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Sue Smith

Member Since 07 Apr 2008
Offline Last Active Feb 11 2019 06:56 PM
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Leica M10-P

11 February 2019 - 06:59 PM

p.jpeg?size_mode=5Leica Camera has created a fitting tribute to the world of cinema with the new release of the Leica M10-P “ASC 100 Edition”, celebrating the 100th anniversary of the American Society of Cinematographers. Comprised of a Leica M10-P camera and a Leica Summicron-M 35 f/2 ASPH. lens, the memorable set offers two specially tailored Cine Look modes built into the camera’s software that make it a focused professional tool for cinematographers and filmmakers. The set also includes a Leica Visoflex electronic viewfinder and a Leica M-PL-Mount Adapter that allows the use of almost all PL mount cine lenses available on the market.

 

In collaboration with some of the world’s most influential cinematographers and members of the ASC, Leica has developed the new Cine Look feature, which provides directors an exceptional visual experience. The “ASC Cine Classicmode simulates a classic, analog 35mm motion-picture film look, while the “ASC Contemporary” mode delivers the current digital style of contemporary movies. Additionally, aspect ratios that are used in cinematography can also be selected from the camera’s menu. Once activated, the selected aspect ratio is displayed as a bright-line frame in Live View mode. The Leica M10-P “ASC 100 Edition” offers cinematographers and directors the freedom to view and assess scenes with any desired lens before filming even begins.  

 

Founded in 1919, the American Society of Cinematographers is the world’s longest-standing artistic, technical and professional organization dedicated to the advancement of cinematography. Just like Leica, this extraordinary society has influenced and shaped how people of all cultures see the world for more than 100 years.

 

This limited-edition release is a modern take on Oskar Barnack’s original vision of the “Ur-Leica” prototype camera as an aid to cinematography, now reiterated in the unique design of the Leica M10-P ‘ASC 100 Edition’. Reduced simply to the essentials, blacked-out engravings on its black chrome surface accentuates the camera’s minimalistic feel which is further emphasized with the body leathering, similar to that of the Leica SL. The gold-colored anodized finish of the Leica Summicron-M 35 f/2 ASPH. lens reinterprets the brass lens of the original “Ur-Leica” in a contemporary way. The unique aesthetic of the Leica M10-P “ASC 100 Edition” is also complemented by the ASC logo on the top plate.

 

The combination of the included electronic viewfinder, M-PL-Mount Adapter, Cine Look pre-sets and aspect ratio options enables the use of the camera as a director’s viewfinder, making it an extraordinarily versatile and useful tool for filmmakers. And together with the Leica FOTOS App, location scouting can be made much easier, as results can be shared and discussed immediately with everyone involved in the filming project.

 

The Leica M10-P “ASC 100 Edition” will be available in autumn 2019.


RED Masterclass at BSC Expo to be Headlined by Oscar-Winner Guillermo Navarro, ASC

28 January 2019 - 07:30 PM

RED Digital Cinema® will present a Masterclass featuring Oscar®-winner Guillermo Navarro, ASC at the upcoming BSC Expo in London. Navarro will be discussing his approach to cinematography in the digital age during the seminar that will take place Saturday, February 2, at 16.00. BSC Expo 2019 runs Feb. 1-2 at the Battersea Evolution.

 

Navarro won the Academy Award® for Best Cinematography on Pan’s Labyrinth. His impressive credits also include Desperado, From Dusk Till Dawn, Jackie Brown, Hellboy, Night at the Museum, and Pacific Rim, among many others. He has worked in Hollywood since 1993 and is a frequent collaborator with Guillermo del Toro and Robert Rodriguez. Born and raised in Mexico City, Navarro was a still photographer in his native country before segueing into shooting documentaries and commercials, and directing television. Most recently, he completed principal photography on The Voyage of Doctor Doolitle, slated for release in 2020, using the RED HELIUM 8K S35 sensor.

 

Over at Stand 334, RED will showcase its latest sensor technology, including the MONSTRO® 8K VV and GEMINI® 5K S35. MONSTRO is an evolutionary step in large-format sensor technology with improvements in image quality including dynamic range and shadow detail. GEMINI leverages dual sensitivity modes to provide creators with greater flexibility using standard mode or low-light mode.

 

RED will also demonstrate a real-time 8K workflow using a new REDCODE RAW SDK powered by the NVIDIA QUADRO RTX 6000 GPU. By offloading the compute-intensive decoding and debayering of REDCODE RAW footage onto a single NVIDIA GPU, real-time play back, edit and color-grade of RAW 8K footage is possible.

 

Additionally, RED will display its newest accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides an intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. The DSMC2 PRODUCTION MODULE mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount (DSMC2® Gold Mount will be available soon) and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It’s also available as a kit.

 


Complete Imaging Ecosystem to be Showcased by Panavision at BSC Expo 2019

23 January 2019 - 02:24 PM

Panavision, the world-class provider of end-to-end solutions that power the creative vision of filmmakers, will return to BSC Expo (Feb. 1-2) with a demonstration of the company’s comprehensive and expanding ecosystem for feature film, television and commercial productions. Along with Panalux and LEE Filters, the array of integrated technologies – ranging from lenses, camera systems, and accessories, to filters and lights – illustrates the extent to which Panavision is committed to giving filmmakers the most versatile and creative storytelling tools possible.

 

“Panavision is excited to exhibit our latest innovations at BSC Expo and, in particular, to share how our products and services are designed to work together to help creatives tell their stories,” says Kim Snyder, president and CEO of Panavision. “We are delighted to demonstrate the full extent of this growing ecosystem to filmmakers at BSC Expo.”

 

BSC Expo attendees were among the first in the world to get up close and personal with the DXL2 in 2018, and this year visitors can look forward to discovering a host of new options for the large format camera system. New to the DXL2 this year is an integrated C-Motion F.I.Z. module to allow the use of Arri WCU4 wireless lens control handsets with full lens mapping support. This important development broadens the DXL2 ecosystem for the European market.

 

D2E version 1.0 gave DITs the ability to wirelessly control the LUT and CDL directly in the DXL2 camera. New to the DXL2 ecosystem being shown at BSC Expo is the Comtek Audio Module, which is the basis for the D2E 2.0 enhancement.  In addition to the LUT and CDL from D2E 1.0, DXL2 now has the ability to receive audio feeds from the sound mixer via the industry standard Comtek transmitter, turning DXL2 in camera proxies into D2E dailies with colour and sound.

 

Further advancing the popularity of the DXL camera system is the DXL-M Module and accessory kit for Red’s DSMC cameras, which includes expansive power and communication ports, the DXL menu system and LiColor2. Also included is an additional SDI output path giving users two independently controlled outputs as well as clones. Notable to the DXL-M package is the Panavision Primo HDR viewfinder and motorized cinema lenses, which create a unique option for filmmakers not found anywhere else.

 

Cinematographers keen to infuse distinct looks into their storytelling will be eager to see and handle the company’s proprietary portfolio of optics. Panavision’s team will be available at BSC Expo to offer tips and guidance on the large-format lenses on display, which include:

 

Panaspeed, a large format update of the classic Primo look, offering the fastest option @ T1.4; Ultra Vista large format anamorphic optics with a 1.65x squeeze; H Series spherical lens set created with vintage glass for a classic portrait look; and the Primo X, the weather-proof compact and aerodynamic drone and gimbal solution.

 

“Panavision’s array of camera and glass options are meeting the demand for large-format filmmaking and illustrate the unmatched creative agility available to filmmakers,” adds Snyder.

 

Additionally, wireless or wired control of DXL2 and DXL-M is now available for Android alongside iOS devices. The Android DXL Control app allows users the option of wired control in situations where wireless is not ideal, such as aerial, underwater, and for Techno cranes.

 

LEE Filters will be present at BSC Expo to highlight their range of next-generation filters, including the latest Zircon gels for essential fine-tuning LED control and ProGlass CINE IRND, the ultimate in precision Neutral Density filters for cinema.

 

Panalux will present a diverse range of products on practical display lighting the booth.  In addition, there will be demonstrations of the Cine Reflect Lighting System by The Light Box illustrating how any light source can be shaped by diffusion reflectors to produce natural looking light and shadows. 

 

“As a camera and lens manufacturer that also serves filmmakers as a trusted equipment and service provider, Panavision is uniquely positioned to respond to the needs of the community,” notes Jeff Allen, managing director, EAME, Panavision. “All the technologies displayed at BSC Expo, including gels and lights, can be integrated in any combination and for any type and style of production to help creatives tell their stories with maximum control from the moment of capture through delivery and display.”

 


Introducing DSMC2 Ultra-Brite LCD Monitor

22 January 2019 - 07:22 PM

Today, RED Digital Cinema® introduces the DSMC2® Touch 7.0” Ultra-Brite LCD Monitor to its line of innovative camera accessories.

 

The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides the most intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. A 1920x1200 resolution display panel provides 2,200 nits of brightness to overcome viewing difficulties in bright outdoor environments, and the high pixel density (at 323 ppi) and 1200:1 contrast ratio deliver exceptional image quality.

 

The Ultra-Brite display mounts to RED’s DSMC2 BRAIN®, or other 1/4-20 mounting surfaces, and provides a LEMO connection to the camera, making it an ideal monitoring option for gimbals, cranes, and cabled remote viewing. Shooters can use a DSMC2 LEMO Adaptor A in conjunction with the Ultra-Brite display for convenient mounting options away from the DSMC2 camera BRAIN.

 

A demonstration of the new monitor, priced at $3,750 (U.S.), can be seen here: https://youtu.be/sF2PmdoAZoM

 

Link to Ultra-Brite images here


Sundance Filmmakers Turn to Panavision for Production and Post Services

17 January 2019 - 04:12 PM

As entertainment industry luminaries prepare to swarm Park City for the Sundance Film Festival, Panavision and Light Iron (Panavision’s post production subsidiary) are proud to announce their collaborations with filmmakers on more than 25 projects screening or competing at the 2019 event (Jan. 24 – Feb. 3). The independent filmmakers behind these unique stories leveraged the innovative services of Panavision and Light Iron to provide a full range of offerings from gear to final deliverables.

 

“We’re honored that independent artists join forces with us to achieve their vision,” says Kim Snyder, president and CEO, Panavision. “We are dedicated to delivering the tools and expertise that content creators need, wherever they are in the world, from pre-production to post.”

 

The 2019 Sundance lineup illustrates Panavision’s enduring commitment to supporting the creative community and reinforces the importance of fostering filmmaking around the world. Across a number of titles, Panavision provided camera, lens and accessory packages, as well as dailies, offline editorial, and final color services from Light Iron. The comprehensive and single-point offerings underscore the company’s dedication to meeting the individual needs of independent filmmakers and their budget demands.

 

Snyder adds, “Panavision’s vast portfolio of cameras and lenses coupled with our technical expertise present filmmakers with a phenomenal mix of options to creatively assemble the right equipment for any job. Additionally, the workflow savvy and creative services from Light Iron provide critical components that ensure quality imagery throughout the entire process.”

 

Here’s a look at some of the highly anticipated productions at Sundance supported by Panavision and Light Iron:

 

U.S. Dramatic Competition

Big Time Adolescence (dir. Jason Orley, DP Andrew Huebscher) – Camera rental, Superspeed lenses, Panavision New York.

Brittany Runs a Marathon (dir. Paul Downs Colaizzo, DP Seamus Tierney) – Camera rental, Primo prime lenses, Panavision New York.  Color by Sean Dunckley, Light Iron New York.

Hala (dir. Minhal Baig, DP Carolina Costa) – Camera and optics package, Panavision Chicago.

Honey Boy (dir. Alma Har'el, DP Natasha Braier, ASC, ADF) – Camera and optics package, Panavision Hollywood.

Luce (dir. Julius Onah, DP Larkin Seiple) – Panavision XL2 camera, G Series lenses, Panavision New York.

To the Stars (dir. Martha Stephens, DP Andrew Reed) – Camera rental, Primo Prime lenses, Panavision Dallas.

 

Premieres

Animals (dir. Sophie Hyde, DP Bryan Mason) – Camera rental, Superspeed lenses, Panavision Ireland.

Extremely Wicked, Shockingly Evil and Vile (dir. Joe Berlinger, DP Brandon Trost) – Camera rental, C Series anamorphic lenses, Panavision Hollywood.

Late Night (dir. Nisha Ganatra, DP Matthew Clark) – Camera rental, Primo Zoom lenses, Panavision New York. Dailies by Light Iron New York. Color by Sean Dunckley, Light Iron New York.

Paddleton (dir. Alex Lehmann, DP Nathan M. Miller) – Color by Corinne Bogdanowicz, Light Iron Los Angeles.

Photograph (dir. Ritesh Batra, DP Ben Kutchins) – Offline editorial rentals, Light Iron New York.

The Boy Who Harnessed the Wind - Opening Night Film (dir. Chiwetel Ejiofor, DP Dick Pope, BSC) – Camera rental, Primo Prime lenses, Panavision Johannesburg.

The Tomorrow Man (dir. and DP Noble Jones) – Color by Corinne Bogdanowicz, Light Iron Los Angeles.

Top End Wedding (dir. Wayne Blair, DP Eric Murray Lui) – Camera and optics package, Panavision Sydney.

Troop Zero - Closing Night Film (dir. Bert & Bertie, DP Jim Whitaker) – Dailies by Light Iron New Orleans. Color by Corinne Bogdanowicz, Light Iron Los Angeles.

Velvet Buzzsaw (dir. Dan Gilroy, Robert Elswit, ASC) – Panavision Millennium DXL2, Standard Prime lenses, Panavision Woodland Hills.

 

NEXT Competition

Selah and the Spades (dir. Tayarisha Poe, DP Jomo Fray) – Camera and optics package, Panavision New York. Color by Steven Bodner, Light Iron New York.

The Wolf Hour (dir. Alistair Banks Griffin, DP Khalid Mohtaseb) – Camera rental and T-series, MAP55, and AWZ2.3 lenses, Panavision New York.

 

WORLD Cinema Dramatic Competition

Judy and Punch (dir. Mirrah Foulkes, DP Stefan Duscio) – Camera rental, C Series lenses, Panavision Sydney.

 

Midnight

Corporate Animals (dir. Patrick Brice, DP Tarin Anderson) – Color by Nick Hasson, Light Iron Los Angeles.

Little Monsters (dir. Abe Forsythe, DP Lachlan Milne, ACS) – Camera rental, anamorphic lenses, Panavision Sydney.

 

Spotlight

The Nightingale (dir. Jennifer Kent, DP Radek Ladczuk) – Camera rental, PVintage lenses, Panavision Sydney.

 

Doc Premieres

Ask Dr. Ruth (dir. Ryan White, DP David Jacobson) – Color by Nick Lareau. Light Iron Los Angeles.

 

Indie Episodic

It's Not About Jimmy Keene (Dir. Caleb Jaffe, DP Noble Gray) – Color by Ian Vertovec. Light Iron Los Angeles.

 

Special Events

Lorena (dir. Joshua Rofé, DP Ronan Killeen) – Dailies by Light Iron Los Angeles. Color by Nick Lareau, Light Iron Los Angeles.

Now Apocalypse (dir. Gregg Araki, DP Sandra Valde-Hansen) – Camera rental, Primo Prime lenses, Panavision Hollywood.

 

U.S. Narrative Shorts

Lockdown (dir. Celine Held and Logan George, DP Caleb Heller) – Rental package, Panavision Woodland Hills.

 


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Paralinx LLC

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Abel Cine

Glidecam

CineLab

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Ritter Battery

Wooden Camera

Serious Gear

Abel Cine

New Pro Video - New and Used Equipment

Serious Gear

Metropolis Post

Ritter Battery

Media Blackout - Custom Cables and AKS

Tai Audio

Rig Wheels Passport

CineLab

Visual Products

Glidecam

Wooden Camera

Broadcast Solutions Inc

Gamma Ray Digital Inc

Paralinx LLC