www.artadams.net.

CINE GEAR EXPO 2008

2008-07-05T05:00:00.000-07:00

The Hottest Cinematography Event in Town.
CINE GEAR EXPO 2008 Part 1 & Part 2
The Western Genre. ASC Panel. Q&A
SHOWING NOW! ON-DEMAND

CINE GEAR EXPO was a success. Many people attended the Expo, held on the grounds of Universal Studios back lot. The vendors on-site answered every possible question to the inquisitive attending public. From lighting to film stock, from remote controlled heads and cranes to audio products and rentals, from lenses and converters to high speed film cameras and 2K and 4k high def cameras. Practically every cross section of the industry was represented by a friendly agent willing to give you a test ride, if that was possible.

The Expo is held outdoors and the thermometer reached 100 degrees making it literally the hottest event in town but given these circumstances it wasn't a deterrent to the attending public.

During the next few days we will be uploading all gathered news, interviews, and technical specs from Cine Gear Expo 2008. FILMCAST Live! brings you the latest directly from the manufacturers, the inventors, the visionaries, the cinematographers and the mavericks of this fast changing industry.

OSCARS DESIGNER CHALLENGE

2009-02-09T10:33:00.000-08:00

Academy Announces “Oscars® Designer Challenge”
Online Voting to Determine Gown Worn on 81st Academy Awards® Show

Beverly Hills, CA — For the first time in its history, the Academy of Motion Picture Arts and Sciences is inviting the public to vote on an element of its annual Oscar® Show telecast. In “Oscars Designer Challenge,” seven up-and-coming fashion designers are vying to have their original evening gown worn by one of the Awards escorts during the 81st Academy Awards on Sunday, February 22. Members of the fashion and entertainment press were introduced today (2/10) to the seven designers and their creations at a runway fashion show at the Academy’s Beverly Hills headquarters.

Oscar telecast producers Laurence Mark and Bill Condon, along with Oscar fashion coordinator Patty Fox, selected the designers and paired them with Los Angeles-based models, one of whom will wear the public’s favorite gown while she brings Oscar statuettes onto the stage of the Kodak Theatre on Oscar Night®.

The designers participating in “Oscars Designer Challenge” are Moire Conroy, New York; Alan Del Rosario, Los Angeles; Sam Kori George, Chicago; Marianne Kooimans, Los Angeles; Maria Pinto, Chicago; Nicolas Putvinski, New York; and Robert Rodriguez, Los Angeles.

Public voting for “Oscars Designer Challenge” begins today at 3 p.m. PT at Oscar.com, the official Web site of the Academy Awards, where movie fans and fashion lovers will be able to see footage of the gowns and cast their vote. Anyone over the age of 18 can register to participate and will be eligible to vote once a day through 5 p.m. PT on February 17, 2009, when the voting period ends.

Beginning February, “Oscars Designer Challenge: Behind the Dress,” a web series documenting the competition will be on oscar.com. The winning design will be announced first during “Oscar’s Red Carpet 2009,” the live arrivals show that will air on ABC beginning at 5 p.m. PT on February 22.

In addition to having his or her winning design worn on the live telecast, the winning designer will receive two tickets to attend the Oscars ceremony.

A team of expert hairstylists and makeup artists from Roy Teeluck Salon prepared the models for their high-fashion stroll down the runway today.

Diamonds courtesy of Diamond in the Rough, William Goldberg, Martin Katz, Neil Lane, Fred Leighton, Stephen Russell and Ivanka Trump provided the glitter for the runway show. Stuart Weitzman’s shoes completed the ensembles.

FOR YOUR CONSIDERATION

2008-08-02T16:03:00.000-07:00

A female cinematographer may vie for Oscar.

Maryse Alberti ('The Wrestler') or Mandy Walker ('Australia') could become the first woman to take home the Academy Award.
Oscar quiz:
Who was the first woman to win an Academy Award for cinematography?
Answer:
Trick question. A female director of photography has never even been nominated in the category -- which is why it's remarkable that two female cinematographers are creating Oscar buzz this year: Maryse Alberti for "The Wrestler" and Mandy Walker for " Australia."

"The Wrestler," directed by Darren Aronofsky and starring Mickey Rourke, is an intimate story filmed almost entirely with one hand-held camera during a down-and-dirty seven-week shoot. Director Baz Lurhmann's "Australia" is a technically complex epic that required six-camera setups and took eight months to film. The women who lensed these pictures are as different as the projects themselves.

Alberti, who lives in New York with her husband and teenage son, has worked on such films as "Happiness" and "Velvet Goldmine," but it's her extensive documentary background on projects like "Enron: The Smartest Guys in the Room" and "Crumb" that excites her the most. "I love documentary because you enter all the small worlds that the world is made up of," she says. "The pleasure of making movies is to have your eye in that little rectangle, and when it works, it's a high."

That quest for experience is a defining trait for her. Alberti fled the confines of a small French village as a naive 19-year-old who longed to see Jimi Hendrix in concert in America, but Hendrix died while she was en route. She ended up hitchhiking the U.S. for three years, hanging out at small airports and talking her way onto private planes. The Instamatic she took on her travels developed into a love of photography and, in New York, she began snapping rock bands, then stills on X-rated film sets. From there, she made a leap to cinematography and turned her passion to docs, often wielding her own 16-millimeter camera. It was that cinéma vérité aesthetic and her "rock 'n' roll" attitude that caught Aronofsky's eye and has insiders talking about a nomination for the raw emotion she captured from Rourke.

"We were really shooting from the hip," Aronofsky says. "We'd see what [Rourke] was doing and respond. It wasn't about the perfect lighting, it was about creating an atmosphere that was completely naturalistic. Doing natural is a very difficult thing . . . it's underrated how difficult it is."

While Alberti is free-flowing and in the moment, Mandy Walker is all about preparation. "I like to be really well planned," says the no-nonsense Australian, who took on the biggest project of her career with "Australia."

Walker, a native of Melbourne who now spends most of her time in L.A. with her husband and 10-year-old daughter, knew she wanted to be a cinematographer by the time she was 15. At 18, she left school to become a runner on a film set and methodically worked her way up through the camera department, shooting her first feature at 25. She met Lurhmann in 2004 when he hired her to film his Chanel No. 5 commercial starring Nicole Kidman. Walker says working with Lurhmann means being prepared to improvise. "We would have a basic plan, and then he would come on set and something would happen and he would go, 'Where is that crane?' And we would have a 40-foot crane and a 25-foot crane all ready." But, she adds, the extensive location shooting in remote areas made that kind of foresight a challenge. "The most intense part of the shoot is getting those shots when we're in the middle of a salt pan and hundreds of miles from any town and we just had to make it work," she says, pointing out that at times the crew lived in a 250-tent compound. "It was an amazing experience."

Alberti and Walker agree that gender has not affected their success, and, while women are rare in their field, their work has been judged on merit. Walker says that while "absolutely there would be something special" about being the first woman to win an Oscar for cinematography, she doesn't dwell on being in a male-dominated profession. "I actually never think about it until someone asks me the question," she says. "I just feel that I'm employed because I'm good at my job. I never took it on as a gender issue."

While Alberti concurs, she admits at the beginning of her career there was sometimes the question of, "Can the little lady handle the big lights?" But she quickly formed a pragmatic comeback that proves success as a DP is more about brains than brawn. "I had to say, 'The little lady doesn't carry the big lights,' " she recalls with a laugh. "She points and the big guys carry the lights."
by Anita Chabria

Tunnel Post unveils the Cinevator: ”Direct-to-Print”

2008-07-14T07:13:00.000-07:00

During last Friday night open house, Tunnel Post unveiled it’s new acquisition, the Cinevator, to a crowd of selected guests and industry helmers. The Cinevator is the first and only real time digital film recorder and film printer integrated into one machine. With the Cinevator, Tunnel Post craftsman’s can turn a digital master into a 35mm positive print including sound and subtitles in one pass-all in real time. Direct-to-Print is the ultimate process for today and tomorrow’s market. The Cinevator is ideally suited for all those limited releases, premium prints and festival screenings. Tunnel Post uses Film Master grading and finishing system and DVO image enhancement tools by Digital Vision to anchor its DI workflow, which starts with fast, pin registered 2K or 4K scanning on the Cintel Ditto and finishes on the Cinevation’s real time, direct- to- print film recorder, the Cinevator.

The Cinevator offers supreme color fidelity, image uniformity, dynamic range and recording speed on intermediate film stocks. Its capability to record in real time (24fps) razor-sharp images without flare or noise outperforms any other recording technology on the market. Cinevator Direct-to-Print represents a breakthrough in speed, image quality, performance and reliability replacing at 2K resolution and 50lp/mm direct to the screen, 5 traditional machines, namely the negative /interneg intermediate film recorder, the contact printer, the subtitle machine, the sound camera and negative /intermediate cleaner. The Cinevator makes at command, all digital prints with sound and subtitles.

Evan Edelist, Cinevation Business Development for North America, hosted the Tunnel Open House. Among the invited guests were Collete Scott and Peter Boyce-Eastman Kodak, David Mack-V.P Departure Studios, Mark Gantt and Jesse Warren writer/producers, Jeff Vangrov Modern Muse Productions, Kathyrin Soler Co-Producer of The Art of Travel, Joseph Weisman from JNW Films, John Roach from Rokskul Entertainment, Jacob Golblatt from Catchphrase Entertainment, Michael Hoffman, editor from Bongiovi Entertainment and others.

Tunnel's light shines bright in 2008 as the company expands its operations. Created for filmmakers by filmmakers, Tunnel has the mind-set of a producer so they can meet the producer's needs. Founded by Kyle Jackson and Alan Pao, TUNNEL specializes in the creation and delivery of high-end media content, including feature films, television programs, live concerts, commercials, music videos, and trailers. TUNNEL had a breakthrough year in 2006, as we were heavily involved in almost 30 projects adding up to $30 Million in production and postproduction business. TUNNEL was formed in response to the exorbitant cost of digital intermediate and color correction for the independent film market in 2003. Current film projects include "You Kill Me" starring Ben Kingsley, Tea Leoni, and Luke Wilson, and "How to Rob a Bank" starring Ericka Christensen, Nick Stahl and Gavin Rossdale. They are also slated for another season on three television shows: American Dragster for ESPN 2, Build or Bust for TLC, and Setup for the Speed Channel. Maximizing their investor's dollar through the strength of their vertical integration, they have produced a string of films in 2006 that have already shown positive returns. These films include The Art of Travel, Loaded, 7-10 Split, Senior Skip Day, and Toxic.
For more info, http://tunnelpost.co m/ - info@tunnelpost.com
http://www.cinevation.net - evan.edelist@cinevation.net

ASC Names Feature Film Nominees for Outstanding Achievement Award

2008-08-02T18:27:00.000-07:00

Roger Deakins, ASC, BSC (Revolutionary Road/ The Reader)
Anthony Dod Mantle, BSC (Slumdog Millionaire)
Chris Menges, ASC, BSC (The Reader)
Claudio Miranda (The Curious Case Of Benjamin Button)
Wally Pfister, ASC (The Dark Knight)
These five cinematographers are the finalists in the feature film category of the 23rd Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards competition. The recipient will be named during the awards celebration here at the Hyatt Regency Century Plaza Hotel on February 15.

“This annual celebration is our way of letting our colleagues from around the world know that their peers in the ASC recognize their inherent visual talent and spirited ability to get compelling stories on the screen in this collaborative art form,” says ASC President Daryn Okada. “We also hope this celebration inspires generations of filmmakers to follow their dreams.”

These are the eighth and ninth nominations for Deakins who earned top honors in 1995 for The Shawshank Redemption and in 2002 for The Man Who Wasn’t There. It’s the fourth nomination for Menges, the second for Pfister, and the first for Dod Mantle and Miranda.

“Artful cinematography is generally meant to be transparent to audiences but there are countless visual nuances that help to create a sense of time and place, while evoking emotional responses that are in tune with the intentions of the actors and directors,” says ASC Awards Committee Chairman Michael Goi, ASC. “In the opinion of their peers, who considered hundreds of movies, these five extraordinarily talented individuals have set the contemporary standard for artful cinematography in a very competitive fi eld.

WORLD'S FIRST 4K 3D DIGITAL CINEMA CAMERA SYSTEM

2009-03-02T10:31:00.000-08:00

World's First 4K 3D Digital Cinema Camera System For Studio, Location, and Underwater Filming With RED Cameras

Liquid Pictures, a pioneer in 3D stereo production and cinematography, today announced the world's first camera system utilizing RED Digital Cinema cameras capable of shooting 4K 3D footage on land, underwater, and macro 3D.

Liquid Pictures is one of the most experienced production companies currently working in 3D films and television, producing and collaborating on projects for many of the world’s leading media companies. Our expertise spans stereoscopic production; from designing 3D camera systems, refining shooting techniques and 3D workflow to final screen presentation in 3D theaters and homes. The proprietary Liquid Pictures 4K 3D Digital Cinema Camera System™ stands among the most advanced in the world. Liquid Pictures has contributed to several landmark 3D films, including Ghosts of the Abyss 3D, U2 3D, Journey to the Center of the Earth, and Wild Ocean 3D. Our production team has also created, shot, and produced specials and hit series for major TV networks.

The proprietary Liquid Pictures 4K 3D Digital Cinema Camera System is uniquely built with an unprecedented range of acquisition options, including the world's first Digital 3D underwater beam splitter housing.
"We're committed to producing mainstream 3D films and content that will entertain audiences with an immersive stereoscopic experience. Until now there was no all-in-one 3D camera system capable of wet or dry in a beam splitter configuration," said D.J. Roller, founder of Liquid Pictures. "Because we're working on 3D features, commercials, and films for 3D IMAX theaters, we needed a completely self contained system capable of shooting a spectacular vista, Hollywood action sequences, or a fingernail-sized creature at the bottom of the ocean."

After months of rigorous test shoots, the camera system proved itself last fall on a seven-week expedition to Micronesia during principal photography of a soon-to-be-announced 3D film co-produced by Liquid Pictures. Roller and his production team shot over a hundred hours of 4K 3D footage on location in jungles, aboard camera boats, and under water with the new camera system. Other industry firsts for the camera system include acquisition of 4K 3D macro footage, live real-time 3D monitoring and full wireless microwave control of camera functions--all underwater.

Roller's design was executed by a specialized team of engineers tasked with creating a streamlined process for manufacturing multiple units on demand and "future proofing" the system for compatibility with upcoming RED cameras such as the EPIC and Scarlet. The Liquid Pictures 4K 3D Digital Cinema Camera System can also be adapted to use SonyF35, Phantom HD, and Phantom 65 cameras.

"This new camera system removes old boundaries, freeing us to take audiences on fantastic adventures and tell incredible stories in a whole new way," added Roller. "3D makes the screen disappear and transports you to another world."
For more information visit http://www.liquidpictures3d.com/

LOOKING THROUGH A DIRECTOR'S VIEWFINDER

2009-08-14T11:53:00.000-07:00

A Short Story about Director's Viewfinders

In the beginning, capturing the vision that directors have in their heads and communicating it to the cameraman was inefficient and the movie director used his hands and a good deal of imagination to frame the shots. As time progressed and technology developed, he would "borrow" the viewfinder located on the side of the early motion picture camera. Later, a version of the famed Mitchell camera viewfinder was used. Eventually, directors and cinematographers with a sufficient amount of clout at the studios asked studio machine shops to make an optical device or viewfinder that would come close to simulating set-ups as seen by the camera lens.

An early wooden and brass director's viewfinder

Viewfinder with cut-out mattes

Armed with these early viewfinders, they used cut-out mattes to represent the focal lengths of various lenses. The studio machine shops even developed a zooming device for use with the early viewfinders. Several versions of directors viewfinders were developed during this time. Just after World War II in 1946, Tewe, a German optical company, developed a small viewfinder which could be hung around the neck. It was soon being used and worn by directors and D.P.'s throughout the motion picture industry around the world.

Orson Wells and Cinematographer Gregg Toland
line up a camera angle using a Mitchell viewfinder
on the set of "Citizen Kane" in 1940

Tewe Director's Viewfinder Model 3B, circa 1970

With the introduction in the 1960's of wide angle prime lenses and the 25-250mm Angenieux zoom, the Model 3B could not be used to accurately simulate the new 10:1 zoom ratio.

In 1975, Alan Gordon Enterprises in Hollywood, California started the development of what would become the 10:1 Mark IV Directors Viewfinder. The Mark IV was introduced at the S.M.P.T.E. conference and trade show in 1979. This was the beginning of the modern day Director's Viewfinder. Subsequent updated models have been the Mark V, introduced in 1991 and the current Mark Vb model in 2005. In addition to its 10:1 zoom range, the Mark IV featured windows through which the director could easily see the lens focal length he was considering. These windows represented 16, 35 & 35 anemographic formats, and gave the cinematographer instant information about lens focal length and scene framing.

Mark IV evolved into Mark V Director's Viewfinder in 1987. With the Mark V, Alan Gordon Enterprises introduced an enhanced 12:1 zoom range, a wider angle capability, and two additional windows covering Super 16, 1/2" & 2/3" video formats.

TODAY'S DIRECTOR VIEWFINDERS

The Mark Vb Director's Viewfinder represents the industry's state-of-the-art. It precisely defines choice of lenses, angles and coverage in a wide variety of formats for both film and video. The Mark Vb enables film profesisonals to communicate their visions to each other instantly and with complete accuracy, allowing the time saved to be used in the art of filmmaking. With a 12:1 zoom ratio, the Mark Vb Director's Viewfinder addresses all framing situations, making it an essential tool for today's professional filmmaker. Setting up shots using the 16mm and 35mm direct-reading windows provides a wide range of film and video formats including 2/3", and Super 16.

Michael Bay's retrofitted and engraved Mark VB by Panavision

Cavision VFC52PL with Arri PL bayonet mount for
35mm standard lenses with extension eyepiece

The Fries/Mitchell "Special Effects 35mm Director's Viewfinder" is a highly costomizable and flexible system. The standard finder comes with your choice of lens mount, Arri-PL, Panavision or BNC-R, (1) ground glass, handle, rubber eyecup and case. The mount is easily changed and re-centered for Standard and Super 35 formats. Inside the finder is a set of registration pins to hold a film clip.

The Panavision Mini-DV Director’s Viewfinder, made in Australia, uses Panavision Millennium 35mm camera ground glasses. The ground glass image can be viewed through a colour viewfinder or flip-out colour LCD monitor and instantly recorded to high quality digital video or stills. An on-board microphone enables the recording of location sound or commentary. An additional video monitor can be fed from its video out connector. The unit has a FireWire connector so that your video and still images can be easily transferred to computer. Power is supplied by an on-board Canon camcorder battery. An infrared remote control is included for convenient playback control. Available in PV or PL lens mount, the Panavision Mini-DV Director’s Viewfinder will make a valuable addition to your next shoot.

Denz OIC-35mm Director's Viewfinder

This high-end director's veiwfinder allows you to use your actual camera lens to view and set shots. The OIC-35 is a precise instrument which was conceived for the rough environment of a film shoot, the housing is a light alloy, hermetically sealed and fitted with a 54 PL mount (BNC socket available).

Features: Specially computed and designed optical light path. Ergonomic eyepiece with diopter balance from -4 to +4 . Eyepiece adjustable for right or left eye. Ergonomically designed cherry wood handle, for left or right hand or universal grip. Carrying belt, made of fine nappa leather. Delivered without ground glass (Arri 435/535)

The UltiMate 16 Kish Optics Director viewfinder

The UltiMate 16 is a director's finder that features multiple 16mm camera-type/format-type ground glasses, interchangeable lens mountings, an optional 1/2" CCD-ready B&W or color video-tap, and provides in-the-view-finder images that are "full-frame." The video-tap (12V power supplied by on-board batteries or an external source), gives behind-the-scene parties the opportunity to view and comment on the shot. Used for location scouting or scene testing, the UltiMate can record specific shots, then return to the production facility for playback and analysis. On the set, the UltiMate finder can help set up the next shot while the current set is being filmed.

Courtesy of Allan Gordon Enterprises

OLD SCHOOL, NEW SCHOOL. MANY VISIONS, ONE VOICE.

2009-08-13T10:10:00.000-07:00

A terrific documentary....with a cast of brilliant minds
Better than a $2,500 creativity workshop..

Steven Fischer, a two-time Emmy nominated documentary filmmaker, is traveling the United States in search of meaningful conversations with master storytellers.

OSNS collects intimate conversations between Fischer and master storytellers from all disciplines (dance, music, literature, cinema, etc.) into a cinematic study that explores how an artist can reach his full creative potential. The conversations center on three major themes: how to find your own voice, taking risks, and defining success in the arts. These accomplished artists offer engaging insights and generous wisdom, sharing a lifetime of real-life lessons learned about the essential matters every serious storyteller wants and needs to ponder.

The incisive on-screen questions by Steve Fischer and the revealing answers from the cast of brilliant minds participating in the documentary engage any viewer in a participatory way. The answers reveal an insight of their creativity process as individuals and they become the master advice to anybody who is searching their creative path and probably life purpose.

Although OLD SCHOOL, NEW SCHOOL is still a work in progress, the message becomes very personal to the audience and after the editing process is done, the sequential inter-cutting of questions & answers could become an anticipatory progression to a climax. There is a final answer to achieve your goals? There is a golden key or a template?. Or taking risks while you are trying to succeed is the answer?.

FEATURING:

WILLIAM FRAKER, ASC - six-time Oscar nominated cinematographer of "Rosemary's Baby", "Bullitt", "War Games", "The Freshman". Select ON-DEMAND to watch a portion of the interview with Mr. Fraker.

EMANUEL AZENBERG - Tony Award winning Broadway producer of "Rent", "Brighton Beach Memoirs", "Biloxi Blues", "Long Day's Journey Into Night".

BEN JONES - actor "The Wonderful World of Disney", "As the World Turns", "The Daily Show", most recognized as Cooter from "The Dukes of Hazzard".

KIRSTIE SIMSON - Britain's celebrated dance artist. Simson teaches and performs throughout Europe, Asia, and North America.

JOHN BAILEY, ASC - Legendary Hollywood cinematographer of "American Gigolo", "The Producers", "In the Line of Fire", and "He's Just Not That Into You". Select ON-DEMAND to watch a portion of the interview with Mr. Bailey.

JAMES RAGAN - acclaimed poet and former head of USC's Professional Writing Program.

SAM McCREADY - renowned Yeats scholar and playwright. Former teacher of Liam Neeson, Kenneth Branagh, Kevin Spacey.

OLD SCHOOL, NEW SCHOOL, marketing and distribution strategy for completion funds seems more altruistic than solely commercial. At key presentations, the original interviewees are invited for a Q&A talk and in their absence another brilliant guest panel is invited for the Q&A talk to dissect creativity and other issues from own their perspective. All panels are composed by high caliber creative people at the top of their totem pole providing fantastic inside vision of the creative process. The screening and the Q&A portion is a motivational and educational evening for personal enrichment. I would summarize it as better than any $2500 creative workshop offered often around Hollywood or New York City.

The last screening of OLD SCHOOL, NEW SCHOOL to which I was fortunate to attend was organized by Hollywood Shorts, Kimberley Browning. The Q& A panel was a chuck full of creative wisdom and experience composed by Brett Pasel (author Mommies who Drink), Mark Goffman (producer Law & Order: SVU), Steve Melendez (producer The Lion, the Witch & the Wardrobe; Peanuts, Garfield), Mike Polcino (director The Simpsons, Family Guy) and moderated by Steve Fischer.

Steven Fischer conferencing at

Bill Melendez Productions

For more information.
http://www.facebook.c om/group.php?gid=65733078199

NEW! ROSCO iGOBO APPS FOR iPHONE AND iPOD TOUCH

2009-08-15T11:33:00.000-07:00

By George Leon
Courtesy of Chris Alexander, Rosco Canada

The iPhone and iPod Touch shines again as a tool for the Cinematographer and the Lighting Designer.In past postings I called the iPhone and the iPod "The Swiss Army Knife for the Cinematographer" given to the many new apps available to the operating cameraman, director of photography and lighring designer. For the Camera Department, we count with the Depth of Field (DOF) Calculator, the Footage Calculator, the Aspect Ratio Calculator, the Lens Angle Calculator, and a gaffer's delight, the Power Load Calculator.

For the Lighting Department, the Rosco iGobo for iPhone and iPod Touch is the perfect tool for lighting designers, technicians and creative directors on the go. Containing the entire Rosco gobo library of more than 2300 images, iGobo makes it easy to browse, compare and select steel, glass or effects gobos, black and white or color, no matter where you are -- in your studio, at the tech table, in a design meeting or even in transit. iGobo uses the familiar look and feel found on the Rosco Gobo Website and printed catalog, with gobos sorted into helpful categories and shown along side similar, related images. The app defaults to the same order and layout found in the Rosco Gobo Catalog, but you can re sort by gobo code or name or by category

Your most recently browsed gobos are always available for review in case you want to go back to something you know you saw before. A comprehensive table of keywords helps you to zero in on the right gobo. Choose any 2 gobos to compare side by side, replacing one or both images quickly and easily. When you find something you like, add it to a Favorites list so you can recall it at another time. Make notes about how you might use it, or on what project. Finally the powerful search finds gobos by name, code, category, keyword, designer name or even the DHA gobo code familiar to many designers in Europe and Asia. And of course all of the iPhone’s magical gestures have been implemented allowing you to flick back and forth among gobos, rotate or reposition them with a simple twist of your finger and double tap into new screens.

FEATURES
More than 2300 gobo designs in steel and glass, b/w, full color and iPro images
Crisp clear thumbnails and brilliant full screen images
Arranged by category and easily sorted by code, name, category or catalog order
Search by name or code
Rotate or spin gobos with the flick of your finger
Compare any two designs
Store your selections as a Favorite’s list for easy recall later

Rosco iGobo for iPhone and iPod Touch is the perfect tool for lighting designers, technicians and creative directors on the go. Containing the entire Rosco gobo library of more than 2300 images, iGobo makes it easy to browse, compare and select steel, glass or effects gobos, black and white or color, no matter where you are -- in your studio, at the tech table, in a design meeting or even in transit. iGobo uses the familiar look and feel found on the Rosco Gobo Website and printed catalog, with gobos sorted into helpful categories and shown along side similar, related images.

The app defaults to the same order and layout found in the Rosco Gobo Catalog, but you can re sort by gobo code or name or by category Your most recently browsed gobos are always available for review in case you want to go back to something you know you saw before. A comprehensive table of keywords helps you to zero in on the right gobo. Choose any 2 gobos to compare side by side, replacing one or both images quickly and easily. When you find something you like, add it to a Favorites list so you can recall it at another time. Make notes about how you might use it, or on what project. Finally the powerful search finds gobos by name, code, category, keyword, designer name or even the DHA gobo code familiar to many designers in Europe and Asia. And of course all of the iPhone’s magical gestures have been implemented allowing you to flick back and forth among gobos, rotate or reposition them with a simple twist of your finger and double tap into new screens.

For other lighting control and lighting color changing applications for the iPhone and iPod read more "The Next Swiss Army Knife for the Cinematographer"
For more information about Rosco