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March 2011 Issue 40
The Journal of Art, Technique and Technology in Motion Picture Production Worldwide
MADE IN FRANCE
AFC Micro Salon Angénieux 75th Anniversary Impressionism Birth of Cinematography
cinematographers.000 in print—famous for their user-friendly way of explaining things as if you were right there on location with him).5 liter) 325 horsepower engine. film crews. and Manufacturers. Head of Aaton. They’re riding Loca-Films’ 1961 Oldsmobile Sky Rocket “Voiture Travelling Americaine” at the 2011 AFC Micro Salon. Producers. ASC. Canada 1 Year Subscription. key grip and camera car expert (above).com subscribe online. electricians. before reporting on the Micro Salon. and students filled the studios. Bernard Chateau modified four “American Travelling Cars” for Jean Riviere’s Loca-Films. Inc. Marketing Guru: John Johnston. Crews. Worldwide Airmail 1 Year Online Digital (paperless) 6 issues 6 issues 6 issues 6 issues $49. We don’t take ads and are supported by readers and sponsors. the Bernard Chateau Oldsmobile Sky Rocket was used on Blake Edwards’ The Great Race (1965). Yousef Linjaw. grips. hallways and theaters of La fémis. Jeffrey Reyes. March 2011 Made in France Issue 40 On the cover: Philippe Parain. 500 East 83 Street / 14a New York. was the wizard who modified the impeccably-preserved 1961 Oldsmobile Sky Rocket guarding the entryway to La fémis at this year’s AFC Micro Salon. Inc. Foreign correspondent: Oli Laperal. operating an Eclair Cameflex CM3.95 $29. rental house staff. Beauviala. subscribe now Payment Method (please check one): VISA Mastercard American Express Check Enclosed (payable to Film and Digital Times) Credit Card # ________________________________________ 3 or 4 digit security code_________________________________ Expiration Date________________________________________ Signature ___________________________________________ Name ______________________________________________ Company ____________________________________________ Title________________________________________________ Address ___________________________________________ City ________________________________________________ State or Province ______________________________________ Country ____________________________________________ Zip or Postal Code______________________________________ Phone ______________________________________________ Fax________________________________________________ Email_______________________________________________ 2 Mar 2011 . is pulling focus.95 $59.fdtimes. Nina Liberman. Camera Operators. automatic transmission. Directors. J. Webmaster: Jon Stout.95 $69. 2011. and published by Jon Fauer. Technique and Technology Film and Digital Times is the journal and guide to technique and technology. Grips. On the Cover www. NY 10028 phone: +1 212-772-8526 fax: +1 212-772-6133 1 Year Subscription. let’s go back further in French film history—to December 1895. Foreign Translations: Pierre Souchar. Director. tools and how-tos for Cinematographers. On February 4 and 5. Film and Digital Times is delivered to you by subscription or invitation. or fill out this form and send by mail or fax Film & Digital Times. (fondation européenne pour les métiers de l’image et du son). Studio Chieftains. edited. an award-winning Cinematographer. It’s written. La fémis is located in the old Pathé Film Studios on rue Francoeur in Montmartre. With inside-the-industry “secrets-of the-pros” information. most of the French film industry has shut down for two days to attend the Association of French Cinematographers’ (AFC) annual gathering and trade show at the French National Film School—La fémis.P. © 2011 Film and Digital Times. Photographers. online or on paper. and author of 14 bestselling books (over 120. Jacques Lipkau Goyard. Gaffers. Rental Houses.Art. more than 2500 directors. Jr. Alex Joffé’s Les Culottes Rouges (1962) and Gérard Oury’s The Brain (1969). But. Camera Assistants. camera assistants. Contributing photographers: Dorian Weber. President of Angénieux.95 Bernard Chateau. improved hydraulic suspension by Citroën (very smooth). For the past 11 years. With a 394 cu in (6. USA 1 Year Subscription. producers.
since lumière means light. the Hotel Scribe celebrated its 150th anniversary and the 115th anniversary of the screening. The Salon Indien was a billiard room in the Grand Café. Champagne and cocktail glasses were lit with waterproof LED fixtures. Left to right: Auguste and Louis Lumière On December 9. www. internally LED-lit champagne glasses were a fitting tribute to the inventors of the cinématographe.The First French Cinema On December 28. It was not an immediate suc- cess. In December 2010. Historic photos from the Institut Lumière line the walls. and soon more than 2.500 tickets were sold each day. Only 33 people arrived. High-tech. on the Boulevard des Capucines in 1895. The first Lumière screenings were held in the Grand Café. the Hotel Scribe celebrated its 150th anniversary. The show cost 1 Franc per person. 2010. word spread quickly. These were the first motion pictures viewed by a paying audience in France.sofitel. ten short films were projected on a screen in the Salon Indien at the Hotel Scribe in Paris. 1895. The brothers Louis and Auguste Lumière would have approved.com Mar 2011 3 . The hotel’s skylit atrium restaurant is fittingly named Café Lumière. However. which occupied the Scribe’s ground floor at the corner of Rue Scribe and Boulevard des Capucines.
by nightfall the weather cleared. Long lines formed at stores to buy more candles. Below: Une noce chez le photographe (A wedding party at the photographer) Pascal-Adolphe-Jean Dagnan-Bouveret Oil on canvas. taught himself painting. the heavens protested with howling wind as thick clouds unleashed torrential rain. In 1870. but the day after celebrating 115 years of cinema. In 1862. The Fête des Lumières in Lyon attracts more than 4 million visitors. at first. Newspapers the following day carried letters of complaint that workers had not been informed about the festival—and so it became a four-day festival of lights. Plans for fireworks and flares were abandoned. the family fled to Lyon. France invaded Mexico after President Benito Juárez stopped repaying his European debts.1911). To feed his growing family (three sons and three daughters). churches and statues with thousands of candles. His brother Louis was born in 1864. at left. 1879 47.Light Paris may be the City of Light. As the archbishop blessed the new statue. We have to backtrack to December 8.. Born in Haute-Saone. Prominent lighting designers from around the world compete to illuminate and animate water. air. The American Civil War was in full force. overlooking the city of Lyon. It is certain that the two brothers were influenced by the celebration of light in Lyon as they grew up. a struggle. 1862 was a turbulent year.. The inhabitants of Lyon lit their windows. Auguste Lumière was born.25 inches Musée des Beaux-Arts.25 x 32. Lyon . public spaces and more than 200 buildings. learned photography from Nadar. and set up a small portrait studio in Besançon. ten years after the first Lyon Festival of Lights.but by iron and blood. August and Louis Lumière were born in the middle of the Second French Empire (1852-1870) of Napoleon III. 1852. However. Sculptor JosephHugues Fabisch’s long-delayed statue of the Virgin Mary was finally ready for unveiling at the Basilica of Fourvière.” After August and Louis were born. Prussian prime minister Otto von Bismarck delivered the ominous speech that every high school student is expected to refute in their modern European history essays: “The great questions of the day will not be resolved by speeches and majority decisions. The tradition continues today. It may have looked like Dagnan-Bouveret’s painting of a wedding party in a photographer’s studio. Antoine apprenticed to a Parisian sign maker. ahead of the advance of the Prussian army during the Franco-Prussian War. Antoine built a small factory in Lyon to make photographic plates by hand. 4 Mar 2011 Right: Antoine Lumière (1840 . their father Antoine set up a small photographic portrait studio. France. houses. It was. father of August and Louis. I’m racing to get to Lyon by magic hour to participate in one of the world’s great festivals of light: the annual Fête des Lumières in Lyon.
silver nitrate. Post-Impressionism. and Photography). a decade later.Lumière Success in the family enterprise arrived in 1882 when the boys designed a way to mechanize the process. would be introduced the following year. Demeny. The famous shot of the workers leaving the factory was filmed at the gate seen in the bottom part of the picture. 1895. Model of the Lumière factory in the Monplaisir district of Lyon. Lumiere’s etiquette bleue was second only to George Eastman’s Kodak. with 40 rooms on 200 acres with private harbor and vineyards. They were the first in France to successfully implement a marketable technique from the nascent technology. FrieseGreene. By 1894 the Lumières were one of the wealthiest families in France. Provence. The glass was cut into 60 cm widths. vast resources) at the right time (Impressionism. The Lumière family commercialized a technology that was emerging in the currents of a concurrent global arena. Jenkins. Louis invented a new. It was very similar to asking. The factory received large shipments of glass used to make the photographic plates—amounting to 6 or 7 tons of glass daily. the Cinématographe. Acres. Above: Antoine Lumière’s villa in Lyon. and ammonium bromide. It was a closely-knit family: the brothers married two sisters who lived across the street. Below: Lumière summer villa in La Ciotat. Armat. the Lumières employed a dozen workers. but the reality is more like a thick cloud of competing talent and knowledge. Edison and many more. Antoine was living well beyond his means. Mar 2011 5 . Rudge. faster dry photo plate. 300 talented workers. 300 employees were making 15 million plates a year. Skladanowsky. and then coated with an emulsion of gelatin. bathed in acid. Auguste and Louis lived in a similar villa next door (unfortunately demolished several years ago). Once again. Herbert and McKernan’s Who’s Who of Victorian Cinema catalogs the inventors on the brink of cinema: Le Prince. designed by Antoine and completed 1893. the family needed income from a new invention. Muybridge. That invention. We often think of inventions as arriving spontaneously. “who invented the search engine or social networking?” Louis and Auguste Lumière were in the right place (Lyon. “Etiquette Bleue” (blue label). In 1884. with villas and summer estates connected by one of the few telephone systems available. above. Latham. Marey.
” Édouard Manet. sought approval of the establishment while simultaneously provoking it. and later annual. everything depended on the Salon. more than half of the submissions to the official Salon were rejected. not in an expensive studio. With rapid brush strokes. including Manet’s own. Style was influenced by technology (railroads. an updated version of Titian’s Pastoral Concert. if you were a French artist. Rebecca Rabinow notes. Exclusion spelled professional death. at different times of day and under various lighting conditions. 2006). Impressionism. By painting the same subject repeatedly. but decries the lighting as less subtle than the six o’clock news. 208 × 264 cm Musée d’Orsay. who had been born into an affluent family.Lumière and Impressionism Auguste and Louis Lumière were born at the inception of Impressionism: 1862-1864. in the Metropolitan Museum of Art’s Heilbrunn Timeline of Art History. he could create paintings at a prodigious rate.110 × 138 cm. A painting for the Academy might take years to complete. carefully finished. Eugène. and the activities of a rising middle class in its pursuit of leisure. while a second. and his younger brother. “Inclusion gave the official stamp of approval and smoothed the way for sales and commissions. cities. Paris below: Édouard Manet Le Déjeuner sur l’herbe 1862-1863. Manet and the Impressionists painted scenes of modern society in a style that critics called “unfinished” or “sketched. “Manet submitted paintings to Salon juries throughout his career. destitute and evading creditors. Impressionism emerged as a reaction against the conventions and constraints of classical academic art. 1510. Musée du Louvre. That year. paint in tubes. Paris .” Even the aspect ratio (1. scantily clad woman bathes in a stream.” We might call it a documentary style. Monet and his fellow Impressionists could capture the qualities of light as it illuminated familiar scenes of train stations. could be completed in one day on location. photography). An early Film and Digital Times edition from 1862 compliments the brush strokes and the composition. impressions of light. Paris Giuseppe Castiglione View of the Grand Salon Carré 1861. Manet understood that the academy valued historical themes and classical subjects. To staunch public outcry. At this time. 69 x 103 cm Musée du Louvre. 6 Mar 2011 below: Titian (previously attributed to Giorgione) Pastoral Concert ca. Perhaps what upset the critics most was the flat and contrasty front lighting. with its themes of light and moment. By the mid 19th century. Critics recognized that this scene of modern-day debauchery was. Manet exhibited three paintings. Claude Monet. to a certain degree. Oil on canvas. Ferdinand Leenhoff. as Ross King writes in his book The Judgement of Paris (Walker & Company. must have noticed how much faster photographers could produce images. rescued only by the dark jackets worn in the painting by Manet’s brother-in-law. with its light source mounted directly above the camera’s lens. juried exhibitions of the Grand Salon sponsored by the government (see Castiglione’s painting at right).25:1) of the two paintings was similar. Oil on canvas. relied on portability—concepts that were not lost on the Lumières in 1895. including the scandalous Déjeuner sur l’herbe. Monet realized that his atmospheric palette. Napoleon III ordered the formation of a Salon des Refusés. Oil on canvas. almost as quickly as rival still photographers. These were the years when art was about to be democratized along with the society it often depicted. The public professed to be shocked by the subject of a nude woman blithely enjoying a picnic in the company of two fully clothed men. His hopes for continued early success were dashed at the Salon of 1863. Subject was taking precedence over style. underscored by the red ‘R’ (‘Rejected’) stamped on the back of canvases that did not make the cut. as exemplified by the biennial.
7 cm. operating a cinématographe as a projector. portable cinématographe cameras. The first films of Thomas Edison and William K. L. light. which would grow to become one of the most influential worldwide. Impressionism influenced the democratization of art and its appreciation not only by nobility but also by the growing middle class. Below. cinema soon became the medium destined to become the most widely viewed art form of all time. 74.org Famous scene of workers leaving the Lumière factory. more than 1400 Lumière films of 50 seconds were shot on location around the world. documentary style. left: Antoine Chavanon. They trained camera operators to travel around the world making and exhibiting short films. But with its images projected multiple times per second. a train arriving in a station. left: The Lumière cinématographe used 35mm film. single perf on each side of frame. street scenes of Paris. Dickson showed Fred Ott sneezing. but it could also be used as a contact printer and a projector as well. mostly on location. at first shot in Edison’s big and bulky Black Maria studio—a huge building on tracks that rotated to catch essential sunlight because early emulsions were so slow. politicians. 60% on film (argentique). It was simple: open the back and shine a magic lantern beam onto the moving film.institut-lumiere.6 x 99. The Lumière films were shot with small. Louis and Auguste quickly realized that exhibiting films to large audiences would be more lucrative than merely building the cameras. 40% digital (numérique). The Lumières’ cinématographe was a versatile and practical instrument: the tiny box not only could shoot the movies. In 2010. Metropolitan Museum of Art.Lumière Cinématographe Claude Monet. 1869. a family dining together. Oil on canvas. www. magicians. dancers. This was the first short film shown at the Grand Café on December 28. The Lumière cinématographe possessed the same qualities essential to motion picture cameras today. Below. Mar 2011 7 . The audiences at the Grand Café in 1895 attended the birth of the French film industry. smaller. La Grenouillère. To screen the film to a large audience. Louis Lumière personally shot over 30 of his company’s short films. faster. Edison’s early films were shown one person at a time on “peep show” Kinetoscopes. From 1896 to 1905. right: views of the portable cinématographe. the only additional item needed was a bright light source—usually the lamp housing of a magic lantern. and scantily-clad women. They were documentaries with roots in Impressionism’s subjects and style: workers leaving the factory. Equipment was big and heavy. 200 features were shot in France. Right: Denny Clairmont peeping into an Edison Kinetoscope at the Institut Lumière. NY Below. 1895. Lighter.
I was impressed by the increase in space. and many new high-tech machines—all of which spell faster delivery time and consistent excellent quality. a big budget action thriller just released. the great gaffer in the sky lifted the clouds and enveloped the crowd in beautiful backlight. colleagues. We then assembled in front of the newly constructed factory addition. Next. one of the first motion picture rental companies in the US to become a regular and long-time customer of Angénieux zoom lenses. President of Angénieux . President of Clairmont Camera. improved production capacity. With perfect timing. followed by screenings and a 3D film produced specially for the anniversary event. He began with a history of the company founded by Pierre Angénieux. and Philippe Parain. The new Angénieux logo was revealed. Angénieux President Philippe Parain gave a welcoming speech to the large audience of dignitaries. more than 300 guests from France and around the world arrived at the Angénieux factory to celebrate the company’s 75th anniversary. On a cold and windy morning. Denis was followed by Denny Clairmont. staff. and prominent cinematographers assembled in theater. including Le Petit Nicolas and Largo Winch. 8 Mar 2011 François Rochebloine. After lunch. we toured the factory. 2010.Angénieux 75th Anniversary December 13. A ribbon was cut. new showroom and new studio. with snow clouds blowing over the hilltop of Saint Héand. Having visited Saint Héand two years ago. member of parliament. AFC talked enthusiastically about his experiences as a cinematographer using Angénieux lenses on his many feature films. Denis Rouden.
with 70 marks in feet (available now) and 77 marks in meters (coming soon).4x Extender on Optimo 24-290.angenieux. With improved calibrations and more intuitive increments.Angénieux 75th Anniversary Above. Pierre Angénieux’s son.com email: angenieux@fr. New 2x and 1. former Angénieux International Sales Director. For more information: www.” The studio will be used by Angénieux development teams to test the lenses in true operational conditions and to help create new products. current Mayor of St Héand. Below: the new Angénieux showroom displays the full line of the company. Angénieux at Micro Salon It was like a reunion one month later in Paris at the 11th annual AFC Micro Salon. left to right: Bernard Angénieux.4x Extenders now fit the entire range of Optimo lenses (but not the Optimo DP lenses). Above: each lens is tested in the lens projection room during the manufacturing process. Below.thalesgroup. left to right: Dominique Rouchon-Picariello with Denny Clairmont. The Optimo 24-290 mm zoom has newly designed. New equipment was introduced.com Below left: New 1. Right: New 2x Extender on Optimo 24-290 zoom. Denny Clairmont. and former Angénieux service manager. the new rings are helpful tools that provide improved accuracy and response for focus pullers everywhere. inaugurating Angénieux’s new studio. high precision focus scales. President of Clairmont Hollywood. Mar 2011 9 . and Bernard Philibert. showing the breadth and synergy of its large range of products. 2010 marking the 75th anniversary of the brand by Mr. Optimo zooms have been enjoying great success on 3D productions—including the matched Optimo DP 3D package. A commemorative plaque on the wall reads: “The Pierre Angénieux Studio was opened on December 13.
Loumasystems. LA FEMIS .. who year after year helps make it happen.com EXT. Director of La fémis. ASC. 35mm Phedon Papamichael. Transvideo and Loumasystems provided complimentary digital subscriptions to Film and Digital Times via laptops at their booths. Jean-Noel Ferragut. The Association of French Cinematographers (AFC) office at 8 rue Francoeur. Loumasystems. 18-85 T2. Left to right: Jean-Marie Lavalou. and Dion Beebe. and 4-perf 4K scans. Kramer Morgenthau. ASC. Fujinon’s four new PL mount Premier zooms: 14. Sony F3 camcorder with PL mount adaptor and Angénieux Optimo DP (Rouge) Zoom.. 10 Mar 2011 .8-3. some attendees had to rely on their kids to navigate the online sign-up process. ASC. www. Marc Nicolas.NIGHT.of course.5-45 T2. 3-perf. Sony SR-R1 Memory Recorder with 1 TB memory Card. 24-180 T2. The Micro Salon runs for two days.2011 AFC Micro Salon At the 11th AFC Micro Salon in Paris. Angénieux continued their 75th anniversary celebration. 75018 Paris. 4-perf. from 10 am to 8 pm.. Eric Garandeau.8 Fujifilm demonstrated their new Eterna Vivid 250D Kodak showed their new Vision3 200T 5213 film and film and screened scenes shot by cinematographers screened examples of Super 16 degrained..6.afcinema. Nicolas Pollacchi. AFC — my hero of the Micro Salon. ACS. President of Centre National du Cinema. . 2-perf. 75-400 T2.
television and other media.5K/4K and 18K HMIs have a flat ceramic reflector. At the end of Day 2.” It’s a wrap.cst. viewfinder display mode. Angénieux. for cinema. butterflies and frames. Dominique RouchonPicariello. President of The Rag Place flew in from Hollywood to demonstrate the company’s technical fabrics for the motion picture. allowing you to aim the light straight down without danger of over-heating. R: Rip O’Neil of CST with his new gray scale and color chart. Cooke Optics. Inc. France. Jacques Delacoux. Stefan Karle of DOP Choice. mineral water and sodas were playback of QuickTime clips from SxS PRO cards. served continuously. “C’est dans la boîte. Angénieux. Transvideo.fr Les Zellan. An American in Paris: Pat Caputo. ex Kodak European Marketing Director. CST supervises the quality of sound and images. Mar 2011 11 . Jean-Noel announces. Philippe Parain. single frame grabs. New Cartoni Maxima for cameras from 0 to 50 kgs. receiving an autographed Aaton a-minima from Jean-Pierre Beauviala. K5600 Lighting. new optional smooth dessert snacks of madeleines and florentine cookies. How do you shoot a chase sequence through narrow streets of Montmartre? With Jean Pierre Goy’s Travelling Motorcycle and remote camera head. along with breakfast.2011 AFC Micro Salon Thierry Perronnet. www. ARRI showed Alexa’s latest updates: In-camera Wine. EI 3200. with snapgrids for softboxes. champagne. L: Philippe Ros. David Morphy of Key Light with Kino Flo Spirals— compact fluorescents with Kino Flo phosphors that screw into household lamp sockets. Marc Galerne. AFC. lunch and in-camera audio recording. The Alpha 2. television and theatrical businesses.
Carte Noire commercials. it may be the other way around. 3ality. helps the camera operator keep an object centered without back-panning. Paradise.loumasystems. Cinematography Electronics Cinetapes. The Louma 2 is the only telescopic crane that can steadily handle such heavy loads both conventionally underslung or top mounted (perched). 3D movies desperately need a crane and remote head to transport these new monster rigs.biz www. used two Louma 2 cranes in London almost nonstop on Martin Scorsese’s 3D movie Hugo Cabret. Advanced software. Alexa. Sony. etc). if not heavier.” Actually. Below. right: Louma 2 at Micro Salon. “Louma 2 is riding the 3D wave. Pace. In addition. which they call Shot Assist. than a film package. Bob Richardson. The emergence of new digital cameras such as Red. “With such weight and accompanying paraphernalia. ASC. even at high speeds.” www. lens motors and boxes.com Above and below: Louma 2 with Pace 3D rig. video signal converters. E3D. and many other projects. When you then add a new 3D rigs from Binocle. Element Technica. principles of Loumasystems. they are not necessarily lightweight (an Alexa Plus with viewfinder is almost the same weight as an Arricam ST body) and they are often used with the same heavy zooms as used in 35 mm along with all kinds of accessories that can make the total package often as heavy. Cooke 5/i primes. The Louma 2 arm is very rigid and stable. Remote cameras are usually equipped with a gaggle of miscellaneous accessories (monitors. whose weights vary by configuration. P+S Technik. Lavalou says. The Louma 2 was also used on recent 3D productions that include Pirates of the Caribbean 4. any doubts about an equipment weight-loss program is quickly swept aside. lightweight camera. said. 12 Mar 2011 . Transvideo monitors. the total payload is between 35 kg and 55 kg. which can save valuable production time. Preston controls on Hugo Cabret. Alexa cameras. with its real-time tracking compensation. Although these cameras are compact. even when the crane is pivoting on an arc. 3D rigs are riding Loumas because these sophisticated telescopic cranes seriously reduce setup time and are increasingly de rigeur when you’re shooting in stereoscopic 3D. a Shakira video clip (at the last soccer World Cup). it provides smooth straight line tracking style dolly shots from a telescoping and pivoting arm without moving the crane base.Loumasystems Jean-Marie Lavalou and Nicolas Pollacchi. Once you double up on everything for 3D.louma2. and others might raise questions about why such a robust crane system might be needed. Gone is “the cat on the shoulder” concept of handholding an ergonomic.
some of which were more mystifications than reasonable approaches. The work of the stereographer was simplified with this revolutionary tool. “Based on the CineMonitorHD platform. stereographer: Alain Derobe).transvideo. with birthday candles on the Transvideo Titan HD transmitter antennas. This is deliberate. Below: Les Zellan. and facilitates adjustment of the rig to control the cameras and optics in real time. Transvideo 3DView Monitors provide the choice to work with “false-colors” to provide a simpler analysis of the depth of a scene. the position of the screenplane. It began with a challenge. Transvideo presented new products at Micro Salon—especially for 3D production and wireless image transmission. New Transvideo website: www.eu Above: Nadège Deschamps and Jacques Delacoux. Transvideo president Jacques Delacoux said. by Michael Henry Wilson French edition. “The proliferation of proprietary solutions. The illusion of depth is easier judged by color fringes on each side of the objects. President of Transvideo. Hugo Cabret (dir: Martin Scorsese). because WYSIWYG 3D does not exist when filming in stereo on location. setting up rigs and cameras had been difficult. When you look at a monitor. and developer of the “Natural Depth” concept was important. Some recent 3D films using Transvideo equipment: Pina and If the Building Could Talk (dir: Wim Wenders. and from 10’’ includes HDMI and reclocked HD-SDI + patented genlock analyzer. Stereographer. with Transvideo Wireless Monitor on the cover Transvideo’s cooperation with Alain Derobe. 3DView “S”: Synchronizer to work with DSLRs or cameras with output preview from non-synchronous sources (10’’. and of course the separation distance. which is essential in creating a pleasing and balanced stereo image when the size of the target screen is known. Mar 2011 13 • • . Jacques Delacoux with birthday patiserrie. This is important because watching 3D on a monitor will not yield the same results as on a 25 foot wide screen. including Imax 3D. New Transvideo Monitor supports for DSLRs and other cameras—a clever new support with quick attachment (shown at left). and Pirates of the Caribbean 4 (dir: Rob Marshall).Transvideo at Micro-Salon 2011 As it has every year. News from Micro Salon • 3DView Evolution: A new 8’’ replaces the 6”. you are usually a few feet away. Cinematographer. It’s important to note that Transvideo has been working in 3D for more than 20 years. Among these is Transvideo’s calibrated and superimposed grid. Previously. 12’’ and 15’’) + patented genlock analyzer. often requiring the use of calculators. That’s why Transvideo’s simple grid system works consistently for all 3D screen sizes. A direct view in 3D can distract the stereographer from simultaneous supervisory adjustments of the rig. tables and complex measurements. and Geoffrey Chappell. 3DView A 2007 meeting with stereographers working with HD-SDI cameras led to the development of Transvideo’s CineMonitorHD 3DView Monitors. while limiting access for many. and led to the development of many innovations.” Eastwood par Eastwood. 3DView verifies the synchronization of both cameras. and your eyes converge at a greater angle than they do when looking at a theatrical screen that is 20 or 30 feet away. did not simplify matters.
78:1 image vertically to fit onto a 2. At the very least. Take full advantage of the entire 2-perf 2. Even better.78:1 (16:9) format on 2-perf 35mm film.4 ÷ 1.3x Anamorphic Lenses. To the rescue: 2-perf cameras like Aaton Penelope or Arriflex cameras with 2-perf movements.78 image. Do the math: 2. your intimate drama cries out for 1. no one has fitted a 2-perf camera with a vertical anamorphic finder—but it shouldn’t be difficult. Beauviala explained an innovative way to shoot 1. You want to shoot in 1.78 format with regular lenses and a masked gate. 14 Mar 2011 . Hawk V-Lite lenses are designed to be rotated 90 degrees. Up to now. Here’s the scenario. Your image area is now 216 square millimeters. the lens has a vertical squeeze. Lens technicians can easily remove four screws and rotate the anamorphic assembly. and Hawk V-Lite 1.40 widescreen. it isn’t terrible composing 1.3x vertically squeezed images with a regular finder. The image area is a little bigger: 144 square millimeters. But the image area is a paltry 80 square millimeters. It’s a simple drama about three horses.40 frame by vertically squeezing the 1. The beauty of this process is that the unsqueezed image is the equivalent of 3-perf Super35. Hawk V-Lite anamorphic lenses come in both 2x and 1.78. You could shoot Super16.P. at least) for the first time. And you’re using much less film.78 80 mm² 35mm 2-perf 1. Its native format is 1. Suddenly. the better the picture..78 format on film. which has an image area of 324 square millimeters.78..16:9 2-Perf Film with 1.3.3x Anamorphic Lenses At the Micro Salon. J.you could use all the negative and shoot with spherical lenses in 2. Well. instead of a horizontal squeeze. And you agree that the larger the image area. Super16 1.3x anamorphic squeeze ratios.78 144 mm² You could shoot on 2-perf 35mm 1. JP’s illustrations made it understandable (to me. How does that work? With anamorphic lenses. Above: V-Lite lenses. But look at all that good negative area you’re wasting. photo courtesy Vantage Film.78 = 1. normally the image is squeezed horizontally. However. But what if we were to squeeze the image vertically? Squeeze a 1.40:1 format. 35mm 2-perf anamorphic 216 mm² 35mm 3-perf 324 mm² Illustrations courtesy of Aaton Left: Aaton Penelope with Hawk V-Lite anamorphic.
Cooke Panchro T2. Managing Director of Ronford-Baker.EMIT at Micro Salon Ben. Transvideo. Tristar Dolly by Panther with Hi-Low Turnstile. At Micro Salon.emit. Panther. and FreeStyle Rig Evolution. MTF Adaptors. Easyrig. FGV Schmidle. and many more.” Rear view: Geoffrey Chappell and Les Zellan Tino Liberatore. Trevor. Chrosziel. Betz Tools. Tiffen DFX V2 Software. Wireless HD 3D Titan system from Transvideo. 3D-Ready 8 channel Aladin by Chrosziel.fr Left to right: Ben. President of Abakus at the EMIT booth to demonstrate probe and 8mm lenses Mar 2011 15 . Handgrips. head of betz-tools gmb The Cooke Look.8 primes. and Andrew Steele of EMIT Jeff Lawrence. P+S Technik Weisscam HS-2. the well known Parisian company that has been supplying the motion picture community for over 25 years with almost everything imaginable for film and digital production. Cooke. cmotion. ZEISS HD. 16x9 Inc. Trevor and Andrew Steele are the characters behind EMIT. Among the brands represented are: Abakus. Transvideo Monitor Ken Pollitt. PAG Li-ion L190 14. 16Digital SR Mag. Ronford Baker. EMIT’s website is newly redesigned: www. Chairman of Cooke Optics. PAG. Ronford Baker Heads and Slider. EMIT displayed: Cooke 5/i T1. now with Panther Les Zellan. and all kinds of accessories. with Trevor Steele P+S Technik 16Digital SR Mag. SI2K-3D. 3D rigs. P+S Technik. and Christian Betz. Betz Rig with new joystick Zoom Control.4 primes. “One Look. Three Speeds.8V-190w Batteries.
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