OSCAR AWARDS 2012. VFX CONSIDERATIONS
15 Features in Line for VFX Oscar®
Beverly Hills, CA – The Academy of Motion Picture Arts and Sciences today announced that 15 films have been selected for consideration for Achievement in Visual Effects for the 84th Academy Awards®.
The films are listed below in alphabetical order:
"Captain America: The First Avenger"
"Cowboys & Aliens"
"Harry Potter and the Deathly Hallows Part 2"
"Hugo"
"Mission: Impossible – Ghost Protocol"
"Pirates of the Caribbean: On Stranger Tides"
"Real Steel"
"Rise of the Planet of the Apes"
"Sherlock Holmes: A Game of Shadows"
"Sucker Punch"
"Super 8"
"Thor"
"Transformers: Dark of the Moon"
"The Tree of Life"
"X-Men: First Class"
In early January, the members of the Academy's Visual Effects Branch Executive Committee, who selected the 15 films, will narrow the list to 10.All members of the Visual Effects Branch will be invited to view 10-minute excerpts from each of the 10 shortlisted films on Thursday, January 19. Following the screenings, the members will vote to nominate five films for final Oscar consideration.
ACADEMY AWARDS TIMELINE
Tuesday, December 27, 2011. Nominations ballots mailed
Friday, January 13, 2012. Nominations polls close 5 p.m.PT
Tuesday, January 24, 2012. Nominations announced 5:30 a.m.PT, Samuel Goldwyn Theater
Wednesday, February 1, 2012. Final ballots mailed
Monday, February 6, 2012. Nominees Luncheon
Saturday, February 11, 2012 Scientific and Technical Awards presentation
Tuesday, February 21, 2012 Final polls close 5 p.m.PT
Sunday, February 26, 2012. 84th Academy Awards presentation
The 84th Academy Awards nominations will be announced live on Tuesday, January 24, 2012, at 5:30 a.m. PT in the Academy's Samuel Goldwyn Theater.Academy Awards for outstanding film achievements of 2011 will be presented on Sunday, February 26, 2012, at the Kodak Theater at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide.
SUNDANCE ANNOUNCES FILMS IN COMPETITION FOR 2012
Park City, UT — Sundance Institute announced the films selected for the U.S. and World Cinema Dramatic and Documentary Competitions of the 2012 Sundance Film Festival. The Sundance Film Festival will take place January 19 through 29 in Park City, Salt Lake City, Ogden and Sundance, Utah. The complete list of films is available at www.sundance.org/festival.
Robert Redford, Founder and President of Sundance Institute remarked, “We are, and always have been, a festival about the filmmakers. So what are they doing? What are they saying? They are making statements about the changing world we are living in. Some are straight-forward, some novel and some offbeat but always interesting. One can never predict. We know only at the end, and I love that.”
John Cooper, Director of the Sundance Film Festival, said, “In these challenging economic times, filmmakers have had to be more resourceful and truly independent in their approaches to filmmaking. Looking at this year’s submissions, the result is more fully realized visions and stronger stories; we are proud to see the Festival emerging as a key indicator of the health and creativity of our filmmaking community. The overall quality of the films in the 2012 Competition section will make for an exciting Festival and a remarkable year ahead for independent film audiences everywhere.”
For the 2012 Sundance Film Festival, 112 feature-length films were selected, representing 29 countries and 44 first-time filmmakers, including 24 in competition. These films were selected from 4,042 feature-length film submissions composed of 2,059 U.S. and 1,983 international feature-length films. 89 films at the Festival will be world premieres.
In addition to the four Competition categories, the Festival presents feature-length films in six out-of-competition sections. Films in the Spotlight, Park City at Midnight, NEXT <=> and New Frontier sections will be announced on December 1. Films in the Premieres and Documentary Premieres sections will be announced on December 5.
On Day One, the Festival will screen one narrative film and one documentary from both the U.S. and World Cinema competitions, as well as one shorts program.
Keri Putnam, Executive Director of Sundance Institute, said, “The enthusiasm and optimism of John Cooper and his programming team this year is infectious; we are all excited to unveil and experience their selections for the 2012 Sundance Film Festival. On behalf of my colleagues at the Sundance Institute we are pleased to introduce new storytellers to our audience, welcome new and returning filmmakers to the Festival and kick off a lively cultural dialogue for 2012.”
U.S. DRAMATIC COMPETITION
The world premieres of 16 American narrative feature films.
Beasts of the Southern Wild / U.S.A. (Director: Benh Zeitlin, Screenwriters: Benh Zeitlin, Lucy Alibar) — Waters gonna rise up, wild animals gonna rerun from the grave, and everything south of the levee is goin’ under, in this tale of a six year old named Hushpuppy, who lives with her daddy at the edge of the world. Cast: Quvenzhané Wallis, Dwight Henry.
The Comedy / U.S.A. (Director: Rick Alverson, Screenwriters: Rick Alverson, Robert Donne, Colm O'Leary) — Indifferent even to the prospects of inheriting his father's estate, Swanson, a desensitized, aging Brooklyn hipster, strays into a series of reckless situations that may offer the promise of redemption or the threat of retribution. Cast: Tim Heidecker, Eric Wareheim, Kate Lyn Sheil, Alexia Rassmusen, Gregg Turkington.
The End of Love / U.S.A. (Director and screenwriter: Mark Webber) — A young father unravels following the loss of the mother of his child. Cast: Mark Webber, Shannyn Sossamon, Michael Cera, Jason Ritter, Amanda Seyfried, Frankie Shaw.
Filly Brown / U.S.A. (Directors: Youssef Delara, Michael D. Olmos, Screenwriter: Youssef Delara) — A Hip Hop-driven drama about a Mexican girl who rises to fame and consciousness as she copes with the incarceration of her mother through music. Cast: Lou Diamond Phillips, Gina Rodriguez, Jenni Rivera, Edward James Olmos.
The First Time / U.S.A. (Director and screenwriter: Jonathan Kasdan) — Two high schoolers meet at a party. Over the course of a weekend, things turn magical, romantic, complicated and funny, as they discover what it's like to fall in love for the first time. Cast: Britt Robertson, Dylan O'Brien, Craig Roberts, James Frecheville, Victoria Justice.
For Ellen / U.S.A. (Director and screenwriter: So Yong Kim) — A struggling musician takes an overnight long-distance drive in order to fight his estranged wife for custody of their young daughter. Cast: Paul Dano, Jon Heder, Jena Malone, Margarita Levieva, Shay Mandigo.
Hello I Must Be Going / U.S.A. (Director: Todd Louiso, Screenwriter: Sarah Koskoff) — Divorced, childless, demoralized and condemned to move back in with her parents at the age of 35, Amy Minsky's prospects look bleak – until the unexpected attention of a teenage boy changes everything. Cast: Melanie Lynskey, Blythe Danner, Christopher Abbott, John Rubinstein, Julie White. DAY ONE FILM
Keep the Lights On / U.S.A. (Director: Ira Sachs, Screenwriters: Ira Sachs, Mauricio Zacharias) — An autobiographically inspired story of a passionate long-term relationship between two men driven by addiction and secrets but bound by love and hopefulness. Cast: Thure Lindhardt, Zachary Booth, Julianne Nicholson, Souleymane Sy Savane, Paprika Steen.
LUV / U.S.A. (Director: Sheldon Candis, Screenwriters: Sheldon Candis, Justin Wilson) — An orphaned 11-year-old boy is forced to face the unpleasant truth about his beloved uncle during one harrowing day in the streets of Baltimore. Cast: Common, Michael Rainey Jr., Dennis Haysbert, Danny Glover, Charles S. Dutton.
Middle Of Nowhere / U.S.A. (Director and screenwriter: Ava DuVernay) — When her husband is incarcerated, an African-American woman struggles to maintain her marriage and her identity. Cast: Emayatzy Corinealdi, David Oyelowo, Omari Hardwick, Lorraine Touissaint, Edwina Findley.
Nobody Walks / U.S.A. (Director: Ry Russo-Young, Screenwriters: Lena Dunham, Ry Russo-Young) — Martine, a young artist from New York, is invited into the home of a hip, liberal LA family for a week. Her presence unravels the family’s carefully maintained status quo, and a mess of sexual and emotional entanglements ensues. Cast: John Krasinski, Olivia Thirlby, Rosemarie DeWitt, India Ennenga, Justin Kirk.
Safety Not Guaranteed / U.S.A. (Director: Colin Trevorrow, Screenwriter: Derek Connolly) — A trio of magazine employees investigate a classified ad seeking a partner for time travel. One employee develops feelings for the paranoid but compelling loner and seeks to discover what he’s really up to. Cast: Aubrey Plaza, Mark Duplass, Jake Johnson, Karan Soni.
Save the Date / U.S.A. (Director: Michael Mohan, Screenwriters: Jeffrey Brown, Egan Reich, Michael Mohan) — As her sister Beth prepares to get married, Sarah finds herself caught up in an intense post-breakup rebound. The two fumble through the redefined emotional landscape of modern day relationships, forced to relearn how to love and be loved. Cast: Lizzy Caplan, Alison Brie, Martin Starr, Geoffrey Arend, Mark Webber.
Simon Killer / France, U.S.A. (Director and screenwriter: Antonio Campos) — A recent college graduate goes to Paris after breaking up with his girlfriend of 5 years. Once there, he falls in love with a young prostitute and their fateful journey begins. Cast: Brady Corbet, Mati Diop, Constance Rousseau, Michael Abiteboul, Solo.
Smashed / U.S.A. (Director: James Ponsoldt, Screenwriters: Susan Burke, James Ponsoldt) — Kate and Charlie are a young married couple whose bond is built on a mutual love of music, laughter and... drinking. When Kate decides to get sober, her new lifestyle brings troubling issues to the surface and calls into question her relationship with Charlie. Cast: Mary Elizabeth Winstead, Aaron Paul, Octavia Spencer, Nick Offerman, Megan Mullally.
The Surrogate / U.S.A. (Director and screenwriter: Ben Lewin) — Mark O'Brien, a 36-year-old poet and journalist in an iron lung, decides he no longer wishes to be a virgin. With the help of his therapist and the guidance of his priest, he contacts a professional sex surrogate to take him on a journey to manhood. Cast: John Hawkes, Helen Hunt, William H. Macy.
U.S. DOCUMENTARY COMPETITION
The world premieres of 16 American documentary films.
Ai Weiwei: Never Sorry / U.S.A., China (Director: Alison Klayman) — Renowned Chinese artist and activist Ai Weiwei has garnered international attention as much for his ambitious artwork as his political provocations and increasingly public clashes with the Chinese government.
The Atomic States of America / U.S.A. (Directors: Don Argott, Sheena M. Joyce) — In 2010, the United States announced construction of the first new nuclear power plant in more than 32 years. A year later, a 9.0 magnitude earthquake struck the Fukushima Power Plant in Japan sparking a fierce debate in the U.S. over the safety and viability of nuclear power.
Chasing Ice / U.S.A. (Director: Jeff Orlowski) — Science, spectacle and human passion mix in this stunningly cinematic portrait as National Geographic photographer James Balog captures time-lapse photography of glaciers over several years providing tangible visual evidence of climate change.
DETROPIA / U.S.A. (Directors: Heidi Ewing, Rachel Grady) — The woes of Detroit are emblematic of the collapse of the U.S. manufacturing base. This is the dramatic story of a city and its people who refuse to leave the building, even as the flames are rising.
ESCAPE FIRE: The Fight to Rescue American Healthcare / U.S.A. (Directors: Matthew Heineman, Susan Froemke) — What can be done to save our broken medical system? Powerful forces are trying to maintain the status quo in a profit-driven medical industry, but a movement to bring innovative methods of prevention and healing is finally gaining ground – potentially saving the health of a nation.
Finding North / U.S.A. (Directors: Kristi Jacobson, Lori Silverbush) — A crisis of hunger looms in America and is not limited to the poverty stricken and uneducated. Can a return to policies of the 1970s save our future?
The House I Live In / U.S.A. (Director: Eugene Jarecki) — For over 40 years, the War on Drugs has accounted for 45 million arrests, made America the world's largest jailer and damaged poor communities at home and abroad. Yet, drugs are cheaper, purer and more available today than ever. Where did we go wrong and what is the path toward healing?
How to Survive a Plague / U.S.A. (Director: David France) — The untold story of the intensive efforts that turned AIDS into a manageable condition – and the improbable group of (mostly HIV-positive) young men and women whose amazing resilience broke through a time of rampant death and political indifference.
The Invisible War / U.S.A. (Director: Kirby Dick) — An investigative and powerfully emotional examination of the epidemic of rape of soldiers within the U.S. military, the institutions that cover up its existence and the profound personal and social consequences that arise from it.
Love Free or Die / U.S.A. (Director: Macky Alston) — One man whose two defining passions are in conflict: An openly gay bishop refuses to leave the Church or the man he loves.
Marina Abramović The Artist is Present / U.S.A. (Director: Matthew Akers) — Marina Abramović prepares for a major retrospective of her work at The Museum of Modern Art in New York hoping to finally silence four decades of skeptics who proclaim: 'But why is this art?'
ME at the ZOO / U.S.A. (Directors: Chris Moukarbel, Valerie Veatch) — With 270 million hits to date, Chris Crocker, an uncanny young video blogger from small town Tennessee, is considered the Internet's first rebel folk hero and at the same time one of its most controversial personalities.
The Other Dream Team / Lithuania, U.S.A. (Director: Marius Markevicius) — The 1992 Lithuanian National Basketball Team went from the clutches of Communism to the Summer Olympics in Barcelona – a testament to the powerful role of sports as a catalyst for cultural identity.
The Queen of Versailles / U.S.A. (Director: Lauren Greenfield) — Jackie and David were triumphantly constructing the biggest house in America – a sprawling, 90,000-square-foot palace inspired by Versailles – when their timeshare empire falters due to the economic crisis. Their rags-to-riches-to-rags story reveals the innate virtues and flaws of the American Dream. DAY ONE BILM
Slavery By Another Name / U.S.A. (Director: Sam Pollard) — As slavery came to an end with Abraham Lincoln's Emancipation Proclamation, a new system of involuntary servitude took its place with shocking force, brutalizing, terrorizing and ultimately circumscribing the lives of hundreds of thousands of African Americans well into the 20th century.
We're Not Broke / U.S.A. (Directors: Karin Hayes, Victoria Bruce) — As American lawmakers slash budgets and lay off employees, leaving many people scrambling to survive, multibillion-dollar corporations are concealing colossal profits overseas to avoid paying U.S. income tax. Fed-up Americans are taking their frustration to the streets.
WORLD CINEMA DRAMATIC COMPETITION
Fourteen films from emerging filmmaking talents offer fresh perspectives and inventive styles.
About the Pink Sky / Japan (Director and screenwriter: Keiichi Kobayashi) — A high school girl finds a wallet full of money and tracks down its owner, leading to unexpected consequences for the girl and her friends. Cast: Ai Ikeda, Ena Koshino, Reiko Fujiwara, Tsubasa Takayama, Hakusyu Togetsuan. International Premiere
Can / Turkey (Director and screenwriter: Rasit Celikezer) — A young married couple live happily in Istanbul, but their decision to illegally procure a child threatens their future together. Cast: Selen Ucer, Serdar Orcin, Berkan Demirbag, Erkan Avci. International Premiere
Father's Chair (A Cadeira do Pai) / Brazil (Director: Luciano Moura, Screenwriters: Elena Soarez, Luciano Moura) — Following the trail of his runaway teen son, Theo confronts his own identity as a son, a father and a man along the way. Cast: Wagner Moura, Mariana Lima, Lima Duarte, Bras Antunes. . World Premiere
Four Suns / Czech Republic (Director and screenwriter: Bohdan Sláma) — Immature Fogi attempts to straighten up and accept his responsibilities as a new husband and father, as well as role model to his troubled son from a previous relationship, but finds himself unable to change his nature, leaving him to watch haplessly as his family begins to crumble. Cast: Jaroslav Plesl, Aňa Geislerová, Karel Roden, Jiří Mádl, Klára Melíšková . World Premiere
L / Greece (Director: Babis Makridis, Screenwriters: Efthimis Filippou, Babis Makridis) — A man who lives in his car gets caught up in the undeclared war between motorcycle riders and car drivers. Cast: Aris Servetalis, Makis Papadimitriou, Lefteris Mathaios, Nota Tserniafski, Stavros Raptis. World Premiere
The Last Elvis (El Ultimo Elvis) / Argentina (Director: Armando Bo, Screenwriters: Nicolás Giacobone and Armando Bo) — A Buenos Aires Elvis impersonator who believes that he is the reincarnation of the King struggles to shake free from reality and live his musical dream. Cast: John McInerny, Griselda Siciliani, Margarita Lopez. World Premiere
Madrid, 1987 / Spain (Director and screenwriter: David Trueba) — The balance of power and desire constantly shifts during the meeting of an older journalist and a young student, of two generations completely foreign to one another. Cast: José Sacristán, María Valverde, Ramon Fontserè. International Premiere
My Brother the Devil / United Kingdom (Director and screenwriter: Sally El Hosaini) — A pair of British Arab brothers trying to get by in gangland London learn the extraordinary courage it takes to be yourself. Cast: James Floyd, Saïd Taghmaoui, Fady Elsayed . World Premiere
Teddy Bear / Denmark (Director: Mads Matthiesen, Screenwriters: Mads Matthiesen, Martin Pieter Zandvliet) — Dennis, a painfully shy 38-year-old bodybuilder who lives with his mother, sets off to Thailand in search of love. Cast: Kim Kold, Elsebeth Steentoft, Lamaiporn Sangmanee Hougaard, David Winters, Allan Mogensen. World Premiere
Valley of Saints / India, U.S.A. (Director and screenwriter: Musa Syeed) — Gulzar plans to run away from the war and poverty surrounding his village in Kashmir with his best friend, but a beautiful young woman researching the dying lake leads him to contemplate a different future Cast: Gulzar Ahmad Bhat, Mohammed Afzal Sofi, Neelofar Hamid. World Premiere
Violeta Went to Heaven (Violeta se Fue a Los Cielos) / Chile, Argentina, Brazil, Spain (Director: Andrés Wood, Screenwriters: Eliseo Altunaga, Rodrigo Bazaes, Guillermo Calderón, Andrés Wood) — A portrait of famed Chilean singer and folklorist Violeta Parra filled with her musical work, her memories, her loves and her hopes. Cast: Francisca Gavilán, Thomas Durand, Luis Machín, Gabriela Aguilera, Roberto Farías. International Premiere
Wish You Were Here / Australia (Director: Kieran Darcy-Smith, Screenwriters: Kieran Darcy-Smith, Felicity Price) — Four friends embark on a carefree holiday, but only three return home. Who knows what happened on that fateful night? Cast: Joel Edgerton, Teresa Palmer, Felicity Price, Antony Starr. World Premiere. DAY ONE FILM
WRONG / France, U.S.A. (Director and screenwriter: Quentin Dupieux) — Dolph searches for his lost dog, but through encounters with a nympho pizza-delivery girl, a jogging neighbor seeking the absolute, and a mysterious righter of wrongs, he may eventually lose his mind... and his identity. Cast: Jack Plotnick, Eric Judor, Alexis Dziena, Steve Little, William Fichtner. World Premiere
Young & Wild / Chile (Director: Marialy Rivas, Screenwriters: Marialy Rivas, Camila Gutiérrez, Pedro Peirano) — 17-year-old Daniela, raised in the bosom of a strict Evangelical family and recently unmasked as a fornicator by her shocked parents, struggles to find her own path to spiritual harmony. Cast: Alicia Rodríguez, Aline Kuppenheim, María Gracia Omegna, Felipe Pinto. World Premiere
WORLD CINEMA DOCUMENTARY COMPETITION
Twelve documentaries by some of the most courageous and extraordinary filmmakers working today.
½ REVOLUTION / Denmark, Egypt (Directors: Omar Shargawi, Karim El Hakim) — In January 2011, two filmmakers captured the reality of the Egyptian revolution as it occurred out of view from the world's media in the alleyways and streets away from the square – and in the process were arrested by the secret police. North American Premiere
5 Broken Cameras / Palestine, Israel, France (Directors: Emad Burnat, Guy Davidi) — A Palestinian journalist chronicles his village’s resistance to a separation barrier being erected on their land and in the process captures his young son’s lens on the world. International Premiere
THE AMBASSADOR / Denmark (Director: Mads Brügger) — What happens when a very white European man buys his way into being a diplomat in one of Central Africa's most failed nations? Welcome to the bizarre and hidden world of African diplomacy, where gin and tonics flow and diamond hustlers and corrupt politicians run free. North American Premiere
BIG BOYS GONE BANANAS!* / Sweden (Director: Fredrik Gertten) — The behind-the-scenes story of a full-scale attack on freedom of speech. When Dole set its sights on the WG Film production Bananas!* in May 2009, confusion was the method, aggression was the tactic and media control was the story. North American Premiere
China Heavyweight / Canada, China (Director: Yung Chang) — In central China, where a coach recruits poor rural teenagers and turns them into Western-style boxing champions, the top students face dramatic choices as they graduate – should they fight for the collective good or for themselves? A metaphor for the choices everyone in the New China faces now. World Premiere
GYPSY DAVY / Israel, U.S.A., Spain (Director: Rachel Leah Jones) — How does a white boy with Alabama roots become a Flamenco guitarist in Andalusian boots? A tale of self-invention and the pursuit of happiness, regardless of the cost to others. International Premiere
The Imposter / United Kingdom (Director: Bart Layton) — In 1994 a 13-year-old boy disappears from his home in San Antonio, Texas. Three and a half years later he is found alive thousands of miles away in Spain with a shocking story of kidnap and torture. But all is not what it seems in this tale that is truly stranger than fiction. World Premiere
Indie Game: The Movie / Canada (Directors: Lisanne Pajot, James Swirsky) — Follow the dramatic journeys of indie game developers as they create games and release those works, and themselves, to the world. World Premiere
The Law in These Parts / Israel (Director: Ra'anan Alexandrowicz) — Israel's 43-year military legal system in the Occupied Palestinian Territories unfolds through provocative interviews with the system’s architects and historical footage showing the enactment of these laws upon the Palestinian population. International Premiere
Payback / Canada (Director: Jennifer Baichwal) — Based on Margaret Atwood’s best-selling book, Payback explores how debt is a central organizing principle in our lives – influencing relationships, societies, governing structures and the very fate of this planet. World Premiere
Putin's Kiss / Denmark (Director: Lise Birk Pedersen) — 19-year-old Marsha is a model spokesperson in a strongly nationalistic Russian youth movement that aims to protect the country from its enemies. When she starts recognizing the organization’s flaws, she must take a stand for or against it. North American Premiere
Searching for Sugar Man / Sweden, United Kingdom (Director: Malik Bendjelloul) — Rodriguez was the greatest ‘70s US rock icon who never was. Hailed as the greatest recording artist of his generation he disappeared into oblivion – rising again from the ashes in a completely different context many miles away. World Premiere. DAY ONE FILM
RED SCARLET X AND EOS C300 SHOOT OUT
After the enormous amount of emails I have received (some of them vitriolic of nature) and the controversy created by the debut of the Canon EOS Cinema C300 last Thursday at Paramount Studios in Hollywood, find here a sweet morsel to satisfy all those whom have swear loyalty to the RED Digital Cinema products. But prior walking into Ren-Mar Studios (the new home of RED Digital Cinema in Hollywood) and start a bloody camera shoot-out, I would like to take a moment and reflect on the timely and secretive way Canon has entered the manufacturing race of digital motion picture cinematography equipment after successfully capturing the imagination of millions of consumers with their EOS DSRL line.
The influence of Canon EOS in the consumer and professional photo and video market is now so profound and vast, a whole new multimillion dollar cottage cheese industry developed at blazing speed on the shoulders of the new DSRLs, ranging from all kind of carbon fiber and aluminum brackets to rods and stabilizers, to shoulder rigs and cages, to optical and electronic viewfinders to name a few, and not surprisingly, many of those products today set the support standard in how to capture images around the globe.
As a cinematographer and seasoned photographer in all formats for over twenty years whether on film stock or digital video, I recognize the importance of RED Digital Cinema cameras and its workflow, pushing the envelope of digital cinematography acquisition, creating an exceptional marker that completely paved the way cinematographers define how to capture an image with a large sensor camera in relationship to the dynamic range, look and color fidelity of film stock.
But, the most influential marketing aspect of all large sensor cameras for feature film, episodic TV and TV spot making, (including the RED One, Sony's F35, Arri Alexa, Panavision Genesis, EOS 5D and EOS7D) has been their price point against negative film stock production and its post-production process, including its inherent "instant gratification" which is seeing an "almost final image" right on set. Today, there is not an absolute necessity to wait for film lab processing, work prints, or one light dailies, no more 20-20-20 printer points, or to have your negatives prepped for telecine (but still are many films labs available that will do all the above).
High definition video acquisition and its evolutive workflow have changed at such speed that all post-productions houses and all motion picture rental camera houses are forced today to invest and re-invest thousands of dollars just to keep up with the latest technology. Birns and Sawyer, the oldest motion picture rental house in Hollywood just auctioned all their film cameras, lenses and accessories to welcome new digital cameras for sale and rent to stay competitive. Duart Labs, the oldest film lab on the nation, closed its 35mm processing lab last year. Technicolor acquired Laser Pacific last July to consolidate its post-production services. And the list goes on and on...(Film Goes to the Museum, next week).
So, the arrival of the EOS C300 and the Scarlet X are good news to all of us. Let's go and have a bloody shoot out right on Sunset Boulevard..! I would say, the one left standing is the most creative, regardless of the camera used. Filmmaking after all, is about telling a story, not about how many pixels or megabits I have on my blender, and both cameras deliver a fine picture to hold any storyline. So, today all cinematographers can enjoy more top rated accessible working tools to choose from at a very low price point for whatever we decide to shoot.
Red Digital Cinema entered the camera manufacturing race on 2066 and is just recently coming out with a lower price point ($9,750+) and versatile 4K camera. As for Canon goes, is their first foray into making full fledged cinematography cameras, but as we all now Canon invests millions of dollars on R&D (research and development), hence the EOS line with the 1DX, 5D, 7D, 60D and now we have the C300 ($20,000+) And for these two cameras, the Scarlet X and the C300, this is only the tip of the iceberg. Two new camera systems that soon will be "upgraded" again as its intended market responds.
RED Digital Cinema announced its new Scarlet-X camera on the same day that Canon revealed its EOS C300. The news are still under wraps and the RED community has utterly taken down the company's servers. So the company's CEO has distributed information live to a small crowd. The Scarlet-X has an S35 sensor and the whole camera is essentially "Epic's little sister," with similar functionality. It's capable of 5k stills and 4K video at 25fps. Ratcheting down the resolution to 3K enabled 48fps, 2K gets you 60fps, and at 1K it can handle a whopping 120fps. It can write data at 50mb per second using RED's proprietary "Redcode RAW" format to an SSD via the included slot. The Scarlet-X will retail for $9,750 with a "full kit" chiming in at just under $14k. November 17th is the ship date for the PL mount version.
The C300 on a Steadicam
Canon’s high-performance DIGIC DV III image processor facilitates high-precision gamma processing and smooth gradation expression. In addition to MPEG-2 Full HD (MPEG2 422@HL compliant) compression, the EOS C300/C300 PL employs 4:2:2 color sampling for high-resolution performance that minimizes the appearance of “jaggies” at chroma edges. Additionally, with a maximum recording rate of 50 Mbps, the camera supports the recording of high-quality video.
The C 300 on brand new a run and gun Red Rock Micro Cage.
The Canon EOS C300 PL (PL mount) digital cinema camera is scheduled to be available in late March 2012 for an estimated list price of $20,000. In addition to frame rates of 59.41i, 50.00i, 29.97P, 25.00P and 23.98P, the EOS C300/C300 PL features a 24.00p mode, matching the 24 frame-per-second frame rate of film cameras for high compatibility with common film-production workflows.
The C300 on a compact Letus shoulder mount
C300 Super CMOS Sensor
The Canon EOS C300/C300 PL’s newly developed Super 35 mm-equivalent CMOS sensor incorporates approximately 8.29 million effective pixels and has a pixel size that is larger than that for conventional professional camcorders, enabling greater light-gathering capabilities for enhanced sensitivity and reduced noise. The sensor reads Full HD (1920 x 1080 pixels) video signals for each of the three RGB primary colors, decreasing the incidence of moiré while realizing high resolution with 1,000 horizontal TV lines
For more info visit Red Digital Cinema and EOS Cinema
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CANON UNVEILS THE CINEMA EOS C300 MOTION PICTURE CAMERA AT PARAMOUNT STUDIOS
As per my last posting, I announced the possibility of Canon presenting at Paramount Studios, the new and powerful 1DX DSRL camera, but then I was told last week by Larry Thorpe from Canon USA at the SMPTE conference, that it wasn't anything to do with it, (well, as we all know, the 1DX was already old news), and that it was something much better, something newer, something that was also a top secret, and it was for me to found out at the unveiling of the "secret" at Paramount Studios today.
Well, the secret is out and Canon has entered in the race of making motion picture production equipment for digital cinematography with a new and sophisticated camera, the Cinema EOS C300, an all-new interchangeable-lens digital cinema camera that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today's motion picture industry. Here is the picture of the camera and below are the camera specs and I will be giving an assessment of this new camera during the weeks to come, after taking it for a test ride...if I have a chance.
The camera, which features a newly developed Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor, will be available in two models: the EOS C300 Digital Cinema Camera, equipped with an EF lens mount for compatibility with Canon's current diverse lineup of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras and new EF Cinema Lens lineup; and the EOS C300 PL Digital Cinema Camera*, with a PL lens mount for use with industry-standard PL lenses.
Supported by a heightened signal read-out speed, the CMOS sensor reduces rolling shutter skews, a phenomenon prevalent with CMOS sensors in which fast-moving subjects may appear diagonally distorted. Additionally, the powerful combination of the sensor with Canon's high-performance DIGIC DV III image processor facilitates high-precision gamma processing and smooth gradation expression.
In addition to MPEG-2 Full HD (MPEG2 422@HL compliant) compression, the EOS C300/C300 PL employs 4:2:2 color sampling for high-resolution performance that minimizes the appearance of "jaggies" at chroma edges. Additionally, with a maximum recording rate of 50 Mbps, the camera supports the recording of high-quality video.The camera's video and audio recording file format adopts the industry-standard MXF (Material eXchange Format), an open source file format ideally suited for non-linear editing systems. Recording to versatile, readily available CF cards, the EOS C300/C300 PL realizes high cost-performance and, equipped with two CF card slots, makes possible the simultaneous recording of video data to two CF cards.
The camera is equipped with four start/stop buttons positioned at various locations to satisfy any preferred camera-holding style, and can be outfitted with a variety of third-party accessories, including matte boxes, follow focuses and external video and audio recorders. The unit also achieves seamless integration with third-party editing systems and provides added peace of mind through its dust-proof, drip-proof construction and built-in cooling system. The new camera allows users to adjust image quality to match that of professional camcorders and EOS-series digital SLR cameras, and offers Canon Log Gamma, enabling flat image quality with subdued contrast and sharpness for maximum freedom in post-production editing and processing. In addition to frame rates of 59.41i, 50.00i, 29.97P, 25.00P and 23.98P, the EOS C300/C300 PL features a 24.00p mode, matching the 24 frame-per-second frame rate of film cameras for high compatibility with common film-production workflows.
Other features include fast-motion shooting, achieved by capturing fewer frames per second to create action up to 60x normal speed, and slow-motion down to 1/2.5xii made possible by capturing more frames per second. Frame rates between 1 and 60 frames per second (fps)iii can be adjusted in increments of 1 fps. Additionally, a selection of Custom Pictures lets users freely adjust image quality for greater control over how content looks. Pricing and availability The Canon EOS C300 (EF mount) digital cinema camera is scheduled to be available in late January 2012 for an estimated list price of $20,000.
On the main video screen and on VOD you can watch "Max is Back-Behind The Scenes". Max is Back was written, directed and shot by Richard Crudo, ASC on the C300. Other 3 invited Directors of Photography also shot their commission on the C300 namely, Sam Nicholson ASC, who wrote and shot a stylistic futuristic drama, Felix Alcala, ASC who helmed and lensed a political futuristic struggle and Polly Morgan/Vicent Laforet who delivered a supernatural thriller, but from the four films, I liked more Crudo's character driven story and his use of the camera, lenses and lighting. The films were commissioned to demonstrate the modularity, color fidelity and dynamic range of the camera, but nonetheless a film is a film, a film is a film. Or you shoot it with sense and taste for light, movement and storyline or it ends up being a lost cause. The C300 and the filmmakers delivered, all films yielded a rich color palette to hold their stories.
"Max is Back" has the feel of a larger feature film. Crudo lighted his scenes in a classic film style with rim, back lighting and silhouette for atmosphere and soft or hard key for dialogue adding also a clean and not "colorized daylight photography" (a trendy characteristic while shooting DSRL and over use of DI features) yielding thus a crisp look as intended by the director/DP "...a hard boiled crime story shot on the 70's...". Watch it here (screen above) watch the crew and the C300 in action with commentaries by the filmmakers.
For more info visit, Canon Cinema EOS
Well, the secret is out and Canon has entered in the race of making motion picture production equipment for digital cinematography with a new and sophisticated camera, the Cinema EOS C300, an all-new interchangeable-lens digital cinema camera that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today's motion picture industry. Here is the picture of the camera and below are the camera specs and I will be giving an assessment of this new camera during the weeks to come, after taking it for a test ride...if I have a chance.
The camera, which features a newly developed Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor, will be available in two models: the EOS C300 Digital Cinema Camera, equipped with an EF lens mount for compatibility with Canon's current diverse lineup of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras and new EF Cinema Lens lineup; and the EOS C300 PL Digital Cinema Camera*, with a PL lens mount for use with industry-standard PL lenses.
Show-Stopping High-Resolution Full-HD Performance
The Canon EOS C300/C300 PL's newly developed Super 35 mm-equivalent CMOS sensor incorporates approximately 8.29 million effective pixels and has a pixel size that is larger than that for conventional professional camcorders, enabling greater light-gathering capabilities for enhanced sensitivity and reduced noise. The sensor reads Full HD (1920 x 1080 pixels) video signals for each of the three RGB primary colors, decreasing the incidence of moiré while realizing high resolution with 1,000 horizontal TV linesSupported by a heightened signal read-out speed, the CMOS sensor reduces rolling shutter skews, a phenomenon prevalent with CMOS sensors in which fast-moving subjects may appear diagonally distorted. Additionally, the powerful combination of the sensor with Canon's high-performance DIGIC DV III image processor facilitates high-precision gamma processing and smooth gradation expression.
In addition to MPEG-2 Full HD (MPEG2 422@HL compliant) compression, the EOS C300/C300 PL employs 4:2:2 color sampling for high-resolution performance that minimizes the appearance of "jaggies" at chroma edges. Additionally, with a maximum recording rate of 50 Mbps, the camera supports the recording of high-quality video.The camera's video and audio recording file format adopts the industry-standard MXF (Material eXchange Format), an open source file format ideally suited for non-linear editing systems. Recording to versatile, readily available CF cards, the EOS C300/C300 PL realizes high cost-performance and, equipped with two CF card slots, makes possible the simultaneous recording of video data to two CF cards.
Ready for Action
With a compact body design measuring 5.2 (w) x 7.0 (h) x 6.7 (d) inches, the Canon EOS C300/C300 PL delivers exceptional maneuverability, enabling shooting from vantage points all but inaccessible to large cinema cameras, such as close to the ground for high-impact low-angle shots, and alongside walls. In accordance with on-location shooting needs, the camera can be outfitted with a handle, grip, thumb rest and monitor unit, and offers an array of industry-standard terminals, including HD/SD-SDI video output for the external recording of high-quality video content. When using a WFT-E6B wireless file transmitter for EOS digital SLR cameras (sold separately), the EOS C300/C300 PL can be controlled remotely by means of such common devices as smartphones or tablet PCs.The camera is equipped with four start/stop buttons positioned at various locations to satisfy any preferred camera-holding style, and can be outfitted with a variety of third-party accessories, including matte boxes, follow focuses and external video and audio recorders. The unit also achieves seamless integration with third-party editing systems and provides added peace of mind through its dust-proof, drip-proof construction and built-in cooling system. The new camera allows users to adjust image quality to match that of professional camcorders and EOS-series digital SLR cameras, and offers Canon Log Gamma, enabling flat image quality with subdued contrast and sharpness for maximum freedom in post-production editing and processing. In addition to frame rates of 59.41i, 50.00i, 29.97P, 25.00P and 23.98P, the EOS C300/C300 PL features a 24.00p mode, matching the 24 frame-per-second frame rate of film cameras for high compatibility with common film-production workflows.
Other features include fast-motion shooting, achieved by capturing fewer frames per second to create action up to 60x normal speed, and slow-motion down to 1/2.5xii made possible by capturing more frames per second. Frame rates between 1 and 60 frames per second (fps)iii can be adjusted in increments of 1 fps. Additionally, a selection of Custom Pictures lets users freely adjust image quality for greater control over how content looks. Pricing and availability The Canon EOS C300 (EF mount) digital cinema camera is scheduled to be available in late January 2012 for an estimated list price of $20,000.
On the main video screen and on VOD you can watch "Max is Back-Behind The Scenes". Max is Back was written, directed and shot by Richard Crudo, ASC on the C300. Other 3 invited Directors of Photography also shot their commission on the C300 namely, Sam Nicholson ASC, who wrote and shot a stylistic futuristic drama, Felix Alcala, ASC who helmed and lensed a political futuristic struggle and Polly Morgan/Vicent Laforet who delivered a supernatural thriller, but from the four films, I liked more Crudo's character driven story and his use of the camera, lenses and lighting. The films were commissioned to demonstrate the modularity, color fidelity and dynamic range of the camera, but nonetheless a film is a film, a film is a film. Or you shoot it with sense and taste for light, movement and storyline or it ends up being a lost cause. The C300 and the filmmakers delivered, all films yielded a rich color palette to hold their stories.
"Max is Back" has the feel of a larger feature film. Crudo lighted his scenes in a classic film style with rim, back lighting and silhouette for atmosphere and soft or hard key for dialogue adding also a clean and not "colorized daylight photography" (a trendy characteristic while shooting DSRL and over use of DI features) yielding thus a crisp look as intended by the director/DP "...a hard boiled crime story shot on the 70's...". Watch it here (screen above) watch the crew and the C300 in action with commentaries by the filmmakers.
For more info visit, Canon Cinema EOS
THE STORY UNFOLDS, CANON EOS-1D X
by George Leon
I will be seeing the Canon EOS 1DX camera for first time on Friday at Paramount Studios in an exclusive event hosted by Canon USA. The awaited release of this camera is finally a truly new model from the ground up of the EOS line and it will stand on its own class, becoming thus the flagship camera for Canon for sometime to come. Featuring a full frame 18 megapixels CMOS sensor with 41 cross-type AF points and more, powered by dual Canon's DIGIC 4 image processors and including full HD video with manual exposure control with multiple frame rates. Wow!. But I'm still eager to see how Canon handled other assisting features necessary for cinematography and what improvements are in the input-output signal of the recorded audio on this super camera packed with the latest technology to allow the user take flawless pictures and record superb looking video footage.
Canon has brought the best of the EOS-1D Series of digital cameras into one phenomenal model: the new flagship of the EOS line, the EOS-1D X*. Its full-frame 18.1 Megapixel CMOS sensor and all-new Dual DIGIC 5+ Image Processors deliver high quality image capture at up to 12 fps (14 fps in Super High Speed Mode) and a powerful ISO range of 100 - 51200 (up to 204800 in H2 mode) provides sharp, low-noise images even in the dimmest low-light conditions. An all-new, 61-Point High-Density Reticular AF and 100,000-pixel RGB Metering Sensor that uses a dedicated DIGIC 4 Image Processor, makes the EOS-1D X reach new levels of focus speed and accuracy delivering advanced tracking even for the most challenging shooting situations.
Taken all together, the EOS-1D X's improved HD video capture, numerous connectivity options, combination of processing power and durable construction, including shutter durability tested to 400,000 cycles, make it the ultimate EOS.
The EOS-1D X features a newly developed Canon full-frame 18.1 Megapixel CMOS sensor that's designed from the ground up to create high resolution, perfectly detailed images with unprecedented speed and clarity. A full 24 x 36mm, the sensor captures 5184 x 3456 large individual 6.95 µm pixels and has a much-improved S/N ratio resulting in better images from the start. A new photodiode structure with an increased photoelectric conversion rate increases the sensor's sensitivity by approximately 2 stops over previous models, meaning higher ISOs with the lowest noise of any EOS digital camera. And a 2-line 16-channel simultaneous signal readout means speeds of up to 12 fps (RAW + JPEG) and even 14 fps (Super High Speed Mode) are possible. 14-bit A/D conversion, wide range ISO setting 100-51200 (L: 50, H1: 102400, H2: 204800)
The EOS-1D X not only offers 14-bit signal processing for excellent image gradation, it delivers higher standard and expanded ISOs, and a score of new options to enhance shooting in varied and fast-changing lighting situations. With a standard range of ISO 100-51200, the EOS-1D X represents a 2-stop increase in sensitivity over previous cameras. Thanks to the improved signal-to-noise ratio of the new sensor and powerful noise reduction, the EOS-1D X can shoot at expanded sensitivities down to ISO 50 (L) and up to 102400 (H1), and even 204800 (H2)! Beyond the obvious advantages of its wide ISO range, the EOS-1D X has automatic ISO settings, found on the dedicated ISO menu. Minimum and maximum ISO settings can be specified, as can a user-defined range, plus full auto and manual.
Dual DIGIC 5+ Image Processors for enhanced
noise reduction and blazing processing speed
For more info visit Canon USA
DV EXPO 2011. THE LITTLE BIG EXPO
By George Leon
With the r-evolution of the digital video industry on the last ten years, the technical boundaries that separated the designated pro-sumer analog/digital video market to the professional video market blurred to a point of merging into one. This technical merging, upgraded the short lived pro-sumer digital video equipment market in matter of resolution, color quality and other technical capabilities to a professional level, making it ready for use (out of the box) by the already established ENG /EFP broadcasting industry, the independent corporate producers and independent filmmakers.
Panasonic workshop, Do More With Your Handheld. Get the skinny
on Panasonic's powerful hand-helds AG-HPX250 and AG-AC160.
by Jan Crittenden Livingston
The explosion of creativity and content development brought by independent producers and filmmakers during the last years has been enormous. Mostly all these contributing factors were as consequence to the broad availability of today' s new ways of corporate and individual content distribution, (from viral to cable to theatrical) pushing thus the envelope to the technical specifications for equipment requirements to manufacturers. These new standards on acquisition and post production are not anymore the private domain of the big broadcast networks or multimillion media corporations and their expensive suppliers. Evidently to these, are the new working relationships between the manufacturers and its end users bringing then to market the making of better and more affordable digital video technologies to satisfy the demands of content producers.
Carl Zeiss CP.2 lenses with interchangeable mount allows a mix of
HDSLR systems with traditional cine cameras.
Rather swift has been the changes from the outdated broadcast standard of 4:3 aspect ration (640 x 480) interlaced taped -analog/digital- video to today's mufti-platform standard (even in consumer cameras and consumer post) of 16x9 (1920 x 1080p) HD video to the widely accepted HD-3D video acquisition, post and projection to the newest game changer in the digital video industry, the HDSRL cameras.
Schneider Cine 35 Xenar T2.1 35mm on PL mounted Canon 7D
and a Chroziel rig and matte box.
I believe that trade shows and expos are not just a platform for the latest technology on whatever industry, but also serve as a barometer to measure in how much the attending public (who is a pre-measured demographic target) is willing to embrace the benefits of the showcased items and services. Education about the products and services are core to trade shows and at the DV Expo I found many interesting educational seminars and workshops that certainly would enlighten the understanding of any expert and the uninitiated alike.
Some of them were "Raising the Digital Bar" a Keynote seminar by Jacob Rosenberg CTO and Partner of Bandito Brothers, "What Makes an Amazing Time Lapse" by Colin Rich/ Pacific Media to the "Art of DSRL Video" by Kevin Shahinian/Pacific Pictures and Sony F3 Workshop by Andy Shipsides by Abel Cine Tech and much more. 3 days of inmersive sessions were the attending public can learn the necessary tools to apply into their daily production demands.
A day at the DV Expo 2011
Click here for more information about the Digital Video Expo
SONY F65. A NON PLUS ULTRA CAMERA AT $65K
On Tuesday, September 6 at the DGA theater in Hollywood, California, Sony officially raised the curtain on its flagship digital camera, the F65 CineAlta. The new revolutionary digital motion picture camera system was presented to a selected audience members of the American Society of Cinematographers (ASC), members of the press, local industry professionals and many cinematography products resellers and distributors.
Peter Crithary, Marketing Manager for Production
at Sony Electronics, shows a new F65 feature.
The Rotary Shutter Sony also screened a newly shot F65 footage lensed by Curtis Clark ASC, Paul Babin, Brad Olhund and Kess Van Ostrum ASC, to demonstrate the attributes of the camera, its powerful resolution at 20M 8K sensor, dynamic range and latitude (14 stops) and color reproduction in a variety of extreme lighting conditions on different exterior and interior locations.
Jim Houston from Sony Pictures, Kees Van Ostrum ASC,
Brad Ollhund, Paul Babin
Brad Ollhund, Paul Babin
Sony's Toshi Kawamura rolling out the introductory price of the
F65 system. Toshi brought the price down from $102+
to a mere $65K!!! A figure easy to remember, he said.
To close the presentation, Sony's Toshi Kawamura, announced its roll-out marketing plan lowering the purchase price to a mere $65,000!! (offer good until next Christmas only) from an original component cost of $102+ and included is the viewfinder, a dockable SRMemory recorder and a 1TB SRMemory card. From Los Angeles, the Sony team leaves to Amsterdam to show the F65 camera system to a worldwide audience at the IBC 2011.conference. (follow the IBC 2011 here).
The F65 derives true 4K resolution - and beyond - at the point of image capture. "4K" resolution is 4096 x 2160, which is more than four times greater than the full HD (1920x1080) spec. Its unique 8K image sensor, with approximately 20 total megapixels, offers higher image fidelity than any other digital cinema production camera. With 16-bit Linear RAW File output capability, the F65 creates the gateway to an end-to-end 4K file-based mastering workflow.
Sony revamped its CineAlta logo to indicate infinite quality.
A chronological progression of Sony's CineAlta technology
Alec Shapiro, Senior V.P of Sony’s Professional Solutions
of America Group
"This is the camera Hollywood has asked for, designed specifically for filmmakers," said Alec Shapiro, senior vice president of Sony's Professional Solutions of America group. "The ability to shoot content in true native 4K resolution lets filmmakers capture more of what they're seeing through the lens to fully realize their vision. The F65's incredible imager captures more data, which translates to more information that can be put up on the screen. And access to an open and inclusive platform enables the integration of an F65 file-based workflow into other systems, creating truly exciting, and limitless, production opportunities."The latest enhancements and features are: 14 stops High Dynamic Range with much wider color gamut, a rotary shutter model (F65RS) to remove motion artifacts; four ND Filter built-in with rotary shutter, Wi-fi operation for remote control operation from tablet devices (including the Android-based Sony Tablet S and Apple iPad), HD-SDI output with viewing LUT for on-set monitoring with focus assist zoom, 60 Minutes of 16 bit Linear RAW file recording onto a 1TB SRMemory card at 24FPS, a dockable SRMemory recorder - model SR-R4 - which attaches to the camera to record directly to an SRMemory card of 256 GB, 512 GB or 1TB capacity with data security and sustained throughput of 5.5 Gbps.
Another powerful new capability for the F65/SR-R4 combination is the ability to switch recording between 16-bit linear RAW File and MPEG-4 SStP File modes. Users can configure the camera on a project-by-project basis, selecting either 16-bit linear RAW File for ultimate quality acquisition or high speed operation at up to 120FPS, or MPEG-4 SStP File (HDCAM SR native) for exceptional quality HD recording. MPEG-4 SStP File also provides full compatibility for viewing, offline and post production using either the free Sony PC or MAC viewer or products using the new Sony Software Development Kit.
David Grober, Motion Picture Marine, Chuck Lee, Fujinon Inc
Technology Manager, Mark Miller, SOC attendees to
the F65 presentation
The F65 pre-orders are available in Hollywood at Otto Nemenz International and Band-Pro, Burbank. The camera starts shipping in January 2012. Band-Pro's Sony F65 Introductory Pack at $85,000 includes: A Sony F65 Camera Body with Mechanical Rotary Shutter, HDVF-C35W Color Viewfinder, SR-R4 Digital Recorder, 1x Sony 256MB SRMemory Card, Sony SR-PC4 Data Transfer Unit.
CREATEASPHERE NYC 2011. THE MOST BANG FOR YOUR BUCK
September 21st is ASC & NAB Show Day at Createasphere's Entertainment Technology Expo
September 20-21, 2011 | The New Yorker Hotel | New York, NYThe National Association of Broadcasters (NAB) teams with Createasphere for NAB Show Day
Members of the American Society of Cinematographers throughout the East Coast will gather at the Expo on September 21st for exclusive technology spotlights and a day of ASC activities. Friends of the ASC may join a private ASC breakfast.
JUST ANNOUNCED: Sony to present three hot Intensives at the Entertainment Technology Expo.
3D State of the Business
Whether you produce in 3D or are just considering it, you won’t want to miss this presentation and Q+A. September 20: 1:30-2:30pm, 4:30-5:30pm; September 21: 11:30am-12:30pm
New PMWF3 options, SLOG, and 444
If you are a current PMW-F3 owner or considering this Super 35mm camera you won’t want to miss these updates. September 20: 2:30-3:30pm, 5:30-6:30pm; September 21: 12:30pm-1:30pm
NXCAM Super 35mm and its Breadth of Accessories
See how this Super35 camcorder packs high performance and superb creative tools into a compact, modular body. September 20: 3:30-4:30pm; September 21: 10:30-11:30am, 1:30-2:30pm
Shooting the Breeze with 30 Rock, Rescue Me, Salaam Bombay! and Crazy Heart Cinematographers
(Salaam Bombay!) | (30 Rock) |
A rare opportunity to sit in on a creative conversation with the artists who are making the images and telling the stories we want to watch. Join this lively conversation between Vanja Cernjul (30 Rock), Sandi Sissel, ASC (Salaam Bombay!), Tom Houghton, ASC (Rescue Me) and Barry Markowitz, ASC (Crazy Heart) to hear what cinematographers want to talk about with other cinematographers. American Cinematographer's Iain Stasukevich will keep the action in line and help the audience jump in to the discussion.
Bob Primes, ASC to Present Findings from Single Chip Camera Evaluation (SCCE) - First Public Showing on the East Coast!
Rigorous and impartial image quality evaluations given to major digital cine cameras and 35mm film.
Turner Case Study: Moving From Still Image to HDSLR
Join Christopher Grakal and Mark Hill of Turner Broadcasting System Inc. as they walk you through real work examples of how TBS Inc. photographers are now utilizing HDSLR cameras to bring value to their internal clients across the global enterprise of Turner Broadcasting.
Super Summit 2 - The State of the NLE
The post-production landscape is constantly changing. Come see how the 3 A's (Adobe, Apple, and Avid) offer options for today's creative professional. Presenters: AllCreative New York, MoPICTIV, ProductionConn, and NJ FCP UG.












































