CINE GEAR EXPO 2010 SNAPSHOTS

After attending for three consecutive days to some of  the specialized content conferences, a 3D symposium and other production and post seminars and after evaluating the latest technology the film and digital video industries has to offer, specially the HDSRL and 3D formats, I should add that Cine Gear Expo is an outstanding motion picture production and post production showcase and moreover, it is an important international crossroad for the entertainment industry. This year Cine Gear Expo was held once more at Paramount Studios in Hollywood using the New York City streets stage as the backdrop and  serving as a perfect location to host over hundred of vendors and thousands of  attendees.  Below are some snapshots I took from the expo.

An Airstar HMI Balloon providing 360 degrees
of key illumination to a busy street

Back lot at Cine Gear 2010 showing to the right the largest
HMI lamp available. Designed by Mole Richardson
the 24K watt Daylight Fresnel

 The latest industry game changer, the CanonEOS D7 and D5 Mark II along all the accessories companies providing HDSRL equipment support. Dr.T Lee inquires about the Gearnex lightweight geared head and a Redrock microremote follow focus and micro tape real finder at the Redrock micro booth.He is holding his own D5 fitted with a Zacuto viewfinder.

Hurlbut Visuals branded D5 MarkII,

Watch Shane's Clip in our sidebar

or visit http://www.hurlbutvisuals.com/ 

The only waterproof HD periscope probe available in the world for low  angle perspective adaptable to any video HDSRL, made by Innovision. The HD Probe has interchangeable Straight, 45° and 90° Periscope  attachments. Completely waterproof, the HD Probe is ideal  for commercials, music videos, product photography and feature films.

The HD Probe features high resolution glass elements and relay optics for images with remarkable edge-to-edge sharpness, flat field, and  extreme depth of field. State-of-the-art multiple coatings provide sharp,  low dispersion images. Great for detailed HDSRL table top cinematography.

InnoVision's booth. Mark Centowski answering  technical questions.

Filmtools presented their Camera Mount Triangulation Kit. A car mounting multiplate bracket  with suction cups adaptable o any video HDSRL or small HD video camera. The Filmtools Camera Triangulation Kit is designed to give your camera the extra stability needed to cut down on vibration when it is attached to a car mount. The kit works by attaching a hot shoe adapter w/ 6" Baby Pin to the hot shoe of the camera and then attaching to 2 points on your existing car mount via (2) 3/8" diameter 24" long rods attached to Matthews Mini Grip Heads. This kit eliminates vibration at the top of the camera. Filmtools recommends the use of Tie Down Straps to secure all Car Mounts.Italian actress Cristina Pavorel graces the shot.

Steadicam Guru Garret Brown gives handling  pointers to an operator about the use of the new  Tango Steadicam vest and arm fitted with a  boom arm, monitor and battery designed  specially for the new HDSRL cameras and capable to have full boom range. The head tills up and down and rolls side to side.

Steadicam operator Howard H Bingham takes a Tango test ride

Snow Business booth with snow, ice rink and a skater.

3Ality 3D rig at the Paramount Pictures booth. Based on two Sony HDVS HD-SDI cameras and two Zeiss Digizoom lens, including a trapezoidal beam-splitter mirror, a beam-splitter mirror that is facing downwards, a stereoscopic platform that can be inverted 180.degree., an optical wedge for vertical field-of-view refraction compensation, a single inter-ocular motor with dual rack-and-pinion gear system, dual convergence motors on worm gears, a convergence rotation under first-nodal point, and an electronics control mounted under the mirror

A crowd pleaser. Panasonic's new Full HD 3D AG-3DA1 camcorder. The dual lenses, camera head, and a dual Memory Card recorder are integrated into a single, lightweight body. The camcorder also incorporates stereoscopic adjustment controls making it easier to use and operate.The twin-lens system adopted in the camcorder's optical section allows the convergence point to be adjusted. Functions for automatically correcting horizontal and vertical displacement are also provided. Conventional 3D camera systems require these adjustments to be made by means of a PC or an external video processor. This new camcorder, however, will automatically recalibrate without any need for external equipment, allowing immediate 3D image capture.

PRG Booth. Movable Scenery reflection for a stationary
car shot achieved by an overhead LED computerized rig.

Society of Camera Operators (SOC) booth.

LiteGear Inc booth offering their LightRibbon, a flexible, adhesive backed material with a linear array of low-profile, wide angle LEDs. Designed for use anywhere that small, lightweight, battery operated, or frugal power requirements are needed. LiteRibbon can be positioned in small  places as control panel back lights, or integrated into costumes or vehicles.

Volker Bahnemann, ARRI CEO, accepting his Lifetime Achievement
Award, introduced by Victor Kemper (ASC) and presented by
Cine Gear Expo organizers, Karl Kresser and Juliane Grosso

 Victor Kemper, ASC and Volker Bahnemann

At the British Society of Cinematographers (BSC) store. 

Yuri Neymann ASC, Nigel Walters BSC and David Higgs, BSC

A 3D  Sony/Quasar rig on a Scorpio Stabilized Head
and a Super Scorpio crane

  At the Service Vision booth. Scorpio Follow Focus System

click here for more snapshots

CAMERA STABILIZATION WORKSHOP

Learn the features and benefits of the Artemis camera-stabilizer systems from the inventor, Curt Schaller, in this three-day, hands-on workshop.

The Artemis camera-stabilizer systems provide flexible operator-design and modularity that have been strategically engineered by Sachtler, one of the top engineering companies in the industry. Createasphere brings you an opportunity to find out more and test-drive the system at a three-day, practical workshop featuring the Artemis camera stabilizer systems. Instructed by Curt Schaller, the designer and inventor of the Artemis system, this workshop will show you the user-friendly design and modular components that can be used to upgrade and supplement your current equipment. An experienced cameraman and Steadicam operator, Schaller will share his tips and insight that will make you feel like an expert in only three days. Try out the rigs, learn how to prepare and set up your equipment, discover expert techniques for framing and movement, and find out how to use your equipment safely and efficiently. Get expert, practical information on this revolutionary new system from the man who invented it.

Workshop topics:

• Where, why, and how to use a camera balance system
• Philosophical basics and creative possibilities
• Introduction to the equipment, physical basics
• Function and set up of the rig, arm, vest, monitor, batteries
• Basics of the cameras, lenses, wireless accessories
• Setup the system for SD, HD, 16mm & 35mm
• Balancing the rig / final adjustments
• Operating and moving techniques
• Remote systems (lens control, video transmission)

Up Next: September 25-27, 2010 - New York City (see full schedule)

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.

For more read In Camera Kodak

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!