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Canadian Society of Cinematographers
$4 Januar y 2013 www.csc.ca
Overcoming
Darkness
and Cold Pierre Gill csc Braves
The Colony
On the Road with the Roy Tash Award • CSC at the Documentary Summit
Canadian Society of Cinematographers
Digital Camera Assistants Course
By Professionals, For Professionals
February 9 - 17, 2013*
Toronto, Canada
Cost: $1350.00 CDN
Continental Breakfast, snacks and lunch will be provided
To ensure that camera crews maintain the
high standards recognized by the Canadian
Film and Television industry, the Canadian
Society of Cinematographers is offering a
nine day intensive and advanced course
for Camera Assistants.
The course will be conducted by working professional
camera assistants and cinematographers who will not
only teach, but share their wealth of production
know-how and technological knowledge gained
from years of on-set experience.
Learn the varied skills necessary for a
camera assistant working in digital formats
New digital cameras and technologies are being
introduced into the Film and Television industry
at lightning speed. Keeping on top of emerging
technologies and techniques poses unique
challenges for everyone. The CSC Digital Camera
Assistants Course eliminates the mystery and
provides its participants with the tools necessary
to work in today’s production world.
Participants will be instructed in:
-Tools and ditty bag, including information
on useful industry apps
-Paperwork and administration
-Labeling
-Slating
-On-set deportment
-First procedures on the set
-Camera set-up
-Brief introduction to film cameras
-Focus pulling
-Lens testing, including back focus and anamorphics,
for commercials, features, and episodic television
-Photographic theory
-Assisting steadicam
-3D rig overview
Hands-on means experience
The CSC believes that the best training
comes from doing. Participants in the
CSC Digital Camera Assistants Course
will have hands-on instruction on the
latest digital cameras being used in the industry
today and will experience “building the camera”
from the ground up.
Location, Location, Location
Being familiar and comfortable with one’s
surroundings is half the battle. Classes of the
CSC Digital Camera Assistants course will be
held in various production and industry facilities
around the City of Toronto.
For an application and detailed itinerary please visit the CSC website: www.csc.ca
telephone 416-266-0591
* CSC reserves the right to postpone workshop date(s)
The CSC since 1957
To foster and promote the art of cinematography
A publication of the Canadian Society of Cinematographers
We facilitate the dissemination and
exchange of technical information and
endeavor to advance the knowledge
and status of our members within the
industry. As an organization dedicated
to furthering technical assistance, we
maintain contact with non-partisan groups
in our industry but have no political or
union affiliation.
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Photo Credit: Jennifer Aubry 8
The Documentary Summit 2012
By François Aubry
Photo Credit: Andrew Lawson
The purpose of the CSC is to promote
the art and craft of cinematography
in Canada and to provide tangible
recognition of the common bonds
that link film and video professionals,
from the aspiring student and camera
assistant to the news veteran and
senior director of photography.
FEATURES – volume 4, No. 8 January 2013
On the Road with Roy
10
By Kayla-Jane Barrie and Fanen Chiahemen
Photo Credit: Michael Gibson
The Canadian Society of Cinematographers
(CSC) was founded in 1957 by a group of
Toronto, Montreal and Ottawa cameramen.
Since then over 800 cinematographers
and persons in associated occupations
have joined the organization.
Overcoming Darkness and Cold: Pierre Gill csc
Braves The Colony
12
By Fanen Chiahemen
Columns & Departments
2 From the President
3 New CSC Members
4 In the News
6 wired@csc.ca
18 Tech Column
19 Camera Classified
20 Productions Notes / Calendar
Cover: Humans survive in underground tunnels in The Colony. Photo Credit: Michael Gibson
Canadian Cinematographer
January 2013 Vol. 4, No.8
EDITOR-IN-CHIEF
Joan Hutton csc
EDITOR EMERITUS
Donald Angus
EXECUTIVE DIRECTOR
Susan Saranchuk
admin@csc.ca
EDITOR
From
The
PRESIDENT
Joan Hutton csc
Fanen Chiahemen
editor@csc.ca
COPY EDITOR
Karen Longland
Editorial Intern
Kayla-Jane Barrie
ART DIRECTION
Berkeley Stat House
WEBSITE CONSULTANT
Michael Jari Davidson
www.csc.ca
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Canadian Cinematographer makes every effort to ensure
the accuracy of the information it publishes; however,
it cannot be held responsible for any consequences
arising from errors or omissions. The contents of this
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2 • Canadian Cinematographer - January 2013
H
appy New Year! I hope the holidays were peaceful and filled with cheer for
everyone.
I’m very pleased to say that the start of 2013 comes with good news. Six cinematographers have been granted full membership status with the CSC, entitling
them the “csc” accreditation after their name. For those who may not know,
becoming a full CSC signifies a cinematographer has achieved a consistently
high level of mastery over their craft both technically and artistically. My sincerest congratulation goes out to Jonathon Cliff csc, Mark Forester csc, Karim
Hussain csc, Bob Mattigetz csc, Bobby Shore csc and Brendan Uegama csc for
their contribution to the art of cinematography.
I just viewed a two-minute short newly posted on YouTube that everyone
should look at. It’s a given that the film and television industry in Canada has
its ups and downs. Interestingly, and unfortunately, that was played out all too
graphically in 2012. On the up side there is Ontario. Although the final tally has
yet to be made, it looks like Toronto in 2012 will at least match, and probably
top, its 2011 banner year for production. So what spurred this Toronto bonanza
that is attracting a good number of runaway productions from the States and
elsewhere? Toronto does have modern sound stages, a top notch production
talent pool and a burgeoning postproduction side to the industry that’s garnering
interest worldwide. Yes, Toronto has a lot going for it, all of which counts. But
most importantly, Ontario speaks the language of producers: it’s called incentive.
The province with its aggressive 25 per cent tax credit perched alongside other
government perks has made Ontario very production attractive, generating not
only loads of business for Toronto, but also spawning productions in cities such
as Sudbury, Hamilton and Sault Ste. Marie, while helping to build an industry
that has created nearly 50,000 direct and indirect jobs.
On the down side, a myopic Saskatchewan government ended its film tax credit
in 2012, effectively killing off the province’s once thriving film and television
industry. Production companies have pulled up stakes, and skilled production
personnel have moved to where the jobs are. Incentives work, and Ontario is
proof of that. Did the Saskatchewan film and television industry need some
fine-tuning to keep it moving forward? Perhaps, but we’ll never know since its
government chose to throw out the baby with the bath water.
The short I mentioned earlier, which can be found on YouTube, is called Last
One to Leave, and it is a poignant commentary on what was once the
Saskatchewan film and television industry.
I’m sure that 2013 will be a terrific year for the Canadian film and television industry, and I wish everyone “good shooting.” Sadly, it just won’t be in Saskatchewan.
Clockwise from top left:
Robert (Bob) Mattigetz csc
director of photography
Karim Hussain csc
director of photography
Brendan Uegama csc
director of photography
Jonathon Cliff csc
director of photography
Bobby Shore csc
director of photography
The CSC
congratulates newly
accredited full members
Mark Foerster csc
director of photography
Canadian Cinematographer - January 2013 •
3
In The News
Member News
Photo Credit: John Trang
Photo Credit: Sam Santos
Anything Goes, written and directed by Bruno Marino and shot
by CSC associate member Michael Jari Davidson, has recently
been acquired for distribution by Entertainment One (eOne)
and will be available across Canada in 2013. The dark comedy
won Best Feature Film at the 2011 Moving Image Film Festival.
ideaBOOST finalists with some members of the ideaBOOST faculty
and board of directors.
Michael Jari Davidson on Anything Goes.
Photo Credit: Douglas Kirkland
CSC Member among ASC Honourees
Rodney Charters, csc,
asc, along with Dean
Semler asc, acs; Robby
Müller nsc, bvk; and
Curtis Clark asc, will
be honoured during the
27th Annual American Society of Cinematographers Outstanding
Achievement Awards to
be held February 10 at
the Hollywood & Highland Grand Ballroom.
Charters gets the Career
Achievement in Television Award; Semler will
receive the 2012 ASC
Rodney Charters, csc, asc
Lifetime
Achievement
Award; Müller will be
presented with the International Achievement Award; and Clark
collects the President’s Award.
CFC Program Supports Digital
Filmmakers
Corus Entertainment, Google and Shaw Media in November announced they would lend their support to ideaBOOST, a new
accelerator program initiated by the Canadian Film Centre Media Lab. ideaBOOST offers financial backing, strategic guidance
and mentor support to help convert high-potential Canadian
digital content ventures into commercially successful offerings.
Support from Shaw, Google and Corus for the CFC Media Lab’s
4 • Canadian Cinematographer - January 2013
ideaBOOST includes a commitment from each media organization to provide the selected companies with critical advice and
resources in the areas of product development, business strategy and audience engagement to help advance their product
development plans into commercial viability. ideaBOOST also
announced the first group of content creators selected to participate in the four-month program. The final chosen projects
are: The Path (SmokeBomb Entertainment), The Buffer Film
Festival (Apprentice A Productions), AsapSCIENCE (Mitchell
Moffit and Gregory Brown), Ramen Party (Lillian Chan and
Justin Poon), Rollers of the Realm (Phantom Compass), Your
Task // You Shoot Things (YT//ST Labs), Loud on Planet X (Pop
Sandbox), and The Ghost Town Project (Intuitive Pictures).
Deluxe Announces New Home
Deluxe in November announced the relocation of its postproduction and digital media operations in Toronto to a new home
effective February 2014. The company requires significant lead
time to build out its 60,000-square-foot facility and announced
that it has entered into a lease with Crown Property Management
to secure space at 901 King Street West in downtown Toronto.
Deluxe’s new facility will occupy the top three floors of an existing building at the corner of King Street West and Strachan
Avenue. Deluxe Toronto has been at its current location in downtown Toronto since 1987.
Recent Appointments
Panavision announced in November that its Board of Directors
has appointed Kimberly Snyder, formerly President and General
Manager of Kodak’s Entertainment Imaging Division, as a Board
Member, President and Chief Executive Officer of the company.
Meanwhile, Andrew R. Evenski was promoted to President
and General Manager of Kodak’s Entertainment Imaging
Division.
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T2.8
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wired@csc.ca
Shooting
with DSLRs
Love the DSLRs. I have used the Canon 5D on corporates
and a web series. Once you get used to where all the
buttons and dials are it is much more user-friendly than
any of the off-the-shoulder cameras. I have used them all!
It is also great to be able to essentially dial up your depth
of field. I was a reluctant convert but now it is my camera of
choice for many shoots.
Peter Warren csc
Best mod I’ve done for my 5D Mark III is add Magic Lantern
firmware. It gives me zebras, peaking and a waveform, among
other things, on my DSLR. Download for free (magiclantern.
fm/), put the unzipped folder on the flash card, always keep
that card in the camera, go to tools in the menu, select firmware and activate. You have to reboot it every time on start up.
Available for 5D Mark II, III and 7D.
Richard
As a DSLR-only cinematographer, using DSLRs has allowed me to get into places and shoot angles that would be
impossible with our larger cameras. Form factor, weight, and
a small crew requirement make shooting and producing films
extremely efficient.
Next, large sensors, awesome depth of field range, and not bad
with dynamic range (for 8-bit 422 compressed codec). Lastly,
affordability. You can embed multiple cameras on set and not
break the bank. I believe DSLR’s will take a bigger role in the
future.
Jose Luis Gonzalez, associate member
In Other Topics...
Good to see that TSN’s PreShow for the 100th Grey Cup
included a segment on coverage by early member Ken Davey
csc in various host cities with all sorts of weather.
Joe Sunday
Upcoming topic of discussion: Shooting in ARRI Raw format. Deadline: January 21, 2013
Guidelines
NEW
feature
Please send any comments you have to wired@csc.ca. Please note that not
all comments will be published and that we may edit any comment selected for
publication. We are also open to suggestions for topics.
w Each submission must be limited to 75 words.
wYou must include your name in the email for CSC records, but you may use a pseudonym
for the publication if you wish.
w We would like to focus on comments featuring positive recommendations or suggestions.
wThe choice of which submissions will be printed and when is solely up to the discretion of
the CSC’s Editorial Committee.
wThis column is generally not for: event announcements, or product or trade promotions.
6 • Canadian Cinematographer - January 2013
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Canadian Cinematographer - January 2013 •
7
The Documentary
Summit 2012
Part of the Documentary
Summit 2012, which was
held in Toronto in early
Photo Credit: Jennifer Aubry
November, included a
panel on Storytelling in
Production from the point
of view of the cinematographer. Associate CSC
member François Aubry,
one of the panelists,
which also included
associate CSC member
Carl Elster, gives Canadian
Cinematographer some
insights into what was
discussed.
T
he main thrust of the panel’s discussion was to establish what tools cinematographers have available to them
to tell stories and achieve the directors’ vision
when shooting a documentary. Taking the
lead, DOP Mark Bochsler who also directs
his own projects, talked about focal length
and angle. Because in documentary filmmaking you have so little control, most of your
creative input comes from choosing the appropriate angle and the focal length. Mark
showed us excerpts from his documentaries
in Cambodia about an obscure martial art
that has almost disappeared. He followed the
revival of this art from the villages to international competitions using a DSLR and a variety of prime lenses. Addressing the particularities of shooting documentaries in far away
places, he stressed the importance of serious
preparation, knowledge of the subjects and
the surrounding environment.
Carl Elster shared insight on adding value
to low-budget productions and packing experience “on the go.” He told us about his
new project shooting a documentary on
ghost hunters in Ontario, using the Scarlet
RED with a set of wide, medium and long
zooms, his favorite combination. Jumping
from a wide 16 mm, 24 mm, to a 24-70 and
70-200, he can play with the depth of field,
isolate a subject or use a very wide angle to
provide compelling establishing shots. Being
very creative with the existing means, which
can often be lean, Carl emphasized the im-
8 • Canadian Cinematographer - January 2013
portance of location scouting and a clear
vision of the director expressed through a
shot list.
Then came the question of what cinematographers need most in order to accomplish
their task. Two items were agreed upon by
the panel as mandatory: a clear shot list and
proper location scouting. In ideal circumstances, cinematographers should be able
to visit places where the story will unfold.
Nowadays, if you can’t bring a camera, you
can bring an iPhone and download apps like
Director’s Viewfinder, Compass for orientation, as well as Planets, which tells you the
exact position of the sun even on a cloudy
day. Take pictures and videos that you can
study later. Check the electrical panel and
outlets. If the subject or persons to be filmed
are there, get to know them, try to see how
they move, and look at them under natural
lights, the panel suggested.
As Jean Cocteau said, most of the best experiences you will capture as filmmakers will
be accidents. On one occasion, I was shooting a documentary in Hebron in the West
Bank. It was half past four in the morning.
The cold night was filled with echoes of the
call to prayer. The strange melody that came
out of several loudspeakers was mysterious
and attractive. I thought it would make a
great sound for our film. I decided to record
it onto my HD camera using the good shotgun microphone. I aimed the picture at the
Photo Credit: Jennifer Aubry
top of the mosque. The moon was making its
way into my frame, and I thought it would
be great if the tip of the mosque would cross
with the crescent moon. I lined up for that
shot and pressed record. At that moment, a
bird of prey landed on the crescent. His silhouette, lit by the moon that had become a
backlight, was now touching the mosque. After cleaning its feathers for a moment (with
the call to prayer in the background) the
bird raised its head and flew away. There it
was, the opening and closing shots of the
show (episode “Peace Pastor” of the series
Extreme Clergy).
table crane that makes my work much easier,
giving a much smoother, steady hand-held
style to interviews.
This kind of filmmaking requires a great
commitment through the ministry of presence. You have to be there and ready in order
to get the shot. Mark, as well as Carl, agreed
on this. Filming on location requires extreme
dedication – up before the sun, and using every bit of available light until it’s gone.
This dream was spawned from the first attempts to modify equipment that began in
the late 1950s with Michel Brault and Pierre
Perrault at the National Film Board in Montreal, creating the wireless crystal sync system
together with Eclair, Angenieux and Nagra
engineers, then exporting their technology
to France, thus becoming a part of Jean-Luc
Godard’s dream, also visible in the work of
Truffaut, Rivet and the other creators of the
New Wave. The dream first expressed by
these filmmakers has finally arrived with the
age of digital cinema.
The final part of the discussion concerned
the cameras themselves, especially the DSLRs
that have so improved in the last year that
they have become a significant asset to the
documentary filmmaker. All participants
agreed that DSLRs are excellent filmmaking
tools, especially the new models with large
sensors and clean HDMI output, allowing
an uncompressed 4-2-2 capture in RAW
1080p30. Also, the lightness of the cameras
makes them more versatile for documentary
filming. I recently adapted a very light por-
Photo Credit: François Aubry
The panel concluded with an interesting discussion of the dream that was expressed by
the filmmakers of the French New Wave – the
famous caméra-stylo, which suggests that the
process of making movies could flow as easily as writing with a pen. Well, that idea is
now a reality. It is now possible to produce
high-quality movies with a small crew, a low
budget and affordable equipment in a short
amount of time.
Previous page: François Aubry speaks
on the panel. Top: The panel of cinematographers, from left to right, Andrew
Zinnes, François Aubry, Carl Elster
and Mark Bochsler. Bottom: A moment
captured by accident.
This democratization of filmmaking tools
now allows a tidal wave of films to be made,
which is an excellent thing. It also means that
serious filmmakers should return to basics,
namely by studying light, composition and
colours, the panel said.
Canadian Cinematographer - January 2013 •
9
On The
Road
With Roy
CALGARY
SCARBOROUGH
VANCOUVER
TORONTO
EVE
By Kayla-Jane Barrie and Fanen Chiahemen
ABOUT THE AWARD
R
oy Tash was one of the most notable cinematographers in Canada. Born in Brooklyn,
New York, in 1898, Tash began filming news
footage in Chicago and later moved to Toronto to
work with Blaine Irish, shooting the filmmaker’s first
feature Satan’s Paradise.
Tash is also known for directing the Canadian
Government Arctic Expedition of 1924. From July 5
to September 24, 1924, Tash and his crew explored
the Canadian Arctic, filming in such locations as
Nunavut and Disko Island, Greenland.
Tash died in 1988 at the age of 90, but he is not
forgotten. Since 1970, the CSC has been honouring
10 • Canadian Cinematographer - January 2013
the best cinematography in broadcast news with the
Roy Tash Award for Spot News Cinematography.
It was first awarded to Teri Culbert for CFPL-TV
London.
The trophy is designed to reflect the 35 mm Bell and
Howell “Eyemo” (model PH330), symbolic of the era
in which Tash began his career. The spring-wound
camera takes an internal load of 100 feet of 35 mm
film to shoot a minute of footage.
Every year, the trophy resides with the winner, who
keeps it until a new winner is announced.
Kayla-Jane Barrie
LONDON
CLAREMONT
GUELPH
MOSCOW
PARIS
TOTTENHAM
TOKYO
BEIJING
ERETT
Peter
Woeste
1971
GORD
Edick
1978
Andrew
Lawson
2011
See where the
trophy has
travelled
2012
Andrew Lawson Photo: Scott Lightfoot
Gord Edick Photo: Monica Edick
Peter Woeste Photo: Martin Wood
Phillip C.
Pendry
Year Winner
Affiliation
Cities
2012Andrew Lawson CTV News
Scarborough, Ont.
2011Gord EdickGlobal NewsToronto
2009 Cheng-Hsian Chang
CTV News
Beijing
2005 Kirk Neff
CitytvGuelph
1992Richard Games
CFCN Calgary
Calgary
1987Doug Baird
CBC VancouverVanouver
1978Peter Woeste csc
CKY - TV Winnipeg
Calgary
1975 Walter Corbett cscGlobalToronto, Claremont, Ont.; Sharon, Ont.;
Tottenham, Ont.; Everett, Ont.
1971Phillip C. Pendry
CBC EnglandLondon (England), Paris, Moscow, Tokyo
Canadian Cinematographer - January 2013 •
11
H
aving survived an apocalyptic ice age, humans live in
bunkers under 150 feet of snow, raising animals for
food and enduring frigid temperatures, illness and internal strife. So goes the premise of The Colony, a new film by
Jeff Renfroe, starring Laurence Fishburne, Kevin Zegers and Bill
Paxton, and due out later this year. The film follows the survivors
of Colony 7 as they try to regain contact with Colony 5, the only
other known human settlement.
and computers there that look like they’re from the ‘70s.”
The Colony was the first feature to be shot at Canada’s famed
North American Aerospace Defence Command, a unique underground military complex located in North Bay, Ont. The bunker
is the size of a shopping centre and sits 60 storeys beneath the
Earth. The excitement of shooting at the NORAD base, which
served as the set for Colony 7, is clear from director of photography Pierre Gill csc’s description of it. “It looks like an old ‘60s
James Bond movie when you go in there,” he says. “It’s a secret
base built under a mountain, but there are still some machines
The production tackled it by settling on two distinct looks for
each of the colonies: one colony would look colder, with cyan
blue tones while the other would have a warmer, amber tone. But
for Gill the question was how to create distinct looks in underground tunnels, especially when some of them are 300 feet long.
“Dark is not necessarily interesting if it’s just black. I think it’s
more interesting if you can feel something,” he says. “But there
were a lot of tunnels, and in a tunnel you see the ceiling, sides,
floor, everything, so you cannot light very much unless you spend
12 • Canadian Cinematographer - January 2013
While it may have been a privilege to film in the country’s most
secure military complex, doing so had its obstacles – it meant
having to light in tunnels, exposing camera equipment to freezing temperatures and recreating heaps of snow.
“It was a big challenge,” Gill confesses.
Overcoming
Darkness
and Cold
Pierre Gill csc Braves
The Colony
By Fanen Chiahemen
hours and hours trying to figure out a way and hiding lights.”
Having a few similar special effects movies under his belt, the
cinematographer knew that fluorescent lights would enable him
to shoot a lot of footage in a short period of time.
For The Colony, with the help of production designer Aidan Leroux and set decorator Joe Susin, Gill was able to devise an efficient way of lighting the set using single-source fluorescent T5
lights, provided by PS Production Services, which he hid behind
columns and pipes.
“They’re very small and very powerful,” he says, which meant
he could put them far away and still have enough light to shoot.
“Plus because they’re very strong you can diffuse them a lot, and
the ALEXA can take it,” he adds.
For Colony 5, which was set in the sewers of North Bay, with the
help of his gaffer Terry Banting, Gill created an amber colouring
by adding gels to the lights. To ensure that the audience could see
the actors in the dark tunnels, he requested that the characters
carry flashlights in their survival kits.
“The art department found a basic Black & Decker type of flashlight that is fluorescent and very strong,” Gill says. “The actors
would have them on a strap. They looked amazing in the sewers
because everything was amber but there were counterpoints of
light, little pieces of cyan blue. So you’d have a long corridor and
you’d see the actor turn the corner, and you’d have a cold blue
streak of light, and it looked very nice because the mixture of
colours was very interesting and pleasing, because you have some
warm and some cold at the same time.
“Often I would tell Laurence Fishburne, ‘Okay, Laurence, can
you aim your flashlight on this wall so it will bounce back on the
face of the other actor? He was like, ‘Okay cool,’” Gill continues.
Canadian Cinematographer - January 2013 •
13
Photo Credits: Michael Gibson
Top photo: Fresh snow was
brought into the hangar with
a bulldozer.
Bottom: Gill used fluorescent
lights and flashlights for the
tunnel scenes.
14 • Canadian Cinematographer - January 2013
“Or for example, at one point they’d try to unlock a door, and I’d
say, ‘Okay, can you just look around so your flashlight will sweep
the tunnel?’ It was fun because it created a movement of light,
and also it created more tension.”
So Gill created a skylight, also using T5s softened with heavy
silks, to simulate a cloudy sky. “And that worked great,” he says.
“In the morning, you come in, you turn it on, and it’s lit, and you
just add wind and smoke. There was a huge bridge sequence with
a lot of action over five days and we did tons of shots. We would
never have achieved this outside.”
Shooting with Panavision Primo anamorphic lenses, Gill was also
excited to be able to create some interesting light flares. “I knew
it would create an amazing look, especially because anamorphic Then there was the problem of the snow. “After two takes the
brings the actor closer to the camera. When you use anamorphic snow will be black. Fake snow on top of fake snow needs time
and money,” he says. “I told producer Paul
lenses you can use a 45 mm lens, and it’s the
Barkin, ‘Look in North Bay and find an airsame as using an 85 mm lens in spherical,” he
plane hangar and bring in some real snow.’
explains. “In spherical you would be at 15 feet
“It’s important to do
That’s what we did. We built a set, and then
from the subject, but with anamorphic you’re
lighting
and
colour
on
set
with a big bulldozer brought in tons of fresh
6 or 7 feet from the subject. So the subject is
snow. You could also see the actors’ breath; it
closer to the camera, so it gives a very differso you’re not trying to
was minus 20. It looked so real.”
ent feel in a theatre. It was a great decision, it
find
a
look
in
post.”
looks awesome.”
What perhaps thrilled the cinematographer
most was being able to apply the colour directWhen it came to shooting exteriors,
ly on set due to the presence of a Technicolor
which involved snow, sun and scenes at
a suspension bridge, Gill knew that the only option on a 23- On-Set Truck, a mobile grading suite and digital intermediate
day shoot was to film indoors and rely on CGI. “Shooting render station.
outside wouldn’t work because we couldn’t have sun in the
film. It goes against the script,” he says. “You need a lot of “In the trucks they have a real Baselight so you can do real colour
contingency because you can’t control nature – it’s winter, timing. After a scene you can go check out your scene, tweak it
and you know exactly how it’s going to look,” Gill says.
maybe it’ll rain, snow.”
Canadian Cinematographer - January 2013 •
15
For DI colourist Drake Conrad, being
on set, and working in the truck – which
features primary colour grading with 2K
playback, as well as an onboard edit suite
– also streamlined his process. “Pierre
would set a very specific look with the
lighting,” Conrad says. “So he’d call me
onto the set to look over his shoulder at
the monitors while they were shooting.
And then later in the day he’d come into
the truck and set the colour with me in
the grading suite. What helps with being
out there is understanding the lighting
and knowing what’s gone into setting up
the scene.”
Having such tools at hand injected Gill
with a new enthusiasm for his work.
“Three years ago I was depressed,” he
confides. “I wasn’t sure if I wanted to be
a DP anymore because I was looking at
digital and I was like, ‘Film is so much
better.’ I was honestly thinking about
changing my job. Because I don’t want
to ‘capture’ stuff and have the camera decide what will be the look of my work, I
want to tell the medium how to behave.
I want to be shooting stuff, and I want to
be lighting stuff. And when the ALEXA
came out I was like, ‘Now, that’s better.’
And I used it on The Colony, which is my
first digital feature. And now with postproduction facilities like the DI truck,
it’s awesome, it’s just unbelievable. I’m
very excited; I’m like 12 years old again.
It’s given me a new boost for my DP
career.”
O
O
O
Photo Credit: Michael Gibson
The practicalities of the Technicolor OnSet Truck have deeper implications for
Gill. “I’m crazy about it. I cannot work
any other way now. First of all it moves;
it’s just like a motorhome. It’s very versatile,” he says. But he also relishes the
advantage of being able to create dailies
based on his vision before getting to post.
“I love post, I know what you can do with
the tools, but it’s very important to be
able to do the lighting and colour on set
so you’re not trying to find a look afterwards in post.”
On set at the NORAD base.
16 • Canadian Cinematographer - January 2013
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Tech Column
New digital
recorder bumps
up the bar
T
he thing about the future is that it’s here before we’re really
prepared for it. Of course, the future is tricky. Just when
you think it’s arrived, it disappears. Anyone remember
Betacams? Laser Disks? The trend to RAW and 4K capture, however, looks like it’s permanent and there’s already a ripple effect
throughout the industry.
Convergent Design, which has spent more than the last decade developing video products, sees that ripple as a wave
it can ride to future growth. The Colorado-based manufacturer is about to finally release its Gemini RAW video recorder, which can record 2K/4K Raw simultaneously in either
full uncompressed or Avid DNxHD. It’ll take four streams in
Avid DNxHD and it can also be configured to record 120 fps.
The Gemini RAW is an up-model to the Gemini 4:4:4, but the
developers are quick to point out it doesn’t replace the 4:4:4,
just adds more features and more options. Convergent Design
figures compressed HD is likely to go the way of Betacams in
the next 10 years. The point being RAW gives you everything
and doesn’t limit options down the road. They’re also betting 4K will be the accepted standard. Even if the production
is done in Avid DNxHD, RAW archives may prove invaluable for future use and, because the file sizes are smaller – and
memory prices continue to drop – there’s almost no downside.
What you get is surprisingly small. Like the 4:4:4, the RAW is a
5.4 x 4.7 x 1.45 inch box weighing in at 1.35 lbs. in an aluminum
case. It has two 1.8-inch SSD slots for 256GB / 512GB drives, a
1.8-inch SSD Transfer Station compatible with Seagate GoFlex
Adapters (USB 3, FW-800, Thunderbolt), is PC/Mac compatible with a bright five-inch LCD which is sunlight viewable 800
x (RGB) x 480 Pixels and is also a touch control screen.
No prices have been set yet, but with the Gemini 4:4:4 selling for
about $6,000, figure it to release just a little north of that.
The digital audio i/o is a high-definition serial digital interface
(HD-SDI) with four channels, uncompressed in 24-bit, 48K
with an analogue port for a 3.5 mm output jack, headphone or
consumer level line. The device would have shipped this fall, says
company President Mike Schell, but the future got in the way.
“We held it because there are new SSDs coming in the New Year,
and we’re going to see data rates go from the current 250 Mbps
(megabits per second) to 450 to 500 Mbps so everything is going
to go a lot faster,” he said, adding that the unit will be released
in the spring though pricing is still to be announced. “We’re still
reviewing pricing every day, I think, around here.”
18 • Canadian Cinematographer - January 2013
Indeed, with High Frame Rates (HFR) and RAW being the buzz
of the industry, data rates will be the turning point of many conversations as production houses realize that ripple effect means
they’re going to have to upgrade their production gear to handle
not just the bigger files but higher transfer speeds.
Still, he said, the streaming rates for 4K RAW aren’t as high as
some might think. “Compared to uncompressed RGB it’s not so
bad,” he said. “With 4K RAW with the Canon at 24 frames it’s
about 265 Mbps, and at 60 frames its 630 Mpbs. With 2K Raw
it’s about 70 Mbps, a big drop so not that taxing.”
The cumulative stream rate is critical because the Gemini RAW
can capture four cameras at once at 2K and two at 4K, he said,
and that’s also a ripple effect of the disruption going on in cameras. As technology drives prices down and quality up, shooting
with two or more cameras is much more affordable.
“Everyone is going with standard SSDs,” Schell said. “They ship
them to postproduction and they download them and then reformat them and send them back.”
Of course, on a feature that’s all going to add up to an awful lot
of data Schell notes it’s already pushing change in the industry
and driving demand for bigger, faster hard drives and faster more
multitasking processors.
“When they shot Tomb (action feature starring Arnold Schwarzenegger, Sylvester Stallone, directed by Mikael Håfström) last
May, they shot uncompressed ARRIRAW and ended up with 70
terabytes (70,000 Gb),” he said.
Convergent Design cut its teeth in the marketplace with its
nanoFlash product, billed as the world’s smallest, lightest pro
HD/SD, which has proven a huge hit with broadcast and ENG.
With 5,000 customers in ENG and big broadcasters like BBC,
ABC and NBC – which used the nanoFlash at the London 2012
Olympics – Convergent Design has a solid footing.
The new Gemini recorder, said Schell, should span not just their
existing markets but also extend into the feature film industry
where they’ve already established a beachhead with the 4:4:4.
Ian Harvey is a veteran Toronto-based journalist who writes for
a variety of publications and covers the technology sector. He
welcomes feedback and eagerly solicits subject matter ideas at
ian@pitbullmedia.ca.
Edmonton Film Cooperative wants your unused Arri 35 mm camera. Do you have film cameras
languishing on a shelf? Give it a new life, give it to a film coop and we will give you a healthy tax
credit. Have a 35BL, a 235, a 435 gathering dust because everyone is Red cam nuts? Have other great
camera accessories? Let us know, let’s make a deal. Contact Andy @ rentals@fava.ca and work a
great deal.
Short-Term Accommodation for Rent
Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on English Bay with secure
underground parking, $350 per week. Contact: Peter Benison at 604-229-0861, 604-229-0861 or
peter@peterbenison.com.
Liberty Village Office Space Approximately 1,250 sq ft of fully furnished, turn-key office space in
prime Liberty Village location available to established television or new media production company
in shared office setting. Features include glassed boardroom, 2 closed door offices, internet access,
alarm system and shared kitchen. Please reply by email to john@hlp.tv or call John at 647.891.4027
Equipment for Sale
AATON XTR SUPER 16. Camera package includes body, video relay optics, extension eyepiece,
three magazines, Cooke 10.5mm-60mm S-16 zoom lens, zeiss 9.5 prime lens 4x4 matte box, 4x4
filters (85, 85N6 polarizer, ND6, clear) follow focus and cases – $12,000 Separately:- Nikon 50mm300mm F4-5E.D. lens with support – $1000- Kinoptik 9-8mm-35mm format lens comes with sunshade
– $1,400. Contact: stringercam@shaw.ca
1- Nikon 200mm F2 Century Conversion PL mount, std film gears on focus and iris (32 pitch-mod
0.8), Duclos reversing gear, shipping case included $4,500 excellent condition
1- Angenieux 25-250 T3.9 Arri bayonet mount with PL adapter, std film gears on focus, zoom, and
iris (32 pitch-mod 0.8), lens support and collar, shipping case included $2900
1- Angenieux 25-250 T3.9 Arri PL mount, std film gears on focus, zoom, and iris (32 pitch-mod 0.8),
lens support and collar, shipping case included $2900
1- Tamron 300mm F2.8 Arri bayonet mount with PL adapter, std film gear on focus (32 pitch-mod
0.8), 42mm filters: clear, 2 x 85, shipping case included $1,200
2- Tamron 180mm F2.5 Arri bayonet mount with PL adapter, std film gear on focus (32 pitch-mod
0.8), $900ea
1- Carl Zeiss Jena (DDR)180mm F2.8 Pentacon Six mount, with Arri PL adapter and Micro 4/3s
adapter, $1,000 iris can be de-clicked and std film gears on focus and iris (32 pitch-mod 0.8) added
on request $750
1- O’Conner 50 fluid head with Mitchell, Mini-Mitchell, 150mm ball bases and tie-downs, 2 quick
release plates extra hardware (pan module needs fluid) $500
2- Working Chrosziel Fox single channel wireless systems and many spare parts: 4- working
Handsets, 2- working MDRs, 1- dead MDR, 2- working FMG-6 motors, 1- working but jumpy FMG-6
motor, 1-FMG-6 motor for parts, all handsets have been converted to Sony L batteries, 2 Battery
chargers, 3 batteries, 4 straight antennas, 4- 90º antennas, 28 focus scales, 4- 0.8 32 DP motor to
lens gear, 3- 0.8 32 DP motor to lens gear (extended for lens travel), 3- 0.6 40 DP motor to lens gear,
4- 0.5 48 DP motor to lens gear, 4- 0.4 63 DP motor to lens gear, 7 motor cables, 4 Arri 24Volt power
cables, 2- Aaton 12Volt power & run cables, 1- Heden motor cable, Arri 12Volt film camera power
cable, 2-Panavision 24 Volt power cables, 1 12 Volt Aaton power cable, 1 P-Tap power cable, 1- Aaton
run cable, Arri SR3 run cable, Moviecam run cable, Panavision run cable, 1- Video camera run cable
1- Arri 11 pin Fischer run cable $2500
Contact: stephen.reizes@gmail.com
AATON XTR SUPER 16. Camera package includes body, video relay optics, extension eyepiece,
three magazines, Cooke 10.5mm-60mm S-16 zoom lens, zeiss 9.5 prime lens 4x4 matte box, 4x4
filters (85, 85N6 polarizer, ND6, clear) follow focus and cases – $12,000
Separately:
- Nikon 50mm-300mm F4-5E.D. lens with support – $1000
- Kinoptik 9-8mm-35mm format lens comes with sunshade – $1,400
Contact: stringercam@shaw.ca
1) Panasonic 3D Professional Full HD Video Camera (AG-3DA1)
The AG-3DA1 is the world’s first professional, fully-integrated Full HD 3D camcorder that records to
SD card media. The AG-3DA1 will democratize 3D production by giving professional videographers a
more affordable, flexible, reliable and easier-to-use tool for capturing immersive content as well as
providing a training tool for educators.
At less than 6.6 pounds, the AG-3DA1 is equipped with dual lenses and two full 1920 x 1080 2.07
megapixel 3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p
in AVCHD. Camera is very new. Includes Kata Carrying case, 4 batteries. To view photos/questions email frank@
tgtvinc.com or call 416-916-9010. Asking price: $17,500 (includes tax). Will ship out of province.
2) Proline 17 inch Teleprompter
Included is both PC AND Mac versions for our industry leading Flip-Q teleprompter software. Flip-Q
automatically “Flips” the secondary output on your laptop so both the operator and talent will see
perfect reading left-right text. The ProLine 17 standard LCD panels are the lightest weight, lowest
profile designs in their class. In addition, they offer both VGA and composite video inputs adaptable
with any computer output or application. They also offer flexible power options including 100-240V
AC or external 12v DC input. Price includes Tripod attachments and Pelican carrying case. Complete
tool-less set-up. To view photos/questions email frank@tgtvinc.com or call 416-916-9010. Asking
Price: $2,000 (includes tax).
Arrisun 5 - Arri 575w HMI PAR: 575W HMI lamp head, barn doors, 5 lenses with case, 50ft cable,
575W/1200W electronic ballast, spare bulb and a large solid traveling case. 214 hours on the head.
all in excellent condition $5,900 stefan@stefan-n.ca
Sony PMW-F3 with S-Log
Excellent conidition with low hours, Optional RGB S-Log upgrade installed, Kaiser top handle,
Optional on-board mic, 32GB SXS card “A series” - 100mb/sec, All factory accessories and manual
$11,000.00
Shape Composite F3 Shoulder Mount - NEW
NEW!! Never Used. Still in box. Can be used with Panasonic AF-100, Sony FS-100, FS-700, HDSLR,
Canon 5D, 7D, 60D, Black Magic Cinema, Red MX, Red Scarlet, Red Epic $800.00 new plus shipping
and taxes. Asking only $600.00
GoPro Hero2 camera - Outdoor package
In excellent condition with minimal use 11MP HD HERO2 Camera, Waterproof Housing (197’ /
60m), HD Skeleton Backdoor, Rechargeable Li-ion Battery, USB Cable, Helmet/Chest Strap, Head
Strap, unused Adhesive Mounts, Three-Way Pivot Arm, Manual/instructions, 4 GB SanDisk SD card,
Original packaging $300 Photos available. Contact John Banovich 604-726-5646 or JohnBanovich@
gmail.com
Nikkor AF-S VR 500mm F 4 IS ED Lens. Super rare and very hard to find!!! Serial # 204153 Perfect
condition. Not a scratch on it!!! Only one year old. Included Hard Shell Case, Lens Hood, Lens Strap,
Case strap. Come with Manfrotto Carbon Fiber tripod, Jobu head and Jobu Mounting Bracket. Asking
price $9000.00 gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile)
BL III Camera Kit $3750 Or Best Offer gandalf-merlyn@shaw.ca, 604.566.2235 (Residence),
604.889.9515 (Mobile) ARRIFLEX BL3 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE
SHUTTER, FULL 35MM GATE, VIDEO TAP ELBOW, 2 X ARRI 400’ BL MAGAZINES, 2 X POWER CABLE,
CASES FOR CAMERA, MAGS.
BL IV Camera Kit $8,950 Or Best Offer gandalf-merlyn@shaw.ca, 604.566.2235
(Residence), 604.889.9515 (Mobile) ARRIFLEX BL4 BODY WITH PL MOUNT, 4 PERF MOVEMENT,
VARIABLE SHUTTER, FULL 35MM GATE, ARRIGLOW MODULE AND ARRIGLOW GROUNDGLASS IN
RED, CEI COLOR 4 VIDEO TAP CAMERA AND ELBOW, CEI ELECTRONIC RETICLE GENERATOR, BL4
VIEWFINDER EXTENSION, WIDEANGLE EYPIECE WITH HEATED EYECUP, POWERCABLE FOR HEATED
EYEPIECE, ARRIFLEX 4 x 5 SWINGAWAY MATTEBOX, ARRI FF2 FOLLOW FOCUS WITH EXTENSION,
WHIP AND 2 GEARS, 15MM ARRI SLIDING BASEPLATE SET WITH 2 X 18” AND 2 X 12” STAINLESS
STEEL 15MM RODS, 5 X ARRI 1000’ BL MAGAZINES, 2 X ARRI 400’ BL MAGAZINES, 3 X DOUBLE
POWER 12 VOLT BATTERIES, 2 X 12 VOLT CHARGES, POWER CABLE, CASES FOR CAMERA, MAGS,
MATTEBOX, ETC.,FILM TEST HAS BEEN SHOT. gandalf-merlyn@shaw.ca, 604.566.2235 (Residence),
604.889.9515 (Mobile)
JVC GY-DV300 Broadcast Quality camcorder. 4x3 or 9x16 switchable 750 horizontal lines
with several extra batteries and carrying case. Plus and external Shure VP88 stereo microphone
with Rycote bracket and wind screen with high wind cover and extra mic cables. Asking $ 1200.00.
Contact Robert Bocking csc 416 636-9587 or rvbocking@rogers.com for more information.
Equipment for sale!! All equipment in excellent shape!!
Panasonic AJHDX900P High Definition Camera, Panasonic Stereo Microphone, Canon Zoom Lens
8x160 (J20a x 8B4 IRS), Dionic 90 Anton Bauer Batteries & charger, Anton Bauer mini fill light 12 V,
Marshall 7” HD-SDI LCD Monitor & accessories, 2 x Porta Brace camera bags, Sony Digital Betacam
(DVW700) and accessories, Sachtler fluid head VIDEO 20 III & Sachtler tripod legs fibre & fibre case.
Call 613-255-3200, Total $ 25,000.Item for sale: Meerkat Jib Arm, made by FILMAIR INTERNATIONAL. This is a mini jib for full
complement 35mm camera, lens and mattebox combination. It is a fixed length jib, very easy and
fast set-up. Can be used on any dolly or tripod. Jib arm is in very good condition. Comes with four
weights and case. Full specs are on website: http://www.filmairinternational.com/camera_mounts.
asp#MEERKATJIB Price $ 2,400. Contact: Milan Podsedly csc milan.podsedly@gmail.com
cell: 416 409-5758
Super 16 Bolex H 16 conversion, Switar 10mm, Macro Switar 26mm, Macro Switar 75mm Pistol
grip, filter holders, Nikon to C mount adapter $2900.00 Call Antonin 647 999 7172
PL mount prime lens set (Sony) 35mm, 50mm 85mm all T2.0. Mint condition. Used briefly for one
shoot $5200.00 John Banovich, csc 604-726-5646 JohnBanovich@gmail.com
Panasonic BT-S950P 16:9 / 4:3 SD Field Monitor for Sale (Excellent Condition) - $100.
Portabrace included Please contact Christian at (416) 459-4895 or email cbielz@gmail.com
OWN A PIECE OF CINEMA HISTORY: selling a vintage Bell & Howell 2709 camera with mags. THE
film camera of the 1920s and ‘30s; assorted other goodies. Contact: dkoch198@hotmail.com.
VIDEO & AUDIO GEAR FOR SALE: (2) HVX-200 Panasonic P2 Camcorders $1,500 each; (1) DSR1500 Sony DVCAM recorder, $1,500; (1) Sony DSR-1 DVCAM dockable recorder $1,000; (3) Sony
PVV-3 Betacam recorders $500 each; (3) Mitsubishi XL25U video projectors $500 each; (1) Mackie
1604VLZ audio mixer $500; (1) Glidecam PRO2000 camera stabilizer $200; (1) Glidecam DVPRO RIG
camera stabilizer $300; (1) Yamaha P2075 amplifier 75W stereo/150W mono $500; (3) HVR-Z1U Sony
HDV camcorders $1,000 each; (1) Sony DSR-300 DVCAM camcorder $1,500; (1) For-A VPS-400D 8
input SDI switcher $2,700; (2) Sony WRT822/WRR861 wireless transmitter/receiver – no mic - $750
each; (2) Sony BRC-300 remote control P/T/Z cameras $1,990 each. Call Ted Mitchener at ZTV
Broadcast Services 905-290-4430 or email ted@ztvbroadcast.com.
Services
Need your reel updated? Looking for an editor? I am a CSC associate member who is also an
editor with my own FCP suite. I am willing to trade my edit suite time in exchange for rental of your
gear, or shooting advice, or both. Please send email to miurabucho@gmail.com.
Camera Classified is a free service provided for CSC members. For all others, there is a one-time $25
(plus HST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have
items you would like to buy, sell or rent, please email your information to editor@csc.ca.
Canadian Cinematographer - January 2013 •
19
Camera Classifieds
Equipment Wanted
PRODUCTIONS & CALENDAR
CSC Member Production Notes
Arctic Air II (series); DOP Bruce Worrall csc; B Cam Operator & 2nd Unit DOP Pieter Stathis csc;
to December 14, Aldergrove, BC
Arrow (series); DOP Glen Winter csc and Gordon Verheul csc (alternating episodes);
to April 18, Vancouver, BC
Bates Motel (series); John Bartley csc, ASC; B Cam Operator Ian Seabrook csc;
to January 24, Vancouver, BC
Beauty and the Beast (series); DOP D. Gregor Hagey csc & David Green csc (Alternating episodes);
to April 13, Toronto, ON
The Listener IV (series); DOP James Jeffrey csc; B Cam Operator Kit Whitmore csc
to April 13, Mississauga, ON
Nikita III (series); DOP Glen Keenan csc & Rene Ohashi csc, asc (alternating episodes);
B Cam Operator Peter Sweeney; to April 13, Toronto, ON
Reasonable Doubt (feature); DOP Brian Pearson csc; to December 17, Winnipeg, MB
Rookie Blue IV (series); DOP David Perrault csc; to January 25, 2013, Mississauga, ON
Seed (series); DOP David Makin csc; to December 14, Dartmouth, NS
Supernatural 8 (series); DOP Serge Ladouceur csc; OP & 2nd Unit DOP Brad Creasser;
to April 19, Burnaby, BC
Calendar of Events
January
March
17-27, Sundance Film Festival, Park City, Utah, sundance.org
2-3, CSC Advanced Lighting Workshop, Cars, Toronto, csc.ca
19-20, CSC Lighting Workshop, Toronto, csc.ca
14-25, International Film Festival on Art, Montreal, artfifa.com
25, CSC Awards entry deadline, csc.ca
23, CSC Awards, Westin Harbour Castle Conference Centre,
Toronto, csc.ca
February
1-10, Victoria Film Festival, Victoria BC, victoriafilmfestival.com
April
9-17, CSC Digital Assistants Course, Toronto, csc.ca
5-14, Cinéfranco, Toronto, cinefranco.com
15-26, Rendez-vous du cinéma québécois, Montreal, rvcq.com
11-20, Images Festival of Independent Film & Video, Toronto,
imagesfestival.com
28-March 3, Kingston Canadian Film Festival, Kingston, ON,
kingcanfilmfest.com
20-21, Lighting Workshop for Faces, Toronto, csc.ca
25-May 5, Hot Docs, Toronto, hotdocs.ca
Subscribe online to Canadian Cinematographer
at www.csc.ca
VANCOUVER
CALGARY
604-527-7262
403-246-7267
VANCOUVER
CALGARY
604-527-7262
403-246-7267
TORONTO
416-444-7000
TORONTO
416-444-7000
20 • Canadian Cinematographer - January 2013
HALIFAX
One-year subscriptions are available in Canada for $40.00 for
individuals and $80.00 for institutions, including HST. In U.S. rates
are $45.00 and $90.00 for institutions in U.S. funds. International
subscriptions are $50.00 for individuals and $100.00 for institutions.
Subscribe online at www.csc.ca.
HALIFAX
902-404-3630
902-404-3630
CUT. SHAPE. FOCUS. TUNE.
ARRI introduces the first LED-based lights to truly match the versatility and homogeneity
of conventional tungsten Fresnels: a new generation of focusable, tuneable lights that offers
complete control, combining breakthrough performance with incredible efficiency.
www.arri.com/l-series
The future, ahead of schedule
Sony changes everything with the introduction of their new
F-Series cameras.
4:2:2/4:4:4 at high frame rates. It also supports a high frame rate
acquisition at 60p and 120p, or up to 240p fps.
What happens when Sony’s top engineers spend years consulting
cinematographers and creating breakthroughs in sensors, image
processors, codecs, recording media and ergonomic design?
The future is built in. Sony has designed the F5 with the ability to
adapt and change. The F5 is small, light and modular, allowing you
to configure the F5 for each job or each shot. As well as offering a
choice of formats and internal and external recording options, the
F5 offers a new PL mount lens system that’s compatible with any
brand of photo lenses. You can also attach a variety of high quality
viewfinders to the F5, including Sony’s revolutionary optional DVFEL100 OLED viewfinder featuring 720p resolution.
The new Sony F5.
Sony’s PMW-F5 4K capable digital camera, with its new 8.9 MP
Super 35mm image sensor captures gorgeous, super-sampled HD
and 2K while preparing you for the 4K future. You want feature
quality imaging? The F5’s exposure latitude is rated at 14 stops
of dynamic range for truly film-like rendering of highlights and
shadows, even in low light.
The Sony F5 – the next generation of the incredibly popular F3
– offers robust built-in recording modes. The F5 records to SxS+
cards internally at 50 Mbps 4:2:2 8-bit and that’s just the start.
Get a peek at the future. Talk to a member of our Professional
Video Solutions Group. Ask about the F5, along with its big
brother the F55 – among the first digital motion picture cameras
with a global shutter, completely eliminating motion skew and
rolling shutter distortions. Then, to make sure you get your F5 or
F55 ahead of schedule, place an order today at Vistek.
GROUP
It can record in the Sony HDCAM SR (TM) 4:2:2/4:4:4, and even a
new high bit rate XAVC production codec that supports 10/12 bit
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