Framestore Uses Vicon for Doctor Strange
Award-winning UK visual effects company Framestore used Vicon motion capture cameras for Marvel Studios latest superhero film Doctor Strange.
Cameras
Panavision to Showcase Millennium DXL Camera, T Series Lenses at Camerimage
Panavision will showcase many of its newest offerings, including the Millennium DXL 8K Camera and T Series anamorphic lenses at the 2016 edition of the Camerimage International Film Festival, which runs November 12-19 in Bydgoszcz, Poland. Panavision is also presenting two workshops, and exhibiting alongside subsidiaries Light Iron, Lee Filters and Panalux.
Red Digital Cinema Shipping Epic-W
Red Digital Cinema is now shipping the highly anticipated Red Epic-W and the newest Weapon. Both cameras feature the compact design of the DSMC2 form factor as well as the new Helium 8K S35 sensor.
Night Shoot at the Amusement Park
DP Colin Noel says there are certain locations that a cinematographer dreams of shooting and, for him a Ferris wheel at night is one of them. When the music video concept of Hartford, Connecticut-based Bronze Radio Return’s Only Temporary was presented to him, it was an opportunity he couldn’t pass up.
Shooting in Tight Spaces
Cinematographer Gareth Paul Cox recently shot up-and-coming director Aundré Johnson’s tentatively titled project, The Driver, an ambitious 15-minute short that takes place mostly inside a car. It tells the story of a limo car service driver, who ventures off the beaten path to start his own car service using borrowed money from individuals with possible mob ties. For Cox, there were several big challenges for the low budget short, including driving and shooting on L.A. streets without a process trailer, or any serious rigging.
Shooting B&W for a Timeless Feeling
As soon as DP/director Alex Lehmann got the go-ahead to shoot Blue Jay, his first feature film, he immediately knew he wanted to shoot it in black and white, and he knew what camera he was going to use. He’d tested the new Canon ME20F-SH multi-purpose camera for a horror film he was set to shoot, but which never got made. He felt the camera was ideal for Blue Jay because it satisfied several concerns: it works in extremely low light, was affordable and is simple to operate. Shooting in black and white was a creative choice. “We were going for a timeless feeling,” Lehmann said.
Panasonic Offers Firmware Update for VariCam LT
Panasonic has announced a new firmware update for the VariCam LT that adds Raw signal output via two 3G-SDI terminals to an external Raw recorder at 4K or UHD 60p.
Arri Completes Alexa SXT Development
Arri has completed development of the Alexa SXT cameras (Super Xtended Technology).
SMPTE Hollywood Session Topic: Phoneography
The Hollywood Section of the Society of Motion Picture and Television Engineers has announced that the increasingly popular practice of phoneography – the use of smartphones as image-capture devices in film and television productions – will be the topic of its September meeting.
Panasonic, Codex Introduce VariCam Pure
The VariCam Pure is the latest addition to the Panasonic’s family of professional cinematography products. Capable of uncompressed, 4K RAW acquisition, it is a co-production between Panasonic and Codex that couples the existing VariCam 35 camera head with a new Codex V-RAW 2.0 recorder, ideal for episodic television shows and features.
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