J.L. Fisher SOC/ICG/ASC BBQ 2010

 By George Leon

JL Fisher have hosted for the last five consecutive years a summer event that has grown from a small gathering with a B-B-Q in their store to a successful motion picture equipment showcase presenting state-of the-art manufacturers and services to the feature film industry. It has become insofar one of the key places in Burbank where to meet suppliers and learn about their latest products in a relaxed and cordial atmosphere.

 Panavision Panaflex Millennium camera, with a Primo Zoom lens, mounted in a geared Panahead and a Fisher 10 dolly.
An ubiquitous rig in any feature film or TV spot. 

 Louma 2 crane with a 3D Quasar Panavision Genesis rig.

Sharon Walker, Director of Technical Standards. and Richard Amadril VP/General Manager at Panavision Remote Systems.

The FilmTools booth showcasing car mounting rigs, cameras,
expendables and more.

 A Canon XLH1 fitted with follow focus, rods, matte box, and eye brow mounted in a multi-plate with modular suction
cups ready for a car mounted shoot.

 Among the many companies showcasing their gear at the JL Fisher/ASC/ICG/SOC BBQ were The Camera House, Panavision, BandPro, Mole-Richardson, Mathews Studio Equipment, Panasonic, Innovision Optics, Filmtools, Camera Dynamics- O’Connor, Arriflex,  Hot Gears, KinoFlo, Leonetti, Company, Element Technica, Local 80, the Society of Camera Operators, the American Society of Cinematographers, the International Cinematographer Guild and others.

 Kimberly Villa and Dave Azzotto Marketing reps of  Leonetti Company. Leonetti  Co. provides complete production
services and rentals. For your next shoot feature or TV spot,  visit them and ask for a quote.


The new 24K is the largest single HMI Fresnel available in the world. Type 6861 24kW DayLite Fresnel. the new 24K does not make use of fans or other exotic ways to cool the lamp. Instead, large black anodized sockets, measuring a dramatic 5.5" in diameter, combined with specifically engineered top and bottom ventilation provides more than adequate cooling. In addition to the advances in cooling, a new highly polished 11" reflector, producing over 95% reflectivity, was designed to work with the larger arc gap of the 24K lamp. This new reflector, along with the 243.75" Borosilicate Fresnel lens combine to produce unparalleled output and a perfectly smooth field from spot to flood.

Mole Richardson booth showcasing their latest LEDs, flourescent,
PARS and tungsten fixtures. in the background is
Larry Mole Parker, V.P of sales

 Dave Frederick, SOC and Alexis Ostrander, director of the feature length documentary, "Defining Beauty - Ms.Wheelchair America"
 
Caiti Goosen, Cherokee Mead and Stefany Scauccy, Marketing and Service representatives of  The Camera House in
North Hollywood. One stop shop for all your production needs.

The Element Technica 3D Neutron rig 
ready to accept smaller High Definition cameras. Solid rig.

The American Society of Cinematographers presented "Designing the Moving Frame Seminar.  Who are the Decision Makers?
with a panel of notable ASC active members
 moderated by George Spiro Dibie, ASC.

The ASC panel and attending public. Click photo for enlargement Daniel Pearl ASC, Roberto Scheffer, ASC, George Spiro Dibbie, ASC, moderator, David Mullen, ASC , Don Morgan, ASC, and Victor Kemper, ASC

Don Morgan, ASC

Victor Kemper, ASC

Besides presenting hands-on demos provided by the manufacturers and rental companies the JL Fisher SOC, ICG & ASC BBQ  showcased two camera seminars. The first one of the day was the Moving Camera Operation Seminar with a panel of SOC members,  Local 600 members (Int.Camera Guild) and Local 80 (Grips).  The seminar focused on the working relationship between the Cinematographer, Camera Operator, 1AC, Key Grip and Dolly Grip when using Dollies and Jib Arms and was moderated by Bonnie Blake, SOC and David Mahlmann, SOC. Later on,  the American Society of Cinematographer presented their seminar, Designing the Moving Frame Seminar. Who are the Decision Makers? with a panel of notable ASC cinematographers and was moderated by George Spiro Dibie, ASC.

 Bill Russell, VP Western Operation ARRI, Tisha Matthews,SOC and Dianne Farrington, SOC  both of them volunteers at the Society of Camera Operators booth.

Bonnie Blake, SOC Chairperson having a conversation with an attendee. The SOC organized a successful raffle sale in their
booth, sponsored by Filmtools and LitePanels, raising upwards
of $1.245,00 in behalf of the Vision Center,
Los Angeles Children Hospital 

 Alicia Robbins,SOC cinematographer
extraordinaire greeting attendees
and explaining about the Vision Center

Dianne Farrington and Hugh Liftin, greeters at the SOC booth

 The highlight the of the day was the charity fundraiser in support the Vision Center at the Children Hospital of Los Angeles. The SOC organized the successful raffle sale in their booth, sponsored by Filmtools and Lite Panels, raising upwards of $1.245,00 in behalf of the Vision Center. The proceeds donated to the Vision Center are to help children with congenital or trauma induced impaired eyesight. The organizers were David Mahlmann SOC,  Corporate Outreach Chair and Bonnie Blake SOC, Charities Chair.

CANNES REPORT: TELLING THE FORTUNE OF RIDLEY SCOTT'S ROBIN HOOD

 by Caroline Hagood
The outlaw of 15th century ballad has undergone a modern movie makeover courtesy of Ridley Scott and Universal. The cinema chatter factory of the blogosphere (yours truly included) is all lit up over Scott’s Robin Hood (starring Russell Crowe as Hood and Cate Blanchett as Lady Marion) playing opening night at the 63rd annual Cannes Film Festival on Wednesday, May 12, and opening in the U.S. two days later. The script was originally entitled Nottingham, with the titular town's sheriff as protagonist. Crowe wasn't thrilled with that concept. After a rewrite from Brian Helgeland (L.A. Confidential and Mystic River) Robin Hood was born. I'm fairly certain you can guess who the hero of that version is.

So what can we expect from this neo-Hood? Some things have changed over the centuries. His Men sound less Merry and more martial. Another notable modification for these third-wave feminist times involves the movie’s Maid. Under Scott's lens, Marion has gone from virginal victim to warrior widow. Perhaps as an indication of changing gender roles, she has traded her distressed damsel act in for a sword on the battleground and a dagger in the bedroom. Although, in a well-researched Observer article, Vanessa Thorpe notes that these rebellious tendencies were in Marion’s mythology all along, but that in some cases they just got lost along the way.


Initial reports suggest that the film is well acted and shot (which isn't surprising in light of Scott's track record for visual effects Oscars) by cinematographer John Mathieson ASC, BSC but that it’s less lively than one might have hoped. This seems odd given that Scott's work usually bursts at the seams with every kind of action, ranging from beautiful android (Blade Runner); pregnant extraterrestial (Alien); punchy Roman slave (Gladiator); and spunky housewife (Thelma & Louise) fare; to the heroin-smuggling Harlem mobster (American Gangster); professorial cannibal (Hannibal) and general Russell Crowe kind of action (Gladiator, A Good Year, American Gangster, Body of Lies, and now Robin Hood). 

The camera package provided by Panavision included ARRICAM
Studio, ARRICAM Lite, and ARRIFLEX 235 bodies with a range 
of Primo prime and compact zoom lenses.  Some daylight exterior 
scenes were recorded  on KODAK VISION2 250D 5205 and 
50D 5201 emulsions, but D.P Mathieson used more 5219 film than  
he had anticipated, because there were many days when the woods 
were very dark in daylight.  “We tried to plan, but there were
surprises all the time, including  schedule changes and bad
weather,” he says.“Most of the time rain doesn’t photograph,
especially in the soft light coming through trees that are
covered with leaves".

 Perhaps all Robin Hood’s animation took place behind the scenes between Crowe and Scott, who have become the bickering old married couple of movies. As an amusing side note: Crowe may be the common denominator in Scott’s films of late, but it is Sean Connery who fills this position for Robin Hood productions. Although Errol Flynn’s portrayal is probably the most celebrated, and Disney's boasted the most anthropomorphic animal toons, Connery has the distinction of being most frequently found in Robin films (Robin and Marian and Robin Hood: Prince of Thieves); and when he’s not in them, he sends his son (who portrayed Hood in the British TV series Robin of Sherwood).

Watch Robin Hood Featurette On-Demand.
Check our Playlist in our main video window above


If these early reviews are to be believed, there is no joy in Hoodville. Although Scott’s favorite interpretation of the famous outlaw is Mel Brooks' Robin Hood: Men in Tights (1993), he didn’t take a leaf out of Brooks' humor book here. The film's supposed staid quality led Roger Friedman to wonder, "Does the public want a dark, brooding Robin Hood who takes Sherwood Forest seriously?" I'm not sure the world is ready for a serious Sherwood, but If I were to tell Robin Hood’s fortune, I would say that it will be extremely successful for one very time-sensitive reason.


This tale of an outsider leader fighting the corrupt old despot, and the fat cats who are getting richer while the poor get poorer, will resonate with today’s America. All that’s missing is an accusation that Robin is really a radical Muslim who wants to sink the national ship. Yet Scott is already pondering a sequel, so I suppose there's still time. 

Caroline Hagood is our guest writer and she is a poet and writer living in New York City. She has written on books, film and culture for Salon, the Huffington Post, Film International, Film-Philosophy, Film Catcher, The Journal of Popular Culture, and in her own blog, Culture Sandwich .

CANNES REPORT: YOU WILL MEET A TALL DARK STRANGER. ROMANCE, SEX, TREACHERY AND SOME MORE..

By George Leon
A little romance, some sex, some treachery, and a few laughs …Chances are that when you read the title You Will Meet a Tall Dark Stranger, it conjures up a vision of a gypsy fortune teller gazing into a crystal ball and telling someone they are going to meet the love of their life. That is an accurate perception. 


You Will Meet a Tall Dark Stranger is the third collaboration for Vilmos Zsigmond, ASC and writer-director Woody Allen. Their previous co-ventures were Melinda and Melinda in 2004 and Cassandra’s Dream in 2007. You Will Meet a Tall Dark Stranger was produced in London on a relatively low budget. The story is set in contemporary times. Star performers in the ensemble cast include Anthony Hopkins, Antonio Banderas, Josh Brolin, Naomi Watts, and Freida Pinto, among others and it will premiere Out-of-Competition at Cannes 2010.


In an early scene, a friend introduces a distraught, recently divorced woman to a fortune teller who paints a verbal picture of a happy future with a man she is destined to meet. As the story evolves, the audience meets various characters who are also searching for the loves of their lives. It’s a universal theme.

You Will Meet a Tall Dark Stranger was produced in 30 days at practical locations, which augment how the audience perceives the various quests for eternal love. “Woody described his vision for each scene in notes that were part of his script,” Zsigmond says. “We scouted until we found the perfect location for each scene.”


 Zsigmond and Allen intuitively agreed that the 35 mm film format with images composed in 1.85:1 aspect ratio was the right aesthetic. There were no storyboards. Allen discussed his vision for each scene during rehearsals. He trusted Zsigmond to capture his story on film. In turn, the cinematographer discussed his vision for naturalist lighting that set the tone for each scene with gaffer John “Biggles” Higgins.


  “We covered around 98 percent of the scenes with a single Panavision (Millennium XL or Platinum) camera that was usually on a Steadicam tracking with the actors,” Zsigmond says. “Biggles had the right light for each moment in the story. “Woody was usually next to the camera. He occasionally looked at scenes on a monitor, but we trusted (camera operator) Peter (Cavaciuti) to get composition right.” 


 Zsigmond recorded darker interiors and night scenes on KODAK VISION3 500T 5219 and daylight exteriors on KODAK VISION3 250D 5207 color negative films. He documented every setup with digital still pictures, which he timed on a personal computer each night to indicate his intentions for the looks of different scenes. “Woody wanted everything in the warm zone with golden sepia tones,” he says.

Zsigmond emailed the timed still pictures to dailies timer Russell Coppleman at Deluxe in London. They also communicated regularly by phone. Zsigmond watched the HD dailies, provided by Arion (part of the Deluxe group), to verify that focus and composition were what they had envisioned. He relied on Coppleman to judge whether colors and contrast were consistent with their intentions. Mark Wright edited the negative with Allen, and Zsigmond timed the final cut with Clive Noakes.  “Woody brings out the best in everyone,” Zsigmond observes.

CANNES 2010 REPORT: BIUTIFUL & CARLOS, THE JACKAL


By George Leon

 Biutiful (beautiful)  the story of a man involved in illegal activity who is confronted by an old childhood friend, who is now a police officer. Directed by Alejandro González Iñárritu and starring Javier Bardem. It is Iñárritu's first directorial feature since Babel and his first film in his native Spanish language since his debut feature Amores Perros. The film is scheduled to compete for the Palme d'Or. 

At the heart of Biutiful is the intimate, powerful story of Uxbal, a man who finds himself desperately alone, trying to maintain his balance between survival in a marginal neighborhood and safeguarding the future of his young children who are floating aimlessly through life. So, you can all guess that Bardem is playing Uxbal, and who could be better choice for this kind of role? The perfect guy that we all remember from titles like  No Country For Old Men or The Sea Inside and Between Your Legs.

The film is one of five productions in a $100 million deal between Gonzalez Inarritu, Alfonso Cuaron, Guillermo del Toro, and the film companies Cha Cha Cha, Universal Pictures, and Focus Features International. Soundtrack by Gustavo Santoalla and Cinematography by Rodrigo Prieto, AMC ASC.


 Olivier Assayas’ highly-anticipated Carlos has been added to the lineup for the Cannes Film Festival in an Out-of-Competition screening slot in its long 5hr 30min version and also it is to be shown as a three-part TV drama on television Canal+.

 
Assayas’ biography of the famed terrorist Ilich Ramirez Sanchez is a five-and-a-half hour opus starring Edgar Ramirez, Julia Hummer and Alexander Beyer and centers on Venezuelan revolutionary Ramirez Sanchez, who lead a terrorist organization that raided OPEC headquarters in 1975 before being caught by French police.
The mini-series is set to air in the US on The Sundance Channel at some point this year, and the shorter version will be released theatrically by IFC Films.

SUPER 8 IS ALIVE AND WELL. THANK YOU!

On Monday night Phil and Rhonda Vigeant presented their first seminar of the series of workshops and just released book    "The Power of Super 8 Film" at the Missing Piece Theater in Burbank to a pack house of Super 8mm film enthusiasts,  cinematographers and other film and video professionals. Pro 8mm is the premier production and post production house in USA in all related Super 8mm filmmaking.

 Phil started the presentation with the evolution of  the Super 8 film, from his earliest days at working Super 8 Sound in Cambridge, Mass,  until today and later explaining his reason to upgrade his workflow M2 HD 4K scanner to Pro Res 444 workflow. 

Pro8mm post production facility in Burbank

 Along with his entertaining story telling about his experiences with the medium and interaction with the end users of Super 8mm on the early days, when it was an ubiquitous item in any household, educational institution or industrial production company and how the medium  was resurrected from an almost total eradication from the industry with the advent of the Betamax and later VHS tapes and the immediate gratification of video playback.


 To illustrate the chronology of the renaissance of Super 8mm, Phil presented 8 classic MTV groundbreaking music videos from the early days to today, including Madonna's "Erotica" to Boys Like Girls "Two is Better Than One", all shot with Super 8 and the last one shown was shot combining Pro8mm retrofitted Canon cameras loaded with Fuji film stock and the RED ONE camera.

 Film Stock sold with processing and HD scanning

The Pro 814, a newly rebuilt, re-calibrated classic
Super 8 Canon 814 camera, modified to
optimize results from modern film stocks.

 All videos presented were originated on Super 8mm film stock at one time or other and transferred to DVD with the in-house M2 HD 4K scanner or Pro Res 444. The last two videos presented, a music video and a fashion industrial video were of the highest post production and finishing quality paired with outstanding cinematography. 

Cinematographers George Manzanilla and Craig Kief joined Phil on the stage for a conversation and a Q& A ensuing many questions from attendees about their experience in using such narrow gauge to capture 16x9 aspect ratio visuals and the aesthetic reasons behind the decision to combine them or inter-cut them with HD footage.

 Chris Manes, Phil Vigeant, Steve Moses

 Craig Kief, George Leon, George Manzanilla, Phil Vigeant, 
Jackie Di Crystal, Rhonda Vigeant
(Daniel Lee photo)

Also,  Pro8mm announced their 2 Day Boot Camp,  September 11 & 12 2010, and those in attendance were allowed to pre-register at a huge discount and bring a friend for free.  Also, for details on more free Super 8 seminars, purchase of the book and events. Call 818-848-5522 or log onto Pro8mm website!

To learn more about the Power of Super 8 Film book and to watch a video click here!

AT THE SHOWBIZ EXPO 2010 LOS ANGELES

The past weekend I visited the ShowBiz Expo in downtown Los Angeles and I was bit surprised that they were sharing the Convention Center with the Cannabis Expo...it shows we are in Lalaland...and I do not have anything against it.. just that the landscape was bit "exotic" to me.

The CinePed, a panoramic 360° camera 
support system, with a dolly hydraulic pedestal 
Syd Wilder operates the rig

A couple years ago, I visited the ShowBiz Expo in New York City and I found there a very busy floor, but it was mostly geared  to the acting, performance and theatrical industries. Here in Los Angeles, I was anticipating for the expo to be rather a meeting place for the production and post industries, but then again I found here a mixed bag of vendors mostly addressing the acting, modeling and performance industry and  other few production related companies
.
 The American Cinematographer booth offered their
 flagship magazine and other educational publications. 
It was a crowded stop for the attendees at the ShowBiz Expo. 
The American Society of Cinematographers also conducted a  
morning session focusing in the relationship between the 
cinematographer and the performer. Pictured above is
publisher Martha Winterhalter and staff.

But nonetheless, it became evident that the attending public was also a mixed bag, a crowd of non-production , actors, performers and production people eager for information from the different vendors and workshops. The only session I was able to visit was the RED workshop "All want you want to know about the RED" and the panel provided a comprehensive session about the RED camera as they related their experience about production and work-flow to the attending public.

Michelle Danner, Executive Artistic Director of 
EdgeMar Center for the Arts on Main, Santa Monica

Overall, The ShowBiz Expo it is a potential  networking place not just for the uninitiated, but also for the professional looking for information, connections and orientation  about the in-and-outs of acting, the performing arts and the different aspects of production, serving thus a good purpose to the industry as a whole in a town where these type of shows are commonplace.

Kenny Davis, COO of THE WRAP, one of  leading online 
news outlet and blog about everything Hollywood 


RED Session "All what  you want to know about the RED"
Jay Hoben, Technical Editor of Digital Video, 
Christopher Proby, Brad Wilson, Raphael Smadja,
Jon Sagud of RED Cinema and Al Satterwitte 
all cinematographers experienced with RED production
and workflow.

Scott Smith, production coordinator,
Craig O'Brien, cinematographer
Mary Tortomasi, operations manager
Skydive Perry Outdoor/Indoor Skydiving
Production Skydiving Specialists


Megahn Shriver, Maury Donnelly & Parr, 
Production Insurance

A NEW ERA IN SPORTS: LIVE 3D BROADCASTING

by George Leon

ESPN To Launch First 3D Television Network. ESPN presented at the NABShow 2010 Content Theater, the  super session ESPN: Scoring a Field Goal in S3D Sports to a pack house audience emphasizing  on the creative and technical lessons that ESPN has learned producing sports in stereoscopic 3D -S3D-, how S3D impacts broadcast direction, workflows, graphics, camera placement and other key components of sports capture and exhibition. "The worldwide leader in sports" featured dynamic, never-before-seen S3D sports footage and addressed  the network's vision for making a dedicated S3D channel a reality.


The panelists were Anthony Bailey, vice president emerging technologies, ESPN; Phil Orlins, coordinating producer, ESPN X Games; Vince Pace, CEO and Cinematographer, PACE; and Bob Toms, vice president, production enhancements & interactive TV, ESPN. 

Earlier this year, "The industry’s first 3D television network" was announced by George Bodenheimer, Co-chairman, Disney Media Networks, and President, ESPN and ABC  Sports. ESPN 3D will showcase a minimum of 85 live sporting events during its first year,  beginning with the first 2010 FIFA World Cup match on June 11 featuring South Africa vs. Mexico. Other events to be produced in 3D include up to 25 2010 FIFA World Cup matches, NBA, X Games , college basketball, and college football, which will include the BCS National Championship game in Glendale, Ariz., January 10, 2011. Additional events will be announced at a later date.

"ESPN’s commitment to 3D is a win for fans and our business partners,” said Bodenheimer.  "ESPN 3D marries great content with new technology to enhance the fan’s viewing experience  and puts ESPN at the forefront of the next big advance for TV viewing.”

Sony HDC-1500 cameras, side by side dual lenses 
Pace’s Fusion 3D technology

 “This will be a meaningful step to drive adoption of 3D television sets and afford opportunities for our affiliates to create value through new product offerings, and our advertisers, who want fresh sponsorship opportunities,” said Sean Bratches, executive vice president, sales and marketing.

ESPN has been testing ESPN 3D for more than two years. Last fall, ESPN produced the USC vs. OSU college football game which was shown in select theaters as well as to 6,000 fans at the Galen Center on USC’s campus. ESPN has developed best practices for utilizing the technology in live game applications which have provided ESPN the ability to streamline workflow operations, adjust 3D camera positioning, test transmission and gauge fan reaction to a 3D telecast versus a traditional telecast. 

 Fusion calibration charts

 ESPN relied on NEP's SS 3D truck, a 53-foot unit that ESPN first used to produce the Ohio State-USC college football game in 3D last September. The truck, which NEP built in partnership with 3D production specialist PACE, features a 3D viewing area where the production team can watch the action on 3D LCD monitors while wearing passive 3D glasses; a "convergence station" where operators can dynamically adjust the depth of field from multiple cameras; and 3D-capable tape, video and engineering rooms. 

High Definition 2D and 3D Fusion Pace rigged  cameras 
covering the game

Key gear includes PACE’s FUSION 3D technology, which relies on stereoscopic camera rigs that use two Sony HDC-1500 cameras. SS3D is wired for eight 3D camera systems and houses a Sony MVS-8000A 4ME switcher, an NVision Envoy digital video router, NVision AES digital audio router, and SSL Aysis Air PLUS! digital audio console. One Chyron Hyper X3 graphics unit is on board, provided by PACE, and the truck is wired for two six-channel EVS XT[2] servers (the tape complement is à la carte, per client request).. SS3D features a 3D production viewing area (monitor wall provided by PACE), a convergence station, and 3D-capable tape, video, and engineering rooms.

3D Master Control and stereographers controlling
intrerocular and convergence

The  production team, includes a director for both the 2D and 3D productions-with the exception of a stereo-grapher dedicated to the 3D pictures, and a separate tape producer who had the freedom to select different shots for the pre-recorded ESPN2 telecast.

 Smaller High Definition cameras with 
splitter lens for hand held EFP coverage

PACE's Fusion 3D camera system was used to shoot the sci-fi epic 'Avatar' - The film is a revolutionary blend of CG and live-action, all coming together in stunning digital 3D. PACE is the world's leading innovator in advanced 3D and Digital Cinema Systems.

Trusted by many of the top producers in the industry, the team at PACE, in collaboration with Director James Cameron, has designed and developed the FUSION camera system, capable of creating content in some of the planet's most extreme locations. The Pace Fusion 3D digital camera has two lenses side by side; the dual signals from the camera are sent by cable to a remote storage system. The camera's lenses can be positioned a variable distance apart for different shooting circumstances (convergence).

Watch a video clip about the Pace Fusion camera  in our ON-DEMAND video playlist above

QUASAR 3D / PANAVISION AT THE SOC

Panavision has added to its rental inventory the Element Technica Quasar 3D Rig fitted with Panavision Genesis cameras and Primo prime lenses. The modular rig was reviewed in a mini workshop Q& A presented by  the the Society of Camera Operators (SOC) and  held at The Motion Picture & Television Fund Country Home in Woodland Hills. Sharon Walker from Panavision and Chris Burket  from Element Technica,  explained the features of the stereoscopic rig and answered questions from the attending cinematographers and camera operators about the many technical and aesthetics details of acquiring 3D footage using the Quasar 3D rig. Other smaller 3D rig was presented, the Neutron, designed for 1/3 or 2/3 inches cameras such as Iconix or SI2K-mini.

Attending SOC members and guests 

Panavision's Director of Service & Technical Standards,
Sharon Walker shared details about the Quasar/Panavision rig

Among other features explained is that the Quasar is a 3D tool that has been designed to be as simple to use as most modern 2D camera systems, making it possible for any filmmaker to create 3D content using their regular 2D crew and the Quasar is designed to accommodate full-size digital cinema cameras like the Sony F23 and F35, RED ONE, Panavision Genesis as well as full-body and box-type digital broadcast cameras like the Sony F950 and 1500, Grass Valley LDK cameras and others. The Quasar is a platform for matching zoom or prime lenses to accommodate any shooting style or format.

 The Quasar 3D rig showing the two Genesis 
cameras, stereo assist (zoom, focus, intrerocular 
and convergence) and a Transvideo 3D
monitor on a Vinten head

Beamsplitter for 15mm to 250mm lenses

The Quasar’s modularity allows it to be configured as either a beamsplitter system for work with lenses from 15mm to 250mm or alternately set up as a converging side by-side system for use at with focal lengths of up to 2200mm or when close focus is not an issue. For the first time the precision and refinement of a beamsplitter system is offered in a side-by-side rig utilizing the same electro-mechanical components and same user interface.

Both beamsplitter and parallel configured camera platforms to accommodate cameras from the small sensor Iconix or S1-2K to fullsized digital imagers like the Genesis and Sony F35. These systems represent the first of a new generation of 3D imaging tools with fully embedded control electronics. Most systems will accommodate zoom lenses and offer synchronous control of focus, iris and zoom with the embedded electronics. The beamsplitter and parallel systems share the same basic mechanism and electronics for Intraocular and Convergence  as well as the same user interface.

 The Quasar 3D rig seen here shooting “Larger Than Life in 3D,” 
a live concert featuring Dave Matthews Band.

 Chris Burket, Technical Rep from Elements Technica explains
the Neutron 3D Rig for 1/3 or 2/3 inches cameras such 
as Iconix or SI2K-mini. Here with Sony cameras  


Quasar Rig Specifications: Camera and lens agnostic, designed for full body digital imagers: Genesis, Sony F23/35 & 1500 & RED. Beam Splitter: Compatible with prime lenses and small zoom lenses.
Focal length range (S35 format) 15mm to 250mm.  Side-by-side: Compatible with all primes and most ENG/Cine zooms. Focal length tested to 2200mm (S35 equivalent). Rig weight without cameras: 36.6lbs. [16.6 kilos]
Isolated mirror box provides exceptional rigidity and precise alignment. Integrated motors and electronics for Inter Ocular and Convergence control  Wired/wireless remote hand unit for Inter Ocular and Convergence control.
Click here for more technical and rental information about the Quasar3D/Panavision Rig.

About the Society of Camera Operators
The principal purpose of the SOC is to recognize and nurture excellence in the field of camera operation and, secondarily, in the allied camera crafts, and to encourage development of both technology and production methods which will help our members achieve that excellence.

The Society sponsors an annual Lifetime Achievement Awards banquet honoring outstanding camera personages and their accomplishments in, and contributions to, the cinematic media. Also given are Technical Achievement Awards which are presented to the Corporate Community for technological advancements, honoring innovations benefiting the art and craft of camera operating.

Because the members of the SOC make their living with their eyesight, they take pride in supporting the Vision Center at Childrens Hospital Los Angeles with annual donations which helps underwrite contact lenses for infants with serious sight problems.

Active Membership in the Society is open to Camera Operators. Associate Membership is open to Directors of Photography, Camera Assistants and Still Photographers. Corporate Affiliate Membership is extended to participating corporations. Membership is open to qualified persons of any nationality.
Click here for more information about the SOC

by George Leon