THE BATMAN-GO BEHIND THE SCENES W/ASC NOMINEE, GREIG FRASER

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

NEW FUJIFILM FUJINON HZK25-1000MM PL MOUNT BOX LENS

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.

"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.

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.

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.

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

KEY FEATURES

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

Stabilization

Automatic Restoration of Illumination Attenuation (ARIA)

Remote Back Focus (RBF)

Automatic Chromatic Aberration Correction (ALAC)

SPECS

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.   

KELVIN EPOS 300 LAUNCHED ON EUROCINE EXPO 2022

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.

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.

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 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

TOP GUN: MAVERICK BTS WITH DOP CLAUDIO MIRANDA, ASC AND FUJINON LENSES

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.

 

GEAR LIST USED TO SHOOT TOP GUN: MAVERICK.     

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

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 OPTIMO PRIMES WITH INTERNAL OPTICAL PALETTE (IOP) EFFECTS

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 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 ⭐