BEST CINEMATOGRAPHY NOMINEES FOR THE 86TH OSCARS

BEST CINEMATOGRAPHY NOMINEES FOR THE 86TH OSCARS®

These are the nominees in the Cinematography category for the 86th Academy Awards with technical specifications. Note that the camera body of choice used by all these talented directors of photography in the nominated films was an Arri film body or a digital camera used for negative film stock photography or high definition digital acquisition.

 On matter of lenses, the Panavision C-Series Anamorphic primes, ATZ/AW22 zooms and Panavision Primos were the choice for two of the nominees. 

 

 Emmanuel Lubezki, ASC AMC principal photography was achieved using Arri Alexa Studio and Plus cameras and a 65mm film camera, the Arri 765 with magazines loaded with Kodak 5219 65mm negative emulsion, a perfect film acquisition tool for digital intermediate processes and 4K workflows. All camera bodies were fitted at one time or another with Panavision Primos and Zeiss Master Primes lenses and a still medium format photography lens, the Hasselblad 765 to help him to capture the emotion of the characters on their struggle for survival on this weightless and sweeping outer-space 3D/CGI rendered drama.

 

 Phedon Papamichael, ASC used Panavision Anamorphic lenses in Nebraska to capture the essence of Alexander Payne's color graded black and white road trip narrative. "The Panavision C-Series Anamorphic lenses helped me achieve a textural quality I was trying to find for Nebraska - the older glass helped reduce the sharpness off the digital image and gave it a more film-like cinematic feeling"  said Papamichael. 

 Bruno Delbonnel ASC, AFC shoot "Inside Llewyn Davis" a York folk music story in the ‘60 on a single 35mm film stock,  Kodak Vision T500/5219 1:85 aspect ratio and the cameras were Arricam LT and ST using Cooke S4 lenses. “The movie has a lot of magenta and cyan, which you can’t really get from a lab process, or at least not as controlled,” Delbonnel states. “The blooming and diffusion we added gave the feel of uncoated lenses. But I actually shot with the super sharp Cooke S4’s, with nothing over the lens at all. Uncoated lenses are uncontrollable – flares, etc. – and I needed to control the light and clarity [during shooting] at all times.”

 Delbonnel crafted imagery that is low contrast, with little or no sunlight. That approach fit well with the short New York winter days, which only provided about six hours of daylight. “I don’t like the term ‘look,’” Delbonnel says. “To me, a ‘look’ is just fashion. You see it in fashion photography. It’s just an aesthetic, and in a couple of years it will be something else. It’s about emotion and the story. For Inside Llewyn Davis, I was looking for sadness, so I had to define it. Is it yellow? Is it green? I had to find a way to make this sadness with color and density and contrast. That is my job as a cinematographer.”

Roger Deakins  A.S.C., B.S.C, C.B.E, received his eleventh Oscar nomination for Prisioners, a dark and disturbing criminal kidnapping thriller shot digitally using the ARRI Alexa Plus and Studio cameras fitted with Zeiss Master Primes. Deakins elaborated a precisely unobtrusive camerawork with the perfect amount of steady control to build tension, framing the storyline in a wintry rain-drenched desaturated color palette, a departure from his fluid camera work and stylistic photography of Skyfall, his 10th Oscar nomination.

"The Grandmaster" charts the mostly true story of Ip Man (Tony Leung), the martial arts master who would eventually teach a young Bruce Lee how to fight. The film was shot on the last roll of Fujifilm ever produced.
Fujifilm  informed him and Mr. Le Sourd, that it would be delivering the company’s final  roll to them but Le Sourd isn't absolutist about celluloid. "I think everything is possible on digital," he says. "‘Gravity' is amazing work and we couldn't do it before. It's a great adventure today to be a working cinematographer."

 When the cinematographer Philippe Le Sourd teamed up with the director Wong Kar-wai to make “The Grandmaster,” he was expecting a six-month project. Those six months turned into three years, making the production felt as epic as the life story at the heart of the film: that of the kung fu master Ip Man. 

Philippe Le Sourd’s outstanding cinematography brings scintillating action sequences into sharp focus -- a crucial factor given Wong's penchant for close-ups that can seemingly reveal a universe in the burning tip of a cigarette to the shape and reflective transparency of rain fall turned into motivators of camera movement.

 Le Sourd shot this masterly crafted narrative using Arricam ST/LT and Arriflex 435 cameras, "the workhorse of the industry", a MOS camera with variable ramping  speed instrumental  to capture in detail the action sequences. All magazines were loaded with the last rolls manufactured by Fujifilm, the Eterna 8663 and 8673. For the most vivid detailed slow speed action sequences under the rain,  Le Sourd opted for the Phantom Flex, an high speed digital 2.5K camera, capable of shooting from 5 frames-per-second (fps) to over 10,750 fps. The result is truly amazing as lensed by LeSourd.

Cinematography Nominees chart courtesy of Setlife Magazine

A GUIDE TO HAND HELD CAMERA OPERATION W/ SEAN BOBBIT, BSC

A Guide to Handheld Camera Operating with Sean Bobbitt, BSC, from the ARRI Workshop at this year's Camerimage Film Festival. This is a must see presentation for all cameraman. Enjoy!

 Sean Bobbit, BSC and Steve McQueen on the set of 12 Years a Slave.

Bobbit is a Film Independent Spirit Awards Best Cinematography Nominee.

CINEMATOGRAPHERS ROUNDTABLE

Cinematographers Roundtable Full Interview by The Hollywood Reporter.

Barry Ackroyd (Captain Phillips), Sean Bobbitt (12 Years a Slave), Bruno Delbonnel (Inside Llewyn Davis), Phedon Papamichael (Nebraska) and Stuart Dryburgh (The Secret Life of Walter Mitty) sit down for a candid conversation.

FUJIFILM RELEASES A NEW LENS. THE CABRIO 19-90MM

The 19-90mm Cabrio (ZK4.7x19B) features an exclusive detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-Style lens. The ZK4.7x19B also features flange focal distance adjustment, macro function, and is LDS (Lens Data System) and /i metadata compatible. With a 19-90mm focal range and weight of only 2.85kg including servo motors, this lens has the longest focal range available in a light weight zoom.

 Videographers used to shooting video in a typical ENG-style will be very comfortable with the servo. Cinematographers will also be right at home with this lens. With the detachable drive removed, the lens is set to accept industry standard cine motors and matte boxes. Plus, the lens has all the lens data output that appeals to a Cine-style shooter. LDS and /i metadata compatibility is very useful when you want to record the position information of zoom, iris and focus for computer animation and other uses.

The digital servo on the 19-90mm Cabrio has 16-bit encoding, so operators can be assured that all lens data output is extremely accurate.

The 19-90mm covers 31.5mm sensor size on a digital cinema style camera. While sensors on standard broadcast cameras are all the same size, sensors on digital cine cameras vary greatly. This new zoom ensures the image captured will cover large sensors for optimal, full-frame resolution. A nine-blade iris part of the design as well, creating the most natural-looking imagery possible.

Barrel markings are luminous for visibility in dark shooting situations. Distances are listed in feet or meters and can be changed in the field.

The 19-90mm can be controlled using cinema industry standard wireless controllers, as well as existing Fujinon wired and wireless units. Whether you are from a film background or a video one, the Premier PL 19-90 offers uncompromising quality and unprecedented flexibility.

PANAVISION UNVEILS NEW PRIMO V LENSES OPTIMIZED FOR DIGITAL CAMERAS

 Panavision, the company behind many of the industry’s most respected cinema lenses for the last 60 years, has introduced a new line of Primo lenses, the Primo V series, specifically designed to work with today’s high-resolution 35mm digital cameras.

 “Panavision’s unmatched optical expertise and high-quality manufacturing capabilities have now been brought to bear on lenses adapted for digital cameras,” says Kim Snyder, Panavision’s Chief Executive Officer. “We’re focused on providing cinematographers with the best tools to tell their stories with vision and creativity. With the industry’s ongoing transition to digital capture, we want our customers to know they can continue to trust Panavision to bring innovative, world-class solutions to the marketplace.”

The Primo V lenses are designed to bring the look and feel of Panavision Primos to digital cinematography, using the lens elements from existing Primo lenses, long an industry standard for top cinematographers. Primo V lenses take advantage of specific design adaptations to work in harmony with digital cameras, maximizing image quality while delivering Primo quality and character.

“Cinematographers tell us that the hyper-sharp sensors in today’s digital cameras can result in images that are harsh and lack personality,” says Panavision’s VP of Optical Engineering Dan Sasaki. “That’s one reason why there’s so much emphasis on glass these days. The Primo V lenses bring the smooth, organic flavor of Primo lenses to the high fidelity digital image. Our philosophy is to take what cinematographers love about the Primos, and update them for the digital world.”

Digital cameras require additional optical elements including low-pass and IR filters that increase off-axis aberrations. ND filters are sometimes part of the chain. Primo V lenses have been re-engineered to correct for this. Patent pending modifications eliminate the coma, astigmatism, and other aberrations introduced by the additional glass between the lens and the sensor, while preserving the desirable imaging characteristics of the Primo optics. The resulting image appears more balanced center-to-edge.

The Primo V lenses are compatible with any digital camera equipped with PL or Panavision 35 mount systems. They cannot be used on film cameras. The internal transports and mechanics of the Primo V lenses will retain the familiar Primo feel. Since the Primo V lenses retain the essential Primo character, imagery from Primo V and standard Primo lenses will intercut well. A set of Primo V primes will include 14.5, 17.5, 21, 27, 35, 40, 50, 75, and 100mm focal lengths.

“Filmmakers have embraced Panavision Primo lenses since their introduction 25 years ago,” notes Snyder. “Now the classic Primo look has been refined and optimized for use with the latest generation of 35mm sensor digital cameras.”

Panavision

CINE METER APP FOR iOS 5

In the past I have provide you with resource lists of  iOS and Android applications for the cinematographer, some still are free offering basic software and others are paid, offering more  professional software like the Depth of Field (DOF) Calculator that can help you get a job done a little better or a little faster than before.

Cine Meter viewing a DSC Labs ChromaDuMonde® 12 chart, 

showing an RGB waveform

I would like to bring your attention to this application by Adam J. Wilt which is ready to download from the App Store in iTunes for $4.99 and I think it is worth every penny to add it to the short list of favorite working iOS apps for cinematographers. It is an application that rolls three functions into a one screen for fast measuring and readout at a glance turning your iOS device into a very capable light meter, RGB waveform monitor, and a false-color picture mode monitor.

Cine Meter is a professional film/video/photo application for your iPhone®, iPad®, or iPod touch®, using the built-in camera to provide a shutter-priority reflected light meter, an RGB waveform monitor, and a false-color picture mode. Cine Meter works on any iDevice with a camera running iOS 5.0 or higher.

Cine Meter not only gives you exposure information, it shows you at a glance how evenly your greenscreen is lit, and where high-contrast hotspots and shadows may give you trouble. With Cine Meter, you can walk around, light your set, and solve problems long before your real camera is set up, making pictures, and running down its batteries.

The light meter shows you the stop to set as decimal readings (such as f/5.0, good for cameras with EVF iris readouts) or full stops and fractions (like f/4.0 ⅔, good for cine lenses with marked iris rings). You can calibrate Cine Meter to match other meters to a tenth of a stop, and take readings using matrix or spot metering.

The waveform monitor shows you how light levels vary within and across a scene. They show you how even the lighting is on a greenscreen or white cove, and let you see hotspots and imbalances at a glance. The waveform’s RGB mode shows you color imbalances in the image and gives you a handy way to check for color purity on a greenscreen or bluescreen.

The false-color picture lets you define allowable contrast ranges, and see instantly which shadows are underexposed and what highlights risk clipping:

 
Cine Meter viewing a DSC Labs ChromaDuMonde^® 
12 chart in false-color mode

Cine Meter runs entirely on your iDevice: it doesn’t use WiFi or mobile data. If you have power in the battery and light in front of the lens, it will work.

How To...

Calibrate the meter: shoot a gray card or other solid target with Cine Meter and your most trusted reflected meter, DSLR, or video camera. Adjust the Meter Compensation control on the Settings and Info page to make Cine Meter’s readings match those of your reference device. (The camera picture is unaffected by any compensation you set; the camera always sets its own exposure and its waveform and false-color levels may not match those the light meter reading would indicate!)

Check exposure: aim the camera at the scene, and read off the exposure (use the spot meter if necessary to narrow down the area of interest). You can tap EXP to freeze the reading, and then vary ISO and shutter to see how aperture changes even if you are no longer pointing the camera at the scene.

Compare exposures: aim the camera at a gray card or other reference target, and tap EXP. Cine Meter will hold that exposure, letting you walk around the set and look at the waveform monitor and false-color displays to compare light levels to your reference.

Compare white balances: aim the camera at a white or gray card under your reference lighting, and tap EXP to lock the white balance. Cine Meter will hold that white balance, and you can use the RGB mode of the waveform monitor to examine the color balance as you walk around the set. (The range of color temperatures and lighting spectra that Cine Meter will properly white balance to is entirely dependent on the camera in your iDevice: some accommodate a wider range of white points than others do.)

Check lighting evenness: when you need flat, even lighting (on a greenscreen, white cove, test charts, or flat art), Cine Meter’s waveform monitor shows you the relative light levels across the camera’s field of view in a single glance. It’s a lot quicker to use the waveform monitor than to spot-meter several points across the field of view, or to take multiple incident readings to get the same information.

Match color temperatures: using WB and the RGB waveform monitor makes it very simple to compare LCD displays, different LED lights, or any other combinations of radiant or reflected lights. If you use WB on a known-good source (or a white card illuminated by it), the differing RGB levels when looking at another source will indicate how you have to color-correct it to make it match, without the subjectivity of the human eye.  
more how to...

Compatibility: Requires iOS 5.0 or later. Compatible with iPhone, iPad 2 Wi-Fi, iPad 2 Wi-Fi + 3G, iPad Wi-Fi (3rd generation), iPad Wi-Fi + Cellular (3rd generation), iPad Wi-Fi (4th generation), iPad Wi-Fi + Cellular (4th generation), iPad mini Wi-Fi, iPad mini Wi-Fi + Cellular, iPad Air, iPad Air Wi-Fi + Cellular, iPad mini with Retina display, iPad mini with Retina display Wi-Fi + Cellular, iPod touch (4th generation), and iPod touch (5th generation). This app is optimized for iPhone 5.

SEAMUS MCGARVEY, ASC BSC AT GCI

Seamus McGarvey, ASC BSC was a guest instructor at Global Cinematography Institute GCI  The class was Cinematography for Independent/Low Budget Films. Level 1.

Seamus shared with students lighting and camera movement techniques used in Atonement and Anna Karenina. Yuri Neyman, ASC moderated the class. Part 1

Seamus shared with students lighting and camera movement techniques used in Atonement and Anna Karenina. Yuri Neyman, ASC moderated the class. Part 2

©georgeleon/filmcastlive 2013

PANASONIC LAUNCHES A NEW AFFORDABLE HD CAMERA

The Panasonic AG-AC8PJ is a powerful, Full-HD 1080P shoulder-mount camera featuring exceptional ergonomics, functionality and affordable price. It is available this October at $1,450 in your nearest Panasonic camera dealer.

The lightweight but powerful AC8PJ  camcorder is ideal for shooting corporate and events, weddings and documentaries and action packed sporting events, boasting 720p at 8Mbps. The camera weights 5lbs offering less shoulder strain for long shooting periods.

Its wide angle 28mm/F1.8 lens allows the operator to fit more people and background into the frame, especially useful in narrow spaces. A powerful 21X optical/50x super-high resolution zoom permits you to shoot scenes that you can't get close to. Intelligent resolution technology lets you shoot at high zoom rates while preserving the image resolution. With dual SD card slots and the capability to record on both cards simultaneously, the AC8 provides dependable back-up recording or the ability to switch from one card to the other for extended recording times.

The AC8 comes with a powerful zoom lens 21x optical/50x super-high-resolution and a five -access Hybrid O.I.S Image Stabilization technology permitting the operator to shoot crisp scenes that you can't get close to. Intelligent resolution technology lets you shoot at high zoom rates, while preserving the image resolution. Its wide-angle 28mm/F1.8 lens allows you to fit more people and background into the frame, especially useful in narrow spaces and its Dynamic Range Stretch (DRS) helps compensate for wide variations in exposure in a contrast-heavy scene, from light to dark. A Focus in Red function shows the sharp edges of your subject in red, making it stand out better.

The AC8 records in a wide variety of recording modes to suit your workflow and post-production needs:  1080/60p [Max. 28Mbps/VBR], (1920x1080/60p); PH [Max. 24Mbps/VBR], (1920x1080/60i); HA [Ave. 17Mbps/VBR], (1920x1080/60i); HG [Ave. 13Mbps/VBR], (1920x1080/60i); HE [Ave. 5Mbps/VBR], (1440x1080/60i); PM [Ave. 8Mbps/VBR], (1280x720/60p); and SA [Ave. 9Mbps/VBR], (720x480/60i).

Your acquired content is safely recorded into dual SD card slots and the capability to record on both cards simultaneously, the AC8’s Relay Auto Switch functionality provides dependable back-up recording or the ability to switch from one card to the other for extended recording times.

for more info visit Panasonic

SAN DISK INTRODUCED THE FASTEST CF CARD

SanDisk announced two new CompactFlash cards to its Extreme Pro CF cards  line up. The cards are designed to meet the demands of 4K video recording.

SanDisk’s Extreme Pro CFast 2.0 card are available in 60GB; 120GB: and is the first to utilize the CFast 2.0 standard, which is designed for broadcast, cinematography, and  professional photography. The documentary-style camera  AMIRA  from ARRI, is the first camera to support the card with  read speeds  up to 450MB/s (3000X) and write speeds of up to 350MB/s (2333X). The CFast 2.0 card was designed in collaboration with the CompactFlash Association, Canon and ARRI..  The card–with a CODEX Capture Drive to CFast 2.0 adapter for ARRI cameras will be sold directly to ARRI and will be available at ARRI specialty retailers and other photo specialty stores.

 Also a world’s first, SanDisk also introduced the massive, 256GB Extreme Pro CompactFlash card with  a whopping price tag of $1,810. The card has  the VPG-65 (Video Performance Guarantee) specification. The 256GB CF card offers transfers up to 160MB/s and  write speeds of up to 140MB/s. At the same time, SanDisk has pumped up the speed across its Extreme Pro line, with CompactFlash receiving a boost by about 50 percent to read and write speeds of up to 160MB/s and 150MB/s, respectively. SD card users will be happy to hear that SanDisk’s Extreme line of SD cards will also receive a speed increase of up to 80MB/s (read) and up to 60MB/s (write).

ARRI UNVEILED AMIRA. A NEW DOCUMENTARY STYLE CAMERA

ARRI introduced today at IBC 2013 their new documentary-style camera with CFast 2.0 workflows and ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA is hardy enough to take anywhere  featuring in-camera grading with preloaded looks based on 3D LUTs, as well as 200 fps slow motion.

AMIRA comes with the same sensor and exceptional image quality as the ARRI ALEXA, recording HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA deliver beautiful, life-like images in any situation.

AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into postproduction is made as simple as possible. CFast 2.0 is an open format, easily accessible to anyone and delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low budget productions.

AMIRA boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. In the time it takes to lift the camera to an operator's shoulder, it will be ready to record, making AMIRA perfect for 'run-and-gun' shoots where the action is unpredictable and the camerawork responsive. Integrated, motorized ND filters as well as zebra and false color tools aid exposure control, while an advanced peaking function makes accurate focusing easy and swift.

Access to switches and configurable user buttons is quick and intuitive. An innovative multi-viewfinder makes life even easier for the single user by combining a high resolution OLED eyepiece with a fold-away LCD monitor that displays a live image when the eyepiece is not in use and also provides full access to camera functions, without AMIRA having to be removed from the operator's shoulder. Flexible multi-channel audio options are accessed from the camera right side, again minimizing disturbance to the operator.

AMIRA comes with a number of preloaded 3D LUT-based looks that can be applied on set during the shoot or  custom-build their own 3D LUTs in external grading systems, load them into the camera during prep, and even modify them in-camera while filming. With 3D LUTs, literally any look that can be imagined can be created, giving cinematographers and directors a greater degree of creative control, while keeping postproduction costs down.

ibc 2013 

ARRI SHOWS PROTOTYPE RGB+Z CAMERA AT IBC 2013

On display at the IBC Future Zone is the Arri Alexa SCENE, a prototype RGB+Z camera that couples an Alexa Studio with a time-of-flight camera, allowing it to capture RGB images fused with depth information on the Z-axis.

This is part of ground-breaking European research project SCENE which aims to develop novel representations and tools for digital media beyond sample-based (video) or model-based (graphics) systems.

By delivering synchronized video data and depth data, the camera will permit video images to be manipulated in the same way as CGI. Work by project partners will allow CGI models to be animated “with all the naturalism of real actors and real locations”. It is presented by Thomas Hach.

The experimental prototype presented here is a set-ready RGB+Z camera equipped with the newly-developed integrated time-of-flight sensor and capable of recording RGB and Z information synchronously. Both image sensing devices capture their respective images through a common entrance pupil, resulting in a naturally occlusion-free representation of RGB and Z video, with the same field of view. Special hardware, optics, electronics and software have been built to adapt the Alexa into what might be termed the first ‘motion scene camera’.

Dr Johannes Steurer, Arri’s principal research & development engineer, explained: “Even though it is still a prototype we are confident that the post production industry will be highly interested in the new possibilities this technology offers. Compositing, color grading, keying and many more post tasks can be facilitated by our new camera.

“It provides cutting-edge, high resolution RGB images with fully synchronized depth maps, where both are taken through the same lens and hence feature a parallax-free 3D image of the scene.”

View Arri's  timetable at IBC Big Screen

CANON EOS-1DC. THE FIRST HD TIER 1 DSRL

Broadcasters add Canon EOS -1DC to list of HD approved cameras. 

The 4K capable camera is the first DSLR to meet the EBU Tech 3335 requirements that show it delivers an image of high enough quality for broadcast production.The camera was specifically designed for motion picture capture has been tested and approved by the European Broadcasting Union (EBU) for HD content acquisition. It's the first DSLR to get on the EBU's list as a camera of high enough quality for use as a broadcast production tool. 

The EBU's test results concluded the EOS-1D C  yields  an ‘exceptional’ HD resolution from a 4K source with ‘very low’ aliasing, and ‘good’ color performance and motion portrayal. The test results confirmed that the EOS-1D C complies with the recommended specification for inclusion in HD Tier 1 for HD production. The camera is based on the EOS-1D X, but is designed for video-supporting in-camera 4K (4096x2160) recording with 4:2:2 colour sampling.

The camera is also getting several feature upgrades via a firmware update. It will become possible to display current aperture (f-number) when shooting with Canon EF Cinema lenses, and to store lens metadata. EF Cinema lenses will also be supported by the Peripheral Illumination and Chromatic Aberration Correction functions, to improving overall image quality. One of the main user requests was improved audio, which is currently limited to a mic input. The forthcoming update will permit selection of Line or Mic, for use of an external audio source. 

The EOS-1D C features an 18.1-megapixel full frame CMOS image sensor that offers a wide range of image acquisition options, including 4K (4096 x 2160), HD (1920 x 1080); or 18-megapixel (5184 x 3456) still images. The 4K is recorded as Motion JPEG; the HD is recorded as H.264; and the still images are recorded as RAW or JPEG. All of the selected motion imaging formats can be recorded as normal gamma-corrected video or with Canon Log. In addition,  the EOS-1D C exhibits incredible low-light performance, ensuring optimum image quality under conditions of extremely low scene illumination, essential for natural-looking image capture when shooting in challenging environments. With onboard 4K recording at 24p or HD recording at a range of frame rates up to 60p; and Clean HD via HDMI, the EOS-1D C offers additional capabilities for film and TV production as well as specialty image acquisition applications.

 http://tech.ebu.ch/camtest

MASTER WORKSHOP ON DIGITAL CINEMATOGRAPHY IN VENEZUELA

The “Master Workshop on Digital Cinematography” will take place between September 2-15, 2013, in the city of Caracas, as a technical module part of the “First Certification Program for Directors of Photography”, promoted by the Venezuelan Cinematography Society (SVC for its Spanish initials), with the support of the Autonomous National Center for Venezuelan Cinematography (CNAC for its Spanish initials) and based on the academic platform of the recently founded School for Cinematographic Technicians José Manuel Funes.

It will be the first time that such a rich number of professional cinematographers of the highest level in the, advertising, documentary and fiction, short and feature film industry meet; to carry out sessions to thoroughly update technical knowledge. Providing adequate preparation to face the challenges set by the dramatic changes of the digital revolution.

Alfonso Parra AEC, ADFC and Jesús Haro from Spain, will be the international specialists in charge of leading the sessions for the Venezuelan Directors of Photography, during this technical phase of the program. These are professional of renowned careers in the field of Digital Cinematography and who frequently publish specialized articles in the famous European magazine “Cameraman”.

The First 2013 Certification Program for Directors of Photography, endorsed by the Autonomous National Center for Venezuelan Cinematography (CNAC for its spanish initials), consist of a number of sessions that will provide a first group of veteran and experienced cinematographers, the license to add the initials SVC of the Venezuelan Cinematography Society to their credits. These initials will back their capacity to fully assume the responsibilities of the workflow required to guarantee image quality over the production process. Such recognition will generate the commitment of Venezuelan cinematographers towards the highest aspirations of quality and work flow management currently demanded by both the national and international markets, paving the way towards the professionalization of cinematographic work in Venezuela.

The First 2013 Certification Program for Directors of Photography, will end with a significant act in tribute and recognition of the extensive career of Ricardo Younis, colleague and dean of many of the current generation of photographers; who, together with Mexican José Manuel Figueroa, was one of the only two Latin Americans recognized by the American Society of Cinematographers (ASC), among the 100 best Directors of Photography of the first 100 years of movie history. For this tribute to master Younis, they expect the presence of Félix “Chango” Monti, one of his most prestigious disciples, Director of Photography of “The Official Story” and “The Secret in Their Eyes”, winners of the Oscar for best foreign film, as spokesman during the tribute ceremony and the awarding of the first certifications.

The academic activities of the Master Workshop on Digital Cinematography 2013, have the academic institutional support of the new School for Cinematographic Technicians José Manuel Funes, as a platform to prepare highly qualified professionals and technicians, based upon moral and ethical values, seeking an organic growth of the cinematographic industry, driven by the current policies given by the Autonomous National Center for Venezuelan Cinematography (CNAC for its spanish initials).

The Venezuelan Cinematography Society (SVC for its Spanish initials), is a non profit Organization created by and for the professional cinematographers. It was created to gather to meet the highest levels of technical, creative, moral an ethical standards in all areas of the cinematographic profession. The mission of the Venezuelan Cinematography Society (SCV for its Spanish initials) is to promote and protect the interests of these professionals, in order to enhance their overall condition; encourage quality and excellence of their work, their competitiveness and well-being; while providing them with the necessary support within an ever changing environment. SVC, also seeks to positively influence the relationships with other artists, professionals and technicians of the different fields of specialization involved in the production processes, corresponding to the areas of responsibilities of the Director of Photography. 

The Master Workshop on Digital Cinematography, also counts with the valuable sponsorship of: Centro Nacional Autónomo de Cinematografía CNAC, Escuela de Técnicos Cinematográficos José Manuel Funes, Publiplay Agencia Creativa, Abicine, Tremendo Group, Cinema Caribbean Films, ABICINE, PDVSA La Estancia, Fundación Villa del Cine, Corporación Video, Sony Professional, David & Joseph, Bolívar Films, Cines Unidos, Produrama, Cinequipos, Cinemateriales Servicios, Hormiga Films, Propela Creatíva, Christian Porras Designs, Futuro Films, Patanegra, Cinet Producciones, Centro Cultural Chacao, Fundación Cultura Chacao, A&B Producciones,Cines Unidos and a series of professionals and technicians who have made it possible to successfully develop this activity. 

CINEMATOGRAPHY IS CHANGING: VILMOS ZSIGMOND, ASC

We are all cinematographers now. Using any camera we can afford – Alexa, Red, Sony, Go Pro, iPhone - we are producing now myriads of images. But, is this a great time for cinematography?

Cinematographers are hired for their taste, and taste is cultivated through their experiences in life and knowledge and understanding of film, music, art, literature, photography -- everything that helps to define and create a unique point of view.

When we go into pre-production on a project, we draw on all these experiences to shape a look for the film. I feel this is often neglected in pre-production, leaving the look to be achieved and refined in post. There’s nothing wrong with post manipulation, especially as it can often be more precise to adjust an image in a colorist’s suite than on set. But these powerful tools do not mean we can curb our vision until the post-production phase of a film. So much of the look is created by the close collaboration between the director, production designer and director of photography. For example, if the sets are painted the wrong color with too much saturation to begin with, you’re already fighting a losing battle when you get to color correction.

With digital capture and even digital intermediates, it becomes very easy to think of the image in the simplest of terms: contrast, saturation and color bias. But I think too often we forget about texture and sharpness. Film has organic grain texture that simply doesn’t exist in digital cinematography. I’m not a film "purist" but I think it’s safe to say that with the advent of radical advances in digital cinema technology there has been a certain homogenization of the cinematographic image in regard to look and texture. It is common to shoot for an evenly distributed rich digital negative (protect the highlights, see into the shadows) with plenty of sharpness to endure the color correction suite and create the look in post. Everybody shoots the sensor the same way.

Painting is a great influence on me. Whenever I can I go to museums and look at the classics, the Dutch masters, Rembrandt and Georges de la Tour. Looking at these old paintings can be inspiring. These are the basics for cameramen because we can learn lighting from them. We can study the classic paintings and try to use that technique of lighting in our photography. I have lots of picture books at home – photography books and art books. When we did McCabe and Mrs. Miller, I showed a book of Andrew Wyeth's paintings to Bob Altman and said, “What do you think of these faded, soft, pastel images?” And he liked it. Then I took the same book to the lab and explained to them that this was what we were aiming for. They understood right away why we were flashing the film. So it helps; a picture is worth ten thousand words. A picture can immediately tell you your feelings about something.

With digital capture, we have been given a completely different set of tools, trading physical lab processes for computer-driven non-destructive techniques, creating possibilities for the image to be pushed any way we wish in post. In a time when film is disappearing fast and digital is making progress in image quality improvement, it has become important for cinematographers to master these new tools.

Vilmos Zsigmond ASC, Frederick Gooodich ASC, Curtis Clark ASC & Alfonzo Beato ASC, ABC

“Kickstart Theft” is a 7-minute movie-trailer/narrative short commissioned by Band Pro Film & Digital. Frederic Goodich, ASC directed and I was cinematographer. “Kickstart Theft” was premiered at IBC and Cinec. The story is inspired by Vittorio de Sica’s neo-realist film Bicycle Thieves (1948), shot in black-and-white on an Arriflex 2C by Carlo Montuori. For “Kickstart Theft”, I used a Sony F65 for the first time, with Leica Summilux-C primes and a Canon 30-300 zoom.

We wanted to work in available light as much as possible, and thanks to digital technology we could use exposures even at low light levels of less than a foot candle. There were times when my lightmeter didn’t even register, and we rated the camera at 800 ISO. But the quality of camera, quality of lenses, that’s almost secondary for me. The lighting and composition are the most important things, as most cinematographers know.

Camera technology is just a medium, and media was, is and will be changing, but an ability to create images that possess artistic and symbolic qualities continues to be the major task of the cinematographer.

We are faced with many changes in the complex world of technology but the art of lighting, the art of camera movement, the art of color, tone and composition are the basic tools of our profession.

How to deal with the demands of the rapidly evolving new technology and yet further the aesthetics of our filmic art?  I suggest we must re-educate and retrain ourselves creatively, to learn how to evaluate what we are doing from the technical point of view while at the same time constantly working to raise the standards of visual storytelling to ever-higher levels.

THE BOLT. THE MOST EXTREME HIGH SPEED CINEBOT

Mark Roberts Motion Control announced the release of the Bolt high speed cinebot, the most extreme high speed motion control rig in the world - starting and stopping in the blink of an eye. Over the past 12 months MRMC have been developing the newest in a line of high speed precision rigs specially designed for use with high frame rate cameras such as the Phantom Flex, Weisscam, Photron and  iSpeed. The Bolt is more than just a high speed rig and can be used in broadcast applications such as news rooms and studios.

High speed cameras have been around for some time creating amazing shots in commercials and films shooting high frames rates at 1,000 fps or more. In order to make these shots more exciting directors have been asking how do I get the camera not only shooting fast but also moving fast at the same time.

Mark Roberts Motion Control answered that question with the Bolt high speed cinebot.Bolt has the ability to get up to full speed almost instantly so that the camera can go from standstill to high-speed motion and back to standstill in fractions of seconds, literally following falling objects and capturing  images that would be impossible by hand or any other method. Combined with our Flair motion control software, the Bolt rig is quick to program moves and offers all of the features for importing moves from 3D packages and exporting moves.

Mark Roberts Motion Control  also offer general inputs and outputs for triggering at an exact time, such as the pour of a beer, the turning of an object, etc. Bolt can be set up in a studio ready to shoot in under an hour. For high speed moves it is important the base of the rig is fixed to the floor. This can be done by screwing the rig down or where this is not possible we can supply weights for weighing down the unit.

Bolt is now shipping to worldwide locations and has already been used very successfully internationally. There are now systems in the USA, Europe and South Africa with more continents soon to receive theirs.  As one new user said, “Congratulations on making a fantastic rig. I think officially this is the best thing MRMC have made since the Milo and you can quote me on that! I look forward to doing many shoots with it.”

Bolt’s advantage over any other high speed system is its portability and its simple interface to the industry standard flair motion control software allowing moves to be created in seconds and also giving operators, DPs and Directors all the tabletop programming tools that they might need. Interfacing to turntables, liquid pouring rigs, lights and other special effects devices is straight forward.  For broadcast applications Bolt’s smooth motion, camera lens interfacing, graphical user interface, quiet mechanics and virtual studio plug-in make it the ideal candidate for any automated studio robotics.

for more information on the Bolt high speed cinebot. 
mrmocorentals (UK)
cameracontrol (USA)

WILL THERE BE A 4K ALEXA?

by George Leon

Whether a 4K resolution camera is a marketing priority for Arri is still to be seen. Undoubtedly, the Alexa camera has proved itself to be a versatile 2K camera for feature film production, TV spot production and episodic television production in USA and the world over.  Prior the advent of digital cinematography, Arri had already pioneered the concept of "one-stop-shop" in matter of production and workflow with the 6K/4K and 3K/2K Arriscan (negative film stock scanning) and their Academy award winner, Arrilaser (digital video to film) along with many other production tools and accessories, exceptional cine lenses and outstanding lighting fixtures, culminating with their latest iteration of the Alexa, the XT with Arriraw technology, anamorphic lenses, and new LED Fresnel lighting fixtures.

From the lessons learned since the introduction of their first-ever reflex mirror shutter camera in 1937 to their portable SB16mm to the indestructible Arri C and Arri III, (the work horse of MOS television advertising production) to the introduction of the 35mm Evolution BL line featuring quieter coaxial magazines for easier loads with "blimped" bodies to the SR16 line to the introduction in 2005 of their first digital cinematography style camera, the D-20 to today's successful Alexa, Arri has proven many times over that they certainly are a progressive company spearheading new technologies in the forefront of motion picture camera manufacturing.

Arri 235. A MOS film camera. Ideal for Steadicam work, automobile rigs
underwater and aerial work. 

So what is all the hype distributed by non-cinematographers, entertainment magazines and some blogs about the Arri Group making a 4K camera boasting a higher frame rate with over 14 stops of dynamic range in a near future? 

 I believe that the implementation of new technologies by the Arri Group to their digital camera line is  a walk in the park. Arri's R and D department has been continuously ahead of the game and very attuned to the evolving needs of the working cinematographer whether is for feature films, documentaries, episodic TV, music videos or tv spot production.  But the implementation of new digital cinematography technologies comes with a price tag and in the case of the pending 4K Alexa is a hefty price tag. This cost ultimately compounds in the purchase price, making Arri cameras once again financially unreachable to independent producers and cinematographers in an age when anyone could own a capable 2K digital cinematography camera for feature film making for a fraction of the cost.

In a statement revealed by Franz Kraus, Arri's Managing Director about the impending future of the evolution of 4K HD technology posted by the Hollywood Reporter early this month. “What annoys me, more than being asked about whether we are launching a 4K camera, is that at trade shows, HD quality is often being dumbed down, or not presented to its optimum quality, in order to make Ultra HD 4K look good,” Kraus said. “This is a bad trick, because consumers will buy 4K displays based on the false expectation that the image is really that superior to HD.”

 Kraus continues, “The perception of picture quality has a lot to do with the physical performance of the display. For example, a 2K image displayed on an HD OLED monitor looks incredible because the active light source shows far higher contrast ratios in the picture.”  I think, Kraus is referring here to the false perception given by manufacturers while in their presentation booths to the general consumer and the uninitiated that is attending to digital cinema trade shows in record numbers.

Product Manager Marc Shipman-Mueller reviews the ALEXA XT 

camera line which includes in-camera ARRIRAW, an internal filter module, 

4:3 sensor and lens data mount at NABShow 2013

Referring to the Alexa and his company position regarding 4K digital cinematography, Kraus added “We are working on technology that will offer a higher spatial resolution but also pushing hard in terms of a higher temporal resolution, without sacrificing the dynamic range we can already deliver. We don't want to produce one camera that has high contrast and another with high detail.”  “I believe, NHK has done quite a good job in developing  Super Hi-Vision [an 8K format] at 120fps so it is possible to capture the finest detail in motion without decaying the image”.

Klaus continued adding,  "If you produce very high resolution images with no motion blur, it is then possible to apply extremely efficient compression technology, so in distribution you end up with decent data rates. The problem is transporting and processing the massive amount of data from the camera and throughout post.” Nor is there a need to remain wedded to a 35mm-size sensor, which is used with numerous existing digital cinema cameras. “With a larger sensor you can use 35mm cine lenses and need only expose a smaller portion of the image, but you can capture more information through the lens. There are so many options, but none of them come for free.”

 "The Alexa camera concept had initially included a 4K-plus sensor version to be launched approximately one year after the introduction of the first Alexa. But the outcome of an intensive feasibility study more than two years ago showed that we would sacrifice dynamic range for resolution, so we decided not to proceed,” he explained.

He concluded, “There are products and companies leaning more toward spatial resolution. This offering was available already, so we chose to go for greater dynamic range rather than detail at that time. We believe that the most distinctive image characteristic is contrast, and after that it is really a question of whether we need to increase temporal resolution if we aim for higher spatial resolution than 2K".

In a nut shell, the Arri Group has demonstrated once again their progressive business model  manufacturing products and technology in which quality and functionality are more important than just marketing hype. In Arri's web site and Alexa's Frequently Asked Questions page published several months ago, you can find a similar  disclaimer as given by Klaus about the Alexa 4K.

Will there be a 4K ALEXA?
"At ARRI we focus on providing the best image quality for cinematographers and high-end features, together with an efficient workflow. Achieving the highest K figure is of less importance. ALEXA's 3.5K sensor with its high sensitivity and wide exposure latitude produces gorgeous, cinematic images. Given that 4K digital workflows are still in their infancy, and that for the foreseeable future most productions will finish in 2K or HD, ALEXA is the perfect choice for theatrical features as well as television productions. Furthermore, the ascendance of 3D has resulted in a doubling of image data volumes which further complicates the effective storage, processing and movement of such data. So, for the foreseeable future, ALEXA is ideally suited for 2K or HD workflows in 2D and 3D".

Arri Group

LARGE SCALE CAMERA SUPPORT FOR GLASTONBURY FESTIVAL

The Camera Store in Middlesex, UK delivered on large scale for Glastonbury Festival 2013

More than 400 feet of camera track and a large inventory of camera support equipment were fielded by The Camera Store (TCS) for the high-definition broadcast coverage of this year’s Glastonbury Festival.

“Given the festival’s rural location and the unpredictability of British weather, it can also be one of the most challenging, as camera crews and their equipment have to be ready for anything from a rainstorm to a mud bath,” said David Fader, TCS operations manager. “The big-name stage music performances take place under cover, but others are held out in the open. Precise camera movement is a vital ingredient for television directors, so offering mountings that go on rail is an integral part of our business.”

As Glastonbury is a massive green-field festival, it requires extensive infrastructure in terms of security, transport, water and electricity supply. Working closely with Arena Television Ltd. and SIS LIVE, TCS supplied two of its own-design fixed and tracking Skquattro pedestals, 14 Vinten Osprey Elite pedestals, 15 Vinten Vision 250 pan and tilt heads 11 Vinten tracking skids and nearly two kilometres of SMPTE grade camera fiber.

Setup commenced June 24 in preparation for the event’s five-day duration at Worthy Farm in Pilton, Somerset. June 26-30, the festival attracted an attendance of 135,000 tickets selling out after a record one hour and 40 minutes of being on sale.

Highlights of the festival were broadcast on BBC 2, including a two-hour Glastonbury debut by the Rolling Stones, which achieved an estimated peak audience of 2.6 million viewers including me.

For more technical info visit The Camera Store

For more of Glastonbury Festival 2013

THE EVOLVING ROLE OF THE CINEMATOGRAPHER

 by George Leon

There is a new camera crew position to play a key role in digital and virtual cinematography acquisition. After the advent of more sophisticated digital cinematography cameras and its subsequent workflows and accessories, two award winning cinematographers and several seasoned instructors are working together to further the advances of digital cinematography on the motion picture industry and are implementing the creation of a new discipline – “Expanded Cinematography”

 Yuri Neyman ASC introducing the concept of  "Expanded Cinematography" 

to Cine Gear Expo attendees at the Sherry Lansing Theater in Paramount Studios

"Due to the increasing role of visual effects and virtual production the role of the 'traditional' cinematographer is changing,” said Yuri Neyman, ASC and Vilmos Zsigmond, ASC, co-founders of the Global Cinematography Institute in Los Angeles.

“Expanded Cinematography” is a state of mind that is recasting the production process around creative choice, rather than developing and working around barriers created by gaps in the ever-evolving technical knowledge. This way of thinking creates a new unity of art and technology, the conversion of existing crafts and the activities of cinematography, design, art direction, visual effects, virtual lighting, previsualization, as well as  emerging visual practices, into a newly crafted discipline which in turn develops the cinematographer’s profession into a Cinematographer-Artist-Designer-Technologist that is able to comprehend and solve any tasks which modern production can put in front of him or her.

Vimos Zsigmond, ASC and Yuri Neyman, ASC 

co-founders of The Global Cinematography Institute

Zsigmond and Neyman recognize “the goals are to lead and empower visual thinkers for the advancement of the aesthetic arts and sciences.” The Global Cinematography Institute (GCI) is an educational research and development entity focused on analyzing, preserving and predicting the roles of imagery.

With the ever-advancing creative and technological approaches to narrative and visual storytelling, the GCI is developing new methods for educating current and future professionals in the fields of imagery. The global, social, and cultural paradigm demands innovative courses and curriculum to meet the ever changing needs of the industries its serves.

“Expanded Cinematography” describes and explains the fundamental changes that have occurred, and will continue to occur. It forecasts changes in all visual facets of the entertainment industry. In addition, GCI is building connections to non-filmmaking avenues through “Expanded Cinematography,” to gaming, web, and television media, as well as to traditional movie making business activities -- it is both art and craft.

 The Expanded Cinematography Panel and Q&A

In support of all visual content creators, the students of “Expanded Cinematography” -- would be the primary force in the capture, creation, distribution and displaying of images.

In a connected, always online universe, we are implementing real world best practices. "Our approach is global - in a digital world - with “convergence” as well as “divergence” taking place in all sectors we are developing new collaborations" said Yuri Neyman ASC and Vilmos Zsigmond ASC. "We look forward to continuing this dialogue with all of the passionate and creative individuals, institutions, and companies who care about the advancement of our crafts".

Among the courses under the “Expanded Cinematography” banner that Global Cinematography Institute teaches are: Advanced Lighting for Feature Films, Foundations of Lighting & Composition, Virtual Lighting & Virtual Cinematography, Lighting Craft & Technology, Cinematography for Videogames, Pre-visualization, Digital Cinematography & Optics, Image Management, History of Cinematography & Photography, Career Management, Cinematography for Independent Films and more.

 Vilmos Zsigmond ASC, co-founder of  The Global Cinematography Institute 

answer questions to Cine Gear Expo attendees at the 

Sherry Lansing Theater in Paramount Studios

GCI certainly offers a fresh departure from the older curriculum taught at traditional film schools, intertwining film-making process theory with appreciation for the aesthetic of painting and plastic arts in a hands-on manner utilizing the latest technology, and skillfully applied to digital cinematography acquisition and workflow producing the highest quality of certifiable training for camera crew members and motion picture professionals.

The importance of training new professionals in the constant evolving discipline of cinematography is paramount. Major studios and their prolific producers are certainly aiming their bottom line to create the proper infrastructure to match their production and workflow to new virtual cinematography acquired storytelling.

Therefore, the Global Cinematography Institute is training its students in the new profession – “Expanded Cinematography” which combines skills and experiences of traditional cinematography, visual and special effects and virtual production.

For more information, visit Global Cinematography Institute website.

CANNES FILM FESTIVAL PALME D'OR 2013

Tonight, during the Closing Ceremony of this 66th Festival de Cannes, the Jury presided 

over by Steven Spielberg revealed the award winners.

Audrey Tautou hosted Uma Thurman on the stage of the Grand Théâtre Lumière to award the Palme d’or to the best film among the 20 films in Competition. Jérôme Salle’s Zulu starring Orlando Bloom and Forest Whitaker, was screened at the end of the ceremony.

   
FEATURE FILMS

Palme d'Or

LA VIE D’ADÈLE - CHAPITRE 1 & 2 (Blue Is The Warmest Colour)  

                     by Abdellatif KECHICHE with Adèle EXARCHOPOULOS & Léa SEYDOUX

 Grand Prix 
INSIDE LLEWYN DAVIS by Ethan COEN and Joel COEN


Award for Best Director
 Amat ESCALANTE for HELI 


Jury Prize
 SOSHITE CHICHI NI NARU (Like Father, Like Son / Tel Père, Tel Fils)
by KORE-EDA Hirokazu 


Award for Best Screenplay
 JIA Zhangke for TIAN ZHU DING (A Touch Of Sin)


Award for Best Actress
 Bérénice BEJO in LE PASSÉ (The Past) by Asghar FARHADI


Award for Best Actor

 Bruce DERN in NEBRASKA by Alexander PAYNE

pictured here with daughter Laura Dern 

SHORT FILMS

Palme d'Or
 SAFE by MOON Byoung-gon

Special Mention - Ex-aequo
 HVALFJORDUR (Whale Valley / Le Fjord des Baleines)
by Gudmundur Arnar GUDMUNDSSON

37°4 S by Adriano VALERIO


CAMERA D'OR 
 ILO ILO by Anthony CHEN presented in the Directors' Fortnight

 
► UN CERTAIN REGARD Prizes
 THE MISSING PICTURE by Rithy PANH

JURY PRIZE 
OMAR by Hany ABU-ASSAD
    
DIRECTING PRIZE 
Alain GUIRAUDIE for STRANGER BY THE LAKE
 
A CERTAIN TALENT PRIZE 
For the ensemble cast of 
LA JAULA DE ORO by Diego QUEMADA-DIEZ

AVENIR PRIZE 
FRUITVALE STATION by Ryan COOGLER 

► CINÉFONDATION Prizes


The Jury of the CST has awarded the "PRIX VULCAIN DE L’ARTISTE-TECHNICIEN" to: 


Antoine HEBERLÉ, director of photography for the film GRIGRIS (directed by Mahamat-Saleh HAROUN), for a result showing remarkable finesse and humility, with the sole intention of serving the film, in conditions that we imagine were very difficult.