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Panavision, the world-class provider of end-to-end solutions, will return to Cine Gear Expo (May 31-June 1) at The Studios at Paramount to showcase the latest innovations in the company’s ever-expanding production and post production ecosystem. Panavision, Light Iron and LEE Filters will display an array of integrated technologies and systems at booth S408 on Stage 3 – ranging from lenses, cameras and filters, to state-of-the-art production and post production workflows – that illustrate Panavision’s commitment to providing the most versatile and powerful storytelling tools. “At Panavision, our vision is to support filmmakers with solutions that expand creativity and efficiency,” says Kim Snyder, president and CEO of Panavision. “We’re always focused on adapting the tremendous power of technology to the needs of the visual artist. We’re proud and excited to demonstrate our latest advancements.” Among the breakthroughs on display are Panavision and Light Iron’s new LINK HDR system. Creatives are producing for HDR-capable distribution platforms more than ever before as consumers seek premium viewing experiences. LINK HDR was developed to address the challenge of viewing HDR (high dynamic range) images throughout the production and post production process. Offering HDR and SDR viewing options in tandem, LINK HDR provides cinematographers, directors, editors and creative talent throughout the imaging chain the ability to view their image at the same quality delivered to consumers. The LINK HDR system consists of: Panavision LINK HDR On-Set Cart – a modular cart outfitted with various monitoring configurations that offers creatives the ability to view HDR and SDR live from the camera. Light Iron LINK HDR Dailies – an NLE process that creates HDR and SDR deliverables simultaneously, which allows editors to cut, toggle between, and export in either format. Light Iron LINK HDR Finish – a combination of creative talent, technical expertise, and leading technologies that link the creative decisions made on-set to the HDR mastering process for delivery to various HDR platforms. “As adoption rates of the HDR format rapidly grow, it is more critical than ever for creatives to view a consistent image from on-set through the finishing suite,” notes Light Iron Supervising Colorist Ian Vertovec. “We want filmmakers to have all the tools they need for this new deliverable. The components of LINK HDR were designed with them in mind.” Panavision’s Millennium DXL2 and DXL-M camera systems will also be showcased at the Panavision booth, demonstrating the value of this expanding ecosystem. With new industry developments, the DXL2’s 6G 4K SDI outputs, which allow direct connection to a Teradek Bolt 4K with a single SDI cable, can now be fully utilized. The latest enhancements to the DXL2 also include: an integrated C-Motion F.I.Z. module allowing the use of Arri WCU4 wireless lens control handsets with full lens mapping support; a proxy workflow that allows easy creation of traditional dailies while archiving 8K files for DI and VFX; a wireless audio module adding expanded audio capabilities; and DXL Control for iPhone and Android. The DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED’s DSMC2 cameras, is now available to filmmakers. In addition to the Primo HDR viewfinder, DXL menu system and LiColor2, the DXL-M now offers 2x2 SDI outputs delivering two independent monitoring paths across 4x HD-SDI outputs. Along with added accessories, battery elevator and control upgrades, these advancements add to the efficiency and flexibility of the kit. The result is a fully-equipped camera that is conveniently adaptable to any shooting scenario, including drone, remote head shots and situations where space is at a premium. Panavision’s LCND, a variable liquid crystal neutral density filtration system, will be presented with expanded new features. LCND is now wirelessly controllable via the Preston handset and offers functionality that translates to creativity on the set. The ability to maintain a given stop under changing lighting conditions by riding the ND filter instead of the iris adds powerful image control options at the moment of photography. LCND also has manual controls and a 24-hour internal battery built into the single filter tray. Panavision’s longstanding emphasis on delivering superior lens quality and unmatched selection continues to be a priority as it serves the artistic needs of today’s creative community. At Cine Gear, filmmakers can examine the company’s proprietary portfolio of optics, including the Primo-X (weatherproof and compact drone and gimbal solution), Panaspeed (large format, high-speed T1.4 with the classic Primo look), H-Series (vintage portrait look for spherical large format), and UltraVista (1.65x large-format anamorphic) lines, as well as other lenses in Panavision’s large-format offerings. In addition to exhibiting, Panavision, in partnership with RED Digital Cinema, will present a panel featuring Oscar®-nominated cinematographer John Schwartzman, ASC. Panavision’s SVP of Optics Dan Sasaki will join Schwartzman as he discusses his approach to visual storytelling and explores the fusion between visual concepts and tools. Schwartzman will reveal his decision-making process from pre-production to post on such projects as The Highwaymen and the upcoming Last Christmas, on June 1 at 11:45 a.m. in the Sherry Lansing Theater. LEE Filters will highlight the LEE100, a newly updated 100mm filter mount system that boasts lighter weight and improved performance. The LEE100 Filter System incorporates a rotation lock as well as a newly designed clip-on polarizer filter for ease of use. Additionally, LEE’s full collection of lighting gels, including the expanded range of Zircon gels specifically designed for fine-tuning LED fixtures, will be touted, as well as the ProGlass CINE IRND range of neutral-density filters, precisely built to meet the exacting needs of cinematographers. “The advancements on display at Cine Gear exemplify our commitment to providing end-to-end solutions that put creative flexibility in the hands of filmmakers,” says Snyder. “Each tool is conceived as an element of a unified ecosystem designed to deliver customizable solutions to meet any need or budget. We’re looking forward to the opportunity to present the results to our friends and colleagues in the filmmaking community, and we can’t wait to see how they’re used in the visual storytelling of tomorrow.”
Dear colleagues, in the link you can see the tests we did with the VENICE camera in Cartagena de Indias in Colombia. In Cinegear I will comment my experience during the shooting with the camera. DATE: Saturday June 2, 2018 TIME: 11:30 am to 12:30 pm LOCATION: Screening Room 5 I hope it's of your interest. Best regards Alfonso Parra AEC, ADFC www.alfonsoparra.com
WHAT: 2015 Cine Gear Expo ACES Panel WHEN: Saturday, June 6th, 10:15 to 11:30AM WHERE: Sherry Lansing Theater, Paramount Studios DESCRIPTION: After years of research and development, ACES 1.0 has arrived. ACES enables DPs and directors to preserve the on-set creative intent and carry it into dailies, editorial, VFX, the DI and on into archiving. It does this, in large part, by addressing many of the long-standing color management issues facing today’s productions. Hear from hands-on filmmakers and technologists how ACES came into being, why it is important and how it impacts the creative and practical production process. Gain insight into how ACES can help simplify workflows, solve color reproduction issues on a wide range of displays, facilitate the integration of footage from multiple camera models and lenses, and provide a single color management standard. PANELISTS: Curtis Clark, ASC - director of photography; chairman, ASC Technology Committee; recipient, AMPAS Scientific and Technical Achievement Award (ASC-CDL); recipient, ASC Presidents Award Theo van de Sande, ASC - director of photography Award; nominee, 2014 ASC Award (“Deliverance Creek”) Bobby Maruvada - digital imaging technician and colorist John Daro - digital intermediate colorist, FotoKem (“Deliverence Creek”) Ray Feeney - ACES Project Committee co-chair, AMPAS MODERATOR: Mark Weingartner – VFX director of photography; chair, ICG National Training Committee; member, ASC Technology Committee Presented by ICG and ASC Technology Committee, in cooperation with the Academy of Motion Picture Arts & Sciences
International Cinematographers Guild to Field Workflow Panel at Cine Gear Los Angeles, June 3, 2014…The International Cinematographers Guild (ICG, IATSE Local 600) is producing a panel discussion on “New Workflow Choices and the Director of Photography” at the 2014 Cine Gear Expo in the Sherry Lansing Theatre on the Paramount Pictures lot this Saturday, June 7, from 10:15 to 11:30. The panelists are Paul Cameron, ASC, Director of Photography (Total Recall, Dead Man Down), Mark Doering-Powell, Director of Photography (ABC’s Super Fun Night; CW’s Everybody Hates Chris), Steven Poster, ASC, Director of Photography, National President, ICG (Donnie Darko; Someone to Watch Over Me), Andrew Turman, Director of Photography (Target, Lexus), Michele deLorimier, Digital Imaging Technician ( DIT) & Phantom Tech (Cover Girl’s Pink; Cream Reunion at the Royal Albert Hall), Bobby Maruvada, Digital Imaging Technician (DI colorist Project X, After Earth) and E. Gunnar Mortensen, Focus Puller (Amityville Horror: Locked In, Cooties). Digital Imaging Technician Joshua Gollish (Skyfall, Prisoners) will moderate. The panel will discuss how Directors of Photography and their crews encounter an ever-expanding range of approaches to color management and dailies. These new paths profoundly impact the DP’s artistic style and every aspect of their job, including on-set operations and creative environment and communication with the director, talent, editorial and postproduction. This group of leading DPs and other camera crew members will examine how their workflow choices on recent, high profile motion picture and TV projects impacted the filmmaking process, the craft and the product. http://www.cinegearexpo.com/83/ Press Contact: Rick Markovitz Weissman/Markovitz Communications email@example.com 818-760-8995