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Sue Smith

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Sue Smith last won the day on September 15 2018

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  1. Light Iron, a Panavision company specializing in post production services, is again playing an important collaborative role with notable episodic series this season. Customized workflow offerings from Light Iron for BETTER THINGS, THE GOOD FIGHT, THE OA, RAMY, SHRILL, THE MARVELOUS MRS. MAISEL, and WHAT WE DO IN THE SHADOWS, included dailies, digital intermediate, archive, and data services, among other creative and technical contributions. From San Francisco and Los Angeles to New York and Toronto, Light Iron serviced the productions from a range of locations with color and front-end teams involved from pre-production for a smooth and efficient experience. “We are honored to support these outstanding projects,” says Peter Cioni, Light Iron’s General Manager. “Our unique understanding of the demands of episodic schedules coupled with our technical skills in file-based workflows fuels our ability to fulfill the creative vision on time and on budget. Light Iron at its core is focused on innovation and, as part of the Panavision family, we offer our expertise from pre-production through finishing, creating efficiencies throughout the imaging chain.” A closer look at the projects demonstrates the possibilities for end-to-end solutions from Light Iron and Panavision: • BETTER THINGS, season 3 (FX) – Already renewed for a fourth season, BETTER THINGS follows the trials and tribulations of Sam Fox (Pamela Adlon), a single mother and working actor with no filter, raising her three daughters in Los Angeles. The season was shot by Paul Koestner who collaborated with Light Iron’s dailies colorist Gregory Pastore and DI colorist Corinne Bogdanowicz. Panavision Hollywood provided the camera and lens package. • THE GOOD FIGHT, season 3 (CBS All Access) – Entertainment Weekly hails the third installment of THE GOOD FIGHT as “the best show on TV.” Shot by Fred Murphy, ASC, this season was supported by Light Iron with dailies by Andrew Hodgdon and final color from Steven Bodner. The production is also serviced by Panavision New York. • THE OA, season 2 (Netflix) – The first season of THE OA quickly developed a cult fan base. For the highly anticipated second installment, Light Iron worked closely with series DPs Steven Meizler and Magnus Nordenhof Jønck to ensure the work done by dailies colorists Andrew Hodgdon and George Thomas was reflected in the final color grade with Ian Vertovec. Services included location support in San Francisco and Los Angeles. • RAMY, season 1 (Hulu) – Winner of the 2019 SXSW Audience Award, RAMY stars actor-director-comedian Ramy Youssef as the son of Egyptian immigrants in New Jersey. Light Iron worked closely with cinematographers Adrian Peng Correia and Ashley Connor to establish the look in dailies, which transferred seamlessly into the DI where the final color grade was performed by Steve Bodner. Cameras and optics were supplied by Panavision New York. • SHRILL, season 1 (Hulu) – From executive producers Lorne Michaels and Elizabeth Banks and showrunner Ali Rushfield, SHRILL stars Aidy Bryant (from SATURDAY NIGHT LIVE) as Annie, an overweight young woman who wants to change her life — but not her body. Based on the 2016 memoir by Lindy West, Vox calls the series “a quietly tender portrayal of learning how to love yourself.” Light Iron colorist Nick Lareau provided the final color grade in collaboration with cinematographer Joe Meade. • THE MARVELOUS MRS. MAISEL, season 2 (Amazon) – Light Iron worked alongside cinematographers M. David Mullen, ASC and Eric Moynier, returning for the second season of this award-winning series created by Amy Sherman-Palladino. Light Iron’s Aaron Burns handled dailies color and Steve Bodner collaborated with the two DPs during finishing. For camera and lens options, Panavision New York was the go-to resource. • WHAT WE DO IN THE SHADOWS, season 1 (FX) – Based on the feature film of the same name, WHAT WE DO IN THE SHADOWS is a documentary-style look into the lives of four vampires who have “existed” together for hundreds of years on Staten Island. The film’s cinematographer D.J. Stipsen returned for the series, which has earned a 96% rating from Tomatometer critics on Rotten Tomatoes. Christian Sprenger lensed the pilot. Light Iron dailies colorists Gregory Pastore and Jacob Doforno supported early look development in Toronto via the local Panavision facility, which carried over into finishing in the DI by Ian Vertovec. For more information, visit www.lightiron.com.
  2. Light Iron, a Panavision company, has announced Jeremy Sawyer is returning to its Los Angeles facility as a senior colorist. The highly regarded Sawyer brings over 20 years of color finishing experience to his role. He joins Light Iron’s formidable talent roster as the facility manages a growing list of feature and episodic projects. Sawyer previously worked at Light Iron from 2015 to 2018 on such notable projects as I’m Dying Up Here, Easy, The First, Goliath, Mr. Mercedes, and The Walking Dead. His extensive skills in post as well as a passion for photography bring a unique aesthetic to his visual approach. Sawyer’s arrival reunites him with an artistic group of Light Iron colorists, which includes Ian Vertovec, Steven Bodner, Corinne Bogdanowicz, Sean Dunckley, and Nick Hasson, among others. “We are thrilled to have Jeremy back with us,” says General Manager Peter Cioni of Light Iron. “His vast experience managing innovative workflows in combination with his inspired visual instinct marries perfectly with our passion to serve the creative.” “Light Iron fosters a collaborative, artistic environment,” notes Sawyer. “Their dexterity in response to constantly advancing technology and the relationship with Panavision offers an uncommon ability to bring post production to the set, where the intersection of art and science is happening. And being involved early on projects helps to produce an incredible end product. Panavision and Light Iron are at the forefront of making the entire production process smoother, faster, and more efficient, all with a nod toward the creative mindset.” Light Iron colorists integrate with projects during pre-production, working closely with the cinematographer in a unified way to fully understanding the motives for the creative choices being made. “We think of ourselves as artistic partners in the process,” adds Cioni. “Not only can we build complex pipelines with custom tools and applications, but our colorists remain deeply embedded with the decision-making process, ensuring the intended look is carried throughout for maximum benefits to filmmakers.” With multiple locations throughout North America, Sawyer also will be available to remotely collaborate with production teams on location, via the Panavision and Light Iron network. For more information, visit www.lightiron.com.
  3. FotoKem, a leader in digital and film post production, announced today that industry veteran Dana Ross has joined the facility as Senior Vice President of Client Relations. With more than 40 years of experience, Ross will collaborate with FotoKem’s sales and marketing teams to continue to expand its growing creative connections. Ross brings a breadth of experience to this new engagement that encompasses motion picture workflow, production, camera and lens expertise, and decades of relationships with filmmakers. He began his career at CFI Motion Picture Laboratory, first as a projectionist and later as a color timer. After 23 years at CFI, he transitioned to Technicolor, serving as SVP of Feature Film Relations. In 2014, Ross joined the ARRI Rental team as a global marketing executive and embarked in the development and launch of the Alexa 65 camera system, which has become a leading tool for filmmakers and used on Academy Award®-winning films. Ross, an associate member of the American Society of Cinematographers (ASC), also has a passion for still photography. In particular, he fosters a love for working in the 11x14 plate camera format. This passion, combined with many years working closely with directors of photography, has seen him take studio portraits of numerous cinematographers. Ross says, “FotoKem is renowned for its service, expertise, and numerous credits on highly respected projects. I am excited to join the team to help further inform the broader creative community of the company’s accomplishments and capabilities.” FotoKem Chief Strategy Officer Mike Brodersen adds, “Ross has been supporting filmmakers on projects of every size for many years in the industry. We’re thrilled to have him on board to communicate our offerings to a broader scope of filmmakers.”
  4. BURBANK, CA (May 1, 2019) – There’s nothing small about the bicoastal post-production workflow provided by FotoKem for Universal Pictures’ and Legendary Pictures’ Little. FotoKem’s Atlanta and Burbank facilities supported the production from digital dailies through finishing with a full ACES finish for this fantasy comedy. From blockbuster producer Will Packer (Girls Trip, Night School, the Ride Along franchise) and director and co-writer Tina Gordon (Peeples, Drumline), Little tells the story of a tech mogul (Girls Trip’s Regina Hall) who is transformed into a 13-year-old version of herself (Marsai Martin), and must rely on her long-suffering assistant (Insecure’s Issa Rae), just as the future of her company is on the line. Martin, who stars in the TV series Black-ish, had the idea for the film when she was 10 and acts as an executive producer on the film. She is the youngest person to hold that title on a major Hollywood production. Principal photography for Little took place last summer in the Atlanta area. FotoKem’s Atlanta location provided digital dailies with looks developed by FotoKem colorist Alastor Arnold alongside cinematographer Greg Gardiner (Girls Trip, Night School) who shot with Sony F55 cameras. “Greg likes a super-clean look, which we based on Sony color science, with a warm and cool variant and a standard hero LUT,” says Arnold. “He creates the style of every scene with his lighting and photography. We wanted to maximize his out-of-the-camera look and pass it through to the grading process.” FotoKem responded to the sharp growth of production in Georgia, and entered the Atlanta market five years ago to offer on-the-ground support for creatives. “FotoKem Atlanta is an extension of our Burbank team with colorists and operations staff to provide the upfront workflow required for file-based dailies,” says Senior Vice President Tom Vice of FotoKem’s Creative Services Division. “Atlanta is an exciting place to be, and we’re thrilled to be part of that community.” When editor David Moritz and the editorial team moved to Los Angeles, FotoKem sent EDLs to its nextLAB dailies platform, the facility’s proprietary digital file management system, where shots for VFX vendors were transcoded as ACES EXR files with full color metadata. Non-VFX shots were also automatically pulled from nextLAB for conform. The online was completed in Resolve. The DI and the film conform happened concurrently, with Arnold and Gardiner working together daily. “We had a full ACES pipeline, with high dynamic range and high bit rate, which both Greg and I liked,” Arnold says. “The film has a punchy, crisp chromatic look, but it’s not too contemporary in style or hyper-pushed. It’s clean and naturalistic with an extra chroma punch.” Gordon was also a key part of the collaboration, playing an active role in the DI, working closely with Gardiner to craft the images. “She really got into the color aspect of the workflow,” notes Arnold. “Of course, she had a vision for the movie and fully embraced the way that color impacts the story during the DI process.” Arnold’s first pass was for the theatrical grade and the second for the HDR10 grade. “What I like about ACES is the simplicity of transforming to different color spaces and working environments. And the HDR grade was a quicker process,” he says. “HDR is increasingly part of our deliverables, and we’re seeing a lot more ACES workflows lately, including work on trailers.” FotoKem’s deliverables included a DCP, DCDM and DSM for the theatrical release; separations and .j2k files for HDR10 archiving; and ProRes QuickTimes for QC.
  5. Colorist Aidan Stanford has joined Keep Me Posted (KMP), a FotoKem company specializing in creative and technical episodic post-production services. In his role as senior colorist, Stanford builds upon Fotokem’s roster of creative talent that serves episodic and feature projects. With over 25 years of experience, Stanford brings unique expertise including proficiencies on color grading systems. His experience ranges from photochemical color timing to digital color grading and includes DI, broadcast, commercials and shorts. His varied background includes color timing 65mm film for LAWRENCE OF ARABIA (IMAX 2002 restoration/release); the DI, HDR and all video deliverables for the Oscar-winning GET OUT; and multiple seasons of Emmy Award-winning television series. His credits include the features HAPPY DEATH DAY, INSIDIOUS 4 and BENJI and his episodic credits include MODERN FAMILY, DRUNK HISTORY, YOU’RE THE WORST and FRESH OFF THE BOAT. Stanford noted, “No other facility offers the breadth of service for filmmakers that is available within the FotoKem family of companies. There is a dedication to customers and a meticulous approach to the work that is in perfect sync with my own. KMP is a highly respected facility, and I am delighted to join the talented team here.” Mike Brodersen, FotoKem’s Chief Strategy Officer, commented on the addition of Stanford to the creative services team. “Aidan brings a deep knowledge of film, an artistic eye and a keen technical ability to help our creative customers bring their vision to reality. His comprehensive skill set in combination with his expertise in color have made him a trusted collaborator with many filmmakers and show runners. We are delighted to have him on our team.”
  6. RED Digital Cinema® released its RED R3D® SDK and accompanying REDCINE-X PRO® software with accelerated decode and debayering on NVIDIA CUDA® platforms. By offloading the compute-intensive decoding and debayering of RED R3D files onto one or more NVIDIA GPUs, real-time playback, edit and color grade of 8K footage is now possible. Benefits and efficiencies of this new software-hardware combination during the post-production process include: • 8K real-time 30 fps or greater playback performance • Up to 10x faster transcoding, depending on the format and content • Improved efficiencies and quality control within the content review process • Creative freedom using flexible R3D files instead of proxy files 8K performance is available with NVIDIA Quadro® RTX™ 6000 and 8000, GeForce® RTX™ 2080 Ti and TITAN RTX™ GPUs when coupled with a moderately configured PC. Creators can achieve additional performance improvements with multi-GPU configurations and may see noticeable gains even with older NVIDIA GPUs. Also, new NVIDIA RTX laptops from the world’s leading computer manufacturers, including Razer, Acer, Alienware, ASUS, Dell, Gigabyte, HP, Lenovo, MSI and Samsung, provide real-time playback at up to 8K and offer flexibility in choosing the right tools to fit a variety of budgets. Support from major NLEs and other SDK integrators is expected soon.
  7. Leica Camera has created a fitting tribute to the world of cinema with the new release of the Leica M10-P “ASC 100 Edition”, celebrating the 100th anniversary of the American Society of Cinematographers. Comprised of a Leica M10-P camera and a Leica Summicron-M 35 f/2 ASPH. lens, the memorable set offers two specially tailored Cine Look modes built into the camera’s software that make it a focused professional tool for cinematographers and filmmakers. The set also includes a Leica Visoflex electronic viewfinder and a Leica M-PL-Mount Adapter that allows the use of almost all PL mount cine lenses available on the market. In collaboration with some of the world’s most influential cinematographers and members of the ASC, Leica has developed the new Cine Look feature, which provides directors an exceptional visual experience. The “ASC Cine Classic” mode simulates a classic, analog 35mm motion-picture film look, while the “ASC Contemporary” mode delivers the current digital style of contemporary movies. Additionally, aspect ratios that are used in cinematography can also be selected from the camera’s menu. Once activated, the selected aspect ratio is displayed as a bright-line frame in Live View mode. The Leica M10-P “ASC 100 Edition” offers cinematographers and directors the freedom to view and assess scenes with any desired lens before filming even begins. Founded in 1919, the American Society of Cinematographers is the world’s longest-standing artistic, technical and professional organization dedicated to the advancement of cinematography. Just like Leica, this extraordinary society has influenced and shaped how people of all cultures see the world for more than 100 years. This limited-edition release is a modern take on Oskar Barnack’s original vision of the “Ur-Leica” prototype camera as an aid to cinematography, now reiterated in the unique design of the Leica M10-P ‘ASC 100 Edition’. Reduced simply to the essentials, blacked-out engravings on its black chrome surface accentuates the camera’s minimalistic feel which is further emphasized with the body leathering, similar to that of the Leica SL. The gold-colored anodized finish of the Leica Summicron-M 35 f/2 ASPH. lens reinterprets the brass lens of the original “Ur-Leica” in a contemporary way. The unique aesthetic of the Leica M10-P “ASC 100 Edition” is also complemented by the ASC logo on the top plate. The combination of the included electronic viewfinder, M-PL-Mount Adapter, Cine Look pre-sets and aspect ratio options enables the use of the camera as a director’s viewfinder, making it an extraordinarily versatile and useful tool for filmmakers. And together with the Leica FOTOS App, location scouting can be made much easier, as results can be shared and discussed immediately with everyone involved in the filming project. The Leica M10-P “ASC 100 Edition” will be available in autumn 2019.
  8. RED Digital Cinema® will present a Masterclass featuring Oscar®-winner Guillermo Navarro, ASC at the upcoming BSC Expo in London. Navarro will be discussing his approach to cinematography in the digital age during the seminar that will take place Saturday, February 2, at 16.00. BSC Expo 2019 runs Feb. 1-2 at the Battersea Evolution. Navarro won the Academy Award® for Best Cinematography on Pan’s Labyrinth. His impressive credits also include Desperado, From Dusk Till Dawn, Jackie Brown, Hellboy, Night at the Museum, and Pacific Rim, among many others. He has worked in Hollywood since 1993 and is a frequent collaborator with Guillermo del Toro and Robert Rodriguez. Born and raised in Mexico City, Navarro was a still photographer in his native country before segueing into shooting documentaries and commercials, and directing television. Most recently, he completed principal photography on The Voyage of Doctor Doolitle, slated for release in 2020, using the RED HELIUM 8K S35 sensor. Over at Stand 334, RED will showcase its latest sensor technology, including the MONSTRO® 8K VV and GEMINI® 5K S35. MONSTRO is an evolutionary step in large-format sensor technology with improvements in image quality including dynamic range and shadow detail. GEMINI leverages dual sensitivity modes to provide creators with greater flexibility using standard mode or low-light mode. RED will also demonstrate a real-time 8K workflow using a new REDCODE RAW SDK powered by the NVIDIA QUADRO RTX 6000 GPU. By offloading the compute-intensive decoding and debayering of REDCODE RAW footage onto a single NVIDIA GPU, real-time play back, edit and color-grade of RAW 8K footage is possible. Additionally, RED will display its newest accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides an intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. The DSMC2 PRODUCTION MODULE mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount (DSMC2® Gold Mount will be available soon) and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It’s also available as a kit.
  9. Panavision, the world-class provider of end-to-end solutions that power the creative vision of filmmakers, will return to BSC Expo (Feb. 1-2) with a demonstration of the company’s comprehensive and expanding ecosystem for feature film, television and commercial productions. Along with Panalux and LEE Filters, the array of integrated technologies – ranging from lenses, camera systems, and accessories, to filters and lights – illustrates the extent to which Panavision is committed to giving filmmakers the most versatile and creative storytelling tools possible. “Panavision is excited to exhibit our latest innovations at BSC Expo and, in particular, to share how our products and services are designed to work together to help creatives tell their stories,” says Kim Snyder, president and CEO of Panavision. “We are delighted to demonstrate the full extent of this growing ecosystem to filmmakers at BSC Expo.” BSC Expo attendees were among the first in the world to get up close and personal with the DXL2 in 2018, and this year visitors can look forward to discovering a host of new options for the large format camera system. New to the DXL2 this year is an integrated C-Motion F.I.Z. module to allow the use of Arri WCU4 wireless lens control handsets with full lens mapping support. This important development broadens the DXL2 ecosystem for the European market. D2E version 1.0 gave DITs the ability to wirelessly control the LUT and CDL directly in the DXL2 camera. New to the DXL2 ecosystem being shown at BSC Expo is the Comtek Audio Module, which is the basis for the D2E 2.0 enhancement. In addition to the LUT and CDL from D2E 1.0, DXL2 now has the ability to receive audio feeds from the sound mixer via the industry standard Comtek transmitter, turning DXL2 in camera proxies into D2E dailies with colour and sound. Further advancing the popularity of the DXL camera system is the DXL-M Module and accessory kit for Red’s DSMC cameras, which includes expansive power and communication ports, the DXL menu system and LiColor2. Also included is an additional SDI output path giving users two independently controlled outputs as well as clones. Notable to the DXL-M package is the Panavision Primo HDR viewfinder and motorized cinema lenses, which create a unique option for filmmakers not found anywhere else. Cinematographers keen to infuse distinct looks into their storytelling will be eager to see and handle the company’s proprietary portfolio of optics. Panavision’s team will be available at BSC Expo to offer tips and guidance on the large-format lenses on display, which include: Panaspeed, a large format update of the classic Primo look, offering the fastest option @ T1.4; Ultra Vista large format anamorphic optics with a 1.65x squeeze; H Series spherical lens set created with vintage glass for a classic portrait look; and the Primo X, the weather-proof compact and aerodynamic drone and gimbal solution. “Panavision’s array of camera and glass options are meeting the demand for large-format filmmaking and illustrate the unmatched creative agility available to filmmakers,” adds Snyder. Additionally, wireless or wired control of DXL2 and DXL-M is now available for Android alongside iOS devices. The Android DXL Control app allows users the option of wired control in situations where wireless is not ideal, such as aerial, underwater, and for Techno cranes. LEE Filters will be present at BSC Expo to highlight their range of next-generation filters, including the latest Zircon gels for essential fine-tuning LED control and ProGlass CINE IRND, the ultimate in precision Neutral Density filters for cinema. Panalux will present a diverse range of products on practical display lighting the booth. In addition, there will be demonstrations of the Cine Reflect Lighting System by The Light Box illustrating how any light source can be shaped by diffusion reflectors to produce natural looking light and shadows. “As a camera and lens manufacturer that also serves filmmakers as a trusted equipment and service provider, Panavision is uniquely positioned to respond to the needs of the community,” notes Jeff Allen, managing director, EAME, Panavision. “All the technologies displayed at BSC Expo, including gels and lights, can be integrated in any combination and for any type and style of production to help creatives tell their stories with maximum control from the moment of capture through delivery and display.”
  10. Today, RED Digital Cinema® introduces the DSMC2® Touch 7.0” Ultra-Brite LCD Monitor to its line of innovative camera accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides the most intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. A 1920x1200 resolution display panel provides 2,200 nits of brightness to overcome viewing difficulties in bright outdoor environments, and the high pixel density (at 323 ppi) and 1200:1 contrast ratio deliver exceptional image quality. The Ultra-Brite display mounts to RED’s DSMC2 BRAIN®, or other 1/4-20 mounting surfaces, and provides a LEMO connection to the camera, making it an ideal monitoring option for gimbals, cranes, and cabled remote viewing. Shooters can use a DSMC2 LEMO Adaptor A in conjunction with the Ultra-Brite display for convenient mounting options away from the DSMC2 camera BRAIN. A demonstration of the new monitor, priced at $3,750 (U.S.), can be seen here: https://youtu.be/sF2PmdoAZoM Link to Ultra-Brite images here.
  11. As entertainment industry luminaries prepare to swarm Park City for the Sundance Film Festival, Panavision and Light Iron (Panavision’s post production subsidiary) are proud to announce their collaborations with filmmakers on more than 25 projects screening or competing at the 2019 event (Jan. 24 – Feb. 3). The independent filmmakers behind these unique stories leveraged the innovative services of Panavision and Light Iron to provide a full range of offerings from gear to final deliverables. “We’re honored that independent artists join forces with us to achieve their vision,” says Kim Snyder, president and CEO, Panavision. “We are dedicated to delivering the tools and expertise that content creators need, wherever they are in the world, from pre-production to post.” The 2019 Sundance lineup illustrates Panavision’s enduring commitment to supporting the creative community and reinforces the importance of fostering filmmaking around the world. Across a number of titles, Panavision provided camera, lens and accessory packages, as well as dailies, offline editorial, and final color services from Light Iron. The comprehensive and single-point offerings underscore the company’s dedication to meeting the individual needs of independent filmmakers and their budget demands. Snyder adds, “Panavision’s vast portfolio of cameras and lenses coupled with our technical expertise present filmmakers with a phenomenal mix of options to creatively assemble the right equipment for any job. Additionally, the workflow savvy and creative services from Light Iron provide critical components that ensure quality imagery throughout the entire process.” Here’s a look at some of the highly anticipated productions at Sundance supported by Panavision and Light Iron: U.S. Dramatic Competition Big Time Adolescence (dir. Jason Orley, DP Andrew Huebscher) – Camera rental, Superspeed lenses, Panavision New York. Brittany Runs a Marathon (dir. Paul Downs Colaizzo, DP Seamus Tierney) – Camera rental, Primo prime lenses, Panavision New York. Color by Sean Dunckley, Light Iron New York. Hala (dir. Minhal Baig, DP Carolina Costa) – Camera and optics package, Panavision Chicago. Honey Boy (dir. Alma Har'el, DP Natasha Braier, ASC, ADF) – Camera and optics package, Panavision Hollywood. Luce (dir. Julius Onah, DP Larkin Seiple) – Panavision XL2 camera, G Series lenses, Panavision New York. To the Stars (dir. Martha Stephens, DP Andrew Reed) – Camera rental, Primo Prime lenses, Panavision Dallas. Premieres Animals (dir. Sophie Hyde, DP Bryan Mason) – Camera rental, Superspeed lenses, Panavision Ireland. Extremely Wicked, Shockingly Evil and Vile (dir. Joe Berlinger, DP Brandon Trost) – Camera rental, C Series anamorphic lenses, Panavision Hollywood. Late Night (dir. Nisha Ganatra, DP Matthew Clark) – Camera rental, Primo Zoom lenses, Panavision New York. Dailies by Light Iron New York. Color by Sean Dunckley, Light Iron New York. Paddleton (dir. Alex Lehmann, DP Nathan M. Miller) – Color by Corinne Bogdanowicz, Light Iron Los Angeles. Photograph (dir. Ritesh Batra, DP Ben Kutchins) – Offline editorial rentals, Light Iron New York. The Boy Who Harnessed the Wind - Opening Night Film (dir. Chiwetel Ejiofor, DP Dick Pope, BSC) – Camera rental, Primo Prime lenses, Panavision Johannesburg. The Tomorrow Man (dir. and DP Noble Jones) – Color by Corinne Bogdanowicz, Light Iron Los Angeles. Top End Wedding (dir. Wayne Blair, DP Eric Murray Lui) – Camera and optics package, Panavision Sydney. Troop Zero - Closing Night Film (dir. Bert & Bertie, DP Jim Whitaker) – Dailies by Light Iron New Orleans. Color by Corinne Bogdanowicz, Light Iron Los Angeles. Velvet Buzzsaw (dir. Dan Gilroy, Robert Elswit, ASC) – Panavision Millennium DXL2, Standard Prime lenses, Panavision Woodland Hills. NEXT Competition Selah and the Spades (dir. Tayarisha Poe, DP Jomo Fray) – Camera and optics package, Panavision New York. Color by Steven Bodner, Light Iron New York. The Wolf Hour (dir. Alistair Banks Griffin, DP Khalid Mohtaseb) – Camera rental and T-series, MAP55, and AWZ2.3 lenses, Panavision New York. WORLD Cinema Dramatic Competition Judy and Punch (dir. Mirrah Foulkes, DP Stefan Duscio) – Camera rental, C Series lenses, Panavision Sydney. Midnight Corporate Animals (dir. Patrick Brice, DP Tarin Anderson) – Color by Nick Hasson, Light Iron Los Angeles. Little Monsters (dir. Abe Forsythe, DP Lachlan Milne, ACS) – Camera rental, anamorphic lenses, Panavision Sydney. Spotlight The Nightingale (dir. Jennifer Kent, DP Radek Ladczuk) – Camera rental, PVintage lenses, Panavision Sydney. Doc Premieres Ask Dr. Ruth (dir. Ryan White, DP David Jacobson) – Color by Nick Lareau. Light Iron Los Angeles. Indie Episodic It's Not About Jimmy Keene (Dir. Caleb Jaffe, DP Noble Gray) – Color by Ian Vertovec. Light Iron Los Angeles. Special Events Lorena (dir. Joshua Rofé, DP Ronan Killeen) – Dailies by Light Iron Los Angeles. Color by Nick Lareau, Light Iron Los Angeles. Now Apocalypse (dir. Gregg Araki, DP Sandra Valde-Hansen) – Camera rental, Primo Prime lenses, Panavision Hollywood. U.S. Narrative Shorts Lockdown (dir. Celine Held and Logan George, DP Caleb Heller) – Rental package, Panavision Woodland Hills.
  12. The American Society of Cinematographers (ASC) has chosen two honorees to be feted for their body of work at the 33rd ASC Awards for Outstanding Achievement. Robert Richardson, ASC will receive the ASC Lifetime Achievement Award, and Jeff Jur, ASC will be bestowed the org’s Career Achievement in Television Award. The presentations will be made at the annual ASC Awards gala on February 9, 2019, at the Ray Dolby Ballroom at Hollywood & Highland. The event will also pay tribute to the society’s centennial in 2019. ASC President Kees van Oostrum notes, “Celebrating the accomplishments of exceptionally talented cinematographers like Bob Richardson for his innovative approach to feature films, and Jeff Jur for his brilliant interpretations in the world of television drama, is especially important in today’s day and age of cinematography. As we celebrate our 100th anniversary, I cannot imagine better role models, as both have inspired us, and their work continues to embolden the next generation of cinematographers.” Richardson’s extensive career has spanned nearly four decades and counting. Along the way, he has garnered three Academy Awards® for his cinematography on Hugo (2012), The Aviator (2005), and JFK (1992), in addition to six Oscar® nominations (The Hateful Eight, Django Unchained, Inglourious Basterds, Snow Falling on Cedars, Born on the Fourth of July, Platoon) and four BAFTAs (Hugo, Inglourious Basterds, The Aviator, Platoon). He has worked alongside some of the most renowned director’s in cinema, including Oliver Stone, Martin Scorsese, and Quentin Tarantino. His most recent film is A Private War, in select theaters now, with Once Upon a Time in Hollywood slated for release next year. Richardson began shooting documentaries in the 1980s. His photography on Crossfire for an English TV station caught the eye of Stone, who enlisted Richardson for Salvador. That led to Platoon, and the beginning of a prolific credit list that includes Wall Street, The Doors, A Few Good Men, Natural Born Killers, Casino, Nixon, The Horse Whisperer, both Kill Bill movies, The Good Shepherd, Eat Pray Love, and Live by Night, among others. Born in Massachusetts, Richardson fell in love with movies and studied at the Rhode Island School of Design, before advancing to the American Film Institute in the late 1970s. He apprenticed with such legendary cinematographers as Sven Nykvist, ASC, FSF and Nestor Almendros, ASC, and continues to amass feature and documentary credits, demonstrating amazing artistry in everything he shoots. Jur has received numerous accolades for his wide range of television credits. He collected Emmy® Awards for his artistry on HBO’s Carnivale (2004) and for HBO’s Bessie (2016), in addition to another nomination for Carnivale in 2005. Jur’s work has also been recognized by the ASC, having won Outstanding Achievement Awards for the Showtime movie Last Call (2003) and Carnivale (2004), and earning nominations for Carnivale (2006), ABC’s Flashforward (2010), and Bessie. Jur studied film at Columbia College in Chicago. After school, he stayed in Chicago, where he was a gaffer and assistant cameraman on commercials, industrial films and documentaries. He photographed a number of American Playhouse telefilms, including Any Friend of Nicholas Nickleby Is a Friend of Mine from 1980 to 1984. In between TV projects, he went on to shoot feature films, such as Dirty Dancing, The Big Picture, The Last Seduction, How Stella Got Her Groove Back, Panic, Joy Ride, and My Big Fat Greek Wedding, among others. Jur’s prolific resume includes episodes of the series Invasion (ABC), Dirty Sexy Money (ABC), Perception (TNT), Dexter (Showtime), Resurrection (ABC), Halt & Catch Fire (AMC), Colony (USA), The Catch (ABC), Westworld (HBO), Lodge 49 (AMC), and How to Get Away With Murder (ABC). He also has an impressive list of television movies from Running Mates (HBO), Zooman (Showtime), Murder: Live! (NBC), and First Time Felon (HBO), to Alone (Showtime), On Thin Ice (Lifetime), and Reconstruction (NBC). For information regarding the 33rd ASC Awards, visit www.theasc.com or call 323-969-4333.
  13. RED Digital Cinema announced it is further simplifying its product portfolio with the availability of the DSMC2® DRAGON-X™ 5K S35 camera. RED also announced the DSMC2 PRODUCTION MODULE and DSMC2 PRODUCTION KIT, which are coming soon in early 2019. The DSMC2 DRAGON-X camera uses the award-winning DRAGON sensor technology found in many of RED’s legacy cameras with a evolved sensor board to enable RED’s enhanced image processing pipeline (IPP2) in camera. In addition to IPP2, the DRAGON-X provides 16.5 stops of dynamic range, 5K resolution up to 96 fps in full format and 120 fps at 5K 2.4:1. Consistent with the rest of RED’s DSMC2 line-up, DRAGON-X offers 300 MB/s data transfer speeds and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. The new DSMC2 DRAGON-X is priced at $14,950 / €13,800 / £12,100 and is also available as a fully-configured kit priced at $19,950 / €18,400 / £16,150. The kit includes: • 480GB RED MINI-MAG • Canon lens mount • RED DSMC2 Touch LCD 4.7” Monitor • RED DSMC2 Outrigger Handle • RED V-Lock I/O Expander • Two IDX DUO-C98 batteries with VL-2X charger • G-Technology ev Series RED MINI-MAG Reader • Sigma 18-35mm F1.8 DC HSM Art Lens • Nanuk heavy-duty camera case Both the camera and kit are available today at red.com or through RED’s Authorized Dealers. RED also announced the new DSMC2 PRODUCTION MODULE. Designed for professional shooting configurations, this accessory mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It has a smaller form factor and is more lightweight than RED’s REDVOLT EXPANDER with a battery module. The DSMC2 PRODUCTION MODULE is available for order and is expected to ship in early 2019 for $4,750 / €4,350 / £3,800. It will also be available as a DSMC2 PRODUCTION KIT that will include: • DSMC2 PRODUCTION MODULE • PRODUCTION HANDLE • DSMC2 PRODUCTION TOP PLATE The DSMC2 PRODUCTION KIT is also available for order and is expected to ship in early 2019 for $6,500 / €5,950 / £5,200. SCARLET-W owners may upgrade to DSMC2 DRAGON-X for $4,950 / €4,600 / £4,050 through RED Authorized Dealers or directly from RED.
  14. The 13th annual Hollywood Professional Association (HPA) Awards took place tonight, honoring the accomplishments of industry luminaries, behind-the-scenes artists and outstanding engineering teams. The HPA Awards set the bar for creative and technical achievement, recognizing individuals and companies for outstanding contributions made in the creation of feature films, television, commercials, and entertainment content enjoyed around the world. Awards were given to talented individuals and teams working in twelve creative craft categories, including color grading, sound, editing and visual effects for commercials, television and feature film. Victoria Alonso, EVP Production of Marvel, was honored with the HPA Charles S. Swartz Award, and special awards were presented for Engineering Excellence. The many social movements, including #metoo, of the past year that effectively harnessed the power of technology to bring positive change to our industry were also acknowledged during the show. The winners of the 2018 HPA Awards are: Creative Categories Outstanding Color Grading – Feature Film WINNER: “Alpha” Maxine Gervais // Technicolor – Hollywood “Avengers: Infinity War” Steven J. Scott, Charles Bunnag // Technicolor – Hollywood “Red Sparrow” Dave Hussey // Company 3 “The Shape of Water” Chris Wallace // Deluxe – Toronto “The Greatest Showman” Tim Stipan // Company 3 Outstanding Color Grading – Television WINNER: “The Crown – Paterfamilias" Asa Shoul // Molinare “Damnation – Sam Riley’s Body” Paul Allia // Picture Shop “The Marvelous Mrs. Maisel – Pilot” Steven Bodner // Light Iron “Game of Thrones – Beyond the Wall” Joe Finley // Sim “The Crossing – Pilot” Tony Smith // Picture Shop Outstanding Color Grading – Commercial WINNER (TIE): Volkswagen – "Kids’ Dreams" Adam Scott // The Mill WINNER (TIE): Zara – "Spring/Summer 2018 Main" Tim Masick // Company 3 Bottega Veneta – "Spring/Summer 2018 Trailer" Tim Masick // Company 3 Tile – "Lost Panda" Tom Poole // Company 3 Audi – "Final Breath" Sofie Borup // Company 3 Outstanding Editing – Feature Film Sponsored by Blackmagic Design WINNER: “A Quiet Place” Christopher Tellefsen, ACE “Coco” Steve Bloom “You Were Never Really Here” Joe Bini “Mission: Impossible – Fallout” Eddie Hamilton, ACE “Believer” Demian Fenton Outstanding Editing – Television (30 Minutes and Under) Sponsored by Blackmagic Design WINNER: “VICE – After the Fall” Kelly Kendrick // Vice “The End of the F***ing World – Episode One” Mike Jones “Vida – Episode 6” JoAnne Yarrow “Barry – Chapter Eight: Know Your Truth" Kyle Reiter “Vice Principals –The Union of the Wizard and The Warrior" Justin Bourret Outstanding Editing – Television (Over 30 Minutes) Sponsored by Blackmagic Design WINNER: “The Defiant Ones – Part 2” Doug Pray, Lasse Järvi “Stranger Things – Chapter Nine: The Gate” Kevin D. Ross, ACE “Game of Thrones – The Dragon and the Wolf” Crispin Green “Westworld – The Passenger” Anna Hauger, Mako Kamitsuna, MPEG, Andrew Seklir, ACE “Counterpart – The Crossing" Dana E. Glauberman, ACE Outstanding Sound – Feature Film WINNER: “The Shape of Water” Christian Cooke, Brad Zoern, Nelson Ferreira, Nathan Robitaille // Deluxe - Toronto “Ant-Man and The Wasp” Katy Wood, Addison Teague, Juan Peralta, Tom Johnson // Skywalker Sound “Avengers: Infinity War” Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound “Blade Runner 2049” Mark Mangini, Ron Bartlett, Theo Green, Doug Hemphill, Mac Ruth // Formosa Group “Black Panther” Benjamin A. Burtt, Steve Boeddeker, Brandon Proctor // Skywalker Sound Outstanding Sound – Television WINNER: “Altered Carbon – Out of The Past” Brett Hinton, Mark Allen, Owen Granich-Young, Andy King, Keith Rogers // Atomic Sound “Yellowstone – Daybreak” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. “Waco – Operation Showtime” Craig Mann, Kelly Oxford, Laura Wiest, Karen Vassar Triest, David Brownlow, Beau Borders // Technicolor – Hollywood “Dark – Secret” Alexander Würtz, Achim Hofmann, Jorg Elsner, Christian Bichoff // ARRI Media GmbH Ansgar Frerich // Basis Berlin “Yellowstone – Kill the Messenger” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. Outstanding Sound – Commercial WINNER: OXFAM – “The Heist No One is Talking About” Neil Johnson // Factory Studios KIA – “Fueled by Youth” Nathan Dubin // Margarita Mix SANE – “Let Me Talk” Anthony Moore, Jack Hallett // Factory Studios Monster – “Opportunity Roars” Tom Jucarone // Sound Lounge ICRC – “Hope” Anthony Moore // Factory Studios Outstanding Visual Effects – Feature Film WINNER: “Avengers: Infinity War” Matt Aitken, Charles Tait, Paul Story, Sidney Kombo-Kintombo, Marvyn Young // Weta Digital “Maze Runner: The Death Cure” R. Christopher White, Daniel Macarin, Phillip Leonhardt, Paul Ramsden, Jeremy Fort // Weta Digital “Blade Runner 2049” Richard Clegg, Axel Akesson, Wesley Chandler, Stefano Carta, Ian Cooke-Grimes // MPC “Rampage” Erik Winquist, Benjamin Pickering, Stephen Unterfranz, Thrain Shadbolt, David Clayton // Weta Digital “Thor: Ragnarok” Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak // Framestore Outstanding Visual Effects – Television (Under 13 Episodes) WINNER: “Game of Thrones – Beyond The Wall” Joe Bauer, Steve Kullback, Ted Rae // HBO Eric Carney // The Third Floor David Ramos // El Ranchito “Altered Carbon – Out of The Past” Everett Burrell, Tony Meagher, Steve Moncur, Christine Lemon, Paul Jones // DNEG “Outlander – Eye of The Storm” Richard Briscoe // Outlander Production Daniel Norlund, Filip Orrby // Goodbye Kansas Aladino Debert, Greg Teegarden // Digital Domain “Black Mirror – Metalhead" Russell McLean // House of Tomorrow Michael Bell, Pete Levy, Steven Godfrey, Stafford Lawrence // DNEG “Westworld – The Passenger” Jay Worth, Bruce Branit // Deep Water FX Bobo Skipper // Important Looking Pirates Kama Moiha // COSA VFX Mike Enriquez // DNEG Outstanding Visual Effects – Television (Over 13 Episodes) WINNER: “Agents of SHIELD – Orientation: Part 1” Mark Kolpack, Sabrina Arnold // Marvel Kevin Yuille, David Rey, Hnedel Maximore // FuseFX “Supergirl – For Good” Armen V. Kevorkian, Gevork Babityan, Kris Cabrera, Jerry Chalupnik, Jason Shulman // Encore VFX “Hawaii Five-O – A’ole e ‘olelo mai ana ke ahi ua ana ia” Adam Avitabile, Daniel Toomey, Michael Kirylo, Ryan Smolarek, Wayne Hollingsworth // Picture Shop “Legends of Tomorrow – The Good, The Bad and The Cuddly” Armen V. Kevorkian, Andranik Taranyan, Jason Shulman, Dan Aprea, Lycee Anaya // Encore VFX “NCIS: LA – A Line in the Sand/Ninguna Salida" Dylan Chudzynski, Michael Carter, Joe Suzuki, Jacob Kuhne // DigitalFilm Tree The following special awards, which were previously announced, were also presented this evening: HPA Engineering Excellence Award The winners of the 2018 HPA Award for Engineering Excellence are: · Blackmagic Design - DaVinci Resolve 15 DaVinci Resolve 15, released at NAB this year, offers a major step forward for the post-production workflow, a significant shift in technically and creatively matched toolsets as well as overall efficiency. The platform, designed to provide a full suite of post-production tools, from ingest to delivery, directly integrated in a single ecosystem, includes significant improvements in quality, functionality and time to delivery. Exchange formats, translation and conform can be eliminated, and last-minute change efficiently managed for feature film, episodic TV and short form productions. · Canon - Visual and Technical Monitoring of HDR Images Canon has seen the need for not only visually seeing HDR images on set, in editorial, and in finishing but also for engineering tools to know exact values of the HDR images and its pixels; compare SDR and HDR images; compare different HDR deliverable systems; out of gamut warnings; and connection to various manufacturers camera metadata. This complete system from Canon ensures that HDR and SDR image creation is easily and accurately be accomplished. · Cinnafilm, Inc. – PixelStrings PixelStrings is a cloud-based video conversion service focusing on ultimate playback quality for media. Leveraging the award-winning framerate conversion, retiming, artifact/noise/telecine correction, and transcode technologies from Cinnafilm, this PaaS enables the mass creation of best-possible video versions while leveraging infinite, GPU-enabled cloud compute power. The platform is a growing hub of other best-of-breed media technologies and is a simple pay-as-you-use toolset available 24/7 though a browser. PixelStings enables the freedom of a predictable OpEx process. · IBM Aspera & Telestream - Telestream Vantage with Lightspeed Live Capture IBM Aspera and Telestream have developed a game-changing solution for high-speed capture and production of live, broadcast quality video from remote locations for faster production turnaround. The API integration of Aspera’s FASPStream streaming technology with Telestream Vantage and Lightspeed Live enables open-file workflows so production teams can work on live video feeds from remote locations in real time, with dramatically lower costs compared to satellite delivery, fiber or on-location production and more flexible deployment options. The HPA Engineering Excellence Award is recognized as one of the most important technology honors in the industry, spotlighting companies and individuals who draw upon technical and creative ingenuity to develop breakthrough technologies. Submissions for this peer-judged award may include products or processes and must represent a step forward for its industry beneficiaries. Honorable Mention was awarded to Samsung for Samsung Onyx. Charles S. Swartz Award The Charles S. Swartz Award is awarded to a person, group, or company that has made a significant artistic, technological, business or educational impact across diverse aspects of the media industry. The award recognizes broad, impactful and lasting contributions that have advanced and/or provided some unique purpose to the larger media content ecosystem. This year’s honoree is Victoria Alonso, respected producer and Executive Vice President, Production for Marvel Studios. More information about the HPA Awards and the Hollywood Professional Association can be found at http://www.hpaonline.com/. The HPA Awards, which are produced by Homerun Entertainment, are made possible through the generous sponsorship of Diamond Title Sponsor Blackmagic Design; Platinum Sponsor IMAX; Bronze Sponsors Avid and Sony Pictures Post; and Foundation Members Avid, Dolby, EFILM, Encore, and Stereo D.
  15. Panavision, a world-class provider of state-of-the art optics, camera systems, lighting, filters, and post production services, will showcase an array of advancements in optics at their Lens Bar at EnergaCamerimage International Film Festival of Cinematography, which runs November 10-17 in Bydgoszcz, Poland. Panavision will also host a conversation with Camerimage Lifetime Achievement recipient Witold Sobocinski, PSC, and explore the benefits of an HDR workflow. Panavision’s workshops will be held on Nov. 13, beginning with the much-anticipated conversation with Sobocinski in the MCK at 11.00. The renowned cinematographer’s credits include “Frantic,” the Oscar®-nominated “The Promised Land,” “The Wedding,” and “O-Bi, O-Ba – The End of Civilization.” He will be joined by his grandsons Piotr Sobocinski Jr. (“Bogowie”) and Michal Sobocinski (“The Art of Loving”) who carry on the family’s cinematic legacy. At 14:00, Panavision will present “Cinematic Change: HDR for Cinematographers.” With 4K HDR as the viewing standard, Panavision experts will discuss how cinematographers can remain in control of their images throughout the workflow based on knowledge of the various post-production options. In the Opera Nova, Panavision’s popular Lens Bar will include demonstrations of the latest large-format and anamorphic lenses available, as well as previews of upcoming, innovative glass options: PanaSpeed – A large-format update of the classic Primo look. At T1.4, PanaSpeed are the fastest large-format lenses available today. T Series – A set of unique anamorphic glass that includes high contrast, well-balanced aberration control, excellent glare resistance, tightly controlled anamorphic squeeze ratio, and minimal breathing. H Series – A traditionally designed spherical lens set with a glamorous, rounded, soft roll-off, giving a pleasing tonal quality to the skin. Created with true vintage glass and coating, these lenses offer slightly elevated blacks for softer contrast. High speeds separate subject and background with a smooth edge transition, allowing subject to appear naturally placed within the depth of the image. Ultra Vista – Coming in 2019, this lens is a series of large-format anamorphic optics. Using a custom 1.6x squeeze, Ultra Vista covers the full height of the 8K sensor in the DXL and presents an ultra-widescreen 2.76:1 aspect ratio along with a classic elliptical bokeh and Panavision horizontal flare. Primo X - Also available in 2019, this lens will make its mark as the first cinema lens specially designed for use on drones and gimbals. They are fully sealed, weather proof, and counterbalanced to be aerodynamic, and able to easily maintain a proper center of gravity. Primo X lenses come in two primes – 14mm (T3.1) and 24mm (T1.6) – and one 24-70mm zoom (T2.8). Additionally, Panavision’s Millennium DXL2 8K camera will be on display for hands-on demonstrations. A premier, large-format imaging ecosystem, the DXL2 offers 16 stops of dynamic range with unmatched shadow detail, a native ISO setting of 1600, and 12-bit ProRes XQ up to 120 fps. At 10 pounds (4.5 kilos), it is the lightest large-format studio camera available, offering wireless controls, a directly editable workflow option (D2E), and Light Iron Color 2 (LiColor2), among other features. The DXL2 has become a top camera of choice for cinematographers and camera crews working on features, television, commercials and music videos. Panavision will also share the newly created DXL-M accessory kit, available in Q4 2018. Designed to work with RED Digital Cinema DSMC2 cameras, it delivers the popular features of the DXL to RED MONSTRO, GEMINI, and HELIUM sensors, such as the DXL menu system (via an app for the iPhone), LiColor2, motorized lenses, wireless timecode (ACN), and the Primo HDR viewfinder. Panavision LCND will make its European debut at Camerimage. The cinema’s first dynamically adjustable liquid crystal neutral density filter instantly adjusts up to six individual stops with a single click or ramp – a significant departure from traditional approaches to front-of-lens filters, which require carrying a set and manually swapping individual NDs based on changing light. LCND starts at 0.3 and goes through 0.6, 0.9, 1.2, 1.5, to 1.8. It is expected to be available in 2019. Panalux, a Panavision company, will also be set up in the Opera Nova providing demonstrations of a variety of lighting setups and formats made possible with a wide range of lighting equipment and control systems. Award-winning LEE Filters, also a Panavision company, will showcase their range of next-generation filters, including their latest products, the Zircon Filter range for LED control and the CineND, neutral density.
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