Eterna Vivid 500 incorporates Fujifilm’s Super Nano-structured Grain technology, which precisely controls the light-sensitive structure of the silver-halide grain to nanoscale, resulting in extremely fine grain. The grain configuration is precisely engineered to a thickness that minimizes reflections, effectively limiting light scatter and boosting sharpness. Additionally, a yellow coupler has been developed for enhanced color formation effect during processing.

Eterna Vivid 500’s optimized orange-mask density and sharpness balance result in improved scanning characteristics, and its excellent linear response and color balance facilitate color adjustment during telecine and digital-intermediate workflows while minimizing noise during scanning.

Phedon Papamichael, ASC; Dion Beebe, ASC, ACS; and Kramer Morgenthau, ASC were recently tasked with putting the stock through its paces. “There was a nice amount of detail in the shadow, but I still got a very rich black,” notes Beebe. “The stock really held up under these quite extreme lighting conditions.” Morgenthau adds, “I would not hesitate to choose it for a wide variety of projects, especially something that calls for a very powerful, intense look.”

The 7D boasts significant EOS advancements, including a 19-point Autofocus system, the Canon iFCL (intelligent Focus, Color and Luminance) Metering System and an intelligent viewfinder. An 18-megapixel, APS-C-sized Canon CMOS sensor and Dual DIGIC 4 Imaging Processors fuel the 7D’s 14-bit A/D data conversion and its ability to freeze fast motion in high-resolution with 8 fps continuous shooting for up to 126 Large JPEGs using a UDMA CF card. The camera can also capture beautiful low-light images with or without a flash thanks to a wide range of ISO speed settings from 100-6,400 (expandable to 12,800).

In addition to its new still-capture capabilities, the 7D features Full HD video capture at 1920x1080 resolution with selectable frame rates of 24p, 25p or 30p; native 24p recording helps videographers achieve a more cinema-style look for their footage without the need for post-processing. The camera also enables 720p HD recording at 50p or 60p and SD recording (in a 4:3 aspect ratio) at 50p or 60p. Compatible with more than 60 Canon EF and EF-S lenses, the 7D gives videographers fully manual exposure control, and the camera provides users with the capability to use an external stereo microphone for professional audio effects or the built-in monaural microphone.

Coinciding with the 7D’s release, Canon has announced the WFT-E5A Wireless File Transmitter, exclusively for use with the EOS 7D. The WFT-E5A offers professional photographers a wide range of digital connectivity options — including IEEE802.11a/b/g and Ethernet — ideal for commercial and studio work. With the WFT-E5A, photographers can fire up to 10 cameras simultaneously, from across the room or across the country, while maintaining control over camera settings and remote live view on a laptop or smart phone. The WFT-E5A can also transfer and display images on DLNA-compatible televisions and photo frames, and geotagging is now possible via Bluetooth, using compatible GPS devices to append coordinate data to the images.

The EOS 7D is available in a body-only configuration at an estimated retail price of $1,699; it is also sold in a kit version with Canon’s EF 28-135mm f/3.5-5.6 IS USM zoom lens at an estimated retail price of $1,899. The WFT-E5A sells at an estimated retail price of $699.99.

“The Optimo DP series incorporates the next generation of optics for high-definition imaging to specifically complement the new breed of large-format digital cameras that are quickly gaining traction in the industry,” says Eva Paryzka, Thales Angenieux’s sales manager for cinema products. “Our Optimo DP series large-format digital zoom lenses deliver Angenieux’s industry-leading optics along with superior functionality and ergonomics. The Optimo DP series makes no compromises and provides the image coverage of full [Super 35mm] in a lightweight and compact design.”

The new 16-42mm zoom was developed by Thales Angenieux’s Academy Award-winning Optimo design team. The lightweight (4.2 pounds) PL-mount lens boasts a fast aperture of T2.8, calibrated focus marks, no ramping or breathing, and a unique mechanical design for precise zoom and focus.

“The development of the 5/i lenses has been a labor of love for us and we couldn’t be happier with the results,” says Les Zellan, chairman and owner of Cooke Optics. “We worked closely with the customers to create a truly unique prime lens, providing unmatched functionality yet preserving the luminous ‘Cooke look’ that marks our lenses out from the competition.”

A key feature of the 5/i primes is a dimmable, illuminated focus ring with two separately toggled scales (cinematographer and assistant), allowing the focus puller to read the scales in low lighting conditions. The aperture stops range from T1.4 to T22 across the line; the lenses available are 18, 25, 32, 40, 50, 65, 75, 100 and 135mm.

Cooke 5/i optics offer superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture. The cam-type focus mechanism allows for smooth focus adjustments, while the modular construction increases ease of maintenance and serviceability. The lenses are color-matched and compatible with the entire Cooke range, including S4/i and the new Panchro by Cooke. /i Technology is included as standard to provide vital camera information for postproduction pipelines. 

Otto Nemenz, president of Otto Nemenz International and an associate member of the ASC, explains, “With the help of our friends at Band Pro, we’re finally making the move to high definition. When they showed us the Sony F35 camera, we knew it was time. We take pride in offering our clients only the best products. The F35, together with our existing cine Cooke, Angenieux and Zeiss PL-mount lenses, gives us a system we’re proud to put our name on.” (Nemenz is seated at left in photo with, from left, Alex Wengert, Ryan Sheridan, Fritz Heinzle and ASC associate member Amnon Band.)

The F35 CineAlta camera system captures 10-bit 4:4:4 images at 1 to 50 fps from a single, Super 35mm-sized sensor, which allows cinematographers to use familiar and comfortable 35mm PL-mount optics.

Based on a cross-fading principle, the FDC incorporates two lenses, which project two different masks onto the camera’s sensor. When the user turns the adjustment wheel on the FDC, the two projected masks shift; when the masks align, the precise flange depth — accurate to 1 Micron — can be read on the scale of the adjustment wheel.

Weighing less than 1.5 pounds, the FDC can be powered by a DC 3-volt battery with an auto-off function or with an AC/DC adapter; the battery has an estimated operating time of 1,400 flange-depth measurements.

The K-Cam Kit includes the Camera Pole; a lightweight, sturdy Swivel Adapter for mounting the camera; and a Monitor Adapter for anchoring the camera’s control unit and 2.7" LCD monitor to the body of the pole. (The Swivel Adapter can also be purchased separately.) Additionally, the Camera Pole is available in four models: the K-Cam72K traveler, which extends to 6'; the K-Cam99K, which extends to 8'3"; the K-Cam113K, which extends to 9'; and the K-Cam152K, which extends to 12'8".

Like K-Tek’s Klassic Boom Poles, the Camera Poles are crafted of high-density graphite fiber to ensure maximum strength at minimum weight. However, the Camera Poles feature a “beefier” top section to provide extra support. The poles’ telescoping sections are held in place through the company’s proprietary “captive collet” locking system, and locking collars are outfitted with a “Soft-Touch” rubber sleeve for an easy grip and comfortable touch. The mushroom pole base is molded from rugged polyurethane for optimum shock protection and long life.

Designed for directors of photography, camera operators, camera assistants, visual-effects supervisors, gaffers, grips, editors, production designers, art directors and film students, pCam for iPhone boasts an easy-to-use graphical interface that helps the user understand how each calculation is applied. The application includes all of the correct HD and motion-picture camera manufacturers’ specs for image size and circles of confusion. Calculations available in pCam include depth of field, aperture finder, hyperfocal, field of view, framing preview, angle of view, exposure, running time to length of film, shooting time to screen time, HMI safe speeds and shutters, color-correction filters, diopter, macro, time lapse, underwater distance, scene illumination, light coverage and Siemens star.

Calculations are made instantly and automatically as each entry is changed, and pCam saves entries until the user changes or resets them. Professional film and video formats compatible with pCam include 8mm, 16mm, 35mm, VistaVision, 65mm, 70mm, Imax, 2⁄3" CCD video and HD video. Global settings allow switching between English and Metric measuring systems, EI and ASA, and footcandles and Lux. Additionally, built-in instructions accompany each screen.

“I remember back in 1988 to the first day I started in postproduction and was shown the telecine suite with DaVinci,” says Grant Perry, CEO of Blackmagic Design. “I could not believe the quality of the images on the monitor, and that was the moment I fell in love with high-quality imaging and color-correction. … It’s been a while since I was a telecine engineer, however it’s incredibly exciting to be back involved with DaVinci again! We have a lot to live up to and many fantastic ideas, so it’s a very exciting time!”

Blackmagic Design has initiated a wide-ranging restructuring of the DaVinci business. The new focus will be on the DaVinci Resolve color-correction and DaVinci Revival film-restoration products. DaVinci Resolve already has the power to handle complex color grades in real time even at native 4K resolutions and in stereoscopic 3-D. To accelerate development, the Resolve and Revival engineering teams have already been expanded, and further expansion is currently underway.

Due to the age of the DaVinci 2K systems, which were originally launched in 1999, Blackmagic Design will cease marketing 2K systems immediately. Support for 2K systems will continue, and spare parts are still available for customer repairs. Engineering will be dedicated to bug-fix updates and small feature releases.

Annual support contracts will also immediately cease, and a new “pay as you go” system will be initiated so customers only need to pay if a fault occurs. Blackmagic Design believes this will save customers thousands of dollars of unused support payments. Customers can pay for any repairs required, and purchase and repair of secondhand DaVinci products will be supported when possible, improving the resale value of secondhand DaVinci products.

From development to distribution, Scenechronize streamlines communications for the entire production, saving days of wasted time thanks to its automated management workflows. Whether the production involves 10 people or 200, all the vital elements — including script, breakdown, schedule, casting, location information, reports, photos, video and dailies — are managed with up-to-the-minute information, available to the entire crew anytime, anywhere.

Scenechronize’s easy-to-use interface enables anyone to get up and running in a matter of minutes. Time-saving features include automated script importing, script revision impact analysis, breakdown and scheduling. Users can organize information by scene and department, and store documents, photos and video for thorough record keeping. 

Able to run inside any Web browser with a current Flash player, Goviso does not require any software installation. “Goviso lets users collaborate or work individually,” says Attila Levai, president of Optix Hamburg. “The aim is to keep the user productive and focused on his or her project. It’s no longer necessary to send small video clips or attempt to describe revisions via email.”

An invitation to anybody, anywhere in the world to the private Goviso online screening room allows participants to view full-screen, high-quality video. Users can meet with their clients or team members in real time and be certain everyone is on the same page and able to reference a specific frame in a video clip without skipping a beat. The service provides frame-accurate, synchronized video playback across all participants’ browsers regardless of their geographic location, and notes and whiteboard functionality allow attendees to annotate directly on top of the area within the video frame that is relevant for discussion. A single user can also leave notes for others to “pick up” later, and users can compile different playlists for different audiences.

Levai notes, “By facilitating the entire production process, Goviso allows users to focus on their project and forget about the time-consuming and often expensive task of distributing their moving pictures for view and approval.”

Differentiating MyFilmCrews from other online directories, the site presents show reels in multiple high-resolution streams up to 720p HD, yielding images with exceptionally high quality and enabling industry professionals to make critical hiring decisions. Additional features include one-click search results, easy and intuitive navigation, location-specific results, portfolio presentations, and the ability to offer company catalogs, price lists, storyboards and more for download.

Industry professionals can post free Basic listings or upgrade to an Advanced, Premier or Showreel listing. MyFilmCrews listings can be searched without registering.

Providing helpful tools and straightforward information for filmmakers, the Web site includes such sections as Budget, Technical and Creative, and the entire site is designed with a variety of production perspectives in mind. The educational site also showcases the Arriflex D-21 film-style digital camera, offering information about the camera system’s unique anamorphic capability, workflow, downloadable LUTs and budget comparisons. Visitors to the site can join the discussion on the online forum and register for the D-21 crew directory; users can also sign up to become a third-party developer to the ArriRaw format.

“We are excited to launch a dedicated Web site for the Arri Digital Camera System,” says ASC associate member Stephan Ukas-Bradley, Arri’s product manager for Digital Production. “It covers not only technical aspects, but also artistic and budgetary concerns along with questions our customers might have. We designed the site with the production community as a whole in mind, hoping to further engage them in dialogue that will enable us to continue building the best possible tools for our industry.”

Pro8mm now also offers a full Max8 conversion of the 7000 and 6000 series of Beaulieu professional super 8mm cameras. Conversions are offered for the 7008 Pro II, the 7008 Pro and the 7008 S. The 6008 Pro and 6008 S can also be converted, but require modifications to the viewfinder and ground glass focus element at an additional cost. The Max8 conversion expands the camera gate for 16x9 shooting, yielding a 20-percent increase in usable image when scanning on Pro8mm’s M2 or Y Front systems.

To help users keep the Max8 gate clean, Pro8mm has introduced a gate brush, which is sold for $5.00 and is also included for free with every camera rental and purchase. Two swipes of the brush between the loading of each super 8 cartridge removes the emulsion residue that can lead to hairs and dust in the gate.

The Shoe Bridge (product number K-BRG) provides users with a 6.5” bridge that sits 4” above the camera for mounting multiple accessories. The Shoe Step Adapter (K-SSA) repositions the camera shoe 2” above the camera. The Offset Shoe Extender (K-OSE) repositions the camera shoe 2.6” vertically and 2.25” fore or aft of the camera.

These smartly designed DV-camera accessories are precision made in the USA of top-grade materials and are black anodized to function unobtrusively.

The EF 100mm f/2.8L Macro IS lens is the world’s first camera lens featuring Canon’s new Hybrid Image Stabilization (Hybrid IS) technology, which compensates for both angle and shift camera shake; the lens is compatible with all EOS cameras. The EF-S 15-85mm and EF-S 18-135mm zoom lenses are designed specifically for Canon digital cameras that are compatible with EF-S lenses.

The EF 100mm, EF-S 18-135mm and EF-S 15-85mm lenses are available for an estimated retail price of $1,049, $499.99 and $799.99, respectively. 

16Digital prime lenses come with easy-to-read scales (available in meters or feet), uniform front lens diameters of 60mm, uniform 0.8 gear rings for focus and iris control, and uniform position of exit pupil. Standard follow focus and electronic lens control systems are compatible with the 16Digital lenses, which boast superb optical performance even when used wide open. Floating elements keep the optical performance up all the way to the close-focusing limit, and distortion is well controlled across the range of lenses.

The robust, easy-to-service 16Digital prime lenses comprise 8, 12, 16, 25, 35 and 50mm focal lengths. The lenses are distributed in North and South America exclusively by ZGC. 

The Century .75X HD Wide Angle Converter is a newly designed, lighter-weight optical tool that is ideal for shooting situations requiring both a wider angle of view and full zooming capabilities. It attaches neatly to the front of the lens to offer 25 percent more coverage when set to wide angle, telephoto or anywhere in between. Other Century accessories for the EX3 include the .6X HD Wide Angle Adapter, 1.6X HD Tele-Converter, Fisheye HD Adapter, Extreme Fisheye HD Adapter, 2.0X HD Tele-Converter, and Achromatic Diopters in strengths of +2.0 and +2.6.

Century Pro Series HD lens accessories are designed to produce crisp, high-resolution images with low distortion and superior contrast edge to edge. Multi-coated glass elements provide sharp images free of unwanted distortion or chromatic aberration. Units interface directly with the front of the camcorder lens via a secure locking bayonet mount, so installation and removal is quick and easy. Additionally, the .75X HD Wide Angle Converter, .6X HD Wide Angle Adapter, 1.6X HD Tele-Converter and 2.0X HD Tele-Converter are front-threaded to accept a 102mm filter.

The modern lens design ensures low distortion, high resolution and excellent color rendition for sharp, punchy images, and the T* coating provides good flare suppression for rich blacks and high contrast. The high-precision lens housing has focus and iris gears in standard positions, and all Compact Primes share the same dimensions, so lens changes are easy and fast. The lenses’ robust construction ensures reliable operation and a long working life.

At about half the price of Ultra Prime lenses, the Compact Primes are a natural complement to affordable digital cameras, but their high quality means they can also work alongside Ultra Primes, Master Primes, the Lightweight Zoom LWZ-1 and Master Diopters. Compact Primes are currently available in T1.5 for 50 and 85mm, T2.1 for 28 and 35mm, T2.9 for 21 and 25mm, and T3.6 for 18mm.