Codex has announced Codex Action Cam, an ultra-compact, all-in-one, digital cinema camera and recording package for 2D and stereoscopic 3D production. The camera is designed for use as a supplement to larger camera systems on commercials, TV and movie productions as a companion camera when regular camera packages are too large for the situation or location in which the production is trying to shoot. The new camera will be on display at the National Association of Broadcasters show in Las Vegas April 7.
Panasonic has unveiled a 4K camera/recorder, VariCam 35 that incorporates a newly developed super 35mm MOS image sensor and the company’s AVC-ULTRA family of video codecs. The new camera handles multiple formats including 4K, UHD, 2K and HD and is designed for high-end filmmaking, and commercials and episodic production as well as live 4K events.
The deadline and budget were tight. The client – a leading maker of iconic, affordable jeans – wanted stills and a beautifully photographed film-style location-shoot commercial turned around in one day.
Some of the world’s leading manufacturers of camera systems, lenses, lighting equipment, workflow technology and other film and television production gear will be on hand when Sim Digital, PS Production Services and Bling Digital, hosts the Sim Technology Showcase on January 30 at Sim’s Toronto headquarters.
The industry doesn’t do as many pilots as in years past, which is a shame, because they can be a valuable format for testing not just story ideas and actors but new technology. In my role covering new cinema technology for the Digital Cinema Society I am often offered gear to test and evaluate, everything from new lighting units and cameras to various digital cinema recorders. Since I need to keep busy earning my living as a director of photography, I honestly don’t have time to run scientific tests, so I prefer instead to use the gear in real world productions I’m hired to work on. You could call me a technology test pilot. I get a better sense of how these tools perform where the rubber hits the road, and it’s a good way to help out the productions I’m working on, pulling in items they might not otherwise be able to afford. The perfect opportunity to put many of these items through their paces came up recently when I was asked to shoot a feature length pilot for a new action/adventure show aimed at young adults entitled, Tribe of the Wild.
Filmmaker Matt Ogens latest effort is a feature length documentary called Meet the Hitlers. When he selects the right for any of his projects his first thought, though, is how best to tell the story is wants to convey. “It all comes down to telling great stories,” said Ogens. “There are different types of stories, and the nature of the story itself may change how I capture it on film. To decide on that, I collaborate with a director of photography and ask what type of camera he or she thinks is best for each project from a creative perspective, but sometimes the reality of a budget may also dictate what cameras are available to me. We will discuss the look I want for the story and then the DP and I will choose the camera.”
Re-creating the past can be challenging for filmmakers, especially when tasked to duplicate the look of a particular time in history for a period movie. Add a tight budget, cramped locations, and underwater photography, and you have the situation James Chressanthis, ASC, faced as cinematographer for the movie The Watsons Go to Birmingham. Based on the novel by Christopher Paul Curtis, the film depicts a fictional family’s 1963 road trip intersecting with an actual terrorist bombing during the civil-rights era.
The creators of the patented iOgrapher mobile filmmaking case for the iPad have announced that the new iOgrapher for Apple iPad 3 and 4 is available for immediate delivery.
Amazing in Motion is a set of projects by Lexus that explore the complexity of motion. The second installation of the brand series, Swarm is a spirited story featuring custom-designed small aircraft known as quadrotors that roam through various locations in Vancouver, Canada at night.
Framestore used 16 Vicon T40 cameras on the pre-visualisation for space scenes in Gravity. Framestore integrated the cameras with Blade – Vicon’s data capture and data processing system – to help create complex and extremely realistic visual effects. They will also use the cameras for pre-vis on the upcoming film Jupiter Ascending.