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’sfluid 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.
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.
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.
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 2022. A 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.
Introducing the DJI Ronin 4D 6K and 8K Cinema Gimbal Cameras
DJI has just announced the Ronin 4D, the brand’s newest line of professional cameras for the next generation of cinema production, featuring two all-in-one 4-axis gimbal cameras: the Ronin 4D 8K Cinema Camera and the Ronin 4D 6K Cinema Camera. The Ronin 4D’s modular system is made up of a core processing unit and a gimbal camera featuring DJI’s flagship Zenmuse X9 sensor and the new DJI CineCore 3.0 image processing system with DCCS (DJI Cinema Color System). The core cameras can be built out with a variety of mix-and-match accessories, depending on your production needs in the studio or on location.
DJI Ronin 4D
The compact camera features a built-in gimbal that installs on the arm of the main unit, and it adds a fourth Z-axis to the traditional 3-axis configuration for additional stability in motion, particularly during dolly movement, to prevent vertical shake. The gimbal provides multiple visual sensors, an IMU (inertia/force sensor), and a barometer to keep the camera rock steady. Its AMF (Automated Manual Focus) technology provides accurate autofocus while also allowing the camera operator to control focus at any time during the automated process.
Ronin 4D 8K Cinema CameraRonin 4D 8K Cinema Camera
On the inside, the Ronin 4D provides either the Zenmuse X9 8K sensor that can capture up to 8K75 video with 800/4000 dual native ISOs or the Zenmuse X9 6K sensor that can capture up to 6K60 or 4K120 video with 800/5000 dual native ISO. The CineCore 3.0 image processing system allows the camera to record ProRes RAW, 422 HQ, and H.264 formats internally; it utilizes ActiveTrack Pro for tracking shots, and both sensors feature an advertised 14+ stops of dynamic range. The full 8192 x 4320 resolution features crisp detail that can be cropped to 4K, re-centered, and stabilized in post, retaining the same high-quality imagery.
Other features of the camera include built-in 9-stop ND filters, HDMI and SDI outputs, and a DL lens mount to support a variety of full-frame, carbon-fiber lenses, which will be available in the near future. The DL mount also allows for interchangeable lens mounts such as Leica M and Sony E-mount that provide zoom, macro, and anamorphic options for your production. The camera can record internally using a built-in CFexpress Type-B slot on the main body, and it also features a USB 3.1 Type-C port to record externally to a 1TB PROSSD. It records on-board audio using the 3.5mm and XLR input connectors on the main body.
Since the design is modular, there are numerous accessory options available to add to the camera to complete your rig, including a top handle, X9 focus motor, high-bright monitor, and focus/pan/tilt handgrips. An expansion plate can be added to provide an SDI port, XLR input, and timecode. An optional wireless transmitter uses DJI’s O3 wireless video technology, allowing you to monitor up to 1080p60 video from the camera up to 20,000' away over 2.4 and 5.8 GHz DFS frequencies using secure AES-256 encryption.
Optional, 1TB PROSSD 1TB and a High-Bright Monitor and LiDAR Range Finder.
With the optional LiDAR Range Finder, you can focus accurately using an intuitive waveform, which can detect up to 43,200 points within a 33' range with varying surface textures and subtle light changes to provide autofocus and ActiveTrack Pro, working with an enormous amount of data. The camera is powered either from a DC power input or from a high-capacity TB50 battery, which can provide up to 2 hours of shoot time.
DJI Ronin 4D 4-Axis Cinema Camera 8K Combo Kit $11,499.00
DJI Ronin 4D 4-Axis Cinema Camera 6K Combo Kit $7,199.00
This ground-breaking new EOS VR SYSTEM includes the new Canon RF 5.2mm F2.8L DUAL FISHEYE lens for digital interchangeable lens cameras, enabling 180° VR shooting with one camera to a single sensor.
The Canon RF 5.2mm F2.8L DUAL FISHEYE dual forward-facing fisheye lenses have an ultra-wide 190-degree field of view which form the basis of its stereoscopic VR capture capability. Canon’s advanced lens design then enables projection of two images onto the camera’s single sensor for perfect alignment and synchronisation straight out of the camera. By utilising the lens in this way, VR setup is simpler than a two-camera system.
Pushing optical boundaries with the stereoscopic Canon RF 5.2mm F2.8L DUAL FISHEYE lens features the famous red ring, denoting it as a professional L-series lens that utilises two UD elements per lens, helping to produce sharp clear images, from edge-to-edge.
The Canon RF 5.2mm F2.8L DUAL FISHEYE lens SWC coating is ideal for shooting with the sun in the frame, as it suppresses ghosting and flare of sunlight – a commonly encountered shooting condition in VR capture.
The brand-new EOS VR SYSTEM uses the Canon RF 5.2mm F2.8L DUAL FISHEYE lens on a single sensor camera where no lens alignment is required – meaning only one file is produced for both the left and right images which is already perfectly synchronised.
This allows the Canon software or plug-in to accurately convert the captured dual circular fisheye format to a standard 180° VR format, ready for further editing in Adobe Premiere Pro or viewing on a VR headset.
After an announcement at the Cannes Film Festival last July, Angénieux is pleased to present the first 37-102mm Full Frame Optimo Ultra Compact Zoom of a series of two. These compact lenses, also including a 21-56mm lens, will be the perfect companions to the Optimo Ultra 12X and the Optimo Prime series to create a complete Angénieux high-end Full Frame solution.
The 37-102mm lens was just presented for the first time in the world by Band Pro Film & Digital Inc, the exclusive partner for Angénieux lenses in the Americas, during a special event at New York’s Peninsula Hotel. A second presentation event will take place in Los Angeles on September 29, 2021.
The new Full Frame series of Optimo high-end compact zoom lenses is the result of decades of proven expertise in high precision optics and mechanics dedicated to cinema. The 37-102 & the 21-56 are the direct descendants of the iconic and Academy awarded Optimo 15-40 and 28-76 lenses, which have been the faithful companions of Directors of Photography for more than 15 years. Step by step, they will replace them on movie sets.
This new generation of high-end lenses is fully designed for the FF/VV format. Lightweight and compact, these lenses are among the lightest on the market. Thought for cinema users, the Optimo Ultra Compact lenses are the perfect addition to the Angénieux high-end Full Frame collection which already included the Optimo Ultra 12X and the Optimo Prime Series.
They will seduce by their ergonomics, their superb optical quality from T2.9 (in FF/VV), including the famous Angénieux look and their high-precision mechanics. Image quality is consistent from T2.9 to T22 and at every focal length and focus distance.
The iris is also capable of closing completely. The balance of contrast, color and resolution offers an appealing cinematic look.
The new compact lenses will coexist with the extremely popular Type-EZ lenses - which were among the first Full Frame zooms and have been a huge commercial success - on two different segments of the market. The Optimo Ultra Compact lenses will join the Optimo Ultra 12X and the Optimo Primeseries on high profile productions while the Type-EZ lenses will continue to be the preferred lens for a huge variety of projects and applications in Full Frame.
About Angénieux
Angénieux is world-renowned for its camera lenses. Awarded four times in Hollywood by the Academy of Motion Picture Arts and sciences in 1964, 1989 and 2009, and by the Society of Camera Operators in 2012, as well as in 2014 by the British Society of Cinematographers in London, Angénieux lenses are a benchmark for image professionals. They are used worldwide for cinema, TV dramas, music videos or commercials.
The history of the brand started in 1935, more than 80 years ago, with the creation of the Pierre Angénieux Company. Since1993, Angénieux has become a Thales Group brand.
Cinema enthusiast and genius inventor, Pierre Angénieux laid the foundations of the modern zoom lenses and ensured the continued success of his company which experienced an incredible destiny. Pierre Angénieux was not only interested in cinema: he also turned to photography, television, optronics, medical. Angénieux lenses went all the way to the moon!
Chosen by NASA in the 1960’s, they have participated to different missions of the prestigious American organization. They were aboard Apollo 11 and participated to the extraordinary success of the mission, that, 50 years ago, showed the images of man’s first step on the Moon.
Currently available, the book « Angénieux and Cinema: From Light to Image” retraces through 270 pages widely illustrated,the incredible adventure of the Angénieux brand up to its most current challenges. The book is also available in English.
Canon has unveiled its topflight mirrorless camera, the EOS R3. Combining assets from the EOS R5 and the flagship EOS-1D X Mark III DSLR, the R3 is a high-performance body built for speedy shooting, featuring fast and precise focusing, and sporting a robust, professional-grade body.
It's the first 3-Series camera since the film era and introduces a wealth of new tech to Canon's mirrorless system, including an all-new stacked sensor, Eye Control AF, and a built-in vertical grip.
Announced alongside the new EOS R3 camera body, Canon is also expanding its lens lineup with the introduction of the RF 100-400mm f/5.6-8 IS USM and RF 16mm f/2.8 STM lenses. Relatively sleek and lightweight, these two lenses open up the RF lineup with more accessible choices at the wide and telephoto ends of the spectrum.
The EOS R3 is Canon's top-tier mirrorless body and currently is positioned between the high-resolution EOS R5 mirrorless body and the professional-grade EOS-1D X Mark III. The R3 combines the best of these two models, taking the speed, reliability, and physical characteristics of the flagship 1D X Mark III along with the technological advancements, mirrorless design, and multimedia prowess of the R5.
Sensor and Processor
While looking like a mixture of these two cameras, the EOS R3 does stand on its own with a variety of unique technologies, including a brand-new 24.1MP back-illuminated stacked CMOS sensor and an updated DIGIC X image processor. The stacked configuration of the sensor promotes faster readout speeds and reduces rolling shutter distortion to cater better to working with fast-moving subjects, and the BSI design is more efficient when gathering light, leading to cleaner image quality with reduced noise at higher sensitivities.
Another key element of this new sensor is its optimization for use with an electronic shutter function; top shooting speeds of 30 fps are possible with a 150-frame buffer, a top shutter speed of 1/64,000 second is available, and flash sync at 1/180 second is even possible. If working with a mechanical shutter, continuous shooting at 12 fps is available with a buffer of more than 1,000 frames, and flash sync is possible up to 1/250 second. In most cases, the electronic shutter will be the go-to function, and can remain a silent shooting option, or you can program an audible noise to accompany each shutter click to make it easier for subjects to recognize when a photo has been taken.
Complementing the updated sensor is a revised DIGIC X image processor, which helps to orchestrate many of the performance-oriented processes of the sensor, ranging from the fast continuous shooting to the AF, image stabilization, and video-recording capabilities. The sensor's capabilities also go on to boost the sensitivity range to ISO 100-102400 for working in a wide variety of lighting conditions.
In terms of video, the EOS R3 holds its own in the mirrorless realm with 6K 60p raw 12-bit recording and uncropped 4K 120p recording. The 6K and 5.6K recording areas can also be used for oversampled DCI and UHD 4K shooting with improved sharpness, reduced moiré, and lower noise. All 4K recording modes can be used with 60p, 30p, and 24p frame rates, and there is also a choice of HDR PQ and Canon Log 3 settings, depending on post-production workflow needs. Unlimited recording times are possible, too, and the R3 features mic and headphone ports, as well as a micro-HDMI Type-D port for clean output to an external recorder.
Autofocus
In addition to continuous shooting and readout speed improvements, the new sensor also lends itself to an improved Dual Pixel CMOS AF II system, which now features 1,053 selectable phase-detection points along with automatic AF zones and enhanced subject detection and tracking. The AF system can now intelligently recognize eyes, faces, heads (including helmets), animals, and vehicles, and tracking will automatically lock onto these subjects and maintain sharp focus throughout burst captures.
Something new to EOS digital cameras in general, Canon is also reintroducing Eye Control AF with the R3. This feature was a popular one dating back to the EOS-3 film camera days and has now been refined and tuned to work in conjunction with modern-day AF systems. This feature essentially allows you to use your eye to control where the initial focus point is, and then the camera will take control using subject tracking to keep the subject in focus. This feature will require you to "register" your eyes, and is activated simply by looking through the EVF, but will give shooters an even more intuitive means than a joystick for finding the perfect focus point prior to burst shooting.
One final point of the AF system worth noting is that it is sensitive down to -7.5 EV, meaning accurate and responsive AF performance is possible even in nighttime conditions. Coupled with a silent electronic shutter, quick burst shooting, and IBIS, this makes this camera stand out in terms of photographing live music performances and other low-light activities.
In-Body Image Stabilization
Not a new feature to Canon, but still one worth pointing out, is the In-Body Image Stabilizer (IBIS) that helps correct camera shake when shooting handheld in difficult lighting conditions or with longer lenses. This 5-axis system in the R3 is the same one used in the EOS R5 and R6 and can be used in conjunction with lenses featuring optical image stabilization to compensate for up to 8 stops of camera shake, depending on the specific lens in use.
Body Design
The new sensor and improved AF are great, of course, but among the most dramatic changes the R3 brings is a wholly new body to Canon's mirrorless lineup. It's the first Canon mirrorless body to sport an integrated vertical grip, which means it has duplicate physical controls for easier shooting in vertical orientation, greater handling comfort all around, and it takes the same large-capacity LP-E19 battery as the EOS-1D X Mark III. Some other similarities to the 1D X Mark III: The R3 has the same dust and drip resistance, with fully sealed buttons, dials, and terminals; it features wired LAN connectivity via an Ethernet port along with standard Wi-Fi and Bluetooth wireless connectivity; and there is an integrated GPS module for seamless location tagging.
The revised body also houses the impressive 5.76m-dot OLED electronic viewfinder and vari-angle touchscreen LCD. The EVF is the same high-res model found in the R5 and is a bright, clear means for eye-level viewing. This viewfinder is aided by the fast readout speeds of the stacked sensor, too, offers blackout-free viewing when shooting with an electronic shutter, and supports a 120-fps refresh rate for realistic motion portrayal. Conversely, the 3.2" 4.15m-dot vari-angle LCD is perfect for working from high, low, and front-facing angles and sports a touchscreen interface for intuitive settings control.
Complementing the updated sensor is a revised DIGIC X image processor, which helps to orchestrate many of the performance-oriented processes of the sensor, ranging from the fast continuous shooting to the AF, image stabilization, and video-recording capabilities. The sensor's capabilities also go on to boost the sensitivity range to ISO 100-102400 for working in a wide variety of lighting conditions.
In terms of video, the EOS R3 holds its own in the mirrorless realm with 6K 60p raw 12-bit recording and uncropped 4K 120p recording. The 6K and 5.6K recording areas can also be used for oversampled DCI and UHD 4K shooting with improved sharpness, reduced moiré, and lower noise. All 4K recording modes can be used with 60p, 30p, and 24p frame rates, and there is also a choice of HDR PQ and Canon Log 3 settings, depending on post-production workflow needs. Unlimited recording times are possible, too, and the R3 features mic and headphone ports, as well as a micro-HDMI Type-D port for clean output to an external recorder.
Autofocus
In addition to continuous shooting and readout speed improvements, the new sensor also lends itself to an improved Dual Pixel CMOS AF II system, which now features 1,053 selectable phase-detection points along with automatic AF zones and enhanced subject detection and tracking. The AF system can now intelligently recognize eyes, faces, heads (including helmets), animals, and vehicles, and tracking will automatically lock onto these subjects and maintain sharp focus throughout burst captures.
Something new to EOS digital cameras in general, Canon is also reintroducing Eye Control AF with the R3. This feature was a popular one dating back to the EOS-3 film camera days and has now been refined and tuned to work in conjunction with modern-day AF systems.
This feature essentially allows you to use your eye to control where the initial focus point is, and then the camera will take control using subject tracking to keep the subject in focus. This feature will require you to "register" your eyes, and is activated simply by looking through the EVF, but will give shooters an even more intuitive means than a joystick for finding the perfect focus point prior to burst shooting.
One final point of the AF system worth noting is that it is sensitive down to -7.5 EV, meaning accurate and responsive AF performance is possible even in nighttime conditions. Coupled with a silent electronic shutter, quick burst shooting, and IBIS, this makes this camera stand out in terms of photographing live music performances and other low-light activities.
In-Body Image Stabilization
Not a new feature to Canon, but still one worth pointing out, is the In-Body Image Stabilizer (IBIS) that helps correct camera shake when shooting handheld in difficult lighting conditions or with longer lenses. This 5-axis system in the R3 is the same one used in the EOS R5 and R6 and can be used in conjunction with lenses featuring optical image stabilization to compensate for up to 8 stops of camera shake, depending on the specific lens in use.
As you'd expect from a professional-grade camera, the R3 has dual memory card slots—one CFexpress Type B slot and one SD UHS-II slot—for file-saving flexibility. The CFexpress slot should be prioritized for 6K recordings and fast continuous shooting, but the SD slot is a convenient alternative for backups or less speed-critical shooting.
Finally, one final new bit of the tech the R3 is bringing to light is the Multi-Function Shoe. This next-gen take on a hot shoe essentially adds a row of pins at the front of the shoe for more intelligent accessory performance and functionality. To go along with the Multi-Function Shoe, Canon is also launching four additional accessories that take advantage of this new design.
The ST-E10 Speedlite Transmitter is a compact, lightweight transmitter that controls all five independent groups across up to 15 Speedlites simply by pressing the menu button on the transmitter and then adjusting settings on the camera's LCD. This transmitter is 30% smaller and 50% lighter than the ST-E3-RT II and, since it is digital and is compatible with the Multi-Function Shoe, it is battery-free and uses the camera's own power.
The DM-E1D Stereo Microphone is a shoe-mounted external mic that uses the Multi-Function interface for power and for digitally connecting to the camera, requiring no cabling for sync. It has three directional modes depending on recording needs, including a Shotgun mode for focused recording and 90° and 120° Stereo modes for wide-area recording.
The AD-E1 Multi-Function Shoe Adapter helps you transition from existing hot shoe accessories to the new Multi-Function Shoe; this adapter maintains the weather-sealed features of the camera when using accessories like the Speedlite EL1, Speedlite 600EX II-RT, OC-E3, or other shoe-mounted accessories.
The AD-P1 Smartphone Link Adapter is compatible with Android smartphones and uses the mobile device's data connection and a Mobile File transfer app for seamless and wireless photo, video, and voice memo transferring to FTP/FTPS/SFTP servers directly from the camera.
WELCOME TO THE WEBCAST DEDICATED TO THE CRAFT OF CINEMATOGRAPHY & MOTION PICTURE CAMERA OPERATION
🎬 AFI ANNOUNCES 2024 CINEMATOGRAPHY INTENSIVE FOR WOMEN
AFI ANNOUNCES 2024 CINEMATOGRAPHY INTENSIVE FOR WOMEN
Program Presented by Panavision
Intensive Runs July 27-30 on AFI Campus
The American Film Institute (AFI) announced that it is accepting applications for the 2024 Cinematography Intensive for Women (CIW) presented by Panavision. The tuition-free, four-day workshop is designed for aspiring cinematographers who are committed to their journey toward a professional career as cinematographers and are looking for additional training to help them advance in their education, craft and career.
Led by AFI Conservatory Cinematography Discipline Head Stephen Lighthill, ASC, the intensive will take place July 27-July 30 on the AFI Campus in Los Angeles.
“The AFI Cinematography Intensive for Women has proven to be a critical resource for aspiring cinematographers, providing unparalleled access to working cinematographers and hands-on learning environments that are crucial to finding success as a professional cinematographer,” said Lighthill. “We are proud to launch the fifth edition of this transformative workshop and look forward to welcoming the 2024 participants to the AFI Campus in July.”
Modeled after the AFI Conservatory curriculum, the core element of the CIW program is hands-on master classes in the fundamentals of cinematography, along with discussions about the current environment of the film industry and what it means to navigate such environments as women, nonbinary and historically underrepresented cinematographers.
CIW was first launched in 2018 and has featured prominent cinematographers and AFI Conservatory Faculty and Alumni as guest lecturers and teachers, including Emmy® nominee Autumn Durald Arkapaw, ASC (LOKI); Emmy® nominee Ava Berkofsky (INSECURE); Natasha Braier, ASC, ADF (SHE SAID); AFI Conservatory Chair of Visual Storytelling Bill Dill, ASC (B.A.P.S., SOUL FOOD); Jih-E Peng (THE LIGHT AND THE LITTLE GIRL); Polly Morgan, ASC, BSC (THE WOMAN KING); Sandra Valde-Hansen, ASC (PLAN B, THE L WORD: GENERATION Q); and more.
“We’re honored to return as the program sponsor for the AFI Cinematography Intensive for Women,” said Panavision President and CEO Kim Snyder. “This program is an invaluable opportunity for its participants to simultaneously gain experience and build a network for both support and inspiration as they pursue their careers in the motion-picture industry. We look forward to working with and supporting the up-and-coming cinematographers who will participate this year.”
Interested applicants can visit AFI.com to learn more about eligibility and application requirements. The deadline to apply is Friday, May 31 at 11:59 p.m. PT.
The Cinematography Intensive for Women is presented by Panavision.
CIW is part of the AFI Conservatory’s Department of Innovative Programs, which also includes AFI DWW+. Through a range of learning opportunities, Innovative Programs serves a diverse community of aspiring visual storytellers to cultivate cutting-edge technological and media-making skills, bridge access to professional networks and place participants on an upward career trajectory.
Read more about Innovative Programs on Conservatory.AFI.com/Innovative-Programs/.
The AFI Conservatory MFA program has propelled women and nonbinary cinematographers to great success, including Academy Award® nominee Rachel Morrison (AFI Class of 2006, BLACK PANTHER, MUDBOUND), the first woman ever nominated for an Oscar® for Best Cinematography, as well as three-time Emmy® nominee Ava Berkofsky (AFI Class of 2013, INSECURE), Carolina Costa (AFI Class of 2013, HIGH SCHOOL, HALA), Emmy® nominee Autumn Durald Arkapaw, ASC (AFI Class of 2009, LOKI, BLACK PANTHER: WAKANDA FOREVER), Paula Huidobro (Academy Award® Best Picture winner CODA), two-time Grammy® Award winner Melina Matsoukas (AFI Class of 2005, Beyoncé’s “Formation,” INSECURE, as director), Polly Morgan, ASC, BSC (AFI Class of 2005, THE WOMAN KING) and Emmy® winner Mimi Leder (AFI Class of 1973, THE MORNING SHOW, as director), among others. To learn more about the AFI Conservatory film school, visit AFI.edu.
THE PACIFIC NORTHWEST LENS SUMMIT
A Celebration of Cinema Optics
Koerner Camera is excited to bring back the Lens Summit to the Pacific Northwest in 2024 after partnering with CVP for the first European Lens Summit in 2023.
Join attendees and 30+ exhibitors from all over the world at Koerner's Portland, Oregon facility to see the latest in cinema optic technology and accessories. In addition, classes and seminars are held by the leading lens manufacturers, master lens technicians and some of the finest minds in cinema optics.
Fri. May 3rd, 2024 - 10am-5pm
Sat. May 4th, 2024 - 10am-5pm
Koerner Camera Systems 2828 SE 14th Ave Portland, OR 97202
CLICK ABOVE IMAGE TO REGISTER
SCREENING GUIDE 77TH FESTIVAL DE CANNES
Here is the 77th Festival Official Selection Screenings Guide from May 14 to May 25. Click image below to download PDF.
The press screenings schedule will be available as of Friday, May 10, 2024
SUNDANCE FILM FESTIVAL. LONDON 2024
SUNDANCE FILM FESTIVAL: LONDON 2024 REVEALS FULL PROGRAM LINE-UP BURSTING WITH BOLD CINEMATIC VOICES FOR 11TH EDITION
N ADDITION TO FICTION AND DOCUMENTARY FEATURES, THE SELECTION INCLUDES:
PROGRAM OF SPECIALLY CURATED UK SHORT FILMS SURPRISE FILM SCREENING RETURNS PROGRAM WILL ALSO INCLUDE TITLES TO CELEBRATE 40TH EDITION OF THE SUNDANCE FILM FESTIVAL IN THE U.S.
Festival passes on sale now.Tickets on sale to Picturehouse members and festival passholders now. Tickets to general public on sale April 30 Festival runs at Picturehouse Central, London, 6-9 June 2024
London, 23 April 2024 — Picturehouse and the nonprofit Sundance Institute announced today the lineup of 11 feature fiction and documentary films, a specially curated program of UK short films and a strand of repertory titles to celebrate the 40th edition of the Sundance Film Festival in the U.S. for the 11th edition of Sundance Film Festival: London 2024, taking place from 6 to 9 June at Picturehouse Central.
These 11 feature films premiered at the 2024 Sundance Film Festival in Utah in January and were specially curated for London by the Sundance Film Festival programming team in collaboration with Picturehouse. The Festival previously announced that it will open on 6 June with the UK premiere of writer and director Rich Peppiatt’s raucous and infectious Irish-language film, Kneecap and will close on 9 June with the UK premiere of Dìdi (弟弟) written and directed by Academy Award-nominated filmmaker Sean Wang.
In addition to those award-winning opening and closing night films, the Festival presents a full program bursting with buzzy hits from established and first-time feature filmmakers, across narrative film and documentary.
These titles are: Sasquatch Sunset by acclaimed directors David and Nathan Zellner, starring Riley Keough (Mad Max: Fury Road, American Honey) and Academy Award® nominee Jesse Eisenberg (Zombieland, The Social Network); Rob Peace, Chiwetel Ejiofor’s adaptation of Jeff Hobbs’ bestselling and critically acclaimed biography; monster rom-com Your Monster, Caroline Lindy’s wholly original debut;
Megan Park’s fresh coming-of-age journey of self-discovery My Old Ass starring Maisy Stella (Nashville) and Aubrey Plaza (Emily The Criminal); Jane Schoenbrun’s second feature, I Saw The TV Glow; Shuchi Talati’s Girls Will Be Girls winner of the 2024 Sundance Film Festival Audience Award: World Cinema Dramatic and World Cinema Dramatic Special Jury Award for Acting presented to Preeti Panigrahi earlier this year.
The list is rounded off with Thea Hvistendahl’s chilly, disturbing Handling The Undead from Norway, winner of the 2024 Sundance Film Festival World Cinema Dramatic Special Jury Award for Original Music presented to Peter Raeburn at this year’s Festival, starring Renate Reinsve (The Worst Person In The World). The documentaries include Skywalkers: A Love Story by multi-Emmy award winning filmmaker Jeff Zimbalist and Never Look Away by Lucy Lawless in her directorial debut.
Once again, the line-up includes a short film program that is dedicated to UK productions, highlighting some of the amazing talent in the Short Film art form, in films either produced with the UK or made by filmmakers based in the UK. The program comprises seven titles: Good Boy, Alo, (S), Essex Girls, Mamu, Salone Love and Shé (Snake).
This year’s program will also see the return of the ever-popular Surprise Film. Festival goers will have a special chance to catch an unannounced title not yet seen in the UK. The Surprise films in previous years included Bart Layton’s American Animals, Halina Reijn’s Bodies Bodies Bodies and Geremy Jasper’s Patti Cake$.
In a year that celebrated the 40th edition of the Sundance Film Festival in the United States, Sundance Film Festival: London 2024 will also showcase highlights of Sundance features and shorts presented over the years in its repertory strand. Those exciting blasts from the past will be announced in coming weeks.
FOR FULL PROGRAM, CLICK IMAGE ABOVE
FUJINON PREMISTA 28-100 T2.9 AT BAND PRO
⭐️The Fujinon Premista 28-100mm is a standard zoom lens that covers 28-100mm focal lengths. Since this is normally covered by six different prime lenses , the lens can help to save time frequently spent changing lenses on productions. It is especially convenient when the camera is on a crane or helicopter where it is often difficult to access the lens. ⭐️A new 13-blade iris allows for a pleasant bokeh effect and a wide dynamic range of light can be captured thanks to dedicated optical design to suppress unwanted flare and ghosting. ⭐️Thanks to its large-diameter aspherical lens elements and new focus/zoom system, the Premista series achieves stunning optical quality from the center to the corner at all focal lengths. ⭐️The lens weighs only 3.8kg/8.3 lbs., yet is still very durable, allowing professional use even in harsh conditions. The focus ring has a 280-degree angle turn with smooth torque.🎥🎬 BAND PRO-BURBANK
BEST CINEMATOGRAPHY BAFTA WINNER, ALL QUIET ON THE WESTERN FRONT
⭐ CONGRATULATIONS, JAMES FRIEND ASC BSC, RECIPIENT OF BAFTA'S BEST CINEMATOGRAPHY AWARD ⭐ Click image for preview.
THE ICG SAFETY APP. ANDROID/IPHONE
The ICG Safety App update went live on Monday, April 8, 2024.
The updated app features a redesigned user experience, improved Hazard Report workflow, and much more. On April 8, the existing ICG Safety App should have automatically updated to the new version of the app, depending on your phone's settings. If automatic app updates are not turned on, you will need to manually update the app. For more information on updating apps, please refer to either the Apple or Android documents.
Submitting Through the App
Select the orange "Report Hazard or Unsafe Hours" button on the app to report your workplace safety issues. All submissions will be handled confidentially. Members from other Locals are also invited to submit a report (please include your Local in the comments section).
CLICK IMAGE TO DOWNLOAD APP
NEW! ANGENIEUX OPTIMO PRIME INTERNAL OPTICAL PALETTE (IOP)
⭐The Angenieux Optimo Prime Internal Optical Palette (IOP) allows a cinematographer to add filtration inside each focal length, thus modifying the look of the lens. ---- This opens up a number of creative possibilities that weren't possible before! ---- Not only can filtration be added, but additional material could also be used, such as a net or cutout shape to create a unique bokeh. ---- The growing filtration options for these lenses currently includes the 1/8 Glimmer Glass, 1/8 Black Promist, and 1/8 Low Con. ⭐ AVAILABLE AT KESLOW CAMERA, click image above for more information.
ARRI ALEXA MINI LF RELEASED UPDATE SUP 7.1.1.
⭐ARRI released ALEXA Mini LF Software Update Package SUP 7.1.1. --- This update has the same features as the previous release, but additionally supports the new Codex Compact Drive 2TB, Codex Compact Drives 1TB that were updated for new firmware in ALEXA 35, and all Compact Drives 1TB that are shipped following the release of this SUP. ---- Click image above for more information ⭐
THE STEADICAM OPERATORS ASSOCIATION. SOA.
⭐️ The Steadicam Operators Association (SOA) was formed by Garrett Brown, the inventor of the Steadicam, and Nicola Pecorini in 1988 to train skilled Steadicam Operators and connect them with motion picture Producers, Unit Production Managers, and Directors of Photography. ⭐️ Today The SOA continues to organize and conduct workshops, as well as provide service and support to operators everywhere. Our goal is to evolve and expand our global community of Steadicam Operators, connecting professionals across the entire spectrum of film, broadcast, video, and new media industry. This unending mission is a dedication to cultivating the great gift that Garrett Brown gave to all of us and to assure his legacy endures the test of time. 🎥🎬
VENICE2 NEW FIRMWARE UPDATE
Sonycine just released a new firmware update for the Sony Venice2 which supports recording in 4K ProRes. For details and download, click image above.
⭐ BSC EXPO FEBRUARY 16-17 2024 @ BATTERSEA EVOLUTION, LONDON
⭐CLICK LOGO TO WATCH 2022 BSC EXPO BEHIND THE SCENES IN VIMEO 🎬 BSC Expo 2023 is taking place at Battersea Evolution on the 24th – 25th February plus the special invitation evening of the 23rd.⭐ REGISTER HERE TO ATTEND FOR FREE ⭐
⭐ SUNDANCE FILM FESTIVAL 2023, JANUARY 19-29, PARK CITY, SALT LAKE CITY & THE SUNDANCE RESORT⭐
2023 Sundance Film Festival Announces Lineup of 99 Feature Films. Click Image to See Lineup.
L-398A STUDIO DELUXE III 70th ANNIVERSARY EDITION. ONLY 700 AVAILABLE.
⭐ Sekonic is celebrating L-398A Studio Deluxe III 70th Anniversary in 2021. Visit 70th.sekonic.com to share our journey and check out the L-398A Studio Deluxe III 70th Anniversary Edition. Based on the original 1956 version of the "Studio Deluxe" meter, this anniversary edition of 700 is available in a burgundy and rose gold - and won't last long. Thank you for your support over the years. Here's to another 70!⭐
⭐️ CINEMATOGRAPHY WORLD ⭐️ THE ART AND CRAFT BEHIND THE CAMERA
👉 READ THE LATEST INDUSTRY NEWS: Stephan Pehrsson BSC wins for Photography & Lighting Fiction BAFTA Television Craft Award. ⭐️ CVP and Canon announce 2024 Stories In Motion Young Filmmakers awards winners ⭐️ Zeiss Nano Primes and Zeiss CinCraft Scenario received NAB Show 2024 Product of the Year Awards and much more!
ARRI LIGHTING HANDBOOK
💡The ARRI Lighting Handbook is designed to help you create the best possible images with your new ARRI Lighting Kit, whether you are using it on location or for studio productions🔆.
⭐IBC AMSTERDAM. 13-15 SEPTEMBER, 2024⭐
SONY VENICE 2 SPECIAL REPORT
CLICK IMAGE TO DOWNLOAD SPECIAL REPORT PDF.
FIND YOUR PERFECT STORY
PREMIUM FOOTAGE STORIES IN REDCODE RAW 4K+ FILES
WANT TO MAKE SIX FIGURES? TRY BEING A DRONE PILOT
Despite what some call an oversaturated market, these freelance drone pilots say they’re making more than $100,000 a year. - Click the image above to read the article. - By Sally French, Social Media Editor & Drone Reporter of Market Watch.
DONATE TO MEDECINS SANS FRONTIERES. HELP TO SAVE LIVES.
🎬CHOOSE FILM⭐SHOOT ON FILM
🎥35MM & 16MM Format Choices for Your Next Independent Feature Film, Documentary or TV Spot Production. Choose the Most Desiderable Format in Motion Picture Image Acquistion.
AN IN DEPTH LOOK AT THE ARRI SKYPANEL S-60C. - ABELCINE.
The ARRI SkyPanel is an LED soft light that is packed with features.
The SkyPanel comes in two different configurations and three sizes.
In this video we will have a closer look at the S-60C model.
C-model SkyPanels have adjustable color temperatures from 2,800K – 10,000K.
In addition, the units have what ARRI describes as Vibrant Color Selection.
This means that color hue and saturation can be adjusted.
ROTOLIGHT NEO 3 & AEOS 2. A BI-COLOR LED AND HSS FLASH
Introducing the new Rotolight AEOS — a powerful, ultra-portable, all in one bi-colour LED light and HSS flash, that brings tremendous versatility to any shoot. Designed for portrait and location photographers and videographers on the move, AEOS is lightweight and portable thanks to its ‘ultra-thin’ design concept. Now includes integrated Elinchrom Skyport HSS flash receiver.
MY EXPERIENCES ON WOODY ALLEN'S "CAFE SOCIETY" BY VITTORIO STORARO ASC, AIC.
⭐ THE. 77th FESTIVAL DE CANNES 2024⭐
The 77 Cannes Film Festival starts on May 16 and ends on May 14 to May 26 2024
AMERICAN SOCIETY OF CINEMATOGRAPHERS
The American Society of Cinematographers is a non-profit association dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography; it accomplishes this by publishing the internationally renowned magazine American Cinematographer and the venerable American Cinematographer Manual, through seminars at schools and industry events, and via one-on-one mentoring. ASC members volunteer their time for such activities.
SOCIETY OF CAMERA OPERATORS
The principal purpose of the SOC is to recognize and nurture excellence in the field of camera operation and, secondarily, in the allied camera crafts, and to encourage development of both technology and production methods which will help our members achieve that excellence
CANADIAN SOCIETY OF CINEMATOGRAPHERS
FOSTERING CINEMATOGRAPHY IN CANADA SINCE 1957
INTERNATIONAL CINEMATOGRAPHERS GUILD
⭐️ The International Cinematographers Guild Local 600, represents the most talented camera professionals in the world. The technicians and artisans in our union are the creators of the visual images on the big screen, the television screen and - as we move into the 21st century - our computer screen. That's why we're so excited about offering this site to our members, everyone in our industry and to people everywhere who want to know more about what we do. International Cinematographers Guild members - Directors of Photography, Camera Operators and Assistants, Computer Graphics Specialists, Visual Effects Supervisors, Still Photographers and more - are part of the International Alliance of Theatrical Stage Employees.
THE BRITISH SOCIETY OF CINEMATOGRAPHY
IMAGO EUROPEAN FEDERATION OF CINEMATOGRAPHERS
⭐IMAGO is the European Federation of Cinematographers, a collaborative global umbrella for the world´s Cinematographers Societies.⭐ 📌AFC MICRO SALON April,13-14 2022, Paris, France @afcinema.com
SHOOT ONLINE
SHOOTONLINE provides a full range of creative and production news about the ever-changing landscape of advertising and TV spot production making.
KODAK CINEMATOGRAPHER'S FIELD GUIDE (pdf) ⭐SHOOT FILM⭐
🎥This pocket-sized publication provides up-to-date and easy-to- use information about all KODAK Motion Picture Camera Films and several related subjects. We designed the book to help you choose and order the right films for your needs and to help you use the films most effectively. The guide is divided into five major sections for easy reference: * Motion Picture Camera Films * Filter Information * Tips and Techniques * Formats and Packaging * Ordering Raw Stock
CINEMATOGRAPHY NEWS!!
What is ACES? The Academy Color Encoding System (ACES) is becoming the industry standard for managing color throughout the life cycle of a motion picture or television production. From image capture through editing, VFX, mastering, public presentation, archiving and future remastering, ACES insures a consistent color experience that preserves the filmmaker’s creative vision.
DOES IT EVER END…?
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As much as I enjoyed Robert Elswit, ASC’s amazing cinematography
in the Netflix production of Ripley, I find it incomprehensible that anyone
wou...
SDSA Submissions Close Tomorrow May 9th
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The Set Decorators Society of America, an International Organization,
announces the move to a submissions-based format for the SDSA Awards
celebrating the ...
One Fire At A Time
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I have a philosophy called "One fire at a time." It started with doing
dance floor moves. Basically, it states that when faced with a seemingly
insurm...
OSCARS 2023
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Oscars Nominations 2023 Academy Award winner Riz Ahmed and Allison
Williams, star of the recent hit film ‘M3gan,’ announce the Oscars 2023
nominations li...
So Long (for Now!) and Thank You.
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In 2006 I started a lighting blog while working full-time as a staffer at
The Baltimore Sun. By early 2007, it became obvious that I didn't have the
perso...
Marissa Nadler – For My Crimes
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Marissa Nadler shares the beautifully sweeping title track from her new
album, out September 28th on Sacred Bones / Bella Union. For My Crimes
features an ...
By: Hot Rod Cameras @ NAB - UPDATE / HRC
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[...] desk since middle of last year, and perhaps with the exception of the
brilliant Mark Forman and David Leitner I've probably logged as many hours
with...
A-cam pix
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From the ikonoskop website, the pictures were taken back from when I went
to Sweden last year with the A-cam. (and yes, this is my camera pictured,
not ...
The revised 11th edition of this essential technical reference is now exclusively available for pre-order from the American Society of Cinematographers.
Containing entirely new chapters and substantial rewrites of entries from the previous edition, this hardback book designed for on-set use is a must-have for cinematographers and other motion-imaging professionals.
Edited by M. David Mullen, ASC and ASC associate member Rob Hummel, contributors to this edition include Society members Bill Bennett, Christopher Chomyn, Richard Crudo, Richard Edlund, John C. Hora, Levie Isaacks, Dennis Muren, James Neihouse, Sam Nicholson, Steven Poster, Christopher Probst, Pete Romano, Roberto Schaefer and David Stump.
Topics covered in this new edition of our “Filmmaker’s Bible” include:
Evaluating digital cameras
Take ownership of your sensor
Measuring light
The color science behind modern lighting instruments
Virtual production/emissive screens
Digital versions of day-for-night and infrared cinematography
Imax/large-format cinematography
Specialty lenses
Variable frame rates
ASC Color-Decision List (ASC CDL)
Academy Color Encoding System (ACES)
$99.95.Order your copy at the ASC Store.
click here to purchase the AC Manual at ASC storehttps://store.ascmag.com/products/ac-manual-11th-ed-hardbound">
⭐CINE LENS MANUAL⭐ NEW!
CINE LENS MANUAL.- Co-authored by Jay Holben and Christopher Probst, ASC. ---The Cine Lens Manual is a journey through the world of cinema lenses investigating every possible aspect, from the formation of glass to today's top cinematographic optical tools.--- Since the proliferation of digital-cinema cameras, the demand for vintage and contemporary lenses has increased exponentially.--- Lenses that had fallen into dusty disuse have been revived for a whole new life and manufacturers scramble to introduce new lenses to keep up with demands. --- Now, more than ever, cinematographers, visual-effects artists, camera assistants and filmmakers of all types require a deep understanding of their optics choices.--- 💻Order the book now through the ASC bookstore or by clicking the picture above.⚡
These filters are intended for use whenever significant changes in the color temperature of the illumination are required (for example, daylight to artificial light). The filter may be positioned between the light source and other elements of the system or over the camera lens. *These values are approximate. Check critical work accurately, especially ifyou use more than one filter.
WRATTEN FILTER Filter Exposure Increase Conversion Color Number In Stops in Degrees K 80A 2 3200 to 5500 Blue 80B 1 2/3 3400 to 5500 80C 1 3800 to 5500 80D 1/3 4200 to 5500 85C 1/3 5500 to 3800 85 2/3 5500 to 3400 85N3 1 2/3 5500 to 3400 Amber 85N6 2 2/3 5500 to 3400 85N9 3 2/3 5500 to 3400 85B 2/3 5500 to 3200 85BN3 1 2/3 5500 to 3200 85BN6 2 2/3 5500 to 3200
🎬CINEC . February 28-29, 2024 Kleine Olympiahalle München
Kleine Olympiahalle München
ROSCO FILTERS & DIFFUSIONS. MYCOLOR APP.
The MYCOLOR app provides easy access to Rosco’s color filters. Use the app to search, filter, sort, compare, and favorite all of Rosco’s color filters on your mobile device.
The app features all Rosco filter ranges:
● Roscolux
● Supergel
● e-colour+
● GamColor
● Cinegel
● OPTI-FLECS
● Roscolene
The free app also features a palette builder for users to create a collection of color filters for their projects or productions. MYCOLOR is available for iOS and Android devices. Download by clicking image.
⭐️EE FILM BAFTA AWARDS 2024⭐️
Hosted by David Tennant, the 2024 EE BAFTA Film Awards took place on Sunday 18 February at London's Royal Festival Hall, the UK'S biggest night in film.
⭐ LENS OF THE WEEK ⭐ COOKE 85-215 MM VAROTAL/I FULL FRAME ZOOM LENS
Cooke 85-215mm Varotal/i Full Frame Zoom Lens - It covers up to Full Frame Sensor Size - 9 Blade Iris, T2.9 to T22 Aperture -PL Mount with /i Technology. Color-Matched to S7/i Prime Range - 114mm Front Diameter, 4' Close Focus - Focus Marks in Feet. 0.8 MOD Cine Gears, M112.5 Filter Thread. --- Click image for more information..
ENERGA CAMERIMAGE 2024. NOV.16-23 TORÚN, POLAND
🎬The International Film Festival of the Art of Cinematography. CAMERIMAGE is the greatest and most recognized festival dedicated to the art of cinematography and its creators - cinematographers.🎥
SONY VENICE2 CAMERA SIMULATOR
The Sony VENICE2 camera simulator is live with now the full menu operation! This interactive tool helps you getting familiar with the VENICE 2 while prepping for your next film and is available in two different versions in order to support the 6K and the 8K version. --- Try it here by clicking image above.
⭐ PRODUCTION EQUIPMENT OF THE WEEK ⚡ THRUVIEW STARGATE STUDIOS ⭐
THRUVIEW STARGATE STUDIOS --- Stargate offers COMPOSITING, 3D, MATTE PAINTING and EDITORIAL SERVICES as well as a REAL-TIME VFX system called THRUVIEW™ that enables Producers, Directors, DPs and Supervisors an easy-to-use tool to produce Photoreal, In Camera VFX while on set. Stargate offers also Real Time Unreal Engine Virtual Production.
DIGITAL HOLLYWOOD 2024
CLICK IMAGE FOR FULL SCHEDULE AND LOCATION
DARIUS KHONDJI'S MASTERCLASS AT 75TH CANNES FILM FESTIVAL
⭐Darius Khondji's AFC, ASC Cinematography Masterclass in conversation with John Mintzer held at the 75th Cannes Film Festival, sponsored by Angênieux Lenses.⭐ --- Click image above for video link..