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  1. Sony Electronics Inc. introduces the VENICE 2, the new flagship model and latest addition to its lineup of high-end digital cinema cameras. The VENICE 2 builds upon the strength of the original VENICE with new features including a compact design, internal recording and the option for two different sensors: the newly developed full-frame 8.6K sensor or the original 6K VENICE sensor.  The VENICE 2 also inherits popular features from the original VENICE including color science, Dual Base ISO and 8-stops of built-in ND filters. Paired with a newly-developed 8.6 K (8640 x 5760) full-frame CMOS image sensor, the VENICE 2 offers excellent image quality with 16 stops of total latitudei to capture beautiful images with excellent color separation and shadow detail. The camera also inherits its color science from the original VENICE which is highly regarded for its natural skin tones. The VENICE 2 8K CineAlta camera has a unique dual base ISO of 800/3200 which allows filmmakers to capture incredibly clean, film-like images under a wide range of lighting conditions. It supports everything from full-frame, full-frame anamorphicii to Super35 all at a minimum of 4K resolution, resulting in an outstanding and versatile camera system for cinematographers and productions. To illustrate the strength of the VENICE 2 and its new 8.6K sensor, Sony worked with the industry's top cinematographers to test the camera’s image quality on a few separate film shoots without using any professional movie lighting. Award-winning cinematographer Robert McLachlan ASC, CSC, who has worked on highly acclaimed productions including Game of Thrones (for which he received two Emmy nominations), Westworld, and Lovecraft Country. McLachlan tested and filmed with the new 8.6K full-frame VENICE 2 in two countries and offered his reaction.  "I really wish we'd had a large format, 8.6K sensor like Sony VENICE 2 on my past work. It would have made it feel even more epic and, at the same time, more engaging, thanks to the increased resolution, richness, and dimensionality. The increased speed, cleaner highlights, and shadows together with the potential for super-shallow depth of field would have been a huge asset."  Academy Award winning cinematographer Claudio Miranda ASC, ACC used the original VENICE and tested the VENICE 2 against the original in the pitch darkness of the California desert. He offered this assessment:  "The 3200 ASA is incredible. I think how clean it is – is definitely a big deal," said Miranda. "In the film, there is still fidelity in the shadows, and the wide shots are pretty spectacular. There were no film lights on this shoot at all. There were just headlights of the car, the fire, and that was the point. It was to go to the middle of nowhere and put a big fire and see how far the new sensor could light up the mountain, without noise."  Cinematographer Claudio Miranda ASC provides insight and analysis on “The Camera Test,” with a breakdown on how well the Original VENICE and VENICE 2 intercut. Miranda also discusses what he thinks makes the VENICE 2 stand out. Rob Hardy, BSC, ASC, the British cinematographer known for his ground-breaking work on Mission Impossible: Fallout, Ex-Machina and DEVS and winner of the BAFTA for cinematography for Boy A, amongst others also commented: “I'm used to using the original VENICE and I would say, I am a pretty much an advocate of that camera. The opportunity to use VENICE 2 is actually a really fantastic one. This is the first time I've ever used that larger sensor, the 8.6K and we were lucky enough to get some anamorphic lenses that really set for the full cinematic effect and really utilized the whole sensor. The ISOs have been bumped up so that enables me to shoot at a higher speed in the low light levels which is something that wasn’t really an option before, and that’s the big gain for me.” With the 8.6K sensor providing ample oversampling, images shot on VENICE 2 will benefit from less noise and enriched information in a 2K or 4K production. It also means the camera is well suited for VR, in camera VFX and Virtual Production setups, delivering an immersive experience and realistic images especially in combination with Sony’s high-contrast and large-scale Crystal LED displays.
  2. Blackmagic Design today announced Blackmagic URSA Broadcast G2, a next generation professional broadcast camera with 6K digital film sensor that brings digital film quality to both traditional and online broadcasters. Pre-order at B&H. The advanced 6144 x 3456 digital film sensor provides exceptional low light performance with dual gain ISO of up to +36dB as well as 13 stops of dynamic range. Blackmagic URSA Broadcast G2 also includes H.265 and Blackmagic RAW file formats, Blackmagic generation 5 color science, as well as a USB-C expansion port for external disk recording, and more. Native 6K sensor with 13 stops of dynamic range. Up to +36dB ISO for incredible low light performance. USB-C port allows recording directly to external disks. Includes Blackmagic generation 5 color science. Features incredible quality Blackmagic RAW recording. Optional focus and zoom demands for lens control. Compatible with new Blackmagic URSA Mini Recorder. Includes full DaVinci Resolve Studio for post production. Blackmagic URSA Broadcast G2 is available immediately from Blackmagic Design resellers worldwide for $3,995. The new Blackmagic URSA Broadcast G2 is an incredibly powerful camera designed for both traditional and online broadcasters. The 3 cameras in 1 design allows it to work as a 4K production camera, a 4K studio camera or a 6K digital film camera. It's a perfect solution for broadcasters because it uses the lenses and batteries customers already own. Customers can record to common SD cards, UHS-II cards, CFast 2.0 cards or external USB disks, using common file formats such as H.265, Apple ProRes and Blackmagic RAW. This means it's compatible with all video software and broadcast media management systems. Customers can even change the lens mount. No other broadcast camera is so flexible. The large 6K sensor combined with Blackmagic generation 5 color science gives customers the same imaging technology used in digital film cameras. The 6K sensor features a resolution of 6144 x 3456 so it's flexible enough for broadcast and digital film work. When using B4 lenses, customers get a 4K window of the sensor for Ultra HD broadcast use. Then if customers change to a PL or EF lens mount, they can use the full 6K resolution of the sensor for digital film. With 13 stops of dynamic range, customers get darker blacks and brighter whites, so it's perfect for color correction. Using digital film in broadcast is a revolution in image quality. The new URSA Broadcast features incredible low light performance so customers can shoot using ambient light or even under moonlight. The Blackmagic URSA Broadcast G2 features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it's optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The gain can be set via a camera switch, the LCD menu or remotely using the SDI remote camera control protocol. The URSA Broadcast G2 features a B4 broadcast lens mount that includes optics specifically designed to match the camera’s sensor. The B4 lens mount lets customers use modern Ultra HD lenses or lower cost HD lenses. Older HD lenses often feature resolutions well beyond HD, so customers get great quality at low cost. B4 lenses are fantastic because they are par-focal, so the image stays in focus as customers zoom in and out, so customers don't need to constantly chase focus as they shoot. Customers also get full electronic lens control to adjust focus, iris and zoom using the camera’s controls, or remotely. Plus if customers want to use alternative lenses, they can change the mount to PL, EF and more. URSA Broadcast G2 features high quality neutral density (ND) filters that let customers quickly reduce the amount of light entering the camera. The 1/4, 1/16th and 1/64th stop filters have been specifically designed to match the image sensor and color science of URSA Broadcast G2, providing customers with additional latitude and better colorimetry. This lets customers use different combinations of aperture and shutter angle, in a wider range of situations. The IR filters have been designed to evenly filter both optical and IR wavelengths, eliminating IR contamination. Plus the filter status on the LCD can be displayed as a fraction, number, or stop reduction. URSA Broadcast is designed to work with standard file formats that are used by all broadcast systems and editing software. Customers can record in ProRes 422 HQ and ProRes 422 into QuickTime files. The new Blackmagic URSA Broadcast G2 model can even record into H.265 for incredibly small files at 60:1 to 285:1 compression ratios, in 10-bit broadcast quality. Plus customers can record to Blackmagic RAW files, a revolutionary new format designed to capture and preserve the quality of the sensor data from the camera. That means customers get the perfect range of file formats designed for all types of workflows. With dual CFast 2.0 recorders and dual SD/UHS-II card recorders, customers can choose the media that's best for them. Both types of media are standard, inexpensive and readily available at computer and camera stores. Plus with dual media slots, URSA Broadcast gives customers non stop recording. When a card is full, recording automatically continues onto the next card so customers can swap a full card while recording continues. Customers get enough speed to record high quality ProRes and H.265 video file formats, even when working in Ultra HD at high frame rates. That means URSA Broadcast G2 is easy to integrate into their existing broadcast systems. Customers can even record 12-bit Blackmagic RAW cinema files. The Blackmagic URSA Broadcast G2 features a high speed USB-C expansion port on the rear of the camera that allows customers to record to external disks or connect to a wide range of accessories. If customers plug in a large and low cost external USB flash disk, customers can record ProRes, H.265 or even high quality 12-bit Blackmagic RAW files for later editing and color correction. That means customers can just move the disk to a computer to work, and don't need to waste time with file copying. Plus the USB port will power the disk that’s plugged in. The Blackmagic URSA Broadcast G2 is not just a great Ultra HD camera, but it’s also an amazing HD camera too. The high resolution sensor and generation 5 color science creates amazing images with high dynamic range and wide color fidelity. But when customers need to do HD work, the camera will scale the image sensor down to 1080HD video standards. This helps customers get stories on air fast, in HD or Ultra HD video standard, anywhere in the world. Plus when working in HD, the high resolution sensor allows sub pixel image processing for superior anti-aliasing and sharp images. Blackmagic URSA Broadcast G2 is a future proof camera that's perfect for both HD and Ultra HD production. URSA Broadcast G2 features an interchangeable lens mount so customers can easily swap the included B4 lens mount for an EF, PL or even F mount. URSA Broadcast G2 comes with a B4 mount already installed, plus a spare EF mount is included. That means if users are starting out customers can change the mount and use low cost photographic lenses. Photographic lenses are incredible quality because they're designed for high resolution photography. Customers can also purchase optional PL and F mounts separately. If users are shooting for digital film, the PL mount is best as it's the most common lens mount for cinema lenses. With URSA Broadcast G2, customers get a single camera that works with virtually all modern lenses. Featuring the same generation 5 color science as the high end URSA Mini Pro 12K, the new URSA Broadcast G2 delivers an even greater advancement in image quality with stunning, accurate skin tones and faithful color in every shot. Customers get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, for better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production. The optional zoom and focus demands allow customers to use photography lenses for live production. The focus and zoom demands have USB-C connections so they control the lens via the camera’s electronic lens control. Each zoom and focus demand has 2 USB-C ports, so customers can daisy chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel so customers get very fine lens control, and customers can frame and adjust the lens without taking their hands off the tripod handles. There's a wide range of accessories that are specifically designed to work perfectly with URSA Broadcast G2. However, a shoulder mount kit, V-Lock battery plate and top handle are included so customers don't need to purchase anything extra. Plus customers get a spare EF lens mount if they don't own a B4 lens and would like to start out using a photography lens. Customers can add the optional Blackmagic URSA Viewfinder, or for live production, customers can add a Blackmagic URSA Studio Viewfinder. There's also an optional fiber converter that can power the camera from 2 km away via the single SMPTE fiber. For long duration recording, URSA Mini Recorder gives the option to record to external SSDs. "Customers love the flexibility of the original URSA Broadcast and have been asking for a camera that also delivered the quality of digital film quality for broadcast use," said Grant Petty, Blackmagic Design CEO. "We’ve listened and the new URSA Broadcast G2 means that customers now don’t have to choose between a broadcast focused camera design or digital film images. With URSA Broadcast G2, they get both! URSA Broadcast G2 can be used as a production camera, a studio camera or a digital film camera, so it’s really 3 cameras in 1. We think both traditional and online broadcast customers are going to really enjoy the creativity of being able to shoot Hollywood quality digital film!" Availability and Price Blackmagic URSA Broadcast G2 is available now for $3,995, excluding local duties and taxes, from Blackmagic Design resellers worldwide.
  3. ZEISS Conversations - Alice Brooks, ASC Thursday November 4th at 12pm PST Register Here ZEISS is thrilled to announce our next live ZEISS Conversation with the ASC's newest member, Alice Brooks! Alice Brooks, ASC, has an impressive portfolio with internationally acclaimed titles such as In the Heights, Home Before Dark, and her upcoming release, tick, tick...BOOM! This newest feature is directed by Lin-Manuel Miranda, produced by Ron Howard and is set to premiere at AFI Fest next month. Join ZEISS to chat all things cinematography, from equipment and creative choices on fan-favorite projects, we'll also get Alice's take on collaboration with directors such as Jon M. Chu and Michael Lembeck. You don't want to miss this! Nov 4, 2021 12:00 PM in Pacific Time (US and Canada)
  4. LEE Filters, a leading manufacturer of high-quality lighting gels and photographic filters and part of Panavision’s end-to-end offerings for image makers, has introduced LEE Elements, an all-new range of high-performance and quick-to-deploy circular filters for photographers and videographers. Available in four standard sizes of 67mm, 72mm, 77mm and 82mm, LEE Elements comprises five filter types: Little Stopper (offering 6 stops of light reduction), Big Stopper (10 stops of light reduction), CPL (circular polariser) and two densities of VND (variable ND, providing 2-5 or 6-9 stops of light reduction). Each LEE Elements filter incorporates the highest quality multilayer coated optics, providing class-leading optical performance, including with wide-angle lenses, and making them ideal complements to the latest lenses and camera sensors. The filters feature a rugged and robust black anodized aluminium frame, and their innovative design enables quick and easy attachment and operation without the need for a filter holder, in any environment and even when wearing gloves. “With LEE Elements, we’re bringing our experience and know-how to a new range of quick and easy-to-use circular filters, providing the quality and performance that customers expect from LEE in a form factor that can streamline their creative process, whether they’re capturing stills or video,” said LEE Filters Managing Director Paul Mason. “With the quality of the glass and the high-performance coatings across the range, LEE Elements offers photographers and videographers class-leading optical performance.” For the first time, LEE’s renowned Stopper filters for long-exposure photography are available in a circular format ideal for grab-and-go shooting. The LEE Elements Little Stopper and Big Stopper also feature stackable housings, allowing them to be combined to meet users’ creative needs across a variety of shooting conditions. For further flexibility, the rotating CPL and VND filters—which feature increased front rings to ensure optimal edge-crop performance—can be stacked in front of a Stopper. The fluid rotation mechanics of the CPL and VND filters ensure smooth, silent operation, ideal for videography. Additionally, the VND filters feature a bracketed design with a rotational limit that eliminates the risk of cross-polarisation anomalies. The VND filters’ clearly marked numeric stop positions—tuned to LEE’s tight tolerance standard for ND filters—support stills and video content creators with real-time exposure control in dynamic lighting situations and also provide another creative option for long-exposure photography. LEE Elements CPL filters draw on LEE’s expertise in polarisation for ultimate reflection and contrast control. Beyond the filter range’s scratch-resistant and anti-reflective coatings, LEE Elements features hydrophobic and oleophobic coatings equivalent to those found on Panavision’s PanaND and LEE’s ProGlass Cine IRND filters, providing enhanced protection against moisture and fingerprints. The filters also feature a knurled finish for an enhanced all-weather grip. Additionally, the front and rear sections of the rotating CPL and VND incorporate differentiated grip patterns to provide users with tactile feedback as the filters are adjusted. Each LEE Elements filter comes with its own single-piece, impact-resistant protective hard case with custom foam insert. The curved, single-piece design allows the case to be held comfortably in one hand as the user removes or replaces the filter, and the cases are sized to be able to fit into a pocket or occupy minimal space in a camera bag. Each filter also comes with its own cleaning cloth. “LEE Elements will introduce new customers who might still be in the early stages of their image-making journeys to the high-quality, rugged and easy-to-use filter systems that LEE is known for,” Mason said. “As those image makers continue in their creative pursuits, we’ll be there to further support them across a whole range of lenses with our LEE85, LEE100 and SW150 filter systems for still photography and our ProGlass Cine IRND line of neutral-density filters for cinematography. Whether a customer is shooting stills or video content, LEE Elements offers a versatile solution that empowers them to simply go and create.” LEE Elements is available globally through LEE Filters’ dealer network and in the U.K. through LEE Filters dealers and LEE Direct.
  5. A nationwide strike that would have started Monday was averted today when the International Alliance of Theatrical Stage Employees (IATSE) reached a tentative three-year agreement with the Alliance of Motion Picture and Television Producers (AMPTP) for The Basic and Videotape Agreements which affects 40,000 film and television workers represented by 13 West Coast IATSE local unions. The proposed contract addresses core issues, including reasonable rest periods; meal breaks; a living wage for those on the bottom of the pay scale; and significant increases in compensation to be paid by new-media companies. https://iatse.net/landmark-tentative-agreement-reached-for-iatse-west-coast-film-and-television-workers-before-strike-deadline/ “This is a Hollywood ending,” said IATSE International President Matthew Loeb. “Our members stood firm. We are tough and united.” IATSE union members were prepared to withhold their labor and go on strike until issues related to the quality of their lives were addressed, he said. “We went toe to toe with some of the richest and most powerful entertainment and tech companies in the world, and we have now reached an agreement with the AMPTP that meets our members’ needs.” The AMPTP is a trade association that represents major employers and producers of television and film including Walt Disney Studios, Warner Bros., Paramount Pictures, Apple, Netflix, and Amazon, among others. The tentative agreement, which still must be ratified by IATSE members, includes: Many film and television workers had lamented how the workweek commonly ran into the weekend as Fridays and Saturdays became one long workday or a “Fraturday.” AFL-CIO President Liz Shuler, in remarks to the National Press Club in Washington earlier this week, said that IATSE members were “fighting for the weekend.” Under the terms of the new agreement film and television workers would now have a minimum of rest over the weekend. Achievement of a living wage for the lowest-paid earners Improved wages and working conditions for streaming Retroactive wage Increases of 3 percentannually Increased meal period penalties Daily rest periods of 10 hours without exclusions Weekend rest periods of 54 hours Martin Luther King Jr.’s Birthday Holiday added to schedule Adoption of diversity, equity and inclusion initiatives IATSE members will be briefed by their local leaders on full details and language of the tentative agreement early this week. A ratification vote will be held with members casting ballots online using a similar process that was used to conduct the recent strike authorization vote. “Our members will see significant improvements, but our employers also will benefit,” said Mike Miller Vice President and Motion Picture Director for IATSE. “This settlement allows pre-production, production and post-production to continue without interruption. Workers should have improved morale andbe more alert. Health and safety standards have been upgraded.” This agreement, and the contract campaign before it, should serve as a model for other workers in the entertainment and tech industries, for workers employed by gaming companies, and for so-called “gig workers,” explained Loeb. “We’re the original gig workers.” “Like non-union, freelance workers, many of our highly-skilled members go to work at different times, for different employers, at different locations,” Loeb said. “The difference is, our people have healthcare and retirement benefits, can negotiate for better wages and conditions, and have a voice and power because they work together through their union.” “Solidarity is more than a word,” Loeb added. “It’s the way to get things done.” Two weeks ago, IATSE members who work in television and film production at 36 IATSE local unions across the country voted to authorize the union’s international president to call the first nationwide strike in the union’s 128-year history if contract talks didn’t result in new agreements for 60,000 film and television workers that fall under the Basic Agreement and the Area Standards Agreement. Voter turnout was 90 percent, with 98.6 percent of those voting in support of authorizing a strike.Last Wednesday, Loeb announced that a strike would begin at 12:01 Monday morning, Oct. 18 if a deal had not been reached. Prior to the strike authorization vote, negotiators for the AMPTP had not spoken to the union’s bargaining team for two weeks. After the overwhelming showing of support from members, negotiations resumed, but lacked a sense of urgency. The pace of talks quickened after the announcement of the strike date was set for Oct. 18. Substantial progress was made on Friday and final details for the Basic Agreement were reached late Saturday. Negotiations continue for those who work under the similarArea Standards Agreement and belong to IATSE local unions in major production hubs such as New Mexico, New York, Illinois, Georgia and Louisiana. Along with near-unanimous support from its own members, IATSE received widespread support for its campaign for a new contract from actors, directors and others in the entertainment community. In addition, 120 members of Congress added their names to a letter, and state government leaders in California, New York and other production centers weighed in. The unionalso received backing from the AFL-CIO and the broader labor movement. IATSE’s below-the-line workers include camera operators, grips, prop makers, set dressers, makeup artists, editors, script coordinators, publicists and many other job categories key to producing and film and television.
  6. By a Nearly Unanimous Margin, IATSE Members in TV and Film Production Vote to Authorize a Nationwide Strike Results show 90 percent of eligible union voters cast ballots, with more than 98 percent of them in support of strike authorization. Members of 36 local unions, representing 60,000 workers from across the country, grant approval for International Alliance of Theatrical Stage Employees (IATSE) International President Matthew Loeb to call the union’s first nationwide strike over quality-of-life issues. LOS ANGELES —The International Alliance of Theatrical Stage Employees announced today that 60,000 members who work in television and film production across the country have voted—by a nearly unanimous margin—to grant IATSE International President Matthew Loeb the authority to call a strike. This is the first time in IATSE’s 128-year history that members of the union have authorized a nationwide strike. “The members have spoken loud and clear,” said Loeb. “This vote is about the quality of life as well as the health and safety of those who work in the film and television industry. Our people have basic human needs like time for meal breaks, adequate sleep, and a weekend. For those at the bottom of the pay scale, they deserve nothing less than a living wage.” Beginning Oct 1 and concluding Oct. 3, at 11:59 p.m. E.S.T., 60,000 IATSE members who work on film and television productions received ballots and voted on whether to empower the international union’s president to call a strike. In the 13 West Coast local unions, where members work under the Basic Agreement, it was required that 75 percent of members voting in each local union approve the strike vote for that local union to authorize a strike. The same conditions applied to the 23 locals across the nation located in production hubs including Georgia, Louisiana, Illinois, and New Mexico operating under the Area Standards Agreement. That threshold was exceeded in all 36 local unions with none reporting less than 96 percent voting to authorize a strike. Overall voter turnout was 90 percent. Support for strike authorization was more than 98 percent nationwide. Online voting was conducted by election management services company Honest Ballot. “I hope that the studios will see and understand the resolve of our members,” Loeb said. “The ball is in their court. If they want to avoid a strike, they will return to the bargaining table and make us a reasonable offer.” Loeb informed the Alliance of Motion Picture and Television Producers (AMPTP) of the election results Monday morning, saying he “emphasized the need for the studios to adequately address the union’s core issues.” In an interview in last Thursday’s Los Angeles Times Loeb provided further information on what is required to reach a settlement.
  7. https://variety.com/2021/film/news/iatse-strike-authorization-vote-1235069694/ IATSE on Monday called for a strike authorization vote, after the Alliance of Motion Picture and Television Producers declined to respond to the union’s latest contract offer. The union’s 13 West Coast locals have been bargaining for several months on a new three-year agreement. The union is seeking to address long hours, with contract provisions that would include more rest breaks and longer “turnaround” times between production days. “Today, the AMPTP informed the IATSE that they do not intend to respond to our comprehensive package proposal presented to them over a week ago,” the union told members. “This failure to continue negotiating can only be interpreted one way. They simply will not address the core issues we have repeatedly advocated for from the beginning. As a result, we will now proceed with a nationwide strike authorization vote to demonstrate our commitment to achieving the change that is long overdue in this industry.” In response, the AMPTP said that by pursuing the strike authorization, the union leadership had “walked away from a generous comprehensive package” that included “substantial improvements” in several areas. The full AMPTP statement is posted below. The vote, assuming it passes, would strengthen the hand of union negotiators, who are also seeking concessions on issues including pension and health care funding and new media. The real sticking point appears to be the “quality of life” issues raised by members who have grown exhausted with 14-hour production days and “Fraturdays” — workdays that begin on Friday and go until early Saturday morning. “What we work — it’s insane, it’s absolutely insane,” said Katie Sponseller, a production coordinator who said she has been working 60-hour weeks without a break between jobs to recharge. “I survive on caffeine and craft services.” The union expects to send an email to members on Oct. 1, asking them to vote electronically. The result of the vote would be announced on Oct. 4. That time frame allows for the union to educate its members about the vote. For each of the 13 locals, 75% of the voting members would have to vote “yes” in order for that union’s delegates to support the authorization. The vote would have to be approved by a majority of delegates across all locals. The 13 locals represent 60,000 members, including grips, hair stylists, makeup artists, boom operators, editors, and many other entertainment crafts. Locals 600, 700 and 800 — representing the camera operators, editors and art directors, respectively — are national unions, which means that if they go on strike, their members would walk off the job across the country. The other 10 unions are limited to the Los Angeles area. The three-year basic agreement expired on Sept. 10, but production has continued as negotiators continued to talk. An authorization vote does not mean that a strike is definitely in the offing, but the union is taking a more aggressive stance than it has in recent negotiations. The full AMPTP response:“The AMPTP put forth a deal-closing comprehensive proposal that meaningfully addresses the IATSE’s key bargaining issues. When we began negotiations with the IATSE months ago, we discussed the economic realities and the challenges facing the entertainment industry as we work to recover from the economic fallout from the COVID-19 pandemic. The IATSE came to the bargaining table with several priority initiatives including addressing its pension and health plan deficit, longer rest periods and meal breaks, wage increases and outsized minimum rate increases for specific job categories. The AMPTP listened and addressed many of the IATSE demands, including paying nearly $400 million pension and health plan deficit. The package includes substantial improvements in rest periods, increases in wages and benefits, increases in minimum rates for specific job categories and increases in minimum rates for New Media Productions. While neither party is getting everything it wanted this bargaining cycle, this package recognizes the crucial role IATSE crew members play as we continue to move our industry forward and provide employment for thousands of employees who work on productions. “In choosing to leave the bargaining table to seek a strike authorization vote, the IATSE leadership walked away from a generous comprehensive package. Key components include: · Economic package for all IATSE members consistent with agreements reached with other unions before the pandemic. · Improve minimum rates (on average 18% increase) on certain types of New Media productions. · The IATSE Pension and Health Plan is expected to have a deficit of $400 million over the next three years. In this proposal, the employers will cover the projected deficit of nearly $400 million without imposing premium payments for the no-cost single employee health coverage and without increasing the extremely low cost of dependent health coverage, deductibles, co-pays and co-insurance. Without this infusion of contributions, the reserve level in the Active Health Plan is projected to fall from 17.5 months as of the end of 2020 to 3.1 months as of the end of 2024, and the reserve level in the Retiree Health Plan is projected to fall from 14.4 months as of the end of 2020 to 2.1 months as of the end of 2024. Reserves are critical because they enabled the Directors of the Health Plan to continue coverage for thousands of participants during the pandemic without any additional cost. · Meaningful improvements in rest periods for those working on first season series television, for post-production personnel assigned to/employed on series television, pilots, feature films and distant location. · A considerable increase in minimum rates (increases ranging from 10% to 19%) for Assistant Production Office Coordinators, Art Department Coordinators, Writers’ Room Assistants and Script Coordinators. · Addition of Martin Luther King Jr. Day as a paid holiday. · Agreement on meaningful proposal to address diversity, equity and inclusion issues.”
  8. Aussie gaffer Andrew Lock demonstrates common uses for nets using the Kupo net kit. This video is a great introduction to nets and flags for amateur filmmakers and even has a few bits of information that professionals might have not known. With today's dimmable LED fixtures you might think nets are a thing of the past, but Andrew shows how nets are still a vital part of controlling light on set.
  9. RED Digital Cinema Launches Next Generation DSMC3 Camera System with New V-RAPTOR 8K VV RED DIGITAL CINEMA® unveiled the new V-RAPTORTM 8K VV camera today, launching its first entrant into the next generation DSMC3 platform. Building on RED’s bold dedication to advancing image quality, the camera is RED’s most powerful to date. It features the highest dynamic range, fastest cinema-quality sensor scan time, cleanest shadows, and highest frame rates of any camera in RED’s lineup. It is designed to provide unmatched performance for a variety of shooting scenarios. Priced at $24,500, a white ST version of the camera is available today for purchase via RED.com or from any one of RED’s authorized premium dealers while supplies last. The black version will be available in larger quantities before the end of 2021. RED also announced a forthcoming XL camera body will be released in the first half of 2022. The XL will be ideally suited for studio configurations and high-end productions, based on feedback to the RED RANGER body style. V-RAPTOR features a multi-format 8K sensor (40.96mm x 21.60mm) with the ability to shoot 8K large format or 6K Super 35. Joining its predecessor, the MONSTRO 8K VV sensor, this unique in-camera option for impactful visual storytelling allows shooters to leverage any of their large format or S35 lenses with the push of a button and always deliver at over 4K resolution. The V-RAPTOR far exceeds previous sensor capabilities, presenting users with the option to capture 8K full sensor at up to 120 frames per second (150fps at 2.4:1), 6K up to 160 fps (200fps at 2.4:1), and 2K (2.4:1) at an incredible 600 frames per second, while still capturing over 17 stops of dynamic range. “V-RAPTOR is more than just its specs. It is a reflection of the ferocity of our team, who have spent the last two years forced apart. Through everything, we found a way to work together closer and better than ever before, fueled by the incredible passion and support of our community of filmmakers. V-RAPTOR takes an impressive array of silicon, seemingly from the future, and mashes it together with pieces of the heart and soul of every RED camera that has come before it.” — Jarred Land, President, RED Digital Cinema V-RAPTOR, as with the other cameras in RED’s ecosystem, harnesses RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW and leveraging RED’s latest IPP2 workflow and color management tools. This highly anticipated DSMC3 camera is built on a newly integrated and modernized form factor while featuring a robust professional I/O array that includes two 4K 12G-SDI outputs, XLR audio with phantom power capability via adapter, and built-in USB-C interface allowing for remote control, ethernet offload, and more. All features are packaged in a compact, rugged, water, and dust resistant design that measures 6 x 4.25 inches and just over 4 pounds. Other highlights include an RF lens mount with locking mechanism; wireless control and preview via Wi-Fi; phase detection autofocus; and a newly designed and easy-to-navigate integrated display, located on the side of the camera, which allows for comprehensive controls, including in-camera format selection, customized buttons, status updates, and more. As with RED’s most recent camera, the RED KOMODO 6K, V-RAPTOR utilizes the updated and streamlined REDCODE® RAW settings (HQ, MQ, and LQ) to enhance the user experience with simplified format choices optimized for various shooting scenarios and needs. Additional features include data rates up to 800 MB/s using RED branded or other qualified CFexpress media cards; integrated micro v-mount battery plate; a 60mm fan for quieter and more stable heat management; and wireless connectivity via the free RED Control app, which is available now for iOS and Android devices. “We at RED are truly thrilled to finally show off V-RAPTOR to the filmmaking community around the globe. The fact that we are introducing yet another groundbreaking camera into the market is a testament to the hard work and dedication of all the employees across the board at RED. It is simply a part of our DNA to continue the brand's legacy of disrupting the industry and providing filmmakers with the most advanced tools possible to unleash their wildest creative ideas without ever compromising.” — Jamin Jannard Also announced today from RED is a comprehensive array of first-party and co-designed accessories. The engineering team at RED worked closely with industry-leading partners such as SmallHD, Angelbird, Core SWX, and Creative Solutions to create and produce purpose-built products specifically to work with V-RAPTOR. Available accessories include: DSMC3 RED® Touch 7” LCD monitor V-RAPTOR™ Wing Grip RED® PRO CFexpress 660GB and 1.3 TB (available soon) media cards RED® CFexpress Card Reader REDVOLT® MICRO-V Battery Pack RED® Compact Dual V-Lock Charger RED is also launching a pre-bundled V-RAPTOR Starter Pack option that comes with: DSMC3 RED® Touch 7” LCD RED® PRO CFexpress 660GB Card RED® CFexpress Card Reader 2x REDVOLT® MICRO-V Battery Pack RED® Compact Dual V-Lock Charger 2x V-RAPTOR™ Wing Grips EXT to T/C Cable Later in 2021, along with the launch of the black V-RAPTOR, an additional pre-bundled Production Pack option will be available. It will come with a robust accessory package that includes the DSMC3 RED Touch 7” LCD monitor, 2x RED Pro CFexpress 660GB Cards, RED CFexpress USB-C Card Reader, 4x RED Mini V-Lock 98Wh Batteries, RED V-Lock Charger, V-RAPTOR Tactical Top Plate with Battery Adapter; V-RAPTOR Expander Module; V-RAPTOR Top Handle; V-RAPTOR Quick Release Platform Pack; RED Production Grips; V-RAPTOR Side Ribs; and a DSMC3 RED® 5-Pin to Dual XLR Adaptor. In addition, a RED® RF-PL Adapter with an electronic ND filter will soon be available via RED.com and authorized dealers. For more information on RED V-RAPTOR ST 8K VV, V-RAPTOR ST Starter pack, and available accessories, visit Red.com or RED Premium Dealers. Customers can also visit any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products. “We are excited to partner with our amazing Premium Dealers to bring this groundbreaking camera technology to market. V-RAPTOR joins KOMODO, RANGER and DSMC2 to create what we feel is the best and most versatile lineup of cinema cameras in the industry. We will continue to work with our Premium Dealers and all of our partners to provide the highest level of service to the global community of RED users.” — Tommy Rios, Executive Vice President, RED Digital Cinema More information on the availability of the black version of V-RAPTOR and the accompanying V-RAPTOR Starter and Production Packs, as well as the V-RAPTOR XL, will be available via RED.com soon.
  10. FilmLight recently launched a new event honouring colourists and the art of colour worldwide, with winners due to be celebrated at EnergaCAMERIMAGE 2021 in Poland. The programme has met with spontaneous acclaim. Colourists, renowned cinematographers and directors, and other professionals from the imaging industry across the globe, all support the initiative. The judging and awards are being organised with the co-operation of the ASC (American Society of Cinematographers), Imago (the International Federations of Cinematographers) and CSI (Colorist Society International). Roberto Schaefer (ASC AIC, Imago), said, “For years I have believed that as cinematographers we need to acknowledge that there is more to creating the best cinematography. The finished product is the work of many talented and artistic individuals who should be recognised in a wide, cross-departmental way. I hope that this will be a beginning.” FilmLight has unveiled the panel of industry luminaries who will evaluate the nominees. Renowned filmmakers and representatives of the film industry from all over the world accepted the invitation to participate. The applications sent by the colourists will be assessed by: Danny Cohen, Peter Doyle, Beatriz Pineda, Anthony Dod Mantle, Nicola Daley, Jet Omoshebi and Simon Astbury. Oscar and BAFTA-nominated cinematographer Danny Cohen brings a unique creative perspective. “How a cinematographer and a colourist work together on a film is key,” said Cohen. “There needs to be a sympathetic understanding of the project as so much hangs on the grading. For a colourist to be able to interpret what a DoP wants and then execute the look is vital.” Peter Doyle has formed long-term collaborations with DoPs such as Bruno Delbonnel, Seamus McGarvey and Philippe Rousselot, and directors such as Tim Burton, Joe Wright, Guy Ritchie and Peter Jackson. From using custom software to colour grade The Matrix in the ’90s, to commissioning the first of the DI grading packages for The Lord of the Rings in the early 2000s, Peter now works with PostWorks NYC, contributing to the design of a new unified colour ecosystem from rushes through to final deliverables. Beatriz Pineda is senior director, non-linear distribution and new technologies for HBO Latin America. She has helped companies such as HBO and Sony to optimise their media distribution pipelines, introducing innovative products in a highly demanding industry. The Oscar and BAFTA-winning cinematographer for Slumdog Millionaire, Anthony Dod Mantle, is known for his collaboration with iconic directors such as Danny Boyle, Lars von Trier, Ron Howard, Oliver Stone, Thomas Vinterberg and Kevin MacDonald. Nicola Daley is a world-renowned Australian cinematographer who has shot documentaries everywhere from Iraq to North Korea, and who now focuses on drama and commercials. Joining the judging as well is multi award-winning senior colourist Jet Omoshebi from Goldcrest Post Production Facilities in London. Collaborating with highly regarded DoPs, directors and agencies, Jet has contributed to acclaimed TV dramas and feature films in recent years, including Fortitude, Rellik, The Night Manager, The Witcher and The Terror. The panel also includes Simon Astbury, managing director at Juice in Shanghai. Starting as a rushes colourist for classic films such as Notting Hill and Shakespeare in Love, he has worked with industry legends such as Jack Cardiff and Baz Luhrmann. Astbury commented, “Colourists have long toiled in the gloom, bringing their unique brand of magic to film and TV screens in relative anonymity. I’m hugely looking forward to being a member of the jury for these awards, bringing colourists and their amazing work blinking into the daylight.” Zak Tucker, Co-Founder and CEO and President of Harbor, also supports the awards programme. “The individual skills, passion and talent of colourists contribute greatly to the stories we see on our screens today. At Harbor, our colourists are dedicated to finding that something extra to elevate the image to the sublime. For that reason I’ll always support the recognition and celebration of their talent.” Wolfgang Lempp, CEO of FilmLight said, “We conceived the idea of the Colour Awards because we wanted to emphasise the creative and collaborative role of the colourist in the whole industry, and this is boosted by the support we are receiving from the three leading professional bodies. “I’m sure that having both colourists and cinematographers, artists and technologists on the judging panel will spark some lively debates,” Lempp added. “I look forward to seeing the results of their deliberations, and honouring the best work.” While FilmLight is sponsoring and organising the Colour Awards 2021, users of any grading technology are welcome to enter, as are colourists from the largest post facilities to home set-ups. The only criterion for success is that the technology should be used to create visually stimulating and satisfying imagery. Colourists or their sponsors still have time to enter the awards at https://filmlight.awardcore.com. Nominations will close on 15 September, with a shortlist announced in October and the winners revealed in November.
  11. Canon's XF605 professional camcorder comes equipped with a 1.0-inch CMOS sensor and the ability to record 4K/60p/4:2:2/10-bit/HDR video to dual on-board SD card slots. Equipped with Canon’s renowned Dual Pixel CMOS AF, the XF605 achieves high-speed and high-accuracy focusing, and is the first XF-series model to include Eye Detection AF, as well as improved face and head detection, enabling more accurate and stable tracking of subjects. The new camcorder also includes new video transmission functionality, making it an ideal tool for broadcast journalists. The XF605 Professional Camcorder is the next-generation XF-series camera providing excellent mobility, connectivity, and superb 4K UHD HDR image quality. Equipped with Canon’s renowned Dual Pixel CMOS AF, the XF605 achieves high-speed and high-accuracy focusing, and is the first XF-series model to include Eye Detection AF, as well as iTR AF X technology for improved face and head detection for more accurate and stable tracking of subjects. The XF605 features a 4K L-series 15x Optical Zoom lens with 3-ring manual control. XF605 can shoot 10-bit 4:2:2 4K UHD footage in XF-AVC and MP4 formats to dual SD cards for easy post-production and quick delivery. It features multiple recording modes including Frame, Interval, and Slow and Fast motion up to 120fps in FHD. An ideal tool for news gathering, XF605 features a new CTM (Content Transfer Mobile) iPhone application which allows for proxy footage, audio, and metadata to be exchanged between a newsroom server through the phone connection in the field and integrates into newsroom assignment planning software. The XF605 features a Multi-Function Shoe that is compatible with a new XLR microphone adapter (developed by TEAC Corporation) for increasing the total number of XLR inputs to 4, providing a flexible audio recording workflow. The camera features built-in Wi-Fi/Ethernet for Browser Remote, CTM (Content Transfer Mobile) app, IP streaming, and FTP transfer. The camera is also the first XF-series camera to feature USB Video Class allowing use as a webcam without the need for a 3rd Party HDMI to USB adapter.  $4500 at B&H @ Canon.com XF-AVCCompression: MPEG-4 AVC/H.264Color Sampling: 4:2:2 10-bitFile Format: MXFRecording Modes:■ Resolution: 3840x2160 (YCC422 10-bit)260 Mbps Long GOP (59.94P/50.00P)410 Mbps Intra-frame (29.97P/25.00P/23.98P)160 Mbps Long GOP (29.97P/25.00P/23.98P)■ Resolution: 1920x1080 (YCC422 10-bit)310 Mbps Intra-frame (59.94P/50.00P)160 Mbps Intra-frame (29.97P/25.00P/23.98P/59.94i/50.00i)50 Mbps Long GOP (59.94P/50.00P/29.97P/25.00P/23.98P/59.94i/50.00i)■ Resolution: 1280x720 (YCC422 10-bit)MP4Compression:MP4 (HEVC): H.265/HEVCMP4 (H.264): MPEG-4 AVC/H.264Color Sampling:MP4 (HEVC): YCC422 10-bit/YCC420 10-bitMP4 (H.264): YCC420 8-bitFile Format: MP4Recording Modes:■ Resolution: 3840x2160 (YCC422 10-bit)225 Mbps (59.94P/50.00P) / 135 Mbps (29.97P/25.00P/23.98P)■ Resolution: 1920x1080 (YCC422 10-bit)50 Mbps (59.94P/50.00P/29.97P/25.00P/23.98P)■ Resolution: 1280x720 (YCC422 10-bit)12 Mbps (59.94P/50.00P)■ Resolution: 3840x2160 (YCC420 10-bit)170 Mbps (59.94P/50.00P) / 100 Mbps (29.97P/25.00P/23.98P)■ Resolution: 1920x1080 (YCC420 10-bit)35 Mbps (59.94P/50.00P/29.97P/25.00P/23.98P)■ Resolution: 1280x720 (YCC420 10-bit)9 Mbps (59.94P/50.00P)(2) MP4 (H.264): (YCC420 8-bit)■ Resolution: 3840x2160150 Mbps (59.94P/50.00P/29.97P/25.00P/23.98P)■ Resolution: 1920x108035 Mbps (59.94P/50.00P/29.97P/25.00P/23.98P)■ Resolution: 1280x7208 Mbps (59.94P/50.00P)
  12. The LS 600x Pro boasts an expanded bi-color range fo 2700K~6500K while still being able maintain an impressive output. Equipped with its native Hyper-Reflector, the 600x Pro can output 5,610 lux at 3 meters (10 feet). With the F10 Fresnel modifier, the combination can reach an illuminance of 18,5100 lux at 3 meters in 15° spot. https://www.aputure.com/products/ls-600x-pro/ Similar to the LS 300x, the 600x Pro utilizes Aputure-designed color-blending optics that combines its bi-color chipset into a single cohesive light source, allowing it to be used with optical lens modifiers such as the F10 Fresnel and Spotlight Mount. Every aspect of the LS 600x Pro was designed with professionals in mind, with incredible output, a weather-resistant construction, a wide variety of power options, and professional level lighting controls, including Sidus Link, Art-net, and Wireless DMX. This is the LS 600d Pro, and it’s ready to blow away traditional lighting. The LS 600x Pro joins the professional Light Storm series featuring enhanced, stepless dimming, as well as light control in 0.1% increments, ensuring that you get the exact amount of light that you need. The LS 600x Pro features two output modes: Max Output and Constant Output mode. In Constant Output mode, the luminance level remains uniform while changing the CCT output. Max Output mode will always maximize the output for the chosen CCT and dimming level. In addition to its responsive on-board controls, 2.4G remote, DMX512 5-Pin XLR In and Out, and Sidus Link® app compatibility, the LS 600x Pro is the first-ever Aputure light to simultaneously support sACN, ArtNet, and LumenRadio CRMX compatibility. Sidus Mesh integration allows users to control the 600x Pro from nearly any smartphone or tablet with the Sidus Link mobile app up to 400 meters away with the addition of other fixtures, including the Aputure LS C300d II, LS 300x, Accent B7c, MC, and Nova P300c. With exceptional color accuracy measurements of CRI&TLCI≥96, CQS≥95, and SSI scores of (D56): 74, (Tungsten): 85, the 600x Pro provides consistently accurate light quality for all filmmakers, upholding a color temperature standard of 2700K~6500K. Like the LS 600d Pro, when plugged into AC power, the LS 600x Pro doubles as a high-intensity bi-color fixture and a supplementary charger for V-Mount & Gold Mount batteries, making it a useful addition to any filmmaker's toolkit. The LS 600x Pro can utilize 9 different built-in light effects: "Paparazzi", "Fireworks", "Lightning", "Faulty Bulb", "TV", "Pulsing", "Strobe", "Explosion", & "Fire". The 600x Pro is also compatible with the SidusPro FX ecosystem. Continuing Aputure’s philosophy of modular lighting control, the LS 600x Pro’s Bowens Mount makes it compatible with Aputure’s lighting modifiers like the F10 Fresnel, Light Dome II, Spotlight Mount, and Lantern 90, but also third-party accessories from companies like DoPchoice and Chimera Lighting. The LS 600x Pro features a detailed LCD screen interface that, including a revamped professional UI that displays important information in an intuitive way, including easy-to-read intensity and color information. CCT 2700K~6500K Power Consumption ≤720W Operating Current 8A Operating Voltage (Power Supply) 100V~240V, 50Hz/60Hz Operating Voltage (Battery): V-Mount / Gold Mount (Two Batteries) Half Output 12.5V-16.8V (14.4/15A) 22V-33.6V (26V/8.5A, 28.8V/7.5A) Operating Voltage (Battery): Voltage V-Mount / Gold Mount (Two Batteries) Full Output 22V-33.6V (26V/18A, 28.8V/16A) Operating Voltage (3-Pin XLR [48V DC]) 48V/15A Battery Charging (Voltage) 16.8V/29.4V Battery Charging (Amperage) 3A Control Methods On-board, 2.4GHz, Sidus Link (Sidus MeshTM), 5-Pin DMX512, Art-net, LumenRadio Wireless Operating Range (2.4GHz) ≤100m Wireless Operating Range (Bluetooth) ≤80m Wireless Operating Range (LumenRadio) ≤100m Screen Type Adaptive Brightness LCD Firmware Upgradeable USB (FAT16/FAT32), Sidus Link OTA Cooling Method Active Cooling Weatherproofing Dust & Water Resistant Cable Type: Max Head Cable Length 7.5m Cable Type: Power Cable Neutrik® powerCON TRUE1 TOP AC Power Cable (6m) Accessory Mount Bowens Mount Mounting 16mm / 28mm | 5/8in (Baby Pin) / 1.125in (Junior Pin)
  13. ARRI has announced the release of its latest innovation—ARRI LightNet. ARRI LightNet is a unique new software platform designed by ARRI’s Solutions Group to offer smart, logical, and at-a-glance centralized monitoring, fault-finding, and management of broadcast studio lighting networks from anywhere. https://www.arri.com/en/solutions/broadcast/lightnet This intelligent and innovative tool enables broadcast facilities to streamline the management of their lighting network in one robust platform. As remote, decentralized, and socially distanced working becomes more popular and established, ARRI LightNet leads the way for essential, comprehensive, user-friendly monitoring of lighting networks and will be offered with all ARRI Solutions Group tenders and projects. Multi-user Interface This trailblazing product observes and shows all elements across a broadcast studio lighting network—luminaires, consoles, network switches, splitters, nodes, etc.—displaying all the relevant data in real-time on a single interface. This allows for users and technicians to work harmoniously in parallel while accessing and managing different aspects of the network. Easy Setup & Operation New and ground-breaking in the world of broadcast and installation technology, ARRI LightNet has been developed as a powerful, visually intuitive, and flexible tool to assist the smooth and efficient operation of contemporary studio facilities with both IP-based and DMX-controlled lighting systems. Features include a very straightforward setup with a coherent, easy-to-understand dashboard to help maintain the status, security, and stability of these lighting systems. All devices on the network will be auto detected for speed and accuracy of setup, saving time and hassle. Accessibility is integral to the system architecture design. ARRI LightNet is an essential resource that can be operated and understood by those who are not necessarily lighting specialists. Separate Front/Back Ends As ARRI LightNet is compatible with the hardware of multiple manufacturers and established lighting protocols, it can be retrofitted into existing facilities and lighting eco-systems as easily as it can be specified for new builds. The central/decentral server infrastructure at the core of the product offers separate front and back ends, which enable this great flexibility. The system’s central back end can offer full redundancy and run on any performance machine, including virtual servers, which can be located anywhere and connected to the network. At the same time, the front end is accessed via a range of readily available standard tools like tablets and laptops. Attractive Graphical Interface Additional front-end features include the attractive graphical interface with a clear and accurate overview of all status monitoring data, plus the quick and easy identification, location, and rectification of faults or glitches. Furthermore, the interface can be questioned to reveal any and all useful information needed for a day-to-day operation like the IP and DMX addressing of fixtures or the modes in which they are set, etc., and devices can be grouped by the rooms to structure them as per individual need. Accessible from Anywhere ARRI LightNet is widely adaptable for all environments. The user interface can be run simultaneously on various client devices (the tablets, laptops mentioned above) which can be based locally in the studio or production control rooms, or much further away, and even in or out of the studio complex via a VPN. This dual local/remote access from anywhere helps maximize the efficiency of technicians working in busy studio environments where time and technology are always critical. Central Monitoring Integration ARRI LightNet can also be integrated into external central monitoring systems such as Zabbix or Prometheus via an external API (application programming interface) which hands over all the collected lighting network data. Seamless workflow integration between systems is therefore practical and achievable.
  14. Meet the Gaffer's Luke Seerveld compares the diffused light quality and output from the ARRI M18, K5600 Joker 800 and a couple of Aputure 600d Pro's using 1/2-grid diffusion through a frame and an Octabank. Don't forget to show some love in the YouTube comments.
  15. Canon's $5500 EOS C70 is in stock at B&H and available with 24-month 0% financing. Incorporating key Cinema EOS video tools in a mirrorless- style body, the Canon EOS C70 Cinema Camera features a Super35 DGO (Dual Gain Output) sensor for capturing nuanced images with up to 16+ stops of high dynamic range. The innovative DGO system combines two separate gain readings for each photodiode on the sensor, emphasizing saturation in bright areas of your image and lowering noise in darker areas. Video resolutions include DCI 4K capture at rates ranging from 23.98 to 60 fps, plus high-speed options up to 120 fps in UHD 4K and 180 fps in cropped 2K.
  16. The Summer 2021 Edition of SOC Magazine is available now online. Camera operator Bob Gorelick SOC shares what it was like to shoot Lovecraft Country, an American horror drama television series. Starring Jurnee Smollett and Jonathan Majors, the series is about Atticus Black, who travels across the segregated 1950s United States in search of his missing father, learning of dark secrets plaguing a town on which famous horror writer H. P. Lovecraft supposedly based the location of many of his fictional tales. Read the full story at https://issuu.com/cameraoperators/docs/co-summer-2021-final/12 Camera Operator magazine, published quarterly by the SOC, features engaging and informative articles written by operators for operators focusing on the art and craft of the camera operator. It covers behind-the-scenes experiences of top television and feature film camera operators and their relationship to others on the production team, as well as on set etiquette and advice, technical how-tos, profiles of members, and reviews and discussion of tools and technologies relevant to the profession of the operator.
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