Jon Fauer, ASC www.fdtimes.

com Dec 2011  Issue 45

The Journal of Art, Technique and Technology in Motion Picture Production Worldwide

Canon Cover Story

EXT. 20,000 ISO - NIGHT
Canon’s Cinema EOS System
and C300 35mm Cameras

FDTimes First Look

New ZEISS Anamorphic Lenses,
Compact Zoom, CP.2 Primes

Exclusive Interviews
Angenieux, Leica, Canon

IBC and Year-End Gear Wrap Up

April 2010 1
 Inside FDTimes
Dec 2011, Issue 45
Art, Technique and Technology
Film and Digital Times is written, edited, and published by Jon Painting with Light: EXTERIOR - NIGHT.......................................................... 3
Fauer, ASC, an award-winning Cinematographer, Director, and Canon C300 Report..................................................................................4-7
author of 14 bestselling books. With inside-the-industry information, Canon C300 Lenses and Specs.................................................................... 8
Film and Digital Times is delivered to you by subscription or invita- Practical Productions with Canon C300......................................................... 9
tion, online or on paper. To subscribe: www.fdtimes.com/subscribe C300 CMOS Image Sensor Details.............................................................. 10
© 2011 Film and Digital Times, Inc. Cinema EOS Premieres in Hollywood......................................................11-12
Cinema EOS Premieres in NY...................................................................... 13
Exclusive Interviews in this Issue Canon’s Managing Director Masaya Maeda............................................14-15
New ZEISS Cine Lenses.............................................................................. 16
New ZEISS Compact Primes and Zoom in 2012........................................... 16
Anamorphic Lenses from Carl Zeiss............................................................ 17
The Math of 4:3 and 16:9 Anamorphic Cinematography............................... 18
ARRI Alexa Studio and her 4:3 Sensor......................................................... 19
ARRI/ZEISS Master Prime 135 mm............................................................. 20
Cooke 135 mm Panchro/i and 135 mm 5/i ................................................ 20
Cooke Uncoated Panchro/i Primes.............................................................. 20
Two New ARRI/FUJINON Alura Zooms......................................................... 21
FUJINON Premier Zoom BLT Net Holders..................................................... 21
Angénieux ADS/i on Optimo Zooms............................................................. 21
Interview with Angénieux’s Dominique Rouchon......................................22-23
It’s the Wand that Makes the Wizard—Wood Handgrips............................... 24
P+S Technik PS-CAM X35 and Hirth Tooth Rosettes.................................... 25
AbelCine Expansion and ProVFM Viewfinder................................................ 26
ARRI Alexa M............................................................................................. 27
Red Scarlet................................................................................................ 27
Canon Managing Director Masaya Maeda, pp. 14-15 Schneider iPhone Lens............................................................................... 27
Data Wrangling: Codex, Avid, Alexa............................................................. 28
Aaton Delta Penelope................................................................................. 29
Sony F3..................................................................................................... 30
Chrosziel Support for Sony F3..................................................................... 31
SRMemory................................................................................................ 31
Sony F65................................................................................................... 32
Iain Neil at Leica Historical Society.............................................................. 33
Interview with Leica’s Andreas Kaufmann...............................................34-35
OConnor Universal Camera Baseplate, O-Focus, Tripod................................ 36
Hugo’s Hardware Store.............................................................................. 37
Tiffen Dfx 3.0.5......................................................................................... 38
Tiffen Variable ND...................................................................................... 39
Micro Scorpio Head.................................................................................... 39
Movcam Tech............................................................................................ 40
16x9 Inc Cine Base.................................................................................... 40
3 New Leica Summilux-C Primes................................................................ 40
Kodak Vision3 50D.................................................................................... 41
Dominique Rouchon discusses Angénieux. pp. 22-23
Cartoni Maxima......................................................................................... 41
iDCPhotoVideo Rods................................................................................... 41
MTF Services Aperture Control for F3.......................................................... 41
Sachtler Ace Fluid Head............................................................................. 42
Manfrotto.................................................................................................. 43
dedolight................................................................................................... 43
Ronford..................................................................................................... 43
Images of IBC 2011 .............................................................................44-45
Andrew Laszlo, ASC 1926-2011................................................................. 46
BSC Show & Micro Salon............................................................................ 47

Cover: Two Canon C300 cameras on the production of “Sword”

co-directed by Felix Alcala and Larry Carroll, with actors Jessica
Matsumoto and Lane Townsend in a Passport Films production.
Cover image and images on pages 4-10 © Canon U.S.A., Inc.
Used with permission. Sensor and base on page 7 © FDTimes.

Andreas Kaufmann talks about Leica. pp. 34-35

2 Dec 2011 • Issue 45

Painting with Light: EXTERIOR - NIGHT

Starry Night Over the Rhone Dear Theo,

Vincent van Gogh. 1888 I have discovered a wonderful new digital 35mm cine camera. It
Oil on canvas. 72.5 × 92 cm (28.5 × 36.2 in) lets me work up to 20,000 ISO, seeing color and shapes I can barely
Musée d’Orsay, Paris discern with my naked eye. It is unlike anything we’ve seen before.
As you know, my producers continually worry about how much
the budget increases when I write, paint or shoot “EXTERIOR-
NIGHT.” Not any more. Of course, available light still must be
Starry Night (Nuit Étoilée) beautiful, and we still must augment it with our own artistry. But,
Jean-François Millet. ca. 1851 we can now work at much lower light levels, creating new looks...
Oil on canvas, 65.4 x 81.3 cm (25 3/4 x 32 in) Actually, here’s what Vincent Van Gogh really said:
Yale University Art Gallery, New Haven
“The starry sky painted by night, actually under a gas jet. The sky
is aquamarine, the water is royal blue, the ground is mauve. The
town is blue and purple. The gas is yellow and the reflections are
russet gold descending down to green-bronze. On the aquama-
rine field of the sky the Great Bear is a sparkling green and pink,
whose discreet paleness contrasts with the brutal gold of the gas.
Two colorful figurines of lovers in the foreground.”
And: “It often seems to me that the night is much more alive and
richly colored than the day....The problem of painting night scenes...
on the spot and actually by night interests me enormously.”
Almost forty years earlier, Millet painted Nuit Étoilée, lit only by
shooting stars and the glow of a village over the horizon. Millet
described his painting in 1856, “If I could only make others feel as
I do all the terrors and splendors of the night; if I could but make
them hear the songs, the silences and murmurings of the air—one
must feel the presence of the infinite.”
Bring on the night. New tools are here to help us see its splendors.
Issue 45 • Dec 2011 3
4 Dec 2011 • Issue 45
Canon C300

What’s so great about the new Canon Cinema EOS C300 and C300 silks must be flown like a square-rigger sailing ship, making Pat
PL? In two words: Exposure Index. This tiny 3 pound camera Caputo and companions at places like The Rag Place very happy
shoots beautiful 35mm motion pictures in very dark places. indeed. Needless to say, the production accountants are not
Focus on the night. No longer will studio chieftains exhort their amused by the costs of containing daylight. “How much simpler
writers to eschew the dreaded slugline: EXTERIOR - NIGHT. to shoot this at night,” may be the new mantra.
This camera almost noiselessly revels at 16,000 ISO. It goes up to At Canon’s stellar Cinema EOS Parmount premiere on November
20,000 ISO. Dare I say it, but the C300 could make available night 3, 2011, I said that motion picture cameras have been described,
light as easy to shoot as available daylight. modestly, as boxes onto which lenses are attached. I could see
Few things send more shivers down the spines of producers than Denny Clairmont wincing in the audience. “Those were the old
rooftops, streets of San Francisco, and other dark, expensive cameras,” Denny said to me over cocktails in the EXTERIOR -
places at night. Yet Sam Nicholson (opposite, below) shot from NIGHT New York Streets reception. “The new digital cameras are
6,400 to 16,000 ISO available light at night, augmenting scenes much more than boxes. The sensor is the film—the result of lots
occasionally with iPhones, iPads, and small portable battery- of color science. The electronics and the software are the lab. This
powered lights. is no longer a box. This is much more.”

This camera is lighter, smaller, faster and different. At about 3 A long legacy of magic “boxes” consistently changed the way we
pounds, the size of a medium format camera, the really big deal shot motion pictures, especially when they were lighter, smaller,
is the incredible beauty of scenes shot at Exposure Indexes from faster, and unique. Here’s a great example of how technology can
320 to 20,000 ISO. While some blogerati are focusing on bits and influence technique. The two new cameras introduced by Canon
Ks, the simple question is, “Do you want to shoot noiselessly and at Paramount on November 3, 4 and 5 were not so much a product
grain-free at 6,400 ISO and higher?” Studio production heads launch as the harbingers of a new paradigm.
are taking notice of the C300 because, as one mogul told me, The story began over 3 years ago. Canon introduced the
“EXTERIOR - NIGHT may no longer mean more expense than EOS 5D Mk II DSLR in September 2008. It was designed for
EXTERIOR - DAY.” photojournalists to shoot stills and put short 30 second clips onto
Picture this (below): a scene starring Chris Hurd and a wild the web. The rest is history. The 5D was embraced by Hollywood,
bunch of characters on the Paramount Studio lot in flat, mid-day Bollywood and by everyone else who liked the look of 24x36 mm
muddle. The daylight is dreadful. Backgrounds are washed out, format video images.
the talent needs tenting and modeling. Giant overhead solids and Canon subsequently introduced their APS-C (22.2 x 14.8 mm)
EOS 7D and APS-H (28.7 x 19 mm) EOS 1D Mk IV. You could
hear the machine shops worldwide chopping off the fronts and
installing PL mounts—mostly in Munich at FGV Schmidle and
Denz, and at Hot Rod Cameras in Hollywood.
Canon did not attack their DSLR still cameras with a Dremel or
bandsaw to create the C300. This is a totally new style of 35mm
digital motion picture camera. Actually there are two cameras: PL
mount and Canon EF mount.
Why 2 mounts and not a neutral mount with adaptors? Canon
explained that it saves on cost, complexity and ensures consistent
flange focal depth. Also, remember that the EF mount has all the
Canon electronics and contacts in it. The bodies are dustproof
and splashproof.
Issue 45 • Dec 2011 5
 Outside the Canon C300

Canon C300 with EF Mount, left. C300 with PL Mount, right. Handgrip attaches to camera right side, with buttons for start/stop, focus
Although PL lenses are one of the worldwide standards, they pale in magnifier, and a dial to control iris of EF mount lenses. There are 2 CF
comparison with the 70 million EF lenses delivered so far by Canon. Card slots at the rear. I recommend recording simultaneously to both:
Guesses on quantities of PL lenses in use range from 50,000 to that provides a “camera negative” and a “backup dailies.”
100,000 worldwide.

Main camera on/off/lock switch

Tape measure hook

ND filters inside:
-2 stops (ND 0.6) A “thumb-rest” reminiscent of a venerable Arriflex 2C protects the
-4 stops (ND 1.2) contacts when you’re not using a handgrip.
-6 stops (ND 1.8)

Detachable top handle and

monitor/audio unit provide
multiple mounting and viewing
positions. The viewfinder is
incredibly sharp and you can
easily focus by eye with it.

6 Dec 2011 • Issue 45

Inside the Canon C300

Above: All the right moves. C300 base with ⅜-16 and ¼-20 tripod
mounting thread, as well as standard locating holes.
The C300 camera should evoke two questions. The first: “What Above, left: C300 CMOS sensor.
does the image look like?” Answer: “Amazing—day or night.”
The second question is, “What does it feel like?”
The C300 feels like a medium format camera: light, small, versa- On the bottom—hurray—Canon provides a ⅜-16 and ¼-20
tile, modular. The handgrip is smart and comfortable. The center- tripod mounting thread along with locating holes. There are
mounted high-resolution viewfinder pulls out from the rear and 4 start/stop switches. There are ¼-20 sockets on top and 2 tape
tilts 60 degrees. It is superbly sharp: you can actually eye-focus measure hooks. A dial controls EF lens apertures. This dial can be
clearly on its .52 inch color 1.555 million dot electronic screen. re-programmed and used for a different function when PL lenses
are used. Menus are navigated with a Select-Set dial similar to an
This camera reminds me of the first Canon Scoopic 16mm EOS still camera.
camera that Bob Riger introduced to us at ABC Sports for skiing
POV shots leading up to the Winter Games in Lake Placid. It had Assignable buttons can be used for viewfinder magnification,
semi-automatic 100’ daylight loading, and a built-in lightmeter peaking, zebras, headphone, and taking stills. These assignable
with exposure control for speeds from 25 to 640 ASA. It weighed functions can be stored to an SD card.
around 8 pounds, and the breakthrough advantage was being able The 4” diagonal multi-angle control panel/monitor swivels 270°
to quickly load film in really cold places with bulky gloves. forward/back, 270° left/right and is removable. It has 1.23 million
We often obsess over bits, bytes and Ks in these hallowed pages, dots and includes waveform, vectorscope, and edge monitor
sometimes forgetting that a simple thing like working with gloves functions.
or without big rigs may be the most important consideration. Any web browser can access the camera’s HTTP server via WiFi
When Canon designed the C300, they wanted to keep the small (WFT)—so an iPad can be used to check and control camera
form factor of the DSLRs, but to make it a true cine camera. They settings. A small Liveview (476 x 268) window shows limited
didn’t want to lose the things that people liked about the EOS 5D, motion at 1 fps. On an iPhone, the Liveview is 288 x 162. With EF
7D, and 1D. However, DSLR filmmakers yearned for fewer video lenses, you can remotely focus and adjust iris with an iPad. This is
artifacts, less noise, and better controls. Canon came from an helpful on cranes and remote shots.
analog still camera and film background, which may explain how
their scientists miraculously were able to make the camera’s (very
low) video noise look like film grain. It has a pleasing, cinematic
look. They also managed to eliminate rolling shutter, jello effects
and most moiré patterns.
There are built-in ND filters between the cover glass and the
sensor to reduce up to 6 stops of exposure. These are controlled
electronically, but you can move them manually in a pinch. A flat
base protrudes forward under the lens to prevent tipping when
the camera rests on a flat surface.
The C300 is reasonably weatherproof. Buttons have rubber boots,
dials have “O” rings, and access covers have sealing flaps. Cooling
is achieved with a special sheet that conducts heat from the sensor,
sealed in its own dust-proof chamber, toward the heat sink. Two
small, silent cooling fans move the air to vents in the body.

Issue 45 • Dec 2011 7

 Lenses and Specs

Canon zooms come in EF or PL mounts:

CN-E14.5-60 (14.5-60 mm T2.6) and
CN-E30-300 (30-300 mm T2.9-3.7).
Canon will initially introduce 3 EF
mount cine-style prime lenses:
24 mm T1.5, 50 mm T1.3, 85 mm T1.3.
All have 114 mm front diameters.

Canon has delivered more than 50 million Canon EOS cameras

and 70 million EF lenses. Canon C300 Specs
The C300 camera comes with a choice of EF or PL mount. All
70 million EF still camera lenses will fit—including Canon’s tilt- • Exposure index from 320 – 20,000 ISO.
shifts, macros, fisheyes, zooms, and super-telephotos.
• Speeds down to 1 fps.
Image Stabilization will work on any optical stabilization- • Shoots true 24.00p (not just 23.976).
equipped Canon EF or EF-S IS lens when mounted onto an
• S35 3-perf 16:9 8.3 Megapixel sensor (around 4K) – 3840 active
EOS C300 camera with Canon EF mount. That’s a huge benefit
photosites horizontal x 2160 photosites vertical. 24.6 x 13.8 mm
in all kinds of situations: handheld, on cranes, cars, rigs, boats,
compared with APS-C of 22.3 x 14.9 mm.
and wherever it’s a bumpy ride. Image stabilization is powered
through the C300’s Canon mount lens contacts. Autofocus is not • The new C300 camera uses the same MPEG-2 codec with an MXF
supported. File Wrapper that Canon developed for their compact 3-sensor
camcorder – the XF300, and XF305. This codec offers a choice
The C300 with Canon mount takes red dot (EF full frame of 50 Mbps 4:2:2 component , 35 Mbps 4:2:0 component, and
24x36mm) and white dot (EF-S APS-C). Electronics can the standard HDV format of 25 Mbps 4:2:0. Using this codec gave
automatically correct shading (darkening around the edges) and Canon economies of scale that allowed them to bring a very high-
chromatic aberration. performance large-format single sensor camera system to market
At NAB 2011, Canon showed 2 new PL zooms. Now they are at a highly cost-effective level.
available in either PL (L SP) mount or EF (L S) mount: CN- • C300 body weight: 3.15 lbs.
E14.5-60 (14.5-60 mm T2.6) and CN-E30-300 (T2.9 from 30-240 • Dimensions: 5.24" wide x 6.73" deep.
mm; ramps to T3.7 from 240-300 mm). The zooms have a front • Flange focal depth: 44 mm from the EF mount to the image plane.
diameter of 136 mm. Image circle is 27.5 mm coverage, which
• Powered by a 7.4v 4000 mA BP-955 XF battery, similar to the
translates to 24 x 13.5 mm image area in 16:9 format.
XF305, lasts about 4 hours. You don’t need big external batteries.
The PL primes, 24 mm T1.5, 50 mm T1.3, and 85 mm T1.3 will • Dust and splash resistant like the 5D, maybe not as weatherproof
be in L F (EF) mount only. They have a 114 mm front diameter. as the 1D.
Peripheral illumination and shading can be corrected via the EF • Wireless remote control with iPad interface. Detachable control
mount contacts. panel.

8 Dec 2011 • Issue 45

Practical Productions
I spoke with colleagues who shot the films shown at the Paramount
screening—Richard Crudo, ASC; Sam Nicholson, ASC, President
of Stargate Studios; Felix Alcala and Larry Carroll.
The C300 presents a new paradigm: a lighter, faster, smaller
motion picture camera that’s evolved from Canon’s experience in
stills and video. All agreed that the C300 is a major step in the
democratization of visual expression. It’s a tool that de-mystifies
the notion of creativity and offers everyone a means to express it.
I’ve known Richard Crudo, ASC almost forever, and always
thought he was a die-hard film guy. Richard was impressed by the
C300’s size, weight, sensitivity, and high exposure index. It let his
crew move very fast, doing 50-60 setups a day. His biggest lamp
was a 2K.
Richard shot his dramatic crime drama “Dirty People” in 15
days. It was a low budget production. From the C300 camera’s
Richard Crudo, ASC with
1920x1080 output to CF cards, they went to DI at Technicolor C300 on “Dirty people.”
and film-out onto 35mm release print. Jill Bogdanowicz did the
grading.
Larry Carroll was also co-director/DP on “Sword.” It was shot in 5
They used the 2 new Canon zooms: 14.5-60 mm T2.6 and 30-300 days. Larry said they pushed the envelope with this camera. They
mm T2.9-T3.7. Canon EF prime still lenses were fitted with gears. needed less light, fewer trucks, people, equipment. They rated the
Red Rock Micro support and follow focus. 2 CF cards recorded camera mostly at the camera’s “sweet spot” of 850 EI. One shot in
simultaneously to provide an “original” and a clone. Richard shot the Pasadena City hall garden was at 20,000—as an experiment,
in 16:9 format. Film-out was cropped to 1.85:1. but it was included because it looked great. Most of the light was
Richard said, “I went back to my roots of shooting fast. I could existing light. They used one 5K. Larry said, “The big deal is the
shoot at any time of day, anywhere. I thought of it as a film camera, quality of the image. It is so good. We shot 24 fps, 6 fps, 12 fps.
treated it as such, used a light meter. One of the most important The camera is small, lightweight. Two cameras were set up with
things was how good the DI and film-out looked. We had planned zooms in studio mode. Two were ready to go in handheld mode.”
a lot of time with Jill Bogdanowitz at Technicolor, but we graded Larry, who knows cameras (having been director/cameraman/
it in maybe an hour.” producer at the respected Sundog Productions) said, “So many
I asked Sam Nicholson how something so little and 4:2:2 could small cameras are built up with huge rigs and become too big—
work so well for effects. Sam’s favorite thing was the C300’s bigger than the big cameras they were intended to replace.
sensitivity. He shot scenes at 6,400 and 16,000 ISO. He also liked Somehow the freedom of shooting gets lost. In the early days, big
the size and weight. cameras impressed the producers, directors and stars. When you
showed up with a small camera, they said, ‘This can’t be a real
Sam said, “This camera changed the way we shot—with no lights
production.’ That’s changed.”
or few lights. We lit the cable car scene with iPads and flashlights.
We budgeted green screen with less light. This opens up a new What is the difference between the C300 and Canon’s 5D, 7D,
style of shooting with more camera bodies and more creative and 1D X? The DSLR cameras were designed primarily for digital
horsepower.” still imaging—and added HD motion video. In terms of video
performance, system interfaces, recording codec, and controls—
Sam’s sci-fi project “XXIT,” screened at Paramount, had lots of
they are not as sophisticated as the C300, and are comparatively
night shots, with a production schedule of 5 shooting days and
less expensive.
10 days for post. It was a normal TV schedule. “If you can use
6 cameras, you can shoot faster, more angles, more set-ups. For I understand that this is just the first of many 35mm digital motion
example, in the cable car, I could just grab the CUs and inserts picture cameras from Canon. They were the among the first to
very quickly,” Sam said. lead the way with full 35mm still format DSLRs that also had HD
video capture. Now they have introduced their first digital camera
Felix Alcala (Ghost Whisperer: The Other Side) was the co-
system specifically intended for 35mm cinema.
director/DP of “Sword.”
Canon is breaking new ground with this camera—bridging
He said, “The battery size was a great help. It’s like a small
the styles between typical 35mm format production (features,
consumer camcorder 7.4 volt battery, but was amazing because it
TV drama, commercials) and sports, news, documentaries.
lasted 4 hours. It meant we didn’t need big external batteries. That
Remember, TV and news was once shot in 35mm in the newsreel
saved weight, so we were smaller, lighter, better, tighter. We could
days. Autofocus and image stabilization may bring it to new levels.
take the camera anywhere, not worry about the weight. This
camera is going to open up the world of filmmaking for everyone. Canon appears ready with a great product and willing to see where
This was the first camera I could use with little light. People liked the market will take it. I think it will go far. Canon’s Paramount
the small size of the 5D, its dimensions, usability, and ability to go debut was followed two weeks later by a New York event at the
stripped down where other cameras can’t go. This is even better.” Museum of Natural History. The evolution of cameras continues.

Issue 45 • Dec 2011 9

 C300 CMOS Image Sensor Details
by Larry Thorpe 3. The half-pixel offset between the two green sampling lattices
New CMOS Image Sensor and How it Works (both horizontally and vertically, and in combination with
the camera’s optical low pass filter), virtually eliminates
Central to the EOS C300 camera is a totally new Super 35mm green aliasing artifacts.
CMOS image sensor (24.6 x 13.8 mm) with full 4K sampling. It
has 4206 (H) x 2340 (V) total photosites and uses a classic Bayer 4. Improves the green MTF and helps eliminate moiré.
color filter array for color encoding. The EOS C300 camera is Because the green video constitutes more than 70% of
specifically designed to originate high definition video according the matriced Luma signal, the result is excellent image
to the universal standards of 1920 (H) x 1080 (V) and 1280 (H) x sharpness and minimized aliasing artifacts. Debayering
720(V). To do this, the active photosites are confined to 3840 (H) reconstruction artifacts are avoided.
x 2160 (V). High Readout Speed and High Exposure Index
The image sensor design was specifically optimized to emulate, To counter the “rolling shutter” artifact inherent in many CMOS
to the degree possible, the superb imaging attributes of 35mm readouts, the new image sensor uses high-speed readout of the
motion picture film—that include high sharpness, excellent separate video components and then re-clocks each in an external
tonal and color reproduction, a wide exposure latitude, and high frame memory to restore the desired picture capture rate. In the
exposure index. case of 24p, for example, the optoelectronic transformation takes
This image sensor completely avoids traditional debayering place at the desired 23.98 or 24.00 frames per second, but the four
(demosaicing) algorithms. Rather, an innovative readout separate video components are each read out at 1/60 sec—thus
mechanism directly structures a digital four-component video reducing the vertical skew by a factor of 2.5. The frame memory
set of 4 : 4 : 4 : 4 Red, Green a, Green b, Blue—each having a full is then re-clocked to restore the RGB component outputs to the
1920 (H) x 1080 (V) digital sampling lattice. selected or 23.98p or 24p picture capture rate.

The summation of the two green video signals Ga and Gb create For interlaced 1080-line 60i, the interlace format is structured
a kind of “super” green having the following advantages: within the image sensor readout system. These 540-line fields
are read out at 1/120 Sec, and then re-clocked in the subsequent
1. Increase effective dynamic range of the green video to 74dB. frame memory to restore the 60Hz fields. Two of these fields
2. Increase the effective bit depth of the green video. then make up the traditional 30-frame interlaced frames.
Picture capture rate can be selected as 1080-line progressive
23.98p, 24.00p, 25p, or 30p 1080-line interlaced 60i or 50i. The
alternative all-progressive 1280 (H) x 720 (V) HD production
format can be selected at 23.98p, 24.00p, 25p, 30p, 50p, and
60p. The image sensor has an innovative new photosite design
with very low noise and a high saturation level. The virtual
elimination of troublesome fixed pattern noise produces a truly
random appearance to the noise visible at high gain settings.
This looks very much like film grain.
The factory-recommended exposure index rating of the camera
is 640 ISO at 23.98p with a 180° shutter and 0 dB master gain.
At 850 ISO the camera has a 12 stop exposure latitude using
Above and below: Showing the separate readouts of the RGB photosite a specially designed Canon-Log transfer characteristic. The
lattices within the Bayer color filter array and the fact that the green camera operates from 320 ISO up to 20,000 ISO.
actually constitutes two separate 1920 (H) x 1080 (V) structures Exposure Control
Three built-in ND filters help tame exposure under the wide
range of illumination this camera will encounter. A semaphore-
like blade system is employed rather than a rotary wheel and this
facilitates switching in a Clear filter, or a choice of 2 T-stop, 4
T-stop, or a 6 T-stop ND filter.
The electronic shutter provides many choices. For example, in
24p, the following shutter angles can be set: 11.25, 15, 22.5, 30,
45, 60, 72, 86.4, 90, 120, 144, 172.8, 180, 240, 288, 345.6, and 360
degrees. Slow Shutter and Clear Scan are also available.
Selectable shutter speeds for 24p range from 1/24 to 1/2000 in ¼
or ⅓ stop increments, as well as slow shutter of 1/3, 1/6, 1/12 for
motion blur effects, and Clear Scan from 23.97 – 250.70 Hz for
syncing with monitors and flickering sources.
Laurence J. Thorpe is Senior Director of Canon’s Imaging
Technologies & Communications Group
10 Dec 2011 • Issue 45
Cinema EOS Premieres in Hollywood

1. Nov 3, 2011. Canon introduced Cinema EOS at the Paramount Theatre. 2. Martin Scorcese (above) presented a history of cinema and art in 8
Teri Schwartz, Dean of UCLA School of Film and Television introduced minutes. Jon Fauer, ASC introduced Canon Managing Director Masaya
Canon Chairman and CEO Fujio Mitarai, who discussed Canon’s position Maeda, who presented the C300, followed by a panel discussion moder-
in photography, film, and imaging. ated by Fauer.

3. “Leave no story untold” was the theme. Paramount’s Stage 4 was fitted 4. After presentations in the Paramount Theatre and product demos in the
with wall to wall carpeting, a studio embellishment few had ever seen stage, we headed to the New York Street backlot for champagne, cocktails
before. Canon paid attention to every detail showcasing the new Cinema and hors d’oevres. This is the same place where an entire industry of
EOS product line. As we entered, a large display highlighted Canon’s many companies usually convenes in June for Cine Gear. However, this
history of products and provided a roadmap of where things may go. evening, the New York Streets were given over to Canon.

6. Dinner followed—catered by Wolfgang Puck under a transparent tent

5. Denny Clairmont at the New York Street cocktail reception, in the glow set in Paramount Studio’s tank. Multimedia displays projected Paramount
of Clockwork Orange style lighting. film history and Canon cameras on monitors and giant walls.
Issue 45 • Dec 2011 11
 Canon Collection and Future

7. Products from Canon’s collection of historic products were on display at the entrance to the exhibit at Paramount.

8. Canon’s RC-701 ­— one of the first still video cameras, mentioned in 9. The future: Canon is working on a new EOS-series digital SLR 4K
Mr. Maeda’s interview, page 14. camera. It will have a 35mm full-frame (24x36 mm) CMOS sensor
and will record 4K 24p using Motion-JPEG compression).

10. Also on display were mockups of potential future 35mm cine zoom
lenses. They were shown with EF mounts, but PL might also be an option
for these small, lightweight companions to the C300 and its successors.

12 Dec 2011 • Issue 45

Cinema EOS Premieres in NY

Canon Continues Cinema Campaign in City

Less than two weeks after the dazzling debut of Cinema EOS
C300 cameras at Paramount Studios in Hollywood, Canon rolled
out the red carpet in front of New York’s Museum of Natural His-
tory. It was the premiere of the short film “When You Find Me,”
produced by Ron Howard and directed by his daughter Bryce
Dallas Howard.
The film was shot less than a month earlier with C300 cameras. In
the reception after the screening, I reminisced with Ron Howard
about my fledgeling debut as a camera operator and 2nd unit DP
with him on Splash, filmed long ago beneath the very same Blue
Whale in the Hall of Ocean Life.
Ron summed up the enormity of the filmmaking paradigm
shake-up in the intervening years. He said that Canon’s new cam-
era is a technology tool that demystifies and democratizes cre- had a very distinctive drum shaped body. The film was carried in
ativity. With Canon’s 70 million EF lenses and 50 million EOS a single combined magazine; a cylindrical shutter ran around the
still cameras out there, a new journey in motion imaging is about inside of the cylindrical body. The telescopic finder had a most
to begin. One pundit was overheard speculating that Canon had ingenious optical system which kept its eyepiece in the usual level
wisely spent more on the Hollywood and New York events than position regardless of the tilt of the camera.” The Akeley Camera
most companies dream of for their entire R&D budgets. had gyroscopic stabilization, and excelled at filming with long
History is on the side of Canon’s choice of the American Mu- lenses in documentary situations.
suem of Natural History. Explorer, inventor, sculptor, and natu- Almost a century later, Canon is onto something that may again
ralist Carl Louis Gregory Akeley was curator at the museum, and change the way films are made. Canon’s events in Hollywood and
invented the famous Akeley “Pancake” 35mm motion picture New York were not typical product launches. They were image
camera between 1914-1917. launches, welcoming a company founded with a rangefinder still
Brian Coe wrote (History of Movie Photography, 1981), “The Ake- camera in 1937 to a new world of digital 35mm format cinema-
ley camera had its film chamber carried inside the camera, which tography, and providing aspirational tools for a new generation.

Issue 45 • Dec 2011 13

 Canon’s Managing Director Masaya Maeda
The day after the Cinema EOS launch at Paramount Studios, Jon
Fauer interviewed Mr. Masaya Maeda, Canon’s Managing Director
and Chief Executive of Image Communication Products Operations.
Jon Fauer: Mr. Maeda, I think I heard you say yesterday that
you started as an engineer. Can you tell us how you began in
your career?
Masaya Maeda: I first came to Los Angeles in ’84. The Olympics
were held in Los Angeles that year. And I brought the first
Canon still video camcorder. At the time, we were working with
a newspaper called Yomiuri. And we came together, tested the
system, and ended up delivering 50 color electronic files back to
Japan. I believe that was the first step for Canon into electronic
cameras. It was 380,000 pixels at that time. I think it still used
floppy disks. It feels like destiny to have, 27 years later, an 8.3
million pixel camera and to be doing this in Los Angeles.
Can you tell us a little more about how the first seeds of this idea
were planted at Canon for this camera, when you said, “Okay,
this is a good idea—let’s start on this project?” The green light.
The 5D Mark II was the initial spark. At that stage, though, we
were not adding movie capabilities to the Mark II for motion
picture production purposes, but rather for broadcast or
journalism applications. And we had figured that, from here on,
it would become a very good tool for newsgathering purposes.
When I visited Canon headquarters in Tokyo, it was November,
2008. At that time, was this an idea?
We only learned about the use of the 5D Mark II for movie-
making in the first half of 2009. It was after that when we decided
to develop the Super 35 CMOS Sensor.
Can you take us through the design process? Let’s imagine
we’re in the middle of 2009. The 5D Mark II is a huge success.
What happens next? We wanted to be able to have them use the C300 also. So we
decided to come out with a PL mount version.
We first put together a development project team. The first idea
that came out of that team was to have a core mobile design. So Canon makes everything that goes into this camera—the
you have the core. And that should be as small as possible. And, sensor, electronics, software, lenses. With those resources,
from there, you add or take off different accessories to match the what’s next?
application and the flexibility or mobility that you require. We are working at today’s level of technology. Each of these
I know that you and your team interviewed a lot of devices or elements has areas that need improvement. So, from
cinematographers, asking questions. I was one of them. You here on, we will gradually, step by step, one by one, continue to
must have had hundreds of different opinions. Because, if you improve those individual things.
ask 100 cinematographers you will probably get 100 different We saw four clips of films shot with C300 cameras yesterday.
ideas. How did you consolidate it into this unified design? What made them look so good coming from a camera that’s
We took that core mobile design model. And, after working smaller and lighter than anything we’ve seen before? Most
that out, we started going out, asking about the operability, the people couldn’t believe it.
location of certain buttons, switches. And that was around the I believe it’s in the skill of the cinematographers and the film
end of 2009. creators.
What influenced your decision to go with both PL and the EF That’s true. They did a great job. But, modesty aside, the
mounts? I saw that Canon has delivered 70 million EF lenses. footage could have intercut with footage from any number of
When your team first spoke to me in 2009, I thought perhaps high-end film or digital cameras. The thing that everybody was
you were not happy with my articles in Film and Digital Times wondering was how can this be? What is the secret sauce that
about machine shops (mostly in Munich) cutting off perfectly makes it possible?
good Canon cameras’ EF mounts and putting PL mounts on In all of the films, we noticed, and the DPs noticed, the
instead. performance in the dark areas. They were aware that the camera
We, of course, understood that there was an established market could shoot in very minimal lighting. That was represented very
for PL lenses. Many customers already have those lenses. well in those films. It shows off the capabilities of the camera.

14 Dec 2011 • Issue 45

Filming a Black Crow on a Moonless Night
shown yesterday, the development of a new-concept DSLR with
4K is in the works.
A Canon DSLR with 4K video? How did I miss that?
It was in the showcase as you entered our exhibit on the Paramount
stage. It’s still a prototype. It will record video in motion JPEG 4K.
The other tough question: if this is the first of many more cinema
cameras, would Canon consider entering the “rarified” high-
end, occupied by ARRI, Panavision, Sony and Red? This is the
area where cameras are counted in the hundreds (or sometimes
a few thousands), not in the millions that you are accustomed to
manufacture. Is that something Canon is possibly interested in?
Limited numbers, more expensive, very high-end?
At this point, we can’t give a definite no or yes. But we’ll continue
to look at developments in the industry and determine what to
do, where to go.
I saw many third-party accessories for the camera: OConnor,
Steadicam, Transvideo, Manfrotto, Redrock, Zacuto, 3ality
Technica, AJA, Cinedeck, ARRI…
When you were designing this camera, did you say, “Okay, we
need a camera that shoots in really low light?” Was that an We’ve actually been working fairly closely with other companies,
early important feature? including ARRI, to accommodate their accessories and systems.
Of course, ARRI has accessories for the lenses. And we’d like to
Yes, from the very beginning. But I do believe that we can still
supply lenses for their cameras. We sort of view them, in some
improve on our sensitivity. What we would like to truly achieve is
ways, as a partner.
filming a crow in the middle of the night. And maybe, some day,
the black spots on the sun. You mentioned lenses. Currently, the Canon zooms come in PL
and EF mounts, but the single focal-length cine prime lenses
Wow. Mr. Maeda, you also said that you had to light a fire
come in EF mount only. Are we going to see your cine primes
under your team in Japan. Tell us more about that.
coming in PL mount?
At the time when we were developing the 5D Mark II, I realized
At this point, we’re not. However, the core of Canon’s technology
that the world for journalism was changing. It was going through
is, of course, our optical technology. We would very much like to
a very rapid transition, where news was on the web in both still
support the Hollywood community, and to offer new directions
and in video movies. So I lit a fire in order to rush them to develop
with our technologies.
these products.
A lot of my colleagues were saying that the color science that’s
Is this a similar or the same design team that got us the 5D
going into this camera seems to really reflect Canon’s long
Mark II and the XF305?
heritage in analog still cameras. What we saw yesterday didn’t
The main portion of the team comes from video, the XF305 look like video, it looked like film. Noise looked like film grain.
designers. But we also had several members from the EOS camera It was very film-like. Can you comment on that?
group join this team. And, of course, from the lens group also.
As a newcomer to the cinema industry, we did a lot of interviews
That’s a good transition to talk about the lenses. Can we expect with cinematographers. And, through those interviews, we tried to
more cinema lenses? understand what kind of outputs, pictures, results the filmmakers
Yes, we plan on developing more tools, more lenses that will be wanted. Through those discussions, this is where we’ve come. We
useful for the cinematographers and the users. learned, through all of the communication, that unlike our still
photography, what people were looking for in the film and movie
Can I ask a few difficult questions?
industry was not necessarily high contrast imaging, but a more
No difficult questions, please. Oh well, let’s try. [laughter] natural look.
There’s a lot of talk in Hollywood, now, about 4K cameras. Red And that’s what we’ve built into the C300 here. But also, with the
has always advocated 4K. Sony is ready to deliver their 4K F65 belief that there will be areas where high contrast is also required,
camera. Is there a Canon roadmap for 4K? we have left that as a mode within the camera, the original EOS
We honestly don’t really know at this stage. But, coming out type of contrast. We will continue to study.
with this product, we’d like to start the feedback process with the Is this the “beginning of a new relationship” for Canon in
community here in Hollywood and understand more of where Hollywood?
to go or what the expectations of the industry are. Outside of the
It was a very big success yesterday. So, thank you very much. I
cinema industry, there are many Canon EOS 5D Mark II users.
have done many unveilings of new products. But this has been the
Particularly there are many users in the commercial production
most exciting one that I’ve ever experienced. ☐
area requiring or requesting even higher resolutions. As we have
Issue 45 • Dec 2011 15
 New ZEISS Cine Lenses Disclosed
Compact tele zoom lens
Christmas came early in a
length: approx. 250 mm
conference call from Carl
diameter: approx. 95 mm
Zeiss on November 14th.
Christian Bannert and
Michael Schiehlen had
my head spinning trying
to guess what three
new products they
were going to reveal.
It’s very big news—a
roadmap with a profusion
of exciting new lenses—
Anamorphics, Zooms and
Primes. Carl Zeiss has an ambitious
new roadmap. Here's the road sign of where
they’re going:
Lens Expected Focal Lengths
Compact Prime CP.2 < 18 mm
>100 mm
Compact tele zoom lens 70-200 mm, ?, ?
Zooms Join Compact Cine Lens Line
Anamorphic prime lenses A complete set With the success of the Compact Prime CP.2 lenses, many people
were asking for compact zooms that fit the small HDSLR and HD
cine cameras. Christian Bannert said, “We listened very carefully
More Compact Prime lenses in 2012 to the voices of our customers, and we will introduce a line of
very compact and lightweight zoom lenses to complement the CP
In 2012, Carl Zeiss will add wider and longer focal lengths to family.”
their existing line of Compact Prime CP.2 lenses. The current
ZEISS Compact Prime Lens set consists of 9 lenses. If we look at the existing range of Compact Prime lenses from
18 mm to 100 mm, what’s missing? Of course, a lightweight,
Last year they had some delays fulfilling orders on time. Production compact long tele zoom, just like the ones still photographers
has been ramped up even more and ZEISS can ship from stock. have been enjoying for years. My guess is that the first zoom lens
With better availability of the product, they decided it was time to will be somewhere around 70-200 mm. We’ll probably find out
expand the line with more choices for cinematographers. at NAB 2012. The tele zoom should be the first in a family of
Michael Schiehlen said, “Many customers asked us for wider and compact and lightweight zooms from Carl Zeiss.
longer lenses. Making movies with small, versatile cameras with The new compact zoom lens will cover full still format 24x36
good image quality is established—we see it in the numbers.” mm, just like the CP.2 family—providing much more coverage
The philosophy remains the same: the new lenses will maintain than Super 35. It will be different from any existing zoom, with its
full still camera format coverage of 24x36 mm (43 mm image interchangeable mount, compact size and light weight.
diagonal). This follows the strategy of providing the most Meet the compact family: a compact zoom joins the compact
flexibility for use with almost any present or future camera. primes. The new zoom will feature industry-standard geared focus,
Compact Prime lenses are now a well-accepted product, and iris and zoom rings. Nobody else has a lens like this; it should be
Carl Zeiss wants to continue the success story. It began a mere very popular. The price is promised to be attractive and competitive.
one and a half years ago, with the idea of cine lenses having
interchangeable mounts and full frame coverage. The lenses were
New focal lengths will be added to the current family of
an excellent match for the Canon 5D, 7D, 1D, Panasonic AF100,
9 CP.2 lenses. Shown with PL and EF mounts, below.
Sony FS100, F3, and other cameras.
The key to the success of the CP.2 lenses was how they bridged the
gap from entry-level DSLRs to high-end PL mount productions. A
filmmaker or startup rental house could invest in CP.2 lenses with
Canon mounts. After a few jobs, some could afford an Alexa or
Red, and changing to PL mounts was simple and cost effective. It
was the lens for customers who wanted to use the new generation
of cameras, and were empowered because of affordable, good
glass. Everyone was amazed by the success of the CP.2 lenses
and by how many were sold. Estimates range in the thousands.
www.zeiss.com/cine/cp2

16 Dec 2011 • Issue 45

"We're Back in the Anamorphic Lens Business"

ZEISS anamorphic lenses will be lightweight and

compact—smaller than the working prototype
shown here. They will have a 2x squeeze. Do I
spy a T1.5 aperture in this preliminary view?

Anamorphic Lenses from Carl Zeiss of several years to obtain a clear plan of how the new anamorphic
lenses should be designed and built.
Christian Bannert took great pleasure in asking me to guess the
third surprise coming from Carl Zeiss. Christian said, “We have the technological benefit that we believe
can produce anamorphic lenses the likes of which no one has been
An 1800 mm T1.3 lens perhaps...I had no clue.
able to do before. Our new anamorphic lenses will be on the market
“We’re back in the Anamorphic Lens business,” he said. very soon. We would like to announce 2:1 anamorphic lenses next
"Blistering Barnacles," I blurted (a screening of Steven Spielberg's year, at NAB 2012, and show real products at IBC 2012.”
wonderful widescreen Tintin fresh in my mind). What perfect The lenses will not be 1.3x squeeze—representatives at Carl Zeiss
timing: anamorphic lenses from Carl Zeiss coming to a theater feel the real anamorphic look comes with 2x squeeze.
near us. Every wave of 3D has historically been followed by wide
Christian Bannert concluded, “This will be a complete family of
screen anamorphic epics. ARRI Alexa Studio cameras are about
anamorphic lenses, with all the focal lengths needed to shoot a
to be delivered, with their 4:3 4-perf size sensors and anamorphic
movie. As experts in photographic lenses for more than 120 years,
optical viewfinders. It’s a match made in an extraordinary
we know the specs and hurdles. We can offer something unique to
alignment of heaven and earth, cameras and optics.
the market. It will be really revolutionary.”
It's no secret that Hollywood has had a long love affair
By this time next year, holiday audiences may be watching a
with anamorphic. Almost every high-end director and
wave of widescreen major motion pictures shot with Carl Zeiss
cinematographer dreams of oval bokehs. The anamorphic
anamorphic lenses.
format's intangible, almost 3D-like quality comes from different
horizontal and vertical focal lengths packed into one lens.
People were predicting that anamorphic would be big again
because it’s different, or because the high-end wants to differentiate
from the others. Despite all that, there lingered uncertainty
whether the market would be big enough or could afford this
kind of project for a totally new set of anamorphic lenses.
I think Alexa Studio changed all that, and may be driving the
market. I could imagine that Sony and Canon might follow with
their own 4:3 sensors. An 8K Sony “F66” with 4:3 sensor and
anamorphic lenses would be an interesting idea.
Carl Zeiss designers and engineers made working prototypes,
conducted tests, and collected a lot of feedback over the course
Issue 45 • Dec 2011 17
 The Math of 4:3 and 16:9 Anamorphic Cinematography
4:3 2x
Sensor size: 3392 x 2200 pixels The news about forthcoming ZEISS anamorphic lenses calls for
27.98 mm x 18.15 mm further comment. Currently, ARRI Alexa Studio is the only digital cine
(1.102” x 0.715”) camera, besides the D-21, with a 35mm Full Aperture 4:3 sensor
Surround view: 3168 x 2200 pixels (4-perf format). Why is this important and why do I hear the collective
26.14 mm x 18.15 mm
4:3 (1.029” x 0.715”)
clamoring for more 4:3 sensor cameras?
Alexa Studio Image area: 2880 x 2160 pixels Most of the world’s PL mount anamorphic lenses are designed with
23.76 mm x 17.82 mm a standard 2x squeeze. Panavision, ARRI, Hawk 2x, the new ZEISS
(0.935” x 0.702”) series...these anamorphic lenses all are intended for 4:3 (1.33:1)
The official SMPTE anamorphic gate is 20.96 mm x 17.53 mm (0.825” x 0.690”). format—film or digital. They work by optically squeezing a 2.39:1
This is a 1.195:1 width to height ratio. (Multiply 1.195 by 2x and you get the image horizontally onto the 4:3 sensor. When projected, the image
projected width of 2.39.) To take advantage of Alexa’s 17.82 mm sensor height, is unsqueezed back to a widescreen aspect ratio of 2.39:1 (often
you could mark your groundglass with a 21.29 mm width (17.82 mm x 1.195). rounded out to 2.4:1).

Alexa Studio 4:3 sensor

Image area: 2880 x 2160 pixels
23.76 mm x 17.82 mm
(0.935” x 0.702”)

Alexa and Alexa Plus 16:9 sensor

Image area: 2880 x 1620 pixels
23.76 mm x 13.37 mm
(0.935” x 0.526”)

Above: Hawk V-Plus 180mm T3

2x anamorphic squeeze. Images 16:9 2x
courtesy Vantage Film. How will 16:9 sensor cameras like Sony F65, F3, FS100, Canon
C300, Red Epic, Scarlet deal with 2.39:1 widescreen? Compose a 4:3
squeezed image onto the 16:9 format sensor. Your groundglass would
Sensor size: 3392 x 2200 pixels have vertical pillars on left and right: you are using a smaller part of the
27.98 mm x 18.15 mm sensor’s image area. The picture is cropped (appears tighter) than the
(1.102” x 0.715”) same image with the same lens on a 4:3 sensor camera. This has to be
Surround view: 3168 x 2200 pixels “blown up” more in DI or projection to fill the same size print or screen. It
16:9 26.14 mm x 14.70 mm
(1.029” x 0.579”)
works—but you sacrifice resolution and familiar lens focal lengths.
Alexa
Image area: 2880 x 1620 pixels 16:9 Spherical...Or you can shoot with regular lenses, but some
23.76 mm x 13.37 mm say that isn’t the hallowed “anamorphic look”: an almost stereoscopic
(0.935” x 0.526”) sense of depth from the combination of different horizontal and vertical
focal lengths in one lens, with oval bokehs and shallow depth of field.

16:9 1.3x
Hawk 1.3x anamorphic lenses from Vantage Film offer another choice
Below: Hawk V-Lite 55mm by “gently” squeezing the widescreen 2.39:1 image onto a 16:9
1.3x squeeze T2.2. Image sensor. Bokehs and look are not exactly the same as 2x squeeze, but
courtesy of Vantage Film. still very pleasing. The adventure continues.

16:9
Alexa

18 Dec 2011 • Issue 45

ARRI Alexa Studio and her 4:3 Sensor

This is a big deal: as we’ve belabored before, ARRI Alexa Studio

is the only digital motion picture camera (besides the Arriflex
D-21) with the equivalent of a full-frame 4-perf gate and optical
finder.
ARRI Alexa Studio was shown at IBC in Amsterdam, and made
her USA debut in Hollywood on October 8. Two working Alexa
Studio cameras were set up in the ASC clubhouse for hands-
on scrutiny. Richard Crudo, ASC opened the festivities with an
introduction, followed by words from ARRI VP Bill Russell and
ARRI Managing Director Franz Kraus.
Alexa Studio is the third sister in ARRI’s latest family of 35mm
digital motion picture cameras. This is the one with a spinning
mirror shutter, optical finder and full frame 4:3 35mm sensor.
Alexa Studio can accommodate 2x anamorphic widescreen as
seamlessly as Arricams or Panaflexes. (16:9 sensors require either Above: Alexa Studio with Codex Onboard recorder at IBC.
1.3x squeeze or cropped sides.) And sure enough, one Alexa Below: Bill Russell and Larry Parker with 75mm Panavision G Series Anamorphic.
Studio had a Panavision Anamorphic G series 75mm lens with
Panavision mount. The other Studio camera had a PL mount
with a Hawk Anamorphic from Clairmont Camera.
Alexa Studio’s spinning mirror shutter and optical viewfinder
“feels” similar to an Arricam, but it’s a new design. However,
many existing groundglasses and eyepiece extenders will fit.
Farmous anamorphic films include Apocalypse Now, Blade
Runner, Chinatown, the Indiana Jones films, Alien, The Last
Samurai, and the latest Star Trek film.
Historically, anamorphic widescreen has followed every big wave
of 3D. I think Alexa Studio will help history to be repeated again.

Issue 45 • Dec 2011 19

 New Primes
ARRI/ZEISS Master Prime 135 mm
Cinematographers visiting IBC 2011 saw the new 135 mm Master
Prime lens. This will be the 16th lens in the ARRI/ZEISS Master
Prime set.
Aperture is T1.3 to T22. Close focus is 37” (0.95 m). The front
diameter is 114 mm, allowing the use of the same matte box, donuts
and front accessories for all Master Primes except the 12 and 150
mm. Iris and focus rings are located at similar positions for quick
lens changes.
ARRI describes this as an excellent portrait lens. An ARRI
representative said, “The 135 mm focal length is sufficiently telephoto
to separate the subject from its surroundings, but not so telephoto that
the perspective becomes flat, allowing faces to maintain a pleasing
three dimensionality. Like all other Master Primes, the 135 mm shows
a high resolution, high contrast image with very low flares and veiling
glare.”

Cooke 135 mm Panchro/i and 135 mm 5/i

Cooke Optics showed their new 5/i 135 mm and prototype Panchro/i
135 mm prime lenses. Cooke’s 5/i 135 mm T1.4 prime has the 5/i
series’ signature dimmable illuminated focus ring.
The Panchro 135 mm T2.8 is the smaller, lighter, lower-cost Cooke
Look sibling that has become very popular on multiple-camera setups,
2nd units, and exterior productions. As digital cameras have become
more sensitive, we’re seeing more Panchros on all kinds of productions
including 3D shoots, dim interiors and even night exteriors.
Both 135 mm Cooke lenses are color-matched to the entire line of
current Cooke lenses and have built-in /i Technology which provides
cinematographers, camera operators and post houses with metadata
that includes lens type, focus distance, aperture, depth of field,
hyperfocal distance, and focal length.
The Panchro/i has an 87 mm front diameter, and covers an image
diagonal of 33.54 mm (Epic proportions: S35 and Super 35mm
4-perf.) The 5/i has a front diameter of 136 mm and covers an image
diagonal of 30 mm (Super 35mm format).

Cooke Uncoated Panchro/i Primes

Cooke Panchro/i lenses are now available with uncoated front
elements. They can be obtained on special order, and can be swapped
with the standard coated elements by a qualified lens technician.
Uncoated front elements may help create a different, “historic”
look—interesting flares, softer edges, etc.
A set of 6 Panchro lenses includes: 18, 25, 32, 50, 75, 100 mm. The
135 mm Panchro shown at IBC will be available later this year.
Cooke lenses are distributed by ZGC in North and South America.

20 Dec 2011 • Issue 45

Two New ARRI/FUJINON Alura Zooms
At IBC, ARRI showed two new lenses: the ARRI/FUJINON
Alura 15.5-45 / T2.8 and Alura 30-80 / T2.8 lightweight zooms.
These 15.5-45 mm and 30-80 mm T2.8 zooms continue the line
of two previous ARRI/FUJINON Alura Zooms: 18-80 mm T2.6
and 45-250 mm T2.6. These were released when the ARRI Alexa
camera was introduced in 2009.
The new Alura LWZ lightweight zooms are intended for handheld
and Steadicam work, while the original larger and heavier Alura
Zooms were planned for tripod and dolly setups. The four zooms
are color-matched.

FUJINON Premier Zoom BLT Net Holders

Fujinon Premier Series are the high-end, high-speed zooms from
Fujifilm Optical Devices. An often-overlooked feature is the net
and filter holder that is included with each zoom. The aluminum
ring slides onto the rear element cover of the lens. This makes
mounting and changing nets much faster and cleaner.
No need for “snot tape.” (Abrevs: ATG for BLT—Scotch ATG 752
dispenser of Adhesive Transfer Tape 924 for Behind Lens Net.)
If you use rear nets often (various grades of Fogal Noir are
excellent), get extra net holders from your rental house or Fujifilm
Optical Devices distributor.
By the way, rear nets do not change flange focal depth. Rear
gels do change depth. I’m not a fan of rear gels for that reason.
Furthermore, gels can warp.

Angénieux ADS/i on Optimo Zooms

Angénieux showed working models of their ADS/i lens data
system at IBC. ADS/i is a small box that attaches directly to
Optimo zoom lenses to provide metadata about lens parameters:
focus, iris, and zoom settings. Using Cooke’s open architecture /i
Technology protocol, film and digital cameras can record frame-
accurate metadata of essential lens information.
/i technology streamlines both production and post-production,
saving time and eliminating guesswork. The /i Technology module
monitors and transfers information on focus distance, depth of
field, zoom position, and iris setting to monitors, memory cards,
and media. It’s like an automated camera report.
Here’s an example of how /i helps. You’re shooting a special effects
scene handheld with an Optimo zoom. Not only are you handheld,
but you’re also zooming in and out. The effects house has to marry
your live shots to background plates. With metadata (zoom, focus
and iris positions), they can save hours of time compositing the
background to your live action, and they won’t have to guess your
focal length when you zoomed.
/i Technology is available on all lightweight Optimos including
the 15-40 mm, 28-76 mm and the new 45-120 mm (shown here)
lenses as well as 16-42 mm and 30-80 mm Optimo DP lenses.

Issue 45 • Dec 2011 21

 Interview with Angénieux’s Dominique Rouchon
New York. November 11, 2011. Jon Fauer met with Dominique
Rouchon, Angénieux International Sales Manager, to conduct an
interview and learn some late-breaking news.
Dominique was hired 25 years ago upon graduation from university
by Bernard Angénieux, son of the company’s founder. He studied
in France and at Georgetown University in the United States, and
received degrees in business administration and journalism. He
started his career in international sales with the European market,
followed by Asia, the U.S., South America, and the Middle East.
He knows all the territories, and all of Angeniéux’s partners and
customers know him. As the global customer base expands in the
new digital world, I’m sure his frequent flyer mileage is off the charts.
Jon Fauer: Dominique, you never did an interview. Why now? workshops. We have invested massively in machine tools to be
Dominique Rouchon: I think it’s an interesting time for more productive, to be able to reduce our costs, and to expand
Angénieux to speak to the professional press, because we are a our production capability. We went from being a family-owned
traditional manufacturer coming from the (analog) film industry. company to a 100 percent subsidiary of Thales. I think our factory,
Angénieux has been able to position itself nicely in the new today, is one of the most advanced optical factories in the world.
digital cinematography world. For me, it’s a way to explain where What is Thales?
we are, where we come from, where we stand, and where we will
Thales is a large multinational corporate group, with around
be going in the future, in terms of products. And I want to share
60,000 to 70,000 people worldwide in many different industries:
some news about the company.
defense, avionics, and many applications.
Angénieux is in a very good situation at the moment. We went
You were going to tell me some breaking news?
through the 2009 economic crisis pretty well because we already
had a big backlog of orders. We were able to manufacture many There are sometimes consequences when you are part of a group.
lenses and deliver them to our customers. Since then, the company One of the consequences is that our top management tends to
has been growing very fast. To be specific, in 2011 we doubled our change, or rotate, on a regular basis. And each new manager
production from 2010. And we expect that in 2012 we will triple comes with a new mission in order to develop the company.
our production over 2010. So, I don’t know if you know, but since we were bought by
Why is that? Thompson CSF in 1993, we have had four Presidents. Each
President had its own mission. Philippe Parain has been our
Angénieux lenses have always been a reference for the film
President for almost six years now. And the thing that we have to
industry. You are a director and cinematographer, so I am sure
say is that Philippe will be leaving Angénieux in December.
you appreciate what Angénieux provides: quality and value.
The large number of new digital cameras from different brands [audible gasp]
completely boosted our sales. I must admit that we didn’t expect A new gentleman will be joining us. His name is Pierre Andurand.
such a success. The lenses that we launched about two years ago, Pierre is a polytechnician coming from another Thales company.
the Optimo DPs, opened the door to the new digital world and Most of his career was in the defense business. But I’m sure he
new customers, and somehow put products by Angénieux within will enjoy what is unique to the film industry and provide another
their reach, with our skilled manufacturing, at a reasonable price. step in the development of the company. I trust Pierre loves or will
How are you able to keep up with the production demand? fall in love with movies and be the best supporter; I’m confident
because Thales is always looking out for our best interests. So I am
I was talking to a customer yesterday and explaining that we
not worried that we will flourish with Pierre’s help.
are lucky to be part of Thales, a big industrial group. We are not
isolated. Internally, that helps us very much. We get great support Philippe Parain loved movies. I think that was very important.
from the group, who help us grow and be faster in deliveries. Absolutely. With Philippe we went from a time where the
Angénieux seems able to hire enough skilled workers. company had a little bit of difficulty specifying what would be
the best product for the market. I must say that with Philippe
I must say, again, being part of a big group helps. We keep hiring
we have re-centered our choices to the essentials. Philippe had
new people on a very regular basis. We have hired more than
a great sense of customer satisfaction. With Philippe, customer
100 new people over the past two years. And we still have a big
satisfaction was the number one priority, which is one of the
employment program in order to cope with the demand. This
values of the Thales Group, of course. Philippe emphasized that
ensures that we have a consistently skilled workforce with the
very much in the company, at all levels.
training and savoir faire that’s expected of our products. Most of
the training is done internally. Our older generation passes along We had major achievements like the Academy Technical Award
the know-how and the knowledge to the younger generation. for the two Optimo lightweight lenses. That was a major event.
We went from being a company with a good reputation to being
And you’re working 3 shifts now?
a company with a very high reputation. And we went to the
Yes, we are working three shifts most of the time in our Academy Awards. We went to the film festivals in Cannes. We
22 Dec 2011 • Issue 45
 worked on more than 60 high-profile feature films and lots of
commercials. He has practical experience. He’s a great asset in the
day-to-day discussions for future products.
Recently the company was reorganized into business units. Jacques
Durand returned after a six year absence from Angénieux and is
now running the business unit for film and television products.
Jacques has a lot of experience with our industry. The two of us
worked together for 17 years. We know each other very well.
Can we talk about the next products?
We will be presenting new products for sure at NAB 2012. We
presented the 45-120 mm zoom at NAB 2011. Based on the
prototype of this lens, which was shown in Las Vegas, we got an
amazing amount of orders. Actually, our whole 2012 production
is sold out.
We are always trying to make sure that our lenses will be able to be
used on the next generation cameras. We are extremely attentive
to that. And we pay great attention, because we know that for our
customers an Angénieux is a real, safe investment.
We will show at NAB 2012 a version of the 17-80 mm lens, which
was already announced at Cine Gear this year, to be used in the
new digital cameras and cover all the formats. The focal length
Dominique Rouchon and Philippe Parain at the Institut Lumière, on the very spot
will be 19.5-94 mm. Our customers who have 17-80 zoom lenses
where “Workers Leaving the Lumière Factory” was filmed in 1895. will be able to have them modified. They just have to contact our
international customer service department.
are now everywhere, in many festivals and events. And always, The heritage we have, established by Pierre Angénieux when he
with one single mission, which is customer satisfaction. It is the founded the company in 1935, is that we are at the service of the
essential part of our behavior. industry and a supplier making high precision tools for its artists,
You’re like the DP on a television series, where the crew remains making sure that their life is as easy as possible in making images.
while the directors are rotated from episode to episode? I think it’s important to say that the motion picture business,
That’s right. I’ve been here for almost 25 years. It’s very rare, in more than probably any other, is based on relationships.
our world today, to stay so long in a company. However, it does Absolutely. It’s always amazing to realize that we do business with
happen in the film industry. We have a couple of examples, with a handshake. The hands of the sales person or the manager of a
camera manufacturers... company is the value of the contract. I know very well that, in
I’m reminded of Franz Kraus, whom I recently interviewed at this world, if your handshake has value, it’s a contract. If your
ARRI. I think he has 3 more years on you. hand has no value, then you don’t do business. It’s a very specific
behavior, I think, in our world, in the cinema business.
I appreciate the comparison, and I’m very honored. Since our
Presidents almost always come from the defense business, they Your journalism background shows. Is this an exclusive?
have to learn what is different about the film business. I try to It is an exclusive. I think Film and Digital Times has been a superb
provide stability and make sure that they have enough information magazine for the market. For a few years now, I have very much
and appreciation of the market to make the right decisions for appreciated the quality of what you write. It’s always very neutral
the company. I’m very optimistic because Philippe had a pure and very informative. I believe that it’s, for me, the best place to
defense background, and he became a very big supporter of the express what Angénieux is and where we’re going.
cine lens division. Philippe really had a perfect knowledge of what To sum it up, the Angénieux company is doing very well. We have
is needed for the company, and what should be the strategy. a nice range of products. We are increasing our production in
You and Philippe got involved with the AFC, the Association of order to be able to address the high demand we have. It’s time for
French Cinematographers and the ASC, the American Society me to apologize to all our customers, because I know that they
of Cinematographers. You have a new logo, a new ad campaign. have to wait sometimes to get their fabulous Angénieux lenses.
A new logo, a new image. Philippe gave us the means for But this is going to change because our production is expanding
production to expand. He invested a lot of money in research very rapidly. There will be some good surprises coming in 2012
and development, a lot of money in sales and communication. from Angénieux. We are investing to improve our relationships
I must say that working with him was fantastic, because he was with our users, to get more feedback on their needs. We will
everywhere. And he wanted us to be everywhere. We are closer to conduct workshops to meet them everywhere in the world. And
our customers. It was Philippe’s decision to have a cameraman/ we will be even more on the ground than we have been. ☐
camera assistant come into the company. Jean-Yves le Poulain
Issue 45 • Dec 2011 23
 It’s the Wand that Makes the Wizard
“Lumos!” Fire up your wands. Pour yourself a butterbeer. Curl up by the fireplace with your pet dragon
and set aside an evening for delectable reading. If the 7.4 pounds of 540 coffee-table sized pages begin to
feel heavy in your lap, remember to invoke the levitation incantation: “Wingardium Leviosa.”
This is a fabulous book for any cinematographer’s holiday reading—with everything you always wanted
to know about the making of Harry Potter films. Harry Potter: Page to Screen is a fabulous “making-of ”
look into the art, technique and technology behind the films, with illustrations, explanations, interviews,
notes, hundreds of photographs and on-closed-set views of cameras, equipment and crews.
About wands, “Once the look of each wand was decided, a master copy was made—which often occasioned
a search for special materials. We looked for interesting pieces of precious woods, with burrs of interesting
shapes,” supervising modeler Pierre Bohanna explains in the wand chapter of the book.

It’s the Wood that Makes the Handgrip

In the beginning, there was the
wooden Aaton handgrip and
wooden Transvideo monitor
handle. Left: Aaton XTR. Right:
current Penelope.
Who can forget the brothers
Churchill sanding their Aaton
handgrips between shots on
location—customizing the
wood to perfection?

The new Cam-a-lot Handgrips by Vocas are made of walnut wood

from Tuscany, personally selected, crafted and hand-rubbed. Alexa
handgrips attach directly to camera-right rosettes. Without rosettes on the Sony F3, Vocas comes the rescue with wooden
handgrips and brackets for rods. This picture is a good example of how much
bigger and heavier the camera becomes when it lacks rosettes.

Caleb Crosby, SOC makes beautiful black

walnut top carrying handles for the Sony
FS100, and soon for the Canon C300 and Red
cameras as well. Based on 15mm rods, they’re
especially versatile for mounting accessories.
Check out Caleb’s Shooting Machine smart
camera tools. They’re based in Wiscasset,
Maine—not far from L.L. Bean.
shootingmachine.net
24 Dec 2011 • Issue 45
PS-CAM X35 and the Hirth Tooth Rosettes

Hirth Tooth Rosettes are

tongue-twisters named after
engineer Hellmuth Hirth,
and are the de facto industry
standards for attaching
handgrips and accessories
directly to camera bodies.
Alfred Piffl and his colleagues at P+S Technik understand this.
As we can see in the accompanying pictures from IBC, their
new PS-CAM X35 is festooned with Hirth Tooth Rosettes. This
is natural, of course, since Alfred and P+S Technik prospered
nicely retrofitting all the things other camera manufacturers
neglected to include in their original designs. Camera
manufacturers continue to forget about rosettes.
All cameras should have the thoughtful design of the PS-CAM
X35. It fits as comfortably on one’s shoulder as it does on a tripod,
remote head, or car mount. The control panel attaches easily to
the camera left or right side. The X35 does not assume you are
right-handed, right-eyed or right-shouldered. And it does not
require a battalion of after-market rig-mongers for shooting.
The X35 is a workhorse camera that shoots both “sync sound”
and motion effects at speeds of 1-450 fps: one camera for dialog,
slow and fast motion, timelapse, and speed ramps.
At IBC, Yousef Linjawi presented his beautiful short film about
Arabian horses, Daughters of the Wind, shot with the first X35.
The camera has a CMOS Super35 1920 x 1080 HD Sensor,
recording HD 4:2:2 10-bit uncompressed and 4:4:4 RGB (option
planned). 18 GB of internal memory stores, for example, 41
seconds at 150 fps and 12 seconds at 450 fps. There are two
3G/1.5G HD-SDI outputs. The camera weighs about 7.5 kg.

Issue 45 • Dec 2011 25

 AbelCine Additions: More Space & New F3 Viewfinder

AbelCine’s new New York headquarters, above and right. AbelCine recently finished renovating their New York
headquarters, complete with a cool staircase connecting two
floors. AbelCine occupies more than half an acre of space at 609
Greenwich Street: 15,300 sq. ft. on the 5th floor, and 7,000 sq. ft.
on the 4th floor. There are 58 employees in New York.
AbelCine’s 33 employees in LA are now getting their own major
expansion at 801 South Main Street in Burbank—to be ready later
in 2012.
All these renovations and expansions have not slowed them
down. AbelCine has developed and manufactured a professional
HD electronic viewfinder system for the Sony PMW-F3 that let’s
you comfortably shoulder-rest a Sony F3.
Sony F3 decked out with KiPro recorder, accessory battery mount, ET The ProVFM Viewfinder Mount Kit includes all the hardware
F3 Riser and Shoulder Pad Kit, ProVFM with Sony color viewfinder and necessary to use a Sony or Panasonic 1920x1080 HD viewfinder.
Blackmagic signal converter. It attaches to a Berkey Top Mount Accessory Plate and receives its
signal from the F3’s VIDEO OUT port, keeping the HD-SDI and
HDMI ports free for other use. When using a color viewfinder,
ET Riser and the HD-SDI port is fed to a Blackmagic Design converter box,
Shoulder Pad Kit. which outputs Component HD for the viewfinder and HD-SDI
Pad attaches and for other monitoring devices.
adjusts magnetically.
The viewfinder system uses a common P-Tap connection to
power off any 12v source. The mount retains the viewfinder’s
side-to-side adjustment and adds a front-back adjustment for
extra comfort. When used with a shoulder mount, the ProVFM
positions the viewfinder comfortably for handheld work.
Two components make up the ProVFM Viewfinder Mount
Kit. On the operator’s side there is a mechanical mount, which
physically attaches the EVF and allows for approximately 1” of
front-to-back adjustment. Traditional left-to-right adjustment of
the viewfinder is retained.
The second component is the electronics junction, which mounts
to the camera-right side of the Berkey plate. The EVF plugs into
the viewfinder port and there is a Lemo-7 jack on the back, which
connects to the supplied cable for both video signal and power.
The ProVFM Viewfinder Mount Kit is available for:
AbelCine ProVFM Sony HDVF-200, HDVF-20A, HDVFC-30W (color), HDVF-
mechanical C30WR (color), HDVF-C35W (color) viewfinders.
mount for Sony F3 Panasonic AJ-HVF21G, AJ-HVF21KG, AJ-HVF20B, AJ-
CVF100G (color) viewfinders.
Accuscene Color Viewfinder (Sony or Panasonic cables).
For more information: abelcine.com

26 Dec 2011 • Issue 45

ARRI Alexa M
James Cameron shouldered the Alexa M / Cameron-Pace 3D rig
at IBC.
ARRI Alexa M is the 4th sister in the Alexa family, with a
separate camera head and body. It is intended for action and
aerial sequences, remote heads, tight spots and 3D rigs. The head
and body of the M are connected by a fiber optic cable, which
in a hybrid form can also be used for power. The body provides
various recording options like a standard Alexa: images, sound
and metadata can be recorded onto SxS PRO cards or external
devices. Alexa M has a PL mount.
Early prototypes of the Alexa M are being delivered to James
Cameron and Vince Pace, whose 3D company Cameron–Pace
Group (CPG) is currently integrating Alexa M cameras into its
new compact 3D rig.
Feedback from Cameron-Pace will influence production models
of Alexa M, due to go on general sale in early 2012.

Red Scarlet Schneider iPhone Lens

Although I have long scoffed at cam-
eras with ring tones, Schneider has
changed my mind. When you’re off
scouting locations, bring along an iPro
Lens System from Schneider Optics. It
attaches to your iPhone 4, providing
interchangeable Wide Angle and Fish-
eye adapters of excellent optical quality.
The iPro Lens System is incredibly
well designed. The small handgrip
doubles as a lens case, neatly opening
at both ends like a nesting Russian doll
to reveal the Wide Angle and Fisheye
lenses. The lenses have bayonet mounts
to fasten onto the custom iPhone case.
The handle has a ¼-20 tripod mount,
and attaches to the case on the left or
Scarlet-X is a 5K still and 4K motion camera. Red’s 5120 x 2700 5K right side of the iPhone.
still mode is close to Canon’s 18 Megapixel 5,184 x 3,456 APS-C
7D and Nikon’s 16.2 Megapixel 4928 x 3264 APS-C D7000. (The The iPro Lens System includes two
higher overall Megapixel specs for the Canon and Nikon take into precision-polished optical glass
account the taller APS-C image: APS-C aspect ratio is 3:2.) Century lenses with multi-layer anti-
reflection coatings.
“Scarlet is Epic’s little sister,” said Jim Jannard. Scarlet will share
all the accessories of the Epic, including interchangeable lens The Wide Angle lens increases the
mounts. It records Redcode Raw to the same SSD drives. Files iPhone’s field-of-view by 35% with
work seamlessly with Redcine-X Professional, Red’s processing low distortion and high edge-to-edge
and grading software. The sensor is the same Super 35-sized sharpness. The Fisheye lens increases
Mysterium-X sensor used in Red’s other cameras. the field of view to 165°.

What’s the difference between Scarlet and Epic? Data rate. The iPro lens housings are preci-
Scarlet has a significantly slower data rate than Epic. While sion machined from aluminum al-
still an impressive 50 MB/s (440Mb/s), available frame rates at loy and anodized for durability. The
various resolutions are limited to 12 fps at 5K (think “motor- iPro Lens System costs less than
drive” stills); 1-25 fps at 4K (4096 x 2160); 1-48 fps at 3K; 1-60 most gifts you’ve checked off for the
fps at 2K; 1-120 fps at 1K. The Scarlet-X will be be released in holidays, and is a lot more useful.
two basic packages, with a choice of PL or Canon mounts. www.iprolens.com
(reported by Seth Emmons)
Issue 45 • Dec 2011 27
 Data Wrangling and Codex

At IBC 2011, Codex Digital announced 60 fps Arriraw support P+S Technik showed their new PS-CAM X35 with Codex Onboard
with their Codex Onboard Recorder. Recorder at IBC, with a Codex Transfer Station for Mac OS X. Of
With the release of ARRI Alexa Software Upgrade Package 5.0, course, PS-Cam X35/Codex Datapacks can also be used with the
ARRI Alexa cameras are now able to output Arriraw at up to 60 Vault. Codex supports PS-RAW and uncompressed recording.
frames per second. The Codex Arriraw Plus recorder is now able
to record Arriraw at up to 60 FPS, as well as two channels (e.g.
3D) of Arriraw at up to 30 fps.
IBC was also the European debut of Codex’s new Vault. It’s like an
on-set lab-in-a-box for dailies review, editorial copies, protection
clones, and archiving for the leading digital cinema cameras.

Avid Media Composer version 6 (just released on November 3)

now offers Avid DNxHD 444 codec, which preserves excellent
color information in Alexa footage while still having a low bit-
rate codec suitable for editorial.
ARRI Alexa cameras will soon record native Avid DNxHD as
MXF files in-camera on SxS cards.
The downloadable Alexa Software Update Packet 6.0 (due
January 2012) will enable Avid DNxHD codec data rates of up to
145Mbit/s (8-bit) and 220MBit/s (10-bit) to be supported in the
Codex Vault initial release. Avid’s highest quality version of the codec, Avid
DNxHD 444, will record at 440Mbit/s at 10- bit depth and will be
Codex Vault is a self-contained unit requiring no external drives. provided as a free upgrade during the first quarter of 2012.
It uses Codex’s new Transfer Drives. About the size of an iPhone, Here’s an example of how Codex and Alexa SxS cards might be
these 1TB solid state drives move files from production to post. used in tandem on a major feature production.
The Codex Vault also incorporates the Codex Virtual File Record simultaneously: Arriraw to Codex Onboard Recorder
System, allowing for the creation of dailies files in Avid DNxHD Datapacks, and DNxHD to Alexa’s internal SxS cards. The
MXF, Apple ProRes, DPX, and OpenEXR using a unified Codex “magazine” (Solid State Datapack) is cloned on set. The
ACES workflow. This provides an entire back-end dailies and “magazine” with its “digital negative” is sent to the “lab” (post
deliverables workflow for almost any production. house) for “processing” (downloading) and “dailies.”
In addition to ARRI and Red, IBC also saw Codex collaboration The Alexa’s onboard SxS card is kept on set as a backup. Because
with Aaton and P+S Technik. it is now in DNxHD, an Avid editor on set can quickly do rough
The Aaton Delta Penelope camera has a Super 35mm (3-perf assemblies—no need to wait for transcoding or re-wrapping.
size) Dalsa CCD sensor and will record uncompressed Raw The SxS card also becomes a backup until word comes from the
files compliant with the CinemaDNG format onto its internal post house that all is well with the ARRIRAW footage. Worst
DeltaPack. These Aaton DeltaPacks can then be inserted into a case scenario (and those scenarios lurk in our nightmares—the
Codex Vault and the files will be automatically archived to LTO-5 messenger quit and dropped the Codex Transfer Drives in a
backup and Codex Transfer Drives for delivery to the post house. dumpster), the SxS card footage can be used instead of a re-shoot.

28 Dec 2011 • Issue 45

Aaton Delta Penelope
Martine Bianco had news for us at IBC. She said, “After NAB
we realized that everything was moving to digital much faster
than we expected. I think that a lot of dreamers had interest in
our hybrid 35mm film/digital camera, because it would make
them feel comfortable still being able to shoot both 35mm and
also digital. This is what most people were asking for, especially
producers and cinematographers. However, we came to the
conclusion that they could own or rent existing 35mm cameras
like Penelope 35mm. We had to face a new reality and make the
move to pure digital for a number of reasons.
“If we stayed with a hybrid camera, the market would be much
too small. We couldn’t really sell something that would be more
expensive. Technically, it was a good idea to be able to switch
from analog to digital with the same camera. But there were some
risks. Maintenance would have been difficult. With the sensor
being right in front of the aperture plate, a little dust or scratch
could ruin an entire scene.
“We decided to redesign completely, drop the hybrid idea, and
make a separate digital Penelope. Of course, we kept the same
sensor, because we think it’s a good one. It’s a redesign in terms of
not being hybrid.
“The new camera is even more ergonomic now, because we could
make it shorter. With a purely digital camera, we don’t have to
stick to the film body. We now have a larger display. And it still
looks like an Aaton. The cat on the shoulder.
“But we do not want it to be another digital camera, another video
Experimental handgrip with zoom control for new Angenieux Optimo camera. We still want to keep the film look. We think we have
45-120 mm T2.8 lightweight zoom. achieved this. Digital Penelope records full rez 4K uncompressed
images with wide dynamic range to on-board DeltaPacks. These
can be used with the Codex Transfer Station and Vault. Most
people are equipped with the Codex. It’s very popular. You do not
need the Codex to record on the camera, which makes it light. We
have on-board recording to our DeltaPacks.
“To make backups on the set, you can use the Codex or you
can use our product: we call it the ergon station. The ergon is a
computer with three DeltaDock bays that gives you the possibility
of debayering and backing up, in real-time, your DeltaPacks.
“We think cinematographers will continue to use our 35mm
analog Penelopes for a long time. 2-perf and 3-perf is very popular
in India and Europe. Shooting in 35mm will last. But investing in
a new 35mm camera is another story. They can use the existing
cameras. There are plenty.
“Since we redesigned everything, we are six months later than
we expected. We thought we would be ready end of this year. We
think we’ll be ready in the middle of next year. We plan to do
testing with DPs in January. And have it ready for NAB 2012.”

Specs
The only optical viewfinder digital camera with internal full rez
recorder • simultaneous recording of uncompressed RAW and
edit-ready proxies • noiseless air cooling in both record and
pause ( <19dB ) • lightweight: 7.5 kilos with internal recorder
and batteries • cat on the shoulder profile, plus wide flat base for
tripod • extra-wide dynamic range Super35 Dalsa CCD sensor,
100 and 800 ISO • RAW files under CinemaDNG, the Adobe
archival format.

Issue 45 • Dec 2011 29

 Sony F3

Shown above and opposite page: Chrosziel’s F3 tripod and handheld

mounting system for Sony F3 camera and SR-R1 Recorder.
Sony’s F3 camera got lots of attention at IBC. As a small, practical
camera system for 3D production, Sony F3 3D Link options are
now available. Setup of the main camera can be copied to the
other and lens controls are synchronized on the new Sony 18-252
mm zoom, shown here.
We tested the new 18-252 mm T3.8 FZ mount (F3 proprietary
mount) zoom a few weeks ago. Electronic contacts in the
F3 camera mount “talk” to the lens, power the optical image
stabilization, handle metadata and provide built-in zoom control
via the F3’s handgrip rocker switch. The shallow (approx 18 mm)
flange focal depth of the F3 makes smaller, lighter lenses like this
possible­—opening new possibilities for image stabilization and
auto functions previously enjoyed only in prosumer systems.

30 Dec 2011 • Issue 45

Chrosziel Support for Sony F3

Chrosziel developed the Sony F3 and R1 Mount in close handheld shooting. “High mode” is used when you need clear
cooperation with Sony. It’s an elegant way to attach Sony’s camera space below the support rods, for example, when mounting on a
and SR-R1 Memory Recorder onboard. The R1 Mount attaches to geared head. No additional tools are necessary to remove the base
the support rods sticking out behind the camera. plate and the recorder from the camera.
There are two versions of the Chrosziel R1 Mount.
Model 401-R115 accepts 15mm support rods.
Model 401-R119 is made for 19mm rods on bridge plates or
quick-lock plates.
Chrosziel’s R1 Mount lets you configure the Memory Recorder
onto the camera in numerous permutations. It connects to a
double-sided Hirth Toothed Rosette (standard handgrip rosette
size) mounted onto a sliding rod bracket. It mounts in “low Chrosziel
mode” (picture above) when you want a low center of gravity for handgrips Chrosziel SR-R1 low mode bracket

SRMemory

When you’re using Sony’s SR-R1 Memory Recorder with the F3 • SR-512 S25 and SR-1T S25 with capacities of 512GB & 1TB
camera, you will be recording to SRMemory cards. These are the and a guaranteed write speed of 2.5Gbps
same ones used in the SR-R4 of the big brother, F65. However, • SR-256 S55, SR-512 S55 and SR-1T S55 with capacities of
because of the lower write-speed of the F3, you can save money by 256GB, 512GB and 1TB and a guaranteed write speed of
using S15 or S25 cards. (F65 uses S55 cards.) 5.5Gbps
The Sony SRMemory cards line-up now consists of six cards: All cards have a data read speed of 5.5Gbps.
• SR-256 S15 with a capacity of 256GB and a guaranteed write
speed of 1.5Gbps

Issue 45 • Dec 2011 31

 Sony F65

It was the best lit booth in the history of IBC (top left). Sony wisely • Rotary shutter model (F65RS) to reduce motion artifacts; 4
hired British Cinematographer Steve Lawes to show off the Sony ND filters built-in with rotary shutter.
F65’s capabilities with an interior living room set illuminated by • Wi-Fi operation for remote control from tablet devices,
a single source 18K coming through the camera-right window. including the Android-based Sony Tablet S and Apple iPad
There was lots of contrast, the way it was meant to be—instead (top right).
of the customary flat ring of fire that can be measured with
a thermometer, not a light meter. Light levels were varied by a • HD-SDI output with viewing LUT for on-set monitoring.
dimming system to skillfully demonstrate the F65’s abilities from • 60 Minutes of 16-bit Linear Raw file recording onto a 1TB
full, bright daylight to darkest moody interior. SRMemory card at 24 fps.
On September 6, a mere 3 days before the opening of IBC in The dockable SR-R4 SRMemory recorder attaches directly to the
Amsterdam, Sony announced F65 prices and details in LA at the camera and records onto SRMemory cards of 256 GB, 512 GB or
American Society of Cinematographers and Directors Guild of 1TB capacity with data security and sustained throughput of 5.5
America. The pricing was so aggressive that Hollywood players Gbps. An SRMemory card is about the size of an iPhone.
figured they could buy an F65 and still have money left over for
Sony has already installed more than 9,000 4K projectors in
a Maserati Quattroporte. News traveled quickly to Amsterdam,
cinemas worldwide. Alec Shapiro, Senior Vice President of Sony’s
where there were wistful dreams of package deals consisting of a
Professional Solutions of America group pointed out that Sony
F65 fully loaded in the trunk of a new Porsche Panamera.
4K projectors are driving digital cinema in movie theaters and
The F65 shoots and records HD, 2K and 4K resolution (4096 creating demand for 4K content, and the F65 will be part of the
x 2160). Its 8K CMOS image sensor (approximately 20 total “4K sensor to screen experience.”
megapixels) has an active image area of 24.7 x 13.1 mm (image
At IBC, we were treated to practical 4K workflow demonstrations.
diagonal 28 mm) and 16-bit linear Raw file output capability.
Sony announced that partners implementing their Raw workflow
Sony first announced the F65 at the NAB 2011 show in April. It is will include: Adobe Premiere Pro, AJA, Apple Final Cut Pro,
expected to ship in January 2012. F65 now has: ASSIMILATE, Avid’s Media Composer, Blackmagic Design, Da
• 14 stops High Dynamic Range with much wider color Vinci Resolve, Colorfront, Deluxe, Digital Film Tree, EFILM,
gamut. FilmLight, Fotokem nextLAB, The Foundry, Image Systems’
Nucoda, Light Iron, Sony Vegas Pro, The Pixel Farm, Quantel,
• ISO 800 “factory” default — but tests looked good at 1600. and YoYotta.
32 Dec 2011 • Issue 45
Iain Neil at Leica Historical Society
of the problems with that is suddenly many lenses don’t cover the
format. So we just went a little bit on the large size for safety. We
made a prediction that this might be useful to have.
Leica Summilux-C lenses are motion picture lenses with
specifications never seen before. They use multiple aspheric
elements. Some tolerances are down in single digit microns. We’re
approaching the realm of the wavelength of light.
We wanted high contrast and we wanted high resolution­—ready
for the next generation of 4K, 6K cameras and beyond.
We wanted the lenses to be easy for the camera assistants to
handle. The idea is that many cine lenses tend to be quite large,
JF, Iain Neil, Rolf Fricke (President Emeritus LHSA), Andreas Kaufmann (Manag-
ing Director ACM Projektentwicklung). www.lhsa.org heavy, and you need two hands just to lift the lens. And if you are
trying to put it on a camera, you may need two hands to put the
Prof. Iain Neil is chief optical designer of the new Leica Summilux-C lens on the camera. But you need like a third hand or maybe you
cine lenses. He is also well known for consulting globally with can lift your foot up just to lock the lens lock. So if you can lift up
optical technology companies. Iain was formerly Executive Vice a lens with one hand, put it on a camera, and then use the other
President of Research & Development and Chief Technical Officer hand to basically lock the lens lock—it seems almost obvious.
at Panavision. He has numerous worldwide optically related Leica Summilux-C lenses have high resolution, extremely high
patents, has published and edited more than 30 papers and books, contrast, and almost no chromatic aberration over the full image.
and received 11 Technical Academy Awards. Iain is a member of We have high relative illumination. That’s important for digital
SPIE, SMPTE, Optical Society of America, the ASC, and AMPAS. sensors because if you have light falling off towards the corner
At the annual meeting of the Leica Historical Society on October 15, of the picture, that will show up as shading. Film is much more
Iain gave a presentation on Summilux-C lenses. Here are excerpts: forgiving. You can maybe lose about two or three stops of light.
We recognized early on that digital cameras with single chip You could be T2 on axis and you could be maybe T8 at the corner
sensors were going to become quite important in terms of the of the picture with film and you may not see shading in the image.
optics because you have to satisfy certain technical requirements. But with an electronic sensor, and it doesn’t matter which kind,
They are not the same as film. With a film camera, you have a you could have T2 on axis but you preferably don’t want to go past
piece of film. And in front of it you have a lens. The lens produces about T2.4 at the corner of the picture. Also, you want a gradual
an image on the film. With an electronic sensor, you usually have fall-off in illumination from center to corner of the picture, not
a low pass or some kind of filter, like a glass plate or crystal plate a cliff-like fall-off as in many previously designed lenses. The
sitting between the sensor and the lens. terminology I use for that is high relative illumination.

There’s also a micro lens array on the sensor. It’s like a tiny lens We have a patent issued for a small diameter focus scale. Every
over each pixel. These optical and other sensor characteristics mark in every lens is individually calibrated and engraved. But the
have mainly to do with specific optical aberration correction, challenge with a small diameter lens is that you can end up with
which don’t exist with film. They actually have a pretty serious all the marks being very crowded together, which means it can be
impact on the optical design and what you need to do to make the difficult to focus. We actually went for a novel feature—which is
lenses work best with those kinds of sensors. to have almost an identical, consistent focus mark spacing from
six feet to infinity. That’s usually the main region of use in motion
So we placed a lot of emphasis on optimization of lens design to pictures, six feet to infinity (roughly just under two meters to
work not only with film but also with these new requirements for infinity). We decided to make all the lenses have the same scale,
digital sensors. We had to make some projections and estimates the same length of scale and the same circumference of the lens
of what would happen with future electronic sensors. Film tended with the same marks in the main region of use. This was the first
to be a slow moving capture medium in terms of technology, time that this had actually been done in a whole series of lenses.
whereas electronic sensors tend to change quite rapidly. Unlike
cameras, cine lenses usually have a life of 10, even maybe 20 years.
Some years ago, Andreas Kaufmann, Christian Skrein, Otto
Nemenz, a few others, and I met in Salzburg and decided what
would be the base parameters. In other words, before writing
a detailed target specification of what the lenses should do, it
was more about the key parameters. We came up with several
wishes—including light weight, small size, and a fast aperture.
We also went for slightly greater than full 35mm cine frame.
Full cine frame is about 28, 29 mm diagonal, depending which
standard you read. We went for at least 32 mm. This is about two-
thirds of a still frame. We went a little bit larger because the sensor
technology is changing. Some cameras have larger sensors. One

Issue 45 • Dec 2011 33

 Interview with Leica’s Andreas Kaufmann
ACM bought its first company in the Wetzlar region in 2002:
Weller Feinwerktechnik, which we still own today.
I heard you started out as a teacher? How did that happen?
I studied German Literature, Political Science, History and
Linguistics at the University of Stuttgart. I graduated, wrote my
thesis, and became a history teacher at a Waldorf-Rudolf Steiner
school from 1983-1998.
Why did you do that?
Quite simple. My school life took place during the late 1960s and
through the 70s. I was heavily influenced by the ’68 movement.
When I finished school, my goal was to revolutionize the world. I
had to abide by the decision of my family that none of us could go
into the management of the family company. So, I was totally free
I first met Dr. Andreas Kaufmann at the Pacific Palisades home of and studying was…well you had to study something.
Otto Nemenz two years ago. “We have an interesting story to tell In the late 1970s I belonged to the group of founders of the
you,” Otto said, as Santa Monica Bay glistened in glorious magic German Green Party—the first ever. I was still studying. In
hour light. “It’s about Leica cine lenses.” 1983, after I thought I had finished my thesis (although that took
The saga involved several degrees of separation that began more longer), I started teaching because for me, school was a kind of
than 30 years ago, with Otto and his good friend Christian Skrein reforming element. It was a Rudolf Steiner school and you could
dreaming of Leica lenses for high-end 35mm motion picture change things. The school was responsible for its own finances,
production. The degrees of separation get even closer: Otto was because in Europe most other schools are usually run by the state.
my predecessor as camera assistant for cinematographer Herbert But this was private.
Raditschnig, and Christian Skrein was director/producer on Is that how you learned about business?
some of those productions.
Partly. On the other hand, since 1987, I was introduced into the
Jump cut to December 2005. Christian Skrein met with Andreas wealth management of my family. From 1991 on, I was on some
Kaufmann, and said, “I have a concept and a friend in Hollywood, of the boards of our capital management companies, on the board
Otto Nemenz. He and I have had a dream for many years” of our Cayman financing company and the board of our North
Later that evening, Otto received a phone call from Christian. America real estate company—so I had a dual life. On-the-job
“Otto, we have our dream.” training. I didn’t know much about management then and I’m
still learning.
Otto said, “Leica Cine lenses? How is that possible?”
How did you acquire Leica?
Christian replied, “We know the new owner of Leica.”
I moved to Salzburg, Austria in 2002. In that year, I came up with
I stayed in touch with that owner, Andreas Kaufmann, as the the concept of ACM Projektentwicklung (Project Development)
Leica Summilux-C lenses were developed and introduced. At the GmbH, Salzburg. We looked at several investment scenarios.
annual International Leica Society meeting, I did an informal
interview. One thought was what would happen if we re-entered the pulp-
paper-packing industry via Sweden—which my brother later did.
Jon Fauer: What is the background to your investing in Leica? He manages that now on his own.
Andreas Kaufmann: Formerly, our family owned the biggest We invested in a precision machining company, Weller-
paper, pulp and packaging company in Austria. We owned this Feinwerktechnik because it had always been profitable, and
for 101 years. Otto Nemenz’s father was a sales representative for they wanted to sell in 2002. That was the first time we were in
one of the pulp companies we owned. Our family started selling Wetzlar. My co-managing director was Wolfgang Kisselbach. His
part of the companies in the 1990s because we realized it was father, Theo Kisselbach, was the key guy in the Leitz factory for
much too CAPEX (Capital Expenditure) intensive. development and marketing. This gave us a sort of connection
But, I had a strong belief, and our family history shows it, that with the Leitz environment. In 2003 we bought Via Optik and
you can’t influence stock markets, but you can create value in decided we’d do something in the optical industry. In 2007 we set
companies. Stock markets are like a casino. I presented an idea to up CW Sonderoptik to develop Summilux-C Cine Lenses.
my brothers. If you have the right strategy, a little bit of luck and The key step was when we met with Leica in August 2004 and
a good management team, you can turn companies into a value decided that ACM would acquire 27.4% of Leica. We figured
creation engine. That was the theory. we would study the company for one year. But then, how do the
So we set up ACM. The name comes from my two brothers and Americans say… “Oh boy, were we wrong.” Suddenly everything
me. Nowadays we call it Austrian Capital Management because collapsed at Leica. Management, financing, etc.
my brothers are not involved anymore. We set this up in 2002 as a By 2005 it was a mess. My two other brothers, C and M, said,
new entity to buy into new industries to try to create some wealth “What did you do with our money?”
out of what we had.

34 Dec 2011 • Issue 45

I said, “I still believe we have the right strategy. We entered rather didn’t understand much about digital and didn’t consider it. He
inexpensively and were able to get through the refinancing of had been running Leica since 1996. He was a great guy, but he
additional shares at reasonable rates. With the right strategy and loved analog photography. Maybe he also really liked Leica’s
the right management, in the end we will create more value than campaign at Photokina ‘I am a film dinosaur.’ So I thought it was
what it is today.” time to replace him and reorganize management.
My brothers said, “You lost our money—in what kind of mess did Our team worked continuously on various projects. After
you get us…” And so on. presenting the digital Leica M8 in 2006, we were able to show a
I guess they were not happy. complete new product roadmap in 2009—and this was the key
element of our success nowadays. In the last year we financed
It can happen in any family. So I said, “I’m responsible for it, I’ll everything from our cash flow and paid back our loans.
take it.” And that was the start of dividing our shares of ACM.
Sounds like you’re enjoying this.
Were you interested in photography or Leica cameras before?
I’m already thinking of the strategy for the next 3-4 years. We
I learned how to take pictures like a good German boy when I cannot do it alone. We now have a partner, but we are still the
recieved my first camera. When I was young, I got a camera from majority. We are committed. I call this Stage 2, the roll-out of
a photo store along with specific instructions on exactly how Leica as a worldwide brand, because we’re not available in a lot
to take the pictures: for example, cloudy bright is f/8 at 1/125th of markets. We’re not available in parts of Russia, Emirates, India,
second exposure. It was a very weird camera. I still have it today. we only have 1 store in Latin America, and so on.
It was a Penti from Pentacon Optische Werke in Dresden. It was
produced in the German Democratic Republic (East Germany) We are planning a concept called Super Store. The slogan is,
with an awful lens. But I learned to shoot. “Where the picture comes alive.” And we’ll show more than
cameras. The idea is to have 10 to 12 Super Stores worldwide. It
In my last year at university, I had a girlfriend who was enrolled will have exhibition space, a studio, it will be the next step.
in a 3-year program as a photographer’s apprentice. She was into
photography, definitely. And this is a fascinating story. In the We will break ground in 2012 for a new building to move Leica
second year of her apprenticeship, she came home and showed back to Wetzlar from Solms. It will be in Leitz Park, next to our
me a camera. She held it carefully and said in a reverential tone, other companies. ☐
“Look what I’ve got.” Leica and Blackstone
I said, “Well…it looks like a camera.” On October 19, 2011 Leica’s largest shareholder, ACM
And she said, “No, no…look carefully at what I have here.” Projektentwicklung, Salzburg, and The Blackstone Group
announced that Blackstone will become a strategic investor in
I said, “It’s still a camera.”
Leica Camera AG with a minority stake of 44 per cent. ACM,
“Not exactly. It’s a Leica.” with Dr. Andreas Kaufmann as its owner, will continue to hold
I said, “So what?” the majority of Leica shares.
She looked at me, probably thinking, what kind of nincompoop What does this mean for photographers, cinematographers and
is this? practitioners of digital dark arts? Capital and commitment in
high-end imaging. Here are excerpts of the official announcement:
She had bought her Leica camera with the money she had saved
and I reacted like a fool. Half a year later, our relationship was The strategic partnership involves investment funds advised by
over. I never forgot the name “Leica.” Blackstone to acquire, indirectly through a holding company,
a 44% minority stake in Leica Camera AG to support Leica’s
I came back to cameras via the digital world. In 1999 I bought my international growth plans.
first digital Canon. I bought it at a Staples in Massachusetts. That
told a story in itself, because formerly you went to a specialized Headquartered in Solms, Germany, with 1,150 employees, Leica
photo dealer. Now you could go to a big box office supply store. is one of the few remaining German camera companies. Leica
At this time I was doing a website for one of the companies I had combines hand-crafted quality with a dedication to precision
invested in. Now it was suddenly so easy to shoot a picture, edit it mechanics and outstanding optics. Leica now plans to expand the
and whoosh—upload it. That’s how I came back to photography. business into new markets. Blackstone is seen as the right partner.
In 2004 we bought into Leica. In 2005 we had this family crisis Leica Camera AG finished its 2010/2011 financial year with
and we cut our inheritance in thirds… record sales of € 248.8 million. This was an increase of 57.2 % over
the previous year (€ 158.2 m). EBIT (Earning Before Interest and
This must have been stressful. Taxes) increased by almost six times: from € 7.4 m in 2009/2010
I’ve never been scared in my life. Being scared doesn’t help. I don’t to € 41.6m. The sales increase is attributed mainly to the strong
think I was stressed. I was under pressure, but when I’m under demand for the two camera systems, Leica M and Leica S.
pressure I take half a day off and think about strategy. This usually Leica Camera AG is located in Solms, with a second production
works. site in Vila Nova de Famalicão, Portugal. The company is active
In 2005 you could definitely have said that I was under stress but in 54 markets internationally and operates branches in England,
I was focused on what had to be done. It was a tricky situation France, Japan, Singapore, Switzerland, South Korea and the USA.
because I think our chairman of the Leica supervisory board www.leica-camera.com
Issue 45 • Dec 2011 35
 OConnor Baseplate, O-Focus, Legs
Universal Camera Baseplate
OConnor OConnor introduced the OConnor Universal Camera Baseplate
Universal at IBC. It mates small and medium size digital cine cameras
Camera to standard professional accessories. The Universal Baseplate
Baseplate centers the optical axis of the lens to the correct rod height and
width. It works with standard studio 15 or 19mm bridgeplates
and lightweight 15mm supports.
The Universal Baseplate uses 3-way camera screws. They can
be tightened by hand, with a tool through the drill holes, or by
inserting a slotted screwdriver through a unique flip-up bottom
plate access panel.

Prototype O-Focus
handwheel at IBC

O-Focus Dual Mini (DM)

The OConnor O-Focus Dual Mini is a low profile, double-sided
follow focus with a direct drive gear mechanism optimized for
use with still photo lenses. It works equally well with cine lenses
(CP.2 above). Engaging the gear to the lens is done with a sliding
dovetail. The gear ratio is 1:.75; meaning that for every 360° of
handwheel rotation, the driver gear rotates 270°. This gives the
camera assistant a longer range on short throw photography
lenses. A new hard-stop handwheel lets you set minimum and
maximum focus distances for lenses with infinite rotation.

30L Carbon Fiber Tripod

OConnor’s 30L Carbon Fiber Tripod replaces the 25L & 35L
lines of tripods for the new generation of new Ultimate 1030D &
1030Ds Fluid Heads.
It weighs a mere 8.8 lbs (4 kg). The 30L’s double extension
design can safely carry payloads up to 209 lbs (95 kg) even at its
maximum height of 63.4” (161 cm). It folds down to a meager
29.5” (75 cm) ­— small enough to fit in the back of your Smartcar.
The quick clamping system is equally smart—it’s easy to see
whether the levers are locked. The legs have an integral spreader
system and removable rubber feet for the spikes.

36 Dec 2011 • Issue 45

Hugo’s Hardware Store

“Hugo” was directed by Martin Scorsese, with cinematography Above: Ben Kingsley (center as Georges Méliès) confers with direc-
by Robert Richardson, ASC. tor/producer Martin Scorsese (far right) on the set of “Hugo,” from
Making “Hugo” involved a hardware store of camera equipment Paramount Pictures and GK Films.
and accessories. It was the first 3D feature film to use ARRI Below: Director/Producer Martin Scorsese in front of 3D camera rig.
Alexas, with Cameron-Pace 3D mirror rigs, and the first to use all Photo credits: Jaap Buitendijk. Report by Seth Emmons and Jon Fauer.
three sets of Cooke lenses: 5/i, S4/i, and Panchro/i.
Gregor Tavenner, 1st Camera Assistant on the production said,
“The Cooke 5/i illuminated focus scales were low on my list when
I first saw them. But guess what. This was a perfect application
for it. Two lenses inside a dark and crowded 3D rig, no way a
Maglite—or two Maglites—would get in.” The little box with 3
LED lights on it, above the red label “BACKUP A PADDLE,” is a
Cooke /i illuminated focus scale dimmer.
Other gear in picture above: two Transvideo CineMonitorHD8
Monitors, Cinematography Electronics Cine Tape Measure,
Preston Cinema Systems MDR, OConnor 120EX head.
Why two monitors? Gregor explained, “I purchased an 8” HD
Transvideo monitor which appears in numerous photos. Pace
then bought another, and they were both mounted to the 3D rig.
These monitors were chosen for their superior image quality, still
my favorite. We used two monitors for two reasons: QC check
for focus puller—so I can see both cameras to check focus and
image quality. Also, so many creative conversations and decisions
happen right at camera—so why not a monitor on each side? I
have done this on 2D as well and it just helps everybody.”
Martin Scorsese said, “The first time images started to move,
people immediately wanted color, sound, a big screen, and depth.
And that’s just what we’re doing now.”
Issue 45 • Dec 2011 37
 Tiffen Dfx 3.0.5

Original image: Mont Saint-Michel Glimmerglass 5

Dfx Rays Halo 4

Tiffen has updated Dfx Digital Filter Suite with Dfx v3.0.5 Never mind the mud below and the precipitous several
update —free to existing Dfx v3.0 users and downloadable from hundred feet of slippery stone walls. In the examples above, we
the Tiffen website. www.tiffensoftware.com used Halo to retain the highlights while darkening the scene.
Tiffen Dfx v3.0.5 update includes the following new features: Glimmerglass adds a romantic glow.

• Support for Avid 64-bit editing systems: Media Composer The Tiffen Dfx digi-
v6, Symphony v6, and NewsCutter v10. tal filter suite is like
a truckload of filters
• Support for Sony Cameras: Sony DSLR-A550, Sony DSLR- in your computer.
A580, Sony DSLR-A700, Sony DSLR-A850, Sony DSLR- It helps cinematog-
A900, Sony NEX-3, Sony NEX-5, Sony NEX-5N, Sony raphers, photogra-
NEX-C3, Sony SLT-A33, Sony SLT-A35, Sony SLT-A55V, phers, art directors,
Sony SLT-A65V, SonySLT-A77V, Sony XCD-SX910CR, and VFX artists to
STV680 VGA. pre-viz, play with,
• Dfx Paint Mask tool with new blur controls gives more con- and post using
trol over blending and transitioning in effects and filters. digital filters that can
simulate more than
• New adjustable brush slider covers large areas; brush cover-
2,000 Tiffen glass
age can scale up to 50% of the screen.
filters, specialized
I tried out some of the new effects with images taken on a trip lenses, optical lab
to Mont Saint-Michel with Jacques Delacoux. Dfx Rays provide processes, film grain,
a realistic pre-viz view of the scene if we’d been allowed to add color correction, and
smoke to the interior and could somehow have managed to place effects.
a giant Condor cherry-picker outside with an Arrimax 18K.
38 Dec 2011 • Issue 45
Tiffen Variable ND
Above all, ND filters let you decrease the effective ISO of your
camera’s sensor. For example, ARRI Alexa, Sony F65, Sony F3,
have sweet spots of 800 ISO. That’s a lot of sensitivity when you’re
shooting in bright sunlight. In film days, you’d likely be shooting
at 50 ISO with an ND0.6 filter.
Tiffen’s Variable ND filter comes in a 9mm thin black aluminum
filter ring with a 77mm screw-in thread. It attaches directly
to various lenses with Tiffen adapter rings (does not require
mattebox).
There are two kinds of filters: those you need and those you Sony’s NEX-FS100 does not have built-in ND filters. Sony’s
choose. E18-200mm F3.5-6.3 OSS zoom lens (SEL18200 kit lens for
NEX-FS100) has a filter diameter of 67mm. To mount the Tiffen
You need ND (Neutral Density) filters to control the light. They Variable ND, get a Tiffen 67mm-77mm Step Up Filter Ring.
are essential. Many digital cameras have them built in. Some don’t.
Tiffen’s 77mm Variable Neutral Density Filter provides 2-8 stops
of light control. This is a must-have for cameras without built-
in ND filters. It’s an essential tool to control depth of field and
exposure. It also saves time. You don’t have to fumble around
changing individual filters.
There’s an index mark on the filter for consistent repeatability.
The filter material is laminated between two pieces of optical glass
that are ground flat to tolerances of a ten-thousandth of an inch
(2.54 microns).
Dial-In Filtration let’s you choose from 2-8 stops of neutral
density.
The more ND you add, the more you can decrease depth of field
(meaning backgrounds will be more out of focus) by letting you
shoot at wider apertures. In other words, wider apertures help
separate subjects from their background.

Micro Scorpio Head The Micro Scorpio Head is Servicevision’s

smallest remote head. It weights 6 kg (13
lbs) and can handle a payload up to 12 kg (27
lbs) in its smallest configuration. Adding an
additional cage brings the payload capacity up
to 25 kg (56 lbs).
The Micro Scorpio has a modular design,
enabling the camera to be top-mounted,
under-slung, or configured in many positions.
The camera operator’s control has a joystick
and accessories for pan bar and hand wheels.
One unit is configurable three ways. The Micro
Head is compatible with the rest of the Scorpio’s
product line, and can be controlled wirelessly.
New interchangeable crane mounts facilitate attaching the Micro Scorpio Head,
camera and lens to various cranes, including the Jimmy Jib, the ABC, Felix, and others.
Compared to the Scorpio Classic and Mini Scorpio Head, Servicevision simplified
the Micro’s mechanics by using cables instead of HD slip rings. The motors are the
same as the ones in the Mini Scorpio Head, allowing faster and smoother moves.
Micro Scorpio can be controlled up to 500 meters by cables or by wireless half-duplex
microwave 2.4GHz. All variables (Pan, Tilt, Focus, Iris, and Zoom using the Scorpio
Focus) are programmable and repeatable. www.servicevision.es

Issue 45 • Dec 2011 39

 Movcam Tech
16x9 Inc. has signed an agreement with Movcam Tech to be
the exclusive distributor of Movcam camera accessories in the
United States. China-based Movcam has recently expanded into
standard camera accessories, some designed specifically for the
Sony PMW-F3.
“What first caught our eye with Movcam,” said 16x9 Vice
President, Jeff Giordano, “was their high quality...and their
interest in creating new and innovative products, which is what
16x9 Inc. is always looking for.”
Movcam’s current accessories include follow focus devices and
matteboxes. For the Sony F3, Movcam developed baseplates
with 15mm rod support and an integrated shoulder pad, a top
mount and handle to provide stability and more mounting points,
all connected with side handles and an accessible cage around
the camera. 16x9 Inc. will be working closely with Movcam in
the next few years to design and develop even more products.
www.16x9inc.com

16x9 Inc. Cine Base Here’s the 16x9 Inc. Cine Base M15 for Sony NXCAM FS100 with
16x19 Inc. PL to Sony E-mount adapter and support holding a
Leica Summilux-C 100 mm prime lens.
The Cine Base M15 solves the business of balance with a 9-inch
long dovetail slide plate and a simple support plate that can be
repositioned with the flick of a quick release lever. 16x9 Inc.’s
system incorporates 15 mm lightweight support rods front and
back for mounting matteboxes and other cine accessories, and
not just as ballast to keep the camera upright.
It’s designed for compact cameras to quickly keep balance when
adding and subtracting accessories. (e.g. change lenses, swap
batteries, reposition monitors).
The same system can be used with various cameras (Sony
PMW-F3, NEX-FS100, Panasonic AF100 and HDSRs) by simply
changing the spacer plate. Includes two 12” and two 8” 15mm
lightweight support rods, which can be connected as two full 20”
rods. The slide plate can mount directly to ARRI-style bridge
plates like the BP-3/BP-8 systems when using heavier lenses.

3 New Leica Summilux-C Primes

Three additional focal length Leicas were “leaked” at IBC as
prototype models.
The new Summilux-C 16, 29, and 65 mm primes are planned to
be introduced at NAB 2012.
This brings the set to eleven: 16, 18, 21, 25, 29, 35, 40, 50, 65, 75,
and 100 mm.
They all have a maximum aperture of T1.4. All are 142 mm long
from front to flange, have 95 mm front diameters, weigh 1.6 – 1.8
kg, have uniform expanded focus scales and rear net holders.
PL lens mounts are titanium.
www.bandpro.com/leica

40 Dec 2011 • Issue 45

 Kodak Vision3 50D
Kodak Vision3 50D joins Vision3 500T, 250D, 200T.
Just as we were about to go to press, Kodak announced 50D/5203
at Camerimage on December 1st. Promising to be the finest grain
35mm camera negative, this raises the bar yet again. 50D will be
useful on films with day exteriors. There's also a lot of talk about
shooting day exteriors on film with 5203 and night exteriors on a
digital camera—the marriage to be consummated in the DI Suite.
With grain almost gone, the superb color and fine detail of new
Kodak Vision3 50D/5203 shows that film is still very much alive.
www.kodak.com/go/50d

iDC SYSTEM ONE for C300 & 1D X

Fearless Gearless Follow Focus. While we were feverishly writing this issue, Dorn, Dutra and
the folks at iDC Photo Video have been busy designing and machining new enhancements
for their famous SYSTEM ONE. For fluid heads with quick release platforms that are based
on the popular Manfrotto 501-style QR plates, iDC SYSTEM ONE will be compatible with
Canon’s new EOS-1D X and C300—available in early 2012. Well balanced, gearless follow
focus, affordable, made in USA, SYSTEM ONE is easily updated as new cameras come out.

Right: 1D X shown
with SYSTEM ONE,
6 inch UniRail and
the SYSTEM ONE
Accessory Mounting
Bracket-Kit B
Left: Canon C300
with SYSTEM ONE,
16 inch UniRail with
Two Wheels, on a
70-200mm lens.

Cartoni Maxima
Cartoni’s Maxima head was everywhere at IBC. Maxima works
with any camera weight—from 0 to 85 lbs (39 kg). It’s just as
smooth with a lightweight DSLR as with an Arricam, Sony F65,
3D rig, or Alexa fully loaded with the heaviest zoom. Maxima has
outstanding counterbalance at any angle, from +90° to -90°.
The continuous fluid drag is smooth—from almost freewheeling
to very tight. The pan and tilt locks on the left side can be operated
with one hand. The fluid knobs are placed left and right of the pan
base. They are soft and quick to turn, even with gloves.
The top plate accepts all standard sliding bases and baseplates—
ARRI, OConnor, Red—and the standard camera plate has a
lateral quick release system. An optional plate incorporates
the European Touch ‘n Go system. Maxima fits all existing flat
Mitchell standard mounts (lockable with a central knob or a
classic 8” castle nut). A 150mm ball adapter is also available.

Issue 45 • Dec 2011 41

 Sachtler Ace Fluid Head

Light, flexible, synchronized, compact. Of course,

we’re talking about the new Sachtler Ace tripod system
premiered at IBC. I’m sure the throngs of video and DSLR
filmmakers were attracted by the new tripod—or could
it have been the thematically synchronized display of
synchronized moves by the Ace twin gymnasts?
With a payload of up to 4 kilograms (8.8 pounds), Sachtler
Ace is a compact, durable and extremely lightweight
tripod system. A completely new patented drag system,
SA Drag (Synchronised Actuated Drag), was developed.
It provides familiar Sachtler accuracy and repeatability
at an astonishing price/performance ratio. There are
3 vertical and 3 horizontal grades of drag (as well as
“0” freewheeling). Counterbalance adjusts from 0 to 4
kilograms (0 to 8.8 lbs) in 5 steps and a “0” no-resistance
setting. Tilt is +90° to -75°. www.sachtler-ace.com

42 Dec 2011 • Issue 45

Manfrotto
I always wanted to see a camera backpack that doesn’t ask me to strap an expensive carbon fiber
tripod on the outside like an ice-axe. It’s too easy to ding,
and takes forever to un-strap when you need it in a hurry.
I was delighted to see Manfrotto’s new Veloce VII
backpack at Photo Plus Expo in New York this November.
The Veloce VII comfortably carries your tripod inside,
along with camera gear, 17” laptop, lenses, fluid head,
and accessories. There’s a bottom compartment for more
equipment, lunch or extra clothing.
Veloce is part of Manfrotto’s Stile Collection—a line of
bags, pouches and backpacks that are designed for easy
camera access with good protection. Very stylish, the
Stile line is available in black, bungee cord brown, and
star white.
Veloce VII Style doesn’t end with bags. Manfrotto introduced the
backpack new Lino line, named after company founder Lino
Manfrotto. Lino bags and apparel are practical, look
cool, and add a continental sartorial flair to a category
previously dominated by original Abercrombie & Fitch
or Hunting World bush jackets and Teddy Roosevelt
era fashions. Black is a nice alternative to khaki, and the
reinforced shoulder fabric makes carrying heavy tripods
almost a pleasure.
The Lino line includes Pro Backpacks, Pro Messenger bags, Pro Roller, Lens pouches, Camera
pouches, Pro Field Jackets (with two front pockets and reinforced shoulders), Pro Wind Jacket
(lightweight, water-repellent nylon), Pro Photo Vest (with two front pockets and reinforced
shoulders), and Pro Soft Shell Jackets in Polartec (for all conditions).

dedolight
A new dedolight 4.0 was hanging in Dedo’s booth at IBC. It has a
40 watt LED, daylight or tungsten—there’s also a bicolor version.
The front diameter of the fixture is the same as classic and 200
series dedolights, so most accessories still fit. (New projection
attachments provide more precision.) The dedolight 4.0 uses a
new power supply. The CRI of the dedolight 4.0 tungsten LED is
90; the daylight LED is close to 90.
There is one large aspherical front lens in front and one small lens
on the LED chip. Dimming does not change color temperature
much. The radiator fins on the back of the fixture get hot but
keep the focusing ring absolutely cool to the touch all the time.
In future production models, the metal housing will be black and
the focusing ring will be yellow.

Ronford
Jeff Lawrence, Managing Director of Ronford-Baker,
demonstrated this clever hand-held simulator at IBC.
It’s a ball and socket sandwiched between top and bottom quick
release plates. Add it to the top of your geared or fluid head, and
it takes the weight off your arms while allowing you to move the
camera in documentary-style abandon.
www.ronfordbaker.co.uk

Issue 45 • Dec 2011 43

 Images of IBC 2011

44 Dec 2011 • Issue 45

Issue 45 • Dec 2011 45
 Andrew Laszlo, ASC 1926-2011
school, which was wonderful. We not only had all the equipment,
the school insisted we shoot 35mm motion picture film, day-
in and day-out, thousands of feet and, of course, doing is the
greatest way of learning. When I came out of the army it was a
little bit rough. I was a young fellow, trying to enter the industry.
I tried absolutely everything to get work. I couldn’t even get past
secretaries. At one point, I sent out résumés on shirt cardboard
so they couldn’t crumple it up and toss it in the wastebasket. The
breaks finally came.”
Andy was a champion of the crew. He did not tolerate inconsider-
ation or iniquities. Crews loved him for this and his light-hearted
demeanor. On a particularly difficult production, Andy learned
that his crew had not fully received its promised per diem. We
Andrew Laszlo, ASC passed away in Bozeman, Montana on were almost ready to roll cameras when he told the crew to put
October 7th after a brief illness. He was at home with his family. away cameras that had taken hours to set up and get into position.
He was 85.
“My crew has not received their agreed-upon meal-money,”
His career as a cinematographer began in the golden age of Andy told the production staff. Needless to say, the situation was
television on The Ed Sullivan Show, The Naked City, and The Phil rectified immediately and the day’s work completed as scheduled.
Silvers Show. With more than 80 credits over a 40 year career,
Andy worked with Francis Ford Coppola, Walter Hill, William Andy loved the happy accidents and imperfections provided by
Friedkin, Arthur Hiller, and top directors on productions around location filming. It was my job as camera operator to point out a
the world. These include: The Night They Raided Minsky’s, The prop that might be out of place or a painting hanging out of level.
Out of Towners, Lovers and Other Strangers, The Owl and the But Andy loved these little touches of reality. “If it's too perfect, it
Pussycat, The Warriors, Southern Comfort, First Blood, Streets looks like we're shooting in a studio,” he would say.
of Fire, Innerspace, Newsies, and Shogun. He was a member of Andy had style. He said, “You read the script and images begin
The International Photographers Guild, The Directors Guild to form in your imagination and in your vision. Techniques and
of America, The American Society of Cinematographers, The tools come into play — lenses, film stocks, filters, focal lengths,
Motion Picture Academy, and served two terms as a Governor of all kinds of things that an individual artist may come up with and
The National Academy of Television Arts and Sciences. say, ‘This is what I feel; this is what I’ll do to enhance the image so
Andy was a mentor and great friend. He taught an entire generation it will serve the story best, as depicted in the script.’
of cinematographers, traveling the world, conducting seminars, “Ideas sometimes come from experience, sometimes come from
and training aspiring cinematographers as part of Eastman inspiration, and sometimes just happen. The things that just
Kodak’s Student Filmmaker Program. Andy visited Dartmouth happen may be just as important.”
College when I was a student there. His scheduled one-hour Andy delighted in challenging locations and was well-known for
lecture lasted two days. Andy had the gift of storytelling. He was using his creativity to work around the most difficult obstacles.
always loquacious, and always an inspiration. Several anecdotes He was also famous for the unconventional. He lit entire scenes
show how a mentor can change one's life. with a flaming gas-soaked torch on First Blood. Andy tented in
After graduating, I called Andy and asked if I could show him my the entire back lot of Universal Studios to shoot night during
senior thesis film project. Years later, Andy admitted to me that daylight on Streets of Fire and then proceeded to use an assistant’s
he rarely expected much from student projects. But something lens light to add a glimmer to an actor’s eyes. Andy loved his craft
clicked, and he encouraged me to pursue a career in film. I got and would often say, “If it looks good, shoot it.”
work. We stayed in touch. Several years later, he hired me on Top After retiring in 1994, Andy pursued his hobbies of fly fishing,
of the Hill. That assignment led to a long run of jobs together and inventing, woodworking, and machining. He also wrote
a lifetime of friendship. prolifically, publishing 4 novels, 3 books about his career in film,
Andy got his start in the film business with a broom. In and an autobiography. Banjin is set in 19th century Japan. The
Cinematographer Style, he explains, “When I started in the Seven Graces of God is the 20th century story of a boy who arrives
business, the only equipment I was trusted with was a broom, penniless in America. Every Frame a Rembrandt gets its title from
because I went through an apprentice system in Hungary at a the Cinematographer’s goal of making every “set up” a work of art.
time when there were no film schools. I was fortunate to get a It’s a Wrap (ASC Press) chronicles Andy’s adventures in the film
job at one of the motion picture studios, and was given a broom.” world, describing a secret trip to Havana with Ed Sullivan to film
This was immediately after WWII. Hungary, and its film industry, Fidel Castro as he took power during the Cuban Revolution,
was in shambles. Andy left Hungary (illegally and at great peril) the Beatles’ landmark Shea Stadium concert, and the cultural
and made his way to pursue a new life in the United States. challenges of a 9-month shoot in Japan filming Shogun.
Andy continues, “The greatest break of my life came when I was For a beloved cinematographer, humanitarian, writer, inventor,
the first person from New York City to be drafted by the army craftsman, and caring friend, it is with the deepest sorrow that we
for the Korean War. I wound up in the U.S. Army motion picture must say, “It’s a wrap.”

46 Dec 2011 • Issue 45

BSC Show & Micro Salon
BSC Show
We'll be in London for the BSC Show 2012 in the George Lucas Art, Technique and Technology
Stage at Elstree Film and Television Studios, UK on February 3
and 4, 2012. Film and Digital Times is the journal and guide to technique and
Held over two days, the BSC Show is the premier event in the UK technology, tools and how-tos for Cinematographers, Photographers,
for anyone interested or involved in the art of cinematography Directors, Producers, Studio Chieftains, Camera Assistants, Camera
Operators, Grips, Gaffers, Crews, Rental Houses, and Manufacturers.
and the equipment, services, and facilities used high-end film
and television production. It’s written, edited, and published by Jon Fauer, ASC, an award-
winning Cinematographer, Director, and author of 14 bestselling
Featuring Cameras, Lighting, Motion Control, Rigging,
books (over 120,000 in print—famous for their user-friendly way of
Broadcast Equipment, Grip, Cranes, and a vast array of explaining things as if you were right there on location with him). With
exhibits, attendees will see some of the latest product launches inside-the-industry “secrets-of the-pros” information, Film and Digital
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combined with a studio location.” © 2011 Film and Digital Times, Inc.

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Issue 45 • Dec 2011 47

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48 April 2010