SONY F65. A NON PLUS ULTRA CAMERA AT $65K

On Tuesday, September 6 at the DGA theater in Hollywood, California, Sony officially raised the curtain on its flagship  digital camera, the F65 CineAlta. The new revolutionary digital motion picture camera system was presented to a selected audience members of the American Society of Cinematographers (ASC), members of the press, local industry professionals and many cinematography products resellers and distributors.

Peter Crithary, Marketing Manager for Production

at Sony Electronics, shows a new F65 feature.

The Rotary Shutter 

Sony also screened a newly shot F65 footage lensed  by Curtis Clark ASC, Paul Babin, Brad Olhund and Kess Van Ostrum ASC, to demonstrate the attributes of the camera, its powerful resolution at 20M 8K sensor, dynamic range and latitude (14 stops) and color reproduction in a variety of extreme lighting conditions on different exterior and interior locations.

Jim Houston from Sony Pictures, Kees Van Ostrum ASC,
Brad Ollhund, Paul Babin

 

Sony's Toshi Kawamura rolling out the introductory price of the 

F65 system. Toshi brought the price down from $102+  

to a mere $65K!!! A figure easy to remember, he said.

To close the presentation, Sony's Toshi Kawamura, announced its roll-out marketing plan  lowering the purchase price to  a mere $65,000!! (offer good until next Christmas only) from an original component cost of $102+ and included  is the viewfinder, a dockable SRMemory recorder and a 1TB SRMemory card. From Los Angeles,  the Sony team  leaves to Amsterdam to show the F65 camera system  to a worldwide audience at the IBC 2011.conference. (follow the IBC 2011 here).

The F65 derives true 4K resolution - and beyond - at the point of image capture. "4K" resolution is 4096 x 2160, which is more than four times greater than the full HD (1920x1080) spec. Its unique 8K image sensor, with approximately 20 total megapixels, offers higher image fidelity than any other digital cinema production camera. With 16-bit Linear RAW File output capability, the F65 creates the gateway to an end-to-end 4K file-based mastering workflow.

  Sony revamped its CineAlta logo to indicate infinite quality.

 A chronological progression of  Sony's CineAlta technology

 Alec Shapiro, Senior V.P of Sony’s Professional Solutions 

of America Group

"This is the camera Hollywood has asked for, designed specifically for filmmakers," said Alec Shapiro, senior vice president of Sony's Professional Solutions of America group. "The ability to shoot content in true native 4K resolution lets filmmakers capture more of what they're seeing through the lens to fully realize their vision. The F65's incredible imager captures more data, which translates to more information that can be put up on the screen. And access to an open and inclusive platform enables the integration of an F65 file-based workflow into other systems, creating truly exciting, and limitless, production opportunities."

 The latest enhancements and features are: 14 stops High Dynamic Range with much wider color gamut, a rotary shutter model (F65RS) to remove motion artifacts; four ND Filter built-in with rotary shutter, Wi-fi operation for remote control operation from tablet devices (including the Android-based Sony Tablet S and Apple iPad), HD-SDI output with viewing LUT for on-set monitoring with focus assist zoom, 60 Minutes of 16 bit Linear RAW file recording onto a 1TB SRMemory card at 24FPS, a dockable SRMemory recorder - model SR-R4 - which attaches to the camera to record directly to an SRMemory card of 256 GB, 512 GB or 1TB capacity with data security and sustained throughput of 5.5 Gbps.

 Another  powerful new capability for the F65/SR-R4 combination is the ability to switch recording between 16-bit linear RAW File and MPEG-4 SStP File modes. Users can configure the camera on a project-by-project basis, selecting either 16-bit linear RAW File for ultimate quality acquisition or high speed operation at up to 120FPS, or MPEG-4 SStP File (HDCAM SR native) for exceptional quality HD recording. MPEG-4 SStP File also provides full compatibility for viewing, offline and post production using either the free Sony PC or MAC viewer or products using the new Sony Software Development Kit.

  David Grober, Motion Picture Marine, Chuck Lee, Fujinon Inc

Technology Manager, Mark Miller, SOC attendees to 

the F65 presentation

The F65  pre-orders are available in Hollywood at Otto Nemenz International and Band-Pro, Burbank. The camera starts shipping in January 2012.  Band-Pro's Sony F65 Introductory Pack  at $85,000  includes: A Sony F65 Camera Body with Mechanical Rotary Shutter,  HDVF-C35W Color Viewfinder,  SR-R4 Digital Recorder, 1x Sony 256MB SRMemory Card, Sony SR-PC4 Data Transfer Unit.

For more info: Otto Nememz. Band-Pro. Sony Digital Motion Picture Cameras

CREATEASPHERE NYC 2011. THE MOST BANG FOR YOUR BUCK

September 21st is ASC & NAB Show Day at Createasphere's Entertainment Technology Expo

September 20-21, 2011 | The New Yorker Hotel | New York, NY

The National Association of Broadcasters (NAB) teams with Createasphere for NAB Show Day

This new collaboration unites the NAB Show - the world's largest event covering filmed entertainment and the development, management, and delivery of content across all mediums - with Createasphere’s Entertainment Technology Expo in NYC.

Members of the American Society of Cinematographers throughout the East Coast will gather at the Expo on September 21st for exclusive technology spotlights and a day of ASC activities. Friends of the ASC may join a private ASC breakfast.

JUST ANNOUNCED:  Sony to present three hot Intensives at the Entertainment Technology Expo. 

3D State of the Business

Whether you produce in 3D or are just considering it, you won’t want to miss this presentation and Q+A. September 20: 1:30-2:30pm, 4:30-5:30pm; September 21: 11:30am-12:30pm

New PMWF3 options, SLOG, and 444

If you are a current PMW-F3 owner or considering this Super 35mm camera you won’t want to miss these updates. September 20: 2:30-3:30pm, 5:30-6:30pm; September 21: 12:30pm-1:30pm

NXCAM Super 35mm and its Breadth of Accessories

See how this Super35 camcorder packs high performance and superb creative tools into a compact, modular body. September 20: 3:30-4:30pm; September 21: 10:30-11:30am, 1:30-2:30pm

Shooting the Breeze with 30 Rock, Rescue Me, Salaam Bombay! and Crazy Heart Cinematographers

Sandi Sissel, ASC (Salaam Bombay!)

Vanja Černjul (30 Rock)

Barry Markowitz, ASC (Crazy Heart)

Tom Houghton, ASC (Rescue Me)

A rare opportunity to sit in on a creative conversation with the artists who are making the images and telling the stories we want to watch. Join this lively conversation between Vanja Cernjul (30 Rock), Sandi Sissel, ASC (Salaam Bombay!), Tom Houghton, ASC (Rescue Me) and Barry Markowitz, ASC (Crazy Heart) to hear what cinematographers want to talk about with other cinematographers. American Cinematographer's Iain Stasukevich will keep the action in line and help the audience jump in to the discussion.

Bob Primes, ASC to Present Findings from Single Chip Camera Evaluation (SCCE) - First Public Showing on the East Coast! 

Rigorous and impartial image quality evaluations  given to major digital cine cameras and 35mm film.

Turner Case Study: Moving From Still Image to HDSLR

Join Christopher Grakal and Mark Hill of Turner Broadcasting System Inc. as they walk you through real work examples of how TBS Inc. photographers are now utilizing HDSLR cameras to bring value to their internal clients across the global enterprise of Turner Broadcasting.

Super Summit 2 - The State of the NLE

The post-production landscape is constantly changing. Come see how the 3 A's (Adobe, Apple, and Avid) offer options for today's creative professional. Presenters: AllCreative New York, MoPICTIV, ProductionConn, and NJ FCP UG.

3ALITY ACQUIRES ELEMENT TECHNICA

3ality Technica™ steps up its role as the largest innovator and supplier of S3D production technology. The newly merged companies will become known as 3ality Technica and under the new brand, the company will produce unique 3D rigs configurations combining 3ality's stereo image-processing software with Element's mechanical designing expertise. The company will unveil the merger at IBC 2011 in Amsterdam (booth 9.B40 Hall 9).

 Atom™ by Element Technica is a new breed of light weight, 

camera specific 3D camera platform designed from the 

ground up for the world’s most innovative game changing 

camera, Epic from RED Digital Cinema

 IBC Note: Steve Schklair, founder, and CEO of 3ality Digital, will speak on Monday, September 12, at 1:30pm in the RAI Big Screen Auditorium during the 2011 IBC event. His presentation entitled, “The reports of S3D's death have been greatly exaggerated,” is set to discuss the future of S3D as a genre that exceeds traditional use in big action films and that will take up permanent residence in homes around the globe.

3ality Digital, considered to be the leading innovator of the most sophisticated S3D production technology in the industry, announced today it has acquired Element Technica, a company long-known for its manufacturing expertise, accessories, and mechanical engineering of motorized S3D camera rigs. 3ality Digital has been named in the 2011 Inc. 500 list and is considered one of the fastest growing private companies in the nation. 3ality Digital is now 3ality Technica, and with its acquisition of Element Technica, 3ality Technica now provides all of the control, accuracy, breadth, automation, modularity, accessories, and design of both existing product lines.

Element Technica’s product line has become synonymous with ease of use, great design, affordability, and durability. 3ality Digital’s product line has become synonymous with precision components, speed of use, incredible accuracy, and advanced image processing. In acquiring Element Technica, – the Company gains an in house manufacturing and design capability, and the opportunity to further expand its already sizable R&D infrastructure. Physically, the companies will combine in an expansion to the 3ality Digital headquarters in Burbank, CA.

  Quasar 3D rig

“As our primary competitor, we have always had great respect for Element Technica and their achievements. The complete compatibility and lack of redundancy between the companies has made this an ideal acquisition, strengthening the Company’s position to provide the most advanced and dependable S3D solutions to the market. Perhaps the greatest benefit of this acquisition will be to the motion picture and broadcast producers who will now have an unprecedented amount of tools and technology tailored to meet their specific needs” said Steve Schklair, CEO of 3ality Technica. The combined engineering skills of the two companies will help push 3D production to levels of integration and refinement previously unmatched. Many of Hollywood’s major theatrical releases which have been shot utilizing these two companies systems and technology include “Jack the Giant Killer,” “The Amazing Spider-Man, “The Hobbit: An Unexpected Journey,” “Prometheus,” “Underworld 4,” “Oz,” and “The Great Gatsby.” Also, companies like BSkyB, the world’s leading 3D broadcaster, and the HBS feeds from the FIFA World Cup have based their productions of live events on the backbone of  3ality Technica technology. 

 “With this acquisition, 3ality Technica will be a decade ahead of the rest of the industry. Not only will automation become more common, it will be the standard as the industry begins to enjoy the simplicity and speed it affords,” said Hector Ortega, Senior Vice President of 3ality Technica. “Integration will fast-forward as the merging systems require fewer and fewer ancillary components. Compatibility with other industry systems will cease to be an issue as 3ality Technica alone already leads the way in seamless connectivity from post production, to VFX, and live broadcast,” said Stephen Pizzo, Senior Vice President of 3ality Technica.

 The combined expertise that forms 3ality Technica ranges from Hollywood feature films and television, to live-broadcast sports events and concert performances, to NASA. It also positions the company to offer the world the most comprehensive advanced 3D educational program (3DIQTM) to filmmakers, broadcasters, and craftspeople. Element Technica is also well known for their line of both 2D and 3D accessories, and it is planned that this product line will continue under the existing “You cannot believe the level of excitement we all share, but it’s not just us that are so elated. Some of our key customers and partners that were recently made aware of this deal have shared in this excitement as they all understand the benefit this will have to their work. We have already integrated some of the best aspects of both companies’ product offerings, so the  market will see an immediate improvement in tool sets, component integration, and customer service,” said Schklair.

About 3ality Technica™

3ality Technica is headquartered in Burbank, California, and is the leading provider of stereoscopic 3D (S3D) production products that enable the highest quality live-action S3D. 3ality Technica systems have been deployed for “The Amazing Spider-Man,” “The Hobbit: An Unexpected Journey,” “Jack the Giant Killer, “Oz,” “Prometheus,” “The Great Gatsby,” and  “Underworld 4.” 3ality Technica has enabled most of the world’s first S3D cinematic and broadcast achievements, including U2 3D (the movie), and the first live S3D broadcasts from the NFL, BCS Championship, BSkyB, the Super Bowl, the World Cup and NBC television. In broadcast, 3ality Technica is the technology and production systems behind the BSkyB launch of their 3D channels, and has been used on a wide range of events including the Isle of Wight Festival, the Ryder Cup, and Champions League Football.  To learn more about the advanced products and services available from 3ality Technica, visit http://3alitytechnica.com or for further reading visit QUASAR3D/PANAVISION AT THE SOC

P+S TECHNIK PREVIEW AT IBC 2011

P+S TECHNIK new products and an exclusive footage shot with the PS-Cam X35 and the PS-Mag 16D SR-III will be presented at the P+S TECHNIK cinema screening of  "Inspirational Tools for Exceptional Pictures" on September 10 at the IBC 2011 Big Screen in Amsterdam.

 The new PS-Cam X35 unveiled at Cine Gear 2011

The PS-Cam X35 is the first film-style digital cinematography camera made for the daily creative use of various kinds of special speed and motion effects (slow motion, fast motion, ramped motion and time lapse motion). With its unique set of features making motion effects easy to produce, it´s a combination of a sync sound and motion effects camera providing additional frame rates all of the way up to 450 fps – a 2 in 1 camera. So, firstly, the PS-Cam X35 is a proper all-purpose sync sound camera with a 35mm-sized CMOS imager and a global shutter.

Secondly, it’s also an exciting alternative for crews and producers who want to make the leap from film to digital as seamlessly as possible while having motion effects capability with their main camera package at their fingertips. Thus, it’s an all-purpose motion effects camera with daily workhorse capability due to the following unique combination of features: 2 in 1 sync sound and high speed camera.1 to 450 fps.Perfect tool for all kinds of motion effects (slow motion, fast motion, ramped motion and time lapse motion).Global Shutter for enhanced motion capture capability.640 ASA base sensitivity and 11 T-stops of  latitude.

Find more technical details on the new PS-Cam X35 at www.ps-cam-x35.de.

  PS-Magazine 16DSR-III: Breathing new life into Arri SRIII

The PS-Mag 16DSR-III is finished and ready for delivery, now. It is a portable digital recording unit, shaped like a film magazine, that is designed to seamlessly interface with the Arriflex SRIII Super 16mm film camera. With the PS-Mag 16DSR-III, cinematographers are able to shoot an SRIII film camera utilizing existing high quality lenses with the accuracy of the optical viewfinder while utilizing all existing film accessories and recording digitally!

As the PS-Mag 16DSR-III supports the industry's best compression and unmatched CineForm HD workflow its footage seamlessly integrates with common post-production chains. No data experiments, no time-consuming and expensive post-production, just efficient production. So be prepared to meet a new hybrid hero on set: 16SR III cameras supporting all advances of a digital workflow.

Find more technical details on the new PS-Mag 16D SR-III at http://www.pstechnik.de/en/digitalfilm-16sr-magazine.php.

THE HOLLYWOOD HD-SRL CAGE

After the introduction of the Canon D5 Mark II as the new game changer for the motion pictures industry, the need for new accessories came to surface, specifically  those made to add stability and versatility to shoot video with the new DSRL cameras. 

From the shoulder mounted rig, to the follow focus rings, wheel and whip, from the ubiquitous viewfinder loupe to the adaptable camera cage and cheese plate, the new cinematography DSRL market counts now days  with a seemingly ever growing plethora of finely crafted mechanical and electronic accessories mostly of them reserved in the past solely for the high budget feature film industry.

The Hollywood camera cage is designed

for Canon 5D & 7D cameras.

One of the competitive products on the  market today for the HDRSL camera is the Hollywood HDSRL Cage by Alan Gordon, a precision hard anodized machined camera cage of  light weight construction that adds strength, versatility and stability to your shoot.
 The camera cage comes with  multiple 1/4”-20 & 3/8”-16 thread holes for mounting  different accessories accessories, such as a  5" or 7" monitor, LED panel light or a digital recorder microphone. The Hollywood camera cage is designed for Canon 5D & 7D cameras. it is designed  with a HDMI cable protector and it is available for other accessories such as battery mount & mini rod adapter.

For more information visit Alan Gordon Enterprises, Inc.

3D MEDUZA SHOOTS SPACE SHUTTLE IN JULY 2011

The Meduza, the first single beyond 4K digital stereoscopic 3D (S3D) camera ever developed, has been invited by America’s Space Agency, the National Aeronautics and Space Administration (NASA) to shoot the final Space Shuttle Launch at Cape Canaveral, FL, mid-July.  The announcement was made today by Chris Cary, CEO of the new UK tech 3D start-up, 3D Visual Enterprises, parent company of the camera’s developer, Meduza Systems. The news follows on the heels of Meduza’s exciting debut in April at the National Association of Broadcasters (NAB) convention and receiving a Mario Award from the industry’s leading magazine, TV Technology, in recognition of its ‘Innovation & Technical Excellence’

 The Meduza, a ‘digital imaging system’ that sets a new benchmark standard for stereoscopic 3D image capturing, will shoot the final Space Shuttle Launch in 4K 3D and in 2K High Speed.   Uniquely the camera system can support any number of cameras fully synchronized without the use of cabling.  “We are very excited to have the opportunity to work with NASA,” says Cary.  “This opportunity exemplifies the Meduza’s versatility and flexibility and supports our interest in developing many valuable and critical applications for the camera in industries outside film and television. 

 With its modular components, the Meduza can be set up in minutes, not hours, has interchangeable lenses, precise remote controlled variable inter-axial (the distance between the lenses) and precise remote controlled convergence (features non-existent on Sony and Panasonic models).  It is a single camera, with a single set of electronics and a single set of controls that powers two imaging sensors at the same time. Weighing less than 15 pounds, the Meduza has only what is needed, when it is needed and in the smallest and simplest configuration.

Meduza’s versatile technology makes it a ‘game changer’ in that through its modular design it is capable of all types of filming.  From Aerospace and medicine to military and oil exploration, the camera’s impact has enormous potential.  Shooting a natural history program, for example, and capturing uniquely intimate moments ‘in the wild’ in 3D, can now be done using a physically manageable, precision piece of equipment.  “3D is capable of providing a wide range of new qualities to productions,” says Cary.  “Imagine what Graham Norton could do with an audience in 3D.”

The Meduza not only makes it easier, faster and cheaper to produce 3D content, but by allowing filmmakers to shoot in the native 4:3 format at beyond 4K, content is acquired at  4096 x 3072 pixels and covers everything from 15/70mm giant screens to general theatrical screens, as well as S3D television viewing.

 The first single professional digital camera ever designed and built specifically to shoot in S3D.  Films currently produced in 3D are generally shot with 2 cameras linked together with stereoscopic grip equipment or 2 cameras sandwiched in one camera body with very little control or synchronization.  “A simple analogy would be if you glue 2 motorcycles together, this does not make a car” says Jonathan Kitzen, President of Meduza Systems.  “While left eye and right eyeimages are generated using two cameras, many more new problems are created, which must then be corrected in post-production, leading to data loss, image aberration, time and expense.”  Added Cary, “In two years of development, we have come a long way.  UK entrepreneurship is alive and well -- we feel very much a part of the British business community leadership that is helping to re-invigorate our country’s economy.”

About Meduza Systems

3D Visual Enterprises Ltd, the UK based holding company, was established specifically to service the growing demand within the professional film and television community for a complete and technically advanced 3D image capturing system.  Meduza Systems was created to develop an imaging system that would solve the single camera problem within an architecture that could be constantly upgraded to keep pace with the growth of the industry and advancing technology.   The system had to be versatile, flexible, capable of being upgraded and adapted to match the pace of developing sensor and optical technology and to deliver visual images at the highest resolution possible at all times.  The Meduza was designed to fill the void in the market with compatibility in all of the production environments and in any industry, from Giant Screen 15/70, to live events, to hand held natural history productions.  Above all, the company’s mission is to create a stereoscopic digital 3D camera that would never be obsolete and that could constantly strive to meet the growing and changing needs of its customers.  www.MeduzaSystems.com

64TH CANNES FILM FESTIVAL. FILMS TO WATCH

 The  64th Cannes Film Festival opened on May 11 and runs until May 22. There are 20 movies in the main competition, but many out-of-competition pictures will generate just as much, if not more, interest. Following are 10 films likely to create a splash this year:

1. The Tree of Life (in competition) Directed by Terrence Malick and photographed by Emmanuel "Chivo" Lubezki. The Tree of Life has taken on almost mythical status among European festival regulars due to its long gestation period and the secrecy surrounding its release.A brief synopsis and trailer is all most have seen of the director's fifth feature, and mysterious cosmic images suggest the narrative may go beyond normal human experience.Brad Pitt plays the father and Sean Penn his grown-up son Jack, described in the synopsis as a "lost soul in the modern world, seeking answers to the origins and meaning of life. Malick, 67, previously directed movies including "Days of Heaven" and "The Thin Red Line".

 2. Pirates of the Caribbean: On Stranger Tides Johnny Depp's fourth outing as Jack Sparrow in the hugely successful pirate franchise may not be to the liking of serious-minded cineastes in Cannes, but Hollywood blockbusters bring the glitz, glamour and buzz that festivals thrive on. If Depp and co-star Penelope Cruz do walk the red carpet along the famous Croisette waterfront, they are likely to attract a screaming crowd of fans and a small army of photographers, camera crews and reporters to the launch.

3. La Conquete/The Conquest Xavier Durringer tells the story of the rise to power of French President Nicolas Sarkozy, focusing on the personal turmoil of marital collapse which accompanied his political triumph in the 2007 presidential election. The official synopsis says in conclusion: "The Conquest is the story of a man gaining power and losing his wife." Cinematography by Gilles Porte.

4. Midnight in Paris. Woody Allen is given the coveted out-of-competition opening slot for his romantic comedy starring Owen Wilson and Rachel McAdams. Of greater interest to the world's media will be the performance, and possible red-carpet appearance, of French first lady Carla Bruni who has a small role in the film.The French president's wife -- a former model and singer -- is currently at the center of fevered speculation in the French media over whether or not she is pregnant. Cinematography by Darius Khondji.

5. Restless U.S. film maker Gus Van Sant won the Palme d'Or for best picture in Cannes in 2003 for "Elephant".This time around he is not in the main competition, but screenings of Restless, starring Mia Wasikowska as a young patient with terminal cancer, are likely to be packed.

6. Ichimei/Hara-Kiri  Death of a Samurai. The prolific Japanese director Takashi Miike presents what has been billed as the first 3-D movie to make it into the main competition in Cannes. The tale of honour and revenge is a re-imagining of Masaki Kobayashi's 1962 classic "Harakiri".

7. This Must Be the Place  (in competition) Sean Penn gets his second Cannes outing in Paolo Sorrentino's in-competition film in which he plays a 50-year-old ex-rocker who travels across the United States to avenge his father's death. Cinematography by Luca Bigazzi.

8. The Kid with a Bike. (in competition) Belgian brothers the Dardennes have a chance to make history with a third Palme d'Or. They previously won with "Rosetta" (1999) and "L'Enfant" (2005). Photographed by Alain Marcoen..

9. Melancholia (in competition) How can Danish director Lars Von Trier follow "Antichrist", his 2009 Cannes entry which shocked audiences with its graphic sex scenes and extreme violence? Melancholia has got critics chattering, with Kirsten Dunst playing a bride at a wedding set against impending disaster -- a planet called Melancholia is on collision course with Earth. Cinematography by Manuel Alberto Claro.

10. Sleeping Beauty (in competition)  Australian Julia Leigh is one of four female directors in the main competition. cinematography  by Geoffrey Simpson.. Sleeping Beauty stars Emily Browning as Lucy, a young university student drawn into a disturbing parallel life as a sedated prostitute who remembers nothing about her encounters with old men who demand absolute submission.

VARAVON'S PRO FINDER FOR CANON 5DMKII

 

I found first this accessory last year at the DV Expo in Pasadena and immediately I was convinced of the quality of the product by  its utilitarian and versatile design. Since then,  I have used the Varavon ProFinder  for the Canon 5DMKII, and should mention that it makes my stills or video shooting on the DSRL more enjoyable and precise. The Varavon's ProFinder counts with a large viewfinder loupe and a comfortable eye-cup (on which you could fit an eye-cup chamois) and an adjustable diopter to suit your eye sight.  At the same time it is a convertible waist finder with a non-ghosting mirror. The versatility of this viewfinder allows the shooter to photograph at shoulder level and also at low angles at waist level. The ProFinder is a pretty nifty and well constructed DSRL accessory. So far, it is the most practical and durable  non-electronic viewfinder/loupe for the DSRL market, leaving the other accessories makers well behind. 

 The main body of the viewfinder has a sponge seal to block unnecessary light and protects the camera LCD back screen. The finder  attaches to the camera via a solid machined aluminum attachment plate with a screw/pin to fit the different DSRL models, such as  the 550D, 7D, and Nikon D7000, instead the wobbly and unstable tape or velcro, making it a very study part and parcel of the camera body. One of the many conveniences, I have found using the ProFinder is that the loupe is totally detachable and I can use the main body of the viewfinder just like a sun covering hooded matte box for the LCD screen and it works under the two configurations, to shot over the shoulder or at waist level, all these at the flick of a Stop Free hinge to reveal the top or back hood at any angle.

The only caveat I have found on the ProFinder is the need of a protection glass for the mirror. When shooting at waist level, the unprotected glass is prone to accumulate dust and other falling debris coming through  the open top hood. Otherwise, I believe is the best and fairly priced non-electronic DSRL viewfinder/loupe you could find in the photo/video market today. 

 

Click here for more information about Varavon products.
Video courtesy of The Camera Department

VARAVON'S PRO FINDER FOR CANON 5DMKII

 

I have been using the Varavon ProFinder  for several months for the Canon 5DMKII, and  this accessory makes my stills or video shooting on the DSRL more enjoyable and precise.The Varavon's ProFinder counts with a large viewfinder loupe and a comfortable eye-cup (on which you could fit an eye-cup chamois) and an adjustable diopter to suit your eye sight.  At the same time it is a convertible waist finder with a non-ghosting mirror. The versatility of this viewfinder allows the shooter to photograph at shoulder level and also at low angles at waist level. The ProFinder is a pretty nifty and well constructed DSRL accessory. So far, it is the most practical and durable constructed non-electronic viewfinder/loupe for the DSRL market, leaving the many other accessories makers well behind. 

 

The main body of the viewfinder has a durable sponge seal that blocks unnecessary light and protects the camera LCD back screen. It attaches to the camera via a solid machined aluminum Attachment Plate and screw/pin to fit the different DSRL models, like the 550D, 7D, and Nikon 7000, instead wobbly and unstable tapes or velcro, making it a very study part and parcel  of the camera body. One of the many conveniences, I have found using the ProFinder is that the loupe is totally detachable and I can use then  the main body of the viewfinder just like a sun covering  matte box for the LCD screen under the two configurations, to shot over the shoulder or at waist level, all these at the flick of a Stop Free hinge to reveal the top or back hood at any angle.

THE GODFATHER. 40TH ANNIVERSARY

The Godfather, the Academy Award winning tryptic masterpiece directed by Francis Ford Coppola and photographed by Gordon Willis, ASC celebrated its 40th anniversary on March 23, 2011.  The project was originally approved by Robert Evans at Paramount Pictures as a low budget  production to be shot at the studio  back-lot in Hollywood with a just a 1 million dollars budget but it later rose to the status of an "A" production with a much larger budget of 6.5 million that included  remote locations in New York City and Sicily, all these thanks to the convincing insistence of Francis Ford Coppola pushing the use of real shooting locations, the insistence into casting  the temperamental Marlon Brando as Don Corleone and the sudden success of  Mario Puzo's novella as a best seller book. 

 Robert Duvall, Marlon Brando, 

Gordon Willis ASC and Tibor Sands

 Location No.2 on the first day of shooting,

Fifth Ave., in front of collector's model trains Polk's Hobbies

Tibor is hiding behind the box in the center of the image.

On March 22nd 1971, Hardwick Johnson, George Harris, and the staff at Camera Service Center loaded a CineMobile location truck waiting on W54th Street in Manhattan for a film they would never forget. The First Assistant Camera Tibor Sands had tested the equipment and helped load the camera package that included a BNC blimp and a full set of Super Baltar Prime Lenses.

Meeting with the Dons. Tibor is behind Coppola instructing Brando

The Five Families. Coppola decided to take out all references 

about "the Maffia" after a cry of outrage by the

Italian-American Rights Civil League in New York City.

Coppola lines a shot for Michael Chapman, the camera operator

while Tibor pulls focus for the grisly decapitated horse head scene.

It was now headed to the first location on Fifth Avenue for Director of Photography Gordon Willis ASC and Camera Operator Michael Chapman ASC. Over the next few months of principal photography , "The Godfather" was to make cinematography history.

Here are some of the famous lines delivered by Don Corleone (Brando) to his protegee Irish son (Duvall).
 Don Corleone: Give me a drop.
[Hagen hands the Don his glass of anisette]
Don Corleone: My wife is crying upstairs. I hear cars coming to the house.Consigliore of mine, I think it's time you told your Don what everyone seems to know..
Tom Hagen: I didn't tell Mama anything. I was just about to come up and wake you so that I could tell you.
Don Corleone: But you needed a drink first.
[Hagen nods]
Don Corleone: And now you've had your drink.
Tom Hagen: They shot Sonny on the causeway. He's dead.
[the Don accepts this news without any sign of emotion, 
except to close his eyes and remain silent for a few minutes]
Don Corleone: [speaking at last] I want no inquiries made.
I want no acts of vengeance.I want you to arrange a meeting
with the heads of the Five Families. This war stops now.

 Two years later history was repeated when a similar camera package with an additional set of Kowa Prime Lenses left CSC for the film's sequel, The Godfather Part II. This time the Main Unit included Camera Operator Ralph Gerling and First Assistant Camera William Gereghty, with Tibor Sands handling the famous Cuban revolution sequence.

 

Hardwick Johnson, George Harris and Tibor Sands reunite to 

sign the Godfather posters at ARRI CSC.

Almost forty years after that first check out Hardwrick Johnson and George Harris - both of whom still work at ARRI CSC - were reunited with Tibor Sands to sign original posters for both films, now proudly on display at ARRI CSC's camera rental facility in Secaucus, New Jersey.

Past Irving G. Thalberg Memorial Award recipient George Lucas 

presents the Irving G. Thalberg Memorial Award to recipient 

Francis Ford Coppola during the 2010 Governors Awards i

n the Grand Ballroom at Hollywood & Highland Center in 

Hollywood, CA, Saturday, November 13, 2011

Courtesy of CSC. ARRI CSC is a fully owned subsidiary of ARRI Inc.  offering rental equipment & services to the feature film, television, broadcast & events markets. For more info contact: bwehner@arricsc.com.

Godfather: The intimate Francis Ford Coppola By Gene D. Phillips

 

CREATEASPHERE MARCH 2011

Createasphere wrapped two days of concurrently running conferences and expositions last week held at the Universal Hilton, Universal City, CA as the company’s Entertainment Technology Exposition and the Digital Asset Management Conference closed to strong reviews and increased attendance. The Entertainment Technology Expo is the entertainment and media industry’s showcase for previewing and learning about the latest trends and groundbreaking technologies; the Digital Asset Management Conference is the premier event focused on the management of digital assets in media and entertainment, media, advertising, and, publishing. This was the third outing for the Digital Asset Management Conference, and is the 11th year of the Entertainment Technology Expo (formerly known as HD EXPO). 

The events were kicked off by The Digital Asset Management Conference on March 2nd with a Keynote presented by visionary technologist John Underkoffler, co-founder and Chief Scientist of Oblong Industries. His presentation focused on a radical evolution in the next generation of production tools that are centered on workflow and asset management. The Digital Asset Management Conference continued on Thursday, with an opening Keynote panel featuring Andrea Kalas, (Paramount Pictures), Steve Kochak, (Deluxe Media Services), Michael Friend, (Sony Pictures Entertainment), in a discussion entitled Mission Critical, moderated by Rob Hummel, Group 47, LLC. The group tackled the important topic of how to manage digital possessions as legacy systems become obsolete. Both March 2nd and 3rd continued with two tracks of education for Digital Asset Management practitioners and experts.

Mission Critical Panelists 

Rob Hummel, President of Group 47, LLC
Andrea Kalas, Vice President of Archives Paramount Pictures
Michael Friend, Sony Pictures Entertainment
Steve Kochak, R&D Ascent Media, Deluxe Digital
Media Distribution Center

Jon Witmer of American Cinematographer

Roger Deakins, ASC, BSC

On March 3rd Createasphere’s Entertainment Technology Expo opened with a Legendary Conversation with Roger Deakins, ASC, BSC, moderated by Jon Witmer of American Cinematographer. Deakins spoke to a standing room only crowd of rapt attendees about the path of his career, sharing his experience and insights about photography, lighting, and his path making movies and documentaries. The day continued with a series of educational intensives and seminars, from Canon, Panasonic and Sony, and closed with The Game Is On…TRON: Legacy, a panel discussion that took attendees behind the scenes with co-Producer Steve Gaub, Editor James Haygood, ACE, DI Colorist Dave Cole, Randy Blim, Sr. VP/CTO at LaserPacific, 3D pioneer Vince Pace (PACE), moderated by Dan Restuccio, West Coast Editor for Post Magazine.

 TRON Panelists.  Dan Restuccio, West Coast Editor, Post Magazine

Vince Pace, CEO, PACE, Steve Gaub, co-Producer

Editor James Haygood, ACE, Dave Cole, DI Colorist, LaserPacific

Randy Blim, Sr. VP/CTO, LaserPacific

Coming on the radar for Createasphere in 2011 is a slate of events that include global outings, a growing online community, the DAMMY Awards, Best of TV Webcasts, a host of educational offerings and two days of Digital Asset Management Conference and Entertainment Technology Expos in Los Angeles and New York.

Highlights include:

Connect in NYC: On March 24th at the Kodak Screening Room, cinematographer Frankie DeMarco, connects and interacts with the audience. DeMarco has a long career shooting highly regarded Indies, including the highly lauded “Rabbit Hole.”

Best of TV Webcasts: The second series of Webcasts unfold in April and take “attendees” behind the scenes of the most popular television programs. Past shows have included Dexter, Boardwalk Empire, Glee, and Sons of Anarchy.

New York Createasphere Entertainment Technology Expo: September 20th & 21st, 2011. Panels featuring a Legendary Cinematographer, Making A Hit Series, How Did They Get That Shot!, and more.

The Post Production Master Class in New York, September 22nd & 23rd, and Los Angeles, November 4th & 5th.

The 4th Digital Asset Management Conference in New York: September 22 & 23, 2011.

The 2nd Annual DAMMY Awards. Call for entries will be announced shortly.

On the global front, Createasphere will take a growing position and programming responsibility for Cinema India, held in Mumbai in June 2011. The education division of Createasphere is slated to present 3D education, post production education, and expanded camera-centric workshops and classes in the coming months. A number of exciting online ventures will be announced shortly.

Kristin Petrovich Kennedy, President of Createasphere, commented, “We are honored to work in an amazing industry, with brilliant and forward thinking people. At the end of the Universal City event, it is gratifying to see how much our community plugs into the events and we will keep our eye on delivering the finest events we can, for attendees, exhibitors, sponsors and speakers.”

For further information about Createasphere, its Entertainment Technology Expos, Digital Asset Management Conferences, Cinema India, Post Production Master Class, The DAMMY Awards, or more, visit www.createasphere.com, or call 818.842.6611.

all photos are ©Ryan Miller/Capture Imaging

courtesy mimi rossi || ignite strategic communications

SUNDANCE REPORT, SATURDAY 22

SUNDANCE REPORT, Saturday 22

Buyers beware..No deals yet. "Like Crazy" and "My Idiot Brother" are on the shortlist of the big  bidders..The Weinstein Co., Fox Searchlight and Summit Ent. are circling Main St. for a deal making...meanwhile UTA is waiting on the other side of the street,  representing  over 14 films...

 Paul Rudd. My Idiot Brother. Director: Jesse Peretz.

Cinematography by Yaron Orbach

Let's see how all unfolds for today...Sony Pictures Classics is after "The Guard"...All of them are busy figuring out for a low 7 figure deal making bid and an auspicious release schedule...  But if director Drake Doremus and producer Jonathan Schwartz are  partying with  big smiles  tonight at the Bing House..."Like Crazy" will be in a theater next to you soon... the same goes for Jesse Peretz and Paul Rudd..but this deal is big bucks beaucoup dinero, because of  its potential commercial appeal... 

 Drake Doremus.  Like Crazy. 

Cinematography by John Guleserian

The hang out swag place of the day is The Studio On Main with the Fred Segal Salon....Recommendations:  reserve in advance a table for two at Riverhorse....best rack of  Rocky Mountain lamb..with butternut squash risotto, figs, crumbled feta cheese, arugula..paired with a bottle of a Cabernet Sauvingnon GRGIGH HILLS 2004, Napa Valley...and then cap off the dinner with an espresso with Sambuca..and later venture into Park City's night life...

SUNDANCE 2011 REPORT

Robert Redford Opens the 2011 Festival.

In the moments before the 2011 Sundance Film Festival officially launched with the annual Day One press conference at the Egyptian Theatre in Park City, two Festival employees stood sentry at either side of the stage, anticipating the arrival of Sundance Institute President and Founder Robert Redford, Executive Director Keri Putnam, and Festival Director John Cooper. Framed by the theatre’s neo-Egyptian proscenium and dressed in the Fest’s chic, Kenneth Cole-designed royal blue ski vests, the microphone-toting gentlemen inadvertently embodied a Festival preceded by a rich history, outfitted for the future, and eager to get on with the present.

With a record six films in this year’s U.S. Dramatic Competition developed through the Sundance Institute Labs, Redford led off the press conference calling for renewed focus on how the original mission for the Institute still defines the Festival. “We’re always asking, ‘What are we doing, why are we here, what’s the point of all of this?’” he said. “The point simply has been to do whatever we can to create opportunities for new artists.”

Redford put into context all of the ways that the Institute has grown since its founding thirty years ago, from the Labs growing into a year-round support system for filmmakers to the advent of the Sundance Channel, Sundance Theatres, and to developing ventures online and beyond. He spoke enthusiastically about the potential of new technology and of the Internet, “as long as we adapt to them and stay focused on the mission of helping filmmakers get their work out.  More....

Courtesy of Eric Hynes & Sundance Film Festival