Jon Fauer, ASC www.fdtimes.com Feb 2013 Issue 52

Art, Technique and Technology in Motion Picture Production Worldwide

New Vantage One T1 Aaton Penelope Delta French Cinematheque Transvideo Rainbow HD Darius Khondji on Marilyn Reflections on Reflections Master Anamorphic in Paris Angenieux 19.5-94 & 28-340 Comparison of 135 mm Primes The Decisive Moment – InEMITable Review of New Gear Preston Systems on Fujinon Cabrio Full-Frame Canon 6D and D600 Daniel Pearl, ASC with 65 mm T1 Vantage One New Alexa XR and XT FDTimes Feb 2013 Issue 52 Contents Art, Technique and Technology FDTimes On Paper, Online, and now On iPad ...... 3 Film and Digital Times is the guide to technique and technology, The French Cinematheque...... 4 tools and how-tos for Cinematographers, Photographers, Directors, The Cooke Look Defined...... 6 Producers, Studio Chieftains, Assistants, Camera Opera- Vantage One T1...... 7 tors, Grips, Gaffers, Crews, Rental Houses, and Manufacturers. ARRIRAW Inside, Alexa XR Upgrade, New Alexa XT...... 8-9 It’s written, edited, and published by Jon Fauer, ASC, an award- The Decisive Moment – Leica M...... 10-11 winning Cinematographer and Director. He is the author of 14 Transvideo Rainbow HD...... 12 bestselling books—over 120,000 in print—famous for their user- Angénieux 19.5-94 and 28-340 Optimos...... 13 friendly way of explaining things. With inside-the-industry “secrets- Fujinon PL Premier Cabrio Zooms...... 14 of the-pros” information, Film and Digital Times is delivered to you Using Preston FIZ and Microforce with Fujinon Cabrios...... 15 by subscription or invitation, online or on paper. We don’t take ads 135 mm Primes...... 16-17 and are supported by readers and sponsors. Master Anamorphic in Paris...... 18-19 AKS for F5-F55...... 20 © 2013 Film and Digital Times, Inc. Nikon D600 Full Frame 24 x 36...... 21 by Jon Fauer, ASC Canon 6D Full Frame 24 x 36...... 22 Schneider ...... 23 Peter Denz Canon Handgrip System...... 23 subscribe Clairmont Alexa In-Camera Filters & Effects...... 23 iDC Photo Video...... 24 www.fdtimes.com Easyfocus in Madrid...... 24 Ros Bot...... 24 Subscribe online, call, mail or fax: Cinetech Italiana...... 25 Direct Phone: 1-570-567-1224 Adam Wilt’s Cine Meter...... 25 Toll-Free (USA): 1-800-796-7431 Darius Khondji on Philippe Parreno’s "Marilyn"...... 26 Lighting with Paint...... 27 Fax: 1-724-510-0172 Reflections on Reflections ...... 28-29 InEmitable...... 30 Film and Digital Times Subscriptions PO Box 922 Williamsport, PA 17703 USA Film and Digital Times 1 Year Print and Digital, USA 6 issues $ 49.95 1 Year Print and Digital, Canada 6 issues $ 59.95 Now on iPad and iPhone 1 Year Print and Digital, Worldwide 6 issues $ 69.95 1 Year Digital (PDF) $ 29.95 www.fdtimes.com/subscribe 1 year iPad/iPhone upgrade (normally 29.99) + $ 9.99 Add FDTimes on Apple Newsstand now when you order a Print or Digital Subscription (above) Total $ ______Payment Method (please check one): VISA Mastercard American Express Check Enclosed (payable to Film and Digital Times)

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Issue 52 • Feb 2013 3 The French Cinematheque

What’s a camera designer to do? Every contemporary camera designer should be required to re- Everyone is calling for “lighter, faster, simpler, cheaper.” Produc- visit the more than one hundred years of camera history that are ers want cheaper. Directors want faster. Editors want simpler. Cin- preserved in a magical place in Paris, the Cinémathèque Fran- ematographers want lighter. çaise. The lessons are all here: Edison patents 101, Comparative Portable Cinematographe versus Immobile Black Maria, Shoul- In school we learned that those who failed to learn the lessons of der-Resting or Handheld Fatigue, Big Box or Cat-on-Shoulder, history were forced to see history repeated. Camera Ergonomics 1894-Present.

4 Feb 2013 • Issue 52 At the Micro Salon last year, Willy Kurant, ASC, AFC came up to The are arranged by manufacturer and chronology­—im- me and said, “There is someone you have to meet: Laurent Man- peccably restored, beautifully maintained, and most of them still noni, Scientific Director of the French Cinémathèque. He super- working. vises the most important preservation project of motion picture The historic cycles of wide-screen fascination following the rise camera history in the world, a place that every cinematographer and fall of 3D is amply documented within these halls. Laurent should see and every camera manufacturer in the world must opened the door of a metal cabinet and took out a box. He re- visit.” It’s not open to the public. moved the lid, revealing the original Chrétien 1927 Hypergonar A few months later, Larry Barton, Howard Preston, and I made lenses. Henri Jacques Chrétien was born in Paris in 1879. He the pilgrimage. The Cinémathèque is in a marvelous Frank Geh- was an astronomer, professor and inventor. Chrétien developed ry building, with a museum, theaters, research center, archives, the Hypergonar for and cinematography. The library, and café. It’s in the Bercy section of Paris—where wine format didn’t take off until 1952, when Twentieth Century-Fox was once off-loaded from barges on the Seine and stored in stone bought the rights from Chrétien for their CinemaScope process. warehouses. As we gather at La fémis for the 13th annual gathering of the AFC But, like most museums, there’s not enough room for the entire Micro Salon, remember Mr. McGuire who might have said some- collection. The camera collection is maintained in an undisclosed thing like this to Benjamin in The Graduate: “I just want to say warehouse location nearby, accessible by invitation only, presided one word to you. Just one word. Lenses.” ☐ over by Laurent Mannoni, and assisted by Laure Parchemenko. I don’t think saying that it is the most complete and well-docu- mented collection in the world is an over-statement. The prov- enance of almost every item is labeled, catalogued and supported by literature, instruction manuals, and original patents in acid- free boxes.

Aaton 35mm camera made for Jean-Luc Godard

Laurent Mannoni with Chrétien’s 1927 Hypergonar anamorphic lens

Cinex 35mm camera by A. Bourdereau, Paris Larry Barton handholding the Cinex, at right

Issue 52 • Feb 2013 5 The Cooke Look Defined by Jonathan Maxwell one thousandth of the focal length of the lens. This separation be- tween the green and the red + blue (magenta) focus is called the The Academy will honor Cooke Optics with a Sci-Tech Oscar statu- longitudinal secondary spectrum. The reason that longitudinal ette in February 2013 “for advanced camera lenses that have helped secondary spectrum wants to be approximately one thousandth define the look of motion pictures over the last century…producing of the focal length is mainly associated with the types of optical what is commonly referred to as the Cooke Look…” glass that are available, but it is also influenced by the optical con- Jonathan Maxwell, lens designer, said, "The design procedures and struction of the lens. adjustment techniques developed by the company have led to an So, secondary spectrum wants to vary with focal length? Yes! enviable cinematographic reputation for what has become known And this should immediately ring alarm bells for you, because we as the Cooke Look. This revered ‘look’ is a sympathetic color depth design and make ranges of prime lenses that have focal lengths in the images, combined with an adjusted coincidence between the that, for 35mm detectors, vary, for example, from 12 mm to 300 sharpest image and the optimum chromatic focus.” mm. The secondary spectrum will (unless special precautions Jonathan took me on a tour of the Cooke factory in Leicester a cou- are taken) vary from 0.012 mm to 0.300 mm, and so the images ple of years ago. He has worked with Cooke and Taylor Hobson, at various focal lengths will look chromatically different. This taught courses for SPIE, and published two books on optical de- is unacceptable, and the lens designer’s job is to devise suitable sign. I fired off an email to him: "Please explain optimum chromatic constructions for each focal length of lens and to use appropriate focus and the Cooke Look.” For a long time, many of us cinema- types of optical glass in those constructions to hold the secondary tographers have been fumbling with words to try to describe that spectrum more or less constant for all focal lengths. look, and it sounded more like wine-tasting than optical aptitude. In the case of a zoom lens this issue is particularly problemat- We had epithets like roundness, gentle fall-off, smooth and gentle, ic because, although the lens construction does vary with focal cosmetic silky skin tones, and so on. Here is Jon’s illuminating reply. length change (in order to zoom the lens), the types of glass in the You asked, “When discussing the Cooke Look, please explain zoom lens do not change, so the secondary spectrum will vary what you mean by optimum chromatic focus?” from one end of the focal length range to the other. This is one of At Cooke we take particular precautions, and a pride, in how the fundamental limitations of zoom lenses for cinematography. we correct and adjust the aberrations in our lenses, and I’ll talk Next, we have to understand that for any achromatic lens, as we go technically about that in a moment. But, before I do, I have to through focus, there will be a subtle change in the colour fringing share a secret with you: the fact is that cinematographers, who around the fine detail in the image. When the focus of the lens is obviously appreciate the Cooke Look, wax eloquent about it, but adjusted so that the green image plane is at the detector, then the very often the language is of an artistic nature, and, frankly, we red + blue (magenta) image will be slightly out of focus, and there humble technicians have difficulty in really understanding that will be a subtle magenta fringe around the fine detail in the image. language. Having said this, our chests of course swell with pride (You can see this when you go through focus on a lens projector– when we read of or hear creative people in our industry talk about you see green and then magenta color fringing.) Similarly, when how they love the “look” we manage to achieve, but we think to the lens is adjusted so that the magenta image is at the detector, ourselves “all we have done” to achieve that look is to follow our there will be a subtle green fringe around the fine detail of the im- scientifically determined standard procedures. age. Roughly halfway between the green focus and the magenta So what are these procedures? A large part of it is about balanc- focus there is an image plane where the two coloured fringings ing the focusing of the three different wavelengths, red, green and (green and magenta) mix to make a colourless black and white blue, which don’t normally fall on the same focal plane simul- image. This plane is known as the achromatic image plane, and it is taneously. Appreciating the details of this situation and how we this plane that cinematographers choose when they focus the lens. design and adjust lenses in the face of it is necessary if one is to So far in this discussion, nothing that is particularly remarkable understand where the Cooke Look comes from. has been described. I have just been reviewing what every lens Firstly, all modern lenses are what we call “achromatic” (without designer knows about the necessary achromatic correction of any colour) and occasionally “apochromatic” (completely without co- lens, albeit with some special emphasis on particular points. lour), that is, they are corrected for chromatic aberration. Nearly But here comes the more specific aspect of this subject that ex- all lenses that the cinematographer comes across are achromatic, plains the Cooke Look. If the lens is suffering from spherical ab- rather than completely apochromatic (in spite of some being erration, the sharpest image plane, that is, the focal plane where called “apo-something”), and this means that there is a residual the most fine detail of the image is resolved, will not lie at the difference in focus between the red, green and blue focal planes. achromatic focal plane. This is the question of adjusting the de- Except in very unusual circumstances, the distribution of these sign and, particularly, the final assembly of the lens, to align the chromatic focal planes, working from the lens side of the focal best resolution focal plane with the achromatic focal plane. That region to beyond the focal region, are as follows: green focuses is what creates the Cooke Look. first, and then red and blue focus together (making magenta) a There is another stage in this procedure, which is about applying little further away from the lens. these criteria to the off-axis correction of each lens. In this case, Under normal circumstances, unless special precautions are rather than adjusting the spherical aberration to get alignment taken (as they are at Cooke), the longitudinal distance between between the achromatic plane and the best resolution plane, we the green focus and the red + blue focus will be approximately adjust astigmatism. ☐

6 Feb 2013 • Issue 52 Vantage One T1

The Hawk guys are at Micro Salon in Paris introducing their new Benoît Debie used the 65mm Vantage One recently on an Yves set of spherical Vantage One T1 prime lenses. There will be nine Saint Laurent commercial directed by Paul Gore at the Jardin des Vantage One lenses in the set: 17.5, 21, 25, 32, 40, 50, 65, 90 and Plantes in Paris recently. “It was great for skin tones,” he said. “We 120 mm, all T1, and all close-focusing. were wide open using the Alexa rated at 800 ISO in available light.” Like the company that builds them, these lenses have multiple Vantage One lenses are among the smallest cine lenses available. personalities. Vantage Film builds Vantage Ones (spherical lens- They are lightweight, close-focusing and have familiar Vantage es) and Hawks (mostly anamorphic lenses). Vantage Film is also a mechanics, witness marks on the same plane as the scales for par- camera equipment rental company, with offices in Weiden, Paris, allax-free setting, and durable construction. Prague and . They are almost telecentric. There’s a long distance from the rear As lenses with a multiple personality, from T2 to T11, Vantage element to the sensor, so light rays are almost parallel. This results Ones have a look similar to most modern lenses. At T1.4, the look in less color fringing and extremely even field illumination (no is “more forgiving,” but still extremely good. Wide open, at T1, shading) to the corners of the frame. Vantage One lenses open up a whole new world of extremely shal- Vantage One lenses will come in two versions: with anti-reflective low depth of field, with a gentle, subtle, silky creaminess. Maybe coatings, and with some optical elements uncoated (marked by a good way to describe the look is to remember the original Leica a distinctive red ring on the barrel). Uncoated elements produce 50 mm T1 still lens circa 1976. additional flares and lower contrast. ☐ Daniel Pearl, ASC said, “In the digital world, most of us are shoot- ing with the same camera(s) as if we all used the same ‘film stock.’ So lenses are becoming more and more important. The glass we choose separates one cinematographer from another. What's ap- pealing to me is working with very shallow depth of field to create a unique look with the very selective focus available at T1.”

Benoît Debie

Focal Stop Minimum Object Horiz Angle Weight Front Length Length Distance of View Diam 17.5 mm T 1 0.25 m 10” 71.5° 1.9 kg 4.2 lb 110 mm 152 mm 21 mm T 1 0.25 m 10” 62.2° 1.8 kg 4.0 lb 110 mm 142 mm 25 mm T 1 0.25 m 10” 53.6° 1.6 kg 3.5 lb 110 mm 124 mm 32 mm T 1 0.25 m 10” 43.5° 1.5 kg 3.3 lb 110 mm 126 mm 40 mm T 1 0.34 m 1’2” 34.9° 1.5 kg 3.3 lb 110 mm 126 mm 50 mm T 1 0.34 m 1’2” 28° 1.6 kg 3.5 lb 110 mm 124 mm 65 mm T 1 0.34 m 1’2” 21.5° 1.6 kg 3.5 lb 110 mm 124 mm 90 mm T 1 0.5 m 1’8” 17.2° 2.0 kg 4.4 lb 130 mm 142 mm 120 mm T 1 0.75 m 2’6” 11.9° 2.8 kg 6.2 lb 150 mm 174 mm

Issue 52 • Feb 2013 7 ARRIRAW Inside

This image is a rendering. Production models may have minor changes.

8 Feb 2013 • Issue 52 eXtRa: Alexas Upgrades eXTtra: New Alexas “Extra! Extra! Read all about it!” But what if you happen to be one of the few people on the planet This month’s Stop the Presses call came from Türkenstrasse. without an Alexa, having just returned, let us say, from seven years in the Pantanal, a grueling expedition on which all your Existing ARRI Alexa cameras can soon be upgraded with in- analog camera equipment was ravaged by man and beast, and ternal ARRIRAW. you don’t have any camera, let alone an Alexa to upgrade? ARRI and Codex worked together to develop a new XR Module ARRI is enhancing the Alexa camera line with new Alexa XT (Xtended Recording) side cover for ARRIRAW uncompressed (Xtended Technology) models. recording right where your SxS PRO card previously went. The only camera remaining from the original line will be the It’s as if the five Alexa sisters, as if they weren’t already fit enough, original entry-level Alexa (16:9 sensor). There will be four new enrolled in Zumba class for a major workout in a timely move XT Cameras: Alexa XT, Alexa Plus XT, Alexa Studio XT, Alexa by their product managers to provide precisely what practitio- M XT. ners have been asking for: ARRIRAW inside. These upgrades are huge technological leaps that won’t leave owners and rental They all have the XR module and new processing hardware built-in. houses howling about obsolescence or poverty. Your current Al- They all have a 4:3 sensor (2880 x 2160 for anamorphic 2x). exa sisters continue to work faithfully. They will have a new in-camera filter system called IFM (In- Any of the five current siblings can be upgraded: Alexa, Alexa camera Filter Module). A line of high-quality ARRI IRND filters Plus, Alexa Plus 4:3, Alexa Studio, Alexa M. will be introduced. They work like the Clairmont in-camera filter When you take Alexa to an authorized ARRI service center, the system; a difference is that the magnets are on the filter frames, camera will get new processing hardware to allow for the in- not in the camera. creased image data and a new camera-left side cover. It adds a The cameras will all be equipped with LDS contacts at 12 and 3 o’clock mere 8 mm to the width of the camera when compared with the positions in the PL . The mount itself is 130 g lighter. current dual-slot SxS PRO card cover. A new cooling fan runs even quieter than the current one. There’s The new Alexa XR side cover opens to reveal a single slot that ac- a new VMB-3 viewfinder bracket that is more stable and uses two cepts a 512 GB XR Capture Drive. ARRI will sell these XR drives 15 mm rods as part of the design. These are in the same position exclusively. as the lightweight rods, just above the lens instead of below, and So equipped, Alexas can record ARRIRAW at up to 120 fps. One ideal for attaching lens motors and other accessories. XR Capture Drive will record 55 minutes of ARRIRAW at 24 fps The new cameras include an anamorphic de-squeeze and 120 fps and 11 minutes at 120 fps. Alternatively, it will record 2:12 hours high speed license. of ProRes 4444 at 24 fps. DNxHD for Avid will be available at a XT cameras will be available first in the 2nd quarter of 2013. XR later date. Module upgrades for existing cameras will be available a few You format the XR Capture Drive either for ARRIRAW or for months later. ProRes. SxS PRO cards have not been forgotten. An adapter with Stephan Schenk, ARRI General Manager of the Camera and Digital a single slot accommodates an SxS PRO card. (SxS-1 and SxS Intermediate Systems Business Unit, summarized the imminent PRO+ cards are not compatible with Alexa.) makeover and refresh of ARRI Alexa cameras. The hardware is made by ARRI, in close cooperation with Codex. He said, “The cooperation with Codex has been great all along, Software and capture drives come from Codex. The drives are spe- starting with Anonymous and continuing through countless cial industrial-strength solid state memory. The engineers tell us productions, whether HD uncompressed in Life of Pi or Hugo, or that they have confirmed an 860 Megabyte per second data rate ARRIRAW in Marvel’s The Avengers or Skyfall. Integrating their on the XR drives. That is 6,880 Megabits per second—6.7 Gigabits recorder into the Alexa has improved the collaboration even further. per second. These could be the fastest drives on the market. The winner is the customer, who benefits from the combination of Workflow is navigated 3 ways: Codex’s and ARRI’s tested and proven technologies.” 1. Simplest is a single, hockey-puck shaped capture drive reader, Codex Digital Managing Director Marc Dando said, “ARRI has called the Single Dock, that connects to a computer via USB 3.0. been a great partner for Codex and we’ve been fortunate enough 2. The Dual Dock comes in a 19" rack mountable unit with the to work on some great projects together with the world’s leading Codex Virtual File System and 2 slots that can download and cinematographers, including several Academy Award nominees make clones. this year. This is the next step in our collaboration and it was de- veloped in direct response to the feedback we got from our mu- 3. Codex Vault has, by now, become a standard of the industry, tual customers.” ☐ with reliable and quick downloading, cloning, copying to shuttle drive, backing up, and more. Marc Shipman-Mueller, ARRI Alexa Product Manager, discussed how all this came about. “Cinematographers were telling us that they liked shooting in ARRIRAW but wished it were inside the camera instead of attached as an external magazine. Codex works extremely well, and most high-end features were using Codex.” Issue 52 • Feb 2013 9 The Decisive Moment – Leica M

Henri Cartier-Bresson’s apothegm “The Decisive Moment” won Left: Henri Cartier-Bresson with his Leica. 1955 Photo by Dmitri the approbation of the photographic community and ensured his Kessel//Time Life Pictures/Getty Images investiture as the founding father of photo-journalism. Above: Cartier-Bresson with Beaulieu R16 16mm camera In 1952, Cartier-Bresson published a portfolio of photographs, Photo ca. 1965. CBS Photo Archive/Getty Images with a cover by Matisse, and a title “Images à la Sauvette.” The English title was “The Decisive Moment,” which is a lot more el- egant than the literal translation “Images on the Sly.” his pictures. Truman Capote, who went on an assignment with him in 1946, described him as ‘dancing along the pavement like “The decisive moment” first appears in the introduction. “Il n’y a an agitated dragonfly, three Leicas swinging from straps around rien dans ce monde qui n’ait un moment decisif.” (“There is noth- his neck, a fourth one hugged to his eye: click-click-click (the ing in this world that does not have a decisive moment.”) camera seems a part of his own body) clicking away with joyous Double negative notwithstanding, when Cartier-Bresson bought intensity...’” the first of a lifetime of Leica cameras in 1932 in Marseilles, he Cartier Bresson said, “For me the camera is...an instrument of in- found the instrument that would allow him to capture those mo- tuition and spontaneity, the master of the instant. One has to feel ments on the sly and on the run. Around the same time, he was involved in what one frames through the viewfinder. inspired by Martin Munkácsi’s photograph “Three Boys at Lake Tanganyika.” Cartier-Bresson later said, “For me this photograph “To take a photograph is to hold one’s breath when all faculties was the spark that ignited my enthusiasm. I suddenly realized that, converge in a face of fleeing reality. It is at that moment that mas- by capturing the moment, photography was able to achieve eter- tering an image becomes a great physical and intellectual joy. nity. It is the only photograph to have influenced me. This picture “To take a photograph means to recognize—simultaneously and has such intensity, such joie de vivre, such a sense of wonder...” within a fraction of a second—both the fact itself and the rigor- Still photographers seem to have a knack for decisive mantras. ous organization of visually perceived forms that give it meaning.” Martin Munkácsi’s famous quote was “Think while you shoot.” Cartier-Bresson founded a cooperative photo agency in Paris, His younger brother, Tibor Sands, is a retired New York camera Magnum Photos, in 1947 with three fellow photographers: Rob- assistant (The Godfather, The Last Waltz, The Front), as legend- ert Capa, George Rodger and David “Chim” Seymour. ary for loquacious commentary and pithy advice as his impressive In Magnum’s own “History of Magnum,” George Rodger recalled work on features and documentaries. how Robert Capa saw the photographers’ role. “He recognized The Leica was a documentarian’s still camera dream come true. the unique quality of miniature cameras, so quick and so quiet to Liz Jobey wrote in The Guardian (June 11, 2010), “The small use. He saw a future for us in this combination of mini cameras camera made it easy to capture subjects on the move, but just as and maxi-minds.” crucially, it made it easy for the photographer to adjust his point Cartier-Bresson used Leica 35 mm rangefinder cameras with a 50 of view. Anybody who has seen film of Cartier-Bresson at work mm lens for most of his long career. will understand how important movement was to the making of

10 Feb 2013 • Issue 52 Leica M

“M” for “Movie button

Dr. Andreas Kaufmann, Chairman of the Supervi- Video couldn’t be easier: set the aperture on the lens, set the shut- sory Board (above) announced a decisively new moment in cam- ter speed (or put it on Automatic), and push the “M” for “Movie” era history this September at Photokina 2012. It was the eagerly- button to the right of the stills release. awaited successor to Leica’s M9, named not M10, but elegantly, Sensors in seem to be named after people. ARRI Alexa simply M. “Together with the M Monochrom, I think Leica shows has the Alev sensor and Leica M has Max. Max is a 24 Mega- that the M-concept is again technologically quite advanced and , full-frame 24 x 36 mm still format sensor, designed by Leica carries the traditional Leica values,” Dr. Kaufmann said. (in Solms) and CMOSIS (in Belgium), and fabricated in France. The Leica M is due to ship soon. It has an ISO range of 200–6400 “This is the first time that a CMOS for a 35mm and shutter speeds 1/4000–60 seconds. Storage is on SD, SDHC, high-end camera was designed and manufactured in Europe for a or SDXC memory cards. Files for stills are JPEG and/or DNG European customer,” said Guy Meynants, CTO of CMOSIS, An- RAW. HD Video 1080p (24 or 35 fps) files are motion JPEG twerp, Belgium. “Apart from the ceramic IC package, the Leica Quicktime MOV. Max 24MP CMOS Sensor is a 100-percent European product.” The Leica M has a new 24 Megapixel, full frame 24 x 36 mm “Thanks to the special sensor technology from CMOSIS, we can CMOS image sensor, which enables Live View and HD video. now, for the first time, offer a that is optimized There are three ways to compose and view the image: with the for use with both M and R lenses,” said Alfred Schopf, Managing traditional rangefinder, with Live View through the really sharp, Director of Leica Camera AG. small accessory electronic viewfinder EVF2, or with Live View on Since M cameras have a very shallow flange depth of 27.80 mm, the camera’s 3-inch high-resolution rear monitor (920,000 adapters will accommodate most 35mm still lenses in the world. covered with scratch-resistant Corning Gorilla Glass). Live View Zoom enables up to 10x magnification for checking focus. Live Many of us eagerly await a PL-to-Leica M adapter for Leica Sum- View Focus Peaking assesses sharpness by the intensity of edges milux-C PL-mount cine lenses. I’m also keeping my eye on the Max shown as red lines. sensor, whose 5952 x 3976 photosites could mean more cinematic K to come (almost 6K x 4K). Just as earlier Leica cameras with Using standard M lenses, you can easily adjust focus manually numbers (I, II, III, M3, M2...M9) instigated new styles of unob- and continuously, even while shooting HD video. (For anyone trusive , the new M-with-no-number could be who hasn’t used a rangefinder, its simple: a double image in the the beginning of a new relationship with a new generation of pro- center of the finder merges into a single, sharp image as you come tagonists in search of a new wave of decisive moments. ☐ into focus.) For cinema verité, documentaries, news, and unob- trusive drama, this will be very appealing.

Issue 52 • Feb 2013 11 Transvideo Rainbow HD

Transvideo Rainbow monitors have been a standard of the mo- tion picture industry since they revolutionized on-board viewing Connections: in 1995. • 2x HD/SD SDI inputs (1 re-clocked) They were originally designed as on-board mini-monitors for • 2x HD/SD SDI outputs (1 re-clocked, 1 processed) Panavision Panaflex Platinum cameras, and quickly became es- • HDMI input sential accessories for almost all cameras with video assist on • HDMI output (re-clocked) most feature, commercial and high-end productions. They were • Composite standard def input (CVBS) famous for their superb image, visibility in bright sunlight or • Composite standard def re-clocked output(CVBS) darkest studio, and almost indestructible construction. In fact, as cameras come and go, most of the original Rainbow and Rain- Specs bow II monitors are still in use. • SuperBright: 1000Nits • Enhanced SuperBright 1000 Nits + optical system Rainbow Monitors are standard definition. Transvideo's next • Built-in HDMi to SDI converter generation CineMonitorHD was, like its name says, HD. • Dimensions: 7.5" w x 1.4" d x 4.1" h Now there's a new family of Transvideo monitors that are lighter, • Screen: 7" diagonal thinner, and more economical: RainbowHD. They are simpler to use, about half the weight and almost half the price of a Cin- Models eMonitorHD. • RainbowHD eSBL: product number 917TS0103 • RainbowHD SBL: product number 917TS0097 The screen measures 7 inches diagonal. The regular model is sug- • RainbowHD: product number 917TS0098 gested for studios and interiors. The SBL model has a superbright display (more than 1000 Nits) — for outdoors and in bright light. Product photos: Francois Gerard. RainbowHD monitors use an anti-reflective coating and the glass is optically bonded to further reduce reflections. On-Off Switch The new RainbowHD design is slim, rugged, has low power con- sumption, and dual HD-SDI in/out connectors with dual-link capability. Existing CineMonitor battery brackets and handles Right fit, along with a new line of clever carrying options. USB connector: SD Card slot for still for updates Audio Output from store and loading SDI to headset refrence frames

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12 Feb 2013 • Issue 52 Angénieux 19.5-94 and 28-340 Optimos

The new Angénieux Optimo 19.5-94 mm T2.6 and 28-340 mm T3.2 The 4.7x Optimo 19.5-94 mm T2.6 zoom has more than zooms are being presented for the first time at AFC Micro Salon. They 50 calibrated focus witness marks (available in choice of are based on the same design as the venerable Optimo 17-80 mm and feet or meters) and a 329° focus barrel rotation. 24-290 mm, but have a newly expanded image circle of 31.4 mm. This Both new zooms are available in PL mount (Panavision PV will cover Super35 and RED 5K formats. mount on request) and are compatible with Angénieux’s The 12x Optimo 28-340 mm T3.2 zoom has more than 70 focus 1.4x and 2x extenders. witness marks (available in choice of feet or meters) and a 327° focus The charts below show how the new zooms compare with barrel rotation. their older siblings. www.angenieux.com

Optimo 19.5-94 mm T2.6 19.5-94 mm • Zoom Ratio: 4.7x • Max Aperture: T2.6 • Close Focus: 2'0.5" / 0.62 m • Image Coverage: 31.4 mm diagonal • Weight (approx.): 12.3 lb /5.6 kg • Length: 335 mm (PL) 330 mm (Panavision) • Front Diameter: 136 mm

Optimo 17-80 mm T2.2 17-80 mm • Zoom Ratio: 4.7x • Max Aperture: T2.2 • Close Focus: 2 ft / 0.6 m • Image Coverage: 28 mm diagonal • Weight: 12.1 lb / 5.5 kg • Length: 326 mm (PL mount) • Front Diameter: 136 mm

Optimo 28-340 mm T3.2 28-340 mm • Zoom Ratio: 12x • Max Aperture: T3.2 • Close Focus: 4'.5" / 1.23 m • Image Coverage: 31.4 mm diagonal • Weight (approx.): 24.4 lb / 11.1 kg • Length: 454 mm (PL) 449 mm (Panavision) • Front Diameter: 162 mm

Optimo 24-290 mm T2.8 24-290 mm • Zoom Ratio: 12x • Max Aperture: T2.8 • Close Focus: 4 ft / 1.22 m • Image Coverage: 30 mm diagonal • Weight (approx.): 24.2 lb / 11 kg • Length: 440 mm (PL mount) Bottom • Front Diameter: 162 mm

Issue 52 • Feb 2013 13 Fujinon PL Premier Cabrio Zooms Fujinon’s two new lightweight PL-mount Cabrio Zooms, 19-90 back off the Cabrio servo's 4 screws and detach the handgrip mm and 85-300 mm, both T2.9, are shipping. In the US, these system. When you reattach it, the drive is self-centering. Please lenses are called Cabrio—as in cabriolet—convertible. follow Fujinon’s instructions regarding this procedure. The convertible part is the quickly removable zoom handgrip with If you want to use the Cabrio’s internal motors with a wireless servo drive motors inside. Long familiar to ENG and EFP shoot- lens control or wired zoom, companies like Preston, cmotion, ers, the handgrips contain built-in lens motors for focus, iris, and Chrosziel, ARRI, and Scorpio have ways to do this with interface zoom. A rocker controls the zoom. boxes or cables. If you’re using the Cabrio with a wireless lens control system, you The Cabrios have /i and LDS contacts in the lens mount. These have two choices. For Preston, ARRI, Hedén, Servicevision, or contacts power the servo and transfer lens metadata. Cabrio's cmotion systems using dedicated external lens motors, simply LDS information now displays on recent ARRI Alexas.

Fujinon Cabrio 19-90 mm T2.9

Fujinon Cabrio 19-90 mm T2.9 (ZK4.7x19) • Zoom Ratio 4.7x • Aperture T2.9 • Close Focus 33.5" / .85 m • Length: 8.8" / 223 mm • Front Diameter 114 mm / 4.5" • Weight w/ servo handgrip: 6 lb / 2.7 kg • 31.5 mm Image Circle. • LDS and /i lens data capable through electric contacts in the mount • Adjustable Back Focus, No Shims Detachable Servos for 19-90 mm and 85-300 mm • Macro Focus

Fujinon Cabrio 85-300 mm T2.9 (ZK3.5x85)

• Zoom Ratio 3.5x • Aperture T2.9 from 85-220 mm ramps to T4 from 220-300 mm • Close Focus 47.2" / 1.2 m • Length: 9.8" / 249 mm • Front Diameter 114 mm / 4.5'' • Weight w/ servo handgrip: 3 kg / 6.6 lb • Wgt w/out servo handgrip: 2.5 kg / 5.5 lb

Fujinon Cabrio 85-300 mm T2.9-4.0

14 Feb 2013 • Issue 52 Using Preston FIZ and Microforce with Fujinon Cabrios

The new Fujinon Cabrio zoom lenses come with a detachable servo handgrip that has 3 internal lens servo motors. The focus, iris and zoom servo motors can be controlled with a Preston wireless FIZ by connecting a Preston-Fujinon Interface between the MDR (Motor Driver) and the Cabrio’s 20-pin Hirose connector. For wired zoom control, a digital or analog Microforce can be plugged into the Cab- rio’s 12-pin Hirose connector using the same Interface box and a different cable.

Caution: Analog Microforce controls prior to V+F3 and Digital Microforce controls prior to Digital Microforce2 must Dip switches 12-pin Hirose (for wired EXT 20-pin Hirose be (or have been) updated to prevent the possibility of under rubber flap Microforce zoom control) (for wireless FIZ control) damage to the lens servo electronics. All video cables used with the Microforce should have a green band identifier, indicating that a protection transis- tor has been installed. See the document: “Required Updates for Microforce Controls” on the Downloads page, Service Bulletins, of the Preston Cinema website: www.prestoncinema.com/downloads.html Neither Fujifilm / Fujinon nor Preston Cinema Systems nor Film and Digital Times are responsible for any damage to Cabrio lenses or Preston Cinema Systems devices by following the advice here or using one Cable with green band for Microforce: Cable with Interface Box for wireless FIZ: product with the other. plugs into Cabrio’s 12-pin connector connects MDR to Cabrio’s 20-pin connector

If your camera cannot power the Cabrio through the lens mount, you need an additional cable from Fujinon: Cable Description Camera SA-206M-1R2 20 Pin Lens to 12 Pin Camera SONY F65, F35 SA-206K-1R2 20 Pin Lens to 4P XLR Power Red One, Red Epic, Canon C300, Early Alexa SA-206K-1R2P 20 Pin Lens to D-Tap Red One, Red Epic, Canon C300, Early Alexa SA-206R-R60-US Y Cable: 20 Pin Lens to 20 Pin Preston FIZ Cable and 4 Pin XLR Power Red One, Red Epic, Canon C300, Early Alexa

Proper operation of the lens with a Microforce requires that ver- A dip switch on the lens is provided for changing the amount of sion “H” firmware (or later) is installed. The firmware version is zoom “dead zone,” which corresponds to the amount of force that indicated by a label next to the Zoom Manual/Servo switch. must be applied to the control before the lens begins to respond. If the firmware label is not present or is previous to the “H” There are two groups of switches as shown in this picture: switch version, contact your nearest Fujinon service center to arrange a 3 should be in the OFF position for minimum dead zone. firmware update. In the US, the locations are at: tinyurl.com/cabrio-usa

Firmware Label Switch 3 should be in the OFF position for use with a Microforce Zoom Issue 52 • Feb 2013 15 135 mm Primes Leica -C The 135 mm T2.1 is the newest member in the set of 12 Leica Summilux-C lenses: 16, 18, 21, 25, 29, 35, 40, 50, 65, 75, 100, and 135 mm. Gerhard Baier will hand-carry the latest pre-production Leica lens from the factory directly to Micro Salon in Paris. • Aperture T 1.4 - 16 • Iris blades 16 (and single leaf for full closure) • Front diameter 115 mm / 4.53" • Length / Weight 205.5 mm / 8.1'' around 3 kg / 6.6 lb • Close Focus / Mount 1.2 m / 4' PL mount • Image Diagonal 33.5 mm

ZEISS Compact Prime CP.2 The 135mm T2.1 lens is one of the newer members of the ZEISS Compact Prime CP.2 family: 15, 18, 21, 25, 28, 35, 50, 85, 100, and 135 mm. They come with a choice of 5 interchangeable mounts: PL, Canon EF, Nikon F, Micro 4/3 (MFT) and Sony E mount. • Aperture T 2.1 - 22 • Iris blades 14 • Front diameter 114 mm / 4.5 in • Length / Weight 149 mm / 5.9'' 1.6 kg / 3.5 lb • Close Focus / Mount 1 m / 3'3'' PL, EF, F, MFT, E Mount • Image Diagonal 43 mm (full 35mm still format – 24 x 36 mm)

Canon Cinema Prime Canon's CN-E135mm T2.2 L F joins the set of 5 Cinema Primes: 14 mm T3.1, 24 mm T1.5, 50 mm T1.3, 85 mm T1.3, and 135 mm T2.2. Canon EF-mount only. • Aperture T 2.2 - 22 • Iris blades 11 • Front diameter 114 mm • Length / Weight 118.4 mm / 4.7" 1.4 kg / 3.1 lb • Close Focus / Mount 1 m / 3'3" EF Mount • Image Diagonal 43 mm (full 35mm still format ­– 24 x 36 mm)

Sony CineAlta Prime

Sony’s 135 mm T2.0 is one of 6 second generation primes introduced in February 2013. The set consists of 20, 25, 35, 50, 85, and 135 mm lenses. • Aperture T 2.1 - 22 • Iris blades 9 • Front diameter 114 mm / 4.5 in (Max barrel diameter 118 mm) • Length / Weight 145 mm / 5.7'' 2.4 kg / 5.3 lb • Close Focus / Mount .85 m / 33.4'' PL mount

ARRI/ZEISS Ultra Prime ARRI/ZEISS Ultra Prime lenses were originally introduced in 1998, followed by LDS Ultra Primes. The 135 mm UP is still one of the smallest and lightest weight of the 135 mm collection. • Aperture T 1.9 - 22 • Iris blades 10 • Front diameter 95 mm / 3.7" • Length / Weight 119 mm / 4.7" 1.6 kg / 3.5 lb • Close Focus / Mount 1.5 m / 5' PL mount

16 Feb 2013 • Issue 52 135 mm Primes

Cooke 5/i

The 135 mm T1.4 Cooke 5/i has an illuminated focus scale, and /i data contacts in the PL lens mount and a /i 4-pin connector on the barrel. • Aperture T 1.4 - 22 • Iris blades 7 • Front diameter 136 mm / 5.4" • Length / Weight 219 mm / 8.6'' 5.1 kg / 11.2 lb • Close Focus / Mount .80 m / 31.5'' PL mount • Image Diagonal 30 mm

Cooke S4/i

The 135 mm T2.0 Cooke S4/i has /i data contacts in the PL lens mount and a /i 4-pin connector on the barrel. • Aperture T 2 - 22 • Iris blades 8 • Front diameter 110 mm / 4.3" • Length / Weight 184 mm / 7.3'' 2.25 kg / 5 lb • Close Focus / Mount .85 m / 33'' PL mount • Image Diagonal 30 mm

Cooke Mini S4/i

The stars formerly known as Panchros are now called Mini S4/i. The 135 mm T2.8 has built-in /i lens metadata via contacts in the PL mount. • Aperture T 2.8 - 22 • Iris blades 8 • Front diameter 87 mm / 3.4" • Length / Weight 157.8 mm / 6.2'' 1.8 kg / 4 lb • Close Focus / Mount .79 m / 31'' PL mount • Image Diagonal 33.5 mm

ARRI/ZEISS Master Prime

The maximum barrel diameter of the 135 mm is 128 mm / 5". LDS Lens Data System contact in the PL mount. • Aperture T 1.3 - 22 • Iris blades 11 • Front diameter 114 mm / 4.5 in • Length / Weight 224 mm / 8.8" 2.8 kg / 6.2 lb • Close Focus / Mount .95 m / 37" PL mount

Issue 52 • Feb 2013 17 Master Anamorphic in Paris

Left to right: Roberto De Angelis, Cyrille Dufaut, Fanny Coustenoble and Christian Abomnes. Photo: Simon Noizat This is interesting--shooting with 1 lens By Natacha V and Natasza C, ImageWorks monuments as souvenirs. This story began at Camerimage 2012. Michel Abramowicz, FDTimes: What do you think of anamorphic? AFC and Stephan Schenk, ARRI General Manager Business Unit Roberto De Angelis: For me, Anamorphic “scope” is Cinema. I’ve Camera & Digital Intermediate Systems, discussed ideas for Micro done comparisons with Super35 in the past and anamorphic has Salon. They both agreed to present the first images shot with the a depth that spherical does not have. The anamorphic perspective first Anamorphic ARRI/ZEISS Master Anamorphic lens in the reminds me a little of 3D. Also with anamorphic, focus becomes Micro Salon screening room. an important narrative element because you can tell two stories In early January 2013, ARRI entrusted a single 50 mm ARRI/ZEISS in the same frame. At night, the quality of out-of-focus highlights Master anamorphic lens to Roberto De Angelis, accompanied by and points of light in the background (bokehs) bring us additional Michel Abramowicz, AFC. The shoot took place in Paris for three artistic possibilities. When shooting with digital cameras, days and reunited a great team of professionals. anamorphic brings us closer to the look of the film. These images were shot with an ARRI Alexa Plus and Studio 4:3, I was amazed by the lack of distortion with the Master Anamorphic recorded on a Codex Onboard S, and downloaded and cloned with 50 mm lens and that we could do the entire film with this lens. Also, a Codex Vault. Most of the exterior and interior shots were filmed it is beautiful wide open, and it has the great advantage of being on location with a Steadicam. Running shots in Paris, day and very light and compact. night, were done with a Scorpio Arm from Next Shot. FDTimes: Michael, can you describe the characteristics that you The story of the film “A Trip to Remember” takes us into Paris with found with this lens? two young tourists who enjoy going out and partying. They forget Michel Abramowicz: At the moment I have not yet seen the images the classic tours of the city and its monuments. A few hours before projected on a large screen and I still can not make definitive their departure they make up for lost time and take pictures of the conclusions as the entire process is not finished. But at first glance

Michel Abramowicz, AFC Photo: Simon Noizat

18 Feb 2013 • Issue 52 Master Anamorphic (cont’d)

Camera Car and Scorpio Arm from Next Shot. Photo: Simon Noizat

the ARRI/ZEISS anamorphic is very beautiful, it is made with For my part, working on this production with a lab in Germany, I great care. We used it at full aperture. I was surprised that it was received the Capture Drives from the Codex Onboard S. I inserted difficult to have flares. The lens is very well made, giving it both these into the Vault to make a first copy onto the internal hard advantages and disadvantages because the image is structured and drive of the Vault. I also used the Capture Drive to make a copy without distortion. The scope format is very interesting, out-of- of the .ARI files onto an external RAID5 array. This was done in a focus blurring is more pronounced. single operation, which is handy, as the Vault is programmable to Today digital is what it is, but with a Codex (ARRIRAW recording) chain such operations. The transfer time is fast. and an anamorphic lens, we come back to a cinematic image. It is a You can also make a copy of the Capture Drive onto a Transfer pleasure to meet Cinemascope again. Drive which will go to the laboratory where it is unloaded and FDTimes: Etienne Bertrand, you worked on this production as checked. The lab gives us a green light on location so we can erase DIT. What was your workflow? and reuse the Capture Drive. The lab returns the Transfer Drive to us; it is like a shuttle disk. Etienne Bertrand: On this job, we had a Vault—which is a device made by Codex that allows us to upload and/or clone the recorded I think a tool like the Vault is essential when we shoot far from images. The Vault has different modules that can be added or the laboratory. It lets us make copies in native format and/or store removed as needed. There is an internal memory module of 8 TB. images internally or even on LTO. The fact that it can receive You can also add an LTO module for archiving. I find this modular different types of media allows a single device to copy and transfer configuration interesting because you can set up a Vault according from different sources to different deliverables. Currently, the to different requirements of a production. Codex Vault accepts Data Packs from OnBoard M, Capture Drives from Onboad S, and soon, SxS cards. ☐

Photo: Anastasia Durand

Issue 52 • Feb 2013 19 AKS for Sony F5-F55 ARRI Pro Camera Accessories ARRI’s Pro Camera Accessories for Sony’s new F5 and F55 are ARRI’s top plate for Sony F5-F55 has multiple mounting points compatible with ARRI and industry-standard mattebox and fol- for accessories. It can also be used as a Steadicam low mode plate. low focus systems. The baseplate includes a built-in “Touch and The handle attaches at 3 different positions for choice of balance. Go 35” plate and accepts studio bridge plates such as ARRI’s BP-8 An optional 15 mm lightweight support rod holder attaches to the or BP-9. Rosettes on each side provide mounting points for hand- front of the top plate, optically centered to the camera. grips and extensions. ARRI’s Viewfinder Adapter VFA-1 lets you mount Sony viewfind- The shoulder pad mounts directly to the bottom of Sony F5 and ers to the handle in any position where there’s a 3/8-16 thread. F55 cameras with a hand screw and can be used independently of FDTimes’ updated booklet on Sony F5-F55 has more details and the baseplate. When used with an ARRI’s base plate, the shoulder can be downloaded at: tinyurl.com/SonyF55 pad can remain attached.

ARRI Pro Camera Accessories

Element Technica Accessories Element Technica and their new top handle lets you mount the cold-shoe, rosette or Sony EVF dovetail. Below, right: F55 with viewfinder in all kinds of positions: up front for handheld, at the Element Technica Micron base-plate system, Angenieux Optimo rear for operating on a geared head or dolly. Plus mounting by DP 16-42 mm zoom, ARRI mattebox, OConnor 1030D fluid head.

Element Technica Accessories

20 Feb 2013 • Issue 52 Nikon D600 Full Frame 24 x 36

Above: Nikon Soothsayers prowling the halls this fall at IBC, Cinec, Photokina, D600 with its F and prognosticated predictable picture product trends: bayonet mount we’re moving toward a world of “scalable” 24 x 36 mm full frame still format sensors not only for stills, but also for motion pictures. Right: FX format Nikon announced their 24.3-megapixel D600 in September. The sensor 24.0 mm x F-mount of the D600 (and the D800, and all the other Nikon FX 35.9 mm DSLRs) accepts lenses with different image circles. You can use both FX (full frame, 35.9 mm x 24.0 mm) and DX (APS-C size, 23.6mm x 15.6mm) formats. The camera knows which size is be- ing used. When the camera menu’s “Auto DX Crop” is turned on, images from DX lenses, which normally would vignette because The D600 can record 1080p HD at 1080p 24, 25, or 30 fps, among of their smaller image circle, are cropped to their native APS-C other resoltions and frame rates. It has manual exposure control, size and then “blown up” to fill the frame. onboard microphone, external stereo audio input, and headphone jack. Audio levels can be displayed on the LCD with peaking. If you’re shooting video with a DX lens, it won’t look like shoot- The image can be displayed on the LCD screen while simultaneously ing through a keyhole. And, even though your lens covers a 1.5x shown on another monitor via the HDMI output, which also can provide smaller area within the D600’s 24.3 million pixels, it’s an area with via the HDMI connection to a digital recorder. the same remarkable pixel count as your DX-sensor D7000 (16.2 million pixels). lenses use an internal IC chip that communicates the type of lens, whether FX or DX, to the camera. Nikon Senior Technical Manager Steve Heiner says, “As far as I know we are the only major manufacturer doing this…and we’ve done it with every FX DSLR we’ve made. “And don’t forget the additional crop option in the D4 that gives you a third cropping option—the 1920 x 1080 (2.7x) crop mode for movie mode only. This crops the FX format sensor all the way down to exactly 1920 X 1080 pixels for a very clean, pixel-for- pixel recording mode. It is great for long lens shooting, although a little more challenging for wide angle given the 2.7x crop factor. But it’s a great option that I have used quite a bit for concert pho- tography where I didn’t have a lens longer than 200 mm. With the 2.7x crop, that makes my 200 mm a 540 mm f/2.8.” Camera designers are benefitting from ever increasing pixel den- sities on the sensor. Soon, one sensor will be able to work with FX, DX, PL, 16mm and 2/3" formats—all at very high resolutions offering scalable formats, a plethora of aspect ratios, and limitless looks.

Issue 52 • Feb 2013 21 Canon 6D Full Frame 24 x 36

A star of September in Cologne was Canon’s EOS 6D Digital Canon’s EOS 6D has a built-in wireless transmitter to send images SLR Camera. It has a newly-designed 20.2-megapixel full-frame and video to , tablets, clouds, and social networks. CMOS sensor, built-in Wi-Fi and GPS. In the great ascent to the The free Canon EOS Remote app is available for iPhones, iPads, lofty heights of Canon full-frame cameras, the 6D is the advanced and Android smartphones or wireless tablets to remotely con- entry-level model that has most features, if not more than the nect, control and operate the EOS 6D. The expression “phoning EOS 5D Mark II, the camera that started all this fuss over HD- in a job” takes on new meaning. SLRs. Climbing further, you can choose Canon’s 5D Mark III, and reach the summit with EOS 1D X and 1D C. If your itchy finger is OK with 100,000 shutter cycles (that’s a lot of pictures), then the 6D will satisfy and leave sufficient funds to purchase many of the lenses you will desire. The EOS 6D is the entrance into the world of full-frame 24 x 36 mm imaging (actual size is 23.9 x 35.8 mm). Canon excels at low light. The EOS 6D has an ISO range of 100- 25,600. A low setting takes us down to Kodachrome levels of 50 ISO. There are two high settings, H1: 51,200 and H2: 102,400 ISO. Taking some of its cues from the other members of Canon’s EOS 5D series, the EOS 6D offers full manual control of exposure and audio levels while shooting video. The camera has NTSC and PAL video modes at multiple frame rates, recording 1080p at 30 (29.97), 24 (23.976) and 25 fps, 720p at 60 (59.94) and 50 fps and standard def at 30 (29.97) and 25 fps. Video files are MOV (H.264). The camera shoots up to 29 minutes and 59 seconds of continuous recording (with 4 GB automatic file partitioning) in selectable “All i-frame” or IPB compression with embedded timecode.

22 Feb 2013 • Issue 52 Schneider Lenses

Schneider-Kreuznach showed three pre-production lenses called Schneider’s Cine-Xenar III primes are available now. They come Video Xenons: 25 mm T2.1, 50 mm T2.1, and 75 mm T2.1. They in PL mount and cover an image circle of 31.5 mm. There are cur- cover full-frame still format, with Canon EOS (EF) and Nikon rently six in the set: 18 mm T2.2, 25 mm T2.2, 35 mm, T2.0, 50 F mounts. The irises have 14 blades. Aperture range is T2.1 -22. mm T2.0, 75 mm T2.0, 95 mm T2.0. Minimum Aperture is T16. Peter Denz Canon Handgrip System

Canon EOS C100, C300, and C500 cameras have a proprietary handgrip mounting point on the camera right side. This must have horrified Peter Denz, whose Präzisions-Entwicklung DENZ Fertigungs GmbH is one of the leading suppliers of CNC ma- chined industry-standard Hirth tooth rosettes. Mr. Denz came up with this elegant accessory to mount the origi- nal Canon handgrip wherever you like. A Canon mount to Hirth tooth rosette adapter lets you attach the handgrip on a Denz Universal Handle System or any other system. The handgrip can also be mounted on 15 mm rods with a Denz adapter. A coiled cable plugs into the Canon camera for start/stop and lens control. Clairmont Alexa In-Camera Filters & Effects Designed by Clairmont’s very own Andree Martin, these In-Camera Net Holders and In- Camera Blue Streak Effects are available to rent with Clairmont Camera’s ARRI Alexas. The In-Camera Filter System will be available for purchase from Schneider in the near future. Like the net holders, the Blue Streak Effect “Filter” is held in place magnetically, and can be used as a stand-alone effect or piggybacked on any filter placed in the filter carrier. Unlike streak filters used in a mattebox, no glass is used in the filter ring. Therefore, there is no focus shift or possibility of unwanted re- flections caused by the filter being placed in the Above: Clairmont Blue Streak Effect Filter on Cooke optical path. The filter ring can be rotated to S4/i 100 mm lens. any position desired during installation. This Left: Blue Streak Effect filaments in ARRI Alexa. creative option allows the resulting streaks to be vertical, horizontal or anywhere in between Right: Clairmont on the photographed image. In-Camera Blue Streak Effect filter with magnetic The light reflects off the filament rather than holder for ARRI Alexa and illuminating the length of it—so if you want insertion tool horizontal streaks, insert the blue streak effect filter with the filaments aligned vertically into your Alexa. More info: http://tinyurl.com/clairmont-streaks Issue 52 • Feb 2013 23 iDC Photo Video New from iDC Photo Video: At left, their clever XL Monitor (and Viewfinder) Fo- cusing Plate puts follow focus accessories in front of the camera, and viewing devices behind. iDC has done something that will send most machin- ists out of the room or into heavy overtime. Beveling the end of a gear at a 45 degree angle is not a simple task. The benefit, when done right (as iDC has done) is an elegant design with fewer moving parts. Direct Geared Drive is helpful on stiff lenses or when the temperature drops below 0 and barrel grease thickens. www.idcphotovideo.com

Two ways to drive your lenses: Direct Geared Follow Friction Follow Focus. No Gear Box Focus

Easyfocus in Madrid Easyfocus is a distance measurement tool for focus-pullers. Invented by Fritz Gabriel Bauer, AAC, who designed the Mov- iecam and Arricam, Easyfocus combines an extremely precise reader with a touchscreen. Easyfocus Systems now support cmo- tion, Preston Cinema Systems and ARRI. Easyfocus recently worked 5 nights on location in Madrid for 2013 Mercedes E-Class commercials. A Filmotechnic Russian Arm SUV was equipped with an Alcicam ARRI Alexa (shooting at 120 fps), Preston FI+Z, Angenieux Optimo 17-80 mm, seven Master Prime lenses (18, 25, 35, 50, 75, 100, 150 mm) and the remote Easyfocus System. Erik Schwarz, 1st AC, said, “Night-shooting, no rehearsals, low light, 100 km/h, Rock & Roll style—using the Russian Arm and lenses like the Master Prime 150 mm at T1.3—only with the Easyfocus was it possible to get and keep these pictures in per- fect focus. Easyfocus is truly a focus pullers’ best friend.” Ros Bot The superb “Bot Trilogy” by Philippe Ros, AFC explores workflow with Sony F65 and Leica Summilux-C lenses. The films were produced by Martin Kreitl (MKM productions), Nicolas Pollacchi, (HD Systems) and Ben Elia, who also was Director (Exoplanet Films). Olivier Garcia (HD Systems) revisited the F65’s Debayering, LUTs, and Gamma curves. The three short films, first on nature, second by night with 350 W lighting equipment in extremely dark conditions, and the third exploring skin tones of two generations of women were graded by Laurent Desbrueres, senior colorist. Production was made possible by Sony Europe, Leica, FGV Schmidle, EMIT Love Bot Crew. Photo: Markus Schmidle. France, K5600 lighting, ACC&LED, and Vantage Film. Digimage Cinema was the post-production facility. 24 Feb 2013 • Issue 52 Cinetech Italiana Adam Wilt’s Cine Meter by Jacques Lipkau-Goyard Romans know a thing or two about moving vehicles: chariots, Fi- ats, Ferraris, Maseratis, and Lamborghinis. So it’s no surprise that there is a superbly crafted line of motion picture camera dollies made in Rome by Cinetech Italiana. Cinetech Italiana has been located near the famous Cinecittà Studios for over 25 years. The dollies are designed by founder and CEO, Armando Grottesi. Mr. Grottesi has a background in mechanical engineering and 40 years of experience in the film equipment manufacturing business. Cinetech Dollies are stable, versatile, extremely smooth and provide precise arm movement even with heavy camera loads. They use the latest technology and structural materials. If you’ve been dragging your feet about getting the new larger- screen iPhone 5, Adam Wilt’s new Cine Meter app is reason The new Electronic/Hydraulic Dollies provide a hybrid of ben- enough. It uses the iPhone’s camera as a reflected , efits from the newly engineered hydraulic system along with the RGB monitor, white balance checker, color temperature matcher, precision of memorized start, stop, and intermediate positions. and contrast viewer (false color picture mode). Cinetech sells dollies to the customer. They don’t rent. Cinetech The light meter shows stops as whole numbers and decimals or leaves rental to rental houses in 35 countries that include: ARRI fractions (like f/4.0 ⅔). You can calibrate Cine Meter to match (Germany), Cinecittà Studios (Italy), Panalight (Italy), China your other meters to a tenth of a stop. Film Group (Beijing), Bogdan i Brigada (Russia), X-Ray (Russia), Gamma Engineering (UAE and Lebanon), Movie People (Italy This single device will let you multi-task on set with style: ensur- and Malta), AMG Universal Cine (Italy), Harrison and Watkins ing correct exposure while ensuring future employment with fre- (New Zealand), Proaction Media Services (Dubai), and Camaras quent calls to your agent. But first, use your iPhone to download y Luces (Argentina). the app immediately: www.adamwilt.com/cinemeter Jonas Pagazaurtundua of Camaras y Luces said, “Cinetech Itali- ana products filled a need for scissor dollies that we couldn’t meet Adam Wilt writes: before in Argentina. Doing business with Armando was always pleasant. We had the opportunity to visit his company in Italy and “Cine Meter sprang from a Cinematography Mailing List discus- found out that it was mainly a family business like our own. He is sion about using an iPhone as a color meter. I was between gigs, a man of hard work and understands customers’ needs. The dol- so I took this on as a challenge. lies were consistent and easy to use. Cinetech is now one of our “iPhone cameras don’t let you preset white balance, only lock or principal suppliers. Exchanging parts has been easy and customer unlock it, and they don’t say what the resulting color balance is. service has been perfect. Currently we have 10 Super Falcon II But they do report brightness. That let me implement a simple and 4 Super Hawk II dollies.” light meter, with matrix and 10° spot modes courtesy of the cam- A new Dolly, the ALBATROS, will be present- era’s capabilities. Big deal: there are dozens of light meter apps. ed this May at Cine Gear Expo 2013 in Los What else could I do? Angeles. Meanwhile, Cinetech Dollies “Being an engineer, I added a waveform monitor. Even though will be on display at the CINESYL an iPhone’s camera isn’t quite up to Alexa standards, I thought a booth during the AFC Micro handheld WFM might be useful: a meter just gives you a number, Salon in Paris this February. while a WFM shows how the light falls across an area. I also put www.cinetech.it in a false-color mode for use as a contrast checker. “The WFM has an RGB mode, so you can see relative proportions of red, green, and blue. It’s handy for comparing light sources, seeing how an instrument’s color shifts as it’s dimmed, how pure a greenscreen is. It may not be a color meter but it’s as close as I could get, and in many cases it turns out to be good enough for practical set work. DP Art Adams, one of Cine Meter’s beta testers, says: “Cine Meter is a great app for checking the evenness of green screens and white limbo backgrounds, things that I often pre- light before the camera arrives. Traditionally I’d use a spot meter or waveform monitor for this, but Cine Meter shows me bright- ness levels across the entire frame all at once so I don’t have to take several dozen 1° spot readings or wait for the camera to be set up.” Issue 52 • Feb 2013 25 Darius Khondji on Philippe Parreno’s "Marilyn"

photo by Rob Kassabian. Atelier Philippe Parreno. by Darius Khondji, AFC, ASC

We used the Louma 2 for an interesting sequence on one of The rain is artificial and the Manhattan skyline is a a backdrop, Philippe Parreno’s latest works, “Marilyn.” but we do not stop there. Philippe Parreno is one of the greatest French artists with whom I We continue the pull out until we pass through the actual doors of have worked. We previously collaborated on “Zidane, a 21st Cen- the studio into the exterior street of Greenpoint, Brooklyn. tury Portrait” and 3 other projects. Philippe's point of view and Finally, the camera rises above the stage roof to discover the real ideas on images are very unique. He is the artist I can experiment Manhattan skyline. End of shot. with the most. For this shot, we had the Louma 2 on 120' of track. We used an Philippe wanted the camera to act as Marilyn’s ghost point of ARRI Alexa in RAW with old anamorphic Cooke Taylor Hobson view, while a specially designed robot had been trained to re- lenses. produce Monroe’s handwriting and another to recreate her voice “… almost like a dead corpse being brought back to life…” said We set the Louma 2 remote head in over-slung mode in order to Philippe. get a little more height and perspective above the stage roof. The Louma 2 shot started inside Marilyn’s suite at the Waldorf The smooth telescope move was needed to start out over the set, Astoria Hotel, looking through a window at the Manhattan sky- so that the initial illusion was there without seeing the track. The line. It is raining, and we see the beads of water running down the Louma’s telescoping ability also was needed at the end of the shot window glass… then we start a slow pull out, revealing the first to avoid power lines while rising up above the studio. room of Marilyn’s suite. As we are continuously moving, we hear Our Louma 2 technician was Paul McKenna. Tommy Prate was our her voice and we see the robot that is reproducing accurately one Key Grip, and they both did a fabulous job orchestrating this shot. of the letters she wrote. I also had a great camera assistant, Bob Ragozzine and a great We continue the long track back into a second room, seeing the Gaffer, John Raugalis. beautiful furniture. I want to thank CSC New York for their camera support and Very slowly, we start to realize that we are in fact in the middle of Panavision New York for their support with the Louma 2. a set on a movie stage, with the lights, the crew, etc.

26 Feb 2013 • Issue 52 Lighting with Paint Marie-Denise Villers (1774-1821)

Young Woman Drawing 1801. Oil on Canvas

63 1/2 x 50 5/8 in. (161.3 x 128.6 cm)

Metropolitan Museum of Art, New York City

by Jon Fauer, ASC “We lost the natural morning light because the director kept ask- Marie-Denise Villers was a student of Girodet. This painting, ex- ing for changes in my wardrobe and hair style. The sun had de- hibited in the 1801 Salon, may be a self portrait. It was attributed parted its promised position—promised, that is, to the producer to Jacques-Louis David for a long time. It now hangs in the Met- who had budgeted this scene for available light. David came to ropolitan Museum of Art in New York in the front gallery at the what I thought was the rescue by offering a 12K from his truck at top of the main stairway. Viller’s delight in backlight is remarkable no charge to production, in return for Executive Producer credit. for its treatment of luminous bounce-fill whose source is in the “The 12K was positioned on the parapet outside the window, out frame. I wanted to learn more. What was she drawing? of view, and aimed onto my golden hair. I realized that a slight I jumped into the FDTimes Time Machine and joined the two amount of fill light would be needed. I had heard of some funny characters standing outside the window. The gentleman was none Austrians who used mirrors and things to bounce light all over other than Jacques-Louis David, the famous artist, who had vol- the place. But with no Austrians or mirrors at hand, I decided to unteered to be gaffer on this day. The fashionably well-dressed use my sketch pad to bounce the backlight back onto my visage. lady was chef machiniste (key grip). I borrowed David’s pocket I confide with pride that it took the skill of a seasoned billiards telescope to see what Viller’s was drawing. She was not drawing. player to catch the light just so, without spilling any of it onto the She was writing: beautifully dark wall behind me.” Issue 52 • Feb 2013 27 Reflections on Reflections

Giulio Parigi: Archimedes’ Mirror. 1600 Fresco in the Uffizi Gallery, Stanzino delle Matematiche, Florence, Italy

By Frédéric-Gérard Kaczek, AAC Almost everything is related to light. We have two ways to per- ceive light: direct or indirect. The “direct way” can hurt the eyes: looking at the sun, a fire, or a bright artificial light source. The “indirect way” to see light needs something intermediate: a trans- parent (photographic slide, colored gel), translucent (diffuser), or reflective surface (solid and fluid objects, people, plants, and ani- mals, skin, fluids and dust suspended in the air). As early as 4500 years ago, the ancient Egyptians used natural Vilhelm Hammershøi. sunlight and strategically placed mirrors to reflect it. There are Interior with Young Man Reading. 1898 legends of Archimedes using mirrors that focused sunlight to 64.4 × 51.8 cm Oil on Canvas. burn holes in enemy Roman ships during the siege of Syracuse in Hirschsprung Collection, Copenhagen. 214-212 BC. Giulio Parigi painted a fresco of Archimedes' tech- nique in 1600. been experimenting with bounce light using different materials Fire also attracted Georges de la Tour. From about 1624 to 1650, and surfaces. Walter Lassally, BSC used this technique often. One the subjects of his paintings were mostly lit by a single candle. of the best examples is A Taste of Honey. At the same time, French Sometimes he showed the flame, sometimes he hid it, but he al- cinematographer Raoul Coutard used this method of bouncing ways depicted the reflections created by this single light source. lights off the ceiling, especially while lighting A bout de souffle In the 1660s, the beauty of reflected daylight was captured in Jan (Breathless) in 1959 and Pierrot le fou in 1965. He pointed pho- Vermeer’s paintings, among them a geographer and an astrono- toflood bulbs towards ceilings and walls in order to create even, mer standing next to a window. natural, soft illumination with reflected light. And Nestor Almen- dros, ASC used bounce light while filmingMa nuit chez Maud Another astronomer and scientist was working with windows, (My Night at Maud’s) in 1968. “flagging” the sunlight into a narrow beam of daylight that would shine on a glass object. His name was Isaac Newton. “White” Sometimes Raoul Coutard would increase the intensity of the re- daylight was refracted with a prism and resolved into its com- flections by taping aluminum foil to the ceiling. This method in- ponents. The light rays created reflections of red, orange, yellow, creased the exposure level and also allowed him to shoot virtually green, blue, and violet on a white board. Newton, who published any angle in the room. the fundamentals of our modern understanding of light and color No Hollywood production was complete without a set of silver in 1672, also used the power of curved mirrors while building his and gold, bright and dull shiny boards, large reflectors usually telescope. made of plywood covered with aluminum and metal foils of vari- More recently, other painters have shown a particular interest ous textures. in painting light itself or showing the beauty of light reflections: Aluminum is also a favorite reflecting material used by the Tyrole- among them Vilhelm Hammershøi (1864–1916), Edward Hop- an (Austria) engineer, scientist, and architectural lighting designer per (1882–1967), and René Magritte (1898–1967). Prof. Dr. h.c. Ing. Christian Bartenbach. One of his LichtLabor ac- In 1929, Louis-Georges Masquelier received a patent for his “new tivities is the development of special reflective surfaces as well as procedure of lighting an interior.” In fact, he suggested placing re- spherical and aspherical designs to be used in combination with flecting domes on top of light sources mounted on walls or locat- searchlight-type lamps for architectural illumination worldwide. ed in the corners of a room in order to reflect light to the center. Inspired by indirect lighting methods, some Austrian cinema- Since the mid-1950s, many cinematographers worldwide have tographers, among them my AAC colleagues Christian Berger, 28 Feb 2013 • Issue 52 Reflections on Reflections (cont’d)

Moritz Gieselmann, Walter Kindler and Stephan Mussil started shooting with handmade aluminum reflector-boards placed in the beams of industrial lamps. Cinematographers worldwide had been bouncing their lights off all kinds of surfaces: bedsheets, bleached and unbleached muslins, beadboard, foamcore, show- cards, Griffolyn, umbrellas, and enough other products to keep companies like Pat Caputo’s The Rag Place very busy. The method of indirect lighting is widespread among almost all cinematog- raphers, but the choice of different reflective surfaces remains rather limited. In 2005, I established my company to create, among other things, suitable indirect lighting tools for image acquisition. Based on my own experience, and following suggestions by colleagues, I built a wide palette of lighting tools called K-Flector. Users can choose from an assortment of 17 reflecting surfaces, each of them with a precisely defined reflection. Gaffers and cinematographers can modulate their reflector boards as key light sources. Our K-Beam luminaires are powerful, making it quite easy to use just one, or very few, and divide this light energy among several K-Flectors. By the way, creating several precise light sources using just one lamp offers a number of advantages: less consumption of electri- cal energy, less cabling, easy rigging, less heat on set, hopeful- ly saving time and money. We called our system Kflect-Reflect Lighting System (Kflect-RLS) to emphasize that our products are dedicated to most kinds of lighting challenges and not limited to cinematography only, since we have several renowned photogra- phers and lighting designers as clients. Since 2009, my partners and I developed a series of improve- ments. We appreciate and always try to implement clients’ feed- back. With the close cooperation of several gaffers, electricians, grips, photographers and cinematographers, Kaczek Visuals de- signed easy-going accessories called K-Grip, which are compat- ible with grip tools from other manufacturers. Time-consuming tinkering finally is a thing of the past. For example, the Kflect-RLS set of lightweight magnetic holders (Magneck and Magbone) enable fast and secure mounting of K- Flectors without running the risk of damaging the sensitive re- flecting layers. Our Magball is a patented lightweight holder that enables fast and precise adjustment of a K-Flector. Other popular designs include our K-Holder, K-Board and Vacuflect. We offer 2 parallel light-emitting luminaires. The one with a 40 cm lens diameter is the K-Beam-40. The 70 cm lens diameter unit is the K-Beam-70. These fixtures can be equipped with HMI bulbs from 575 W to 1800 W and with ballasts (standard and high speed) from several manufacturers. Frédéric-Gérard Kaczek, AAC was born in Brussels. After film stud- ies at INRACI in Brussels and at Barrandov Studios in Prague, he Our custom K-Bags are lightweight and durable. They offer fast began working in 1971 as a camera assistant in Vienna. He became handling, good protection and easy transportation of all our a cinematographer in 1986, and also worked for ARRI, cmotion, Kflect-RLS components. For “learning by doing,” we introduced Moviecam and P+S Technik. He wrote user guides for Moviecam two sets of Kflect-RLS Starter-Kits: the smaller K-Bag DoP and cameras and the Arricam System. In 1996, he was appointed IMA- the K-Bag XL Starter-Kit. All components of our Kflect-RLS are GO General Secretary and Manager of its book project “Making built in Europe and assembled in Austria with particular care to Pictures – a Century of European Cinematography.” In 2005, Fré- ecology and sustainability. déric established Kaczek Visuals for R&D, manufacturing, and Reflecting on the long history of reflected light, Kaczek Visuals sales of his specialized products. The Kflect-RLS system was intro- is developing helpful lighting tools. Please discover its creative duced to the world market in 2012. A second project is in develop- potential and the beauty of reflected light. www.kflect.com ☐ ment and testing; it consists of a patented camera support system named UBECAM. Issue 52 • Feb 2013 29 InEmitable by Andrew and Benjamin Steele The Flexi Grip Dolly from Panther fits in a case of 62 x 20 x 50 Andrew Steele is Président Directeur Technique & Commercial cm, and includes a Bazooka Base (3-12 legs), a Rigging System, of Emit. His brother Benjamin Steele is Directeur Général, a Tracking Dolly (36 + 62 cm gauge), Table Dolly (linear or Admnistratif & Financier. They are the smart sons of legendary freestyle), and a LowBoy/HiHat. Trevor Steele, founder of Emit, a motion picture equipment sales Betz Tools has all kinds of ways to fly your camera, including the and distribution company in Paris. Like my friends at Lewis RIG HD and the universal shoulder support “Eagle” system. Marine who sell everything for your boat except the engine, Emit sells almost everything except the camera. “It’s all about lenses and accessories,” says Trevor, an Englishman whose French is quite good despite having lived in France most of his career. Andrew is the technical guy scouring the earth for the latest devices. Ben is the administrative and financial brains. Here is their report from Paris on the state of affairs in cinema. For the past 13 years, the AFC Micro Salon has become a must- visit event in Paris, a rendezvous in the old Pathé Film Studios (now la Fémis Film School) for the entire French cinema industry. At this event, the Emit booth becomes a rallying point for major international manufacturers impatient to present their latest innovations to a key market—not only because France is the 3rd biggest film producer in the world but also Chrosziel Aladin Mk II LCS is a wireless lens control system con- perhaps for a “taste” of Paris. Once again, Emit will present a sisting of a modular hand unit and a small receiver that can handle concentré of new products that we represent in France. Here is up to 8 motors. The new OLED displays on the Receiver Box and an avant goût of what is waiting at this InEmitable stand. the Remote give complete access to the set up menu. An RF spec- trum analyzer can help identify sources of wireless interference and pick the best transmission channel at any particular location. And you can easily switch to cable using the BNC connector and a standard Video-BNC line. The Aladin MKII can handle up to 8 motors with an additional Extention Base. It can also control in- ternal lens motors like the ones in the servo handgrip of the New Fujinon Cabrio Lens. (Neither Fujifilm nor Film and Digital Times is responsible for this.)

Ronford-Baker has added a set of 2 adjustable magnetic end stops to its Sliders. The 3-axis Atlas 7 Head is modular, lightweight and rugged. Tiffen has a new range of Combined InfraRed filters: IR Pola, IR Grade, IR Glimmer Glass and more to come. PAG has developed a new way of powering with the Paglink system that allows you longer run-times from linked V-Mount Li-Ion batteries. Designed for all camera set-ups, whether you need 1 battery (96Wh 8A) or 3 (288Wh 12A). Linking batteries The cvolution knob solo basic from cmotion is an affordable for charging will let you charge up to 16 batteries simultaneously hard-wired follow focus controller knob that is compatible with on one charger. The Paglink Power Hub provides four D-Tap all cvolution systems and ARRI Alexa Plus cameras. outputs that are interchangeable with Hirose or PP90 plug-in connectors. The Paglink Battery Reader gives you access to Hard-wire it to the camin or Alexa Plus and attach it to an data stored by the battery’s microprocessor such as state of adjustable cmotion fastening bracket on the lens support rods, pan- charge as a percentage, available capacity in ampere-hours, cell bar for camera operator control, or almost anywhere else. Cvolution temperature, number of charge/discharge cycles, voltage, full knob solo basic can also be switched between focus, iris and zoom capacity in ampere-hours, date of birth (manufacture), and functions. You can set digital lens limits where the full rotation of software version. the knob can control a user-defined range on the lens. Floatcam offers a Heavy Duty version of the Dolly Crane for Cmotion’s knob solo basic can also control one hard-wired cforce cameras up to 32 kg. The DC HD will give you 2 meters of motor directly, without the camin. You only need a power supply horizontal movement, up to 90° verticality, 360° rotation, and a to the motor. An advanced version, cvolution knob advanced, jib arm. You can attach an optional Motion Control system for adds additional features: mechanical stops, torque control, and an Time Lapse. We hope to see the Wifi Remote version in action. illuminated ring. ☐ 30 Feb 2013 • Issue 52 Sponsors and Educational Partners

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© 2013 Film and Digital Times, Inc. Webmaster: Jon Stout. Foreign correspondent: Oli Laperal, Jr. Rome bureau chief: Jacques Lipkau Goyard Contributing authors: Darius Khondji, ASC, AFC, David Heuring, Danys Bruyère, Howard Preston, Jim Pfeiffer, George Duffield, Daniel Ferguson, Bill Bennett, ASC, Seth Emmons Foreign Translations: Pierre Souchar, Nina Liberman Contributing photographers: Arturo Jacoby, Jacques Lipkau Goyard, Mark Forman, Dorian Weber, Yousef Linjawi, J.A. Tadena, Sid Madezaro June 2012 • Issue 49 31 Sponsors and Educational Partners Titans of the Industry

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