Film & Digital Times Issues 36-38 - Imago

Jon Fauer’s
www.fdtimes.com Dec 2010
Issues 36-38
The Journal of Art, Technique and Technology in Motion Picture Production Worldwide
WHOLE FDTIMES CATALOG
converging worlds

The Journal of Art, Technique and
Technology for Film, Video and
Film and Digital Times is the journal and guide to technique and technology,
tools and how-tos for Cinematographers, Photographers, Directors, Producers,
Studio Chieftains, Camera Assistants, Camera Operators, Grips, Gaffers,
Crews, Rental Houses, and Manufacturers.
It’s published, written and edited by Jon Fauer, ASC, an award-winning
Cinematographer, Director, and author of 14 bestselling books (over 120,000
in print—famous for their user-friendly way of explaining things as if you
were right there on location with him). With inside-the-industry “secrets-of
the-pros” information, Film and Digital Times is delivered to you by subscription
or invitation, online or on paper. We don’t take ads and are supported by
readers and sponsors.
Foreign correspondent: Oli Laperal, Jr; Marketing Guru: John Johnston
Contributing photographers: Dorian Weber, Yousef Linjaw, Jacques Lipkau
Goyard. © 2010 Film and Digital Times, Inc.
1 Year Subscription, USA 6 issues $49.95
1 Year Subscription, Canada 6 issues $59.95
1 Year Subscription, Worldwide Airmail 6 issues $69.95
1 Year Online Digital (paperless) 6 issues $29.95
Payment Method (please check one):
VISA Mastercard American Express
Check Enclosed (payable to Film and Digital Times)
Credit Card # ________________________________________
3 or 4 digit security code_________________________________
Expiration Date________________________________________
Signature ___________________________________________
Name ______________________________________________
Company ____________________________________________
Title________________________________________________
Address ___________________________________________
City ________________________________________________
State or Province ______________________________________
Country ____________________________________________
Zip or Postal Code______________________________________
Phone ______________________________________________
Fax________________________________________________
Email_______________________________________________
2 Dec 2010
Digital Production
subscribe now
www.fdtimes.com
subscribe online, or fill out this form and send by mail or fax
Film & Digital Times, Inc.
500 East 83 Street / 14a
New York, NY 10028
phone: +1 212-772-8526
fax: +1 212-772-6133
In this Issue
Dec 2010, Issue 36-38 Year End Report
Earthrise ................................................................................................................ 3-4
Martin Hartweg: Cinec Top Chef .................................................................................5
Cameras
Sensor Sensibility .......................................................................................................7
A Cinematographer’s Factory Tour of Alexa ........................................................... 8-12
A Brief Illustrated History of Alexa ..............................................................................13
Origins of Alexa: an Interview with Franz Kraus ..........................................................14
ARRI Alexa at IBC and Cinec ............................................................................... 16-17
Sony SRW-9000PL ............................................................................................ 18-19
Sony PMW-F3... ................................................................................................ 20-23
Aaton Penelope Delta ......................................................................................... 24-25
P+S Technik ...................................................................................................... 26-27
Weisscam HS-2 Mk II ...............................................................................................28
Camera: Work in Progress ........................................................................................29
Ikonoscope ..............................................................................................................30
Phantom Flex ...........................................................................................................31
Sony NEX-VG10 .......................................................................................................32
Sony NEX-5, Fujifilm Hybrid Viewfinder ......................................................................33
FGV Schmidle PL1D ........................................................................................... 34-35
FGV PL1D, 7D, PL5D ...............................................................................................35
Canon Expo 2010 .............................................................................................. 36-38
NHK 8K with Fujinon Lens ........................................................................................39
Panasonic AG-AF100 4/3" Camcorder ......................................................................40
RED Epic .................................................................................................................41
JVC GY-HM790 .......................................................................................................42
Storage
Fujifilm Eterna Vivid 250D, How Film is Made ............................................................42
Storage: Marvin, Cinedeck .......................................................................................43
Codex, AJA Ki Pro Mini, Nexto DI ..............................................................................44
3D
3D Rigs ............................................................................................................. 45-46
Lenses
Angénieux Optimo Zooms ................................................................................... 48-49
Image Stabilization by Larry Thorpe ...........................................................................51
Fujinon Premier 4K+ PL Zooms ................................................................................52
ARRI/Fujinon Alura PL Zooms, ARRI/ZEISS Master Macro 100 ....................................53
ARRI/ZEISS Master Prime, Ultra Prime Lenses ..................................................... 54-55
ZEISS CP.2 Lenses, Lightweight Zoom LWZ.2 .....................................................56, 57
Canon EF Still Lenses ...............................................................................................58
Cooke 5/i, S4/i, Panchro/i .................................................................................. 59-61
Leica Summilux-C Prime Lenses, Factory Tour .................................................... 62-63
Chrosziel and IB/E,Ruby 14-24 Zoom ........................................................................64
Vantage Hawk Anamorphics .....................................................................................65
Lighting
ARRI Lighting ...........................................................................................................67
Gekko and PRG ........................................................................................................68
Litepanels, Ianiro, MoleLED ......................................................................................69
Lowel Trio, Nila SL, Briese ........................................................................................70
Dedo Weigert ...........................................................................................................71
Kino Flo Spiral, Imara, Tegra .....................................................................................72
Lighttools Soft Egg Crates, Airstar Cutter Cloud ..........................................................73
AKS & Support
Moviecam EasyFocus ...............................................................................................75
Transvideo, Transvideo Wireless, Transvideo HDMI ....................................................77
OConnor OCcessories, O-Box ............................................................................. 78-79
iDC System One .......................................................................................................80
Petrol, Kinomatik, Schultz Spray Deflectors ................................................................81
Lentequip, LE-UB Universal Battery, Lentequip Cable Reels ........................................82
Preston Cinema Systems ..........................................................................................83
cmotion, Chrosziel ...................................................................................................84
K-Tek, Screen Plane, Hot Rod ...................................................................................85
Genus, Kata Bags, Manfrotto ....................................................................................86
Denz Flange Depth Controller, Cineparts Eye, Donut ...................................................87
Steadicam from Tiffen, Steadicam Smoothee ....................................................... 88-89
Easyrig ....................................................................................................................90
OConnor 2065, Sachtler artemis, Ronford-Baker .......................................................91
Cartoni Lambda Twin 3D, Maxima, Airfloater ....................................................... 92-93
Solid Grip Systems Camera Cart, Vario and Campilots Aerials .....................................94
Andy’s Skycam FF ...................................................................................................95

2010: Gear this Year
exposure adjustments, film loading, mag changes or digital menu
navigating. Little has changed. Read this edited NASA transcript
on the “making of Earthrise:”
Borman: Oh, my God! Look at that picture over there! Here’s the
Earth coming up. Wow, is that pretty!
Anders: Hey, don’t take that, it’s not scheduled. (Chuckle).
Remember, they only have enough film for 600 black & white or 160
color shots. Commander Borman takes a picture of Earthwise with
magazine E, loaded with black and white film.
Borman: (Laughing) You got a color film, Jim?
Anders: Hand me that roll of color quick, will you...hurry. Quick.
Lovell : It’s down here?
Anders : Just grab me a color. That color exterior...Hurry up!
Borman : Got one?
Anders : Yeah, I’m looking for one.
Lovell : C-368.
C-368 refers to film type SO-368, Ektachrome ASA 64 color
transparency film. Lovell has found magazine B whose images will
eventually get the prefix “AS08-14.”
Taken on December 24, 1968, “Earthrise,” was to become one of
the most influential photographs ever taken. It would evoke emotions,
provoke environmental awareness, and help define an era.
The photograph was originally composed with a vertical moon
surface, but we’ll get to that.
Forty-two years ago, Frank Borman, James A. Lovell, Jr. and William
A. Anders, in Apollo 8, became the first astronauts to exit
Earth’s orbit, and circle the moon 10 times over the next 20 hours.
The mission included high resolution image capture. The Apollo
8 Press Kit explains, “Photography seldom before has played
as important a role in a spaceflight mission as on Apollo 8. A
large quantity of film of various types has been loaded aboard
the Apollo 8 spacecraft for lunar surface photography and for
items of interest that crop up in the course of the mission. Camera
equipment carried on Apollo 8 consists of two 70mm Hasselblad
still cameras with two 80mm focal length lenses, a 250mm
telephoto lens, and associated equipment. For motion pictures,
a 16mm Maurer camera with variable frame rates will be used.
Lunar Stereo Strip Photography (will be done with) overlapping
stereo 70mm frames shot along the lunar orbit.
“Apollo 8 film stowage is as follows: 3 magazines of Panatomic-X
intermediate speed black and white for total 600 frames; 2 magazines
SO-368 (ASA 64) Ektachrome color reversal for total 352
frames; 1 magazine SO-121 Ektachrome special daylight color reversal
for total 160 frames; and 1 magazine 2485 high-speed black
and white (ASA 6,000, push to 16,000) for dim-light photography,
total 120 frames. Motion picture film: 9 130-foot magazines SO-
368 for total 1170 feet, and 2 magazines SO-168 high speed interior
color for total 260 feet.” Hardly a frame to spare.
NASA’s Apollo Flight Journal shows that shooting an Earthrise
was just as frenetic as our ever-popular earthbound sunset
and moonrise shots today. Many crews call it “monkeytime:”
that brief, perfect moment between the daylight and dark,
usually punctuated by a frenzy of lens changes, light readings,
Anders : Anything, quick...well, I think we missed it.
Lovell : Hey, I got it right here!
Anders : Let...let me get it out this window. It’s a lot clearer.
Borman : Well, take several of them.
Lovell : Take several of them! Here, give it to me.
Anders : Wait a minute, let’s get the right setting, here now; just
calm down.
Borman : Calm down, Lovell.
Lovell : Well, I got it right...Oh, that’s a beautiful shot. 250 at f/11.
With the magazine of color film and 250 mm lens, Anders proceeds
to photograph the two iconic shots of the earthrise.
Lovell : Now vary the exposure a little bit.
Anders : I did. I took two of them.
Lovell : You sure we got it now?
Anders : Yes, we’ll get...we’ll...It’ll come up again, I think.
Lovell : Just take another one, Bill.
Bill Anders photographed the Earth coming into view alongside
the moon’s surface. He framed the shot the way he faced, with the
moon’s surface vertical, on the right. It wasn’t until later that photo
editors back on earth would rotate the Hasselblad’s square format
90° clockwise and reproduce NASA’s royalty-free Photo AS08-14-
2383, to become one of the most famous images in history.
A year and a half later, the July 1969 Apollo 11 moonwalk was
simultaneously recorded onto magnetic tape by three NASA
stations. The direct recordings were not broadcast quality, so they
set up regular TV cameras pointed at the small black-and-white
TV screens in the observatories. In the years after, NASA reused
these archive tapes and erased them to record other missions.
About 250,000 tapes from the Apollo era, including many tapes
of the moonwalk, are likely lost forever. Luckily for posterity and
for The Whole Earth Catalog, the iconic Apollo 8 Earthrise photo
was shot on film and couldn’t be erased.
Dec 2010
3

The first Whole Earth Catalog came out in 1968. Like this issue of
Film and Digital Times, it didn’t sell anything. It was a resource,
like an early Google: tools and where to find them.
Stewart Brand, the editor, wrote in his introduction, “The Whole
Earth Catalog functions as an evaluation and access device. With
it, the user should know better what is worth getting and where
and how to do the getting.” About the NASA images on the cover,
“They gave the sense that Earth’s an island, surrounded by a lot
of inhospitable space.” Not coincidentally, the first Earth Day was
celebrated in 1970. It was a pivotal moment. People suddenly realized
that our planet was a fragile place, handle with care.
Fast forward to 2007. Japan’s Aerospace Exploration Agency
launched Kaguya (SELENE), a lunar orbiter that included an HD
video camera developed by NHK. At IBC 2010, one of the hits of
the show was NHK’s new 8K video camera and the spectacularly
life-like images it could produce.
Which brings us to December 2010 and this Whole Film and
Digital Times Catalog of Cool Tools. Our cover says “Converging
Worlds.” Although convergence and 3D certainly has everyone’s
attention, this is the historic year of convergence and collision
between consumer and professional equipment. New cameras
for high-end production were previously introduced at a leisurely
pace of one or two a decade. Now, an annual outing to NAB or
IBC is no longer sufficient; equipment is introduced at a startling
rate with each season, and our pages swell.
This December 2010 issue is a window on where we are in the
technique and technology of motion picture production. Soon,
more people may be “capturing” than viewing images.
The Whole Earth still looks like a fragile place. As Thomas Friedman
recently wrote, 2010 was Earth’s hottest year on record. 98
out of 100 scientists will tell us that our continued carbon emissions
pose enormous risk. 2 out 100 scientists say it doesn’t. A
betting person would bet on the 98 who worry about climate
change. Are we feeling lucky?
Where do we go from here? In 2011, I think we’ll see the unleashing
of 4K. Anamorphic wide screen will lure us back into theaters.
PL mounted lenses will continue to be the standard for high-end
productions. Film will continue to be the standard against which
everything else is compared in 2011. Happy Holidays and may all
your images be beautiful in the New Year.
4 Dec 2010
Left: The Whole Earth Catalog
was published by Stewart
Brand between 1968 and
1972, and sporadically until
1998.
Right: The Astronomer.
Johannes Vermeer. 1668.
Oil on canvas
51.5 × 45.5 cm
(20.28 × 17.91 in.)
Musée du Louvre,
Richelieu, 2nd floor, room 38
Three hundred years before Earth became a brand name on
Brand’s Whole Earth covers, Johannes Vermeer focused our
single-source attention on The Astronomer, with perspective lines
conveniently converging on his celestial globe. It was an excellent
year for astronomy. Isaac Newton completed the first successful
reflecting telescope (using mirrors instead of lenses). In 1668,
astronomy was an excellent profession; celestial navigation was
essential to the Netherland’s thriving economy based on global
trade. Which is why the Astronomer’s green robe is significant.
Christiane Hertel explains, in Seven Vermeers, the Japonsche
Rok was a kimono tailored into a kind of house robe. The
kimonos were given to Dutch merchants on their annual visit
to the Imperial court in Edo (Tokyo), the only time they were
permitted on the Japanese mainland. The remainder of the year,
the merchants were required to live on the island of Deshima. The
Dutch empire was at its height, with spices, silks, teak, coffee, and
tea being shipped from its colonies around the world.
Remember Shogun? The year is 1600. John Blackthorne, English
navigator on a Dutch trading ship, is shipwrecked on the coast
of Japan. He becomes an ally of Toranaga, falls in love with his
interpreter, and is assimilated into Japanese culture.
Banjin, by Andrew Laszlo, ASC (the distinguished cinematographer
and author) continues a couple of centuries later, 1843. Another
shipwreck. A Japanese boy, Masahiro, is rescued by American
whalers and brought to New Bedford, Massachusetts. The
boy is well educated at Exeter, advises Congress, goes back to sea,
joins the Gold Rush in California, and returns home to Japan. He
becomes a political advisor, and helps open Japan to the west as a
leading character in the Meiji Restoration.
Our worlds continue to shrink, along with the size of our cameras,
while their sensors become larger, the number of users multiplies,
as, hopefully, does the appreciation of gorgeous Vermeer lighting.

Martin Hartweg: Cinec Top Chef
A special Cinec Award should be given to Martin Hartweg.
For best food and wine at Cinec, once again, Master Chef and
Caterer Martin Hartweg won the hearts and appetites of all who
were fortunate to visit. Martin presided over Band Pro Munich’s
sumptuous array of fine wines, air-dried meat, olives, and cheeses
from his farm in Italy. The crowds were thick—after detailed
demos of 3D, Sony 9000, Leica Primes, Codex Recorders and
much more by Gerhard Baier, Fred Meyers, Seth Emmons and
the rest of the Band Pro crew, Martin was the next stop. He may
have been the last stop for many who perched on his stools for the
duration of the show, taking a culinary and enological tour of the
Piemonte region. The wines included a refreshing white Langhe
Arneis Rapalino 2009, and a red Barbaresco Cru Fererre Rapalino
2006. The cheeses were Robiola and Tuma. In case anyone was
still hungry, Martin plied them with dried pork filet and luscious
salami from his hometown of Neive, in Piemonte, Italy.
Dec 2010
5

Cameras
6 Dec 2010

Sensor Sensibility
“Check the Gate.”
Even after endless takes of the same scene, in which a director
numbingly has actors repeat the same lines, the AD’s exhortation
to move on is not “Check the script.”
The AD asks the AC to remove the lens, peer inside the film camera
cavity, and declare that all is well. Or not. If there’s a speck of dust
anywhere in the picture area, the dreaded words ring out, “Hair
in the gate,” and with a groan, the scene is usually repeated again.
Digital cameras aren’t much different. You should check the gate
as carefully and as often. Sometimes you can see smudges or
specks on a good monitor. But not always. Therefore, whenever
you change lenses, be careful about dirt or dust flying into the lens
cavity. Watch out on windy days. Check the sensor the way you
checked the gate on film cameras: with a lighted magnifier.
An excellent magnifier is included in the LensPen SensorKlear
Loupe Kit. It focuses, the light is LED, and there’s an opening on
the side with access to clean the sensor. (www.lenspen.com)
Digital sensors are protected by an expensive, coated cover
glass and low-pass filter pack. This is what we’ll be cleaning,
and it should not be the untouchable, forbidden territory we’ve
been warned about. It’s a piece of glass very much like coated
lens elements or mirror shutters we’ve cleaned before. We’re
not touching the individual photosites of the sensor—they are
mercifully protected by this cover glass.
Cleaning the cover glass of sensors is delicate business, and there
lurks great potential for great damage. It’s still best to leave this
to skilled camera technicians. If you’re not comfortable with it,
don’t do it. If the World’s Worst Assistant is working on your job,
keep him away. But, more likely, you’re shooting on the Skeleton
Coast of Namibia. The wind is howling, the salt spray and sand
are flying, and something’s on the sensor from the previous lens
change. You’re 1,100 miles away from Jannie van Wyk at Media
Film Services in Cape Town. Are you feeling lucky?
While there are as many opinions on cover glass filter cleaning as
a New York cabbie’s opinions on the best route crosstown, I have
several favorites. Remember, these are personal opinions. Test it
on an inexpensive stand-in sensor first. It goes like this, in steps.
1. Use the illuminated magnifier to determine what kind of
schmutz is on the cover glass. It’s usually either dry or sticky.
2. Peter Meurrens, VP Operations of Parkside Optical (makers
of SensorKlear) says, “About 75% of the time a simple use of
the hand blower solves the problem. It is quick and you do not
actually touch the sensor surface. By holding the camera upside
down, gravity and vortex swirl of the blower in the chamber takes
the dust outside. Anything remaining after use of the blower is, by
definition, stickier dust.”
3. For stickier dust, use a LensPen. LensPens have been the
winners of the Camera Cleaning Olympics held periodically and
unofficially since 2000. They come in many shapes —our favorite
is the new SensorKlear-II. It has a right-angle probe fitted with
a small mushroom-shaped micro-fiber tip that contains carbon
black to “wick” contaminants away from surfaces like lenses and
cover glasses. Meurrens explains, “The function of the LensPen
SensorKlear-II is to make the sticky dust particle stop sticking.
Most of the sticky dust is held in place by static electricity or by
a small bit of moisture caused by humidity. The SensorKlear-II
Cleaning Pad has 3 corners—used for getting into the 90° corner
of the sensor surface. It also has 3 sides; I like to use these edges
to lightly ‘kick’ the sticky dust particle by approaching it from the
side. The dust particle will either stick to the cleaning pad and I
take it out and blow it away, or the dust particle will move, i.e., stop
sticking. I do not use the flat surface of the Cleaning Pad as I do
not want to push the dust particle down onto the sensor surface.”
4. After removing sticky dust with the SensorKlear-II, use the hand
blower to blow dust off the cleaning tip. One SensorKlear-II can last
up to 200 cleanings, but at $24 each, it’s an inexpensive replacement
to begin fresh with each job. What will severely shorten the useful
life of the Cleaning Tip is to clean the messy residue left on the
sensor surface by other products. For that, use Pancro.
5. Pancro Lens Cleaning Fluid has been the perennial runner-up
in the Camera Cleaning Olympics, and a longtime favorite for
lenses, mirror shutters and eyepieces. Use Pancro if the speck on
your sensor is salt spray, a stubborn stain, or gooey residue that
requires a liquid solvent. Use sparingly. You don’t want the fluid
to leak around the cover glass and onto the sensor’s photosites.
(www.pancro.com) Apply Panchro with ITW Texwipe TX762
Swabs. These are lint-free swabs for cleaning microscopes. (www.
texwipe.com and www.soscleanroom.com)
Dec 2010
7

A Cinematographer’s Factory Tour of Alexa
The words we heard most often at IBC and Cinec were, “It feels
like a film camera.”
ARRI Alexa is the first high-end digital camera that looks and
feels like a film camera, not a motion picture camera that acts
like a video or still camera, nor a still camera that also shoots
motion. The throngs of cinematographers, filmmakers and rental
house personnel trying or buying ARRI Alexas at NAB, IBC and
Cinec attested to the success of this new paradigm. Drawing on
a long heritage of motion picture cameras, with an infrastructure
of film, processing, editing, grading, and printing, ARRI’s Alexa
is an evolutionary development from a company with intimate
experience in the entire process.
Timing was important as well. ARRI promised to deliver the
first Alexa models in June. They did. Alexa’s second sister, Alexa
Plus, was promised to debut in September. She did. This kind of
punctuality inspired confidence, and the next thing you knew,
customers were cajoling, pleading, whining, and pushing to jump
the line of orders.
Now, grizzled veterans of camera purchasing will remember that
the typical turnaround time for first delivery of Arriflex analog
cameras was usually 18 months from the time it was first spotted
under the counter at NAB or Cinec. You had to wait your turn for
the camera to be built, carefully, at the rate of perhaps a dozen a
month. Fast-forward to today, and they’re building Alexas at the
rate of about one every couple of hours.
Why the rave reviews and enthusiasm? Above all, image quality.
The look is very similar to what we’d expect from film: highlights
don’t blow out and shadow details are retained with very little
noise. Colors are abundant; skin tones are true. Alexa handles a
wide 14 stops of exposure latitude, with a base sensitivity of 800
EI. The exposure index is adjustable from 160 to 1600 EI.
ARRI Alexa rests comfortably on your shoulder like an Arriflex
235 or 416, and is equally ergonomic on a head or Steadicam.
Alexa weights about the same as an Arriflex 435. Controls are all
in the right places, down to the Camera-Left Start-Stop button.
(It’s red now, instead of green, and says “REC” instead of “RUN.”)
ARRI Alexa is, dare I say it, the first high-end digital DIT-less
camera. The control panel is familiar to anyone who has used a
recent Arriflex or Arricam. You don’t have to drill down through
layers of complex menus. An elegantly intuitive, Apple-like
interface guides you through the essential choices.
There’s something else. Alexa is built like an ARRI. Which means
it’s really robust, incredibly well made, and solid as a...well, solid
as an ARRI.
8 Dec 2010
Türkenstrasse has changed. The once gritty Schwabing
neighborhood is now one of the toniest in Munich. Mario’s
Restaurant, with its communal lunch tables, has evolved into a
fancy delicacy shop. Former beer bars are now coffee bars with
more varieties of espresso than ever imagined by Starbucks. One of
the best restaurants in Munich is a block away on Amalienstrasse:
Limoni Restaurante. (www.limoni-ristorante.com)
The entrance to ARRI at 89 Türkenstrasse has been renovated. We
enter the familiar main gate, checking in with the gentleman who
may be the industry’s friendliest reception-concierge-guard, and
is a helpful resource for getting directions or phoning for cabs.
The inner courtyard is a blend of styles from ARRI’s ninety years
in this location: stucco, glistening aluminum, stone, and glass.
ARRI occupies an entire city block: Camera Sales, DI Systems
Sales, Assembly, and Service (Arrilaser, Arriscan, Arricube), R&D,
Film Laboratory, Movie Theater, Stages, Audio, Post, Editing,
Camera Service, and Camera Assembly.
Alexa Assembly: that’s what we’re here for today. Up an elevator,
onto the same floors where we’ve been before to see previous
cameras being assembled: Arriflex 16SR, 35-3, 35BL, 435, 535,
235, 416, and Arricam. This is where all other Arriflex cameras
have been manufactured. Alexas are made in the same place,
by many of the same familiar faces. Seven years ago we did a
similar report on Arricam construction. Our Alexa tour was
like a reunion. Camera movements may have been replaced
by electronic sensors, and sprocket rollers have made way for
miniature cooling ducts. But the attention to quality, detail, and
careful construction remains the same.
A day in the life of ARRI Alexa assembly begins with the morning
meeting for planning and discussion, attended by the heads of
departments, below.

Alexa Tour
One hundred cameras...and counting...were delivered worldwide
earlier this year. This is part of the team that builds ARRI Alexas,
above.
This report is not intended as a comprehensive course on how
to build or repair an ARRI Alexa. It is, instead, a tire-kicking
cinematographer’s guide to what is inside, and behind, an Alexa
camera. As Walter Trauninger guided us through the assembly
area, we noticed that the former heavy workbenches were gone.
In their place are ultra-modern, flexible workstations that can be
individually customized by and for each worker. This is key to the
modern, single flow production technique that contributes to the
lean and efficient style of manufacturing.
About 90% of the components come from nearby or are made
in-house. Quality control is key to production, and all parts are
rigorously tested before, during and after assembly. Tested parts
are placed in bins, ready for the next step, below.
Printed circuit boards are tested. Over a hundred test points
are checked for connectivity, tolerance, soldering, resistance,
capacitance, grounding, impedance, insulation, and so on. Next,
the various electronic functions are simulated. Some of the
boards have as many as 18 layers of circuitry in a 1/2 millimeter
thick wafer board.
The printed circuit boards are installed in slots at the base of
the camera. An innovative “radiator fin” dissipates heat from
the sensor and electronics. It works just like your car. Heat is
transferred to the large backbone and then to the fins at the rear
of the camera. A single, large, and almost silent fan draws cooling
air across the radiator. Since the electronics and sensor are sealed
in a weatherproof housing, outside air contacts only the radiator
fins—never the printed circuit boards or sensor.
External contaminants like dust, dirt, salt spray, pollution,
particles, humidity, small insects, and rain are isolated from the
internal camera components. The closest they get is the fan and
the radiator. As bearings wear out, a fan can become noisier with
use. Replacing an Alexa fan is a relatively simple and inexpensive
procedure for your local ARRI rental house or service center.
Assembly continues with installation of the cooling coil, analog
to digital circuit board, system control board, and the power
circuit. Then comes the signal processing, compression, picture,
camera control, and HD-SDI / Accessory Circuit Boards.
The rear fan is installed, followed by the lens mount and 3.5K
ALEV 3 sensor.
Dec 2010
9

Alexa Sensors
Above: Sensors arrive from the foundry on a flexible carrier, arranged like a
circular tray of ice cubes. They must be cut apart, mounted, connected and
protected by a low-pass filter and cover glass assembly, below.
Alexa uses a Super 35mm (16:9, 3-perf size, 25.344 x 14.256 mm)
CMOS sensor. With a factory recommended setting of 800 EI,
the ALEV 3 chip has a dynamic range of 14 stops, and can be
rated from 160 to 1600 EI.
Alexa’s CMOS sensor and optical low-pass filter are custom
designed and fabricated. The 3.5K pixels oversample the image
for 2K files or HD video.
The sensor is only part of the story: imaging circuitry, software,
processing algorithms, as well as proprietary components
contribute to provide the filmic look, wide exposure latitude and
familiar depth of field.
Mode Dimensions Ratio Pixels
Recording ARRIRAW 23.76 x 13.365 mm
0.9354 x 0.5262”
16:9 2880 x 1620
Recording HD 23.76 x 13.365 mm
0.9354 x 0.5262”
16:9 2880 x 1620
Monitoring /EVF 26.136 x 14.702 mm
1.029 x 0.5788”
16:9 3168 x 1782
10 Dec 2010
Specifications
The sensor does a job similar to the emulsion on film. It gathers
the light onto 8.25 micron photo receptors at the image plane.
It is a thin wafer with flex cables on all sides like an octopus. It’s
mounted to a circuit board to keep it rigid, and a low-pass filter
pack is attached. The low-pass filter pack does much more than
prevent aliasing. It cuts UV and IR, and is essential in keeping the
sensor clean and free of dust.
If the low-pass filter pack were at the image plane, it would be like
a dreaded gel filter in the gate: any dust or smudges would show
up in the photographed image. Because the low-pass filter pack
extends away from the image plane, contaminants are slightly
out of focus. However, they are still there, visible in the finished
image. Therefore, whenever you change lenses, be careful about
dirt or dust entering the lens cavity. Check the sensor the way you
checked the gate on film cameras: with a lighted magnifier.
While there are as many opinions on low-pass filter cleaning, I like
the longtime favorite for lenses, mirror shutters and eyepieces:
LensPen and Pancro Lens Cleaning Fluid.
The sensor assembly is attached directly to the rear of the lens
mount assembly (instead of to the camera housing)—flange focal
depth remains constant. Alexas come standard with PL mounts.
However, because there’s no mirror shutter in the Alexa models,
many varieties of flange focal depth can be accommodated: PV,
Canon, Nikon, Leica, and so on.

Flange Focal Depth Image Testing
The PL lens mount and sensor assembly is installed in the front
casting. Adjustment of flange focal depth is done with the same
reliable system of shims used on Arriflex motion picture cameras.
The big difference, however, is that you cannot use your trusty set
of depth gauges. One poke with the pointy-tipped depth gauge
probe, and you’re in for a replacement low-pass filter pack.
There are many ways of checking digital flange focal depth.
Among other tests, ARRI uses collimators, an array of custom
test equipment and the Denz FDC Flange Depth Controller.
Electronic Viewfinder
For the camera operator, the window to the scene is the finder.
Alexa’s EVF-1 color electronic viewfinder uses a 1280 x 720 pixel
F-LCOS micro display and temperature-stabilized ARRI LED
backlight. Color and contrast remain the same at all temperatures.
Adjust the eyepiece diopter by rotating the finder barrel.
The viewfinder can be mounted on the camera’s left or right side
(the image flips). Frame line format, color and intensity can be
called up from the main menu. The electronic finder displays
a line of text above and below the image area for camera status
information. It also shows an additional 10% view surrounding
the scene, so you can see microphones and C-stands conspiring
against your perfect composition.
Push the ZOOM button on the viewfinder to magnify the image
2.25x (1 HD pixel = 1 sensor pixel) for critical focus checking.
Dr. Hans Kiening, left, is Head of
Quality Management and Image
Analysis. He’s familiar to many
cinematographers for his lectures
and tutorials on resolution:
(arri.de/camera/tutorials.html).
His department develops and
performs all tests concerning
Alexa’s image quality, stability and
reliability.
Every Alexa is tested for image
quality: MTF, dynamic range,
color accuracy, and more. The test
area is covered with light-proof fabric because the camera sensor
is so sensitive that stray light from digital watches or reflections
from clothing can be picked up and skew the test results.
Dynamic range and sensitivity are checked with a new, custom
designed test chart. ARRI’s ultra precise spectroradiometer is
capable of measuring 20 f-stops, representing a dynamic range
of 1,000,000:1. The benefit of all this rigorous testing is that every
Alexa will match: multiple camera scenes will intercut seamlessly,
and twin cameras on stereo 3D shoots will be identical.
Dec 2010
11

Service
12 Dec 2010
ARRI’s comprehensive service department
on Türkenstrasse is fully set up to handle
any Alexa problem.
Service technicians from ARRI facilities
worldwide are receiving on-site training
to bring authorized factory service back
home.
On critical productions (and whose
production is not?) it is both essential and
reassuring to know there are highly skilled
service technicians ready to jump in and
repair whatever damage has been done or,
gasp, problem that has developed.
FedEx may be great, but when you have
a mega-star on your call sheet, overnight
will not cut the mustard.
Think of authorized service as your on-call
camera emergency room.
Left: Günther Zoeh, ARRI Service
Manager for many years, and the best
name for any camera owner to know, has
announced retirement.
Günther started in the camera assembly
department at ARRI in 1971. As his wife
Annette writes, “This ambitious young
man soon showed a special talent in the
assembly of movements, the magical
thing that is supposed to provide smooth
and silent film transport.”
In 1985, he worked at ARRI Inc in
Blauvelt, NY.
Moving back to Munich, Günther was
appointed Camera Product Manager, and
traveled the world for the next 12 years,
doing camera workshops (Arriflex 535,
Arricam) and providing technical backup
on many productions.

A Brief Illustrated History of Alexa
IBC, Amsterdam, September 10, 2009: Three planned
prototype ARRI digital cameras are announced.
Code-named Alexa: EV, EV-Plus, and OV-Plus. L to R:
ARRI (USA) Inc CEO Glenn Kennel; Jon Fauer; Marc
Shipman-Mueller, Product Manager.
Cine Gear, June 2010: Anonymous has wrapped,
begun March 2010 with the first two working Alexas
by cinematographer Anna Foerster and director Roland
Emmerich. Candlelit scenes are exposed at 1280 EI.
Stefan Ukas-Bradley, of ARRI Burbank, with Alexa
Plus, ARRI/FUJINON Alura 18-80 Zoom at IBC.
Accepting the Cinec 2010 award (left to right) from
presenter Denny Clairmont are: Marc Shipman-
Mueller, Product Manager; Dr. Achim Oehler; and
Michael Cieslinski.
AFC Micro Salon, Paris, February 13, 2010: The
first working prototype of ARRI’s Alexa is shown at
the AFC Micro Salon in Paris at the former Pathé
Studios. Stephan Schenk introduces Alexa to a packed
auditorium in the Renoir Salon of La Fémis.
Shepperton Studios, June 29, 2010: Seven Alexas
begin production on Director Martin Scorcese’s
Hugo Cabret, shot in 3D stereo by Bob Richardson,
ASC (left), with first assistant Gregor Tavenner (right).
DGA, April 6, 2010: Advanced prototypes are
introduced to the Hollywood production community.
Big surprise: two Alura zooms co-developed by ARRI
and Fujinon. A week later, Alexa is shown at NAB.
Above, right: Haskell Wexler, ASC.
Dr. Martin Prillmann, ARRI Managing Director. Stephan Schenk, General Manager of Camera
Business Unit, Sales and Marketing
Walter Trauninger, General Manager of Camera
Business Unit, Production and Service—which, of
course, includes ARRI Alexa. Walter was the Project
Manager of the Arriflex 435 and Arricam.
IBC, Amsterdam, September 10, 2010: One
year later. Several hundred Alexa cameras have
been delivered. The second sibling, Alexa Plus is
introduced at IBC.
Marc Shipman-Mueller, Product Manager of ARRI
Alexa. Marc was also Product Manager of Arriflex 235,
416, ARRI/ZEISS Master Prime Lenses, Ultra Prime 8R
and the Alura Zooms.
Dec 2010
13

Origins of Alexa: an Interview with Franz Kraus
people would expect from seeing a decent REC 709 image, but
at the same time recording log C. After evaluating the advances
in technology on the sensor side, we started on the design of the
CMOS sensor about 3½ years ago, as the major building block.
We also worked on the analog front-end, because it’s a rather
complex sensor. When we started, we wanted to have the best image
possible for a 2K/HD workflow.
With the DI systems that we started many years ago, we always
had been 4K compatible. But we also learned that 4K was unfortunately
not really used often in the film industry, for many reasons.
In print distribution, there’s very little that is left and as we
know, in digital distribution, there is not yet a common practice
to bring 4K to the screen, not even to a 4K projector if you cross
off the data rates which are a part of the DCI recommendations
as they are today.
There is not, unfortunately, a benefit in going for 4K DI today and
for the next few years. Seeing how easy it was, and with rather
little extra expense, 4K was mostly neglected in digital intermediates.
That got us to wondering why people should think differently
about capture?
Franz Kraus, ARRI Managing Director
Sure, it’s always nice to have reserves, to have over-sampling. But,
the question was how much do you need to trade in?
Jon Fauer: The ARRI Alexa already appears to be one of the most
successful cameras ARRI ever built. It didn’t evolve out of thin air.
Please tell us how it came about.
Franz Kraus: The same group that designed the Arriscan and the
D-20/D-21 cameras also designed Alexa. Dr. Achim Oehler, who
was head of the scanner project, took over the Alexa project. We
had already researched how images would need to look, and what
image processing would have to be done to have film-like images
coming out of digital capture. This also applied to manufacturing
in the transition from analog technology to digital. It may seem
like a drastic change, but it is not that much. We had experience
with film and digital cameras—the whole user interface, wireless
control, micro controllers, CMOS sensors, FPGA-based image
processing. We had done that before. We really tried to use as
much as possible from the 235 and 416, and we learned a lot
when we designed this. Why should digital capture have a totally
different user interface? Shooting takes place not for technical
reasons but for creative ones.
However, Alexa has the familiar ARRI feel and quality.
Actually, when we started to test the first prototypes of the Alexa,
we went back to where we started with the Arricam. With the
Arricam, we put a very rigorous quality control system in place
because many things had been new for us. Each Alexa undergoes
a burn-in phase, undergoes shake tests. Part of why we feel rather
confident in shipping products that can be used immediately on
production is because we are taking as much care as possible
in-house to deliver something that won’t break down in rough
environments.
When did this project first start? When was the first inkling that
you knew you were going to do this?
We collected ideas on what the next generation camera should
be, and how to manufacture it in quantity. We learned about the
requirements of what people would expect from Raw Data, what
14 Dec 2010
And we felt for the time being that we’d rather go for wide dynamic
range, high sensitivity, very good contrast, and accurate
color reproduction, rather than go for high resolution, which unfortunately
today nobody is able to enjoy.
Beautiful film-like images exceeding 2K don’t come for free. We
can enjoy them with today’s technology both in analog distribution
or digital distribution, unfortunately with the limits mentioned.
That was the reason why we concentrated on making the
best possible camera for 2K DI and for HD workflow.
Is the sensor technology related to the scanner?
No, it’s the next generation. The Arriscan has the same sensor
technology that the D-20 and D-21 had. The scanner was released
2003. What we have done with the Alexa, from the design and the
foundry technology, wasn’t possible then.
How do you go from an idea to the point where you have the sensors
designed to where production begins—down to intricate details like
even custom-designing the workbenches?
You need to have people who think in the same way. It’s probably
as much a sales effort selling products to the end customer as selling
ideas to your team members, be it marketing or be it R&D. We
have a team with a long history at ARRI. Marc Shipman-Mueller,
on the product management side, worked on the Arrilaser as his
first job when he came to Germany. He was there for the very first
digital product ARRI ever produced. Walter Trauninger, head of
the Arricam team, was responsible for the Alexa manufacturing
side. We wanted to have a product that was affordable and robust.
We knew that people expected ARRI to produce an innovative,
dependable, rugged “best in class” camera that would live up to
the reputation of our film cameras—to be used around the world,
not just in selected production environments. Credit must also go
to the ARRI owners, because they believed in Alexa and spent a
lot of money on development.

Interview with Franz Kraus
This idea was hatching in your mind a long time. I remember, it was
exactly ten years ago. You and I were at NAB with the latest little
consumer digital still cameras. You held it up, and said “This is the
future.” I asked, “How long?” You said, “2010.” Your prediction was
correct ten years ago.
I think the technology roadmaps are there. An engineer can read
that and know what will happen with consumer electronics and
how much can become a tool for professional media production.
Based on the success of Alexa, we are very confident that we will
have technology for the next generations of product. The concept
we have is to carry as much of the positive attributes from the
analog area to the digital world.
We can’t change Moore’s Law; we need to watch very carefully
to benefit from Moore’s Law. Our belief with the sensor is that
it isn’t following Moore’s Law as faithfully because the demands
are driven by other industries. The concept we have in mind is
that whoever buys an Alexa will not be left on their own in future
years. That means we need to have a service network making sure
that whenever something happens, we are close by to help. We
will also be available to make upgrades or add modules. And that
requires trained service personnel who can look after service and
upgrades.
We needed to be compact. So we decided to go with encapsulated
electronics and a heat pipe system. That comes at a cost. It adds
price, it adds weight, it adds power consumption. So it doesn’t,
unfortunately, come for free. But ultimately I am convinced it will
be part of why Alexa is so robust. We control the temperature
of both the sensor and the image processing electronics. In the
regular world, you would not need this. But in extremes, if you
don’t do it, probably the images won’t be consistent. We decided
which ingredients each and every camera with the ARRI label
needs to have. Those are elements where we think we differentiate
ourselves from others.
Where do you see the viewfinder going: optical or electronic?
Without any question, high-end cinematographers are asking
for optical viewfinders—especially the ones who operate their
own camera. They grew up knowing exactly what to expect when
looking into an optical finder. It won’t be large numbers, but it’s a
larger number than you would expect. We are close to a decision.
We are reviewing it now.
I vote for it. What about film? What do you see as the role of film,
on high end productions? What’s the turning point?
I think there are very many variables. If the motion picture industry
has learned from the professional still photo industry, then
probably the industry will be more intelligent, not dropping service,
not over-pricing.
Today, if you shoot a picture that is not 3D or relying heavily on
CGI, probably the best thing is still film. It is future-proof. There
are no archive issues. You can take it to any resolution. There are
great DI tools. It’s commonplace throughout the world. There’s
an established worldwide 4K capable workflow. So there is headroom.
Why throw that away?
There are other productions, 3D features, TV drama or features
with lots of CGI, where digital capture makes a lot of sense. It is
interesting that we also see a small Renaissance of film (2 perf and
Super 16) for TV programs in some countries because of the film
look. Film has a unique look, and it probably doesn’t make sense
to work very hard to make digital look like film when you can
simply shoot film instead.
How did you convert an entire area of your analog camera factory
to digital production—almost overnight?
We changed many things because we rely on many components.
If we want to assure quality, we need to have extensive testing and
certification. So, we invested a lot in that. In selecting very good
suppliers, as we have with digital high-end products, we knew
them from the Arrilaser, the scanner, the HD-IVS—all with components
that are very compact. We knew who would be the right
partners.
People may think, “Well, they have film cameras, how can it be
that they have a successful digital camera? That’s probably luck.”
No, it was hard work over many years, starting with the Arrilaser.
The design of the Arrilaser was started in 1995, and the product
was launched in 1998. We had a great team, with very solid internal
and external capabilities. Whatever we could develop from
where we were to the next generation, we did. We have partners
going back many, many years. They have grown as well.
What about the sensor development? How did you arrive at that?
We have a great guy in our R&D team who worked more than 10
years ago with a professor from the Munich University on the design
of our first Cine format CMOS sensor and successfully carried
it through several revisions. We learned to create an organic,
film-like image from digital capture. All that experience, combined
with substantial color science from another long-standing
ARRI R&D member, led to the specification, characteristics, and
structure of the rather complex but extremely powerful custom
Alexa CMOS sensor and the Alexa imaging front end and color
processing.
Alexas are built by some of the same people who were building Arricams.
That’s interesting.
And there are people who had worked on the Arrilaser, the Arriscan,
and on image processing software. It is not like converting
a precision mechanical engineer to an electronic engineer. To
build Alexa cameras is not a trivial thing. You need to do things in
the right order and to make sure that it works at the end. We need
to have all the skill from the analog camera world combined with
new talent to make this work.
In summary?
I think it is valuable to look at our Digital Intermediate products.
Without the DI products, we would not have the D-20. Without
the laser, we wouldn’t have started the D-20 and the scanner. And
the success of the laser was the ground-laying part of our digital
camera business.
If the owners had not been convinced that this risk had a good
chance to become successful, maybe they would not have gone
this route, and would have asked “Can’t we brand another product
and add value in distribution?” There had been several other
opportunities, but none of them would have left ARRI in the position
of owning and mastering digital technology. That is probably
the most important achievement of these last years, looking at the
long term success of ARRI as a company.
Dec 2010
15

ARRI Alexa at IBC and Cinec
Alexa (right) and Alexa Plus (left). The second sibling, Alexa Plus was announced at IBC as promised. Notice the antenna and lens motor
receptacles of the Plus. It’s an upgrade to the Alexa camera, adding built-in wireless remote control, ARRI Lens Data System (LDS),
additional video monitor outputs, RS power outputs, lens synchronization for 3D, and built-in position and motion sensors. Alexa
Plus begins shipping in the beginning of 2011, first as an upgrade to existing Alexas, and then as part of a complete camera package.
Wireless remote control works with ARRI motors. If you’re using Preston, Cmotion, Chrosziel or other wireless lens controls, you need
their receiver/motor box. (arri.com)
Alexa Low Mode Set LMS-3
The low mode plate attaches directly on top of Alexa. It’s helpful
for Steadicam, underslung, and for 3D rigs. There are numerous
3/8-16 mounting threads, including attachment points for the
Viewfinder Mounting Bracket, the Alexa Camera Center Handle,
235, and D-21 low mode handles.
16 Dec 2010
Remote Control Unit RCU-4
Put the controls on the left side. The Remote Control Unit RCU-
4 is a cabled remote for the Alexa and Alexa Plus cameras. It has
the same layout, display, and buttons as the control panel on the
camera right side of Alexa.
Alexa Plus with Codex Onboard Digital Recorder, ARRI/Fujinon
Alura 18-80 mm zoom, Anton/Bauer onboard battery.

ARRI at IBC and Cinec
ARRI Alexa Simulator
Test fly ARRI Alexa on your computer, laptop or, even better, an
iPad. The interactive, touch-sensitive, iPad-friendly simulator is
online: www.arridigital.com/technical/simulator
For the full screen version, go to:
www.arridigital.com/simulator/index.html
It’s not an App but a fully functional, cross-platform live demo.
Best viewed with iPad, because the touch screen works and you
can twirl the rotary dial. For easy access: when viewing the full
screen version on an iPad, tap the “+” symbol in Safari’s top
command bar, and choose “Add to Home Screen.”
The control panel is familiar to anyone who has used a recent
Arriflex or Arricam. Push the green HOME button for Exposure
Index, Frames Per Second, Shutter Angle, and Color Temperature.
Push the blue MENU button for other chores: Recording Format,
Gamma, Frames lines, things like that.
Push the soft button closest to a label, make a choice by rotating
the jog wheel, push to enter. It takes about 5 minutes to be up and
running — faster than you can drink your morning cappuccino.
Wireless Network Adapter WNA-1
The Wireless Network Adapter WNA-1 lets you communicate
with Alexa by WiFi. This paves the way for camera remote
control, metadata input and output, automated script notes,
automated camera reports, and sharing information on set and on
location. Since Alexa cameras are designed as web servers using
the Bonjour protocol, any iPad, netbook, laptop or other WiFi
device with a browser can connect to the cameras automatically,
without any configuration. Each Alexa has a basic remote control
web page built-in (Browser Remote Software: BRS-1). A camera
control protocol will allow third party app developers to access
Alexa’s functions and metadata.
Alexa 3D Cable Set
Alexa 3D software is now available for stable synchronization of
two Alexa cameras through the Alexa EXT to EXT Cable. This
cable syncs the sensor timing and locks the HD-SDI outputs of
both cameras without lag or jitter, and is compatibile with most
3D monitors and recorders.
An Alexa Ethernet to Ethernet Cable automatically synchronizes
both cameras’ settings. The Alexa 3D Cable Set includes the
Ethernet and HD-SDI cables.
Film: 2-Perf Movement for Arriflex 235 and Arricam
ARRI 2-perf movements are ready for Arriflex 235 and Arricam.
With a 2.39:1 format, 2-perf 35mm gives you a “flat” (unsqueezed)
widescreen camera negative. It can be squeezed for theatrical
release. You can also crop the sides, and shoot in whatever format
you prefer—1.85 or 1.78 —while taking advantage of huge savings
in camera raw stock, doubling your running time, and halving
your loading breaks.
The new 2-perf movements can be quickly swapped with 3 or
4-perforation movements by qualified technicians.
Dec 2010
17

Sony SRW-9000PL
Tape measure hook is on top, camera right at image plane.
Lens /i Data and LDS contacts are positioned at 12 and 3 o’clock, below.
/i Data LDS
18 Dec 2010
The SRW-9000PL is a PL version of Sony’s SRW-9000 B4 mount
camcorder. It is a 35mm single-sensor, PL mount camera with
on-board SR tape recording. It has the same sensor and recording
capabilities as the F35 / SRW-1 combination, with half the weight,
size and power consumption.
Existing B4-mount, 3 chip SRW-9000 cameras can be converted
later this year with an upgrade kit (HKSR-90PL).
We tested the SRW-9000PL a week after Cinec. I think Sony is
modest about the exposure range—we shot scenes with deep,
detailed interior shadows and bright exterior sunlight that
stretched beyond 13.5 stops. The image was smooth, detailed, and
pleasantly, cosmetically complex. It possesses the familiar 35mm
depth of field with fine exposure latitude and detail.
The 9000PL can do full RGB 1080/60p ramping from 1 to 50 fps.
The new HDVF-C30WR viewfinder offers improved focus assist
functions, a color brightness level indicator, and much more. With
pre-installed Monitor LUTs (look-up tables) for S-Log Gamma,
this viewfinder provides users with easier focus adjustment
and excellent picture quality. The MLUT (monitor LUT) is also
available on the monitor output as well as the viewfinder.
2011 will bring 1 TB SR Memory solid state recording options.
Like the new PMW-F3, the SRW-9000PL mount is fitted with
gold-plated contacts for lens data at the 12 and 3 o’clock positions.
Cooke /i lenses have contacts that normally mount at 12 o’clock.
They also have 4-pin cable connectors for cameras without
lens data contacts. ZEISS/ARRI LDS lenses have LDS contacts
normally positioned at 3 o’clock.
(pro.sony.com)
connector
Cooke S4/i with
/i Data contacts
and connector
ZEISS/ARRI Master
Prime with LDS

Sony SRW-9000PL Camera Views
Existing SRW-9000 (B4 mount) customers
can upgrade to 35mm PL with the HKSR-
90PL upgrade package. In the future, the
camcorder will also offer 12-bit recording,
and the ability to migrate to SR Memory.
Full RGB image
capturing, S-Log and
HyperGamma capability
as well as ISO 800
Hyper Gamma and
S-Log 800 EI setting.
Tthe 9000PL has
S-LOG Gamma
(HKSR-9003),
HyperGamma, and
customizable gamma
curves (standard).
The 9000PL has a Super
35mm CCD sensor
with the same sensitivity,
signal-to-noise and
dynamic range as the
Sony F35, as well as RGB
ramping from 1 to 50 fps.
Dec 2010
19

Sony Affordable 35...
First unveiled at NAB 2010 by Alec Shapiro, Senior VP of Sony
Professional Sales and Marketing, it was quickly put under glass.
The camera remained under glass at IBC, attracted much interest,
more speculation, and only non-disclosable smiles from Sony
staff about the sign that said, “Affordable 35mm Camera.”
The IBC press release was short: “Sony plans to introduce an
‘Affordable 35mm Camera’ to join the F35 and the SRW-9000PL.
The demonstration of an R&D prototype will re-affirm the goal
of establishing a 35mm line-up to cover applications from high
budget to lower budget production.” Another big sign above the
affordable prototype and its 2 Sony Cinealta PL camera siblings
(F35 and SRW-9000PL) proclaimed, “It’s a 35mm World.”
Absolutely.
20 Dec 2010
Sony’s Alec...
Two months after IBC 2010, on a cold, sleety November 8th,
Alec was back—this time on the lofty 35th floor of Sony’s New
York Madison Avenue headquarters, ready to introduce the new
camera to the press, and the world.
The evolution was complete: the new camera is called PMW-F3,
the third 35mm Cinealta Digital Camera. “Affordable” was an
understatement.
The PWM-F3L package be will shipping end of January or early
February as a basic camera with PL adaptor (no lenses): list price
will be around $16,000. Yes, the comma is in the correct place:
$16K. The PMW-F3K package consists of the camera, PL adaptor,
and 3 Sony PL Primes, with a list price around $23,000.

Sony PMW-F3
This is not a tape measure
hook at the image plane: it is a
carrying strap hook.
Cooke /i lens
contacts at 12
o’clock.
Image plane
Rocker control for
zoom lenses
PL mount has
contacts for lens
data at the 12 and 3
o’clock positions.
ZEISS/ARRI LDS
lenses have
contacts normally
positioned at 3
o’clock.
The new Sony PMW-F3 camcorder is another step in the
democratization of cinematography—a 35mm format digital
camcorder that is lighter, smaller, faster, cheaper. Unveiled as an
“affordable 35” prototype at NAB, it was introduced at USC on
November 17th with film students and independents in mind.
But its appeal is greater. The body weighs a meager 5.3 lbs (2.4
kg). Many lenses weigh more: instead of attaching a lens on this
camera, you’ll often put the camera on a lens. (See lens charts
later in this issue.) Power consumption is an astonishingly low 24
Watts. The Sony F3 uses an on-board 12 volt battery like the BPU-
60 for about 3 hours of run-time. There are no fans.
The PMW-F3 camcorder has a Super 35mm single CMOS sensor:
23.6 x 13.3 mm, which is close to 35mm 3-perf 1.77:1 motion
picture format. The newly developed Sony Exmor CMOS imager
promises high sensitivity and low noise levels. The ballpark
sensitivity rating is ISO 800 (1600 in S-log), with an exposure
range greater than 13 stops. Up to now, Sony has been using
CCDs for digital motion picture camcorders. Since image sensors
for motion picture production must consider characteristics such
as sensitivity, dynamic range, and smoothness of motion—by
enlarging the size of each pixel in the new Exmor CMOS sensor,
Sony achieved high sensitivity, low noise, and good image quality.
Looking at the front, you notice two distinctive things. The F3
has a PL mount. But it’s really an adaptor. Remove it by turning
the mounting ring on the body counter-clockwise. Underneath
is a new stainless-steel Sony F3 mount. It is a little wider than a
PL, and reminiscent of Sony EX3 mounts. The flange focal depth
is remarkably shallow, which translates into lenses that are easier
to build, non-retrofocus, (think Leica M series rangefinder) and
best of all, opens up the world of adaptors. And, as if to prove this
point, every PMW-F3 camera ships with a Sony F3 to PL mount
adaptor. The PL mount has lens contacts in place for Cooke /i
Technology and ARRI LDS.
What does this all mean? Alfred Piffl may have predicted correctly:
it’s not just a PL mount camera world; cameras can now have
infinite choices of 35mm format interchangeable mounts. The
DSLR revolution confirmed the appeal of larger single sensors
with their shallower depth of field.
The PWM-F3L package is the basic camera with PL adaptor—no
lenses—with a list price around $16,000. The PMW-F3K package
consists of the camera, PL adaptor, and 3 Sony PL Primes: 35, 50,
and 85 mm T2.0. This kit will cost around $23,000. The PL lenses
will support Cooke /i Technology. We also learned that Sony is
planning an affordable zoom lens with the Sony F3 mount (not
PL). The shorter flange depth should enable this lens to be smaller
and lighter than current PL zooms.
The PMW-F3 is based on the XDCAM EX platform. This is Sony’s
third 35mm CineAlta Digital Camcorder. The other two are F35
and SRW-9000PL. Their specs still exceed the F3, but this camera
is no slouch, and footage shot with all 3 cameras should intercut.
The F3, above all, is a handheld camcorder. It doesn’t sit on
your shoulder. You hold it like a Handycam, slipping your hand
between the prosumer/video style adjustable strap and plastic
handle with its zoom rocker control and start/stop button. It’s not
a shoulder-resting camera. The lighter and smaller camera body
was made possible by the development of the new CMOS sensor,
Dec 2010
21

Sony PMW-F3
HD-SDI dual
link Out
dual SxS Card
slots
12 VDC
4-pin XLR
22 Dec 2010
HDMI Out
Composite
Video Out
2x USB ports
700 Remote
Control Port
3D Link
which consumes very little power, generates very little heat, and
doesn’t need a fan.
A tilting viewfinder is attached at the rear of the top handle. It
looks similar to the HVR-Z7U finder, with about 1.2 million
pixels. An LCD monitor pivots out from the camera’s left side. I
hope the next model has a detachable finder that can mount either
at the rear or in front for shoulder-resting, and the 1/4-20 tripod
mounts on the bottom are replaced by industry-standard 3/8-16.
At the rear of the F3 are 2 Sony SxS ExpressCard slots. The F3
records natively onto SxS cards at 35 Mbps in 4:2:0 8-bit XDCAM
EX format. The SxS cards are formatted in standard FAT file
format; a 32 GB card will record 100 minutes in highest quality.
Many users will be happy with this. But, like Oliver Twist, many
will want more. And they can have more–with onboard SxS cards
as immediately editable proxies, while simultaneously recording
to a higher standard. That might include 4:4:4 10-bit S-Log HD-
SDI dual link to an SRW-1 /SRPC-1 SRW tape recorder at visually
lossless 440 and 880 Mbps or (next year) 1 TB Solid State Memory
Cards with potentially even greater data rates.
HD-SDI dual link outputs enable external recording (4:2:2
1080 50/59.94P normal; and RGB 1080 23.98/25/29.97PsF as
an option). You’ll be able to select S-Log and HyperGamma to
seriously increase the dynamic range. S-Log is Sony’s take on
RAW “Digital Negatives.” The image, uncorrected, looks pale and
washed out (like a negative), but when a Look-Up Table (LUT)
is applied, shows the full dynamic range of the image, giving you
greater flexibility for color and contrast correction in post.
Recording formats include 1920x1080, 1440x1080, and 1280x720
at 23.98/25/29.97p, 50/59.94i and, in DVCAM mode, 25/29.97PsF
and 50/59.94i. Under- and overcranking is called S & Q for “slow”
and “quick” recording, from 1 to 30 fps at 1920 x 1080 (17 to 30
fps in dual-link mode) and 1 to 60 fps at 1280 x 720 (17 to 60
fps in dual-link mode). Sony’s column-parallel A/D converter
mechanism makes 60 fps possible with less noise.
Who’s going to shoot with Sony’s F3–and how? If you’re a student
or independent, you’ll probably take the simplest package possible:
a zoom or primes, record to SxS onboard cards, and go directly to
edit. Of course, you’ll be sure to diligently back up those SxS cards
using Sony’s PXU-MS240 Mobile Storage Device, which not only
backs up the cards, but also carefully checks the data to be sure
it’s all there (parity). Next, you’ll copy the SxS card to your Avid
or Final Cut Pro system. (Go to sony.com/cinemon to download
the Sony Cinemon plug-in. It enables MPEG to be transparent to
FCP Quicktime. You’ll be able to edit natively in FCP, with drag
and drop capability. All files will be instantly viewable on a Mac.
Avid’s AMA (Avid Media Access) plug-in mounts the XDCAM
EX files directly into Avid Media Composer.)
When shooting documentaries, commercials or TV, you might
follow a similar path. Of course, you will not reformat your SxS
cards until the job is safely completed and many archives and
copies have been cloned. Cards are relatively cheap. The dreaded
word “Oops” is very expensive when a once-in-a-lifetime scene
is reformatted. I shudder when I see people reformatting cards
during a job. It’s like re-recording over your existing videotape.
High-end productions, recording to SR tape or memory, should
soon have native support of SR codec on Avid and Final Cut

Sony PMW-F3
The right side of the camera has a familiar Sony
camcorder handgrip with zoom rocker control–a
clear indication of commitment to an upcoming
zoom lens specific to the F3. There are two 3-pin
XLR audio connectors (Line/Mic/+48v).
Pro. The HD-SDI outputs of the Sony F3 will be eyed with great
interest by after-market recording gurus at Codex, Cinedeck, etc.
3D Link is a future option that connects two F3 cameras in
sync for stereo shooting. When connected, both cameras can be
managed by one remote control. Genlock in and Timecode out
are handled, along with Metadata. You’ll be able to record the left
and right cameras onto one memory card, if you like.
The camera that began as the “affordable 35mm” prototype may
soon become “the awardable 35mm” camera—providing an
innovative avenue to award-winning productions. (pro.sony.com)
Specs
• Weight, body only: Approx. 2.4kg
• Size, body only: (W x H x D): 151 x 189 x 210mm
• Power: DC 12V; DC input: XLR type 4-pin (male)
• Power consumption: Approx. 24.0 W
• Battery operating time: Approx.130 Min (w/ BP-U60)
• Recording format: MPEG-2 Long GOP
• HD HQ mode: VBR, maximum bit rate: 35 Mb/s, MPEG-2 MP@HL
HD SP mode: CBR, 25 Mb/s, MPEG-2 MP@H-14
SD mode: DVCAM
• Audio: Linear PCM (2ch, 16-bit, 48-kHz)
• Recording NTSC:
HD HQ mode: 1920 x 1080/59.94i, 29.97p, 23.98p,
1440 x 1080/59.94i, 29.97p, 23.98p,
1280 x 720/59.94p, 29.97p, 23.98p
HD SP mode: 1440 x 1080/59.94i, 23.98p
SD mode: 720 x 480/59.94i, 29.97p
• Recording PAL:
HD HQ mode: 1920 x 1080/50i, 25p,
1440 x 1080/50i, 25p,
1280 x 720/50p, 25p
HD SP mode: 1440 x 1080/50i
SD mode: 720 x 576/50i, 25p
• Lens mount: PL mount (with supplied lens mount adapter)
• Imager: Super 35mm size Single Chip Exmor CMOS Image Sensor
• Built-in ND optical filters: OFF: Clear, 1: 1/8ND, 2: 1/64ND
• Shutter speed: 1/32 - 1/2000 sec
• Slow Shutter (SLS): 2, 3, 4, 5, 6, 7, 8 frame accumulation
• 720P: 1 - 60 fps selectable (17-60 fps when HD-SDI Dual Link active)
• 1080P: 1 - 30 fps selectable (17-30 fps when HD-SDI Dual Link active)
• White balance: Preset, Memory A, Memory B/ATW
• Gain: -3, 0, 3, 6, 9, 12, 18dB, AGC
• Audio input: XLR Type 3-pin (female) x2, LINE/MIC/MIC +48V selectable
• Composite output: BNC (x1), NTSC or PAL, S-Video output
• SDI output: BNC (x1), HD-SDI/SD-SDI selectable
• HD-SDI Dual Link Out: BNCx2 4:2:2 1080 50/59.94P 10-bit output
• i.LINK: IEEE1394 S400 Connector
• Timecode in: BNC (x1); Timecode out: BNC (x1); Genlock in: BNC (x1)
• USB: Mini Type-B connector and standard USB
• HDMI output: HDMI connector (Type A)
• Viewfinder: 0.45”, Aspect Ratio 16: 9
• Built-in LCD monitor: 3.5”, 16: 9, Hybrid (semi-transmissive) type
• Media: ExpressCard/34 slot (x2)
Dec 2010
23

Aaton Penelope Delta
24 Dec 2010
Orson Welles once played a famous wine maker who said, “We
will sell no wine before its time.” Admittedly, he was portraying
Paul Masson in the days of metal pry-top carafes, long before
California wines dared to rival, ahem, the wines of France.
Which brings us to the Grenoble region, where a famous camera
maker said, “We will sell no digital camera before its time.”
Actually, what Jean-Pierre Beauviala really said was, “Anything
less than 4K is incomplete, and we are not going to do something
halfway.” A few years earlier, Richard Edlund, ASC said,
“Until we have wide dynamic range 4K capture, film will remain
the prominent medium for high-end studio productions.”
Aaton Penelope-Delta covers both. She does film and digital.
Already established as the lightest silent handheld 3-perf/2perf
film camera, Penelope is preparing for 4K digital.
The same mirror-reflex camera body accommodates both traditional
Penelope 400' film magazines and the new Digiback.
You can switch from 2 or 3-perf Super35mm film to the Aaton
Digiback in less than half an hour.
At IBC and Cinec, we saw the prototype Aaton Penelope-Delta
Digibacks approaching their anticipated Micro Salon and NAB
debuts. The live images showed excellent resolution and a wide
exposure range. Martine Bianco’s color-chart scarf was indistinguishable
live or displayed on the 4K monitor in the booth.
The made-for-Aaton Super35 3-perf format Dalsa 4K+ CCD
sensor handles more than 13 stops of dynamic range. The 800
ISO default sensitivity can be reduced to 100 ISO without noticeable
image degradation. This is useful when you’re shooting
in bright exteriors because you can avoid dense ND filters
required by high ISO settings. When it is very dark outside,
you can shoot at 3200 ISO with very little image “noise.”
This cat-on-shoulder Aaton camera is quieter than a purr—
even the large internal fan on the camera left side runs at less
than 19dBA in REC and PAUSE. The rotating mirror shutter
and extremely bright optical viewfinder provide generous peripheral
coverage. As Danys Bruyere would say, "Did we mention
it has an optical finder?"
Uncompressed RAW 16-bit files (>4K) and DNxHD can be
recorded onboard at up to 800MB/sec onto a 2.5" Solid State
Drive (SSD) DeltaPack that slides into the Digiback. It has
RAID protection and weighs about 360 grams. The interface is
Codex compatible, so Codex media can be used as well as the
DeltaPack to mount to a Codex download station.
There’s an SDHC card slot on the camera into which an SDHC
card can be inserted for capturing simultaneous proxy files. for
quick playback and editing via QuickTime. Outputs include
HD422 and HD444. There’s an input for syncing two cameras
for 3D.
Aaton Penelope-Delta is not power-hungry. Two onboard
LiIon batteries can run the camera for around 3 to 6 hours.
You can hot-swap one battery when it gets low. The camera
boots up in less than 4 seconds.
Like a fine wine, and her older sister Penelope Analog
Silver, Penelope Digital Delta will be worth the wait.
(aaton.com, abelcine.com)

Aaton Penelope Delta
Aaton Penelope Analog film channel on 400’ magazine (left)
and Penelope-Delta Digital sensor on the Digiback.
Dec 2010
25

P+S Technik
16Digital SR Magazine
At IBC and Cinec, the P+S Technik 16Digital SR Magazine is getting
closer to delivery. Introduced a little over a year ago, the digital
magazine that bridges the gap between film and digital has a
2/3" Thomson CMOS sensor. It records full 1920×1080 resolution
in a visually lossless compressed RAW format onto internal SSD
or HD removable drives with a Cineform codec. The mags will
initially record up to 30 fps, but later will go up to 75 fps.
The 16Digital SR Mag snaps onto any 16SR film camera. It records
in full native HD resolution 10-bit RAW and 4:2:2 High Definition
in Cineform Format. The mag is compatible with 16SR-1, 2 and
3 cameras. Adaptation of the camera is simple: only the film gate
has to be switched to allow proper alignment of the sensor. The
magazine can be configured via a web interface. It has internal
WiFi, so basically any iPhone or iPad can be used for control.
P+S Technik also offers a reader for the memory cartridges and
dedicated Silverstack post production software, developed with
Pomfort.
P+S Technik got a Cinec Award on September 19th for the 16Digital
SR Mag. Presented by the Bavarian Society for the Advancement
of Film Technology, it is awarded for innovative product
development. Michael Erkelenz and Konrad Seeger accepted.
26 Dec 2010
SI-2K V2.0 Cinema Camera System
The SI-2K V2.0 system has improved firmware and software to
deliver up to 11-stops of dynamic range, 12-bit log processing,
Iridas color-management, improved sensitivity, 360-Shutter
modes, ambient timecode integration, and uncompressed
CineformRAW.
The SI-2K can now record 12-bit CineformRAW Quicktime
Codec (12-bit Log data). This is a big improvement over the
original 10-bit codec.
Quicktime files are recorded to internal 2.5" Solid State Drives.
The QuickTime files can be edited immediately in Final Cut
Pro or Avid. SI-2K is also supported by Quantel, Adobe, DVS,
Digital Vision, Gluetools, Iridas, and more. You can record 12-bit
uncompressed data at rates up to 100MB/sec, or use Cineform
Visually Lossless codec at 3.5:1 (Filmscan 2).
The SI-3D Camera System (above and below) uses two SI-2K
Mini cameras with P+S Technik interchangeable lens mounts.

P+S Technik
P+S Technik’s Alfred and Anna Piffl and Andreas Dasser had
major news at the company’s 20th anniversary party. Most
attendees of Cinec migrated across the street to a huge event hall,
converted from an old industrial space. Alfred announced that
Augusta Technologie AG, a specialist in sensor and automation
systems, had purchased 55.5% of the shares from the managing
partners of P+S Technik. This would infuse capital for the funding
of future research, development and growth. The company’s
current managing directors, Alfred Piffl and Andreas Dasser, will
retain a 44.5 percent stake in P+S Technik and will also continue
to run the company.
Founded in 1990, P+S Technik made a name for itself with
innovative products and upgrades of camera systems: brighter
finders, quieter movements, and superb machining. They
revolutionized the video market with the wildly successful Pro35
and Mini35 Image Converters that adapted 35mm motion picture
lenses to digital cameras. Recent products include a modular
digital film camera (SI-2K), a digital high-speed film camera
(Weisscam) and a wide variety of accessories for 3D production.
P+S Technik also developed and markets a film scanner for costeffective
and gentle digitization of film for archival preservation.
P+S Technik employs more than 40 technicians and staff. The
additional capital stock will be used to implement new digital
cinematography cameras, archive scanning, CMOS sensors, and
software.
“The film industry is currently experiencing a historic
transformation from analog to digital technologies. In Augusta
Group, we have found a strong partner,” said Alfred Piffl, founder
and Managing Director of P+S Technik.
“The Augusta Group complements our developmental capacity
in the field of Digital Capture,” said Andreas Dasser, Head of
Development and Managing Director of P+S Technik.
“Our stake in P+S Technik marks our entrance into the promising
growth market of digital film cameras,” said Amnon Harman,
CEO of Augusta Technologie AG.
“P+S Technik has always known how to focus on products that
enable special, exceptional pictures to be captured,” said Arno
Pätzold, management board member responsible for M&A
transactions at Augusta Technologie.
P+S Technik has many exciting products in the pipeline, and we
look forward to seeing them soon. (pstechnik.de)
Above: 20th Anniversary Beer Product Shot by John Bowring, ACS
Below: Arno Pätzold, Les Zellan, Alfred Piffl
Dec 2010
27

Weisscam HS-2 Mk II
Weisscam HS-2 MK II has improved image quality, reduced noise, new frame rates for high speed and normal frame rates. This means
the MK II can be used like a souped-up digital 435: for both normal speed shooting and slow motion to 1400 fps in 2K. Weisscam is
developed and distributed in partnership with P+S Technik. Weisscam is exclusively distributed in North and South America by ZGC
Inc (www.zgc.com) and available for rent at Clairmont, ARRI/CSC, PC&E, Tamberelli Digital, and Cameras y Luces (C&L Rental).
More to come. For a complete list of Weisscam rental agents worldwide, go to: tiny.cc/weisscam
The Weisscam DM-2 onboard DigiMag docks on top of the
camera and records up to an hour of 2K Weisscam RAW data via
HD-SDI onto its internal 2 TB (upgradeable) RAID 6 hard drives.
Solid state drives are also available. Data rate is 2.97 GB/sec. Onboard
monitor shows real-time preview of RAW data.
28 Dec 2010
The Weisscam HU-2 Hand Unit provides complete control of the
HS-2 camera. It connects by cable or wirelessly with a Cmotion
Camin. With the HU-2, you can set format, fps, shutter, speed
ramps, and control preview.

Camera: Work in Progress
A big surprise came at the end of Juan Martinez’s Sony PMW-F3
SMPTE presentation in New York. With a deadpan delivery, Juan
announced, “And here’s a little something we’re working on.” The
work-in-progress is called Sony NXCAM 35. A few hours later, it
was shown to the Hollywood industry at a USC presentation, and
shortly after, at InterBEE.
The NXCAM 35 will be a tiny E-mount interchangeable lens
digital motion picture camera with a Super 35mm format CMOS
sensor. As part of Sony’s professional NXCAM line, it will be
available in the middle of 2011, presumably after a big splash at
NAB. Price was rumored to be under $6,000. The pictures here
are pre-prototype models; the actual product might be something
completely different. I assume a handgrip, viewfinder, battery,
and microphone will be appended somewhere.
While the Sony PMW-F3 has an EX style mount (with a PL
adaptor), the NXCAM 35 uses a Sony E-mount. This is the same
mount on Sony’s new digital still cameras, NEX-5, and NEX-
3, and the consumer/prosumer “Handycam” NEX-VG10. The
NXCAM 35 will have the same 18 mm flange focal depth and has
a similarly sized APS-C (23.4 x 15.6 mm) sensor. You should be
able to mount almost any 35mm format still or cine lens on the
planet by using adaptors. Next year could be a good one if you
happen to make lens adaptors.
The new camera will record AVCHD: the same format used in
the HXR-NX5 NXCAM camcorder. On the table are plans to
do 1080p (60p / 30p / 24p or 50p / 25p). MPEG4-AVC/H.264
compression will be used.
The NXCAM concept block got me thinking. Where are cameras
headed? How will they be used? What are we learning from the
designs of the past?
Sony’s NXCAM 35 size suggests that, a few years from now,
sensors could be permanently attached to the lens, which would
reduce dust and smudges on the sensor, guarantee flange focal
depth and consolidate multi-mounting standards. The lens and
sensor unit would attach to the recording and viewing “box.”
Speaking of boxes, that’s what many of the latest cameras resemble.
Camera designers should actually try hand-holding (for many
hours) their creations with some of the heavy lenses that will be
fitted to these boxes. Remember the Arriflex 16SR, 35BL, and
Aaton cat-on-shoulder cameras? They were revolutionary because
they could be comfortably placed on a cinematographer’s shoulder,
eyepiece forward, without the need for cumbersome body pods and
back-bending contortions to balance the weight. These cameras
were also notable for their flexibility. They did not assume everyone
was right handed, right eyed and right shouldered.
An eyepiece should be sharp enough to see critical focus, and
work for either eye. Handgrips should mount directly to either
side of the camera body, with rosettes or industry-standard ⅜-16
threads. When handheld or shoulder-resting, camera operators
often like a load as light as possible: no baseplate, no rods, no
mattebox—just handgrips and a clip-on sunshade.
Is this the end of high-end, expensive cameras? I don’t think so.
The high-end will continue to push the envelope, with greater
resolution, range and results. After all, we’re not all driving
Skodas and Smartcars. There is a thriving market for Mercedes,
Maybachs, Lexus, Lamborghinis, and other high-end vehicles.
Dec 2010
29

Ikonoscope
Above: Göran Olsson with his Ikonoskop Acam dII
Below, left: John Bowring, ACS of Lemac Film & Digital, Australia
30 Dec 2010
From the creative place that brought us Saabs, Super-16, and Sven
Nykvist, comes a new, form-following-functional tiny digital
camcorder: the Ikonscop Acam dII.
Ikonoskop was founded in 1999 by Göran Olsson and Daniel Jonsäter,
both active filmmakers. Their first product, the A-cam SP-
16, was introduced in 2003: the smallest, lightest, most affordable
(new) Super-16 camera on the market.
Their Acam dII is a sculptural, ergonomic, lightweight, uncompressed
HD Camcorder that records 1920×1080 RAW CinemaDNG
files directly onto removable 160 GB Memory Cartridges.
At 240MB/second, one 160 GB Ikonoskop Memory Cartridge
records 32 minutes of footage, audio and metadata.
It is available with PL, Leica M, IMS, and C mounts. An A-Cam
dII body costs 6,950 Euros. Add € 750 for the mount, € 990 for a
Memory Card, and release your inner troll.
Göran Olsson explained, “It’s a combination of art and technology,
a camera made for filmmakers by filmmakers.”
(ikonoskop.com)
• Image size 1920 x 1080 pixels
• Format RAW CinemaDNG format files
• Color depth 12-bit
• File size 3.5 MB/frame in RAW
• Sensor CCD: 10.6 mm x 6 mm (16 mm size)
• Framerate 1 - 30 fps
• Sound 2 channel line-in 16 bit, 48 kHz via Lemo to XLR
• Timecode 5-pin Lemo. SMTPE standard
• Viewfinder VGA LCD viewfinder and OLED side display
• Video out HD-SDI
• Data output USB 2.0
• Power 7.2 V DC external, or onboard Sony NP-F770
• Body Milled aluminum
• Measures 222 mm x 91.5 mm x 83 mm
• Lensmount PL, Leica M, IMS and C mount
• Threads 3/8” and 1/4”
• Weight Less than 1.5 kg with memory cartridge and battery
Above: Acam 160 GB cartridge. Below: Acam card reader

Phantom Flex
Why do we call digital slow motion “High-Speed?” The action
takes place in real time, and we’re trying to slow it down. Why
not call it “Slow-Speed?”
The theory of high-speed cinematography is the same in
both film and digital. In film, a “high-speed” motor pulls film
through the gate at an alarming rate, say 1,000 fps, exposing
many more images per second than the normal 24. Let’s
say your product shot of a champagne cork popping lasts
1 second in real life. At 1,000 fps, you have exposed 1,000
frames in that 1 second. When you screen the shot in dailies,
you will have to patiently sit watching the cork slowly popping
for an eternity of 41 seconds. Actually longer, because you
started rolling long before the cork popped, and cut when
you ran out of film. The producer is fuming, because you shot
so much film, the editor is fuming because she can only use
1 second, and the best part of the take lasts 4 seconds. You
should have shot at 250 fps.
Vision Research’s Phantom Flex is the latest digital “highspeed”
camera. Instead of motors and film running at high
speed, the image is being captured electronically at high
speed.
The Phantom Flex shoots slow motion at many resolutions
and frame rates: from 5 fps to over 10,750 fps. At 2K resolution
(2560 x 1600 pixels), the camera goes from 10 fps to 1,455 fps.
Maximum speed increases as the resolution decreases: so you
can shoot up to 2,570 fps at 1920 x1080.
The Phantom Flex works in raw digital files, video, or a
combination of both. Lens mounts include PL, Canon EOS,
Nikon F, Panavision, and B4.
What are the features that make the Phantom Flex unique?
Abel Cine Tech’s Mitch Gross explains:
• 4:4:4 output, with over-sampling for improved
•
MTF and Dynamic Range. If a resolution larger than
1920x1080 is selected, then the camera will scale the
image down so the full frame fits in the standard video
resolution. Over-sampling is good: it improves resolving
power and lowers noise.
HQ mode automatic black balancing. HQ mode
captures the static charge level of every photosite
immediately after capturing a frame, essentially
•
recording alternate Image/Black/Image/Black. The result
is a very stable image that requires no black balance
adjustment between shots. For 4:4:4 video output the
process is invisible.
Global Shutter CMOS sensor. No rolling shutter
artifacts. The entire image is captured at once, in the
same instant.
• Two power ins and two power outs. There are two input
jacks for 24VDC power, so the camera can be “hotswapped”
between an AC power supply and a battery
without ever needing to power down and reboot. There
are two 12VDC outputs on the accessory side of the
camera.
Phantom is available in the US and Canada from Abel Cine
Tech. (abelcine.com) (visionresearch.com)
Dec 2010
31

Sony NEX-VG10
Sony NEX-VG10 with MTF PL mount adaptor by Mike Tapa at IBC, above,
and with Denz PL mount at Cinec, below.
32 Dec 2010
IBC and Cinec attendees were presented a variation on a very affordable
35mm format digital video camera. The NEX-VG10 is
Sony's first consumer APS-C sensor camcorder with interchangeable
lenses. Its E mount is the same one used on Sony NEX-5 and
NEX-3 still cameras. The 14.2 million pixel APS-C HD CMOS
sensor is 23.4 x 15.6 mm. Flange focal depth is a mere 18 mm.
These are perfect permutations for an aftermarket PL mount, and
no sooner could you say IBC than we saw a crowd at the Band Pro
and Sony Booths. There it was: the world's first ARRI PL to Sony
E Mount adaptor, made by Mike Tapa of MTF Services, London. It
enables mounting almost any PL lens on Sony's NEX-VG10, as well
as NEX-3 or NEX-5 still cameras, which have the same sensor. An
optional support cradle for this and other adaptors is coming soon.
Mike knows a thing or two about adaptors: he was the chief design
engineer at Optex. The MTF PL adaptor is precision machined
from HE30 aluminium with a stainless steel mount. They
also make a multitude of adaptors for most combinations of lenses
and cameras, including PL, Leica M, Nikon, Canon, Alpha and
Contax to Sony E. (www.mtfservices.com)
A week later, Denz had a PL to E adaptor in his booth at Cinec.
An E-mount 18-200 f/3.5-6.3 mm zoom with Optical Steadyshot
Stabilization is included in the $1,999 Sony NEX-VG10 package.
With a PL mount you have an excellent director’s finder. The sensor
is practically the same size as 35mm format, so what you see
is pretty much what you get. With the 18-200 lens, you can read
focal length off the barrel or mark it with a strip of chart tape.
This camera seems to be Sony’s answer to the Micro Four-Thirds
format of Panasonic and Olympus. Sony E Mount lenses so far
consist of the 18-200 mm f/3.5-6.3 zoom; 18-55 mm f/3.5-5.6;
and 16mm f/2.8. Many more are expected. Sony also makes an A
to E adaptor to enable use of their Alpha lenses (44.5 mm flange
focal depth).
NEX-VG10 Specs:
• Lens Mount: Sony E-mount. 18 mm flange focal depth
• Electronic Viewfinder: EVF 0.43" Xtra Fine w/ 1152K dots and
Backlight Brightness Control, Diopter Adjustment
• LCD: 3.0" Xtra Fine swivel display (921K dots)
• AVCHD 1080i video at up to 24 Mbps
• 60 fps North American models; 50 fps European
• Stills up to 14 megapixels
• Shutter Speeds—Auto:
1/30 - 1/4000 (Movie) ,
30 seconds - 1/4000 (Still);
• Shutter Speeds—Manual:
1/4 - 1/4000 (Movie) ,
30 seconds - 1/4000 (Still)
• ISO 200 - 12,800
• Memory Stick Pro Duo, Pro-HG Duo
• SD/SDHC/SDXC and Sony MemoryStick storage.
• Battery : Type V Battery; Supplied: InfoLITHIUM NP-FV70
• 85 x 130 x 223 mm (body only)
• 3-7/8×5¼×11½" (97x132x294mm) (W/H/D) with 18-200 lens
• 2 lb 12 oz (1.3 kg) with lens and battery

Converging Stills
Sony NEX-5
Fujifilm Hybrid Viewfinder
Sony’s NEX-5 and NEX-3 digital cameras are the world’s first
interchangeable lens cameras with an APS-C (23.4 x 15.6mm)
sensor. They continuously adjust focus and exposure while
recording video. The NEX-5 camera does full HD video capture
(1080i AVCHD and 720p MP4) with full HD 60i recording.
Best of all, they make wonderful directors’ finders with PL to
E-mount adaptors. As we go to press, I’m using my classic Leica
M series lenses with a Fotodiox Leica M to Sony E adaptor.
(fotodiox.com)
The “mirrorless” construction and 18 mm flange focal depth
(same as the NEX-VG10) reduces the thickness of the camera
body to about an inch at their slimmest point (excluding grip
and mount portions). The NEX-5, constructed from magnesium
alloy, and the NEX-3, with a polycarbonate casing, use a newly
developed 14.2 megapixel Exmor APS HD CMOS sensor. About
60 percent larger than the sensor in micro four-thirds cameras,
this sensor has exceptional image quality, extremely low image
noise with the familiar depth of field of 35mm APS-C format.
Three new E-mount lenses have been introduced: 16mm f/2.8
wide angle prime lens, 18mm-55mm f/3.5-5.6 standard zoom,
and an 18mm-200mm f/3.5-6.3 longer zoom lens. The E-mount
lenses are extremely compact and run quietly even during
continuous auto focus and auto exposure HD video capture.
The NEX cameras accept both Memory Stick PRO Duo (including
Memory Stick PRO-HG Duo) and SD (including both SDHC and
SDXC formats) media (all sold separately).
The NEX-5A and NEX-3A cameras, which are supplied with
SEL16F28 lens, will cost about $650 and $550 respectively. NEX-
5K and NEX-3K cameras, supplied with SEL1855 lens will cost
about $700 and $600 respectively. The NEX-3 is available in silver,
black and red, and the NEX-5 in silver and black.
The SEL16F28 and SEL1855 lenses are available for about $250
and $300. The SEL18200 zoom lens will sell for about $800.
(Sonystyle.com)
FujiFilm Corporation announced the new FinePix X100 at Photokina
2010: a high-end digital compact camera with an APS-C
CMOS sensor, Fujinon 23mm f/2.0 fixed lens and an interesting
new Hybrid Viewfinder. It should be available in early 2011.
The Hybrid Viewfinder combines a rangefinder-type “bright
frame” optical viewfinder, and an electronic viewfinder. By using
a prism for the 1,440,000 dot LCD panel image on the viewing
screen in the reverse-Galilean optical finder, the Hybrid Viewfinder
can show both the shooting frame and data. It can also be
used as a high-quality electronic viewfinder to compose or playback
shots. You can instantly switch between optical and electronic
viewfinder images with simple “one touch” control.
While an outstretched arm has become a standard salute for most
point and shoot rear LCD panel cameras, having the finder as
close as possible to the eye is a welcome relief. The new Hybrid
Viewfinder on the FinePix X100 could be the shape of things to
come in both the still and motion picture worlds.
Tentative specs: 2.9 x 5 x 1.3 in. (74 x 127 x 3.4 cm)— which is
close to Leica M2 size.
Dec 2010
33

FGV Schmidle PL1D
FGV Schmidle have done it again. Following the success of their
FGV PL7D, they have now added a PL mount and modified Canon’s
EOS 1D Mark IV. The mirror cage is replaced by a new FGV
stainless steel sensor carrier that minimizes flange focal depth
variation from temperature changes.
The FGV PL1D (Canon 1D Mark IV) is especially interesting for
cinematographers because its 16 Megapixel APS-H sensor (27.9 x
18.6 mm) comes closest to the Super 35mm 4-perf film format. It
records H.264 1080p at 24, 25 or 30 fps and 720p at 50 and 60 fps.
This is one of Canon’s top of the line EOS cameras.
The sensor holder, PL mount, base plate and rod receptacles are
one integral piece, which assures consistent focus with all lenses
and accessories. The baseplate accepts 15mm lightweight support
rods (comes with 120 and 240 mm rods) for lens controls, follow
focus or matte boxes. The FGV PL1D accepts all 35mm lenses
that fit on an Arriflex camera, as well as Angénieux Rouge Zooms.
The green button on the back of the camera is a welcome addition.
Push it to switch the camera to Live View Mode, as well as
start/stop video recording. A 3-pin Fischer ARRI-style RS connector
lets you start and stop the camera remotely. (It does not
provide power output.)
34 Dec 2010
APS-H size sensor:
29.9 x 18.6 mm
PL Mount
HDMI
cable
protector
Integrated Baseplate and
Lightweight Support
for 15mm rods
Green button:
Push for Live View Mode;
Push to start/stop video recording
3-pin Fischer ARRI-style
RS connector to
start and stop the
camera remotely
The package comes with a riser plate that centers the lens for use
with a 35mm bridge plate. Still photography using Live View and
manual focus is still possible in Manual or Automatic Exposure
Mode, since the shutter unit remains in the camera.
The FGV PL1D package includes the Canon EOS camera body
with PL Mount, a 15mm Light Weight Support with two pairs of
rods (120mm / 240mm), a riser plate to fit a 35mm bridge plate,
Canon battery and charger, as well as the FGV cable protector
with one HDMI interface cable and AV cable. The FGV Cable
Protector adds strength to standard flimsy HDMI cables.
Note: the Canon 1D Mark IV has an image area of 29.9 x 18.6
mm, which is slightly larger than the diagonal coverage of some
35mm cine lenses.
PL1D and PL7D cameras are available for rent at Clairmont Camera
and Otto Nemenz International.
Comes with a one-year FGV warranty. (fgv-rental.de)
For more information, also contact Band Pro Film & Digital.
(bandpro.com)

FGV PL1D
FGV PL5D
They weren’t going to do it...but here it is, below: a PL mount for
the Canon 5D Mk II with mirror and optical viewing intact. As
far as I know, the only PL lenses that cover the 5D’s full frame 24
x 36 mm still format sensor and do not hit the mirror are ZEISS
Compact Primes. If you use other 35mm cine lenses (intended for
an 18 x 24 mm image area), they will vignette. It will look like you
are shooting through a peep hole. Blowing up the image in post
will not be helpful: resolution and pixel count will be reduced.
Markus Schmidle, FGV Managing Director, with FGV PL1D and 5D at Cinec
FGV PL1D
FGV PL Specs
• 16 Megapixel APS-H sensor
• Sensor size: 29.9 x 18.6 mm
• Format: close to Super-35 4-perf cine format
• ISO: 100 - 12,800. Speed Expansion up to 102,400
FGV PL7D
• 18 Megapixel APS-C sensor
• Sensor size: 22.3 x 14.9 mm
• Format: close to Super-35 3-perf cine format
• ISO: 100 - 6,400 ISO. Speed Expansion up to 12,800
FGV PL5D
• 21.1 Megapixel 35mm full-frame sensor
• Sensor size: 36 x 24 mm
• Format: “Leica” format: Vistavision 8-perf horizontal
• ISO: 100-6,400 ISO. Speed Expansion up to 25,600
Dec 2010
35

Canon Expo 2010
Imagine an entire PhotoPlus Expo, NAB
or IBC devoted to one company. Canon
occupied the entire Jacob Javits Center
in New York for its once-every-five-year
Canon Expo on September 2 and 3, 2010.
It was repeated in Paris and Tokyo, like a
World’s Fair or Epcot, with visions of the
future, concept cameras, medical imaging,
and jaw-dropping technology—all from
one company.
The press conference revealed impressive
statistics: Canon is a $40 billion a year
global business; $10 billion in the US. They
make everything from input to output
in house: cameras, scanners, printers,
sensors, electronics, software, lenses—
everything for imaging. Outsourcing isn’t
in the vocabulary. They have 20.5% of the
compact digital still market, 48.5% of the
DSLR market, and are 4th in the world in
patents. Over 40 million EOS cameras have
been sold. These are staggering numbers
in comparison with the motion picture
business, where a couple of hundred units
is impressive.
What’s also remarkable is how much synergy
derives from Canon’s other industries.
At the Expo, we saw mixed reality, where
you could interact with real objects while
36 Dec 2010
viewing through a head-mounted display.
It goes beyond games. A demo takes you
on an amazing journey in 3D through
an EOS camera—traveling like a firefly
through the lens, past the mirror and all
around the sensor. Medical imaging sees
the eye in ways never before possible, and
a new DNA analyzer is possible because of
new sensor and display technology.
It’s definitely not a 2K world any more, as
we’ve belabored before. New 4K (4096 H)
and HD (1920 H) high-resolution liquid
crystal panels were on display. For anyone
in the “my grandmother couldn’t tell the
difference” argument mode, 4K and 2K
displays were positioned side-by-side. The
4K was absolutely stunning and even more
life-like than, dare I say it, current 3D.
These displays aren’t only intended for
motion pictures. They’re targeted for
professionals in color management, image
editing, the printing industry, image
quality management, retouching, and
high-definition medical diagnostics.

Canon Expo: 4K
The 4K race accelerates. Introducing Canon’s small 5.5 lbs, Pixie
size...er…Vixia size 4K concept camera. It has a 2/3" 8 megapixel
CMOS single sensor. Frame rates above 60 fps. Bio-plastic housing
made of plants instead of petroleum. Weighs about 5.5 lbs, 2.5 kg.
Canon’s 4K prosumer prototype was a working model, displaying
a crisp and beautiful image on new 4K Canon monitors. The hair
dryer shape and fused 24-480 zoom (35mm equivalent, 20x f1.8-
3.8) conceal this camera’s potential.
I suspect that Canon is working swiftly (after all, the theme of
Canon’s Expo 2010 is “We Speak Image”). A 4K camera could be
ready to roll on locations and sets worldwide if there’s enough
buzz to make it worth their while. With Canon’s considerable
resources, it could have an APS-H size sensor, interchangeable
mounts for the vast array of Canon still lenses, and more. The
working finder and mini monitor (3 cheers–both remain on all
the time) were incredibly sharp, and were very easy to focus.
Here’s another game-changer. (canon.com)
Canon EOS 60D
Chuck Westfall guided us
through the new Canon
EOS 60D at Canon Expo
2010. With the same
18-megapixel image sensor
as the 7D and the T2i, it’s
positioned between the
two. The 60D has a large
Vari-Angle 3-inch LCD
screen with 1,040,000 dot/
VGA resolution and antireflective
and smudgeresistant
coatings for bright
viewing from any angle.
Another first for the
EOS system is the EOS
60D camera’s new Multi-
Control Dial, which places
a Multi-Controller and Set
button inside the Quick Control Dial. This new control layout
streamlines camera navigation for vertical as well as horizontal
shooting and enables a cleaner camera design. The EOS 60D also
features a locking mode dial, which makes camera operation
more secure by preventing inadvertent changes to your selected
shooting mode.
It has a manual audio control with 64 steps, much like the latest
firmware update for the EOS 5D Mark II HD-SLR. Movie mode
(1920 x 1080 with selectable frame rates of 24p, 25p or 30p), has
manual controls for exposure. List price for body is $1,099.
(usa.canon.com)
Above: Sam Nicholson, Rick Macallum, and
members of the shooting gallery.
Below: Canon 3D concept camera and
wearable 3D viewer.
Dec 2010
37

Canon Expo: Sensors
Canon XF105
38 Dec 2010
APS-H sensor
World’s largest CMOS
image sensor:
the single chip measures
8 x 8.1 inches
(202 x 205 mm)
Canon’s new APS-H-size
sensor with a resolution
of approximately 120
megapixels
13,280 x 9,184 pixels:
approx. 29.2 x 20.2 mm.
At Canon Expo 2010, Canon Inc. showed the world’s largest
CMOS image sensor. The single chip measures 8 x 8.1 inches
(202 x 205 mm). Because its expanded size enables greater lightgathering
capability, the sensor is capable of capturing images
in one one-hundredth the amount of light required by current
professional digital SLR cameras.
This new high-sensitivity CMOS sensor can shoot 60 fps video
with a mere 0.3 lux of illumination. Think about stars in the night
sky or critters prowling about at night. At 202 x 205 mm, the newly
developed CMOS sensor is among the largest chips that can be
produced from a 12-inch (300 mm) wafer, and is approximately
40 times the size of Canon’s largest commercial CMOS sensor (the
approximately 21.1 megapixel 35 mm full-frame CMOS sensor
in Canon’s EOS-1Ds Mark III and EOS 5D Mark II digital SLR
cameras).
Previously, larger sensors resulted in larger delays in the amount
of time required between image capture and data processing.
Canon addressed this challenge with innovative circuit design,
making this massive video-compatible CMOS sensor possible.
Canon is one of only a few companies worldwide capable of
fabricating high-end CMOS image sensors. (Sony is another.) We
will see additional interesting sensors for interesting times from
Canon for still and moving images.
In case you’re having trouble finding lenses for the 8 x 8 inch
CMOS behemoth, Canon also showed a new APS-H-size sensor
with a resolution of approximately 120 megapixels (13,280 x 9,184
pixels), thought to be the world’s highest level of resolution for
its size. Currently, Canon’s highest-resolution commercial APS-H
size CMOS sensor (EOS-1D Mark IV) contains approximately
16.1 million pixels.
Canon’s newly developed CMOS sensor also incorporates Full
HD (1920x1080) video output capability. The imaging area of the
new sensor measures approximately 29.2 x 20.2 mm.
Honey, they shrunk the Canon XF305.
The new XF105 and XF100 Camcorders are Canon’s smallest
professional camcorders. They share most of the same features of
their bigger (twice the size) siblings (XF305 and 300) — MPEG-2,
4:2:2, 50Mbps. 2.5 lbs. Single 1/3" CMOS sensor. 10x zoom (30-
304 mm 35mm equivalent).
The XF105 has HD-SDI out and Genlock/Timecode. You can
connect two of the XF105 cameras together for 3D work, and a
menu setting lets you control fine zoom lens adjustments with the
internal stabilization circuitry.
Infrared low-light mode lets you shoot in almost complete
darkness, in either traditional nightvision green or monochrome.
Two CF slots.
Estimated cost is $5000 and $4000 for XF105 and XF100–shipping
around January. (usa.canon.com)

NHK 8K with Fujinon Lens
Plan ahead if you just bought a big, flat-screen Stereo HDTV.
Don’t even think about making that custom woodwork wall
system a permanent affair. In a mere 9 years from now, it
may all be obsolete. NHK, the nice people who brought you
HDTV in the first place, are thinking about leapfrogging
from 2K to 8K Super Hi-Vision consumer televisions by the
year 2020.
The recommended viewing distance is .75 times the screen
height. Remember Archie Bunker? His Barcalounger was 12
feet away from the TV. At that distance, he’d need a massive
9 foot high x 16 foot wide 8K screen. But, poor Archie’s ceiling
is only 8 feet high. Which wall succumbs to the Sawzall
for an opening large enough to get the beast in? Of course,
Archie could consider moving his favorite chair closer and
buying a smaller monitor.
Now, admittedly, NHK had their sights set on replacing your
old faithful NTSC set since 1969—and it took much longer
than expected to clear endless committees of politicians, lobbyists
and engineers.
While many have been debating the merits of 2K over 4K,
NHK has been patiently working on 8K. In development
since 1995, their Super Hi-Vision (SHV) has been shown at
previous NAB shows in various stages. This year at IBC, the
target date of 2020 for live satellite broadcast looks realistic.
So do the stunning images. They had a live feed from a perch
across the main station in downtown Amsterdam. You could
see every brick, every raindrop, every detail. It was, many of
us thought, even more realistic than 3D.
One of the hits of IBC was the 8K, 33 megapixel Super Hi-
Vision screening with 22.2 channel audio, featuring clips of
the Tokyo Marathon and a short film, “Onbashira of Suwa,”
about the dedication of a sacred tree.
The prototype NHK-Hitachi Super Hi-Vision Camera
adheres to the new SMPTE 2036-1 standard: UHDTV2
(7680×4320/59.94p, R/G/B 4:4:4). This is 16 times greater
than HDTV.
The lens was a custom-designed Fujinon 8K prime.
Dec 2010
39

Panasonic AG-AF100 4/3" Camcorder
After stirring up a lot of interest at IBC, Panasonic announced
that their AG-AF100 Micro 4/3-inch video camcorder starts shipping
on December 27th at a suggested list price of $4,995. Panasonic
is looking directly at DSLR cameras and intends to come
up with an alternative for shooting HD video. Introduced at NAB
2010, the AF100 delivers the shallow depth of field associated with
35mm format. Remember, Panasonic’s Lumix was the first digital
still camera that was easily converted to PL mount (by Illya Friedman
of Hot Rod), probably sparking the HDSLR revolution.
What we see here is the next wave—taking the technology of the
HDSLR and moving it out of the still camera body into a new hybrid
Hasselblad-like case. Epic also comes to mind.
Jan Crittenden Livingston, Panasonic Product Line Business
Manager, and all-around camera genius, told us at IBC, “We saw
a lot of companies making after-market mounts and adapters for
our Micro 4/3-inch Lumix cameras, and rather than reinvent the
wheel with new mounts, we utilize this superb format.”
Carl Zeiss had just the thing at IBC: their new interchangeable
mount CP.2 Compact Primes can be ordered with Micro 4/3-inch
mounts. Because of the very short flange to image plane distance
of the Micro 4/3-inch mount, a large array of widely-available still
camera and cine lenses can be used with adaptors. You can mount
PL, Panavision, Leica, Nikon, Canon, Olympus, Minolta, Yashica
and many others.
The Micro 4/3-inch format settles on a sensor diagonal of
22.5mm. Flange focal depth is 20 mm. We don’t have specs yet,
but guess that the AF-100 16:9 MOS imager is around 13.5 x 18
mm. (35mm Academy is 15.24 x 20.96 mm.) The full HD camera
offers native 1080/24p recording, variable frame rates, pro audio,
and compatibility with SDHC and SDXC media. It has a built-in
optical ND filter.
It records 1080 at 60i, 50i, 30P, 25P (Native) and 24P (Native),
and 720 at 60p, 50p, 30p, 25p and 24p native in AVCHD’s highestquality
PH mode (maximum 24Mbps). The AF100 also records in
AVCCAM’s HA (17 Mbps) and HE (6Mbps) modes, 1080i only.
It is 60Hz and 50Hz switchable–so it can be used anywhere in the
world without modification.
Above: Zeiss has added the Micro Four-Thirds mount to their CP.2 Series, now
available in PL, Canon EF, Nikon F and Micro 4/3-inch interchangeable mounts.
Below: Angénieux Optimo DP Rouge on Panasonic AF100 using Hot Rod Camera
PL to Micro Four-Thirds Adaptor.
40 Dec 2010
Variable frame rates are available in 1080p, selectable in 20 steps
from 12p to 60p at 60Hz and 20 steps from 12p to 50p at 50Hz.
Outputs include uncompressed 4:2:2, 8-bit HD-SDI out; HDMI
out; and USB 2.0. When the camera is in Variable Frame Rate
mode, the HD-SDI does not output video signals. The AF100 records
SMPTE Timecode and is able to perform Timecode synchronizing
via the video output seeing Timecode in. It has a builtin
stereo microphone and features two mic/line, switchable XLR
inputs with +48V Phantom Power capability. The camera can record
48-kHz/16-bit two-channel digital audio (in PH mode only)
and supports LPCM/Dolby-AC3 in any of the modes.
The AF100 has SDXC media card compatibility in addition to existing
SDHC card support. SDXC is the newest SD memory card
specification that supports memory capacities above 32GB — up
to 2TB. With two SD slots for continuous recording, the AF100
can record up to 12 hours on two 64GB SDXC cards in PH mode,
with automatic clip spanning across the two cards.
The AF100 weighs 3.5 pounds (without lens or battery).
(pro-av.panasonic.net)

RED Epic
The original, revolutionary Red paradigm was to make a cine
camera like a still camera that shot at 24 fps. The imminent Epic
takes the medium format still camera as its model. What more can
we say that isn’t on the ubiquitous user groups and website? The
Red Epic promises a 30 x 15 mm 5K sensor ((5120 x 2700 pixels),
5K resolution from 1 to 120 fps, over 13 stops dynamic range—all
in an ergonomic, modular, medium format form factor that could
shake up the industry once again.
Ted Schilowitz was the Pied Piper of IBC and Cinec, followed by
large crowds. Yes, yes, the partial specs below are moving targets,
subject to change, but always alluring. (red.com)
• Sensor 14 Megapixel Mysterium-X
• Pixel Array 5120x2700
• S/N Ratio 66Db
• Dynamic Range 13.5 Stops, Up To 18 Stops With HDRx
• Lens Coverage 27.7 x 14.6mm = 31.4mm (Diag)
• Acquisition Formats 5K Raw (Full Frame, 2:1, Anamorphic)
4.5K Raw (2.4:1)
4K Raw (16:9, HD, 2:1 Anamorphic)
3K Raw (16:9, 2:1 Anamorphic)
2K Raw (16:9, 2:1 Anamorphic)
1080p RGB (16:9), 720p RGB (16:9)
• Project Frame Rates 23.98, 24, 25, 29.97, 48, 50, 59.94
• Delivery Formats 4K : DPX, TIFF, OpenEXR
1080p RGB or 4:2:2, 720p 4:2:2 in
Quicktime, JPEG, Avid AAF, MXF.
• Output SMPTE Timecode, Metadata
• Monitor Output HD-SDI And HDMI With Frame Guide,
Look-Around, 2K, and more
• Digital Media Redflash (CF) Module: (8, 16Gb Media)
Redflash (SSD) Module: (64, 128, 256Gb)
• Audio 2 Channel, Uncompr, 24-bit, 48Khz.
• Monitoring Options Red LCD 5” Touchscreen Display
• Viewfinder Bomb EVF High Definition Viewfinder
• Remote Control Wireless, Ethernet, RS232, USB-2
• Weight 6 lbs. Body Only
• Construction Aluminum Alloy
Dec 2010
41

JVC GY-HM790
JVC’s HM790 was introduced at NAB, and is still the only game
in town if you want an affordable, lightweight, shoulder-resting
camera with interchangeable lenses and lots of depth of field
thanks to its ⅓" 3-CCD sensors. Why would you want lots of
depth of field? Well, if you’re shooting sports, news or fast-moving
documentaries, your audience may appreciate deep focus.
Remember: the smaller the sensor, the greater your depth of field.
Is this the welcome, contrarian camera? While its competition
is designing medium format style boxy cameras with larger sensors,
viewfinders on the back, and no way to shoulder-rest, the
JVC ProHD camcorders provide a comfortable and thoughtful
alternative. JVC was first to introduce simple file recording onto
non-proprietary solid-state media cards, ready to edit in Apple
Final Cut Pro (.mov) and other major NLE systems (.mp4) that
are compatible with Sony XDCAM EX workflow.
JVC’s 790 has three ⅓" CCDs and shoots 1920 x 1080. HQ mode is
Variable Bit Rate, 35Mbps, 1920x1080i 50/60, p24/25/30 MPEG-
2. SP mode is a constant bit rate or 19 Mbps or 25 Mbps.
The camera comes with or without a Canon 14x HD ENG zoom
lens, or a variety of ⅓" bayonet lenses. The dual card slot accepts
low-cost, non-proprietary SDHC Class 6 or 10 solid-state media
cards. The HD/SD-SDI port provides an uncompressed 4:2:2 full
HD signal including audio and time code. The KA-MR100G SxS
media recorder module, which was previously introduced with
the GY-HM700, attaches directly to the camcorder and allows simultaneous
recording to SxS media in the Sony XDCAM EX format
as well as to the internal SDHC cards. (pro.jvc.com)
42 Dec 2010
Storage
Fujifilm Eterna Vivid 250D
We begin our section on storage with film. Yes, film is storage. It’s
also a sensor, recorder, and display device. Pretend this is a press
release written by a digital demigod:
“Introducing the latest solution in scalable asset storage,
leveraging 8K resolution independence and beyond, future-proof
and format-proof. No more ‘poof...oops...we just reformatted the
data.’ Leveraging a global standard, baked-in, unbreakable look,
the dynamic range can be stretched to 20 stops with advanced
scanner technology.” We’re writing about film, of course.
Fujifilm has just raised the bar again. This time it is Eterna Vivid
250D, to be introduced in December: 35mm Type 8546, 16mm
Type 8646. It provides higher saturated color, higher contrast and
improved sharpness compared with Eterna 250D.
Eterna Vivid 250D (Daylight) intercuts with Eterna Vivid 500
(Tungsten), which was released in 2009.
Eterna Vivid 250D produces balanced, pleasing skin tones and
grays across a wide exposure range. The high contrast and highly
saturated palette produces rich, vivid color and crisp, deep blacks.
Sharing a seamless match with Vivid 500, Eterna Vivid 250D has
a response, color balance, sharpness, and optimized orange mask
density that results in improved scanning results. (fujifilm.com)
How Film is Made
Jon Fauer, ASC
The Journal of Art, Technique and Technology in Motion Picture Production Worldwide
A Cinematographer’s
Tour of Kodak
I was recently invited on a
tour of Kodak’s Building 38
in Rochester. This report
could be called, “My Trip to
Kodak.” It is not intended
to be a technical treatise
on how to build your own
film factory. My intent was
to illuminate the process
of film manufacturing so
that fellow cinematographers,
directors, filmmakers
and students might better
appreciate the fascinating
technology and process behind
the product. Download
the online supplement:
www.fdtimes.com/kodak

Storage: Marvin
Cinedeck
Alan Hoff, above. Ari Presler, below.
An “automatic washing machine for video data.” That’s how Russell
Branch of Marvin Technologies describes Marvin.
Basically, Marvin takes a RED CF card, and performs a so-called
protocol. A protocol in this case, is a list of chores Marvin will
perform, like copying data to the built-in RAID, verifying the
copied files, processing them to Quicktime, archiving onto LTO
tape, generating a report, and burning a DVD of dailies in H.264.
This all happens without human interaction, so the risk of error is
highly reduced. That does not mean data wranglers will be out of
work in the future, it just makes their lives easier and safer.
Soon, Marvin will be able to handle SxS Data, P2 Data and hopefully
even more formats, including 3D—it can even sort the data
from left and right eye. All you need to control Marvin is a laptop
and a browser.
Marvin costs about 12000 € for the 6TB version, including the
LTO tape drives, and is available from Band Pro. (bandpro.com)
Alan Hoff from Cinedeck calls his product an “extremely capable recorder.” A look at the
spec sheet shows he’s not bragging.
Cinedeck is not much larger than a 7" monitor, records to SSD or SSD RAID. With options,
it can record up to 4:4:4 uncompressed, and provide ambient Timecode. The base version
of the deck records Cineform, all flavors of ProRes, and DNxHD.
It can pick up signals from HD-SDI and HDMI sources, has loop-through dual SDI
connectors and records about every HD and SD format there is.
Cinedeck has put in image evaluation tools, like histogram, waveform and vectorscope,
and the reader for the SSDs is included in the base package. It’s not a replacement for an
on-board mini monitor like a Transvideo, but true to its name, is an extremely capable
recorder that happens to have a good interface. Since Alan is an AVID alumnus, there are
rumors of potential for on-set rudimentary editing. (cinedeck.com)
Cinedeck is collaborating with Ari Presler's Silicon Imaging on a portable Cinedeck SI-
3D solid-state recorder. The lightweight recorder can simultaneously capture 12-bit RAW
2K or HD images from two SI-2K cameras, or from the new SI-3D stereo camera. The
Cinedeck SI-3D processes content for real-time viewing and storage on removable 2.5"
SATA SSD drives. A single 250GB SSD
is capable of storing about 30 minutes
of uncompressed stereo 2K footage,
including audio and timecode, or up
to two hours of stereo material using
the CineFormRAW QuickTime codec.
It weighs 3.8 lbs and is easy to use on
Steadicams and shoulder rigs.
• 7" LCD HD Touchscreen (1024 x 600)
• Dual Intel Pro/1000 Gigabit Ethernet
• Quad Core Intel Processing
• VGA or TV Output for external Viewing
• 2.5" SATA SSD Drive Slot
• USB (x2), eSATA (x1)
• Battery Mount
• 9-28V Power Input
(siliconimaging.com)
Dec 2010
43

Storage: Codex
AJA Ki Pro Mini
Nexto DI
44 Dec 2010
Codex Onboard is a rugged, weather-resistant digital recorder
that can be mounted directly onto an ARRI Alexa, D-21, Sony
F35, F23, and many other cameras. It records uncompressed
or wavelet, HD or Data, along with audio and metadata, onto a
single, removable data pack. Codex Onboard can record simultaneously
from two 4:2:2 or 4:4:4 cameras—helpful for Stereo 3D
shoots. It weighs 5.7 lbs (2.5 kg).
Codex Onboard records uncompressed or with visually lossless
wavelet compression (compression ratios from 3:1 to 8:1). It also
significantly reduces the storage requirements of a production.
Codex Onboard provides immediate full-frame playback as
video. Used with a Codex Transfer Station, it delivers multiple
industry-standard formats, generated on-the-fly for editing systems
to use without importing. When shooting is done, Codex
offloads material much faster than real-time—typically three to
five times faster. (codexdigital.com)
AJA Ki Pro Mini is a miniature recorder that attaches easily onboard to most
small (and large) cameras. It records Apple ProRes 422 (including HQ, LT
and Proxy) from the camera’s SDI or HDMI outputs on CompactFlash cards.
It’s also a good fail-safe back-up, because it can record ProRes simultaneously
while the camera records to tape or its own kind of solid-state memory.
AJA’s Ki Pro Mini files are ready to edit. It supports Apple Final Cut Pro by
recording standard Apple ProRes 422 QuickTime files on industry standard
CompactFlash (CF) cards. When removed, CompactFlash cards function as
standard HFS drives when connected to a Mac computer via any standard
CompactFlash reader. (aja.com)
Nexto Video Storage Pro began life as a way for still photographers to save, backup, archive,
and view the digital images from their CF And SD cards. Nexto now has products for digital
cinematography. It does not record live. Nexto is brought into action after you’ve removed the
memory card from your camera. Insert the card into Nexto: it checks, backs up to internal hard
drive, and lets you view and play back clips.
The new NVS2525 will come in 2 separate versions. The Standard NVS2525 accepts: SxS, P2, and
CompactFlash via adapter. (SDHC not supported.) It begins shipping Dec. 2010. A special ARRI
Alexa version accepts Alexa formatted SxS cards only, without support for CF or P2. It will back
up at approx. 90MB/s. The backup unit for ARRI Alexa—without preview function, should be
ready beginning 2011. Another model, with ability to view Alexa footage on LCD is targeted for 1st
quarter, 2011. (nextodi.com)

3D
P+S Technik Freestyle Rig for Steadicam and handheld—and on sticks. P+S Technik Freestyle Rig with SI-2K and ZEISS 10mm DigiPrimes.
Above: Element Technica 3D Quasar Rig, with Red Epics, Angénieux
Optimo Rouge, Sachtler Video 90 Head.
Below: Tango Rig with Reds and ZEISS LWZ Lightweight 15.5-45mm
zooms. (tangohead.com)
Above: Scott Putnam handheld with Element Technica 3D Pulsar Rig,
with Sony HDC-P1 cameras and Fujinon zooms. (technica3d.com)
Element Technica 3D rigs come in three sizes: Quasar, Pulsar and
Neutron. The Quasar 3D rig is intended for large cameras like the Sony
F23/35, Red One, and Alexa. The Neutron is for small cameras like
the SI-2K or the Red Epic brains. It is extremely small and lightweight,
converts from mirror to side-by-side mode in seconds, and can be
motorized easily. The Pulsar Rig fits in between the Quasar and the
Neutron, for use with medium size cameras, EX3, F3, etc.
Below: Stereotec Rig, ARRI Alexas, ZEISS Master Primes
Dec 2010
45

3D
Howard Preston and Fred Meyers with Kerner Optical 3D Rig. Sony
HDC-P1 cameras and Fujinon 6-30mm T1.8 2/3" B4 mount zooms.
Screen Plane Production Rig with Reds and Angénieux Optimo Rouge.
Screen Plane Kite Steadicam Rig with Transvideo
Monitor. Rig weighs under 10 kg.
46 Dec 2010
Preston Cinema 3D controls for Kernercam.
Prototype Sony 3D camera shown at IBC.
Screen Plane Snuggle Puggle 3D rig with gyro
stabilizer —originally designed for Red Bull
downhill skiing project.
Stereotec Rig with SI-2K, ZEISS Ultra16 12mm
Primes, and Mini HD Compact Recorder.

Lenses
Dec 2010
47

Angénieux Optimo Zooms
Angénieux 3D-Ready Optimo DP (Rouge and Bleu) matching lenses on Element
Technica Rig with RED Epics, above. 3D-Ready Optimo Lens Package, below.
48 Dec 2010
At Cinec, Angénieux conducted a user-group meeting for owners
and rental houses. They hinted at products-to-come-which-mustnot-be-named
until NAB. We learned from Philippe Parain,
CEO of Thales Angénieux, that the company has invested over
5 million Euros on new production and equipment. They have
increased lens delivery time. For example, in July 2010, more than
60 Optimo zooms were delivered.
With IBC ready for 3D, so was Angénieux. The 3D-Ready Optimo
DP (Rouge and Bleu) Lens Package consists of a factory matched
pair of 16-42 mm or 30-80 mm Optimo DP lenses in a customized,
waterproof, Pelican-style case. The pair of lenses come from the
same production run, with essential features for 3D applications
like factory matched zoom and focus scales, comparable optical
quality and easily adjustable tracking.
All the Angénieux Optimo 35mm film format zooms were on
display at IBC and Cinec: The Optimo 24-290 mm T2.8; 17-80
mm T2.2; 15-40 mm T2.6; and 28-76 mm T2.6. They come in
PL or PV mounts. In 2008, Angénieux introduced the Optimo
(Rouge) DP Digital Zooms: 16-42 mm T2.8 and the Optimo DP
30-80 mm T2.8 lenses.
The Optimo 24-290 mm has been a favorite lens for many
cinematographers since it was introduced in 2001. There is no
aperture ramping and almost no breathing. The focus scale has
been newly redesigned with over 50 user-friendly, precise focus
marks in feet and inches (or metric). The minimum object
distance is 1.22m/4' (object field of 67 x 49 mm at 290 mm). The
24-290 zoom weighs 11 kg/ 24.25 lbs. Image diagonal is 30 mm.
PL, PV, Canon, or Nikon mounts.
The Optimo 17-80mm T2.2 Zoom Lens also has over 50 focus
marks, minimal breathing, and no ramping. It is available in PL
or PV mounts, weighs 5kg/11lbs, and has a minimum object
distance of .6 m/2 ft (object field 85 x 63mm at 80mm). Image
diagonal is 28 mm—which may vignette at wide angle in Super-
35mm 4-perf, but is fine for 35mm format 3-perf, 2-perf, 16:9.
The lightweight zoom Optimo 15-40 mm T2.6 has an image
diagonal of 31.1mm. Minimum object distance is .6 m/2 ft. This is
the darling of handheld and Steadicam. It weighs 1.92 kg/4. 2lbs
and comes in PL, PV, Canon, or Nikon mounts. Over 50 focus
marks. With the Wide Angle Adapter WA 0.75x, it becomes an
11.4mm at the wide end.
The lightweight zoom Optimo 28-76 mm T2.6 Zoom Lens also
has an image diagonal of 31.1 mm, with a minimum object
distance of .6m/2ft. Over 50 focus marks. It weighs 1.95 kg/4.4 lbs
and is available in PL, PV, Canon, and Nikon mounts.
The Optimo DP (Rouge and Bleu) lightweight zooms are based
on the lightweight film zooms, with several exceptions. They
are more affordable, optically excellent but not equal, and most
important, have a rear element that protrudes 31mm past the
PL lens flange. This is very important: DP lenses cannot be used
on cameras with spinning mirror shutters: ARRI D-21, all ARRI
film cameras, and the yet-to-be released ARRI Alexa with Optical
Finder. You also should check that DP lenses clear the cover glass
of digital cameras like the Sony F35 and SRW-9000PL where the
clearance is very close. We know the DP lenses work on Red One
and Epic cameras, and ARRI Alexa Electronic Finder cameras.

Angénieux Optimo Zooms
The Optimo DP 16-42 mm T2.8 lightweight zoom has an image
diagonal of 32mm (Red Epic). There are about 20 focus marks.
With the Wide Angle Adapter WA 0.75x, it becomes a 12.2 mm
at the wide end.
The Optimo DP 30-80 T2.8 also covers a 32mm image diagonal,
weighs 1.9kg/4.2lbs.
1.4x and 2x extenders are available for the 24-290 and 17-80
Optimo zooms. The Optimo 24-290 mm with 2x extender
becomes a very sharp 49-540 mm T5.6 zoom.
Angénieux is working on new version of the 1.4x and 2x extenders
that will be compatible with the entire Optimo line: 24-290, 17-
80, 15-40, 28-76. DSLR mounts are also available for the Optimo
24-290, 28-76, and 15-40.
Angénieux showed their /i Data encoder, an add-on unit to send
/i metadata to cameras, monitors, 3D rigs and post tools.
The new WA 0.75X Wide Angle Adapter attaches to the front
of the Optimo 15-40mm and Optimo DP 16-42mm Zooms. It
renders a fisheye effect at the wide end. It’s not recommended
to be used at focal lengths other than wide (Optimo 15-40 mm
becomes 11.4 mm and Optimo DP 16-42 mm becomes 12.2mm).
Set the focus to minimum. The hyperfocal distance is 2 meters.
The adapter weighs 1 lb/ 450 g.
Angénieux Optimo Bleu on ARRI Alexa
Four fashionable models for hand-holding: Linda Carriel, Jean-Marc Bouchut,
Alexa and Angénieux Optimo DP Rouge…er…Bleu. We’ve tested and
confirmed that Optimo DP Rouge zooms are sharp, balance well and fit on ARRI
Alexa and Alexa Plus. The rear element of the lightweight Optimo DP 16-42 mm
T2.8 protrudes 27 mm, and the 30-80 mm T2.8 protrudes 31 mm from the PL
flange. This distance is well in front of the cover glass / low-pass filter pack of
current Alexa, Red, Sony F35 and 9000PL cameras—which do not, of course,
have spinning mirror shutters. But, always check clearance before inserting.
Remember, however, that ARRI’s third intended Alexa sibling should have a
spinning mirror shutter, which will require Angénieux film-style zooms: Optimo
15-40mm T2.6 and 28-76 mm T2.6. The rear elements on those lenses do
not protrude, and can even be used directly on Canon HDSLR cameras with a
PL-to-Canon adapter or Angénieux neutral-to-Canon mount.
You can proclaim your camera allegiance with Angénieux Optimo DP interchangeable
red, blue, or black rubber barrel rings.
Dec 2010
49

Angénieux Optimo Zoom Lenses
50 Dec 2010
Optimo 15-40 mm T2.6
Minimum Object Distance: 0.6m / 2' Weight (approx): 1.92 kg / 4.2 lbs
Length: 186 mm Front diameter: 114 mm
320° focus rotation; over 50 focus marks 2.7x zoom ratio
Covers Super 35mm: 31.1 mm image diagonal
Mounts: PL, Panavision, Canon, Nikon
Optimo DP (Rouge) 16-42 mm T2.8
Minimum Object Distance: 0.6m / 2' Weight (approx): 1.9 kg / 4.2 lbs
Length: 190 mm Front diameter: 114 mm
320° focus rotation; over 20 focus marks 2.6x zoom ratio
Covers Super 35mm Red 5K aperture: 32 mm image diagonal
Mount: PL. For digital cameras. Cannot be used on mirror-shutter camera—
rear element protrudes 27 mm beyond lens flange.
Optimo 28-76 mm T2.6
Minimum Object Distance: 0.6m / 2' Weight (approx): 1.95 kg / 4.4 lbs
Length: 205 mm Front diameter: 114 mm
320° focus rotation; over 50 focus marks 2.7x zoom ratio
Covers Super 35mm: 31.1 mm image diagonal
Mounts: PL, Panavision, Canon, Nikon
Optimo DP (Rouge) 30-80 mm T2.8
Minimum Object Distance: 0.6m / 2' Weight (approx): 1.9 kg / 4.2 lbs
Length: 186 mm Front diameter: 114 mm
320° focus rotation; over 20 focus marks 2.7x zoom ratio
Covers Super 35mm, Red 5K aperture: 32 mm image diagonal
Mount: PL. For digital cameras. Cannot be used on mirror-shutter camera—
rear element protrudes 31 mm beyond lens flange.
Optimo 17-80 mm T2.2
Minimum Object Distance: 0.6m / 2' Weight (approx): 5 kg / 11 lbs
Length: 326 mm Front diameter: 136 mm
329° focus rotation; over 50 focus marks 4.7x zoom ratio
Covers 35 mm Academy format: 28 mm diagonal
Note: slight vignetting at wide end with 35mm silent aperture
Mounts: PL, Panavision, Canon on request
Optimo 24-290 mm T2.8
Minimum object distance: 1.22m / 4'
Weight (approx): 11 kg / 24 lbs
Length: 440 mm Front diameter: 162 mm
327° focus rotation; over 50 focus marks
12x zoom ratio
Covers 35 mm Academy format: 30 mm diagonal
Mounts: PL, Panavision, Canon, Nikon

Image Stabilization by Larry Thorpe
Larry Thorpe, National Marketing Executive for Broadcast &
Communications, Canon USA Inc. wrote this article in response
to requests for more insight into how image stabilization works.
Image stabilized lenses allow shooting stills at slower speeds. They
are standard on ENG and prosumer video cameras. I would expect
to see this technology on high-end cine lenses in the near future.
Lens and camera shake is a significant cause of blurred images.
These disturbances can come as jolts when a camera is handheld
or shoulder mounted, from vibrations when tripod-mounted
on an unstable platform or in windblown environments, or
when operating from vehicles, boats, and aircraft. A variety
of technologies have been applied in the quest for real-time
compensation of image unsteadiness.
1. Mechanical: the lens-camera system is mounted in a gyrostabilized
housing. Helicopter mounts, remote heads, etc.
2. Electronic: the unwanted movements of the image are sensed
electronically and corrected by counter shifts in the readout of
the image sensors, or by digital memory reading corrections.
3. Optical: a third method intercepts the unwanted image
movements and applies a compensating optical correction that
cancels out the inadvertent optical image shifts.
2 Different Approaches to In-Lens Optical Stabilization
In the mid 1980s, Canon embarked on two separate approaches
to in-lens optical stabilization. They differ in the way the optical
elements are controlled:
1. A flexible prism intercepts the light rays entering the lens. This
is known as the Vari-Angle Prism Image Stabilization (VAP-IS).
2. A moveable lens group within the lens. This is called Shift
Lens Image Stabilization (Shift-IS).
Both share the same associated principles. They detect lens
motion, create control signals proportional to that motion, and
in turn, drive actuators that manipulate the optical elements.
1. Variable-Angle Prism Image Stabilization (VAP-IS)
The variable angle prism technology was originally developed by
Juan de la Cierva, founder of the Dynasciences Corporation in
Philadelphia, and inventor of the Dynalens.
The Variable-Angle Prism is a truly ingenious innovation.
It consists of two precision glass plates mounted in a
hermetically sealed arrangement that contains a special highrefractive
index liquid. The housing has a flexible bellows made
of a multi-plastic material. The bellows, the liquid, the technique
of filling and hermetically sealing the assembly—all constituted
a design challenge spanning some years.
Ensuring the integrity of the prism’s operation over a wide
temperature range of -27 degrees F to +176 degrees F, and tens
of millions of reliable operations, led to high sophistication in
materials developments and related manufacturing processes.
These continued over the decade that led to the HDTV lens.
2. Shift Image Stabilization
A second technological approach to optical image stabilization
was undertaken by Canon R&D a few years following initiation
of the Variable Angle Prism-IS project. The challenge of long
focal length lenses spurred development of this alternative Shift-
IS technology.
For digital SLR cameras, many of the associated lenses have
progressively increased in focal length to accommodate the
extremely wide range of shooting environments in sports,
documentaries, news, etc. Separately, in broadcast television
field cameras, the global demands for exterior broadcast
coverage—especially sports coverage—has steadily extended
zoom ratios to three digits.
The Shift-IS technology lends itself very well to correcting
modest amplitude disturbances and vibrations in those long
focal range lenses. In this technology, a lens group is placed
near the rear of the lens system and the correcting action entails
a horizontal or vertical (or both) physical shifting of that lens
group to implement the requisite change in the path of the light
rays.
The correction principle is explained in the figure above,
outlining the correcting action of the Shift-Lens when the lenscamera
system is subjected to a sudden physical disturbance.
Download the entire article at: www.fdtimes.com/articles
Dec 2010
51

Fujinon Premier 4K+ PL Zooms
Lens 14.5-45 mm T2.0 18-85 mm T2.0 24-180 mm T2.6 75-400 mm T2.8-T3.8
Zoom Ratio 3.1x 4.7x 7.5x 5.3x
Max Iris T2.0 T2.0 T2.6 T2.8
Min Iris T22 and Closed T22 and Closed T22 and Closed T22 and Closed
Iris Blades 9 9 9 9
Close Focus (from image plane) 0.71 m / 2.3 ft 0.82 m / 2.7 ft 1.24 m / 4.1 ft 2 m / 6.6 ft
Size: Diameter x Length 136 x 310 mm 136 x 352 mm 136 x 405 mm 136 x 444 mm
Front Diameter 136 mm 136 mm 136 mm 136 mm
Weight 6.5 kg / 14.3 lbs 6.9 kg / 15.2 lbs 8.9 kg / 19.6 lbs 8.9 kg / 19.6 lbs
Focus Rotation (degrees) 280 280 280 280
Zoom rotation 160 160 160 160
available with feet or meters focus scales
There are currently four Fujinon Premier PL Cine zoom lenses: 14.5-
45 mm T2.0; 18-85 mm T2.0; 24-280 mm T2.6; and 75-400 mm
T2.8-3.8 (T2.8 from 75-290; gradual ramp to 3.8 from 290-400 mm).
Identified by their gold band, Fujinon Premier PL lenses have
several distinctions from ARRI/Fujinon Alura Zooms (which can
be identified on dark sets by their silver bands).
The Premiers are a little more expensive. But as a famous director
once said, “You pay for what you get.” What you get with Premiers
is a maximum aperture of T2.0 on the two widest zooms (14.5-45
mm and 18-85 mm). Shooting at T2.0 requires half as much light
as T2.6, which could translate into the difference between using
5Ks instead of 10Ks.
With Fujinon Premiers, you also enter the realm of whispered
resolution, line-pairs, MTF, and more K. Several respected lens
52 Dec 2010
gurus, speaking off the record for fear of their phones ringing off
the hook, said these are the sharpest zooms they’ve ever seen, with
uniform MTF across the entire image area at all focal lengths.
They were originally going to name these lenses Fujinon HK 4K
zooms, Premier was chosen because they go beyond.
All four Fujinon Premier PL zooms have 136 mm front diameters.
Focus, zoom, and iris gears are all in the same position—which
speeds up lens changes, since follow focus accessories and lens
motors can stay in the same position on the rods. Focus barrel
rotation is a uniform 280 degrees on all four lenses.
The Premier Zooms match color, performance and look of the
top prime lenses used in the industry. The complete family of four
Premier PL Series 4K+ Zooms is now available for purchase and
rental from major rental houses. (fujinon.com/digitalcinema)

ARRI/Fujinon Alura PL Zooms
ARRI/ZEISS Master Macro 100
Lens Aperture Type Close Focus Length
(lens mount to front)
100 mm T2.0/4.3
-T22
Camera right side of Master Macro 100.
The three sets of number on the barrel mean:
1:1 is the magnification ratio
.35 is the focus scale in meters or feet
+2.3 is your exposure compensation
Makro-Planar
T* XP
350 mm /
13 3/4" (1:1)
Lens 18-80 mm T2.6 45-250 mm T2.6
Zoom Ratio 4.4x 5.6x
Max Iris T2.6 T2.6
Min Iris T22 T22
Iris Blades 9 9
Close focus (from image plane) 0.7 m / 2'4" 1.2 m / 3'11"
Size: Maximum Diameter x Length 134 x 310 mm 153 x 370 mm
Front Diameter 134 mm 134 mm
Weight 4.7lbs / 10.4 lbs 7.5 lbs / 16.5 kg
available with feet or meter focus scales
Front
Diameter
The two ARRI/Fujinon Alura PL Zooms
are marketed and distributed by ARRI
and their dealers.
They are optimized for 16:9 HD and 2K
production, with T2.6 maximum apertures.
Front diameters are both 134 mm.
ARRI/ZEISS Master Macro 100 focuses to 1:1 magnification. In
other words, you can fill the frame with an image that, in real life,
is exactly the size of your film aperture or digital sensor. That’s
about the size of a postage stamp — about 24 mm wide x 18 mm
high.
The Master Macro comes with PL mount. Designed and built by
Carl Zeiss, the optical performance of the lens matches all other
Master Primes, sharing design, lens coatings and aspherical
glass surfaces. The Master Macro exhibits even illumination and
resolution across the whole Super 35 frame. It has an advanced,
multi-bladed iris, resulting in round and natural-looking out-offocus
highlights (bokehs).
The front element of the Master Macro 100 is set back within the
lens housing, like a sun shade, which protects it from flares.
Entrance pupil is 77.1 mm / 3" from the film/image sensor plane.
Weight Horiz angle of
view ANSI S35
31.14 mm ID
Horiz angle of
view DIN S35
30 mm ID
Dec 2010
Horiz angle of
view Normal 35
27.20 ID
202.7 mm / 8" 114 mm / 4.5" 2.6 kg / 5.7 lbs 14.02° 13.52° 12.42°
53

ARRI/ZEISS Master Prime Lenses
Master Primes were introduced at NAB in 2005 with T-shirts that proclaimed, “Breathless!” and they truly are. When you rack
focus, the image does not “breathe:" it does not appear to zoom or change size as you focus from near to far. To achieve this, Master
Primes have added elements that compensate — almost like a reverse zoom lens. They all open to a maximum of T1.3.
ZEISS Master Primes
Lens Aperture Type Close Focus Length
(lens mount to front)
54 Dec 2010
The new ARRI/ZEISS Master Prime 12 is an extreme(ly) wide
angle lens. It’s also extremely fast, opening to T1.3.
This 12 mm Prime shares the optical performance and straight
image geometry of the other Master Primes.
Here's a lens for wide establishing shots, sweeping vistas, chase
sequences, POV shots, and shooting in cramped quarters.
Recent advances in high tech optics design, testing and
manufacturing enabled ARRI and ZEISS to come up with the
new and innovative lens design that makes the Master Prime 12
mm lens possible.
Front
Diameter
Weight Horiz angle of
view ANSI S35
Horiz angle of
view DIN S35
Horiz angle of
view Normal 35
12 mm T1.3-T22 Distagon T*XP 0.40 m / 16" 249 mm / 9.8" 156 mm / 6.1" 2.9 kg / 6.4 lbs 90.98° 88.85° 83.87°
14 mm T1.3-T22 Distagon T*XP 0.35 m / 14" 224 mm / 8.8" 114 mm / 4.5" 2.4 kg / 5.3 lbs 83.4° 81.3° 76.4°
16 mm T1.3-T22 Distagon T*XP 0.35 m / 14" 205 mm / 8" 114 mm / 4.5" 2.2 kg / 4.8 lbs 77.0° 75.0° 70.2°
18 mm T1.3-T22 Distagon T*XP 0.35 m / 14" 205 mm / 8" 114 mm / 4.5" 2.2 kg / 4.8 lbs 70.6° 68.6° 64.0°
21 mm T1.3-T22 Distagon T*XP 0.35 m / 14" 205 mm / 8" 114 mm / 4.5" 2.4 kg / 5.3 lbs 62.1° 60.2° 56.0°
25 mm T1.3-T22 Distagon T*XP 0.35 m / 14" 205 mm / 8" 114 mm / 4.5" 2.3 kg / 5.1 lbs 53.8° 52.0° 48.2°
27 mm T1.3-T22 Distagon T*XP 0.35 m / 14" 205 mm / 8" 114 mm / 4.5" 2.2 kg / 4.8 lbs 49.2° 47.6° 44.0°
32 mm T1.3-T22 Distagon T*XP 0.35 m / 14" 205 mm / 8" 114 mm / 4.5" 2.3 kg / 5.1 lbs 43.6° 42.0° 38.8°
35 mm T1.3-T22 Distagon T*XP 0.35 m / 14" 205 mm / 8" 114 mm / 4.5" 2.2 kg / 4.8 lbs 39.4° 38.0° 35.0°
40 mm T1.3-T22 Distagon T*XP 0.40 m / 16" 205 mm / 8" 114 mm / 4.5" 2.3 kg / 5.1 lbs 34.8° 33.6° 31.0°
50 mm T1.3-T22 Planar T*XP 0.50 m / 20" 205 mm / 8" 114 mm / 4.5" 2.7 kg / 5.9 lbs 28.2° 27.2° 25.0°
65 mm T1.3-T22 Planar T*XP 0.65 m / 2'3" 205 mm / 8" 114 mm / 4.5" 2.6 kg / 5.7 lbs 21.8° 21.0° 19.2°
75 mm T1.3-T22 Sonnar T*XP 0.80 m / 2'9" 205 mm / 8" 114 mm / 4.5" 2.8 kg / 6.2 lbs 18.8° 18.2° 16.6°
100 mm T1.3-T22 Sonnar T*XP 1.00 m / 3'6" 205 mm / 8" 114 mm / 4.5" 2.9 kg / 6.4 lbs 14.2° 13.8° 12.6°
150 mm T1.3-T22 Sonnar T*XP 1.50 m / 4'11" 262 mm / 10.3" 134 mm / 5.3" 4.0 kg / 8.8 lbs 9.6° 9.3° 8.5°

ARRI/ZEISS Ultra Prime Lenses
Ultra Prime Lenses were introduced in 1998, quickly followed by LDS Ultra Prime Lenses. The Lens Data System was developed
with ARRI. Looking at serial numbers, I’d guess between 10,000 - 11,000 ARRI/ZEISS Ultra Primes have been sold worldwide.
ZEISS Ultra Primes
Lens Aperture Type Close Focus Length
(lens mount to front)
The ZEISS Ultra Prime 8R is an 8 mm T2.8 - T 22 recitlinear,
wide-angle lens with very little geometric distortion. It covers
full 35 mm format Silent aperture. A rectilinear lens keeps vertical
lines straight, whereas a fisheye lens “bends” vertical lines.
The rectilinear lens compensates by making objects at the edges
of the frame appear wider, while the fisheye appears to bend
vertical lines more at the edges.
Which lens would you use?
Rectilinear lenses are great for architecture and shots where
straight lines have to stay straight, or a POV shot, facing
forward to give the impression of great speed. Facing aft, you
can increase the sensation of speed because the ground at the
edge of frame goes whizzing by.
You’d probably want to use a fisheye (which ZEISS doesn’t
make...yet) to enlarge the center and reduce the corners.
To compare the Ultra Prime 8R and a Nikon 8 mm Fisheye, go
to: www.fdtimes.com/go/8R
Because it has an aspherical front element, the Ultra Prime 8R is
actually lighter and smaller than a 10 mm Ultra Prime.
Front
Diameter
Weight Horiz angle of
view ANSI S35
Horiz angle of
view DIN S35
8 mm 8R T2.8-T22 Distagon T* XP 0.35m / 1 1/4' 130mm / 5.1" 134mm / 5.3" 2kg / 4.4lbs 114.0° 112.0° 107.0°
10 mm T2.1-T22 Distagon T* 0.35m / 1 1/4' 143mm / 5.6" 156mm / 6.1" 2.9kg / 6.4lbs 102.1° 100.2° 90.8°
12 mm T2-T22 Distagon T* 0.3m / 1' 140mm / 5.5" 156mm / 6.1" 2.0kg / 4.4lbs 92.6° 90.2° 85.2°
14 mm T1.9-T22 Distagon T* 0.22m / 3/4' 112mm / 4.4" 114mm / 4.5" 1.8kg / 4.0lbs 82.6° 80.6° 75.6°
16 mm T1.9-T22 Distagon T* 0.25m / 1' 94mm / 3.7" 95mm / 3.7" 1.2kg / 2.6lbs 75.2° 73.0° 70.8°
20 mm T1.9-T22 Distagon T* 0.28m / 1' 91mm / 3.6" 95mm / 3.7" 1.2kg / 2.6lbs 65.0° 62.8° 58.4°
24 mm T1.9-T22 Distagon T* 0.3m / 1' 91mm / 3.6" 95mm / 3.7" 1.0kg / 2.2lbs 55.8° 54.2° 50.2°
28 mm T1.9-T22 Distagon T* 0.28m / 1' 91mm / 3.6" 95mm / 3.7" 1.0kg / 2.2lbs 48.4° 46.8° 43.2°
32 mm T1.9-T22 Distagon T* 0.35m / 1 1/4' 91mm / 3.6" 95mm / 3.7" 1.1kg / 2.4lbs 43.0° 41.6° 38.2°
40 mm T1.9-T22 Distagon T* 0.38m / 1 1/4' 91mm / 3.6" 95mm / 3.7" 1.0kg / 2.2lbs 34.7° 33.2° 30.6°
50 mm T1.9-T22 Planar T* 0.6m / 2' 91mm / 3.6" 95mm / 3.7" 1.0kg / 2.2lbs 27.2° 26.2° 24.0°
65 mm T1.9-T22 Planar T* 0.65m / 2 1/4' 91mm / 3.6" 95mm / 3.7" 1.1kg / 2.4lbs 21.8° 21.0° 19.2°
85 mm T1.9-T22 Planar T* 0.9m / 3' 91mm / 3.6" 95mm / 3.7" 1.2kg / 2.6lbs 17.1° 16.5° 15.2°
100 mm T1.9-T22 Sonnar T* 1m / 3 1/4' 91mm / 3.6" 95mm / 3.7" 1.2kg / 2.6lbs 13.9° 13.7° 12.6°
135 mm T1.9-T22 Sonnar T* 1.5m / 5' 119mm / 4.7" 95mm / 3.7" 1.6kg / 3.5lbs 10.5° 10.2° 9.3°
180 mm T1.9-T22 Sonnar T* 2.6m / 8 1/2' 166mm / 6.5" 114mm / 4.5" 2.6kg / 5.7lbs 7.9° 7.6° 7.0°
Dec 2010
Horiz angle of view
Normal 35
55

ZEISS Compact Prime CP.2 Lenses
Lens Type Aperture Close Focus
Close focus distance is measured from the film / sensor plane. Horizontal angle of view for a full-frame camera aperture (aspect ratio 1:1.5, dimensions 24 mm x 36 mm).
Horizontal angle of view for a Normal 35 Academy camera aperture (aspect ratio 1:1.37, dimensions 22 mm x 16 mm). Length is Front to PL mount flange.
56 Dec 2010
Horiz
Angle Full
Frame
Horiz
Angle
ANSI S35
ZEISS Compact Prime CP.2 lenses now come in 18, 21, 25, 28 35,
50, 50 Macro, 85, and 100 mm Close Focus. They are available
with interchangeable mounts: PL, EF (Canon), F (Nikon), and
Micro Four-Thirds. ZEISS CP.2 lenses cover the full-frame still
format (24 x 36 mm) without vignetting (except the 18 mm).
CP.2 lenses have 14-blade irises. They all share the same barrel
diameter (except 50 Macro), industry standard gearing for followfocus
and aperture control.
The CP.2 lenses come with a helpful manual and focus chart that
explain how to easily swap lens mounts. Download the CP.2 lens
manual: fdtimes.com/go/cp2
Horiz
Angle N35
Length Front Diameter Weight
18 mm Distagon T* T3.6 - 22 0.3 m / 12" - 69° 62.5° 80 mm / 3.15" 114 mm / 4.5" 0.9 kg / 2.0 lbs
21 mm Distagon T* T2.9 - 22 0.24 m / 10" 80.8° 60.9° 54.8° 80 mm / 3.15" 114 mm / 4.5" 1.0 kg / 2.2 lbs
25 mm Distagon T* T2.9 - 22 0.17 m / 7" 71.3° 52.5° 47° 80 mm / 3.15" 114 mm / 4.5" 0.9 kg / 2.0 lbs
28 mm Distagon T* T2.1 - 22 0.24 m / 10" 65.2° 47.4° 42.3° 80 mm / 3.15" 114 mm / 4.5" 1.0 kg / 2.2 lbs
35 mm Distagon T* T2.1 - 22 0.3 m / 12" 54.0° 38.5° 34.3° 80 mm / 3.15" 114 mm / 4.5" 1.0 kg / 2.2 lbs
50 mm Planar T* T2.1 - 22 0.45 m / 18" 39.0° 27.3° 24.2° 80 mm / 3.15" 114 mm / 4.5" 0.9 kg /2.0 lbs
85 mm Planar T* T2.1 - 22 1 m / 3'3" 23.9 16.7° 14.8° 80 mm / 3.15" 114 mm / 4.5" 0.9 kg / 2.0 lbs
100 mm
CF
Planar T*
Close-Focus
T2.1 - 22 0.7 m / 2'6" 21.0° 14.7° 13.1° 132 mm / 5.19" 114 mm / 4.5" 1.49 kg / 3.3 lbs
50 mm
Macro
Makro-Planar T* T2.1 - 22 0.24 m / 10" 39.0° 27.3° 24.2 132 mm / 5.19" 134 mm / 5.3" 1.35 kg / 3.0 lbs

ZEISS Lightweight Zoom LWZ.2
Focal Length Range 15.5 - 45 mm
Focal Length Ratio 3:1
Aperture T2.6 - T22
Close Focus (1) 0.45 m / 18''
Angle of Focus Rotation 337°
Angle of Zoom Rotation 120°
Length (front to PL mount flange) 209 mm / 8.2''
Front Diameter 114 mm / 4.5''
Weight 2 kg / 4.4 lbs
Horizontal Angle of View (2) at 15.5 mm: 90.2°
at 45 mm: 40.0°
Front Element Radical aspherical lens
Lens Coating Carl Zeiss T* XP
Coverage The complete ANSI Super
35 image area
24.9 mm x 18.7 mm
(0.980" x 0.7362")
Camera Mount PL mount, EF mount,
F mount
(1) Close focus is measured from the film plane.
(2) Horizontal angle of view for an ANSI Super 35 Silent camera aperture
aspect ratio 1:1.33
dimensions 24.9 mm x 18.7 mm
0.980" x 0.7362"
ZEISS has added a zoom to their line of lenses with interchangeable
mounts. With the Carl Zeiss Lightweight Zoom LWZ.2 15.5-45,
they are reintroducing a design originally available only in PL.
The new-generation Lightweight Zoom comes with interchangeable
mounts that allow the lenses to be used with a wide range of
cameras, from traditional cine to HDSLR systems. Three different
mounts are available: PL, EF and F mount. The LWZ.2 covers the
ANSI Super 35 image area (24.9 x 18.7mm / 0.980" x 0.7362").
Weighing around two kilograms, the LWZ.2 is comfortable
handheld, on Steadicams, with cine cameras, and also HDSLRs.
The LWZ.2 uses radically shaped spherical glass surfaces with a
very strong curvature, which guarantee high optical performance.
Large-diameter aspherical lens elements keep the lens lightweight
while reducing spherical aberrations and keeping the image free
of distortions. Straight lines stay straight, from infinity to closeup
and over the entire zoom range. The T* XP multi-layer coating
reduces flare and internal reflections, resulting in pleasing and
gentle colors, high contrast and deep blacks. (zeiss.com/cine)
Dec 2010
57

Canon EF Still Lenses
3.1" Ø x 3.7" long - 1.2 lbs. MOD 6.2"
3.5" Ø x 5.6" long - 2.31 lbs. MOD 3.9'
5.0" Ø x 9.8" long - 5.2 lbs. MOD: 6.6'
6.4" Ø x 13.5" long - 8.5 lbs. MOD: 8.86'
58 Dec 2010
New lenses introduced at Canon Expo provide unique and interesting possibilities. With advanced
image stabilization, new coatings, wider, faster, lighter, steadier...the following new EF lenses all
cover full-frame still format (24 x 36 mm)
Canon EF 8-15 mm f/4L Fisheye USM Zoom
This is the world’s widest fisheye zoom lens. It provides a 180° diagonal angle of view for EOS
APS-C cameras (7D, 60D)—meaning it fills the frame. On full-frame cameras (5D Mk II), the
fisheye effect starts out as a full circle inside a black frame at the wide end, and then fills the frame
as you zoom in. The new fisheye zoom has rubber gaskets and seals for weather resistance. A new
fluorine anti-smear coating is applied to the front and rear elements to make lens cleaning easier. It
is expected to be available in March 2011 for about $1,400.
Canon EF 70-300 mm f/4-5.6L IS USM Zoom
Compact and lightweight, this lens has many improvements over previous models. It
has weather and dust sealing, improved mechanical design, and better ergonomics.
Ghosting and flare are reduced for high-contrast and high-resolution throughout the
zoom range. Image quality is better at all distance settings and minimum focusing
distance has been reduced by more than a foot. An updated optical image stabilization
system compensates for camera shake up to an equivalent of four full shutter-speed
steps. A new fluorine anti-smear coating is applied to the front and rear elements. The
Canon EF 70-300 mm f/4-5.6L IS USM lens is expected to be available toward the end
of October 2010 for about $1,500.
Canon EF 300 mm f/2.8L IS II USM Telephoto
This is the 6th generation of Canon's 300 mm f/2.8 lenses first introduced
in 1974. The EF 300 mm f/2.8L IS II USM lens is lighter,
with better image quality, Image Stabilization and durability. Two
fluorite lens elements improve image quality and reduce chromatic
aberration. Overall weight of the lens is reduced by 13 percent. The
Canon EF 300 mm f/2.8L IS II USM lens is expected to be available
in March 2011. How much more do you have to pay to gain 2 more
f/ stops over the EF 70-300 mm zoom? About $5,000. The Canon
EF 300 mm f/2.8L IS II USM lens will sell for an approximate retail
price of $7,000.
Canon EF 400 mm f/2.8L IS II USM Super Telephoto
This is the latest, improved iteration of the lens used at almost every
Olympics, Americas Cup, Rolex Regatta, World Cup Ski race,
baseball, football, soccer, and sports event. Attach one of these
long and fast Super Telephotos onto your Canon DSLR, and those
classic long-lens, crisp subject, out-of-focus background shots are
assured.
This Canon EF 400 mm f/2.8L IS II USM is the 5th generation in
Canon’s 400 mm f/2.8 series and the successor to the current EF
400 mm introduced in 1999. The new lens has two fluorite lens
elements for improved quality and reduced chromatic aberration.
Handheld shooters will appreciate that Canon has reduced the
overall weight of the lens by 28%, from 189.4 oz to 135.8 oz. The
Image Stabilizer provides an equivalent of approximately four full
shutter speed steps of shake compensation and has been mechanically
enhanced with a rolling-ball-friction system. The durability
of the lens has also been enhanced with magnesium alloy and
titanium for lens barrel components, together with weather sealing
for all exterior joints and switches, and a new fluorine antismear
coating on the front and rear elements.
The Canon EF 400 mm f/2.8L IS USM lens is expected in March
2011 for an approximate retail price of $11,000.

Cooke 5/i
Cooke 5/i Primes are all T1.4, include
/i Technology Lens Data and feature
illuminated focus scales.
Focal lengths: 18, 25, 32, 40, 50, 65,
75, 100, and 135mm. All T1.4.
Cooke 5/i Primes are color-matched with
Cooke S4/i, Panchros, CXX 15-40 mm
T2 Zoom, Cooke Zooms,
and SK4 16mm Primes.
T Stop Range T1.4 -
T22
Angular Rotation of Iris
Scale
Minimum Marked Object
Distance
18 mm 25 mm 32 mm 40 mm 50 mm 65 mm 75 mm 100 mm 135 mm
T1.4 -
T22
T1.4 -
T22
T1.4 -
T22
T1.4 -
T22
T1.4 -
T22
T1.4 -
T22
T1.4 -
T22
Degrees 90 90 90 90 90 90 90 90 90
mm 350 350 350 400 500 600 650 750 800
Inches 14 14 14 16 20 24 27 30 31
Close Focus from Lens mm 125 121 121 171 271 370 421 515 531
Front
Inches 5 5 5 7 11 15 17 20 21
Angular Rotation to MOD
End Stop
Degrees 270 270 270 270 270 270 270 270 270
Maximum Diagonal
Angle of View for Super 35
Format
Degrees 79.3 61.9 50.5 41.0 33.7 26.1 22.6 17.1 12.68
Length from Front of Lens mm 175 177 177 177 177 177 177 183 217
to Lens Mount
Inches 6.89 6.97 6.97 6.97 6.97 6.97 6.97 7.20 8.50
Maximum Front Diameter mm 110 110 110 110 110 110 110 110 136
Inches 4.33 4.33 4.33 4.33 4.33 4.33 4.33 4.33 5.35
• Maximum Format Coverage 30mm Diameter (Super 35mm Format).
• Focus Scales Two opposing focus scales - metric & footage. Scales marked from infinity to MOD.
• Focus Drive Gear 140 teeth 0.8 metric module x 5.0 wide. 102.5 mm from the image plane.
• Iris Scales Two opposing linear T scales - whole and third stops marked.
• Iris Drive Gear 134 teeth 0.8 metric module x 2.5 wide. 82 mm from the image plane.
Dec 2010
T1.4 -
T22
59

Cooke S4/i
Cooke S4/i Prime Lenses all open to T2.0.
They all have a front diameter of 110 mm (except
the 12mm), and have /i Technology Lens Data
connections.
Focal lengths: 12, 14, 16, 18, 21, 25, 27, 32,
35, 40, 50, 65, 75, 100, 135, 150,
180, 300 mm.
Cooke S4/i primes are color-matched
and compatible with Cooke’s
15-40 mm T2 CXX,
18-100mm T3.0 and
25-250mm T3.7
zoom lenses.
Note: the Cooke
65mm SF is
a soft focus
attachment for the
65mm S4/i prime.
12 mm 14 mm 16 mm 18 mm 21 mm 25 mm 27 mm 32 mm 35 mm 40 mm
S4/i S4/i S4/i S4/i S4/i S4/i S4/i S4/i S4/i S4/i
T Stop Range T2-T22 T2-T22 T2-T22 T2-T22 T2-T22 T2-T22 T2-T22 T2-T22 T2-T22 T2-T22
Rotation of Iris Scale degrees 96 96 96 96 96 96 96 96 95 94
Miniumum Marked Object Distance mm 225 225 225 250 250 250 250 325 350 450
inches 9 9 9 9 9 9 10 12 14 16
Close Focus from Lens Front mm 47 45 46 85 85 85 85 144 169 257
inches 1.8 1.8 1.8 3.3 3.3 3.3 3.3 5.7 6.7 10.2
Angular Rotation to MOD Endstop degrees 270 270 270 270 270 270 270 300 300 300
Max Diag Angle of View for Super 35 Format degrees 102.7 93.8 86.2 78.9 71 60.9 57.8 49.2 45.8 40.8
Length from Front of Lens to Lens Mount mm 126 128 128 113 113 113 113 129 129 141
inches 5 5 5 4.5 4.5 4.5 4.5 5.1 5.1 5.5
Max Front Diameter mm 156 110 110 110 110 110 110 110 110 110
Total Weight kg 3 2.2 2.45 1.75 2 1.6 1.6 1.85 1.9 2
lbs 6.5 4.8 5.4 3.85 4.4 3.5 3.55 4 4.2 4.4
50 mm 65 mm 65 mm SF 75 mm 100 mm 135 mm 150 mm 180 mm 300 mm
S4/i S4/i S4/i S4/i S4/i S4/i S4/i S4/i
Aperture T2-T22 T2-T22 T2-T22 T2-T22 T2-T22 T2-T22 T2-T22 T2-T22 T2.8-T22
Rotation of Iris Scale degrees 93 92 92 92 91 92 92 94 78
Miniumum Marked Object Distance mm 550 700 700 800 950 850 1050 1300 2100
inches 20 27 27 30 36 30 42 51 84
Close Focus from Lens Front mm 373 523 503 623 757 614 840 1063 1846
inches 14.7 20.6 19.8 24.5 30 24.2 33 41.9 72.7
Angular Rotation to MOD Endstop degrees 300 300 300 300 300 340 300 300 300
Max Diag Angle of View for Super 35 Format degrees 33.4 26 26 22.6 17 12.7 11.5 9.5 5.7
Length from Front of Lens to Lens Mount mm 125 125 145 125 141 184 157 185 202
inches 4.9 4.9 5.7 4.9 5.5 7.3 6.2 7.3 7.95
Max Front Diameter mm 110 110 110 110 110 110 125 136 136
Total Weight kg 1.5 1.6 2.25 1.75 2 2.25 3.5 4.3 4.7
lbs 3.3 3.55 4.95 3.85 4.4 4.95 7.7 9.45 10.35
60 Dec 2010

Cooke Panchro/i
Cooke Panchro/i Primes are
color matched and perform
like their S4/i and 5/i siblings.
In fact, all three lines are currently
concurrently in use on the Martin
Scorcese 3D film “Hugo Cabret”, shot
by Bob Richardson, ASC.
There are 6 lenses in the Panchro/i set:
18, 25, 32, 50, 75, 100mm, all T2.8-T22.
The front diameter is 87mm for all lenses.
Angular rotation from infinity to minimum
object distance (MOD) is 300°. Focus
and iris gears on each of the S4/i, 5/i and
Panchro/i series have the same pitch and
are consistently located in the same position
relative to the lens mount.
(cookeoptics.com)
Cooke Panchro Lens 18 mm 25 mm 32 mm 50 mm 75 mm 100 mm
T-stop range T2.8-T22 T2.8-T22 T2.8-T22 T2.8-T22 T2.8-T22 T2.8-T22
Angular Rotation of Iris Scale degrees 77 77 77 77 77 77
Minimum Marked Object Distance mm 250 250 300 500 750 900
inches 10 10 12 20 30 36
Close Focus from Lens Front mm 80 93 139 311 563 711
inches 3.1 3.7 5.4 12.2 22.2 28
Angular Rotation to MOD Endstop degrees 300 300 300 300 300 300
Maximum Diagonal Angle for S53 format degrees 80 62 50 34 22 17
Length from Front of Lens to Lens Mount mm 120 106 109 137 137 137
inches 4.72 4.17 4.3 5.39 5.39 5.39
Max Front Diameter mm 110 87 87 87 87 87
inches 4.3 3.43 3.43 3.43 3.43 3.43
Total Weight kg 1.4 1.9 1.7 1.5 1.6 1.6
lbs 2.86 4.18 3.74 3.30 3.52 3.52
Maximum Image Format Covered 33.54 mm diagonal — Epic S35, as well as Super 35 4-perf Format
Focus Scales Two opposing focus scales - meters or feet
Focus Drive Gear 121 teeth 0.8 metric module x 5.0 mm wide x 99 mm from image plane
Iris Scales Two opposing linear T-scales - whole and third stops marked on both sides
Iris Drive Gear 119 teeth 0.8 metric module x 2.5 mm wide x 84 mm from image plane
Screw-in Filter Internal thread for screw-in filter or filter adapter: M82.5 x 0.75 pitch
(not applicable for 18mm)
Dec 2010
61

Leica Summilux-C Prime Lenses
Focal
length
62 Dec 2010
Design Aperture Close Focus
Object to Image
Length
Front to Flange
Length
Front to Image Plane
Front Diameter
16 mm Close Focus T1.4-22 - closed 0.35m / 1'2" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
18 mm Close Focus T1.4-22 - closed 0.35m / 1'2" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
21 mm Close Focus T1.4-22 - closed 0.31m / 1'0" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
25 mm Close Focus T1.4-22 - closed 0.31m / 1'0" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
35 mm Close Focus T1.4-22 - closed 0.36m / 1'2" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
40 mm Close Focus T1.4-22 - closed 0.41m / 1'4" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
50 mm Close Focus T1.4-22 - closed 0.50m / 1'8" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
65 mm Macro Focus T1.4-22 - closed 0.43m / 1'5" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
75 mm Close Focus T1.4-22 - closed 0.70m / 2'3" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
100 mm Close Focus T1.4-22 - closed 0.90m / 2'11" 142mm / 5.6" 194mm / 7.6" 95mm / 3.7"
• For PL Mount Film and Digital Cine Cameras
• Multi-Aspheric Optical Design
• High Resolution, High Contrast, Low Chromatic Aberration (full
image)
• High Relative Illumination (minimal shading), Flat-Field Illumination
across the Entire Frame
• Even Image Quality over the Field of View, Consistent Performance
throughout the Focus Range
• Linear Iris with Closed Position
• User-Friendly, Small Diameter Focus Scales
• Expanded and Consistent Focus Mark Spacing in Most-Used Focus
Range
• Compact, Lightweight, Ergonomic Design
• Uniform Small Diameters and Short Lengths
• Lightweight 3.5-4.0 lbs (1.6-1.8 kg)
• Rugged Titanium Lens Mount
• Front and Rear Filter Capability
• Distributed by Band Pro (bandpro.com)
All specifications subject to change without notice

Leica Factory Tour
The Summilux-C Cine Lens Team at the Leica factory in Solms (above).
The new Leica Summilux-C lenses have a multi-aspheric lens design. Aspherical
lenses have complex curved surfaces—the radius of curvature changes
according to distance from the optical axis. Aspherical lenses can concentrate
all the light onto one point, provide improved correction of aberration, and higher
resolution.
After grinding to a precision of 1 micron, the next step is polishing (below). For
aspherical lenses, the polishing machine uses a small rotating tool that travels in
a controlled path along the rotating element, “carving” the shape of asphere. It’s
a much slower, more accurate process than for spherical surfaces—accurate to
several nanometers.
Next, computer generated holograms measure the shape of the asphere to
check for any deviations. The data is saved and loaded into the MRF (Magneto-
Rheological Finishing) machines, which polish and correct any irregularities.
Download the full Leica story online at: www.fdtimes.com/go/leica
Dec 2010
63

Chrosziel and IB/E
Klaus Eckerl, IB/E Optics, and Juergen Nussbaum, Chrosziel Managing Dir.ector
Ruby 14-24mm T2.8 Zoom
64 Dec 2010
The MTF Star System with MTF Star Sensor, MTF Star Software
and MTF Star Test Chart from Chrosziel and IB/E were accorded
much attention at Cinec, and awarded a Cinec 2010 Prize. The
system is an innovative way to analyze the optical performance
of a lens by measuring its contrast transmission (Modulation
Transfer Function) using any existing Chrosziel lens projector.
Developed by Chrosziel in conjunction with IB/E Optics, the
MTF Star System consists of an electronic sensor that attaches to
a computer. Hold it against the surface onto which you normally
project your lens tests, and view the results as pictures, graphs
and tables. Data can be saved for future reference, shared with
colleagues as PDF files, printed and kept with the lens, or used
for presentation and comparison. No more counting line pairs
or subjective interpretation. The MTF Star Software displays the
picture being measured, the MTF value of the position selected
on the graph, and the reference resolution as a percentage.
Sebastian Merkel, Chrosziel Manager of Sales
From Stuart Rabin and Focus Optics: the Ruby 14-24 mm T2.8
zoom lens in PL mount.
Using Nikon glass, it focuses in the “correct” direction (turn the
lens barrel counter-clockwise for infinity).
• Coverage: S35 format
• Weight: 3 lbs
• Front diameter: 110 mm
• Length: 138 mm
Worldwide Distributor: www.bandpro.com
(focusoptics.com)

Vantage Hawk Anamorphics
Vantage continues to lead as the preeminent
designer, manufacturer, sales and rental
company for PL Anamorphic lenses. Their
giant booth at Cinec confirmed continued
fascination in the format. History has shown
that after every wave of 3D, widescreen
production has followed. Why? If everyone
is expected to watch 3D at home, producers
will have to find a way to get audiences out
of their living rooms and back into theaters.
Last summer, if you wanted to rent a set of
Hawk Anamorphics, you probably couldn't.
They were completely booked.
Five new Hawk Anamorphic Zooms are in
the works. They have an anamorphic front
element that creates the distinctive "anamorphic"
look (oval bokehs and much more).
The zooms are compact and have very short
minimum object distances.
The Hawk V-Plus 40-90mm T2.8 (minimum
object distance 2 ½') will be available
by the end of 2010. Like all other Hawk
lenses, the five new zooms are manufactured
in Germany. They match existing Hawk
V-Lite and V-Plus primes.
We saw the new Hawk V-Lite prime at
Cinec; it is very compact.
V-Lites come with two options: 1.3x or 2x
squeeze.
We're all familiar with a 4-perf 1.33:1 anamorphic
frame unsqueezed to 2.40:1.
But what if you're shooting on 3-perf or a
1.78:1 (16:9) sensor? If you use a 2x squeeze
ratio, the unsqueezed image will be a ridiculously
wide 3.56:1 ratio. Instead, Vantage can
quickly swap the 2x anamorphic module for
one with a 1.3x squeeze. That's how you get
a 2.40:1 widescreen image from 16:9.
By the way, 1.3x anamorphics are excellent
on 4-perf, 1.33:1 sensors as well—giving you
a 1.78:1 format using the entire image area
(33% more than spherical 16:9).
Current 4-perf/1.33:1 format cameras
requiring 2x squeeze are: 35mm 4-perf motion
picture cameras, ARRI D-21, maybe
the upcoming Alexa with optical finder, and
Canon 1D Mk IV PL.
3-perf/1.78:1 format cameras include:
motion picture cameras with 3-perf movements,
current ARRI Alexas (with Electronic
finders), Sony F35, Sony SRW-9000PL,
Red One, Red Epic.
Dec 2010
65

Lighting
66 Dec 2010

ARRI Lighting
LoCaster LED. Ryan Fletcher, ARRI LED Product Manager,
models a LoCaster LED unit at IBC. The ARRI LoCaster has an
onboard, continuous dimmer, on/off switch, onboard dial with
color temperature control from 2900° to 6,500° K, and a dial for
plus/minus green adjustment. Size: 8.7x3.75x2.75 in (220x95x70
mm) and weighs 2.1 lbs (960g.) LoCaster (as in Location) has a
sibling: ARRI BroadCaster, with a similar housing, but with builtin
DMX control. Both draw 11 - 36 VDC, 35 Watts.
ARRI PAX units (left) provide LED lighting with dial-in colors
from 2,000° to 20,000°K and over 300 individually identified
color gel choices. You want a ½ CTB? No need to find the roll and
slice off a sheet—with PAX, you can summon it up electronically.
When would you use this light? Applications include product
shots (Pack shots in England—hence PAX), architectural,
practical, set design and backgrounds. PAX come in kits with a
variety of configurations and combinations of wireless control,
mini control, soft and spot optics, and accessories. The panels are
modular; they stack together. Power: 11-28 VDC. 90-265 VAC.
Focusable LED Fresnel. ARRI introduced focusable Fresnel LED
units at IBC. The prototypes promise to combine cool-to-thetouch
and energy-efficient advantages of LED illumination with
the spot-flood control of traditional Fresnel fixtures.
The new, focusable LED lights provide the same vivid and lifelike
color rendition as conventional tungsten sources. In other words,
you can mix and match these LED lights with Tungsten units.
Existing barndoors, scrims and accessories can be used, making
it economical for facilities to add these new fixtures to their
inventory.
Arrilite 750 Plus. ARRI has redesigned this open-faced light
with a sturdy aluminium housing for improved heat dissipation,
a large, heat-resistant handle at the rear for comfortable handling
of the light (even when it’s hot), and with the same style of
reflector and optical system as the Arrimax.
The Arrilite 750 Plus can be fitted with bulbs from 750 to 375
watts. It is supported by an innovative one-arm stirrup that lets
you aim the light in almost any position and reduces overall size
for easy packing. A Chimera Video PRO Plus S can be fitted
directly without an additional speedring.
The Arrilite 2000 Plus is an updated 2K open face light. It has
an improved focus mechanism and, like the 750 Plus, uses disc
brake technology from the ARRI True Blue line of lights to hold
the unit securely—even with heavy accessories attached.
Dec 2010
67

Gekko and PRG
Above: traditional tungsten spacelights on stage at Paramount.
Below: Brian Edwards, General Manager of PRG LA.
68 Dec 2010
Traditional Tungsten Spacelights are a quick, lightweight way to
provide a reasonable level of overall ambient “sky” light in a set.
They are simple affairs: think of a wagon wheel with six spokes
onto which six 1K open-face quartz bulbs are attached, facing
down. Surround this with a silk tube. Add a circular silk frame
below the tube. It’s like a giant Chinese lantern. Control the ambient
spill with a black duvetyne skirt. Spacelights are popular
because they can be quickly hoisted up with a single wire rope.
Rigging time is minimal. Sure, they cast a multitude of shadows.
But if you have enough Spacelights on set, the shadows sort of
wash each other out, more or less. For true single shadow, single
source overhead lighting, stretch a single layer of giant diffusion
below your Spacelights: perhaps a 60' x 120' Lite Gridcloth. But
we digress.
All these tungsten Spacelights draw a lot of watts and generate a
lot of heat. What if the Spacelights were LED? When you do the
math, the amount of electricity savings, including air conditioning,
would be enough to pay for them in a couple of jobs.
At IBC, David Amphlett, managing director of Gekko, introduced
us to the OHM Light. Gekko is a rising star in the design
and manufacture of innovative LED lighting. At Cinec, Brian Edwards,
long-time colleague, hero of the “Cinematographer Style”
production, and now General Manager of PRG LA, told us more
about the collaboration between PRG and Gekko on this light.
The OHM Light is “a high output, color-correct, broad spectrum,
soft LED light source—designed specifically for motion picture
and television applications to provide a large volume of ambient
top light.” In other words, perfect for Spacelights.
OHMs can be controlled locally or by DMX. Color is adjustable
from 2900K-6500K (in 7 discrete steps). Dimming is between

Litepanels
Ianiro Ianiled
Rudy Pohlert and Ken Fisher (left) with the new Litepanels LED
Sola6, shipping soon.
This daylight-balanced LED fixture draws only 75 Watts but
puts out the equivalent of a 650 Watt tungsten Fresnel, making it
about 10 times more efficient. It is cool to the touch, cuts down
on air-conditioning, and weighs only 6lbs (2.7kg). There are no
external ballasts. The Sola6 plugs into wall sockets worldwide
(85-245 VAC). It has a 6" (15.24cm) Fresnel lens. The light is even;
shadows are crisp and definable. An onboard knob lets you focus
the Sola6 from 10° to 70°.
The Sola6, like all other Litepanels, dims from 100% to 0 with no
noticeable color shift. In additional to focus, Sola6 has onboard
dimming. Both can also be controlled by DMX. Output is fully
flicker-free, and remains consistent even if the battery voltage
weakens. LED life is more than 50,000 hours. (litepanels.com)
Fabrizia Ianiro, Managing Director of Ianiro Aldo S.r.l, with the
Ianiled 54: a powerful, portable LED daylight fixture. It gets its
name from the 54 LEDs used in three circular modules (of 18
LEDs each). It’s about the size of a Redhead, and puts out almost
as much light as a Redhead gelled to daylight with CTB.
The Ianiled 54 is a modular fixture with components that attach
together with magnets. It is powered by a 12 volt battery
or a 110/240V power supply. The system comes with spot, medium
and flood lenses that magnetically snap in front of the LED
“bulbs.” The onboard dimmer controls intensity and color temperature
from around 4500°K to 6500°K. (ianiro.com)
MoleLED Mole-Richardson’s new MoleLED lights, designed in collaboration
with OSRAM Sylvania, provide tungsten or daylight white light
that matches studio quartz or HMI units.
The MoleLED 12-Pack (15.75"h x 3.625"d x 18.25"w with yoke
attached) is made up of of 12 circuit boards containing 20 high
output LEDs—a total of 240 individual sources. The MoleLED
fixture blends these multiple points of light into one soft, single
source. It’s dimmable (no color shift) locally and via DMX. Uses
universal 100-240 VAC power supply; car battery; 14.4, 24 or 30
volt camera battery.
The MoleLED Single (3.25"h x 4.25"d x 14"l) is like 1/12th of the
12-pack—a small, single, soft LED strip that fits in the palm of
your hand. It makes a great car interior light or as an Obie. Hide it
behind a computer monitor, on a podium or built into your next
set. Singles, available in tungsten or daylight, can be powered,
switched and individually dimmed remotely from Mole’s 6-Pack
Controller. (mole.com)
Dec 2010
69

Lowel Trio
Nila SL
Briese
70 Dec 2010
Lowel’s new Trio 3-lamp fluorescent fixture is lightweight, folds
for packing and is very portable. (lowel.com)
• Auto voltage setting ballast, from 120 - 240V
• High CRI daylight or tungsten compact 55W lamps
• Individual lamp switching for variable output control
• Quick release, dual purpose barndoors / intensifiers.
• Quick release locking plate and tilt-bracket mounts fixture to
stand with generous tilt and pan range
• egg crate
• size: 26" x 9.5" x 3.25" (66 x 24 x 8.3 cm)
• Weight without AC cable: 7.5 lbs (3.4 kg)
• Max. wattage: 55 W x 3 lamps
• Max. amperage: 2A @ 120V, 1A @230V, both at 50/60Hz
• Beam control: variable with front accessories
• Fits on: 5/8" stand studs
Nila's SL can be used as a "daylight" or "tungsten" light that can
replace a 5000-watt sky pan or Fresnel unit, using its removable
yoke and interchangeable lenses. The Nila SL Daylight Version
can replace a 2500-watt HMI. The SL can also be used inside a
Spacelight. With its 3' diameter x 3' high Diffusion Bag, it becomes
a Spacelight. It does not demand special power drops—
you can plug it into standard household AC power.
Nila Light President Jim Sanfilippo estimates that a studio will
spend about $500 in air conditioning costs just to cool the place
down for each hot Space Light used.
The Nila SL uses LEDs that draw only 850 watts. This lightens the
load, runs 80% cooler, and simplifies cabling. Available in Tungsten
or Daylight. Onboard dimmer or DMX controlled. Quickchange
lenses: 15°, 25°, 40°, 60°, 80°, 60° x 20°.
(nila.tv)
Designed by a fashion photographer-engineer-physicist, Briese lights are beautiful
to look at, and look beautiful. The soft light output is controllable, thanks to
the unique way the bulb moves in and out relative to the reflector. Briese Lights
are giant, focusing umbrella lights. At Cinec, Briese introduced remote control,
daylight HMI, and “sun-like lights” that are four times brighter than conventional
Fresnel spots and completely controllable. (brieselichttechnik.de)

Dedolight PanAura
PanAura dedicated double
lamp head.
Interchangeable Daylight or
Tungsten Metal Halide lamps
Dedo Weigert’s PanAura Dedicated Soft Lights received a Cinec
2010 Award. Little wonder—they put out twice as much light as a
soft box in front of a studio fresnel light. PanAuras have a gentle,
soft, wraparound quality without a hot spot.
With a simple change of bulbs, you can go from full power daylight
to tungsten light.
The PanAura has 2 separately switchable and dimmable daylight
lamps of 575 watts each. The 2 separate ballasts are flicker-free.
Dedolight’s new tungsten metal halide lamp has a light output
identical to their daylight lamp—80 lumens per watt. This is 4
times the light output of a traditional tungsten halogen lamp.
Dedolight tungsten metal halide lamps also use the same ballasts
and have the same pin-outs as the daylight lamps.
PanAura uses only 1150 watts (2 x 575) and delivers more light
than some comparable soft boxes with 2500 watt daylight studio
or 5K tungsten Fresnels. With half the energy and half the heat,
your actors and accountants will be grateful.
Each of the Dedolight PanAuras—7', 5' (Octodome) and 3'— have
a compact, space-saving design. They are lightweight and very
shallow in depth: perfect for working in confined areas. The two
ballasts attach to the stand and easily balance the PanAura without
sandbags.
To control spill and keep light off walls and backgrounds, you can
attach a grid to the front diffuser in less than a minute, limiting the
light spread to 40°.
Two inner diffusers are included. The standard diffuser provides
smooth, even light. The rim-aura diffuser is brighter along the
edges.
Dedolight PanAuras have a beautiful, soft, yet directional light
with a gentle wraparound. It’s a dedicated soft light that is lighter,
shallower, cooler, and faster. (dedolight.com)
Dec 2010
71

Kino Flo Spiral
Imara
Tegra
72 Dec 2010
Spiral
The most useful, simple and earth-friendly product we saw
at Cinec and IBC was the new Kino Flo compact fluorescent
(daylight and tungsten) bulb.
This is something cinematographers have been dreaming of for
a long time: to screw a Kino Flo color-correct Edison-based
fluorescent bulb into practical lamps and lighting fixtures
that perfectly match larger Kino Flo units. Up to now, there
have been limited choices for high-end practicals. Frieder
Hochheim, Kino Flo President, told me that development
of the bulbs, with their 3200 and 5600 formulations, were
accelerated by the European Union’s banning of filament bulbs.
(Try buying a traditional bulb at a European IKEA—you can’t.)
The new Kino Flo practicals deliver the equivalent of 100 watts,
while drawing only 27 watts of power.
At around $19 to $21 per bulb, you can be sure that I will
be changing every bulb in every lamp at home. On set or on
location, they will be helpful because their reduced heat will be
a welcome change for talent and set designers.
Imara
“Imara” is Swahili for “strong”, and Kino Flo for the new “10bulb
(or 6-bulb) powerful lighting fixture.” It has built-in
switching, dimming and DMX control. Kino Flo Imaras use 55
watt Kino Flo True Match CFL compact daylight or tungsten
fluorescent tubes. The Imara 10 puts out almost twice the light
as the Image 85, at only half the power draw, almost half the
size and weighing 8 pounds less. The beam structure sets it
apart from the Image 85: it is narrower, but the light is even on
both the horizontal and vertical axis. Imara also has blue and
green spiked lamps for blue and green screen lighting. Louvers,
gel frames, barndoors, and other accessories are available.
Tegra
Kino Flo’s Tegra was not named after the best restaurant in
Istanbul (Tugra), nor does it come from Teghra, India (25° 29'0"
North, 85° 57' 0" East). However, there are certain parallels.
The new Tegra 4-Bank is the latest reincarnation of Kino
Flo’s 4-bank 4-foot T12 portable fluorescent lighting system.
It has on-board controls like the Diva-Lite. The Tegra has
on-board dimming, on-board switching, and remote handheld
dimming. You can run it from 100 VAC to 240 VAC.
Proprietary solid state electronics operate the 75 watt lamps at
high output: flicker-free and quiet.
One Tegra outputs as much light as a 1,000 Watt tungsten
softlight, using 1/10th the power. Tegra takes 2900K, 3200K
and 5500K True Match Kino Flo T12 lamps—all with a full
range of high color rendering soft light.
So, when do you ask for Imara or Tegra?
Imara, the strong and powerful Kino Flo, is meant for studios
and rugged applications.
Think of Tegra as the reincarnated 4-bank: built-in barn
doors, lightweight, for locations, tight places, handheld,
quickly rigged, or mounted on a lightweight light stand.
(kinoflo.com)

Lighttools Soft Egg Crates
Airstar Cutter Cloud
How do Soft Egg Crates work? They keep soft light from spilling
onto walls and everywhere else. They also keep soft light out of
the lens. Picture a lot of solids, placed close together, right up
against your soft light diffusion.
Now, most Soft Egg Crates are made with parallel crate fabric (top
left—notice how the light is blocked as you move away from the
center). This is great if your subject is moving. But if you want to
focus all the light in the center, for example, from a 12 x 12 frame,
you wind up losing a lot of light with parallel cells.
Enter Lighttools founder Stephen Pilby (below). In 1994, he
invented Soft Egg Crates with his patented interlocking cloth strips
that form light blocking cells. In 2002, he invented the Stretch
Frame which eliminates sag that can occur with large softboxes.
Lighttools’ newest light control product, the CU Focus, has fabric
strips that are angled to create full source illumination while
tightly blocking soft light around the selected area (left, middle).
How do you find the “sweet spot?” Divide the diagonal of your
frame by the number printed on the Lighttools Soft Egg Crate.
Lighttools Soft Egg Crates are made of flame-retardant material,
come in many cell sizes and angles, and fit any softbox, butterfly
or overhead frame up to 20' x 20'. Lighttools are used on Lowel
Rifa Lights. Lighttools also collaborates with Chimera. Soft
Egg Crates fit most Chimera lightbanks and are available at all
Chimera dealers. (chimera.com lowel.com)
(lighttools.com) See video at: www.tiny.cc/lighttools
Like Airstar’s other balloon-like lights, Cutter Cloud floats above
your set. Unlike the others, the light isn’t inside. Instead, you
bounce light into the unit. The silver reflector surface is nicely “cut”
by the black side panels, keeping spill off your background. This
can save lots of time—no pipes, high rollers, or heavy hardware.
(airstar-light.com)
Dec 2010
73

AKS & Support
74 Dec 2010

Moviecam EasyFocus
Fritz Gabriel Bauer (left), Renaissance filmmaker, cinematographer,
director, producer, designer of the Moviecam and
Arricam, keeps on inventing amazing things. He designed the
Moviecam because he wanted a lighter, quieter camera. Now,
he’s turned his attention to keeping things in focus. His latest
creation is the Moviecam EasyFocus. It combines a precision
distance-measuring (safe) laser with a touch-screen display.
EasyFocus was originally designed for cranes, rigs and remote
heads where it is often difficult or time-consuming to get accurate
focus marks. Gabriel is quick to point out that his Easy-
Focus doesn’t replace talented focus pullers—it just gives them
another tool to do their job.
Here’s how it works. There are 5 modes of operation:
1. Auto Focus Mode. Leave your tape measure in the front
box. Watch the EasyFocus display panel and move the cursor
using a mouse or the touch-screen to a position over your
actor's face. Click the left mouse button or tap the screen. The
exact distance will appear in a little “flag” in the video display,
and the lens motor will automatically set the focus.
2. Manual Mode. If you prefer, you can let EasyFocus display
the distance while you control focus manually.
3. Tracking Mode. Picture this: One hundred meter dash. Follow
a runner the entire distance at 120 fps coming towards
camera. 400 mm lens, wide open at T2.8. Not an easy shot.
Especially when the Olympic Committee refuses to let you
put marks on the track and there’s no time for rehearsal. Using
EasyFocus, follow your runner on the touch-screen or with
the mouse cursor. Because you control placement of focus, the
lens will not jump to someone else in frame, as it would with
normal autofocus.
4. Ramping Mode. Program focus points and duration in advance
on the LED flat-panel touch-screen display. Push the
button, and focus shifts smoothly.
5. Mapping Mode. Post production supervisors will love you
for this. Create a “topographic” focus map of your set. Small
“flags” on the video display show distances to selected objects.
This can all be saved as a picture along with metadata, lens information,
focal distance, aperture, tilt, height, camera speed,
and much more. (easyfocus.at)
Dec 2010
75

Transvideo
Transvideo Wireless
76 Dec 2010
Jacques Delacoux and Transvideo have been racking
up frequent flier mileage, creating new products
at a prodigious rate, and teaching 3D (with Alain
Derobe, above). Transvideo was everywhere at IBC
and Cinec—and were rewarded with a Cinec Award
for their CineMonitorHD 3DView Evolution.
Although the award honored the 3D product,
it could have been for the entire Transvideo
company—which continues to come up with
essential filmmaking tools and winning awards for
their many bright innovations. (transvideo.fr)
When you’re running around on location
with Clint Eastwood on Flags of Our
Fathers (near left), you don’t want a lot of
cables getting in the way. I imagine Mr.
Eastwood will want to trade in his wireless
Transvideo Standard Definition Monitors
for one of the new CineMonitorHD RF
units (above and far left).
New Transvideo CineMonitorHD RF
monitors come in 8, 10 and 12-inch sizes.
You can also get the 10 and 12-inch RF
with 3DView.
Be sure to order the carbon fiber handles,
neck strap, and on-board battery
(V-Mount, Anton/Bauer or PAG).
Your range is about 400 feet, and it’s FCC
approved. With /i Data integration, focus
helper, frameline generator, histogram,
vectorscope and more, everyone on set will
want Transvideo to “make their day”.

Transvideo HDMI
Serial receptacles for /i
Data connection
Strain-relief for HDMI
receptacle on
CineMonitorHD 6
HDSLR users will be delighted with the new HDMI input on
CineMonitorHD 6 and 8-inch monitors. The HDMI connector
has a strain-relief to protect cable, connector and CineMonitor.
There are additional inputs for HD-SDI 3G, SD-SDI, Composite,
and two Serial connectors (helpful for /i Data lenses).
Optional battery brackets attach to the rear of the monitor. A
new U-Bracket holds the monitor on flat surfaces (above, left),
Steadicams and rigs.
Dec 2010
77

OConnor OCcessories
OConnor, occupying occupational occasions for heads and
tripods, continues to astonish us with innovative new high-end
accessories. With Ali Ahmadi as OConnor Brand Manager,
Jim Elias heading the design team in Europe, Eric Johnston as
Product Specialist in New York, and Michael Zeisse handling
sales in Europe, Middle East and Africa (as well as the handgrips
in the picture below)—the product line shown at IBC and Cinec
continues to grow and impress.
The first OConnor camera accessory was the modular followfocus
system. Its unique, modular design makes it easy to go from
15mm to 19mm rods, and the low profile works with even the
widest diameter lenses.
78 Dec 2010
OConnor has thoughtfully designed wonderfully adjustable
supports, risers, rods and bridgeplates for the dizzying array of
new HDSLR and Prosumer cameras.
The next OConnor OCcessories were O-Grips—as in, “OMG,
why didn’t anyone think of this before?” Made with a solid
titanium core, O-Grips twist to tighten. One individual handgrip
module can handle a maximum weight of 44 lbs (20 kg).
They fit onto all three standard rod systems (15mm and 19mm
Studio, and 15mm LWS) with one convenient O-Grips bridge.
O-Grips were quickly followed by the O-Box, on the next page.

Get a Grip on your O-Box
OConnor has built a better mousetrap…er…mattebox. The company
known for its fluid heads and tripods is really using its head.
They’ve come up with a new line of matteboxes: the OConnor O-
Box WM (Wide Mini). It’s another innovative OCcessory made
possible by fine design and advanced materials.
The clearly obvious but long-elusive innovation is how OConnor
O-Grips handles attach directly to the mattebox for truly comfortable
handheld operating. OConnor’s multi-position O-Grips
can be conveniently screwed directly onto the O-Box metal support
cage in three locations: camera left, right or bottom center.
This is much safer and stable than grabbing the plastic shade.
“But,” you might say, “I’ve been grabbing the plastic box of my
mattebox for years.” Your picture is probably posted along with
mine on rental house walls in recognition of your status for most
broken mattebox shades replaced.
The OConnor O-Box WM is a lightweight, two-stage mattebox.
It accommodates lenses up to 18mm (and in some cases wider) in
16:9 format. The front, top-loading stage accepts two filter frames
(two 4" x 4" and two 4" x 5.650" frames are included). The second
stage (closest to lens) is rotatable 360 degrees. A 138mm round
filter can be screwed into an optional donut that attaches to the
second stage. The O-Box attaches to 15mm lightweight support
rods or can be clamped directly onto the lens.
Constructed of OConnor’s proprietary, rugged composite material,
the sunshade is lightweight, strong, and impact resistant. The
metal mounts onto which the O-Grips attach are beefy and do
not bend.
The integrated handgrip system is welcome relief when handholding
any camera. The numerous permutations of positions
afforded by OConnor’s O-Grips take almost every camera operator
and shooting style into account. The bottom center position
is useful for small cameras and HDSLRs: one O-Grip becomes a
pistol-style grip for your supporting hand while your other hand
can manage the follow focus handwheel (OConnor’s new CFF-1
Follow Focus).
O Lucky Camera Operator if you have an OConnor O-Box and
O-Grips. (ocon.com)
The O-Box WM kit includes:
• Basic WM Mattebox
• Lightweight, rugged, composite material in sunshade
• Two stages; front fixed/ rear rotatable 360 degrees
• Two 4" x 4" filter frames
• Two 4" x 5.65" (4x5.650) horizontal filter frames
• Rear donut holds a 138mm round filter (rotatable)
• Rear clamping interface @ 150mm
• Rod interface for 15mm LWS standard
• O-Grips 3/8-16 threads on left, center bottom, and right sides
• Cheese Plate on top, - tapped 1/4-20 and 3/8-16 for additional
mounting options (incl. O-Grips)
• Integrated top flag mounting bracket
• Top Flag
Optional accessories:
• Optional side and bottom flags/brackets, Universal mask set,
Clamp adapters, Donuts and Reduction rings
Dec 2010
79

iDC System One
80 Dec 2010
At Canon Expo we saw the latest big idea from iDC Photo Video.
Rails instead of rods. They’re standard Manfrotto/Gitzo dovetail
size—so they slide right into your tripod head without having to bolt
on additional plates. Director/Cinematographer/Photographer/
Explorer of Light and Master of the HDSLR Universe Bruce Dorn
has come up with a major improvement on his already excellent
gear-less Follow-Focus system for HDSLR cameras.
In early 2009, Bruce used his 30 years of Hollywood filmmaking
experience and took a fresh look at follow-focus systems for
the newly-released Canon HDSLR cameras. The result was the
original iDC Run & Gun, the industry’s first friction-drive, gearless
follow-focus system.
Bruce’s latest design, the modular iDC System One, expands on
that original concept and uses a sliding clamp system that lets you
quickly and easily position the iDC friction-drive follow-focus,
camera, and wide variety of HDSLR accessories. It’s designed for
the following cameras:
• Canon 1D MK IV
• Canon 5D MK II with the BG-E6 Battery Grip
• Canon 7D with the BG-E7 Battery Grip
• Nikon D3s
Kits for non-battery grip versions of the Canon 5D MKII, 7D, and
60D camera bodies will be available soon.
As with the Run & Gun Kit, there’s no need to buy expensive ring
gears for every lens in your bag. The iDC System One modular
camera system works with almost all lenses (except Canon Tilt-
Shift lenses and large diameter Canon Super-Telephotos).
iDC System One is built around the iDC UniRail—with its
Double-Dovetail design for almost infinite adjustability. The
position of both the camera body and the gear-less follow-focus
assembly can be easily adjusted and balanced by sliding one way
or the other. The Gitzo/Manfrotto fluid-head-friendly quickrelease
UniRails are available in four lengths: 6, 9, 12 and 16
inches. The bottom dovetail of the UniRail snaps directly into the
quick-release top of many Gitzo/Manfrotto fluid heads, while also
providing industry-standard ⅜"-16 or ¼"-20 threaded mounts.
The top dovetail of the UniRail is machined to be “Arca-Swiss”
compatible and supports the iDC Gearless Follow-Focus and
accessories.
Three kits, with different lengths of UniRails, and single or
multiple Follow-Focus Wheel Assemblies are available. Or, you
can build a custom kit with à la carte options. Each configuration
of the iDC System One requires only a camera-specific baseplate,
which is available as an add-on option.
The iDC System One Viewfinder Assembly is available for the
Canon 1D MKIV. Additionally, iDC System One will accept
any Viewfinder system that mounts directly to the camera’s
LCD without a camera plate requirement. iDC System One
components are elegantly machined in Arizona from ultra-light
aluminum with a Mil-Spec black-anodized finish.
The iDC System One Gearless Follow-Focus 6-inch Kits start at
$599. For more info about iDC’s Essential Accessories for Stills
and Motion, go online. (idcphotovideo.com)

Petrol
Kinomatik
Schultz Spray Deflectors
Keren Israel, Marketing Manager at Petrol Bags, with Deca Dr.
Bag. Removable LED system illuminates interior to help you
find almost anything. Attaches to trolley. Comes in 6 sizes.
(petrolbags.com)
Kinogrip, made by Frank Wurstler (manufacturer of Movietube),
easily snaps onto both 15mm lightweight support rods and 19mm
rods. You don’t have to exchange clamps or holders. The Kinogrip
attaches from below the rods, so there is no need to remove follow
focus, mattebox or zoom motors.
The grips can be moved forward or back while attached to the
rods—helpful for finding the most comfortable position.
Lock the Kinogrip in place by tightening the levers.
(kinomatik.com)
Schulz Camerasupport Sprayoff
Micro (far left) is a spray deflector
that is the size of a filter tray. It fits
into ARRI LMB-5, MB-19, and
Chrosziel MB 450 matteboxes.
Power is supplied from the
camera via an RS-cable. It weighs
360 grams.
The Sprayoff Giga rain deflector
(right) is for more hostile
environments. Use it with the
ARRI MB-14. Standard filter
stages can be mounted to the
rear. Weight: approx. 2kg; disc
diameter: 218 mm; disc speed:
approx. 3,000 rpm; power supply:
24V.
(schulz-camerasupport.de)
Dec 2010
81

Lentequip
LE-UB Universal Battery
Lentequip’s LE-UB is a lightweight, long-lasting, NiMH 14.4 V
8 Ah battery that snaps onto most video cameras, Red, and the
new ARRI Alexa. Because it’s Nickel Metal Hydride, you don’t
have the airplane and shipping restrictions of Lithium Ion—and
it’s almost the same weight.
• V-Mount 14.4V, 8Ah NiMh Battery
• Full communication with RED: capacity is shown on RED
display
• 5-step capacity display
• User-replaceable fuse if battery is short-circuited
• Side charging connector — which doubles as additional accessory
output
• Power connectors and dovetail can be serviced if required
• Lentequip charger capable of charging two batteries at the
same time, while docking 4 batteries
• Intro price USD $475.00 each. (lentequip.com)
82 Dec 2010
Lentequip’s Emery and Isabel Soos with the new LE-UB Universal Battery at Cinec.
Lentequip Cable Reels
The digital dilemma isn’t just about archiving. It’s also about
cable management. Many of the new digital cameras have their
own IP addresses. You gain access as if they were a web site. The
trick is plugging into their Ethernet receptacles.
Lentequip now has a full line of cable reels to clean up the cable
clutter. These cable reels are essential accessories for every digital
camera production. The latest addition is Lentequip’s new CAT5
Ethernet Cable Reel. It holds 165 feet (50m) of rugged Belden
1305A cable, which is strong enough to withstand location
abuse. Lentequip uses a Neutrik cover to protect the connector
in the hub of the reel while not in use. The free end of the cable
has a Neutrik etherCON cable connector housing—an RJ-45
connector surrounded by a rugged metal barrel.
ARRI Alexas have a Lemo 10-pin Ethernet socket at the
bottom right rear corner, get an ARRI KC-153-S adapter (part
K2.72021.0 / 801300) — 10-pin Lemo male to RJ-45 male. And,
buy a Neutrik NE8FF Female-to-Female coupler. (neutrik.com)
Lentequip also supplies a full line of cable reels with other
connectors: HD-SDI, dual link HD-SDI, and much more.
(shop.lentequip.com )

Preston Cinema Systems
Preston Cinema Systems
new DM4 Lens Motor
The DM4 is a new micro-sized motor from Preston Cinema
Systems. It’s made specifically for driving lightweight lenses
where size and weight are critical, such as Steadicam and 3D rigs.
The DM4 has been tested on Cooke 5/i and S4/i lenses. The DM4
is not recommended for lenses whose barrels feel stiff, and you
should not force the motor gear against the lens.
In order to prevent wear and to maintain its precision, the motor
uses polished metal gears coated with super-hard diamond-like
carbon to minimize wear.
The integral motor bracket, with an adjustable rosette gear, makes
it easy to position the motor in tight places.
The DM4 is compatible with Preston’s Motor Driver MDR-2,
Digital Micro Force, and the single channel Video Lens Control
units. (prestoncinema.com)
• Size: 90 x 37 x 22mm
• Weight: 250g (with bracket)
• Maximum Speed at output gear: 1.8 Rev/sec
• Output Gear: 0.8m
• Max Torque Output (peak): 1.15Nm
• Product Number: 4206
All in the family: Astrid, Howard and Max Preston. As Tony Richmond, ASC, BSC
famously said, “Nepotism is fine as long as you keep it in the family.” Max flew
in from Tokyo to help at Cinec and to sample the beers of Oktoberfest. Recently
graduated from Berkeley, he’s one of the rising stars at a major Game Developer
in Japan.
Dec 2010
83

cmotion
Chrosziel
Juergen Nussbaum, Managing Director of Chrosziel, recently
wrote, “Very often it’s the little things that help a lot on set.” Here
are some big ideas they introduced recently. (chrosziel.com)
Chrosziel Lightweight Support for DSLRs, with anti-twist ridge at rear
Chrosziel DSLR Accessory
Clamp for 15mm rods—
attach monitor, handgrips or
to secure camera for car rigs
84 Dec 2010
Chrosziel Lightweight Lens Support
Bracket for DSLR cameras
These guys must love 3D. You need two of everything. Cmotion,
the maker of wireless lens systems and other fine devices,
developed the cvolution system. Among other things, it offers
basic 3D functionality, like pairing focus or iris for two lenses.
The problem has been that if you wanted to be able to drive iris,
focus and zoom on both cameras, you needed two handunits and
two receivers, which made 3D rigs even bulkier. Now they have
come up with the camin-2, a small receiver that can be upgraded
up to 8 channels, to drive interaxial, convergence, focus, iris, and
zoom for both cameras on a stereo rig. (cmotion.eu)
Chrosziel 415
Mattebox for Lightweight
Supports in
Carbon Fiber
Chrosziel 412
Clip-On Mattebox in
Carbon Fiber

K-Tek
Screen Plane
Sebastian Cramer, inventor of the Mini Skater Dolly and Screen Plane 3D Rigs, wanted to use zoom lenses on his Red cameras for 3D.
And, he wanted to be able to zoom during the take. For this, proper alignment of lens and camera is crucial, but difficult to achieve. So
he came up with the X-Y mount. Made of carbon and titanium (more resistant to temperature change than aluminum), lens centering
can be adjusted 1mm in any direction, providing a perfect match of both lenses with the camera. (screenplane.com)
Hot Rod
The secret to good audio is having essential accessories from
K-Tek USA, makers of industry-favorite carbon fiber boom poles,
windscreens, shock mounts, and more.
Brenda Parker, CEO of K-Tek USA, is posing at left with Norbert,
a lightweight machined-aluminum frame for mounting a variety
of production tools, including audio and video recorders, microphones,
external viewfinders, and monitors. (ktekbooms.com)
Illya Friedman, President of Hot Rod Cameras, with his latest
DSLR support system and ball adjustable hi-hat. Before starting
Hot Rod Cameras and the first PL mount for DSLRs, Illya was the
4K rental specialist at Dalsa. (hotrodcameras.com)
Dec 2010
85

Genus
Kata Bags
86 Dec 2010
Manfrotto Distribution and Genus announced a strategic
partnership in which Manfrotto will be exclusive distributor of
Genus products in the USA.
Genus, with designers in the UK and Australia, makes innovative
and affordable accessories for video and DSLR production: follow
focus, base plates, rods, supports, adaptors, matteboxes, shoulder
mounts, filters and more. (genustech.tv)
Manfrotto
Manfrotto’s Black Eye Clamps allow you to quickly clamp onto
overhead pipes and tighten it with one hand. This is helpful, faster
and safer—most clamps in the past required you to hold it with
one hand while tightening with the other. (manfrotto.com)
Manfrotto Black Eye Clamps come in a variety of configurations.
Shown here:
• 1 1/8" (28mm) Spigot
• clamp range - max. (round tube): 2.4" / 60.0mm
• clamp range - min round tube: 1.65" / 42.0mm
• load capacity: 441 lbs / 200kg
• material: aluminum
• weight of clamp: 1.9 lbs / 850g
Bug-205_PL
The Kata Bags Pro-Light Bug-205 PL is a
lightweight backpack that provides quick
access to your DSLR.
Durable RipStop fabric and mesh, Aeriform
foam and Spider Webbing straps create
a protective and modular backpack.
It carries a Pro DSLR with up to a 300mm
lens attached, 6-8 additional lenses, second
camera body, flash, audio recorder, Litepanels
Mini, charger, and other accessories.
(kata-bags.com)

Denz FDC
Cineparts
All PL Mount lenses are set to a flange focal depth of 52.00 mm. (At least that is
the default setting. Some rental houses will deviate from this standard measurement
for a variety of reasons, but that's another story.) In other words, when you
focus a lens on infinity, the sharpest image should be 52 mm behind the shiny
stainless steel PL lens mount.
On motion picture cameras, this distance is checked with a depth gauge. A
precision stainless steel collar 52 mm long is used to zero out the gauge before
checking the camera.
You cannot use a depth gauge on digital cameras. Rental houses and manufacturers
use collimators and a variety of tools to check depth. Remember, although
flange focal distance is established at 52 mm, few digital cameras use the same
sensor, low pass filter or cover glass. That can cause measurement differences.
ARRI uses, among other instruments, the Denz FDC Flange Depth Controller
to text Alexas. Denz’s Flange Depth Controller (FDC) is reasonably priced, easy
to use, and accurate to 1 Micron. It displays an image on a monitor with three
vertical bars, one red and two green. By turning the “focus-barrel” of the FDC,
the red line moves between the green bars. The exact measurement is shown
opposite the index mark; however, instead of a focus mark, you’ll see +1, -1, etc.
Each increment is .01 mm (1/100 mm). If you read anything other than zero
(exact 52.00 mm), you’ll need to adjust the mount with shims or mechanical
adjustment.
Here’s how to check flange depth with the Denz Flange Depth Controller (FDC):
1. Be careful with cameras that have a rotating mirror shutter (D-21, upcoming
Alexa OV). Make sure the mirror is clear.
2. Attach the FDC as you would a lens in the PL mount of the digital camera
(Alexa, F35, Red, DSLR).
3. Connect the camera to a monitor. Two lenses in the device project two vertical
bars onto the CMOS chip.
4. Rotate the FDC’s barrel, as if you were focusing a lens. This adjust the focal
distance. When a vertical red line appears between the two green bars, the
actual measured flange focal depth is displayed on the FDC’s scale.
5. Ideally, it measures 52 mm. If not, begin shimming.
(denz-deniz.com)
Cineparts EYE Mk III
From Christoph Bruggaier (ex-Sachtler) of Cineparts, the EYEII : a high-precision
bubble level, compass, and swivel-out 1% transmission grey glass. Great for
aiming lights. Customized engraving available—perfect for the holidays.
Cineparts KILLA.DONUT
This donut makes a lot of
other donuts obsolete. Donuts,
sometimes called “bellows,” are
necessary to cover the gap between
a mattebox and different
lens diameters. Cineparts’ better
donut is manufactured from
aircraft aluminum that holds a
seamless elastic high-tech fabric
ring. Available in 104, 105, 110,
138 and 142mm diameters. Fits
ARRI, Chrosziel. Other diameters
on request. (cineparts.net)
Dec 2010
87

Steadicam from Tiffen
Ed di Giulio licensed the “Brown Stabilizer” from Garrett Brown in 1974 and they
promptly renamed it “Steadicam.” Two years later, and 200 years after a previous revolution
in America, Garrett stirred things up again with his legendary Steadicam shot in Rocky.
Moving cameras were never the same. In 2000, Tiffen purchased Cinema Products, and
continues to design new generations of Steadicam Camera Stabilizing Systems.
At IBC, we saw a lot of Transvideo Monitors attached to Steadicams. Shortly after, we
learned that Tiffen International Ltd. was appointed official UK distributor for Transvideo
It makes sense. The brightest monitors in bright daylight are Transvideo SuperBrights—
and if you’re operating a Steadicam, it’s good to see what you’re shooting.
(tiffen.com transvideo.fr)
88 Dec 2010
Steadicam Archer².
Camera payloads: 10 -26 lbs (4.5 - 11.8 kg)
32" boom range
Steadicam Tango.
Camera payloads: 6 lb
9 feet continuous
boom range

Steadicam Smoothee from Tiffen
Release your inner Steadicam. The Steadicam Smoothee is coming
soon. Attach an Apple iPhone 4, 3GS, iPod Touch, or Flip Mino
HD 120 camera, and with a little practice, you’ll be able to shoot
as steadily as Garrett and other Steadicam superstars. Of course,
when your camera is heavier than than a smart phone, it’s time to
step up to Smoothee’s bigger siblings. The Smoothee, developed
by Steadicam, takes the shakes and wobbles out of smart phones
and Flip videos.
The lightweight Steadicam Smoothee is easy to use. It features an
innovative, patented design built around a durable mono-frame
metal structure that requires no complicated instructions to begin
using. The Steadicam Smoothee is approximately 8"w x 14.5" h x
2.5" h (20.3 x 36.8 x 6.4 cm) in operating mode.
Each of the individual quick-release camera mounts can be
removed to work as a tabletop stand, or can be mounted to any
tripod with a standard ¼"-20 thread. The Smoothee hand-grip
folds up securely when not in use. Steadicam Smoothee comes
with a carrying strap, nylon pouch and instruction sheet. Here are
some secrets of the pros:
Hold the Smoothee handgrip in one hand. With the thumb and
index finger of your other hand, gently touch the round ring below
the base. Use your thumb and index finger to aim the camera.
Your arm becomes the traditional Steadicam arm. Don’t forget to
“Bend zee knees,” as you’ve heard every ski instructor say.
Garrett can hold and guide the camera with one hand—but that
requires a bit more practice. It helps being the inventor and having
1000’s of hours logged on the things you've designed.
Smoothee has practical professional applications for previsualizing
moving shots, scouting locations, and more. With a street price of
$179.95, it’s cheaper than a month’s supply of Transderm Scop,
popularly prescribed for motion sickness. (steadicam.com)
Dec 2010
89

Easyrig
Johan Hellsten (far right) lives in Umeå, Sweden, which at 63°
north latitude, is closer to the North Pole than any other Film and
Digital Times subscriber. When Johan is not shooting for Swedish
Television, he’s busy building Easyrigs for the more than 2500
grateful camera operators worldwide whose backs he has saved.
Picture a backpack with a post overhead and a spring-tensioned
cable from which the camera dangles weightlessly off your
shoulder, at waist level or anywhere else you prefer. It’s not a
Steadicam. Easyrig eases the camera’s weight from your arms,
90 Dec 2010
lower back and shoulder. Johan must thank the Viking gods each
morning for the many camera designers who never tried shooting
for extended periods with the cameras they designed, with finders
in strange places and balance even more baffling.
Easyrigs are catching on everywhere. That’s Colin Budd,
Lighting Cameraman, (top, 3rd from right) and his reality
TV crew in Sydney. He writes, “Great invention...it may
have added years to the shooting life of a cameraman.”
(easyrig.se)

OConnor 2065
Sachtler artemis
Ronford-Baker
OConnor’s new 2065 Fluid Head is intended for the new generation
of cameras like Alexa, Red One, Epic, Sony F35, and Aaton
Penelope Delta. The 2065 weighs 22.9 lbs. (10.4 kg) and carries
cameras from 0-71 lbs. (32.2 kg). Both the pan and tilt brakes
are located in plain sight on the left side. The 2065 uses OConnor’s
stepless pan and tilt fluid drag system. Counterbalance is
achieved with a crank—just like the 2575. (ocon.com)
To balance the 2065 (and other OConnors):
• Set the tilt fluid drag to “0.”
• Crank the counterbalance to “0”.
• Slide the camera fore or aft until it’s balanced horizontally.
• Crank the counterbalance handle until the camera is “neutrally
buoyant,” meaning you can let go of the pan handle
with the camera in any position.
• Dial in the tilt and pan drag settings. Lighter is better—if you
need two hands and a shoulder, the pan setting is too tight.
Curt Schaller with an
Alexa on an artemis Cine
HD Pro stabilizer system
from Sachtler, with ACT2
Vest, artemis ACT2
Spring Arm, Transvideo
CineMonitorHD 6"
SBL, and Anton/Bauer
Dionic-HC Lithium-
Ion batteries. The ACT2
carbon fiber vest is
lightweight and easily
adjustable for different
operators by means of
a modular 7-segment
design. (sachtler.com)
Ronford-Baker 3 Axis Head. (ronfordbaker.co.uk)
Dec 2010
91

Cartoni Lambda Twin 3D
E3D Rig inventor Leonard Coster
92 Dec 2010
Cartoni's Lambda Twin 3D is the first nodal pan and tilt head for
heavy 3D rigs.
Imagine two of Cartoni’s famous Lambda Nodal Heads connected
together, face-to-face—that's a Lambda Twin 3D Head.
The new Head works with both parallel and beam-splitter (under-over)
3D Rigs. It accommodates large rigs and cameras like
Genesis, F35, SRW-9000PL, Alexa, Red One, Epic, and more.
The Lambda Twin 3D Head is connected in the middle with a
“U” shaped swinging platform. It can support 3D Rigs up to 90
kg (200 lbs).
If you’re shooting 3D, this head positions bulky and heavy rigs in
neutrally “buoyant” balance in any position. It is equally comfortable
under-slung below a crane or jib arm. The base is standard
Mitchell flat mount.
I think Cartoni can custom make Lambda Twin 3D Heads specifically
for any width rig you may require. (cartoni.com)

Cartoni Maxima
New from Cartoni: Maxima Head. Capacity: 0-43 kg (0-95 lbs). Consistent counterbalance and continuous fluid drag with any camera
weight. Tilt + / - 90°. This prototype was so new, they didn’t even have time to engrave the name on it: Maxima. Feminine, of course—
like the cameras it will support: Alexa and Penelope...Epic...Arricam...
Cartoni Airfloater
The Patented
Airfloater is
manufactured in
Italy under licence by
Cartoni. It’s designed
to simulate handheld
shots when you have
a heavy camera or
a long day, and are
growing weary of the
heavy weight on your
shoulder. I haven’t
tried it on a camera
car, but it looks like it
can beat a beachball
for quick and
simple stabilization.
Airfloater can pan a
full 360° and tilt 18° in any direction. It comes with a variety
of base attachments: Chapman/Whitworth bolt, 4 bore Vinten
holes and 300mm Mitchell with castle nut. The top of the
Airfloater takes a Quick-Release European Base plate.
Dec 2010
93

Solid Grip Camera Cart
Vario Quad-Copter
Vario Helicopter’s Remote Control Quad-Copter, shown at IBC,
can carry cameras up to 11 lbs. With 3 accelerometers, 3 gyros,
3 magnetometers, and 3 MEMS, it has a gyro- stabilized camera
mount that uses 2 custom-made computers for very precise
control at both low and high speed. Even when the Quad-Copter
turns, the camera can will remain aimed in the same position.
(variomodels.com)
• Length: 1400 mm, Width: 1400 mm, Height: 750 mm
• Propeller diameter: 500 mm
• Motor: 4 x electric motors
• Batteries: 4 x 6S-8S LiPo batteries
• Weight without payload: 12 kg + Batteries
• Payload (camera) weight: 5 kg (11 lbs)
94 Dec 2010
The Solid Grip Systems
camera cart, designed
by Dutch key grip
Onno Perdijk, can be
disassembled so that
all parts are contained
between two shelves.
Its modular design
allows shelves to be
added as needed. Onno
also offers some accessories
like the bicycle
bell (see picture), or a
bracket to attach a sliding
base plate for easy
camera transport.
(solidgripsystems.eu)
Campilots Multicopter
Just as remote camera heads have made crane work safer and
more daring, the new generation of remote control helicopters
are changing the way aerials are shot.
Campilots remote control Multicopter was shown at Cinec.
When you “charter” a Campilots Multicopter, a camera pilot and
a camera operator are included. That’s a good thing, because even
if you have been practicing at home with video games, piloting
the real deal takes lots of skill and training.
The pilot keeps the multicopter in visual range with a remote
control. For long distance flights like car-chase sequences, both
the pilot and the camera operator follow in a support vehicle.
(campilots.de)
• Flight altitude (visual range): 1 - 100 meters
• Max speed: 50 km/h
• Emission-free, thus usable indoor as well as outdoor
• Max flight duration: 6 minutes per take
• Ready-to-fly weight: less than 5 kilograms (incl. remote head
and camera)
• Currently configured for Canon EOS 5D Mk II
• System dimensions: Diameter 800 mm, height 450 mm

Andy’s Skycam FF
Andy from Italy gets our vote for most-fun product at
IBC. He spent the first day of the show running around
Amsterdam to get enough helium to fill his remote
control camera-flying balloon.
It safely floats overhead, propelled by small electric fans
surrounded by protective rings.
The 3-axis remote head is electronically stabilized and
can carry HD and a specially lightened 35mm film
camera (modified Arriflex 2C, I think).
(andytech.com)
Dec 2010
95

Sponsors
Moguls
abelcine.com
angenieux.com
arri.com
bandpro.com
canonusa.com
cookeoptics.com
fujinon.com
fujifilm.com
manfrotto.com
ocon.com
prestoncinema.com
sachtler.com
sony.com/professional
steadicam.com
tiffen.com
transvideointl.com
zeiss.de
zgc.com
Executive Producers
aaton.com
chrosziel.com
jvc.com
kodak.com/go/motion
pstechnik.de
16x9inc.com
vantagefilm.com
Producers
arricsc.com
artemis-hd.com
avenger-grip.com
camarasyluces.com
clairmont.com
gitzo.com
leica.com
leefilters.com
lentequip.com
lowel.com
ottonemenz.com
tiffen.com/dfx
Co-Producers
cartoni.com
dedoweigertfilm.de
kata-bags.com
petrolbags.com
siliconimaging.com
visionresearch.com
weisscam.com
Assoc. Producers
anandcine.com
birnsandsawyer.com
blixt.dk
cmotion.eu
e3dcreative.com
elementtechnica.com
fgv-rental.de
ianiro.com
idcphotovideo.com
kinoflo.com
litepanels.com
musitelli.com
nila.tv
Media Partners
cinegearexpo.com
cinec.de
icgmagazine.com
ibc.org
nabshow.com
CINEMA
PRESTON
SYSTEMS
creative digital effects v2.0
PHOTO
PHOTO
VIDEO
VIDEO
DC
DC