ASC AWARDS FOR OUTSTANDING ACHIEVEMENT IN CINEMATOGRAPHY NOMINEES 2017


The American Society of Cinematographers announced the nominees in all five competitive categories for the 32nd annual ASC Awards for Outstanding Cinematography.

THEATRICAL RELEASE

Roger Deakins, ASC, BSC for Blade Runner 2049

Bruno Delbonnel, ASC, AFC for Darkest Hour

Hoyte van Hoytema, ASC, FSF, NSC for Dunkirk

 Rachel Morrison, ASC for Mudbound

Dan Laustsen, ASC, DFF for The Shape of Water

SPOLIGHT AWARD
Máté Herbai, HSC for On Body and Soul
Mikhail Krichman, RGC for Loveless
Mart Taniel for November

EPISODE OF A SERIES FOR NON-COMMERCIAL TELEVISION
Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles”) on Amazon
Adriano Goldman, ASC, ABC for The Crown (“Smoke and Mirrors”) on Netflix
Robert McLachlan, ASC, CSC for Game of Thrones (“The Spoils of War”) on HBO
Gregory Middleton, ASC, CSC for Game of Thrones (“Dragonstone”) on HBO
Alasdair Walker for Outlander (“The Battle Joined”) on Starz

EPISODE OF A SERIES FOR COMMERCIAL TELEVISION
Dana Gonzales, ASC, ABC for Legion (“Chapter 1”) on FX
David Greene, ASC, CSC for 12 Monkeys (“Mother”) on Syfy
Kurt Jones for The Originals (“Bag of Cobras”) on The CW
Boris Mojsovski, CSC for 12 Monkeys (“Thief”) on Syfy
Crescenzo Notarile, ASC for Gotham (“The Executioner”) on Fox

MOTION PICTURE, MINISERIES, OR PILOT MADE FOR TELEVISION
Pepe Avila del Pino for The Deuce pilot on HBO
Serge Desrosiers, CSC for Sometimes the Good Kill on Lifetime
Mathias Herndl, AAC for Genius (“Chapter 1”) on National Geographic
Shelly Johnson, ASC for Training Day pilot (“Apocalypse Now”) on CBS
Christopher Probst, ASC for Mindhunter pilot on Netflix

Four cinematographers selected as this year’s ASC Awards honorees were announced in October  Russell Carpenter, ASC (Lifetime Achievement Award), Russell Boyd, ASC, ACS (International Award), Alan Caso, ASC (Career Achievement in Television Award) and Stephen Lighthill, ASC (Presidents Award).

The winners will be revealed at the organization’s February 17 ceremony, which will be emceed this year by Ben Mankiewicz, a longtime host on Turner Classic Movies (TCM). The event will be held at the Ray Dolby Ballroom at Hollywood & Highland.

BAFTA NOMINATIONS FOR BEST CINEMATOGRAPHY 2018

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The British Academy of Film and Television Arts (BAFTA) announced  this morning, their 2017 Nominations in all categories, all awards are presented Sunday 18, February 2018.

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CINEMATOGRAPHY
BLADE RUNNER 2049,   Roger Deakins
DARKEST HOUR, Bruno Delbonnel
DUNKIRK,  Hoyte van Hoytema
THE SHAPE OF WATER , Dan Laustsen
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI,  Ben Davis

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DIRECTOR
BLADE RUNNER 2049,  Denis Villeneuve
CALL ME BY YOUR NAME,  Luca Guadagnino
DUNKIRK,  Christopher Nolan
THE SHAPE OF WATER,  Guillermo del Toro
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, Martin McDonagh


BEST FILM
CALL ME BY YOUR NAME,  Emilie Georges, Luca Guadagnino, Marco Morabito, Peter Spears
DARKEST HOUR,  Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas Urbanski
DUNKIRK,  Christopher Nolan, Emma Thomas
THE SHAPE OF WATER,  Guillermo del Toro, J. Miles Dale
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI,  Graham Broadbent, Pete Czernin, Martin McDonagh

The nominations were announced this morning, January 9th by Natalie Dormer and Letitia Wright at BAFTA’s London headquarters, 195 Piccadilly.

The EE British Academy Film Awards take place on Sunday 18 February at the Royal Albert Hall, London. The ceremony will be hosted by Joanna Lumley and will be broadcast exclusively on BBC One and BBC One HD. The ceremony is also broadcast in all major territories around the world.
  
*Nominations are correct at the time of going to print. BAFTA reserves the right to make changes to the names listed at any time up until 18 February 2018.

For a complete list of Nominees, visit The British Academy of Film and Television Arts (BAFTA)


DIRECTORIAL TIMELINE OF RIDLEY SCOTT


Ridley Scott premiered "All the Money in the World" on December 25. The film recounts the kidnapping of John Paul Getty III in Rome and the refusal of his moneygrubber grandfather J. Paul Getty, the richest man in the world at that time to pay any ransom whatsoever for his release. 

In order to complete the successful depiction of the slow negotiations between the kidnapping gang and the Getty family, Ridley Scott had to stop the production of the film to recast his principal actor, the disgraced Kevin Spacey for Christopher Plummer to play the tightwad old tycoon.  

(courtesy Vanity Fair)

VENICE CINEALTA 6K. SONY UNVEILS ITS NEXT GENERATION OF MOTION PICTURE CAMERAS

On Wednesday, September 6, Sony unveiled VENICE, its latest flagship CineAlta full frame (36mm x 24mm) and S35 motion picture digital  camera at the Cary Grant Theater in Sony Pictures Studios, Culver City, California.

Sony Picture Studios George Leon/Filmcastlive
The evening  presentation started with the introduction of the new VENICE camera features and the showing of  the short film "The Dig"  photographed by Claudio Miranda, ASC and directed by Joe Kosinski, followed by a Q&A panel moderated by Peter Crithary, Sony’s marketing and production manager for media solutions and production technology. The presentation ended at Stage 7 with a hands-on time with the cameras, lenses and workflow demos.


Peter Crithary, Sony’s marketing and production manager, introducing the next generation of CineAlta motion picture camera systems engineered from the ground up with a new ergonomic design, strong build quality, high dynamic range, high speed shutter readout sensor, 24x36mm Full-Frame 6K Sensor in a modular up-gradeable block design, ease of operation menu navigation,  8 step/ 8 stops mechanical ND filters built inside, PL and E lens mount making aspect ratio agnostic, full frame, widescreen, S35, anamorphic and more.

VENICE comes with a 24x36mm full-frame 6K sensor with 15 stops +  of dynamic range and up to a maximum resolution of 6048 x 4032 (firmware update). Also it can be configured to S35 window mode, Super35 18.66 x 24.89 mm, 4096 x 3024 (4-perf film equivalent) and S35 Window mode 14 x 24.89 mm, 4096 x 2160 resolution, similar height as previous Sony CineAlta (3-perf equivalent).

VENICE’s new full frame sensor can capture full frame 24mm high anamorphic, S35 18mm high anamorphic, S35+ 20mm high anamorphic, FF spherical, S35 spherical, S35 14mm high (as in F65, F55), etc. meaning you could use practical any still photo lens out there.

VENICE is the world’s first camera of its class with a servo-controlled 8-step Mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing.

 VENICE has control displays on both sides of the camera, with the main display on the camera outside for fast access to the camera settings by the camera assistant while shooting. The camera operator’s OLED mini display allows intuitive control of commonly accessed features such as ND filter, shutter, FPS, White Balance and Exposure Index. The control interface is an all-new design based on extensive researches with camera operators.

Interchangeable Sensor Block assembly with full frame sensor and E-mount. This module can be  easily swapped by the user on the field. No camera house services need it. Upgrade to future sensors available by Sony, keeping the camera.


VENICE can record two streams simultaneously onto two separate media cards. RAW or X-OCN on the AXS-R7 as a digital negative and XAVC or ProRes onto internal SxS cards for editing. VENICE will also, with a firmware update, record RAW or X-OCN on the AXS-R7 and XAVC 4K internally at the same time. When not using the AXS-R7, VENICE can record both XAVC 4K and ProRes simultaneously. If you’re using one SxS card, it would be ProRes 422 Proxy.

XAVC is the highest-performing implementation of H.264/AVC intra-frame coding. It supports 4K with superb efficiency and beautiful 10-bit pictures. VENICE supports XAVC Class480, which is the highest bitrate and quality available. Apple ProRes including ProRes 422 proxy formats are popular in postproduction, and are supported by VENICE. Using16-bit linear RAW format preserves all the information captured in 4K, with 16 times more tonal values than 12-bit RAW.

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

The DVF-EL200 was specifically created as the perfect partner for VENICE due to its exceptional performance and additional control features*. It has a 1920 x 1080-resolution OLED panel with exceptional high contrast, enabling precise, high resolution focusing and framing. Its all-new ergonomic design allows for tool-free attachment/detachment and reconfiguring within seconds. A rotary encoder provides instant access to brightness, peaking and contrast. The industry-standard LEMO connector offers exceptional durability. * V2.0 firmware required
VENICE has a surprisingly compact design which allows easier shooting in confined spaces or on drones. VENICE’s control buttons reflect the requirements of camera operators, carefully positioned for intuitive operation. They even illuminate for easy use on dark sets. On-set monitoring operation is further enhanced by the addition of an extra HD output alongside the standard 4K-SDI. VENICE can be powered by both 12 V and 24 V power sources that can be connected at the rear. A wide range of accessories are supported, including standard Fischer connectors. For enhanced durability in tough conditions, the viewfinder uses a LEMO connector. Suggested List Price: 42,000

Peter Crithary moderated the Q& A panel with Claudio Miranda ASC, and director Joe Kosinski. Claudio Miranda described the look of VENICE: “It has a very cinematic look. Colors are really beautiful. It is a sort of softer, cosmetic, tonally well rounded look, with skin tones that are gorgeous. It doesn’t feel video-like. It’s not harsh. This is a leap forward. Color rendition is really nice. Tonal values hold true in the lower toe of exposure. It holds highlight detail and color information. It doesn’t go red in the shadows. I would say there’s more dynamic range than the F65".


Jeffrey A. Reyes, BandPro Flm & Digital Inc., Sales Manager placed the same evening an order for fifty new CineAlta VENICE digital motion picture cameras. Preorder the new Sony VENICE at Band Pro and get it first!  Call your BandPro Salesperson at 1-888-BAND-PRO or email sales@bandpro.com today.


Les Zellan, Chairman of Cooke Optics was one of the vendors at Stage 7 outfitting the new Sony VENICE camera with one of his Cooke s7/i 32mm lenses.


Peter Crithary, Sony’s marketing and production manager (l),  Dan Ming, Focus Puller of the short film "The Dig" and Claudio Miranda at  Sony Pictures studio 7 at the unveiling of Sony's CineAlta VENICE Full Frame & S35 digital motion picture camera.

Sony’s VENICE Features:

    Full Frame Sensor 24×36 mm
    Painterly Look
    6K Full Frame 6048 x 4032 maximum resolution
    4K Super35 window
    Full Frame, full 6048 photosite width of the sensor
    Widescreen spherical 2.39:1 or Large Format ‘Scope
    Super35 full height 2.0x squeeze Anamorphic
    8-Step, 8-Stop Internal NDs
    PL and Ruggedized E-mount
    Spherical FF & S35
    Anamorphic FF & S35
    15+ Stops of Exposure Latitude
    Native ISO 500  (maybe 800)
    Retains highlights and color detail 6 stops overexposed and 9 stops into the shadows
    Power:  both 12 VDC and 24 VDC

some text source courtesy of FDTimes

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WHAT IS NEW TO SEE IN CINE GEAR EXPO 2017


Cine Gear Expo opens tomorrow and there is a lot to see. Camera and lens manufacturers have announced new releases for this year. Here is a small nugget of what is new on the floor at Paramount Studios.

Canon Cinema EOS C200 & C200B
Canon presents 2 new Cinema EOS digital cine cameras at Cine Gear: Canon EOS C200 and EOS C200B. C200 and C200B cameras have two 4K video formats inside: Canon’s new Cinema RAW Light and MP4. Canon’s Dual Pixel CMOS Auto Focus system.

The cameras come in two configurations--same insides; variations outside. C200 is the full production-ready camera package that can be used right out of the box, with an LCD Monitor, nice mounting brackets, Camera Grip and Handle and a 1.77 million dot OLED pivoting Electronic View Finder (EVF) at the rear. The C200B is the same camera -- but without the EVF in back, without handle, handgrips, LCD monitor or brackets.


The Angenieux 48-130 Lightweight Compact Optimo Style Zoom Lens and two new accessories for the Optimo A2S Anamorphic Zoom Lens line.The Optimo Style 48-130 T3 is the third lightweight compact zoom lens in the Angénieux Optimo Style line. It joins the Optimo Style 16-40 T2.8 and 30-76 T2.8, the two other lightweight compact zooms of the range, and the 10x Optimo Style 25-250 T3.5. The new Optimo Style 48-130 is the longest zoom in the lightweight series . It weighs only 4.3lb/1.95kg and has a Close Focus at 3’1”/0.94m. It is the perfect lens for close-ups, portraits, or tight shots either handheld, on Steadicam, remote heads, gimbals, rigs, or drones.  
See us at booth #40

 Cine Gear attendees can find Panasonic at booth S225 on Stage 15. Visitors can get hands on with Panasonic's range of cinema cameras, including the VariCam Pure, VariCam 35, VariCam LT and GH5In addition, Panasonic will be demonstrating its live 360-degree camera, 4K handheld camcorders and the AU-XPD3, the industry's fastest offload device with Thunderbolt3. 

The new, super fast DM5.
Light Ranger 2, MDR-4, DM2X. Come check out our Light Ranger 2 reel at Booth #53! The DM5 provides breakthrough power and speed in a compact, lightweight package. It is 2.5x faster than its DM4X predecessor and can provide big-motor performance for mobile camera applications where size and weight are critical. The motor uses polished metal gears coated with super hard diamond-like carbon to maintain its precision and virtually eliminate wear.

 Panavision to Unveil Powerful New Tools for Groundbreaking Millennium DXL 8K Camera.
 Panavision  will reveal advanced new tools for its unprecedented, large-format Millennium DXL 8K camera at their booth in Stage 2 #S302. Demonstrating the evolution of their innovative approach to filmmaking, Panavision will debut a set of fast, wirelessly controlled Primo Artiste lenses that cover the full 8K HDR image; the world’s first HDR OLED Primo Viewfinder; a new color spectrum filter called PX-Pro; and DXL Control, an iPhone app for remote camera control. These new technologies support Panavision’s Millennium DXL, which was engineered to offer superior creative control over the entire imaging chain.

Fujinon will have a new booth location at this weekend's Cine Gear Expo,  inside on Stage 15 - Booth S224 - located between ARRI, Panasonic and Blackmagic. In addition to showing our  full lineup of 11 Cine zooms, you are also invited to attend our Lens Projection Workshops featuring guest Optical Technicians from across the country.  We have partnered with Gecko-Cam to create an intimate  Lens Projection Room. 

Zyligh Pro-Palette Color LED Cyclorama Stage 15, Booth S211
 Designed for television studios and theatres, the 350-watt Pro-Palette Color LED cyclorama light produces a soft, even field of asymmetric light. Use its intuitive control panel to create millions of colors without gels or filters, or shine pure white for a clean chromakey wash. The Pro-Palette Color dims smoothly from 0-100% and features built-in DMX operation. Built for floor use or truss mount. Daisy chain up to four units for a broader spread.

http://www.cinegearexpo.com/

CINE GEAR EXPO 2017 PREVIEW


 
The Exhibits at Cine Gear Expo 2017 will be open on Friday, June 2 and Saturday, June 3 at Paramount Studios in Hollywood, California. Attendees can look forward to a major film screening, filmmaker panel discussions, groundbreaking techniques and new equipment premieres from nearly 300 exhibitors. The Event will be packed with members of the world’s top motion picture, video, and new media community providing the perfect setting for networking with colleagues and getting the first look at newly released film-making technology.


At 7pm on Friday, Sony will present an exclusive screening of Phil Keoghan’s film Le Ride, preceded by a special announcement. The documentary focuses on a small under-resourced, untested team from New Zealand and Australia who lined up in Paris to ride in the toughest sporting event on earth, The Tour de France in 1928. 


The remarkable underdog story was brought back to life by Phil Keoghan who rode an original 1928 steel bicycle with no gears, and retraced the exact route covering an average of 150 miles a day, completely circumnavigating France in just 26 days. Le Ride was selected for South by Southwest, was the second highest grossing film at the New Zealand Film Festival, won the Festival Favorite Award at the Louisville International Film Festival, won the Best Director Award at the American Documentary Film Festival, and will have a wider international theatrical release this summer.


New cameras will be in abundance at this year’s exhibit, with Panasonic unveiling a small and lightweight “mystery cinema camera”, with low-cost media and workflow, and high-end cinematic imagery. More can be learned at the Panasonic presentation on Friday from 4:15 – 5:15 pm in the Paramount Theater.


Sony will be displaying its current and future professional motion picture imaging technologies, including 4K anamorphic and new 4K and High Dynamic Range technologies. RED Cinema visitors can check out their DSMC2™ accessories, compatible with the SCARLET-W™, RED EPIC-W™, WEAPON® 8K S35 and WEAPON 8K VV. New for Blackmagic Design is the URSA Mini Pro 4.6K, a professional digital film camera that combines the incredible image quality of URSA Mini 4.6K with the features and controls of a traditional broadcast camera.


 CineGear offers a close-up look at the world’s great lens brands. Cooke will reveal its new Cooke Anamorphic/I 45-450mm T4, with 2X squeeze. The newly launched “MK” Series cinema lenses from the Optical Devices Division of FUJIFILM, along with the UA Series of HDR zooms, will also make their Cine Gear debut. Carl Zeiss’ new ZEISS Compact Prime CP.3 lenses will be on display, offering the perfect combination of high-image quality and reliable usability. They exhibit the clean, crisp characteristics ZEISS is known for, together with an interchangeable mount system and full-frame coverage. 


Additionally, CW Sonderoptic will introduce the Leica Thalia large format spherical lenses and Leica M 0.8 lenses. Schneider-Kreuznach will be premiering the Radiant Soft Diffusion Filter made to smooth skin imperfections with minimal effect on contrast. Prepare to see the aisles packed with innovative products created to provide top of the line camera support. SmallHD offers a full lineup of monitors including the FOCUS 5” micro HDMI touchscreen monitor, UltraBrights with breakthrough screens up to 2500-nits, the color accurate 702 OLED, and full size daylight-viewable 13”, 17”, 24” & 32” Production monitors. Manios Digital & Film will showcase new camera accessories giving attendees the chance to inspect newly-developed fluid heads, tripods, specialty rigs, matte boxes, lights and power systems. Cool-Lux will be debuting an early prototype model of Clutch, a new transforming camera rig support for smaller cameras, and Matthews Studio Equipment will give a first ever look at the revolutionary MyWay Grip rigging system the future of on-set rigging.


Lighting professionals are sure to get their fix of new and exciting equipment. Known for innovative remote phosphor lighting BB&S Lighting will display their Pipeline Bank fixtures including a brand new 1’ 4-bank and 2’ 2-bank, joining 3’ and 4’ 4-banks in 3200°, 4300°, 5600°. Cineo Lighting plans to make an announcement focusing on a collaboration that combines NBCUniversal’s decades of production and broadcast experience with their award-winning proprietary technologies. DoPchoice and The Rag Place will be showing some exciting new products including the RABBIT-EARS, OCTA 7' and SNAPBOX


Among the crowd will be rental house VER, highlighting their Enhanced Environment process which utilizes LED walls and projection to light talent and fixtures in shot with amazing authenticity. Another out of the box company, Timecode Systems, will be showcasing not only a new, cost-effective way to streamline multi-camera production workflows using the UltraSync ONE, but also demonstrating how its system can now be configured to offer efficiency benefits to professional VR workflows.

Press release courtesy of  Lewis Communications: susan@lewiscommunications.net

NEW HIVE LIGHTING WASP 100-C AT NAB SHOW 2017


The Wasp 100-C™ Omni-Color LED is the first LED with the color quality of Plasma. With up to a 98 CRI and 97 TLCI, Hive's first LED fixture uses a proprietary algorithm to combine 5 different color LEDs into brilliant white light and infinite color combinations.

Wasp 100-C™ Omni-Color
•   Saturation: 0% - 100% 
•   Hue: 360° Hue Control (Δ 6°) 
•   Output: 0% - 100% Dimming 
•   Temp: 1,650K - 8,000K (Δ 25K) 
•   Direct 100-240 VAC input via 4-Pin XLR 
•   Manual, DMX, Smartphone Control 
•   98 CRI / 97 TLCI 
•   5 lbs. (2.3 kg.) / 7.5 in (190 mm) long

www.hivelighting.com/
Booth C10342.

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