CINE GEAR EXPO 2022 INDUSTRY AWARDS & KARL KRESSER TRIBUTE

Cine Gear Expo 2022 VIP Industry Awards & Karl Kresser Tribute

Legacy Lifetime Achievement Award: Steven Poster, ASC

Visionary Achievement Award in Cinematography: Lawrence Sher, ASC

Emerging Star Award: Autumn Durald Arkapaw

Technical Lifetime Achievement Award, SONY Electronics, SONY Venice

In Memoriam, Karl Kresser Tribute

Courtesy of Cine Gear Expo

NEW ALEXA 35 - 4.6K SUPER 35 DIGITAL CAMERA

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’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.

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.

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

LOOKING THROUGH A DIRECTOR'S VIEWFINDER

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 wooden and brass director's viewfinder

Early Alan Gordon director’s viewfinder with cut-out mattes

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

Orson Wells & Cinematographer Gregg Toland lining up

 a camera shot using a Mitchell viewfinder 

on the set of "Citizen Kane" in 1940

Tewe Director's Viewfinder Model 3B, circa 1970

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

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

TODAY'S DIRECTOR VIEWFINDERS

The Mark Vb Director's Viewfinder represents the industry's state-of-the-art. It precisely defines choice of lenses, angles and coverage in a wide variety of formats for both film and video. The Mark Vb enables film 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 Bay's engraved Mark VB by Panavision

Craig Kief ASC, Panavision's engraved 

Mark Vb Director's Viewfinder 

in recognition of his cinematography achievements

Director Randall Einhorn lining up a shot with 

the Panavision 135-420mm 

Director's Viewfinder 

on The Muppets set

(Courtesy Craig Kief, ASC)

Cavision VFC52PL with Arri PL bayonet mount for 35mm 

standard lenses with extension eyepiece

The Fries/Mitchell "Special Effects 35mm Director's Viewfinder" is a highly 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.


The Panavision Mini-DV Director’s Viewfinder, made in Australia, uses Panavision Millennium 35mm camera ground glasses. The ground glass image can be viewed through a 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 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)

 

                                   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.

Director William Wyler lining up a shot using a Director’s Viewfinder on Ben Hur’s set. 

The epic was filmed using anamorphic 65mm by Robert L. Surtees, ASC

Lindsey Optics LFDV-SET1 Large Format Directors 

Viewfinder Set with Full Frame Module

LFDV-SET1 includes Full Frame Module only. Additional modules are available for Super-35 and VistaVision formats. The Lindsey Optics Large Format Optical Viewfinder provides optical through the lens viewing for an unprecedented range of formats from Super-35 to Red Monstro and ARRI Alexa 65.

At the heart of the LF Viewfinder design are interchangeable modules for quick and easy tool-free format changes. With a push of the red button, each module slips in and out of the LF body and securely nests in place.  Available modules include Large Format (ARRI Alexa 65) VistaVision (RED Monstro 8K), Full Frame (Sony Venice) and Super 35. Ground glasses attache magnetically to the modules. Ground glasses are marked with format frame lines using the included Ground Glass Marking Jig (template) kit. The LF Viewfinder features an LPL lens mount and includes an LPL to PL adapter. The Eyepiece provides diopter adjustment from -4 to +4 diopter.  

The LF is designed for intuitive and comfortable balance regardless of changing loads. The NATO Rails on the base of the viewfinder and on the base of the optional handle extension provide balance adjustment. The contoured oak Handle offers a firm and comfortable grip while the Handle Pivot knob activates rosette adjustment.  Format frame lines are marked on the ground glass with pencil using marking jigs (templets) A Ground Glass Marking Jig Set is included with the LFDV Set.

ARRI Director’s Viewfinder

Arri Director's Viewfinder (PL Mount)

The ARRI Director's Finder (PL Mount) is a compact, handheld unit for viewing lens framing, aperture, and image properties without the need for a camera. Includes a standard ARRIFLEX 435 frame Ground Glass, with hundreds of 35mm ground glass formats available. Features an accordion-style rubber eyecup and textured grip for added comfort. Includes a PL port cap and neck strap.

Key Highlights: Handheld Director's Viewfinder, PL Mount, Includes ARRIFLEX 435 Ground Glass.

Denz OIC-35A Director’s Viewfinder 

Director‘s viewfinder for anamorphic & spherical lenses. Interchangeable anamorphic / shperical settings. Available with PL or PV hard mount. Flexible eyepiece with +/- 5 dpt diopter adjustment.

Ergonomic universal handgrip, made of cherrywood, with DENZ Soft-Touch coating and quick-adjustment locking rosettes for ideal adjustment of the handle with anti-twist using DENZ keying system

Special extension bracket made of  AW7075 aluminum for optimal balance with larger lenses; three mounting points for handgrip with 1/4" thread on bottom of handgrip for monopod useDENZ ground glass: 1:1.78  / 1:2.35 with 1:1.85  / SCOPE 1:2.39 with 1:1.33 / with center mark/cross.

Courtesy of Alan Gordon Enterprises

By George Leon

NAB SHOW 2O22 PRODUCT WINNERS OF THE YEAR

 🏆NAB SHOW ANNOUNCES WINNERS OF 2022 PRODUCT OF THE YEAR 🏆

Awards honor breakthrough products from 2022 NAB Show.

NAB Show announced the winners of the fourth annual Product of the Year Awards during a live awards ceremony on April 26 at the 2022 NAB Show in Las Vegas, Nev. The awards recognize the most significant and promising new products and technologies exhibited for the first time at the 2022 NAB Show.

Winners were selected by a panel of industry experts in 15 categories. To be eligible for an award, nominated products had to come from companies exhibiting at the 2022 NAB Show and are delivered within the 2022 calendar year.

“The 2022 NAB Show Product of the Year Awards honor innovative breakthroughs that will change the way the media and entertainment industry creates, connects and capitalizes content,” said NAB Executive Vice President of Global Connections and Events Chris Brown. “This year’s winners can help storytellers at all stages of the content lifecycle meet the challenges of today and tomorrow and revolutionize the content industry.”

This year winners are:

CREATE

Audio Production, Processing and Networking

Spalk: Virtual Commentary Studio

Audio Design Desk: Audio Design Desk

Cameras

Sony Electronics: Venice 2

IO Industries: 8KSDI

IO Industries: Volucam 245D60

Canon: Canon EOS R5 C

BZBGEAR: ADAMO

Emergent Vision Technologies: Zenith HZ-10000G 100GigE 10MP 1000fps Camera

Insta360: Insta360 ONE RS

ARRI: ARRI AMIRA Live

AVer: AVer MD330U Series Medical Grade PTZ Camera

Camera Support, Control and Accessories

Canon: UHD-DIGISUPER 122 AF

Atomos: ATOMOS CONNECT (for NINJA V and NINJA V+)

Canon: Flex Zoom Lenses (CN-E20-50mm T2.4 L F/FP and CN-E45-135mm T2.4 L F/FP)

Emergent Vision Technologies: eCapture Pro Volumetric Capture and 3D Reconstruction Software

ARRI: ARRI Hi-5

Blueshape: GO7 Green Power Generator

Atomos: SHOGUN CONNECT

Cyanview: RIO Live

Zeiss: ZEISS Supreme Prime Radiance Lenses

Graphics, Editing, VXF, Switchers

Noitom International: NoitomVPS

Zero Density: TRAXIS talentS

STYPE: RedSpy 3.0 - ultra-high precision camera tracking

Brompton Technology: Brompton Tessera Software v 3.3

Location/Studio Lighting

Creamsource: Vortex4

SUMOLIGHT: SUMOMAX

Aputure: Light Storm 600c Pro

LiteGear, Inc.: Auroris

Aputure: amaran T2c

Aputure: amaran F22c

Aputure: amaran F21c

BB&S Lighting: BB&S Compact Fresnel (CFL) Light

Click here for a full list  about the 2022 NAB Show Product of the Year Awards. 

https://www.nab.org/documents/newsRoom/pressRelease.asp?id=6468

About NAB Show

NAB Show, held April 23 – 27, 2022, in Las Vegas, is the premier event for content professionals in the media, entertainment and technology ecosystem. It is the ultimate marketplace for those seeking to create superior audio and video experiences. From creation to consumption, across multiple platforms, NAB Show is where global visionaries convene to bring content to life in new and exciting ways. For complete details, visit www.nabshow.com.

SONY PRESENTS: VIRTUAL PRODUCTIONS AT NAB SHOW 2022

SONY PRESENTS AT NAB SHOW 2022. VIRTUAL PRODUCTIONS: OPPORTUNITIES, CHALLENGES AND THE FUTURE.

Join virtual production experts as they discuss the techniques behind the television series Snowfall and discuss how Unreal Real Engine 5 will change the future of the industry.

⭐NAB SHOW 2022 LIVE!⭐

Live from Las Vegas, over five days to discover new technologies, make new connections and hear from global thought-leaders. View the schedule below to get a sense of what’s happening when. NAB Show’s Cine Consortium revealed its new Cine Live program featuring sessions focused on cinematic storytelling experiences in live production. Open to all NAB Show badge holders, Cine Live will take place in the new Create Inspiration Theater in Central Hall. The hour-long sessions kick off daily April 24 – 27 at 10:45 a.m. Read more on the sidebar.

 

Exhibit Hall Hours 

Sunday, April 24 | 10 a.m. – 6 p.m. 

Monday, April 25 | 9 a.m. – 6 p.m. 

Tuesday, April 26 | 9 a.m. – 6 p.m.

 Wednesday, April 27 | 9 a.m. – 2 p.m

Society of Camera Operators members, Gilles Corbeil and Simon Jayes talk all things on-set communication with Moderator and SOC Technical Chair, Erick Fletcher at NABShow.

BSC EXPO 2022. DAY 2 SEMINARS

 

⭐ BSC EXPO 2022. Day 2 Seminars ⭐

CANON RELEASES EOS R5 C

Canon EOS R5 C Full-frame, 8K Cinema EOS System Camera.

Compact and lightweight, the EOS R5 C is a true hybrid camera, boasting many of the video formats and features from the Cinema EOS lineup as well as many of the still-imaging capabilities of the EOS R5 camera in a beautifully designed body.

The EOS R5 C is a complete package that offers filmmakers, multimedia journalists, and advanced amateurs a cost-effective 8K, 4K, and FHD video camera to help unlock their creative potential. 

It shares common features & technology with the EOS R5 Camera like Canon's 45 Megapixel full-frame CMOS imaging sensor at the heart of the EOS R5 C superb image quality, allowing impressive 8K/60P RAW cinematic video shooting. 

Focus and speed are paramount in the EOS R5 C camera, providing impressive still-image continuous capture at speeds of up to 20 frames per second, and with Dual Pixel CMOS AF II capability, to track split second movements of even the most elusive subjects. 

With 1,053 Automatic AF zones, it is easy to photograph people with the use of Eye, Face and Head Detection AF, or intuitively track the whole body, face or eye of cats, dogs, or birds with Animal Detection AF. 

For those with the need for speed, Canon has also included still-image vehicle subject detection to assist with accurate tracking of cars and motorcycles. Connectivity like 5GHz and 2.4GHz Wi-Fi® and Bluetooth®, is also included for the transfer of still images.

Still Photo Capture. The R5 C offers still imaging with continuous capture at speeds of up to 20 fps using the 45MP full-frame CMOS sensor and the DIGIC X processor. Autofocus options are available to suit just about any type of action and include Dual-Pixel CMOS AF II for freezing split-second movements, 1,053 AF zones used for Eye, Face, and Head Detection AF, Animal Detection AF for grabbing wildlife or furry friends, and Vehicle Detection for nailing those automobile product shots. Use the R5 C’s dual-band Wi-Fi and Bluetooth connectivity for image-file transfers while you work.

Compact, Lightweight Body Compact and lightweight like the EOS R5, the R5 C is designed for comfortable handheld use. It also sports an optically extended EVF for eye-level viewing, and it shares the R5’s ergonomic grip design. 

The R5 C works with R5 accessories such as the battery and WFT (wireless file transfer) grips so, if you upgrade, you can keep those existing items. Cinema Video Imaging Cine camera users will see the familiar Cinema EOS menu when using the R5 C in video mode, making it easier to switch between a Cinema EOS camera like the C70, C300 Mk II, or C700 and an R5 C being used as a “B” camera. 

Resolution. This is the first Cinema EOS camera with the ability to record 8K video internally at rates up to 8K60p using Canon‘s Cinema RAW Light codec or in MP4 for quicker uploading. The incredibly detailed 8K (8192 x 4320) resolution can be used natively or used for 4K cropping from within the frame. 

The R5 C’s ability to record two resolutions simultaneously means you can capture in Cinema RAW Light for your final version while capturing 4K, HD, or a proxy file for speedier, less storage-intensive editing. HDR Imaging The R5 C offers HDR (High Dynamic Range) in HLG (Hybrid Log Gamma) in PQ (Perceptual Quantization)―producing richly detailed, lifelike footage even in 8K. Canon Log 3 compatibility streamlines simple grading when pairing the R5 C with other Cinema EOS models on multicamera shoots. 

Sensor Modes. Content is produced for a wide variety of cinema-style forms, and the R5 C has you covered with the ability to select from full-frame, Super35, and Super16 modes. High-frame-rate options include up to DCI 4K120 in 4:2:2 10-bit without sensor cropping and the ability to use autofocus and record audio files even at high frame rates.

Design. A fan system keeps the R5 C cool, enabling uninterrupted, internal video recording, and pro touches such as a timecode port, durable housing, and a built-in cable clamp make the R5 C easy to integrate into your all-day, multicamera events.

Preorder at B&H 

A WORD ON GEARED HEADS

by George Leon. Originally published October 2009

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

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

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

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

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

Worrall Geared Head

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

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

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

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

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

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

Geared Arrihead 2 on a Fisher 10 dolly

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

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

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

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

Roger explained,

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

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

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

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

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

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

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

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

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

Moy Geared Head on set.