A WORD ON LIGHT METERS AND FOOTCANDLES

by George Leon

This is a republished article (7/12/2011), from those early days witnessing the frenetic pace of technological advances in digital cinematography with the advent of game changing full frame and APS-C  DSRL video cameras and 2K/4K Super 35 and full frame digital cinema cameras.

The impact of insta gratification and immediate image evaluation provided by the new digital cinematography technology in those cameras featuring capturing screens and HDMI/SDI connectors to high resolution playback monitors, integrated with Histograms, Luminance, Zebra, Peaking, False Color,  Waveform, Vectorscope, LUTS storage, Overlays and more, made the hand held incident and reflected metering of light, an obsolete practice to a new wave of digital cinematographers and digital still photographers that probably never shot on film in the past and never used a lightmeter, giving an enormous popularity to evaluating ligthing levels on a high definition monitor, not only by the DP,  but now accesible to the whole crew as well.

During those days, I inquired to some people, about the use of a lightmeter for metering versus evaluating by monitor and histogram levels.

After my inquiry about it, I was told at least couple times - "I'm not using it due to convenience, it is faster, our Marshall monitors will do" and on other shoot, I was told bluntly by the D.P,  "I have never used one".

Today, all cinematographers and commercial photographers are once again more adept to use a lightmeter or a color meter to measure light levels or color temperature for capturing images, complimenting the monitor evaluation.

So, lets shed some "light" into the use and history of this tool to help you to understand the importance of a light meter, in your next footage or still image capture.

Thank you, Karl Freund!


Douglas Slocombe OBE, BSC, ASC reading the lighting set up of a take.

John Toll, ASC reading the lighting set up 
of a scene

FIRST NOTION. ABC OF PHOTOGRAPHY.
A light meter is a device used to measure the amount of light. In still photography and cinematography, a light meter is often used to determine the proper exposure for a photograph or footage. Typically a light meter will include a computer, either digital or analog, which allows the photographer or cinematographer to determine which ISO, shutter speed, F stop or T stop should be selected for an optimum exposure, given to a certain lighting situation, film speed or digital sensor sensitivity. 

Karl Freund, ASC taking a reading on his award winning film "The Good Earth".

The light meters we are referring on this article are all hand-held light meters. Light meters are also used in the fields of scenic design and architectural lighting design  to determine the optimum light levels for a scene or the amount of light or optimum illumination falling into or reflecting from the facade or any specific part of a building or architectural structure.


The Spectra® Professional® IV-A  is an advanced digital exposure meter for 
motion picture film and digital cinematography
The IV-A has received a Technical Academy Award, an Engineering Emmy and numerous other international awards.

In order to accomplish the correct measurements needed by a lighting designer working on a theater scene or a concert, or by a photographer on a fashion shoot or by a cinematographer recreating a Noir genre scene, the leading lighting metering manufacturers have designed specialized lighting measuring devices applicable to the different fields of work. Today there are many types of light meters used in the general field of consumer and industrial lighting. Some of the light meters are made to read measured lighting levels in different values  (footcandles/candelas/lumens), but all provide the proper exposure (F stop) or the proper illumination read-out (footcandles or lumens) by manufacturer's specifications on falling or reflecting light (incident/ reflected) into a surface whether the surface is an animated or inanimate object.

 A foot candle. NOT! but you get the 
idea as a gimmick presented decades 
ago by G&E

Foot-candle refers to the "the illuminance cast on a surface by a one-candela source one foot away." Alternatively, it can be defined as the illuminance on a 1-square foot surface of which there is a uniformly distributed flux of one lumen. This can be thought of as the amount of light that actually falls on a given surface. The foot-candle is equal to one lumen per square foot. One footcandle 10.764 lux. 

The footcandle (or lumen per square foot) is a non-SI unit of illuminance. Like the BTU, it is still in fairly common use in the United States, particularly in construction-related engineering and in building codes. Because lux and footcandles are different units of the same quantity, it is perfectly valid to convert footcandles to lux and vice versa. In practical applications, as when measuring room illumination, it is very difficult to measure illuminance more accurately than ±10%, and for many purposes it is quite sufficient to think of one footcandle as about ten lux.


 Rodrigo Prieto, ASC AMC taking a reading

When you use the light meter built into a 35mm camera that has manually adjustable settings, you could determine the number of footcandles of light reaching your subject area, for example, prop a large sheet of white paper or white cardboard on the subject at a 45-degree angle. Set the camera’s ASA dial at 100 and the shutter speed at 1/15 of a second. The f-stop reading you get can then be translated into the approximate footcandle level, as listed below.

At ASA 100 and 1/15 second:
f4 = 10 footcandles
f5.6 = 20footcandles
f8 = 40 footcandles
f11 = 80 footcandles
f16 = 160 footcandles
f19= (between f16 and f22) = 240 footcandles


HOW LIGHT METERS WORK
The kind of meter you have determines not only how it measures light, but how you should use it. There are two basic kinds of meters: reflected-light (they measure the light reflecting from a scene) and incident-light (they measure the light falling onto a scene). Each type has its advantages and its disadvantages. Some meters have accessories that enable you to use them to read either reflected light or incident light. Reflected-light meters that read a wide angle of view are also called averaging meters. They account for most of the reflected-light meters in use, including those built into cameras. Another type of reflected-light meter, the spot meter, is designed to take readings from only a small part of the scene.

The Sekonic L-758Cine DigitalMaster 
is the ultimate light measuring 
tool for cinematographers, 
videographers and digital still shooters.

FILM SPEED/ISO
The first step in getting good results is to match your hand held light meter ISO/ASA sensitivity reading with your DSRL camera sensor sensitivity ISO reading (film speed). The ISO or ASA speed is a number that indicates the relative sensitivity of the film to light or the relative sensitivity of the sensor to read light of a given scene. The higher the number, the more sensitive or "faster" the film or sensitivity to light of the sensor; the lower the number, the less sensitive or "slower" the film or sensitivity of the sensor . The most common ISOs are: 100, 200, 400, 800, 1600, 3200, 6400. Quick tip: The higher the ISO number = the higher the sensitivity to light. Moving from one ISO to the next value changes the exposure by half or double.

 Roger Deakins, BSC, ASC 
taking a light reading  

The ability to shoot in low light (3200-6400 ISO) has a trade-off in the form of grain or noise. In digital cameras it's not the grain of the film that becomes visible at higher sensitivities, but digital noise - the visual equivalent to the hiss you hear when you turn a hi-fi amp up to full volume when nothing is playing. 100 ISO will give you sharp images while 3200 will show quite a lot of noise. The higher the ISO number = the more noise/grain. Hence, the technical importance of lighting properly your scene.

METER READING AREA
Virtually all in-camera meters are the reflected type--they measure the average brightness of the light within the lens' field of view. As you look through the lens of a 35 mm SLR or DSRL camera you can see what the meter sees. Change the lens and you change the area being metered in some instances. Most handheld meters are also reflected-light meters. Many photographers prefer reflected hand held light meters because they can use them to take light readings from the camera position. To take a light reading with a handheld reflected-light exposure meter, you usually stand at the camera position and aim the meter at your subject. To use an incident hand held light meter, on the other hand, you usually position the meter as near the subject as possible, in the same light that is illuminating the subject, and aim the meter back at the camera.

 Terry Stacy, DoP on the set of the Extra Man

THE IMPORTANCE OF A LIGHT METER
Why is important to use a light meter as part of my regular tool set, if I have a camera display with histograms available for quick at a glance look on my DSRL or I own a pricey Hi def 1920x1080 monitor?

The first reason to use a hand held light meter by a cinematographer or still photographer is proper exposure of a scene. A easy way to obtain this proper exposure into with a new DSRL or digital cinematography camera is to do a camera sensor calibration (find ISO/shutter speed/Fstop) and match it to the metered reading of a cine capable hand held light meter (ISO/shutter/Fstop) onto a 18% gray scale chart/target (some stand for 12%ANSI values) and on a multi-camera situations use a gray/pattern color target such as a DSC Labs AmbiCombi or similar. (Then, set your picture styles and color settings on the DSRL's menu window)

.
18% gray and color chart used for calibration

Shoot the gray card under even lighting at the metered value, and at third-stop increments (use only spot or center weighted metering, and make sure the card is angled slightly towards the light). Look at the histograms for each exposure (on the camera, not in Photoshop, which uses a different method of generating histograms). If you're using a 18% gray card, pick the exposure setting that generates a centered value and set that in your exposure compensation control.

The second reason is consistency of the above mentioned proper exposure, it which is easily achieved on still photography, but a bit more complex to maintain during motion photography for obvious reasons. Commercial and advertising still photography requires a high degree of exactitude on proper exposures of every plate or frame given not only to aesthetic reasons but also due to the four and two color off-set printing process. (Using Macbeth calibration). 

On cinematography proper exposure should be achieved consistent and easy to repeat on any set up. The fastest and accurate way to measure a lighting diagram on set or during the filming of a scene is using a hand held meter. A digital calibrated monitor on-set would give you a general aesthetic idea of the lighting ratios and may suggest the beauty of an scene, but not the exact values on footcandles, F stops or T stops of your lighting set-up illuminating your subject, object or scene. Thus the importance of a light meter on your belt set. Whether you shoot on film stock or digital, the light meter equals to the brush used by the painter, as when he or she decides to dab or stroke a bit more or less color and intensity onto the canvas. 

 The same notion applies when a light meter is used by a talented DP or cinematographer modeling the light on its form, shape, intensity and color to deliver a visual message. Narrative film making is usually heightened by outstanding narrative cinematography.

Advertising cinematography is by nature descriptive of the color standards provided by the manufacturer and agency creative directors, whether is a service or a product. Regardless, both forms of cinematography require to be precise on exposure. Not only by eye but by instrument.

Wally Pfister, ASC doing a key light
reading on the set of Inception

 WHAT A LIGHT METER SEES
Both reflected-light and incident-light meters are made to "see" the world as a medium gray. The assumption is that most subjects, most of the time, are of average tone and reflectance. So long as there is an even distribution of light and dark subjects in the scene, correct exposure is usually as easy as pointing the meter or camera at the scene and using the reading you get. But the real world does not always present subjects to you in such a straightforward way. 

For example, with either a reflected-light meter or an incident-light meter, if the main subject is very dark or very light, the indicated exposure will make the subject appear as a medium tone in the picture. The result may be a incorrect exposure, unless you apply your own judgement and the compensate with on-board histogram read-outs to the information the meter gives you.

WHAT ALL THESE MEAN
Use a meter reading as a guideline rather than a dictate for correct exposure. This makes it important that you understand how your particular meter works so you can consistently get good results no matter what the lighting source could be. So, when you are using a light meter to evaluate the lighting of a scene, whether is on strobes, available light, tungsten, fluorescent, HMI's , xenons, LED's or mixed, you should calibrate it for compensation and test your exposures first, until you are acquainted to your light meter and its readings of your lighting schemes to store on your picture styles.



EXPOSURE METERS
There are primarily three types of exposure meters: incident type (ambient and/or flash), reflected (spotmeter, one degree) and color temperature.

1. INCIDENT TYPE EXPOSURE METERS
Initially developed by Don Norwood and later developed further by Karl Freund, ASC, the incident type exposure meter measures the intensity of the light falling (or incident) upon the subject. A hemispherical diffuser in front of the cell integrates the light falling from different directions. The incident meter recommends the correct exposure for an average, three-dimensional subject in that light. The incident meter first gained popularity in the movie industry. Movie makers needed a meter that would give a constant interpretation from scene to scene of the skin tone of the leading actors - regardless of background or the amount of back-light used on the sets. So many cameras have excellent built-in meters today that, for many photographers, the thought of owning another hand-held meter might seem odd. Nonetheless, built-in camera meters are generally the reflected-light type. As any professional photographer will tell you, there are many situations that can baffle and confuse even the most advanced reflected-light meters. In fact, there are many important lighting situations that are simply beyond the scope of any built-in meter.

 The Sekonic L-308DC light meter is a great tool for those DSLR shooters who have never used a light meter before

Today, the incident meter is popular with any photographer (still or cine) who has to work in a hurry without evaluating the effect of the relatively unimportant surroundings or misleading subject or background brightness on his exposure. The incident meter is highly important and practical meter.

2. SPOT METERS
The one degree spot-meter is the most popular reflected type meter. The one degree spot has the ability to reach out and confine its reading to important subjects at a distance from the camera. Whether it be a spotlight figure on the stage, the speaker at a news conference, or an animal at the zoo - often the only way to meter an unapproachable subject accurately, especially if the surroundings are misleading, is to use the spot-meter.

3. COLOR METERS
The color temperature meter is used to measure the precise color temperature of any light sources (quality of light sources). It then recommends the most appropriate correction filters (light balancing or color compensation filters) to balance the color with the film type set on the meter. The best meter to use for cine or still photography is the three color temperature meter.




A BRIEF HISTORY
Early light meters

Actinometers were the first light meters. They typically had the shape of a pocket watch and used light sensitive photo print paper as means of measuring. The time to darken a piece of such paper until it matches a standard tint is the input value for the scales on which an appropriate shutter-speed/aperture combination for the light situation can be found. 

Logaphot extinction meter of 1955
with slide-rule back to determine
exposure settings for 100 ASA

Another type of early meter, the extinction meter, depended on eyesight: the user looks through the meter at a row of numbers, each behind a celluloid window of different opacity, the highest or lowest visible number determining which light situation is given. Other extinction meters have a pattern visible through the eyepiece, and a control varies the amount of light allowed into the device until the pattern can only just be seen; the position on the control then indicates the exposure.

Mimosa extinction meter of 1947

The first electrical ones used a selenium photovoltaic cell. This cell generated a minute electrical current that varied with the amount of light striking it. This tiny current required a micro ammeter to measure it. This led to one of the two major drawbacks of this type of meter - micro ammeters are extremely delicate. The other problem was that the combination of photo cell and micro ammeter had little sensitivity to low light. Of course the films back then were relatively slow any way.  The advantage of this metering system is that it does not require batteries.

Bertram Chrostar Exposure Meter

The next generation of light meter used a cadmium sulfide (CdS) sensor. This is a device that changes resistance in proportion to the light striking it. This means a meter must contain a battery and can use a milli-ammeter instead of a micro ammeter. This is much more rugged and reliable. Since the resistance is extremely high in darkness some of the early meter just provided a light tight cover over the sensor to turn the meter off. I think public reaction to this method caused it to be replaced with a switch. Many hand held CdS meters were dual range devices. The base meter was a very sensitive device and a neutral density filter provided a high light level range. Both the Gossen Luna-Pro and the Minolta Autometer used this system. The neutral density filter was about 10 f-stops - this is the amount of filtering you need to safely view the sun in daylight. This provides a more accurate metering system than that used for full aperture metering. The sensor can operate over a narrower more linear range
.
  The Norwood Exposure Meter Director

 n the mid-1930's, Captain Don Norwood invented the photosphere - a key part of the incident type exposure meter. It is through the photosphere that incident light is measured accurately, using what is called the Incident Hemisphere Principal. In the early 1940's, Karl Freund, the Cinematographer on the Lucy Show, founded Photo Research -the former parent Company of Spectra Cine, Inc. Karl secured manufacturing rights for light meters utilizing the photosphere principle from Don Norwood. Mr. Freund started manufacturing exposure meters under the U.S. registered Trademark name of "SPECTRA" in 1947. The name of the Meter was Spectra Classic. (Nowadays sold as the Spectra Combi). About 1 year later the model was redesigned and became the oval shaped NorWood Director. (1948). It was marketed by the American Bolex Company.

 
Following the expiration of Captain Norwood's Patent in 1960, manufacturers from Japan and Germany began manufacturing exposure meters with this Incidence Hemisphere Principal. Kolmorgen, a public traded company on the New York Stock Exchange, purchased Photo Research in the mid-1960's. Hence, there was already the inverted Cone (Invercone) by Weston Master and considered as the ultimate solution.

L-398A Studio Deluxe, 70th Anniversary.
The classic photo meter tracing its roots 
to the famous Norwood Director.
The Sekonic L-398A has become 
a favorite with cinematographers 
the world over.

For more information about hand held light meters visit Spectra Cine, Inc or Sekonic

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.


A WORD ON GEARED HEADS

by George Leon. Originally published October 2009


There are three types of heads and many brands of heads available to camera operators and directors of photography for use in studio or on location. The types of heads are fluid, friction and geared heads. Mostly, all new heads are made of aluminum alloy, some older heads and accessories were made of magnesium and much older heads were made of cast steel.

The fluid head employs the principle of fluid resistance. The restricted flow of a high viscosity liquid forced through grooves machined inside a metal drum creates drag on the lateral and vertical movements of the head. The friction head employs the the principle of surface resistance. The friction of fiber discs against metal washers creates drag on the lateral and vertical movements of the head. The geared head employs the principle of mechanical advantage. The ratio of the angular speed of driving members to driven members of a gear train, linkage, or cable creates force on the lateral and vertical movements of the head.

The Cartoni c 40 is hand-crafted from the latest hi-tech metal alloys, C40 S is a Heavy Duty fluid action head specifically designed to support Studio/EFP configurations or 35mm film cameras. The Counterbalancing system, activated by an 8 - position easy-grip selector, works with three reinforced groups of helicoidal high section springs. This mechanism combined with a 60mm. sliding base, allows the camera person to fine tune an extremely wide range of cameras weighing from 10 to 45 Kg (22 lbs to 100 lbs) throughout a tilt range of -/+ 65 degrees.


Technovision MKII geared head with 3 speed settings, built-in tilt plate. Optional gear reducers for this geared head are available, providing more control with gear ratios.

Today, most friction heads-tripod combos are manufactured for low cost consumer still and video photography with the exception of Gitzo, that makes consumer and hi-end tripods and friction and fluid heads for the still photography market. Fluid heads are the most popular and are marketed for the consumer, pro-sumer, and professional market and mostly are offered as an option to a tripod according to your needs, type and weight of camera. Friction heads were in use for all types of still photographic and consumer motion picture cameras around world, until Chadwell O'Connor invented the fluid damped camera head in 1952.

Worrall Geared Head
Geared heads were manufactured to cater the need of fluid camera movement using the heavy weight or cumbersome motion picture cameras of the past. The use of gears predates to the early days of cranking cameras, friction heads and poorly designed geared heads that were the norm for camera panning and tilting for several decades in Hollywood and the world over until George Worral created the Worral Geared Head in 1952. "The first stable, smooth and balanced triple-mode geared head." "It took very little force to move it." Worrall said. Epics such as "Lawrence of Arabia" and "Dr. Zhivago" were filmed using the Worrall Geared Head.

The Mitchell Geared Head was a predecessor of the Worral head. Shown above with 3 speeds and built-in tilt plate.


The Mitchell Vitesse Geared Head allows 360 degrees movement on two axis; pan and tilt.

Now days, the making of better, lighter and studier fluid heads with more features than ever, along with resistant lighter graphite tripods have become the equipment of choice for the broadcast news gathering industry, the documentary and the independent filmmaker. Sachtler, Bogen, Manfrotto, O'Connor and Vinten to name a few, have revolutionized the portability of fluid camera movement.



Sachtler’s fluid head Cine 30 HD features a side-load mechanism for the camera plate. A key advantage of this technology is that the fluid head can be side-loaded together with its camera set-up – quickly and easily. The mechanism is compatible with camera plates from OConnor and ARRI. The operating elements, manufactured according to 2K processes, are especially convenient. If you need a front box for all sorts of utensils or tools, it is simple to mount an adapter which is exceptionally practical for film and HD shooting.


The GearNex geared head is a precision, lightweight and compact pan and tilt gear head designed for independent and professional filmmakers. Perfect for all professional cameras such as: RED ONE • Panasonic Varicam • Panasonic HDX900 • Sony F900 • Panasonic DVX100 • Panasonic HVX200 • Sony FX1 • Sony EX1/EX3 • Other lightweight 35mm and 16mm film cameras. Nothing beats the smoothness of a geared head for certain moves, and some moves are actually much easier with a geared head than a fluid head as on dolly.

Geared Arrihead 2 on a Fisher 10 dolly

Geared heads have been the preferred choice of motion picture cameramen for decades. The gear head provides precision control over your shots. Make small detailed corrections to compositions. Rock solid control on long lenses. Minimizes fishtailing on dollies and cranes. Repeatable moves without overshooting your mark. (Panahead Geared Head, shown above)

Besides of the geared heads shown here, we should mention other important heads that allow the director of photography or the camera operator get the job done like, the Cartoni Dutch Head, the Van Diemen Swing Head or Tango Head, the Lambda Head or Nodal Swing Head and the Weaver Steadman 2 and 3 Axis Head to name a few.

Among the remote and motion controlled heads I would like to mention , the Scorpio Head, the Hot Shot, Super Shot and Star Cam by Egripment, the Technovision Super Crane with 3 xis Z Head, the Louma 2 Camera System, the Talon by Ravens Claw and the Mark Roberts MOCO Milo . Check The Talon and Mark Robert's MOCO Milo at Camera Control in Santa Monica, USA in the video window above- click ON DEMAND- search for Talon or Milo on playlist.

All these choices of camera movement lead us to the next question: Which set-up is better, a fluid head or a geared head for your next project as camera operator? To answer this question, I would like to refer to the commentaries made by Roger Deakins, BSC/ASC in his oddly interrupted internet forum. (I spoke with Roger about the subject and about other camera and lighting setups he did during the production of the Big Lebowsky and Revolution Road while vising the ASC Open House in 2009).

Roger explained,

A geared head allows for a very accurate pan or tilt and a clean hard stop. I know it might seem like an old fashioned tool and I sometimes don't even carry one on some shoots but it is a surprisingly accurate and easy tool to use. I especially like it on a stage. Try it out! If you operate and want to use a remote head you might then have to use wheels in just the same way.

There are some cinematographers whom I admire a great deal and who never use a geared head. Even when they operate a remote head they might use a joystick instead of wheels. And, of course, many Cinematographers don't operate the camera themselves anyway. Maybe it is just a personal preference but I do find I have a lot of control on a geared head. I don't always use one and there have been films where I haven't had one on the shoot at all, but I would say that more often than not I have one in my camera package. It really does depend on the look I am going for and the nature of the work. It seems to me that a geared head gives me a more solid feel, a kind of forced formality to my shots and I will use one for those films or scenes where I want to have a more 'controlled' look. I will also tend to use one in a studio situation, for long dialogue scenes and for many specific dolly moves that require speed and a firm stop.

The first time I used one on a professional production was on '1984'. I didn't have a geared head in my camera package but the Line Producer ordered one for me to use on a particular long lens shot. He was playing a trick on me really. As had no confidence in me as a cinematographer he thought that hiring the geared head would show up my failings. He had no way of knowing that I had practiced with a geared head whilst at Film School and could sign my name with one. He never found out though. Whilst he was looking over my shoulder, I completed the shot, which was purely static, and then suggested he send the head back as it was an expensive rental item.

The compact geared head smaller, lighter in weight and equally efficient is the formula of the future. The ARRIHEAD 2 is it is successful product. With an equal equipment range and operating convenience, it is 8 cm shorter and approximately 4 kg‘s lighter than the large ARRIHEAD. With this design, the ARRIHEAD 2 is an ideal production tripod head not only for 35 mm cameras, but also for 16 mm filming. (Arrihead shown above)

The head I prefer is the Arri Lightweight head and I use a set of large wheels instead of the smaller ones that come with this particular model. Much of the work I do is with a remote Power Pod head mounted on an Aerocrane jib arm and,in much the same way, this requires the use of a set of wheels to control the head. One way or another it is important, for me at least, to be able to use the wheels.

Practice? Just get a geared head and practice signing your name - or you might start with a figure of eight and build up to it. By the time you can achieve your signature you will find that operating by the wheels has become second nature to you and that is what it's about. You need to be able to get behind the camera and, without a rehearsal, operate the shot you want. It is no use having to practice with the stand ins or the actors. If you plan to be a cinematographer who operates the camera, you need to be able to concentrate on the WHY of the shot and not the HOW.

The gear head does take some practice and I wouldn't recommend using one without being very confident in your ability with it. I was taught to use a stick with a felt tip at the end of it, instead of a camera, and practice until I could sign my name with it! Roger concludes.

So, I say that the choice and the use of a fluid head versus a geared head is one of the decisions a director of photography or camera operator have to resolve early in pre-production. Any of the two choices are O.K. Both choices represent only another tool in the cinematographer's bag.

Here is a list of geared heads. Some are new models in active use by many cinematographers and other are older models but still found at different rentals houses or found for sale at different used motion picture equipment companies.
• Arrihead
• Arrihead 2
• Arri/Mitchell Geared Head
• Ceco Blimp Type 2-Speed Geared Head (TH-7)
• Ceco Pro-Jr. Geared Head
• GearNex Gearhead
• Houston Fearless Cradle Head
• MGM Geared Head
• Mitchell Geared Head
• Mitchell Mini (Lightweight) Geared Head
• Mitchell Vitesse Geared Head
• Mitchell Vista-Vision Geared Head
• Moy 16” Classic
• Moy 16” Standard
• Samcine Moy Geared Head
• Samcine Moy MkIII Geared Head
• Moy 16” Neptune Underwater Head
• Moy 22” Legend
• Moy 12” Mini
• NCE Geared Head
• NCE Cradle Geared Head & Model CGH
• NCE Jr. Geared Head
• NCE/Ultrascope MkI
• NCE/Ultrascope MkII
• NCE/Ultrascope MkIII
• Panahead
• Panahead, Super
• Panahead, Compact
• Sea Head
• Technovision Technohead MkI
• Technovision Technohead MkII (H)
• Technovision Technohead MkIII
• Worrall
• Worrall Mini
(List compiled by Ryan Patrick O'Hara)
Roger Deakins photo ©George Leon 2009

Moy Geared Head on set.

SONY LAUNCHES NEW 8.6K VENICE 2


Venice 2 is a full-frame digital cinema camera with internal X-OCN recording and choice of 8K and 6K sensors. 🎥🎬 It is a cinema camera created by and for the cinematographer. The camera comes with one of two full-frame image sensors, each offering exceptional picture quality. Thanks to new internal recording capabilities, users can capture even more colors and detail within the compact body they already know.

36 x 24-mm Full-Frame Sensor. VENICE 2 features one of two 36 x 24‑mm full-frame image sensors, designed specifically for the demands and performance of high-end cinematography. Each offers remarkable sensitivity, latitude and color rendition, and because the sensor blocks are interchangeable, users can easily switch between sensors—without any extra firmware—and can even use the sensor from their original VENICE. The new 8K sensor can capture images up to a maximum resolution of 8640 x 5760, while the established 6K sensor offers up to 6048 x 4032. Both offer powerful oversampling for incredible 4K images.


Full-Frame full-width 36‑mm 8K and​ 6K. In full-frame, you can use the full width of the sensors (6048 or 8640 pixels) for widescreen spherical 2.39:1 or Large Format Scope. Full-Frame can be used creatively in a number of ways—for example, to allow for extra shallow depth of field or super-wide shooting.​

Super35 full height 2.0x squeeze Anamorphic. For anamorphic shooting and production, Super35 full height 2x squeeze anamorphic is supported.

Super35 17:9 and 16:9. These popular image sizes have native support in VENICE 2, and the 8K sensor makes it possible to capture 5.8K footage in these modes. Current Super35 mm PL mount lenses can be used as well.​


Phenomenal Latitude. VENICE 2’s 8K sensor has an exceptional 16 stops of latitude, while the 6K sensor boasts 15+ stops of latitude. This means that both imagers can deliver phenomenal images with very little noise, in conditions that range from searing sunlight to almost no light. VENICE 2 also excels at High Dynamic Range imaging, allowing for unprecedented creative freedom in grading.

More Colors for More Expression​. VENICE 2 can exceed the BT.2020 color space, with a color range wider than DCI-P3. This means it can beautifully reproduce the true color of the scene in front of your lens. The camera also provides a broad palette in the grading suite, using the established workflow of Sony’s S-Log3 and Ultra-wide Color space, S-Gamut3. Plus, VENICE 2’s 6K and 8K sensors match colors almost perfectly, making your grading experience even better.

High Frame Rate. VENICE 2 can shoot at speeds of up to 120fps at 4K and 90fps at 6K, when using the 6K sensor. In combination with an anamorphic license, it also allows shooting at speeds of up to 75fps at 4K 4:3 and 72fps at 4K 6:5. With the 8K sensor, VENICE 2 can achieve up to 60fps at 8.2K and 90fps at 5.8K.


Fast Shutter. Jello effect is something we don’t need when filming. VENICE 2 has high-speed readout sensors, which minimizes the Jello effect that is typical with CMOS sensors.

Interchangeable Image Sensors. VENICE 2 allows you to easily remove and replace the image sensor, swapping between the 8.6K and original 6K image sensor as required. This also means a 6K sensor can be swapped between VENICE and original VENICE 2.

Dual Base ISO. VENICE 2 features dual base ISO, meaning that the 8K sensor offers Base ISO3200 in addition to Base ISO800, while the 6K sensor has Base ISO500 and Base ISO2500. High Base ISO3200 excels in low-light High Dynamic Range capture, with an exposure latitude from 6 stops over to 10 stops under 18% Middle Gray, for a total of 16 stops. High Base ISO 2500 offers an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15+ stops.

Internal 16-bit X-OCN and 4K ProRes Recording in a Compact Body. New for VENICE 2, cinematographers and colorists can unlock the incredible creative possibilities of 16-bit X-OCN recording, without an external recorder. Users can enjoy the full dynamic range and color reproduction of the image sensor, capturing in 4K ProRes 4444 and 422 HQ. With such a compact design, and no external recorder, set-up is faster, simpler, and easier, particularly for gimbals, Steadicams, and drones.

Anamorphic Look. VENICE 2’s support for anamorphic lenses allows for the capture of breathtakingly beautiful images. When combined with the ability to shoot 4:3 and 6:5 aspect ratio at high horizontal resolutions, this can give users stunning lens flare, bokeh, and emotional impact. The 8K sensor can shoot 5.8K with an aspect ratio of 6:5, while the 6K sensor can shoot both 6:5 and 4:3 at 4K.

PL Lens Mount. VENICE 2 comes with the industry-standard PL lens mount and is compatible with all Super35 and full-frame PL lenses—spherical and anamorphic. The lens mount includes contacts that support Cooke /i Technology, and lens information is recorded as metadata, frame by frame. We have also added support for ZEISS eXtended Data.

Lever Lock Type E-mount​. E-mount offers unsurpassed compatibility with Sony lenses. E-mount (lever lock type) gives users the ability to change lenses by rotating the locking collar rather than the lens itself, which means that in most cases lens support rigs don’t need to be removed, saving time during a production.

VENICE 2 6K Extension System. VENICE 2 users can expect the same image quality and integrity when using the robust CBK-3610XS Extension System, which makes VENICE 2 more mobile and discreet. The system is fully compatible with VENICE and VENICE 2 camera systems that use the 6K image sensor block* and is ideal for countless mounting set-ups and filming scenarios. These could include use with gimbals, handheld stabilizers, underwater and helicopter housings, and 3D/VR rigs, as well as in tight and unconventional spaces, such as in vehicles, on cranes, or Russian arms. *Extension System for VENICE 2 8K is planned to be released by early 2023

8-step Mechanical ND Filters. VENICE 2 follows the world-first of VENICE, with a servo-controlled 8-step Mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to 2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing.​

High performance, proven recording formats. VENICE 2 offers complete production flexibility. The camera supports internal recording of X-OCN or 4K ProRes recording onto AXS memory cards, removing the need to attach additional recording hardware.

X-OCN – 16-bit eXtended tonal range Original Camera Negative​. Full 4K, 6K or 8K resolution, with extraordinary color reproduction, nicely suits Sony’s third-generation color development, S-Gamut 3. In particular, 16-bit scene linear tonal gradation retains the camera’s full dynamic range, with far greater capacity for visual expression than 10-bit or 12-bit digital formats.

16-bit X-OCN offers significant file size reduction, which makes working with full-resolution content from VENICE 2’s 8.6K or 6K sensor far more practical in terms of file transfer times and storage requirements.

Apple ProRes 4K. Apple 🍎 ProRes, including ProRes 4444 and Apple 4K ProRes 422 HQ, are popular in post-production, and VENICE 2 supports Apple ProRes 4K. This means there’s no need for transcoding; you can simply handle these 4K ProRes formats directly from the camera.

Technicolor 🌈Look Collection. The Look Collection for VENICE allows anyone to add the artistry and experience of Technicolor colorists to their VENICE productions. Free downloads of LUT (Look Up Table) files can be used for on-set monitoring, as well as be applied in post-production. Also included are .ART files, Sony’s new proprietary file format, which offers enhanced performance compared to 3D LUTs.

For more info about Sony Venice 2 visit, https://pro.sony/ue_US/products/digital-cinema-cameras/venice2

NEW STELLA PRO REFLEX: FLASH AND CONTINUOS LIGHTING

Light & Motion StellaPro Reflex Marries Flash and Continuous Lighting.

Making a name for itself with powerful, compact, and durable LED lights for video and action sports applications, Light & Motion is taking things up a notch with the Reflex and Reflex S—a new breed of LED fixture that supports ultra-fast flash as well as a highly capable continuous light. It also maintains a lot of StellaPro’s DNA with its ability to run on a battery, a tiny size, and beautiful quality of light. Hybrid video/stills shooters desiring a single light for all their needs will definitely be pleased.

You’ll find the Reflex to be a light that answers a lot of questions all in a single package. It’s a strobe and a continuous light. It’s lightweight and rugged. It’s battery or AC powered. It’s ultra-fast and able to offer accurate color. Whether you’re shooting weddings, events, action, adventure, editorial, or portraiture, the StellaPro Reflex can do the trick.

Being dual purpose does require a unique take on the light. It features a single, large flicker-free LED to perform both the continuous lighting and flash functions. This is a solid LED, much like earlier offerings from Light & Motion, which offers TLCI/CRI of 93/92, daylight color balance, and maximum output of 9,000 lumens on AC power or 6,000 lumens on the included battery handle. Plus, in the burst (strobe) mode it will double that output and hit 18,000 lumens. It’s a reliable fixture that balances power and size, delivering similar output to similar-size LEDs and on-camera speedlights.

StellaPro Reflex S. One of the best aspects is the speed of this system compared to more traditional strobes, like a monolight. The Reflex S can hit speeds of up to 20 fps at full power without overheating. There is also no real recycle time, meaning that every time you hit the shutter you will have the Reflex ready and waiting. If you are looking to freeze action with the flash, then you are in luck because it does have a flash duration as short as 1 ms (1/1,000 second).

It is with speed where we can identify the differences between the Reflex and the upgraded Reflex S. The base Reflex offers continuous shooting of 10 fps and a minimum flash duration of 5 ms (1/200 second) while the Reflex S will offer the full 20 fps and minimum duration of 1 ms (1/1,000 second). You’ll have to choose based on your own need, but both are good.


Flexible power options are the same for both, and many will likely opt for the included battery handle for on-the-go shoots. This battery will support continuous lighting up to 6,000 lumens for 30 minutes at full power or for up to 15,000 full-power flashes at 18,000 lumens. It connects using a standard USB-C port, and with 100W USB-C AC adapters you can achieve a maximum output of 9,000 lumens. Being standard USB-C PD, you can power the Reflex with a number of accessories, including large battery packs with D-tap to USB adapters.

For flash firing to sync properly with your camera, you will need to ensure a good connection. The Reflex offers built-in radio receivers to handle this, and StellaPro offers support for Profoto, Elinchrom, and Godox standards to make it easy to add a Reflex to your current kit. Alternatively, there is a standard 3.5mm input for a wired connection to other triggers or directly to a camera.

Physically, the Reflex and Reflex S are tiny lights, perfectly suitable for on-camera or handheld use. They are also very durable, with IP65 weatherproofing that will let them hold up to a little bit of inclement weather when working outdoors. They are rated to survive drops from 3.3' high. With the battery grip, they are light, weighing around 1.5 lb.

Plenty of accessories and modifiers will be available to work with the Reflex and Reflex S. Included is a medium optic, although a wide 50-degree and spot optics are also available. A Chimera speedring and 24" and 30" octaboxes are available for softer lighting, as well. Or you can use the Profoto C-stand adapter for using Profoto light shaping tools. Users should have no problem getting the light to look just the way they need.

A cool accessory would be the bar attachment, which lets you mount up to five Reflex lights on a single stand. This will give you power equivalent to a typical battery-powered monolight if you were looking for maximum output. When using a trigger, all with sync perfectly.

The Reflex is opening the door to a new type of light, one that appeals directly to the ever-growing hybrid market where stills and video are of equal importance. Having a single light for every shot is a hugely appealing idea, and the Reflex just might be the perfect light for many shooters.

Stella ProReflex: $849.99 /// ReflexS: $1.096.00

NIKON Z9 FIRST MIRROLESS FLAGSHIP

Nikon’s first mirrorless flagship, the Z9, delivers speed, resolution, and connectivity in a professional-grade body. Fast, intelligent AF and subject tacking use deep-learning technology to ensure sharpness when photographing at up to 30 fps or recording 8K video. Fast processing speeds and a new 45.7MP stacked sensor design also enable a blackout-free viewfinder experience and the body features an integrated vertical grip, four-axis tilting touchscreen LCD, and reliable weather sealing.

Nikon Z 9 Top Features

45.7MP FX-Format Stacked BSI CMOS Sensor. EXPEED 7 Image Processor. 493-Point Phase-Detection AF with Intelligent Subject Detection. 20 fps Shooting in Raw, 30 fps Shooting in JPEG, 120 fps Shooting at 11MP. Up to 8K30p and 4K120p Video Recording Internal 10-Bit Recording, ProRes 422 HQ and H.265 Support. New High-Efficiency Raw File Format. Blackout-Free EVF and Four-Axis Tilting LCD Touchscreen. Integrated Vertical Grip, Dual CFexpress Type B Card Slots. Built-In 5 GHz Wi-Fi, Bluetooth, and GNSS 45.7MP Stacked CMOS Sensor and EXPEED 7 Processing. Newly developed 45.7MP FX-format sensor features a stacked structure that promotes fast readout speeds and helps greatly to reduce rolling shutter distortion. The high-resolution sensor is also back-illuminated, which helps to reduce noise and contributes to smooth, rich tones for photo and video applications.

Complementing the sensor is a new EXPEED 7 processor that provides the speedy foundation of the Z 9. Quick processing ensures fast top continuous shooting speeds of 20 fps for raw images, 30 fps for JPEGs, and an impressive 120 fps for 11MP stills, with full-time AF and AE. EXPEED 7 processing also enables dual-stream technology, which provides true blackout-free viewfinder performance for more accurate capture of fast-moving action.



Advanced Autofocus System Backed by Deep Learning. The on-chip phase-detection autofocus system employs 493 points for full-frame coverage and subject tracking. Using the power of deep-learning AI, intelligent automatic subject detection and tracking is possible, helping to keep up with the fastest-moving subjects, including nine distinct subject types ranging from people to animals to vehicles in still and video modes.

Class-Leading 8K30p and 4K120p Video. More  just top stills performance, the Z 9’s video performance is similarly class leading with support for recording UHD 8K at 30p video with full pixel readout and continuous recording times more than two hours. 4K 30p recording is possible using an oversampled 8K area for improved sharpness and full frame 4K up to 120p can also be used for slow-motion playback. Additionally, the Z 9 supports 10-bit internal recording as ProRes 422 HQ or H.265 files.

Professional Body Construction. A flagship requires top-tier design, and the Z 9 delivers with professional-grade durable and weather-sealed construction with numerous high-end details.

Real Live Viewfinder benefits from dual-stream technology for blackout-free viewing when shooting at top continuous shooting rates.

Nikon’s first four-axis tilting touchscreen LCD means you can easily work from high and low shooting angles in horizontal and vertical orientations.

Magnesium-alloy chassis and fully weather sealed, just like the D6 and former flagship DSLRs, for assured use in inclement conditions.

Dual CFexpress Type B memory card slots offer fast, flexible saving for photo and video applications. Integrated sensor shield protects the sensor during lens changes and there is also a VR lock to secure the in-body Vibration Reduction system in place during travel.


Nikon’s Most Connected Camera. Professional image makers rely on the ability to deliver photos and videos quickly and easily, and the Z 9 is Nikon’s most connected camera to date. Physical connectivity is possible via full-size HDMI, USB Type-C. Ethernet ports and wireless connectivity are available using Bluetooth and 5 GHz Wi-Fi. The Z 9 features the classic 10-pin port for wide accessory compatibility as well as PC sync for flash triggering. GNSS is also integrated for in-camera geotagging.

New Nikon Software: NX Mobile Air and NX Tether. Expanding the Z System ecosystem even further, Nikon is also launching a pair of software solutions to benefit capture and workflow ends of the shooting process.

NX Mobile Air is an app for mobile devices that helps manage and transfer images when working on location. This app supports a wired connection between the camera and mobile device and enables transferring of imagery, IPTC data, voice memos, and more.

NX Tether is a free application that enables tethering with Nikon cameras, and supports displaying captured images on a computer monitor when connected via USB or wireless.


New Lenses: NIKKOR Z 100-400mm f/4.5-5.6 VR S Lens. Super-telephoto reach in a compact, portable form factor, this S-Line lens delivers a versatile focal length range perfect for sports, wildlife, and travel. Vibration Reduction limits camera shake while a new Inner Balance technology keeps the lens stable when shooting fast-paced action using a gimbal head.

NIKKOR Z 24-120mm f/4 S Lens. The advanced 24-120mm everyday zoom range covers wide angle to short telephoto to act as a one-lens solution for everything, from landscapes to portraiture. As an S-Line lens, it features advanced optics and sophisticated stepping AF motors for speedy and smooth performance

FTZ II Mount Adapter. Featuring a revised and streamlined form factor that’s better suited for cameras with a battery grip, the FTZ II is the bridge between hundreds of legendary F-mount lenses and the mirrorless Z system. This adapter maintains full optical quality, AF performance, and weather sealing for a seamless shooting experience.

Development Announcement: NIKKOR Z 400mm f/2.8 Lens with Built-In Teleconverter. Nikon is announcing the development of a future super-telephoto prime—the first for the Z system—with the upcoming NIKKOR Z 400mm f/2.8 lens, which will feature a built-in teleconverter for even greater reach and flexibility. Stay tuned for more information in the coming months

Z9 Firmware Update Coming 2022A huge firmware update is already scheduled for the Z 9, in 2022, bringing a wealth of improved capabilities to the video system of the camera. This free update will allow the Z 9 to record at resolutions greater than 8K and greater than 4K and will add 12-bit raw recording in Nikon’s own N-RAW format, as well as ProRes RAW HQ. N-RAW will support recording at up to 8K 60p using full pixel readout and ProRes RAW will support recording at up to 4K 60p.

Courtesy of B&H