Film & Digital Times Issues 36-38 - Imago

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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 <strong>Digital</strong>, 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
Page 1 and 2: Jon Fauer’s www.fdtimes.com Dec 2
Page 3 and 4: 2010: Gear this Year exposure adjus
Page 5 and 6: Martin Hartweg: Cinec Top Chef A sp
Page 7 and 8: Sensor Sensibility “Check the Gat
Page 9 and 10: Alexa Tour One hundred cameras...an
Page 11 and 12: Flange Focal Depth Image Testing Th
Page 13 and 14: A Brief Illustrated History of Alex
Page 15 and 16: Interview with Franz Kraus This ide
Page 17 and 18: ARRI at IBC and Cinec ARRI Alexa Si
Page 19 and 20: Sony SRW-9000PL Camera Views Existi
Page 21 and 22: Sony PMW-F3 This is not a tape meas
Page 23 and 24: Sony PMW-F3 The right side of the c
Page 25 and 26: Aaton Penelope Delta Aaton Penelope
Page 27: P+S Technik P+S Technik’s Alfred
Page 31 and 32: Phantom Flex Why do we call digital
Page 33 and 34: Converging Stills Sony NEX-5 Fujifi
Page 35 and 36: FGV PL1D FGV PL5D They weren’t go
Page 37 and 38: Canon Expo: 4K The 4K race accelera
Page 39 and 40: NHK 8K with Fujinon Lens Plan ahead
Page 41 and 42: RED Epic The original, revolutionar
Page 43 and 44: Storage: Marvin Cinedeck Alan Hoff,
Page 45 and 46: 3D P+S Technik Freestyle Rig for St
Page 47 and 48: Lenses Dec 2010 47
Page 49 and 50: Angénieux Optimo Zooms The Optimo
Page 51 and 52: Image Stabilization by Larry Thorpe
Page 53 and 54: ARRI/Fujinon Alura PL Zooms ARRI/ZE
Page 55 and 56: ARRI/ZEISS Ultra Prime Lenses Ultra
Page 57 and 58: ZEISS Lightweight Zoom LWZ.2 Focal
Page 59 and 60: Cooke 5/i Cooke 5/i Primes are all
Page 61 and 62: Cooke Panchro/i Cooke Panchro/i Pri
Page 63 and 64: Leica Factory Tour The Summilux-C C
Page 65 and 66: Vantage Hawk Anamorphics Vantage co
Page 67 and 68: ARRI Lighting LoCaster LED. Ryan Fl
Page 69 and 70: Litepanels Ianiro Ianiled Rudy Pohl
Page 71 and 72: Dedolight PanAura PanAura dedicated
Page 73 and 74: Lighttools Soft Egg Crates Airstar
Page 75 and 76: Moviecam EasyFocus Fritz Gabriel Ba
Page 77 and 78: Transvideo HDMI Serial receptacles
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Get a Grip on your O-Box OConnor ha
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Petrol Kinomatik Schultz Spray Defl
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Preston Cinema Systems Preston Cine
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K-Tek Screen Plane Sebastian Cramer
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Denz FDC Cineparts All PL Mount len
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Steadicam Smoothee from Tiffen Rele
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OConnor 2065 Sachtler artemis Ronfo
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Cartoni Maxima New from Cartoni: Ma
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Andy’s Skycam FF Andy from Italy
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Film & Digital Times Issues 36-38 - Imago

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