Products and Services

From 3D camcorders to HDSLR lenses and an unbeatable reader offer from Shoot Blue, we look at latest resources for filmmakers.

Zeiss Compact Prime CP.2 Lenses

From independent filmmakers to television producers, shooting with DSLR is becoming more commonplace. And optics specialists Carl Zeiss have unveiled the world’s first set of cine lenses designed especially for HDSLR cameras. The Compact Prime CP.2 deliver greater flexibility by introducing interchangeable mounts-PL, EF and F-allowing them to be used with a wide range of cameras, from traditional cine to HDSLR systems. One of the main advantages of these lenses is that cinematographers are now able to freely choose camera systems without sacrificing image consistency, safe also in the knowledge that since the lenses can be upgraded to any number of future/ existing cine cameras, their investment will remain protected. The Compact Prime CP.2 lenses cover a full-frame 24 x 36 image format without vignetting and are based around a common aperture of T2.1. Available from June 2010. www.zeiss.com/cine

Shoot Blue Discount For movieScope Readers

Launched in 2008 as the UK’s first tapeless and fully HD camera hire facility, Shoot Blue were one of the first to anticipate the fast changing production technology landscape which has set film, video and photography on a collision course. While their equipment hire services are primarily based around the RED One 4K camera, Canon 1D/5D DSLR-Cine cameras and Sony’s EX3 camcorder, Shoot Blue also carry a full range of cine and video lenses, camera accessories, audio, lighting and grip equipment, all backed by full 24-hour technical support and expert production advice. Shoot Blue facilities are available for any production throughout the UK and abroad. Tel. +44 (0) 208 275 8780 or visit www.shootblue.tv
movieScope readers can save 30% on their first hire; just quote this offer when you contact them.

Canon EOS 550D

Canon’s latest mid-range hybrid DSLR addresses some of the video feature issues of previous models and crams them into a surprisingly affordable package. While the 550D may lack the full-frame sensor of the pro cameras, its 18 megapixel APS-C CMOS sensor and new DIGIC 4 processor shoots stills in very low light (ISO 6400) with minimal visible image noise. This camera’s main attraction is its HD video capabilities, and the fact that the lenses can achieve a shallow depth of field, with full manual exposure setting control. With the 550D, Canon have added variable frame rates of 30, 25 and 24 fps, progressive at 1080, and 60 and 50 fps interlaced at 720 to cater for Pal, NTSC and film workflows. They have also added a mini-jack for attaching an external mic. The 550D conveniently stores video onto SDHC as MOV files (H.264), making transfer to Final Cut Pro easy. www.Canon.co.uk

Panasonic AG-3DA1

Scheduled for release in the autumn, Panasonic’s AG-3DA1 is the world’s first professional twin-lens full-HD 3D camera recorder. Unlike current professional 3D systems, which require large-scale setups in which two cameras are fitted to a rig in parallel, or vertically intersect across a half-mirror, Panasonic’s new highly portable full-HD camcorder integrates the lenses, camera head, and a memory card recorder into a lightweight body. The unique twin-lens system allows the convergence point to be adjusted mid-shoot, while functions for automatically calibrating horizontal and vertical displacement allow immediate 3D image capture without the need of external equipment. RRP $21, 000 / £15, 000 www.Panasonic-broadcast.com

New Cine Zooms From Arri /Fujinon

ARRI and Fujinon have joined forces to create a completely new family of modern cine zooms, which combine the highest optical performance with an amazingly small size, weight and price. Set for release in June 2010, the wide Alura Zoom 18-80 and the long Alura Zoom 45-250 form a set of matched PL mounted cine zooms for digital and film cameras. Size and weight has been kept practical, allowing crews to work fast on set without sacrificing performance or production efficiency. www.arri.com

Visual Effects for Directors on DVD

Nowadays it’s virtually impossible to watch a film or television production without noticing a varied array of visual effects. This seemingly unstoppable trend toward spectacle comes with its own set of challenges, particularly for filmmakers who may lack the necessary experience to effectively plan good effects shots. “It’s more or less the norm that directors of all ages and backgrounds are woefully under-educated to handle VFX-heavy production,” commented Per Holmes, creator of Hollywood Camera Work, the hugely popular Master Course in High- End Blocking and Staging. To address this, Holmes recently released Visual Effects for Directors, a seven DVD set designed specifically to teach directors and DoPs everything they need to know about shooting VFX. More than just a primer, this course goes some way to providing a solid grounding in understanding the underlying principles of shooting visual effects. From green screen, virtual set creation, 3D, camera tracking and motion control, to character animation, motion capture, crowd replication, VFX cinematography and compositing, the aim of the course is to empower filmmakers with a solid knowledge base of what to do on set prior to shooting, thereby reducing or indeed eliminating the need for costly VFX fixes in post production. Available as a boxed DVD set or to download. RRP $329 Includes membership to the Hollywood Camera Work User Group plus personal coaching by Holmes through the online forum. www.HollywoodCameraWork.us

British Cinematographer

British Cinematographer, the official magazine of the British Society of Cinematographers, is Europe’s premier magazine for DoPs and film technicians. Covering the art and craft of cinematography, their international, experienced team of journalists brings expert comment, news and views from the major production centres in the UK, USA and Europe. Working closely with leading trade associations and guilds, British Cinematographer’s cutting edge content ensures that issues relevant to cinematographers and DoPs are always met head on. The magazine is published 6 times a year and available by subscription. RRP £36, Euro58, US$56 www.thecinematographer.info

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This article was taken from movieScope Magazine, Issue 17 (May/ June 2010)