Director/DP Hal Long had a challenge. “The producers (including Bill Rogin and Cole Klapman) are committed to having a 4K master for residual use,” Long said. “And for season two, I wanted a 4K camera that would deliver better color accuracy and separation.” Long, a longtime user of Panasonic P2 cameras said that was why both seasons of Gunny Time were shot and finished in 4K with Panasonic VariCam 35 4K cinema camera/recorders.
Horace and Pete is a 2016 web series created, written, and directed by Louis C.K. A distinctive feature of the series is frequent references to highly topical current events during barroom discussions. This was made possible by having less than a week between the production and release of the episodes. It was also one of the reasons that the VariCam 35s were chosen for the show, according to post-production technical advisor Troy Thompson a longtime C.K. collaborator and colorist at New York’s Running Man.
The Hallmark Movies & Mysteries modern day TV western JL Ranch spent this past winter shooting on location in Kentucky presenting director Charles Robert Carner and DP Kris Kimlin with an array of often-unexpected challenges. Facing snow, rain, mud, and temperatures ranging from -11°F to +50°F Kimlin relied heavily on his Cooke S4/i lens package consisting of 18mm, 25mm, 35mm, 50mm, 75mm, and 100mm focal lengths on an Alexa digital camera. “We didn’t expect the elements, so we had to embrace them,” said Kimlin.
To capture the danger, excitement and beauty of a racing competition that has been around for a century a team of young, innovative and resourceful filmmakers and builders worked together to mold a story around an up-and-coming star in the motorsport field and give audiences a riveting, personal look at the Pikes Peak International Hill Climb.
Panavision has joined the growing list of companies to support Cooke Optics’ /i Technology , pledging to build support for Cooke Optics’ /i Technology protocol into its portfolio in the future. Cooke's /i Technology is an open metadata protocol that enables film and digital cameras to automatically record key lens data for every frame shot and provide it to post-production teams digitally.
Panasonic has announced a free firmware upgrade for its VariCam 35 4K and VariCam HS camera/recorders that expands recording options and enables several operational and workflow improvements. This multifaceted upgrade was developed based on the practical requirements and input of cinematographers, DITs, rental and post houses and other VariCam partners.
Panavision has introduced the Millennium DXL Camera, developed through an unprecedented combination of three companies’ contributions: large format optics and modular accessories from Panavision, a brand new 8K sensor from Red Digital Cinema, and new color science and optimized workflow from Light Iron.
Media design and integration firm DigitalGlue is designing the facility for Sneaky Big Studios, set to be one of Arizona’s biggest production companies when it opens in July. Starting with a blank page, the company has selected Sony’s F55 4K cameras as its camera of choice.
AJA Video Systems has released new v1.3 firmware for the Cion 4K/UltraHD and 2K/HD production camera that shoots edit-ready Apple ProRes files at up to 4K 60fps. Cion v1.3 firmware, available today as a free software download, was created based on customer feedback, and adds features that improve the Cion imagery pipeline.
Director James Gunn is using Red’s 8K Weapon camera on Marvel’s latest cosmic adventures in Guardians of The Galaxy Vol. 2. Behind-the-scenes, Codex workflow systems, operated by Santa Monica, London and Atlanta based production services company Shed, are enabling the smooth and speedy transition of a river of 8K data from on-set into post production. The cinematographer on Guardians of the Galaxy Vol. 2 is Henry Braham BSC, who previously used Red Epic cameras on The Legend of Tarzan. He is one of the first DPs to deploy the new Red Weapon camera, fitted with the 8K Red Dragon sensor, on a long-form show, describing it as “the little big camera. Perfectly counterintuitive. And perfect for this production.”