Oscars 2023, 95th Academy Awards

Everything Everywhere All at Once garnered the most Oscars nominations, leading the pack with 11 nominations, and The Banshees of Inisherin and All Quiet on the Western Front followed with nine a piece.

Peer through the lenses of this year's Oscar-nominated cinematographers— James Friend ('All Quiet on the Western Front), Darius Khondji ('Bardo, False Chronicle of a Handful of Truths'),  Mandy Walker ('Elvis'), Roger Deakins (Empire of Light), and Florian Hoffmeister (Tár). From the trenches of World War I to the dazzling stage lights at the Rushmore Civic Center, each film takes you on a visually stunning journey, inviting you to immerse yourself in the world of the story.

Everything everywhere all at once. Michelle Yeoh, The Daniels

Find below, a full list of the 95th Academy Award nominations and winners.

Best Picture

All Quiet on the Western Front

Avatar: The Way of Water

The Banshees of Inisherin


Everything Everywhere All at Once WINNER ⭐

The Fabelmans


Top Gun: Maverick

Triangle of Sadness

Women Talking

Best Director

Martin McDonagh, The Banshees of Inisherin

Daniel Kwan & Daniel Scheinert, Everything Everywhere All at Once WINNER ⭐

Steven Spielberg, The Fabelmans

Todd Field, Tár

Ruben Östlund, Triangle of Sadness

Best Actor

Austin Butler, Elvis

Colin Farrell, The Banshees of Inisherin

Brendan Fraser, The Whale WINNER ⭐

Paul Mescal, Aftersun

Bill Nighy, Living

TÁR Cate Blanchett, Todd Fields

Best Actress

Cate Blanchett, Tár

Ana de Armas, Blonde

Andrea Riseborough, To Leslie

Michelle Williams, The Fablemans

Michelle Yeoh, Everything Everywhere All at Once WINNER ⭐

Best Supporting Actor

Brendan Gleeson, The Banshees of Inisherin

Brian Tyree Henry, Causeway

Judd Hirsch, The Fabelmans

Barry Keoghan, The Banshees of Inisherin

Ke Huy Quan, Everything Everywhere All at Once WINNER⭐

Best Supporting Actress

Angela Bassett, Black Panther: Wakanda Forever

Hong Chau, The Whale

Kerry Condon, The Banshees of Inisherin

Jamie Lee Curtis, Everything Everywhere All at Once WINNER⭐

Stephanie Hsu, Everything Everywhere All at Once

Banshees of Isherin, Martin McDonough, Colin Farrell

 Set on a remote island off the west coast of Ireland, THE BANSHEES OF INISHERIN follows lifelong friends Pádraic (Colin Farrell) and Colm (Brendan Gleeson), who find themselves at an impasse when Colm unexpectedly puts an end to their friendship. A stunned Pádraic, aided by his sister Siobhán (Kerry Condon) and troubled young islander Dominic (Barry Keoghan), endeavours to repair the relationship, refusing to take no for an answer. But Pádraic's repeated efforts only strengthen his former friend’s resolve and when Colm delivers a desperate ultimatum, events swiftly escalate, with shocking consequences.

Best Original Screenplay

Todd Field, Tár

Tony Kushner and Steven Spielberg, The Fabelmans

Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once WINNER ⭐

Martin McDonagh, The Banshees of Inisherin

Ruben Östlund, Triangle of Sadness

Best Adapted Screenplay

Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie from a story by Peter Craig and Justin Marks, Top Gun: Maverick

Kazuo Ishiguro, Living

Rian Johnson, Glass Onion: A Knives Out Mystery

Sarah Polley, Women Talking WINNER ⭐

Edward Berger, Ian Stokell, and Lesley Paterson, All Quiet on the Western Front


Elvis, Baz Lurhmann, Mandy Walker

Best Cinematography

All Quiet on the Western Front WINNER ⭐



Empire of Light


Best Animated Feature Film

Guillermo del Toro’s Pinocchio WINNER ⭐

Marcel the Shell With Shoes On

Puss In Boots

The Sea Beast

Turning Red

Best Documentary Feature Film

All That Breathes

All The Beauty and the Bloodshed

Fire of Love

A House Made of Splinters

Navalny WINNER ⭐

All Quiet at The Western Front

Best International Feature Film

All Quiet on the Western Front (Germany) WINNER ⭐

Argentina, 1985 (Argentina)

Close (Belgium)

EO (Poland)

The Quiet One (Ireland)

Best Film Editing

The Banshees of Inisherin


Everything Everywhere All at Once WINNER ⭐


Top Gun: Maverick

Best Original Score

All Quiet on the Western Front WINNER ⭐


The Banshees of Inisherin

Everything Everywhere All at Once

The Fabelmans

Best Original Song 

"Applause," Tell It Like a Woman

"Hold My Hand," Top Gun, Maverick

"Lift Me Up," Black Panther: Wakanda Forever

"Naatu Naatu," RRR WINNER ⭐

"This Is A Life," Everything Everywhere All at Once

The Fabelmans, Steve Spielberg

Best Production Design

All Quiet on the Western Front WINNER ⭐

Avatar: The Way of Water



The Fabelmans

Best Costume Design


Black Panther: Wakanda Forever WINNER ⭐


Everything Everywhere All at Once

Mrs. Harris Goes to Paris

Best Makeup and Hairstyling

All Quiet on The Western Front

The Batman

Black Panther


The Whale WINNER ⭐


The Batman

Best Live Action Short Film

An Irish Goodbye WINNER ⭐


Le Pupille

Night Ride

The Red Suitcase

 Best Documentary Short Film

The Elephant Whisperers WINNER ⭐


How Do You Measure a Year

The Martha Mitchell Effect

Stranger at the Gate

Best Animated Short Film

The Boy, The Mole, The Fox and the Horse WINNER ⭐

The Flying Sailor

Ice Merchants

My Year of Dicks

An Ostrich Told Me the World is Fake and I Think I Believe It

Top Gun, Maverick, Tom Cruise, Val Kilmer

After more than thirty years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell (Tom Cruise) is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. When he finds himself training a detachment of Top Gun graduates for a specialized mission the likes of which no living pilot has ever seen, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign: “Rooster,” the son of Maverick’s late friend and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose.” Facing an uncertain future and confronting the ghosts of his past, Maverick is drawn into a confrontation with his own deepest fears, culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it.

Best Sound

All Quiet on the Western Front

Avatar: The Way of Water

The Batman


Top Gun: Maverick WINNER ⭐

Best Visual Effects

All Quiet on the Western Front

Avatar: The Way of Water WINNER ⭐

The Batman

Black Panther

Top Gun: Maverick

The 95th annual Academy Awards, hosted by Jimmy Kimmel, will air on March 12, on ABC. It will also stream on ABC.com, Hulu Live TV, and YouTubeTV.



Elvis. Academy Award Nominated for Best Cinematography, Mandy Walker
Click poster for Mandy Walker
and click text below for Baz Luhrman


Power Junkie V2
The Power Junkie Version 2 - a complete powering solution for all your filmmaking and device powering needs.


On-Off switch

A much more improved version from the original Power Junkie, it includes an on-off switch and a way to disable the indicator lights; the new control button adds these functions.

The control button performs several simple but powerful functions enabling more control for your rig;

On - A long press will power up the unit to get you going.

Display light toggle - short taps to the button will cycle the display lights from on to off (this is useful if the unit is in shot or in low light conditions where you want all lights off). Lights on or off the unit will operate in the same way.

Off  - a long press and all outputs will power down.

Power Junkie V2. Power your camera

Power Delivery

USB Power Delivery (PD), is a new USB standard allowing delivery of up to 100W of power. This means you can power a vast range of small electronic devices via a USB C port, everything from your phone, camera, laptop, and even televisions. USB C is now the dominant power connector for all small electronic devices.

Power Junkie. Essential to power your gadgets

Power Junkie V2. Compatible with many cameras and gadgets.

For more information visit Blind Spot Gear, Glasgow, UK at https://www.blindspotgear.com


Canon unveiled two new powerful entry cameras aimed to lure casual shooters and content makers away from their smartphones and further embed shooters within its ecosystem with its latest mirrorless offerings, the full-frame EOS R8 and the APS-C EOS R50.

Canon's new entry level mirroless cameras

The new releases include the EOS R8 and EOS R50 camera bodies in black and the EOS R50 in white, the new RF-S 55-210mm telephoto zoom lens, the ET-60B Lens Hood, the RF 24-50mm wide-to-normal zoom lens for full-frame cameras, an EOS R50 kit featuring an 18-45mm zoom lens in black or white, an EOS R50 kit featuring both the 18-45mm and the 55-210mm zoom lenses, and an EOS R8 kit featuring the RF 24-50mm zoom lens.

Canon has designed the EOS R50 to be the streamer and content creator's first choice for upgrading. Lightweight and compact, the EOS R50 can be used as a web camera, streaming live video in full HD at 30 fps, and can record podcasts and vlogs for longer than 30 minutes at a time.

The camera also renders uncropped 4K video at up to 30 fps oversampled from 6K and full HD video at up to 120 fps, and it features a 24.2MP APS-C CMOS sensor and DIGIC X Image Processor, powering the camera's automatic capabilities. For streamers, the Movie for Close-Up Demos Mode ensures that objects presented close to the lens, such as in unboxing videos or makeup tutorials, are properly in focus.

New EOS R8 Full Frame Mirroless Camera

The Advanced A+ Assist simplifies auto mode in settings with difficult lighting, and the Dual Pixel CMOS Autofocus II system covers the entire sensor area with 651 autofocus zones capable of detecting and tracking people, animals, and vehicles. Pair that with continuous shooting up to 15 fps with the electronic shutter and you'll be hard-pressed to miss the shot.

The EOS R8 is the full-frame upgrade for those already embedded within the Canon mirrorless ecosystem. It also has a 24.2MP full-frame CMOS sensor and DIGIC X Image Processor, capable of achieving high image quality and wide dynamic range in stills, and features the Dual Pixel CMOS Autofocus II system with 1,053 autofocus zones and automatic subject detection and tracking.

The R8 is available as a webcam and for livestreaming and can record uncropped 4K at 60 fps oversampled from 6K and full HD at up to 180 fps. At 29.97 fps, the camera can record video for up to two hours for podcasts, vlogs, or other long-form video content. The five-axis Movie Digital IS image stabilization reduces camera-shake vibrations when using the RF lens with optical image stabilization.


To further entice streamers, both cameras feature a Vertical Movie Mode, which allows videos to be played in vertical orientation when viewing on a smartphone, and an Aspect Markers function, which indicates the various social media aspect ratios for simplified compositions. Additionally, both cameras support wired and wireless connection to your smartphone via its USB-C port and built-in Wi-Fi and Bluetooth technology.

Canon EOS R50 APS-C


The RF 24-50mm wide-to-normal zoom lens is a lightweight standard zoom alternative for full-frame cameras featuring an f/4.5-6.3 maximum aperture with optical image stabilization. The lens has two aspheric elements and Canon Super Spectra Coating to minimize ghosting and flare. The stepping motor focus drive provides smooth, quiet autofocus when taking video. On APS-C size image sensors, the lens has an approximate equivalent coverage of 38-80mm.

RF-S 55-210mm telephoto zoom lens for full-frame and APS-C camera

The RF-S 55-210mm telephoto zoom lens for full-frame and APS-C cameras features an f/5-7.1 maximum aperture with optical image stabilization. The lens coverage on APS-C size sensors is roughly 88-336mm. The image quality comes from two ultra-low dispersion glass elements, one aspheric element, and Canon Super Spectra Coating to minimize ghosting and flare. The stepping motor focus drive is well suited for smooth, quiet autofocus when taking video. The lens is also compatible with the optional ET-60B Lens Hood to block sunlight, prevent lens flare, and protect the lens from debris and abrasions.

For more detailed information on these new Canon releases,visit B&H at https://www.bhphotovideo.com


 THE BATMAN. Go Behind the Scenes with ASC Nominee Greig Fraser 

The Batman movie, Greig Fraser, Academy Awards Nominee, Cinematography


FUJIFILM North America Corporation  announced the development of its new, ground-breaking FUJINON HZK25-1,000mm F2.8-F5.0 PL Mount Box Lens ("HZK25-1000"). This box lens features a native PL mount and achieves a zoom ratio of 40x with a telephoto focal length of 1,000mm, the highest combination of magnification and telephoto reach1 available to date for large cinema sensors.

Fujinon HZK 25-1000 Box Lens

"In actively observing and gathering feedback from professionals in the emerging world of cinema-sized imagers in live production, we identified a very clear customer desire for a long cinema lens to facilitate capture quality of a live show," said Stosh Durbacz, national sales manager, Optical Devices Division, FUJIFILM North America Corporation. "With a pedigree that hails from the highly respected FUJINON Premier Series, HZK25-1000 provides production with unmatched flexibility and reach while maximizing the highly sought-after cinema look to live audiences."

HZK25-1000 deploys a dual-format system that supports two single sensor sizes: a camera with a sensor equivalent to the large format size3 and a traditional super 35mm sensor. The use of the newly developed 1.5x expander shifts the focal length of the telephoto side, enabling super telephoto image capture of 1500mm (1000x1.5)4. Additionally, when paired with a large format sensor, operators can shoot with a field of view equivalent to that of a super 35mm sensor while maintaining maximum optical performance, providing a true dual format lens. HZK25-1000 enables shooting with the same field of view in both large format and super 35mm formats, and produces rich image expression by taking advantage of the camera's cinematic look.

Fujinon HZK 25-1000 Box Lens

Digital cinema cameras with image sensors larger than existing B4-mount cameras have been increasingly used in sports and live event broadcasting. The use of large-sensor cameras enables the expression of immersive images by offering smooth bokeh and high dynamic range for live broadcasting. While traditional lenses for single sensor cameras may be optimal for filming movies and commercials, the zoom ratio is considerably lower than that of a B4 mount lens, and lens characteristics when zooming and focusing are different from those applicable to lenses used in live broadcasting.

To address this, HZK25-1000 utilizes optical design technology to achieve a maximum aperture of F2.8 and 40x zoom ratio. This ultra-high zoom ratio lens is compatible with the large sensors of digital cinema cameras yet provides a brightness of F2.8 at the wide-angle. Not only does it enable filming in low-light environments such as indoor concerts or nighttime events, but the shallow depth of field also provides the advantage of beautiful bokeh, bringing a cinematic look to live event production.

Fujinon HZK 25-1000 PL Mount Box Lens

Fujifilm’s proprietary optical technology suppresses aberrations by using a large-aperture aspherical lens and a fluorite lens5 that have been precisely polished. By eliminating unnecessary ghosting, flare, and color fringe, the lens delivers high optical performance and natural image expression.

The out-of-focus bokeh is controlled through repeated simulations using Fujifilm’s proprietary optical design application, "FOCUS" (Fujifilm Optical Class Library and Utilities System), which determines optimal glass materials from the infinite combination of possibilities. The texture of each layer in the out-of-focus area is verified to achieve a bokeh that softens and naturally melts the background. Furthermore, camera operators can operate the lens in a setup specialized for live broadcasting, since existing FUJINON box lens accessories can be used in support of multi-camera operation. Wireless controllers from Preston Cinema and ARRI are compatible with HZK25-1000 and can also be connected.

Fujinon HZK 25-1000 Box Lens PL Mount

The lens is the first commercially available box-type zoom lens compatible with large sensors equipped with optical image stabilization, enabling stable shooting while precisely compensating for vibrations in the venue. The latest anti-vibration mechanism and firmware utilizes Fujifilm's unique ceramic ball roller system. This mechanism provides a high level of anti-vibration performance against shaking caused by unstable platforms.

In addition to stabilization, HZK25-1000 features all of the latest technological advancements that are now standard in most of Fujifilm's FUJINON broadcast lenses:

Automatic Restoration of Illumination Attenuation (ARIA)

•Remote Back-Focus

•Automatic Chromatic Aberration Correction


Native PL Mount

Fast F2.8 (F5.0 at 1000mm)

Wide 25mm (9.9mm 2/3” equivalent)

Long 1000mm (1500mm with Expander)

Dual Format Expander Maintains Image Quality in S35 and Large Format

Beautiful Bokeh Brings a Cinematic Look to Live Production

Compatible with Preston Wireless FIZ and Microforce Zoom Controller


Automatic Restoration of Illumination Attenuation (ARIA)

Remote Back Focus (RBF)

Automatic Chromatic Aberration Correction (ALAC)


Length: 669mm / 26.3"

Weight: 28.8kg / 63.5 lbs

Close Focus: MOD: 3.5m / 11'5"

⭐FUJINON HZK25-1000 Cine Box PL is a totally new class of lens, be among the first to see and demo it live on a Sony Venice 2 in both Super 35 & Large Format. Shown Dec. 12 @ SVG Summit (NYC) - Jan. 19 @ Fujifilm Day at ASC Clubhouse (LA) - Feb 20-22 HPA Tech Retreat (Palm Springs) - April 16-19 NAB (Las Vegas)⭐

Pricing and Availability: FUJINON HZK25-1000mm F2.8-F5.0 is expected to be available in Spring 2023. For more information, visit www.fujinon.com.   


Award-winning LED technology pioneer Rift Labs announced the launch of the new cinema lighting brand Kelvin, and the very first product in the line-up, the Kelvin Epos 300.

Kelvin Epos 300 1. EuroCine Expo 2022

A new line of products is pushing the boundaries of cinema lighting. With full RGB, best-in-class LUX output per watt, seamless and intuitive control of the light via their app and a bold promise with a 3 year Keep Rolling Warranty™, the handmade Epos 300 from Scandinavia is challenging the industry.

Available for pre-orders now at www.kelvinlight.com with deliveries starting in September 2022. Selected media and ambassadors will have access to the product before September.

Encased in 6mm thick aluminum plates, the Kelvin Epos 300 is a full color spectrum 300W LED COB studio light, engineered and handmade in Norway, Scandinavia. Utilizing Kelvin’s sophisticated 6-channel RGBACL light engine Cantastoria, the Epos300 enables extreme precision lighting across the full spectrum of colors within the 2.000 - 20.000 K CCT range.

Kelvin Epos 300. EuroCine Expo 2022

Compatible with a Bowens mount, the light is built to last with its 6mm aluminum housing and can be controlled via the Kelvin Narrator Bluetooth app, DMX or Lumen Radio Skynode (included in the box). The Epos 300 is powered by 2 x V Mount Batteries or AC power supply.

The selling price for Kelvin Epos 300 is $2499 USD. Every light comes in a waterproof and durable rolling hard case.

What comes in the box:

Kelvin Epos 300 control unit with V-Mount battery plate.

Connectivity: Bluetooth, USB-C, USB-A, DMX 5-Pin XLR, wireless DMX lumen radio Skynode.

Quick Release Lighting Super Clamp Kelvin Reflector.

5-Pin Male-to-Female XLR head cable

3M Rolling, water and dust proof hard case.

100% Satisfaction Guarantee - Try Risk Free For 180 Days – No Questions Asked 3 Years Keep Rolling Warranty™ Lifetime Customer Support.

Kelvin Epos 300 w/ stand. EuroCine Expo 2022

Kelvin is a premium light brand developed by LED technology company Rift Labs from Scandinavia with a proud history of manufacturing award-winning cinema lighting fixtures and lighting software for the global market in video and photo since 2010 with over 50 000 products sold. We are on a mission to explore the spectrum of light to create amazing products loved by people. The headquarter of Kelvin is located in Oslo, Norway with offices in Berlin and soon-to-open New York.

To learn more about Kelvin please visit www.kelvinlight.com


Claudio Miranda ASC, the award winning director of photography behind Top Gun: Maverick, shares behind the scenes footage, stories from the set, and all the ins and outs of selecting and working with the gear used to create this history-making film.
Camera: Sony Venice      
FUJINON Lenses:      
Premista 28-100mm T2.9      
Premier 14.5-45mm T2.0      
Premier 18-85mm T2.0     
Premier 24-180mm T2.6      
Premier 75-400mm T2.8-3.8      
Cabrio 19-90mm T2.9      
Cabrio 20-120mm T3.5      
Cabrio 85-300mm T2.9-4.0 
Cabrio 25-300mm T3.5-3.85

Claudio Miranda ASC, Top Gun: Maverick ©georgeleon/filmcastlive
Claudio Miranda, ASC

Fujinon 28-100mm Premista Cine Lens ©georgeleon/filmcastlive
Fujinon Premista T 2.9 28-100mm

The Premista 28-100mm, the first of the series to be released, is a standard zoom lens covering a 28-100mm focal length. This is the equivalent of 6 prime lenses, which saves both time and cost caused by changing lenses frequently. Thanks to the adoption of a large-diameter aspherical lens and a new focus/zoom system, the Premista achieves stunning optical quality from the center to the corners, allowing the cinematographer to capture the feeling and texture of the subjects. The lens design contributes to the wide dynamic range by suppressing unwanted flare and ghosts thanks to Fujifilm’s original optical calculation software. Standard 6 lens cine prime set of “29mm, 35mm, 40mm, 65mm, 85mm, 100mm”

For more information, visit Fujinon Cine Lenses


Angenieux’s Optimo Prime full format, single focal-length lenses address the modern DP’s need for high resolution, contrast, and uniform colorimetry but with flexible customization to support the quest for a certain “character,” which may be appropriate for different projects or sequences.

Watch Angenieux's intro reel to see the remarkable looks that can be achieved, thanks in part to their new Integrated Optical Palette (or IOP), and then read about the unique design philosophy and specifications of the Optimo Primes.

The Optimo Prime series, available in PL mount, consists of twelve focal lengths: 18mm, 21mm, 24mm, 28mm, 32mm, 40mm, 50mm, 60mm, 75mm, 100mm, 135mm, and 200mm. Most have fast maximum apertures of T1.8, with the widest and longest lenses featuring a T2.0 maximum aperture. All (except the 200mm) have 95mm front outer diameters, use standard 0.8 pitch-geared, non-linear focus and iris rings, and 320° of rotation for focusing. Interestingly, the Optimo Primes actually focus from a bit beyond both the minimum object distance as well as infinity. All feature 46.31mm image circles, covering even the largest of today’s 8K sensors. The Optimo Primes are color-matched to the Optimo Zooms and, when unmodified, show perfectly round out-of-focus highlights across the image plane thanks to their standard nine-bladed iris.

While providing modern mechanics and reliability, Angenieux’s unique approach to customization allows for, essentially, in-lens filtration at the rear, as well as in a central “slot” immediately before the iris. The irises can also be changed from the standard nine-bladed version to others, including a three-bladed design (for triangular “bokeh,” recalling some vintage lenses), or an oval shape for classic elliptical out-of-focus highlights as seen with many anamorphic designs. In addition, front elements are available coated or uncoated.

This unique design approach—internal and rear filter options, uncoated elements, and alternative iris designs—allow for an incredible number of different in-camera effects, as well as the ability to push and pull image aspects, such as contrast, resolution, flare behavior, bokeh character, and effects such as streaking. Angenieux refers to this customization as Integrated Optical Palette (or IOP).

At the rear of each lens are two threaded filter stages, one for when imaging to Super35-format sensors (40.5mm) and the other (46mm) for use with full-frame sensors. These rings can accommodate a special vintage-style filter that can help re-create looks from the golden age of cinema.

The central IOP stage can accommodate a wider range of filter types including streak filters (in colors like blue or orange), a “cracked” filter for elegant aesthetic distortions, and an uncoated element to provoke flares and reduce contrast. A “clear” filter is also available, which can be modified in any number of ways (think hairspray or Vaseline).

Another unique aspect of the Optimo Primes’ customization options is that modifications are relatively quick and easy for a qualified optics tech to perform or return to “stock.” The rear filter stage can be quickly and easily changed in the field, while the central stage, immediately before the iris, and the iris itself, can be modified in about 15 minutes at the bench.

Courtesy and available at AbelCine 

For more information about Angenieux lenses


Cine Gear Expo 2022 VIP Industry Awards & Karl Kresser Tribute

Cine Gear Expo 2022,  Steven Poster ASC, Lifetime Achievement Award
Legacy Lifetime Achievement Award: Steven Poster, ASC

Cine Gear Expo 2022, Lawrence Sher ASC, Visionary Award
Visionary Achievement Award in Cinematography: Lawrence Sher, ASC

Cine Gear Expo 2022, Autumn Durald Arkapaw, Emerging Star Award
Emerging Star Award: Autumn Durald Arkapaw

Cine Gear Expo 2022, Sony Electronics, Technical Award
Technical Lifetime Achievement Award, SONY Electronics, SONY Venice

In Memoriam, Karl Kresser Tribute


ALEXA 35 is the smallest fully featured ARRI production camera ever, packing the features and processing power of a larger ALEXA into a Mini-sized body that can record native 4K at up to 120 fps. Fast and easy operation is assured through numerous usability improvements and a simple menu structure that will be intuitively familiar to crews. ALEXA 35 is the best A-camera, B-camera, and action camera on the market, all rolled into one.

Designed for flexibility

Five interchangeable lens mounts, two scratch mics, and internal FSND filters make ALEXA 35 ideal for changing shooting requirements. ACs will love the body-mounted LBUS connector, built-in serial port for distance measuring devices, and hot-pluggable viewfinder.

For over a decade the ARRI ALEXA camera family has set the gold standard for digital cinematography. Now, ALEXA 35 raises the bar even higher with a new Super 35 format 4.6K sensor and REVEAL Color Science.

17 stops of dynamic range

2.5 more stops than previous ALEXA cameras, with filmic highlight roll-off

Natural and beautifully rendered skin tones

Subtler tonal variations for immersive and emotionally powerful images

Easy workflow with REVEAL Color Science

ARRI Alexa 35 Super 35 4.6K

ARRI’s discussions with filmmakers and careful review of the image pipeline have led to significant image quality enhancements and a faster, easier workflow. REVEAL Color Science is a suite of new image processing steps used by ALEXA 35 internally and also available through leading third-party postproduction tools for ARRIRAW processing.

REVEAL Color Science logo - POS - LARGE - RGB

ARRI Debayer Algorithm ADA-7

ARRI Color Engine ACE4

ARRI Wide Gamut AWG4

LogC4 Curve

LogC4 Look Up Tables

Backwards Compatible

ARRI Debayer Algorithm ADA-7

First step in the new and improved image pipeline

Converts ARRIRAW into camera native RGB image data


4.6K Super 35 sensor

Wide lens choice

ALEXA 35 can be used with a vast array of lenses--modern and vintage, anamorphic and spherical, Super 35 and large-format. If you want to shoot with ARRI cameras while fulfilling native 4K mandates, you now have an immeasurably broader lens choice.

19 recording formats

A total of 19 ARRIRAW and Apple ProRes recording formats, incorporating efficient in-camera downsampling and anamorphic de-squeezing, allow you to optimize data rate, resolution, and other parameters, based on your individual needs.

Alexa 35 texture

Choose your digital film stock

ARRI Textures allow you to alter the amount and character of grain in the image, and the amount of contrast at different levels of detail, perceived as sharpness. Previous ALEXA cameras were pre-programmed with a default texture, but ALEXA 35 lets you choose from a menu of ARRI Textures, like selecting a film stock.

Designed for flexibility

Five interchangeable lens mounts, two scratch mics, and internal FSND filters make ALEXA 35 ideal for changing shooting requirements. ACs will love the body-mounted LBUS connector, built-in serial port for distance measuring devices, and hot-pluggable viewfinder.


New side display

Read status and change settings without a viewfinder via the new camera left-side display and jog wheel. Great for TRINITY, Steadicam, Easyrig, drones, and cranes.


HDR viewfinder

Familiar MVF-2 viewfinder and menu structure from ALEXA Mini LF; now with the option to switch to HDR viewing in the eyepiece.

Alexa 35 inputs and outputs

Integrated electronic modules

The Power Distribution Module PDM-1 (center) offers seven extra power accessory outputs, while the Audio Extension Module AEM-1 (right) provides two incredibly clean microphone preamp channels for onboard audio recording, as well as extra power outputs.

Media bay for Compact Drive 1TB and 2TB

All existing 1TB compact drives will work with the ALEXA 35, and the new 2TB version brings incredibly high frame rates to uncompressed ARRIRAW recording.

Versatile connectivity

ALEXA 35 offers a host of inputs and outputs for all your accessories. Highlights include two completely independent 12G SDI outputs, an ethernet connector for real-time streaming metadata, and regulated 12 V and 24 V accessory power outputs.

B-Mount, the new 24 V standard

Improved mechanics, impressive metadata, and enough power for all your accessories.

Below is a comprehensive review and test footage of the Alexa 35, courtesy of the guys from CVP, UK.

For more info, visit ARRI
Download ALEXA 35 brochure pdf here


A Short Story about Director's Viewfinders. 

(Original posted August 2009)

In the beginning, capturing the vision that movie directors had in their heads and communicating it to their cameraman was inefficient and without any other recourse, 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. Years 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 days wooden and brass Director's ViewfinderAn early wooden and brass director's viewfinder

Early Director's Viewfinder with cut-out mattesViewfinder 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.
Greg Toland and Orlson Welles with Director's ViewfinderOrson Wells & Cinematographer Gregg Toland lining up
 a camera angle using a Mitchell viewfinder 
on the set of "Citizen Kane" in 1940

Tewe Director's Viewfinder 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 anamorphic 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.


Allan Gordon's Mark Vb Director's ViewfinderThe 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 professionals to communicate their visions to each other instantly and with complete accuracy, allowing the time saved to be used in the art of film-making. 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 Bays' Panavision Director's ViewfinderMichael Bay's engraved Mark VB by Panavision

Allan Gordon Mark Vb directors viewfinder. Craig Kief.
Craig Kief ASC, Panavision's engraved 
Mark Vb Director's Viewfinder 
in recognition of his cinematography achievements

Panavision 135-420mm directors viewfinder
Director Randall Einhorn lining up a shot with 
the Panavision 135-420mm 
Director's Viewfinder 
on The Muppets set
(Courtesy Craig Kief, ASC)

Cavision 35mm Director's ViewfinderCavision VFC52PL with Arri PL bayonet mount for 35mm 
standard lenses with extension eyepiece

Fries/ Mitchell Director's ViewfinderThe Fries/Mitchell "Special Effects 35mm Director's Viewfinder" is a highly customizable and flexible system. The standard finder comes with your choice of lens mount, Arri-PL, Panavision or BNC-R, (1) ground glass, handle, rubber eye cup 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.

Panavision Australia Mini DV Director's ViewfinderThe 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 color 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. Currently, only available in Panavision Australia, New Zealand and Asia.

Denz OIC 35mm Director's ViewfinderDenz OIC-35mm Director's Viewfinder

This high-end director's viewfinder 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)

Denz OIC 35mm Director's Viewfinder

P+S Technic Ultimate Director's Viewfinder

P+S Technik Ultimate Director’s Finder for full format, is an ergonomically designed optical viewfinder system with spherical and anamorphic capabilities.

The viewfinder is compatible with all sensor formats up to Red Monstro 8K and features interchangeable lens mounts. Current squeeze factors are 1.5x and 1.9x. (1.9x covers 1.8x and 2.0x squeeze factors).

Users can create customized frame lines by using a provided app, printing on acetate slides and inserting them into the ground-glass system. The viewfinder features a pivoting handle grip to aid counterbalance and an adjustable eyepiece diopter. 

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
By George Leon