LOOKING THROUGH A DIRECTOR'S VIEWFINDER

A Short Story about Director's Viewfinders. 

(Original posted August 2009)

In the beginning, capturing the vision that movie directors had in their heads and communicating it to their cameraman was inefficient and without any other recourse, the movie director used his hands and a good deal of imagination to frame the shots. As time progressed and technology developed, he would "borrow" the viewfinder located on the side of the early motion picture camera. Years later, a version of the famed Mitchell camera viewfinder was used. Eventually, directors and cinematographers with a sufficient amount of clout at the studios asked studio machine shops to make an optical device or viewfinder that would come close to simulating set-ups as seen by the camera lens.

An early wooden and brass director's viewfinder

Early Alan Gordon director’s viewfinder with cut-out mattes

Armed with these early viewfinders, they used cut-out mattes to represent the focal lengths of various lenses. The studio machine shops even developed a zooming device for use with the early viewfinders. Several versions of directors viewfinders were developed during this time. Just after World War II in 1946, Tewe, a German optical company, developed a small viewfinder which could be hung around the neck. It was soon being used and worn by directors and D.P.'s throughout the motion picture industry around the world.

Orson Wells & Cinematographer Gregg Toland lining up

 a camera shot using a Mitchell viewfinder 

on the set of "Citizen Kane" in 1940

Tewe Director's Viewfinder Model 3B, circa 1970

With the introduction in the 1960's of wide angle prime lenses and the 25-250mm Angenieux zoom, the Model 3B could not be used to accurately simulate the new 10:1 zoom ratio.

In 1975, Alan Gordon Enterprises in Hollywood, California started the development of what would become the 10:1 Mark IV Directors Viewfinder. The Mark IV was introduced at the S.M.P.T.E. conference and trade show in 1979. This was the beginning of the modern day Director's Viewfinder. Subsequent updated models have been the Mark V, introduced in 1991 and the current Mark Vb model in 2005. In addition to its 10:1 zoom range, the Mark IV featured windows through which the director could easily see the lens focal length he was considering. These windows represented 16, 35 & 35 anamorphic formats, and gave the cinematographer instant information about lens focal length and scene framing.

Mark IV evolved into Mark V Director's Viewfinder in 1987. With the Mark V, Alan Gordon Enterprises introduced an enhanced 12:1 zoom range, a wider angle capability, and two additional windows covering Super 16, 1/2" & 2/3" video formats.

TODAY'S DIRECTOR VIEWFINDERS

The Mark Vb Director's Viewfinder represents the industry's state-of-the-art. It precisely defines choice of lenses, angles and coverage in a wide variety of formats for both film and video. The Mark Vb enables film professionals to communicate their visions to each other instantly and with complete accuracy, allowing the time saved to be used in the art of film-making. With a 12:1 zoom ratio, the Mark Vb Director's Viewfinder addresses all framing situations, making it an essential tool for today's professional filmmaker. Setting up shots using the 16mm and 35mm direct-reading windows provides a wide range of film and video formats including 2/3", and Super 16.

Michael Bay's engraved Mark VB by Panavision

Craig Kief ASC, Panavision's engraved 

Mark Vb Director's Viewfinder 

in recognition of his cinematography achievements

Director Randall Einhorn lining up a shot with 

the Panavision 135-420mm 

Director's Viewfinder 

on The Muppets set

(Courtesy Craig Kief, ASC)

Cavision VFC52PL with Arri PL bayonet mount for 35mm 

standard lenses with extension eyepiece

The Fries/Mitchell "Special Effects 35mm Director's Viewfinder" is a highly customizable and flexible system. The standard finder comes with your choice of lens mount, Arri-PL, Panavision or BNC-R, (1) ground glass, handle, rubber eye cup and case. The mount is easily changed and re-centered for Standard and Super 35 formats. Inside the finder is a set of registration pins to hold a film clip.


The Panavision Mini-DV Director’s Viewfinder, made in Australia, uses Panavision Millennium 35mm camera ground glasses. The ground glass image can be viewed through a color viewfinder or flip-out colour LCD monitor and instantly recorded to high quality digital video or stills. An on-board microphone enables the recording of location sound or commentary. 

An additional video monitor can be fed from its video out connector. The unit has a FireWire connector so that your video and still images can be easily transferred to computer. Power is supplied by an on-board Canon camcorder battery. An infrared remote control is included for convenient playback control. Available in PV or PL lens mount, the Panavision Mini-DV Director’s Viewfinder will make a valuable addition to your next shoot. Currently, only available in Panavision Australia, New Zealand and Asia.

Denz OIC-35mm Director's Viewfinder

This high-end director's viewfinder allows you to use your actual camera lens to view and set shots. The OIC-35 is a precise instrument which was conceived for the rough environment of a film shoot, the housing is a light alloy, hermetically sealed and fitted with a 54 PL mount (BNC socket available).

Features: Specially computed and designed optical light path. Ergonomic eyepiece with diopter balance from -4 to +4 . Eyepiece adjustable for right or left eye. Ergonomically designed cherry wood handle, for left or right hand or universal grip. Carrying belt, made of fine nappa leather. Delivered without ground glass (Arri 435/535)

 

                                   P+S Technik Ultimate Director’s Finder for full format, is an
                                   ergonomically designed optical viewfinder system with
                                                spherical and anamorphic capabilities.

The viewfinder is compatible with all sensor formats up to Red Monstro 8K and features interchangeable lens mounts. Current squeeze factors are 1.5x and 1.9x. (1.9x covers 1.8x and 2.0x squeeze factors).

Users can create customized frame lines by using a provided app, printing on acetate slides and inserting them into the ground-glass system. The viewfinder features a pivoting handle grip to aid counterbalance and an adjustable eyepiece diopter. 

The UltiMate 16 Kish Optics Director viewfinder

The UltiMate 16 is a director's finder that features multiple 16mm camera type/format-type ground glasses, interchangeable lens mountings, an optional 1/2" CCD-ready B&W or color video-tap, and provides in-the-view-finder images that are "full-frame." The video-tap (12V power supplied by on-board batteries or an external source), gives behind-the-scene parties the opportunity to view and comment on the shot. Used for location scouting or scene testing, the UltiMate can record specific shots, then return to the production facility for playback and analysis. On the set, the UltiMate finder can help set up the next shot while the current set is being filmed.

Director William Wyler lining up a shot using a Director’s Viewfinder on Ben Hur’s set. 

The epic was filmed using anamorphic 65mm by Robert L. Surtees, ASC

Lindsey Optics LFDV-SET1 Large Format Directors 

Viewfinder Set with Full Frame Module

LFDV-SET1 includes Full Frame Module only. Additional modules are available for Super-35 and VistaVision formats. The Lindsey Optics Large Format Optical Viewfinder provides optical through the lens viewing for an unprecedented range of formats from Super-35 to Red Monstro and ARRI Alexa 65.

At the heart of the LF Viewfinder design are interchangeable modules for quick and easy tool-free format changes. With a push of the red button, each module slips in and out of the LF body and securely nests in place.  Available modules include Large Format (ARRI Alexa 65) VistaVision (RED Monstro 8K), Full Frame (Sony Venice) and Super 35. Ground glasses attache magnetically to the modules. Ground glasses are marked with format frame lines using the included Ground Glass Marking Jig (template) kit. The LF Viewfinder features an LPL lens mount and includes an LPL to PL adapter. The Eyepiece provides diopter adjustment from -4 to +4 diopter.  

The LF is designed for intuitive and comfortable balance regardless of changing loads. The NATO Rails on the base of the viewfinder and on the base of the optional handle extension provide balance adjustment. The contoured oak Handle offers a firm and comfortable grip while the Handle Pivot knob activates rosette adjustment.  Format frame lines are marked on the ground glass with pencil using marking jigs (templets) A Ground Glass Marking Jig Set is included with the LFDV Set.

ARRI Director’s Viewfinder

Arri Director's Viewfinder (PL Mount)

The ARRI Director's Finder (PL Mount) is a compact, handheld unit for viewing lens framing, aperture, and image properties without the need for a camera. Includes a standard ARRIFLEX 435 frame Ground Glass, with hundreds of 35mm ground glass formats available. Features an accordion-style rubber eyecup and textured grip for added comfort. Includes a PL port cap and neck strap.

Key Highlights: Handheld Director's Viewfinder, PL Mount, Includes ARRIFLEX 435 Ground Glass.

Denz OIC-35A Director’s Viewfinder 

Director‘s viewfinder for anamorphic & spherical lenses. Interchangeable anamorphic / shperical settings. Available with PL or PV hard mount. Flexible eyepiece with +/- 5 dpt diopter adjustment.

Ergonomic universal handgrip, made of cherrywood, with DENZ Soft-Touch coating and quick-adjustment locking rosettes for ideal adjustment of the handle with anti-twist using DENZ keying system

Special extension bracket made of  AW7075 aluminum for optimal balance with larger lenses; three mounting points for handgrip with 1/4" thread on bottom of handgrip for monopod useDENZ ground glass: 1:1.78  / 1:2.35 with 1:1.85  / SCOPE 1:2.39 with 1:1.33 / with center mark/cross.

Courtesy of Alan Gordon Enterprises

By George Leon

NAB SHOW 2O22 PRODUCT WINNERS OF THE YEAR

 🏆NAB SHOW ANNOUNCES WINNERS OF 2022 PRODUCT OF THE YEAR 🏆

Awards honor breakthrough products from 2022 NAB Show.

NAB Show announced the winners of the fourth annual Product of the Year Awards during a live awards ceremony on April 26 at the 2022 NAB Show in Las Vegas, Nev. The awards recognize the most significant and promising new products and technologies exhibited for the first time at the 2022 NAB Show.

Winners were selected by a panel of industry experts in 15 categories. To be eligible for an award, nominated products had to come from companies exhibiting at the 2022 NAB Show and are delivered within the 2022 calendar year.

“The 2022 NAB Show Product of the Year Awards honor innovative breakthroughs that will change the way the media and entertainment industry creates, connects and capitalizes content,” said NAB Executive Vice President of Global Connections and Events Chris Brown. “This year’s winners can help storytellers at all stages of the content lifecycle meet the challenges of today and tomorrow and revolutionize the content industry.”

This year winners are:

CREATE

Audio Production, Processing and Networking

Spalk: Virtual Commentary Studio

Audio Design Desk: Audio Design Desk

Cameras

Sony Electronics: Venice 2

IO Industries: 8KSDI

IO Industries: Volucam 245D60

Canon: Canon EOS R5 C

BZBGEAR: ADAMO

Emergent Vision Technologies: Zenith HZ-10000G 100GigE 10MP 1000fps Camera

Insta360: Insta360 ONE RS

ARRI: ARRI AMIRA Live

AVer: AVer MD330U Series Medical Grade PTZ Camera

Camera Support, Control and Accessories

Canon: UHD-DIGISUPER 122 AF

Atomos: ATOMOS CONNECT (for NINJA V and NINJA V+)

Canon: Flex Zoom Lenses (CN-E20-50mm T2.4 L F/FP and CN-E45-135mm T2.4 L F/FP)

Emergent Vision Technologies: eCapture Pro Volumetric Capture and 3D Reconstruction Software

ARRI: ARRI Hi-5

Blueshape: GO7 Green Power Generator

Atomos: SHOGUN CONNECT

Cyanview: RIO Live

Zeiss: ZEISS Supreme Prime Radiance Lenses

Graphics, Editing, VXF, Switchers

Noitom International: NoitomVPS

Zero Density: TRAXIS talentS

STYPE: RedSpy 3.0 - ultra-high precision camera tracking

Brompton Technology: Brompton Tessera Software v 3.3

Location/Studio Lighting

Creamsource: Vortex4

SUMOLIGHT: SUMOMAX

Aputure: Light Storm 600c Pro

LiteGear, Inc.: Auroris

Aputure: amaran T2c

Aputure: amaran F22c

Aputure: amaran F21c

BB&S Lighting: BB&S Compact Fresnel (CFL) Light

Click here for a full list  about the 2022 NAB Show Product of the Year Awards. 

https://www.nab.org/documents/newsRoom/pressRelease.asp?id=6468

About NAB Show

NAB Show, held April 23 – 27, 2022, in Las Vegas, is the premier event for content professionals in the media, entertainment and technology ecosystem. It is the ultimate marketplace for those seeking to create superior audio and video experiences. From creation to consumption, across multiple platforms, NAB Show is where global visionaries convene to bring content to life in new and exciting ways. For complete details, visit www.nabshow.com.

SONY PRESENTS: VIRTUAL PRODUCTIONS AT NAB SHOW 2022

SONY PRESENTS AT NAB SHOW 2022. VIRTUAL PRODUCTIONS: OPPORTUNITIES, CHALLENGES AND THE FUTURE.

Join virtual production experts as they discuss the techniques behind the television series Snowfall and discuss how Unreal Real Engine 5 will change the future of the industry.

⭐NAB SHOW 2022 LIVE!⭐

Live from Las Vegas, over five days to discover new technologies, make new connections and hear from global thought-leaders. View the schedule below to get a sense of what’s happening when. NAB Show’s Cine Consortium revealed its new Cine Live program featuring sessions focused on cinematic storytelling experiences in live production. Open to all NAB Show badge holders, Cine Live will take place in the new Create Inspiration Theater in Central Hall. The hour-long sessions kick off daily April 24 – 27 at 10:45 a.m. Read more on the sidebar.

 

Exhibit Hall Hours 

Sunday, April 24 | 10 a.m. – 6 p.m. 

Monday, April 25 | 9 a.m. – 6 p.m. 

Tuesday, April 26 | 9 a.m. – 6 p.m.

 Wednesday, April 27 | 9 a.m. – 2 p.m

Society of Camera Operators members, Gilles Corbeil and Simon Jayes talk all things on-set communication with Moderator and SOC Technical Chair, Erick Fletcher at NABShow.

BSC EXPO 2022. DAY 2 SEMINARS

 

⭐ BSC EXPO 2022. Day 2 Seminars ⭐

CANON RELEASES EOS R5 C

Canon EOS R5 C Full-frame, 8K Cinema EOS System Camera.

Compact and lightweight, the EOS R5 C is a true hybrid camera, boasting many of the video formats and features from the Cinema EOS lineup as well as many of the still-imaging capabilities of the EOS R5 camera in a beautifully designed body.

The EOS R5 C is a complete package that offers filmmakers, multimedia journalists, and advanced amateurs a cost-effective 8K, 4K, and FHD video camera to help unlock their creative potential. 

It shares common features & technology with the EOS R5 Camera like Canon's 45 Megapixel full-frame CMOS imaging sensor at the heart of the EOS R5 C superb image quality, allowing impressive 8K/60P RAW cinematic video shooting. 

Focus and speed are paramount in the EOS R5 C camera, providing impressive still-image continuous capture at speeds of up to 20 frames per second, and with Dual Pixel CMOS AF II capability, to track split second movements of even the most elusive subjects. 

With 1,053 Automatic AF zones, it is easy to photograph people with the use of Eye, Face and Head Detection AF, or intuitively track the whole body, face or eye of cats, dogs, or birds with Animal Detection AF. 

For those with the need for speed, Canon has also included still-image vehicle subject detection to assist with accurate tracking of cars and motorcycles. Connectivity like 5GHz and 2.4GHz Wi-Fi® and Bluetooth®, is also included for the transfer of still images.

Still Photo Capture. The R5 C offers still imaging with continuous capture at speeds of up to 20 fps using the 45MP full-frame CMOS sensor and the DIGIC X processor. Autofocus options are available to suit just about any type of action and include Dual-Pixel CMOS AF II for freezing split-second movements, 1,053 AF zones used for Eye, Face, and Head Detection AF, Animal Detection AF for grabbing wildlife or furry friends, and Vehicle Detection for nailing those automobile product shots. Use the R5 C’s dual-band Wi-Fi and Bluetooth connectivity for image-file transfers while you work.

Compact, Lightweight Body Compact and lightweight like the EOS R5, the R5 C is designed for comfortable handheld use. It also sports an optically extended EVF for eye-level viewing, and it shares the R5’s ergonomic grip design. 

The R5 C works with R5 accessories such as the battery and WFT (wireless file transfer) grips so, if you upgrade, you can keep those existing items. Cinema Video Imaging Cine camera users will see the familiar Cinema EOS menu when using the R5 C in video mode, making it easier to switch between a Cinema EOS camera like the C70, C300 Mk II, or C700 and an R5 C being used as a “B” camera. 

Resolution. This is the first Cinema EOS camera with the ability to record 8K video internally at rates up to 8K60p using Canon‘s Cinema RAW Light codec or in MP4 for quicker uploading. The incredibly detailed 8K (8192 x 4320) resolution can be used natively or used for 4K cropping from within the frame. 

The R5 C’s ability to record two resolutions simultaneously means you can capture in Cinema RAW Light for your final version while capturing 4K, HD, or a proxy file for speedier, less storage-intensive editing. HDR Imaging The R5 C offers HDR (High Dynamic Range) in HLG (Hybrid Log Gamma) in PQ (Perceptual Quantization)―producing richly detailed, lifelike footage even in 8K. Canon Log 3 compatibility streamlines simple grading when pairing the R5 C with other Cinema EOS models on multicamera shoots. 

Sensor Modes. Content is produced for a wide variety of cinema-style forms, and the R5 C has you covered with the ability to select from full-frame, Super35, and Super16 modes. High-frame-rate options include up to DCI 4K120 in 4:2:2 10-bit without sensor cropping and the ability to use autofocus and record audio files even at high frame rates.

Design. A fan system keeps the R5 C cool, enabling uninterrupted, internal video recording, and pro touches such as a timecode port, durable housing, and a built-in cable clamp make the R5 C easy to integrate into your all-day, multicamera events.

Preorder at B&H