Canadian Society of Cinematographers
$4 Januar y 2013 www.csc.ca
Overcoming
Darkness and Cold Pierre Gill csc Braves
The Colony
On the Road with the Roy Tash Award • CSC at the Documentary Summit
Canadian Society of Cinematographers
Digital Camera Assistants Course By Professionals, For Professionals
February 9 - 17, 2013* Toronto, Canada Cost: $1350.00 CDN
Continental Breakfast, snacks and lunch will be provided
To ensure that camera crews maintain the high standards recognized by the Canadian Film and Television industry, the Canadian Society of Cinematographers is offering a nine day intensive and advanced course for Camera Assistants.
The course will be conducted by working professional camera assistants and cinematographers who will not only teach, but share their wealth of production know-how and technological knowledge gained from years of on-set experience. Learn the varied skills necessary for a camera assistant working in digital formats New digital cameras and technologies are being introduced into the Film and Television industry at lightning speed. Keeping on top of emerging technologies and techniques poses unique challenges for everyone. The CSC Digital Camera Assistants Course eliminates the mystery and provides its participants with the tools necessary to work in today’s production world. Participants will be instructed in: -Tools and ditty bag, including information on useful industry apps -Paperwork and administration -Labeling -Slating -On-set deportment -First procedures on the set -Camera set-up -Brief introduction to film cameras -Focus pulling -Lens testing, including back focus and anamorphics, for commercials, features, and episodic television -Photographic theory -Assisting steadicam -3D rig overview
Hands-on means experience
The CSC believes that the best training comes from doing. Participants in the CSC Digital Camera Assistants Course will have hands-on instruction on the latest digital cameras being used in the industry today and will experience “building the camera” from the ground up.
Location, Location, Location
Being familiar and comfortable with one’s surroundings is half the battle. Classes of the CSC Digital Camera Assistants course will be held in various production and industry facilities around the City of Toronto.
For an application and detailed itinerary please visit the CSC website: www.csc.ca telephone 416-266-0591 * CSC reserves the right to postpone workshop date(s)
The CSC since 1957
To foster and promote the art of cinematography
A publication of the Canadian Society of Cinematographers
We facilitate the dissemination and exchange of technical information and endeavor to advance the knowledge and status of our members within the industry. As an organization dedicated to furthering technical assistance, we maintain contact with non-partisan groups in our industry but have no political or union affiliation.
CORPORATE SPONSORS All Axis Remote Camera Systems Applied Electronics Arri Canada Ltd. Canon Canada Inc. CinequipWhite Inc. Clairmont Camera Cooke Optics Ltd. Dazmo Digital Deluxe Toronto FUJIFILM North America Corporation FUJIFILM, Optical Devices Division Image Media Farm Kingsway Motion Picture Ltd. Kino Flo Kodak Canada Inc. Lee Filters Mole-Richardson Osram Sylvania Ltd./Ltée PS Production Services Panasonic Canada Panavision Canada REDLABdigital Rosco Canada Sharp’s Broadcast Sim Video Sony of Canada Ltd. Technicolor The Source Shop Vistek Camera Ltd. William F. White International Inc. ZGC Inc. ZTV
Photo Credit: Jennifer Aubry
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The Documentary Summit 2012 By François Aubry
Photo Credit: Andrew Lawson
The purpose of the CSC is to promote the art and craft of cinematography in Canada and to provide tangible recognition of the common bonds that link film and video professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.
FEATURES – volume 4, No. 8 January 2013
On the Road with Roy
10
By Kayla-Jane Barrie and Fanen Chiahemen
Photo Credit: Michael Gibson
The Canadian Society of Cinematographers (CSC) was founded in 1957 by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization.
Overcoming Darkness and Cold: Pierre Gill csc Braves The Colony
12
By Fanen Chiahemen
Columns & Departments
2 From the President 3 New CSC Members 4 In the News 6 wired@csc.ca 18 Tech Column 19 Camera Classified 20 Productions Notes / Calendar Cover: Humans survive in underground tunnels in The Colony. Photo Credit: Michael Gibson
Canadian Cinematographer January 2013 Vol. 4, No.8 EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE DIRECTOR Susan Saranchuk admin@csc.ca EDITOR
From The PRESIDENT Joan Hutton csc
Fanen Chiahemen editor@csc.ca COPY EDITOR Karen Longland Editorial Intern Kayla-Jane Barrie ART DIRECTION Berkeley Stat House WEBSITE CONSULTANT Michael Jari Davidson www.csc.ca ADVERTISING SALES Guido Kondruss gkondruss@rogers.com CSC OFFICE / MEMBERSHIP 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca CSC Subscription Dept. 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: subscription@csc.ca
Canadian Cinematographer makes every effort to ensure the accuracy of the information it publishes; however, it cannot be held responsible for any consequences arising from errors or omissions. The contents of this publication may not be reproduced in whole or in part without the express written consent of the publisher. The opinions expressed within the magazine are those of the authors and not necessarily of the publisher. Upon publication, Canadian Cinematographer acquires Canadian Serial Rights; copyright reverts to the writer after publication. Canadian Cinematographer is printed by Winnipeg Sun Commercial Print and is published 10 times a year. One-year subscriptions are available in Canada for $40.00 for individuals and $80.00 for institutions, including HST. In U.S. rates are $45.00 and $90.00 for institutions in U.S. funds. International subscriptions are $50.00 for individuals and $100.00 for institutions. Subscribe online at www.csc.ca.
ISSN 1918-8781 Canadian Mail Product Sales Agreement No. 40013776 Return undeliverable Canadian addresses 131–3007 Kingston Road Toronto M1M 1P1
2 • Canadian Cinematographer - January 2013
H
appy New Year! I hope the holidays were peaceful and filled with cheer for everyone.
I’m very pleased to say that the start of 2013 comes with good news. Six cinematographers have been granted full membership status with the CSC, entitling them the “csc” accreditation after their name. For those who may not know, becoming a full CSC signifies a cinematographer has achieved a consistently high level of mastery over their craft both technically and artistically. My sincerest congratulation goes out to Jonathon Cliff csc, Mark Forester csc, Karim Hussain csc, Bob Mattigetz csc, Bobby Shore csc and Brendan Uegama csc for their contribution to the art of cinematography. I just viewed a two-minute short newly posted on YouTube that everyone should look at. It’s a given that the film and television industry in Canada has its ups and downs. Interestingly, and unfortunately, that was played out all too graphically in 2012. On the up side there is Ontario. Although the final tally has yet to be made, it looks like Toronto in 2012 will at least match, and probably top, its 2011 banner year for production. So what spurred this Toronto bonanza that is attracting a good number of runaway productions from the States and elsewhere? Toronto does have modern sound stages, a top notch production talent pool and a burgeoning postproduction side to the industry that’s garnering interest worldwide. Yes, Toronto has a lot going for it, all of which counts. But most importantly, Ontario speaks the language of producers: it’s called incentive. The province with its aggressive 25 per cent tax credit perched alongside other government perks has made Ontario very production attractive, generating not only loads of business for Toronto, but also spawning productions in cities such as Sudbury, Hamilton and Sault Ste. Marie, while helping to build an industry that has created nearly 50,000 direct and indirect jobs. On the down side, a myopic Saskatchewan government ended its film tax credit in 2012, effectively killing off the province’s once thriving film and television industry. Production companies have pulled up stakes, and skilled production personnel have moved to where the jobs are. Incentives work, and Ontario is proof of that. Did the Saskatchewan film and television industry need some fine-tuning to keep it moving forward? Perhaps, but we’ll never know since its government chose to throw out the baby with the bath water. The short I mentioned earlier, which can be found on YouTube, is called Last One to Leave, and it is a poignant commentary on what was once the Saskatchewan film and television industry. I’m sure that 2013 will be a terrific year for the Canadian film and television industry, and I wish everyone “good shooting.” Sadly, it just won’t be in Saskatchewan.
Clockwise from top left:
Robert (Bob) Mattigetz csc director of photography Karim Hussain csc director of photography Brendan Uegama csc director of photography Jonathon Cliff csc director of photography Bobby Shore csc director of photography
The CSC congratulates newly accredited full members
Mark Foerster csc director of photography Canadian Cinematographer - January 2013 •
3
In The News
Member News
Photo Credit: John Trang
Photo Credit: Sam Santos
Anything Goes, written and directed by Bruno Marino and shot by CSC associate member Michael Jari Davidson, has recently been acquired for distribution by Entertainment One (eOne) and will be available across Canada in 2013. The dark comedy won Best Feature Film at the 2011 Moving Image Film Festival.
ideaBOOST finalists with some members of the ideaBOOST faculty and board of directors.
Michael Jari Davidson on Anything Goes.
Photo Credit: Douglas Kirkland
CSC Member among ASC Honourees Rodney Charters, csc, asc, along with Dean Semler asc, acs; Robby Müller nsc, bvk; and Curtis Clark asc, will be honoured during the 27th Annual American Society of Cinematographers Outstanding Achievement Awards to be held February 10 at the Hollywood & Highland Grand Ballroom. Charters gets the Career Achievement in Television Award; Semler will receive the 2012 ASC Rodney Charters, csc, asc Lifetime Achievement Award; Müller will be presented with the International Achievement Award; and Clark collects the President’s Award.
CFC Program Supports Digital Filmmakers Corus Entertainment, Google and Shaw Media in November announced they would lend their support to ideaBOOST, a new accelerator program initiated by the Canadian Film Centre Media Lab. ideaBOOST offers financial backing, strategic guidance and mentor support to help convert high-potential Canadian digital content ventures into commercially successful offerings. Support from Shaw, Google and Corus for the CFC Media Lab’s
4 • Canadian Cinematographer - January 2013
ideaBOOST includes a commitment from each media organization to provide the selected companies with critical advice and resources in the areas of product development, business strategy and audience engagement to help advance their product development plans into commercial viability. ideaBOOST also announced the first group of content creators selected to participate in the four-month program. The final chosen projects are: The Path (SmokeBomb Entertainment), The Buffer Film Festival (Apprentice A Productions), AsapSCIENCE (Mitchell Moffit and Gregory Brown), Ramen Party (Lillian Chan and Justin Poon), Rollers of the Realm (Phantom Compass), Your Task // You Shoot Things (YT//ST Labs), Loud on Planet X (Pop Sandbox), and The Ghost Town Project (Intuitive Pictures).
Deluxe Announces New Home Deluxe in November announced the relocation of its postproduction and digital media operations in Toronto to a new home effective February 2014. The company requires significant lead time to build out its 60,000-square-foot facility and announced that it has entered into a lease with Crown Property Management to secure space at 901 King Street West in downtown Toronto. Deluxe’s new facility will occupy the top three floors of an existing building at the corner of King Street West and Strachan Avenue. Deluxe Toronto has been at its current location in downtown Toronto since 1987.
Recent Appointments Panavision announced in November that its Board of Directors has appointed Kimberly Snyder, formerly President and General Manager of Kodak’s Entertainment Imaging Division, as a Board Member, President and Chief Executive Officer of the company. Meanwhile, Andrew R. Evenski was promoted to President and General Manager of Kodak’s Entertainment Imaging Division.
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wired@csc.ca
Shooting with DSLRs
Love the DSLRs. I have used the Canon 5D on corporates and a web series. Once you get used to where all the buttons and dials are it is much more user-friendly than any of the off-the-shoulder cameras. I have used them all! It is also great to be able to essentially dial up your depth of field. I was a reluctant convert but now it is my camera of choice for many shoots. Peter Warren csc Best mod I’ve done for my 5D Mark III is add Magic Lantern firmware. It gives me zebras, peaking and a waveform, among other things, on my DSLR. Download for free (magiclantern. fm/), put the unzipped folder on the flash card, always keep that card in the camera, go to tools in the menu, select firmware and activate. You have to reboot it every time on start up. Available for 5D Mark II, III and 7D. Richard
As a DSLR-only cinematographer, using DSLRs has allowed me to get into places and shoot angles that would be impossible with our larger cameras. Form factor, weight, and a small crew requirement make shooting and producing films extremely efficient. Next, large sensors, awesome depth of field range, and not bad with dynamic range (for 8-bit 422 compressed codec). Lastly, affordability. You can embed multiple cameras on set and not break the bank. I believe DSLR’s will take a bigger role in the future. Jose Luis Gonzalez, associate member In Other Topics... Good to see that TSN’s PreShow for the 100th Grey Cup included a segment on coverage by early member Ken Davey csc in various host cities with all sorts of weather. Joe Sunday
Upcoming topic of discussion: Shooting in ARRI Raw format. Deadline: January 21, 2013
Guidelines
NEW feature
Please send any comments you have to wired@csc.ca. Please note that not all comments will be published and that we may edit any comment selected for publication. We are also open to suggestions for topics. w Each submission must be limited to 75 words. w You must include your name in the email for CSC records, but you may use a pseudonym for the publication if you wish. w We would like to focus on comments featuring positive recommendations or suggestions. w The choice of which submissions will be printed and when is solely up to the discretion of the CSC’s Editorial Committee. w This column is generally not for: event announcements, or product or trade promotions.
6 • Canadian Cinematographer - January 2013
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Canadian Cinematographer - January 2013 •
7
The Documentary Summit 2012 Part of the Documentary Summit 2012, which was held in Toronto in early Photo Credit: Jennifer Aubry
November, included a panel on Storytelling in Production from the point of view of the cinematographer. Associate CSC member François Aubry, one of the panelists, which also included associate CSC member Carl Elster, gives Canadian Cinematographer some insights into what was discussed.
T
he main thrust of the panel’s discussion was to establish what tools cinematographers have available to them to tell stories and achieve the directors’ vision when shooting a documentary. Taking the lead, DOP Mark Bochsler who also directs his own projects, talked about focal length and angle. Because in documentary filmmaking you have so little control, most of your creative input comes from choosing the appropriate angle and the focal length. Mark showed us excerpts from his documentaries in Cambodia about an obscure martial art that has almost disappeared. He followed the revival of this art from the villages to international competitions using a DSLR and a variety of prime lenses. Addressing the particularities of shooting documentaries in far away places, he stressed the importance of serious preparation, knowledge of the subjects and the surrounding environment. Carl Elster shared insight on adding value to low-budget productions and packing experience “on the go.” He told us about his new project shooting a documentary on ghost hunters in Ontario, using the Scarlet RED with a set of wide, medium and long zooms, his favorite combination. Jumping from a wide 16 mm, 24 mm, to a 24-70 and 70-200, he can play with the depth of field, isolate a subject or use a very wide angle to provide compelling establishing shots. Being very creative with the existing means, which can often be lean, Carl emphasized the im-
8 • Canadian Cinematographer - January 2013
portance of location scouting and a clear vision of the director expressed through a shot list. Then came the question of what cinematographers need most in order to accomplish their task. Two items were agreed upon by the panel as mandatory: a clear shot list and proper location scouting. In ideal circumstances, cinematographers should be able to visit places where the story will unfold. Nowadays, if you can’t bring a camera, you can bring an iPhone and download apps like Director’s Viewfinder, Compass for orientation, as well as Planets, which tells you the exact position of the sun even on a cloudy day. Take pictures and videos that you can study later. Check the electrical panel and outlets. If the subject or persons to be filmed are there, get to know them, try to see how they move, and look at them under natural lights, the panel suggested. As Jean Cocteau said, most of the best experiences you will capture as filmmakers will be accidents. On one occasion, I was shooting a documentary in Hebron in the West Bank. It was half past four in the morning. The cold night was filled with echoes of the call to prayer. The strange melody that came out of several loudspeakers was mysterious and attractive. I thought it would make a great sound for our film. I decided to record it onto my HD camera using the good shotgun microphone. I aimed the picture at the
Photo Credit: Jennifer Aubry
top of the mosque. The moon was making its way into my frame, and I thought it would be great if the tip of the mosque would cross with the crescent moon. I lined up for that shot and pressed record. At that moment, a bird of prey landed on the crescent. His silhouette, lit by the moon that had become a backlight, was now touching the mosque. After cleaning its feathers for a moment (with the call to prayer in the background) the bird raised its head and flew away. There it was, the opening and closing shots of the show (episode “Peace Pastor” of the series Extreme Clergy).
table crane that makes my work much easier, giving a much smoother, steady hand-held style to interviews.
This kind of filmmaking requires a great commitment through the ministry of presence. You have to be there and ready in order to get the shot. Mark, as well as Carl, agreed on this. Filming on location requires extreme dedication – up before the sun, and using every bit of available light until it’s gone.
This dream was spawned from the first attempts to modify equipment that began in the late 1950s with Michel Brault and Pierre Perrault at the National Film Board in Montreal, creating the wireless crystal sync system together with Eclair, Angenieux and Nagra engineers, then exporting their technology to France, thus becoming a part of Jean-Luc Godard’s dream, also visible in the work of Truffaut, Rivet and the other creators of the New Wave. The dream first expressed by these filmmakers has finally arrived with the age of digital cinema.
The final part of the discussion concerned the cameras themselves, especially the DSLRs that have so improved in the last year that they have become a significant asset to the documentary filmmaker. All participants agreed that DSLRs are excellent filmmaking tools, especially the new models with large sensors and clean HDMI output, allowing an uncompressed 4-2-2 capture in RAW 1080p30. Also, the lightness of the cameras makes them more versatile for documentary filming. I recently adapted a very light por-
Photo Credit: François Aubry
The panel concluded with an interesting discussion of the dream that was expressed by the filmmakers of the French New Wave – the famous caméra-stylo, which suggests that the process of making movies could flow as easily as writing with a pen. Well, that idea is now a reality. It is now possible to produce high-quality movies with a small crew, a low budget and affordable equipment in a short amount of time.
Previous page: François Aubry speaks on the panel. Top: The panel of cinematographers, from left to right, Andrew Zinnes, François Aubry, Carl Elster and Mark Bochsler. Bottom: A moment captured by accident.
This democratization of filmmaking tools now allows a tidal wave of films to be made, which is an excellent thing. It also means that serious filmmakers should return to basics, namely by studying light, composition and colours, the panel said. Canadian Cinematographer - January 2013 •
9
On The Road With Roy
CALGARY
SCARBOROUGH
VANCOUVER TORONTO
EVE
By Kayla-Jane Barrie and Fanen Chiahemen
ABOUT THE AWARD
R
oy Tash was one of the most notable cinematographers in Canada. Born in Brooklyn, New York, in 1898, Tash began filming news footage in Chicago and later moved to Toronto to work with Blaine Irish, shooting the filmmaker’s first feature Satan’s Paradise. Tash is also known for directing the Canadian Government Arctic Expedition of 1924. From July 5 to September 24, 1924, Tash and his crew explored the Canadian Arctic, filming in such locations as Nunavut and Disko Island, Greenland. Tash died in 1988 at the age of 90, but he is not forgotten. Since 1970, the CSC has been honouring
10 • Canadian Cinematographer - January 2013
the best cinematography in broadcast news with the Roy Tash Award for Spot News Cinematography. It was first awarded to Teri Culbert for CFPL-TV London. The trophy is designed to reflect the 35 mm Bell and Howell “Eyemo” (model PH330), symbolic of the era in which Tash began his career. The spring-wound camera takes an internal load of 100 feet of 35 mm film to shoot a minute of footage. Every year, the trophy resides with the winner, who keeps it until a new winner is announced. Kayla-Jane Barrie
LONDON
CLAREMONT GUELPH
MOSCOW
PARIS
TOTTENHAM
TOKYO
BEIJING
ERETT
Peter Woeste
1971
GORD Edick
1978
Andrew Lawson
2011
See where the trophy has travelled
2012
Andrew Lawson Photo: Scott Lightfoot Gord Edick Photo: Monica Edick Peter Woeste Photo: Martin Wood
Phillip C. Pendry
Year Winner Affiliation Cities 2012 Andrew Lawson CTV News Scarborough, Ont. 2011 Gord Edick Global News Toronto 2009 Cheng-Hsian Chang CTV News Beijing 2005 Kirk Neff Citytv Guelph 1992 Richard Games CFCN Calgary Calgary 1987 Doug Baird CBC Vancouver Vanouver 1978 Peter Woeste csc CKY - TV Winnipeg Calgary 1975 Walter Corbett csc Global Toronto, Claremont, Ont.; Sharon, Ont.; Tottenham, Ont.; Everett, Ont. 1971 Phillip C. Pendry CBC England London (England), Paris, Moscow, Tokyo
Canadian Cinematographer - January 2013 •
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H
aving survived an apocalyptic ice age, humans live in bunkers under 150 feet of snow, raising animals for food and enduring frigid temperatures, illness and internal strife. So goes the premise of The Colony, a new film by Jeff Renfroe, starring Laurence Fishburne, Kevin Zegers and Bill Paxton, and due out later this year. The film follows the survivors of Colony 7 as they try to regain contact with Colony 5, the only other known human settlement.
and computers there that look like they’re from the ‘70s.”
The Colony was the first feature to be shot at Canada’s famed North American Aerospace Defence Command, a unique underground military complex located in North Bay, Ont. The bunker is the size of a shopping centre and sits 60 storeys beneath the Earth. The excitement of shooting at the NORAD base, which served as the set for Colony 7, is clear from director of photography Pierre Gill csc’s description of it. “It looks like an old ‘60s James Bond movie when you go in there,” he says. “It’s a secret base built under a mountain, but there are still some machines
The production tackled it by settling on two distinct looks for each of the colonies: one colony would look colder, with cyan blue tones while the other would have a warmer, amber tone. But for Gill the question was how to create distinct looks in underground tunnels, especially when some of them are 300 feet long. “Dark is not necessarily interesting if it’s just black. I think it’s more interesting if you can feel something,” he says. “But there were a lot of tunnels, and in a tunnel you see the ceiling, sides, floor, everything, so you cannot light very much unless you spend
12 • Canadian Cinematographer - January 2013
While it may have been a privilege to film in the country’s most secure military complex, doing so had its obstacles – it meant having to light in tunnels, exposing camera equipment to freezing temperatures and recreating heaps of snow. “It was a big challenge,” Gill confesses.
Overcoming
Darkness and Cold Pierre Gill csc Braves
The Colony By Fanen Chiahemen
hours and hours trying to figure out a way and hiding lights.” Having a few similar special effects movies under his belt, the cinematographer knew that fluorescent lights would enable him to shoot a lot of footage in a short period of time. For The Colony, with the help of production designer Aidan Leroux and set decorator Joe Susin, Gill was able to devise an efficient way of lighting the set using single-source fluorescent T5 lights, provided by PS Production Services, which he hid behind columns and pipes. “They’re very small and very powerful,” he says, which meant he could put them far away and still have enough light to shoot. “Plus because they’re very strong you can diffuse them a lot, and the ALEXA can take it,” he adds. For Colony 5, which was set in the sewers of North Bay, with the
help of his gaffer Terry Banting, Gill created an amber colouring by adding gels to the lights. To ensure that the audience could see the actors in the dark tunnels, he requested that the characters carry flashlights in their survival kits. “The art department found a basic Black & Decker type of flashlight that is fluorescent and very strong,” Gill says. “The actors would have them on a strap. They looked amazing in the sewers because everything was amber but there were counterpoints of light, little pieces of cyan blue. So you’d have a long corridor and you’d see the actor turn the corner, and you’d have a cold blue streak of light, and it looked very nice because the mixture of colours was very interesting and pleasing, because you have some warm and some cold at the same time. “Often I would tell Laurence Fishburne, ‘Okay, Laurence, can you aim your flashlight on this wall so it will bounce back on the face of the other actor? He was like, ‘Okay cool,’” Gill continues. Canadian Cinematographer - January 2013 •
13
Photo Credits: Michael Gibson
Top photo: Fresh snow was brought into the hangar with a bulldozer. Bottom: Gill used fluorescent lights and flashlights for the tunnel scenes.
14 • Canadian Cinematographer - January 2013
“Or for example, at one point they’d try to unlock a door, and I’d say, ‘Okay, can you just look around so your flashlight will sweep the tunnel?’ It was fun because it created a movement of light, and also it created more tension.”
So Gill created a skylight, also using T5s softened with heavy silks, to simulate a cloudy sky. “And that worked great,” he says. “In the morning, you come in, you turn it on, and it’s lit, and you just add wind and smoke. There was a huge bridge sequence with a lot of action over five days and we did tons of shots. We would never have achieved this outside.”
Shooting with Panavision Primo anamorphic lenses, Gill was also excited to be able to create some interesting light flares. “I knew it would create an amazing look, especially because anamorphic Then there was the problem of the snow. “After two takes the brings the actor closer to the camera. When you use anamorphic snow will be black. Fake snow on top of fake snow needs time and money,” he says. “I told producer Paul lenses you can use a 45 mm lens, and it’s the Barkin, ‘Look in North Bay and find an airsame as using an 85 mm lens in spherical,” he plane hangar and bring in some real snow.’ explains. “In spherical you would be at 15 feet “It’s important to do That’s what we did. We built a set, and then from the subject, but with anamorphic you’re lighting and colour on set with a big bulldozer brought in tons of fresh 6 or 7 feet from the subject. So the subject is snow. You could also see the actors’ breath; it closer to the camera, so it gives a very differso you’re not trying to was minus 20. It looked so real.” ent feel in a theatre. It was a great decision, it find a look in post.” looks awesome.” What perhaps thrilled the cinematographer most was being able to apply the colour directWhen it came to shooting exteriors, ly on set due to the presence of a Technicolor which involved snow, sun and scenes at a suspension bridge, Gill knew that the only option on a 23- On-Set Truck, a mobile grading suite and digital intermediate day shoot was to film indoors and rely on CGI. “Shooting render station. outside wouldn’t work because we couldn’t have sun in the film. It goes against the script,” he says. “You need a lot of “In the trucks they have a real Baselight so you can do real colour contingency because you can’t control nature – it’s winter, timing. After a scene you can go check out your scene, tweak it and you know exactly how it’s going to look,” Gill says. maybe it’ll rain, snow.”
Canadian Cinematographer - January 2013 •
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For DI colourist Drake Conrad, being on set, and working in the truck – which features primary colour grading with 2K playback, as well as an onboard edit suite – also streamlined his process. “Pierre would set a very specific look with the lighting,” Conrad says. “So he’d call me onto the set to look over his shoulder at the monitors while they were shooting. And then later in the day he’d come into the truck and set the colour with me in the grading suite. What helps with being out there is understanding the lighting and knowing what’s gone into setting up the scene.”
Having such tools at hand injected Gill with a new enthusiasm for his work. “Three years ago I was depressed,” he confides. “I wasn’t sure if I wanted to be a DP anymore because I was looking at digital and I was like, ‘Film is so much better.’ I was honestly thinking about changing my job. Because I don’t want to ‘capture’ stuff and have the camera decide what will be the look of my work, I want to tell the medium how to behave. I want to be shooting stuff, and I want to be lighting stuff. And when the ALEXA came out I was like, ‘Now, that’s better.’ And I used it on The Colony, which is my first digital feature. And now with postproduction facilities like the DI truck, it’s awesome, it’s just unbelievable. I’m very excited; I’m like 12 years old again. It’s given me a new boost for my DP career.”
O O O
Photo Credit: Michael Gibson
The practicalities of the Technicolor OnSet Truck have deeper implications for Gill. “I’m crazy about it. I cannot work any other way now. First of all it moves; it’s just like a motorhome. It’s very versatile,” he says. But he also relishes the advantage of being able to create dailies based on his vision before getting to post. “I love post, I know what you can do with the tools, but it’s very important to be able to do the lighting and colour on set so you’re not trying to find a look afterwards in post.”
On set at the NORAD base.
16 • Canadian Cinematographer - January 2013
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Tech Column
New digital recorder bumps up the bar
T
he thing about the future is that it’s here before we’re really prepared for it. Of course, the future is tricky. Just when you think it’s arrived, it disappears. Anyone remember Betacams? Laser Disks? The trend to RAW and 4K capture, however, looks like it’s permanent and there’s already a ripple effect throughout the industry. Convergent Design, which has spent more than the last decade developing video products, sees that ripple as a wave it can ride to future growth. The Colorado-based manufacturer is about to finally release its Gemini RAW video recorder, which can record 2K/4K Raw simultaneously in either full uncompressed or Avid DNxHD. It’ll take four streams in Avid DNxHD and it can also be configured to record 120 fps. The Gemini RAW is an up-model to the Gemini 4:4:4, but the developers are quick to point out it doesn’t replace the 4:4:4, just adds more features and more options. Convergent Design figures compressed HD is likely to go the way of Betacams in the next 10 years. The point being RAW gives you everything and doesn’t limit options down the road. They’re also betting 4K will be the accepted standard. Even if the production is done in Avid DNxHD, RAW archives may prove invaluable for future use and, because the file sizes are smaller – and memory prices continue to drop – there’s almost no downside. What you get is surprisingly small. Like the 4:4:4, the RAW is a 5.4 x 4.7 x 1.45 inch box weighing in at 1.35 lbs. in an aluminum case. It has two 1.8-inch SSD slots for 256GB / 512GB drives, a 1.8-inch SSD Transfer Station compatible with Seagate GoFlex Adapters (USB 3, FW-800, Thunderbolt), is PC/Mac compatible with a bright five-inch LCD which is sunlight viewable 800 x (RGB) x 480 Pixels and is also a touch control screen. No prices have been set yet, but with the Gemini 4:4:4 selling for about $6,000, figure it to release just a little north of that. The digital audio i/o is a high-definition serial digital interface (HD-SDI) with four channels, uncompressed in 24-bit, 48K with an analogue port for a 3.5 mm output jack, headphone or consumer level line. The device would have shipped this fall, says company President Mike Schell, but the future got in the way. “We held it because there are new SSDs coming in the New Year, and we’re going to see data rates go from the current 250 Mbps (megabits per second) to 450 to 500 Mbps so everything is going to go a lot faster,” he said, adding that the unit will be released in the spring though pricing is still to be announced. “We’re still reviewing pricing every day, I think, around here.”
18 • Canadian Cinematographer - January 2013
Indeed, with High Frame Rates (HFR) and RAW being the buzz of the industry, data rates will be the turning point of many conversations as production houses realize that ripple effect means they’re going to have to upgrade their production gear to handle not just the bigger files but higher transfer speeds. Still, he said, the streaming rates for 4K RAW aren’t as high as some might think. “Compared to uncompressed RGB it’s not so bad,” he said. “With 4K RAW with the Canon at 24 frames it’s about 265 Mbps, and at 60 frames its 630 Mpbs. With 2K Raw it’s about 70 Mbps, a big drop so not that taxing.” The cumulative stream rate is critical because the Gemini RAW can capture four cameras at once at 2K and two at 4K, he said, and that’s also a ripple effect of the disruption going on in cameras. As technology drives prices down and quality up, shooting with two or more cameras is much more affordable. “Everyone is going with standard SSDs,” Schell said. “They ship them to postproduction and they download them and then reformat them and send them back.” Of course, on a feature that’s all going to add up to an awful lot of data Schell notes it’s already pushing change in the industry and driving demand for bigger, faster hard drives and faster more multitasking processors. “When they shot Tomb (action feature starring Arnold Schwarzenegger, Sylvester Stallone, directed by Mikael Håfström) last May, they shot uncompressed ARRIRAW and ended up with 70 terabytes (70,000 Gb),” he said. Convergent Design cut its teeth in the marketplace with its nanoFlash product, billed as the world’s smallest, lightest pro HD/SD, which has proven a huge hit with broadcast and ENG. With 5,000 customers in ENG and big broadcasters like BBC, ABC and NBC – which used the nanoFlash at the London 2012 Olympics – Convergent Design has a solid footing. The new Gemini recorder, said Schell, should span not just their existing markets but also extend into the feature film industry where they’ve already established a beachhead with the 4:4:4. Ian Harvey is a veteran Toronto-based journalist who writes for a variety of publications and covers the technology sector. He welcomes feedback and eagerly solicits subject matter ideas at ian@pitbullmedia.ca.
Edmonton Film Cooperative wants your unused Arri 35 mm camera. Do you have film cameras languishing on a shelf? Give it a new life, give it to a film coop and we will give you a healthy tax credit. Have a 35BL, a 235, a 435 gathering dust because everyone is Red cam nuts? Have other great camera accessories? Let us know, let’s make a deal. Contact Andy @ rentals@fava.ca and work a great deal. Short-Term Accommodation for Rent Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on English Bay with secure underground parking, $350 per week. Contact: Peter Benison at 604-229-0861, 604-229-0861 or peter@peterbenison.com. Liberty Village Office Space Approximately 1,250 sq ft of fully furnished, turn-key office space in prime Liberty Village location available to established television or new media production company in shared office setting. Features include glassed boardroom, 2 closed door offices, internet access, alarm system and shared kitchen. Please reply by email to john@hlp.tv or call John at 647.891.4027 Equipment for Sale AATON XTR SUPER 16. Camera package includes body, video relay optics, extension eyepiece, three magazines, Cooke 10.5mm-60mm S-16 zoom lens, zeiss 9.5 prime lens 4x4 matte box, 4x4 filters (85, 85N6 polarizer, ND6, clear) follow focus and cases – $12,000 Separately:- Nikon 50mm300mm F4-5E.D. lens with support – $1000- Kinoptik 9-8mm-35mm format lens comes with sunshade – $1,400. Contact: stringercam@shaw.ca 1- Nikon 200mm F2 Century Conversion PL mount, std film gears on focus and iris (32 pitch-mod 0.8), Duclos reversing gear, shipping case included $4,500 excellent condition 1- Angenieux 25-250 T3.9 Arri bayonet mount with PL adapter, std film gears on focus, zoom, and iris (32 pitch-mod 0.8), lens support and collar, shipping case included $2900 1- Angenieux 25-250 T3.9 Arri PL mount, std film gears on focus, zoom, and iris (32 pitch-mod 0.8), lens support and collar, shipping case included $2900 1- Tamron 300mm F2.8 Arri bayonet mount with PL adapter, std film gear on focus (32 pitch-mod 0.8), 42mm filters: clear, 2 x 85, shipping case included $1,200 2- Tamron 180mm F2.5 Arri bayonet mount with PL adapter, std film gear on focus (32 pitch-mod 0.8), $900ea 1- Carl Zeiss Jena (DDR)180mm F2.8 Pentacon Six mount, with Arri PL adapter and Micro 4/3s adapter, $1,000 iris can be de-clicked and std film gears on focus and iris (32 pitch-mod 0.8) added on request $750 1- O’Conner 50 fluid head with Mitchell, Mini-Mitchell, 150mm ball bases and tie-downs, 2 quick release plates extra hardware (pan module needs fluid) $500 2- Working Chrosziel Fox single channel wireless systems and many spare parts: 4- working Handsets, 2- working MDRs, 1- dead MDR, 2- working FMG-6 motors, 1- working but jumpy FMG-6 motor, 1-FMG-6 motor for parts, all handsets have been converted to Sony L batteries, 2 Battery chargers, 3 batteries, 4 straight antennas, 4- 90º antennas, 28 focus scales, 4- 0.8 32 DP motor to lens gear, 3- 0.8 32 DP motor to lens gear (extended for lens travel), 3- 0.6 40 DP motor to lens gear, 4- 0.5 48 DP motor to lens gear, 4- 0.4 63 DP motor to lens gear, 7 motor cables, 4 Arri 24Volt power cables, 2- Aaton 12Volt power & run cables, 1- Heden motor cable, Arri 12Volt film camera power cable, 2-Panavision 24 Volt power cables, 1 12 Volt Aaton power cable, 1 P-Tap power cable, 1- Aaton run cable, Arri SR3 run cable, Moviecam run cable, Panavision run cable, 1- Video camera run cable 1- Arri 11 pin Fischer run cable $2500 Contact: stephen.reizes@gmail.com AATON XTR SUPER 16. Camera package includes body, video relay optics, extension eyepiece, three magazines, Cooke 10.5mm-60mm S-16 zoom lens, zeiss 9.5 prime lens 4x4 matte box, 4x4 filters (85, 85N6 polarizer, ND6, clear) follow focus and cases – $12,000 Separately: - Nikon 50mm-300mm F4-5E.D. lens with support – $1000 - Kinoptik 9-8mm-35mm format lens comes with sunshade – $1,400 Contact: stringercam@shaw.ca 1) Panasonic 3D Professional Full HD Video Camera (AG-3DA1) The AG-3DA1 is the world’s first professional, fully-integrated Full HD 3D camcorder that records to SD card media. The AG-3DA1 will democratize 3D production by giving professional videographers a more affordable, flexible, reliable and easier-to-use tool for capturing immersive content as well as providing a training tool for educators. At less than 6.6 pounds, the AG-3DA1 is equipped with dual lenses and two full 1920 x 1080 2.07 megapixel 3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p in AVCHD. Camera is very new. Includes Kata Carrying case, 4 batteries. To view photos/questions email frank@ tgtvinc.com or call 416-916-9010. Asking price: $17,500 (includes tax). Will ship out of province. 2) Proline 17 inch Teleprompter Included is both PC AND Mac versions for our industry leading Flip-Q teleprompter software. Flip-Q automatically “Flips” the secondary output on your laptop so both the operator and talent will see perfect reading left-right text. The ProLine 17 standard LCD panels are the lightest weight, lowest profile designs in their class. In addition, they offer both VGA and composite video inputs adaptable with any computer output or application. They also offer flexible power options including 100-240V AC or external 12v DC input. Price includes Tripod attachments and Pelican carrying case. Complete tool-less set-up. To view photos/questions email frank@tgtvinc.com or call 416-916-9010. Asking Price: $2,000 (includes tax). Arrisun 5 - Arri 575w HMI PAR: 575W HMI lamp head, barn doors, 5 lenses with case, 50ft cable, 575W/1200W electronic ballast, spare bulb and a large solid traveling case. 214 hours on the head. all in excellent condition $5,900 stefan@stefan-n.ca
Sony PMW-F3 with S-Log Excellent conidition with low hours, Optional RGB S-Log upgrade installed, Kaiser top handle, Optional on-board mic, 32GB SXS card “A series” - 100mb/sec, All factory accessories and manual $11,000.00 Shape Composite F3 Shoulder Mount - NEW NEW!! Never Used. Still in box. Can be used with Panasonic AF-100, Sony FS-100, FS-700, HDSLR, Canon 5D, 7D, 60D, Black Magic Cinema, Red MX, Red Scarlet, Red Epic $800.00 new plus shipping and taxes. Asking only $600.00 GoPro Hero2 camera - Outdoor package In excellent condition with minimal use 11MP HD HERO2 Camera, Waterproof Housing (197’ / 60m), HD Skeleton Backdoor, Rechargeable Li-ion Battery, USB Cable, Helmet/Chest Strap, Head Strap, unused Adhesive Mounts, Three-Way Pivot Arm, Manual/instructions, 4 GB SanDisk SD card, Original packaging $300 Photos available. Contact John Banovich 604-726-5646 or JohnBanovich@ gmail.com Nikkor AF-S VR 500mm F 4 IS ED Lens. Super rare and very hard to find!!! Serial # 204153 Perfect condition. Not a scratch on it!!! Only one year old. Included Hard Shell Case, Lens Hood, Lens Strap, Case strap. Come with Manfrotto Carbon Fiber tripod, Jobu head and Jobu Mounting Bracket. Asking price $9000.00 gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) BL III Camera Kit $3750 Or Best Offer gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) ARRIFLEX BL3 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE SHUTTER, FULL 35MM GATE, VIDEO TAP ELBOW, 2 X ARRI 400’ BL MAGAZINES, 2 X POWER CABLE, CASES FOR CAMERA, MAGS. BL IV Camera Kit $8,950 Or Best Offer gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) ARRIFLEX BL4 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE SHUTTER, FULL 35MM GATE, ARRIGLOW MODULE AND ARRIGLOW GROUNDGLASS IN RED, CEI COLOR 4 VIDEO TAP CAMERA AND ELBOW, CEI ELECTRONIC RETICLE GENERATOR, BL4 VIEWFINDER EXTENSION, WIDEANGLE EYPIECE WITH HEATED EYECUP, POWERCABLE FOR HEATED EYEPIECE, ARRIFLEX 4 x 5 SWINGAWAY MATTEBOX, ARRI FF2 FOLLOW FOCUS WITH EXTENSION, WHIP AND 2 GEARS, 15MM ARRI SLIDING BASEPLATE SET WITH 2 X 18” AND 2 X 12” STAINLESS STEEL 15MM RODS, 5 X ARRI 1000’ BL MAGAZINES, 2 X ARRI 400’ BL MAGAZINES, 3 X DOUBLE POWER 12 VOLT BATTERIES, 2 X 12 VOLT CHARGES, POWER CABLE, CASES FOR CAMERA, MAGS, MATTEBOX, ETC.,FILM TEST HAS BEEN SHOT. gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) JVC GY-DV300 Broadcast Quality camcorder. 4x3 or 9x16 switchable 750 horizontal lines with several extra batteries and carrying case. Plus and external Shure VP88 stereo microphone with Rycote bracket and wind screen with high wind cover and extra mic cables. Asking $ 1200.00. Contact Robert Bocking csc 416 636-9587 or rvbocking@rogers.com for more information. Equipment for sale!! All equipment in excellent shape!! Panasonic AJHDX900P High Definition Camera, Panasonic Stereo Microphone, Canon Zoom Lens 8x160 (J20a x 8B4 IRS), Dionic 90 Anton Bauer Batteries & charger, Anton Bauer mini fill light 12 V, Marshall 7” HD-SDI LCD Monitor & accessories, 2 x Porta Brace camera bags, Sony Digital Betacam (DVW700) and accessories, Sachtler fluid head VIDEO 20 III & Sachtler tripod legs fibre & fibre case. Call 613-255-3200, Total $ 25,000.Item for sale: Meerkat Jib Arm, made by FILMAIR INTERNATIONAL. This is a mini jib for full complement 35mm camera, lens and mattebox combination. It is a fixed length jib, very easy and fast set-up. Can be used on any dolly or tripod. Jib arm is in very good condition. Comes with four weights and case. Full specs are on website: http://www.filmairinternational.com/camera_mounts. asp#MEERKATJIB Price $ 2,400. Contact: Milan Podsedly csc milan.podsedly@gmail.com cell: 416 409-5758 Super 16 Bolex H 16 conversion, Switar 10mm, Macro Switar 26mm, Macro Switar 75mm Pistol grip, filter holders, Nikon to C mount adapter $2900.00 Call Antonin 647 999 7172 PL mount prime lens set (Sony) 35mm, 50mm 85mm all T2.0. Mint condition. Used briefly for one shoot $5200.00 John Banovich, csc 604-726-5646 JohnBanovich@gmail.com Panasonic BT-S950P 16:9 / 4:3 SD Field Monitor for Sale (Excellent Condition) - $100. Portabrace included Please contact Christian at (416) 459-4895 or email cbielz@gmail.com OWN A PIECE OF CINEMA HISTORY: selling a vintage Bell & Howell 2709 camera with mags. THE film camera of the 1920s and ‘30s; assorted other goodies. Contact: dkoch198@hotmail.com. VIDEO & AUDIO GEAR FOR SALE: (2) HVX-200 Panasonic P2 Camcorders $1,500 each; (1) DSR1500 Sony DVCAM recorder, $1,500; (1) Sony DSR-1 DVCAM dockable recorder $1,000; (3) Sony PVV-3 Betacam recorders $500 each; (3) Mitsubishi XL25U video projectors $500 each; (1) Mackie 1604VLZ audio mixer $500; (1) Glidecam PRO2000 camera stabilizer $200; (1) Glidecam DVPRO RIG camera stabilizer $300; (1) Yamaha P2075 amplifier 75W stereo/150W mono $500; (3) HVR-Z1U Sony HDV camcorders $1,000 each; (1) Sony DSR-300 DVCAM camcorder $1,500; (1) For-A VPS-400D 8 input SDI switcher $2,700; (2) Sony WRT822/WRR861 wireless transmitter/receiver – no mic - $750 each; (2) Sony BRC-300 remote control P/T/Z cameras $1,990 each. Call Ted Mitchener at ZTV Broadcast Services 905-290-4430 or email ted@ztvbroadcast.com. Services Need your reel updated? Looking for an editor? I am a CSC associate member who is also an editor with my own FCP suite. I am willing to trade my edit suite time in exchange for rental of your gear, or shooting advice, or both. Please send email to miurabucho@gmail.com. Camera Classified is a free service provided for CSC members. For all others, there is a one-time $25 (plus HST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have items you would like to buy, sell or rent, please email your information to editor@csc.ca.
Canadian Cinematographer - January 2013 •
19
Camera Classifieds
Equipment Wanted
PRODUCTIONS & CALENDAR
CSC Member Production Notes Arctic Air II (series); DOP Bruce Worrall csc; B Cam Operator & 2nd Unit DOP Pieter Stathis csc; to December 14, Aldergrove, BC Arrow (series); DOP Glen Winter csc and Gordon Verheul csc (alternating episodes); to April 18, Vancouver, BC Bates Motel (series); John Bartley csc, ASC; B Cam Operator Ian Seabrook csc; to January 24, Vancouver, BC Beauty and the Beast (series); DOP D. Gregor Hagey csc & David Green csc (Alternating episodes); to April 13, Toronto, ON The Listener IV (series); DOP James Jeffrey csc; B Cam Operator Kit Whitmore csc to April 13, Mississauga, ON Nikita III (series); DOP Glen Keenan csc & Rene Ohashi csc, asc (alternating episodes); B Cam Operator Peter Sweeney; to April 13, Toronto, ON Reasonable Doubt (feature); DOP Brian Pearson csc; to December 17, Winnipeg, MB Rookie Blue IV (series); DOP David Perrault csc; to January 25, 2013, Mississauga, ON Seed (series); DOP David Makin csc; to December 14, Dartmouth, NS Supernatural 8 (series); DOP Serge Ladouceur csc; OP & 2nd Unit DOP Brad Creasser; to April 19, Burnaby, BC
Calendar of Events January
March
17-27, Sundance Film Festival, Park City, Utah, sundance.org
2-3, CSC Advanced Lighting Workshop, Cars, Toronto, csc.ca
19-20, CSC Lighting Workshop, Toronto, csc.ca
14-25, International Film Festival on Art, Montreal, artfifa.com
25, CSC Awards entry deadline, csc.ca
23, CSC Awards, Westin Harbour Castle Conference Centre, Toronto, csc.ca
February 1-10, Victoria Film Festival, Victoria BC, victoriafilmfestival.com
April
9-17, CSC Digital Assistants Course, Toronto, csc.ca
5-14, Cinéfranco, Toronto, cinefranco.com
15-26, Rendez-vous du cinéma québécois, Montreal, rvcq.com
11-20, Images Festival of Independent Film & Video, Toronto, imagesfestival.com
28-March 3, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest.com
20-21, Lighting Workshop for Faces, Toronto, csc.ca 25-May 5, Hot Docs, Toronto, hotdocs.ca
Subscribe online to Canadian Cinematographer at www.csc.ca VANCOUVER
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604-527-7262 403-246-7267 VANCOUVER CALGARY
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20 • Canadian Cinematographer - January 2013
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The future, ahead of schedule
Sony changes everything with the introduction of their new F-Series cameras.
4:2:2/4:4:4 at high frame rates. It also supports a high frame rate acquisition at 60p and 120p, or up to 240p fps.
What happens when Sony’s top engineers spend years consulting cinematographers and creating breakthroughs in sensors, image processors, codecs, recording media and ergonomic design?
The future is built in. Sony has designed the F5 with the ability to adapt and change. The F5 is small, light and modular, allowing you to configure the F5 for each job or each shot. As well as offering a choice of formats and internal and external recording options, the F5 offers a new PL mount lens system that’s compatible with any brand of photo lenses. You can also attach a variety of high quality viewfinders to the F5, including Sony’s revolutionary optional DVFEL100 OLED viewfinder featuring 720p resolution.
The new Sony F5. Sony’s PMW-F5 4K capable digital camera, with its new 8.9 MP Super 35mm image sensor captures gorgeous, super-sampled HD and 2K while preparing you for the 4K future. You want feature quality imaging? The F5’s exposure latitude is rated at 14 stops of dynamic range for truly film-like rendering of highlights and shadows, even in low light. The Sony F5 – the next generation of the incredibly popular F3 – offers robust built-in recording modes. The F5 records to SxS+ cards internally at 50 Mbps 4:2:2 8-bit and that’s just the start.
Get a peek at the future. Talk to a member of our Professional Video Solutions Group. Ask about the F5, along with its big brother the F55 – among the first digital motion picture cameras with a global shutter, completely eliminating motion skew and rolling shutter distortions. Then, to make sure you get your F5 or F55 ahead of schedule, place an order today at Vistek.
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It can record in the Sony HDCAM SR (TM) 4:2:2/4:4:4, and even a new high bit rate XAVC production codec that supports 10/12 bit
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