Seattle software developer SpectraCal today released a new version of its CalMan video calibration software with fully integrated direct support for Dolby professional reference monitor models PRM-4200 and PRM-4220.
Manios Digital & Film’s MD7 is a lightweight, 7-inch LED 1080p field monitor that combines an economical price – list is $440 – with a feature set comparable to, and in some cases exceeding, monitors costing several times more. Among the first pros to test drive the MD7 was Curt Pair, a Phoenix-based director of photography and principal of Picture This Productions. Pair, whose credits range from news and documentaries to commercials, corporate media and music videos, conducted camera tests with the monitor at an air show in March. Since then, he’s used it on a pair of real-world assignments: a segment for the Golf Channel series In Play with Jimmy Rogers and a commercial for Ford, all with superb results.
The Chicago Access Network (CAN-TV) operates five public access television stations reaching more than a million viewers in the Chicago metropolitan area. Recently, the non-profit organization began the process of remodeling its 30-year-old studios.
Freddie Wong, co-creator and director of Video Game High School, says his show, an online comedy web series is defined by a lot of action sequences. Now shooting season three, Wong recently discovered Freefly Systems’ MōVI M10 handheld camera stabilizer. “The MōVI M10 allowed complete and unrestricted freedom with regard to camera movement,” he says.
Codex recording and workflow technology was used at the heart of the production to post pipeline on 20th Century Fox’s latest superhero movie X-Men: Days Of Future Past. A combination of Codex Onboard Recorders, in-camera XR recording, and Vault systems, enabled the filmmakers to deploy a variety of Arri Alexa cameras, shooting both native 3D and 2D using ArriRaw, and to maximize image quality on-set and during post-production.
JVC Professional Products Company announces the availability of its Version 3.0 firmware upgrade for its GY-HM600 and GY-HM650 mobile news cameras. Available through the JVC Web site, the upgrade is free to all current GY-HM600 and GY-HM650 owners.
Every production relies heavily on its support equipment. The camera crew behind the hit FX TV series The Americans, which just ended its second season, understands this very well. The show’s cinematographer Richard Rutkowski, and camera assistants Brendan K. Russell and Rory Hanrahan, rely on Anton/Bauer batteries and chargers, Litepanels LED lights, and OConnor fluid heads and tripods for their reliability and durability during stage and location shoots, which helps keep the show on pace and on budget.
Manios Digital & Film will showcase new products from Cartoni, Kinotehnik, PAG and Vocas at Cine Gear, June 4-7 at The Studios at Paramount in Hollywood. Included among several products not previously seen on the West Coast will be PAG’s new Gold Mount (3-Stud Snap-On) compatible, high-current, PAGlink battery, a replacement for all Anton/Bauer Li-Ion batteries. The new battery, which made it onto several “Best of” lists at NAB, is compatible with Gold Mount camera plates and Anton/Bauer Li-Ion chargers, and can be can be linked to create a high-capacity Li-Ion power source on location.
SolidAnim has introduced the latest version of SolidTrack for the film and broadcast industries. The company says SolidTrack provides a more ergonomic and intuitive solution dedicated to camera tracking and visualization of complex VFX shots, dealing with green screen compositing, 3D rendering, and complex camera moves.
The 2011 Rise of the Planet of the Apes unleashed a cross-species thriller and, on July 11, the sequel, Dawn of the Planet of the Apes, directed by Matt Reeves and shot by cinematographer Michael Seresin will debut in U.S. theatres. Although most 3D movies currently are shot in 2D and converted to 3D in post-production, this movie was shot in native 3D. Seresin, who also shot a significant portion of Gravity, faced his first experience shooting native 3D. Although he doesn’t consider himself a “technical cinematographer,” Seresin felt confident. “Lighting, composition, and camera moves is what I like,” he says.