It's a return to the days of 2.76x1 ultra widescreen with new lenses and a host of other updates from Panavision.
Many aspect ratios were experimented with, but 2.39x1 was eventually settled on as the "standard" widescreen aspect ratio in the heydey of trying to get viewers away from their TV and back in the theaters. One of the most famous was Ultra Panavision 70, which gave viewers a native 2.76x1 aspect ratio, known for celluloid shot projects like Ben Hur and The Hateful Eight.
Panavision has a new line of lenses to make capturing natively in that aspect ratio easier than ever with the new Ultra-Vista lenses designed to work with the DXL2 line of digital cinema cameras. These use a 1.6 squeeze, since the original aspect ratio of the native sensor is no longer 1.33, and are sure to be popular not just on massive cinema epics but also music videos and commercials looking for a more diverse look. On top of that, Panavision rolled out new Primo-X sealed element lenses with no rings and an LCD screen, and more at a huge Cinegear for the Woodland Hills-based firm. See it all in the video above.
Match colors from a photograph to your set light—no gels required.
We've all seen a color in an image and wanted to recreate it. To take ourselves back to a magic moment in history, to capture a perfect sunset and bring that light to set. With the new features from the MIX line of lights from Rosco and DMG Lumière, we can do that more easily than ever before, by taking a photo or loading one in our phone, picking the color, and then bang, it should be recreated by the light.
Of course, factors like original camera, recording camera, and subject all play into it, but even if it can't perfectly match your original subject, there will be countless times this is useful on a set. An advertising creative director could dial in a specific lighting scheme for a campaign and roll it out through a variety of commercial spots. A DP and a Gaffer can share color schemes. This kind of technology will make life easier on set, as will the myMIX App, which not only allows you to control your MIX LED fixtures from your mobile device, but also to share your color mixes with anyone else who has the app.
While Zeiss has long had a full frame cinema option with the Compact Primes, the new Supreme Primes aim for the top of the market.
Zeiss has chosen Cinegear 2018 to roll out the new Supreme Primes, the lensmaker's answer to the burgeoning world of full frame cinema production. While Zeiss has long had cinema lenses that could cover full frame sensors, the Compact Primes, those lenses don't necessarily offer the features that top end DPs are looking for as full frame takes over the top of the market.
To address that need, Zeiss has brought its century of experience into the creation of the new Supreme Primes. Despite covering a larger area, these lenses are impressively quite a bit lighter than the Master Primes and feel very comfortable in your hand. With a package price of more than $100,000, these will be rental items for most of us, but as more camera bodies roll out larger sensors it's exciting to have more lens choices, especially from a maker with such a storied history in the cinema space.
Check out all the Zeiss lenses at Adorama.
With enough punch to add to the fill level of an entire room, the AR-600 will be an affordable night exterior powerhouse.
Trade shows are crazy intense places, with lights flashing, strobing, and otherwise distracting you from paying attention to what is front of you. However, at the YeGrin booth at Cinegear 2018, we saw an amazing demonstration of just how powerful the new AR-600 light is as Irfan Merchant pointed it up towards the ceiling, easily 25 feet away. The unit bounced light off that high ceiling and created what Conrad Hall would have called "room tone," a base light level across the entire room that filled in all the shadows. As Merchant panned the light on and off, we were amazed at the noticeable difference in the room from this 600W unit, hitting the ceiling. We were so excited about it that we already wrote up our initial impressions, but now you can see for yourself in the video above.
With their ease of programming and built-in batteries, Digital Sputnik Voyager units make painting with light easier than ever.
The gang from Digital Sputnik actually started in post-production, but after working with some of the biggest names in the business, they realized the revolution that was happening with on set LED lighting. After building prototypes for Cave of Forgotten Dreams in 2010, the stereographic documentary by visionary Werner Herzog, they were off to the races, creating lighting that would end up used on some of the biggest movies of the last decade.
With the Voyager line of lights, Digital Sputnik has created units that are highly programmable, easy to use, and affordable for the indie filmmaker to create lighting effects that would have been either impossible or exceptionally difficult before. With built-in batteries, iOs app control, and a massive color spectrum, the Voyager lights are a great way to add animation and motion to your lighting.
For more check out the Digital Sputnik website.
The affordable Full Frame Cine Prime competition heats up with the new NiSi Primes.
We finally got a chance to get hands on with the new NiSi Cine primes at Cinegear 2018 this year. They are based on the mechanical designs by Bokkelux, a company we were excited about last year at NAB 2017 but who disappeared. Well, it turns out that NiSi bought the optical designs, brought their extensive experience with lens coatings from years as a filter maker to the mix, and are now releasing their own set of full frame covering primes for around $3000 each.
For more or to pre-order head over to the NiSi site.
Kinefinity has been on fire with news this year, and now the Mavo LF is out and shooting in the field at Cinegear 2018.
While we were able to see the demo unit of the Kinefinity Mavo LF at NAB this year, it wasn't until Cinegear that we were able to see the unit fired up and ready for action. While the price point hasn't yet been announced, if the original Kinefinity price is any indication, it will come in at a significant discount when compared to the C700FF, Sony VENICE, RED Monstro and other competitors in the big sensor cinema space.
If you don't remember our original announcement, the Mavo LF will feature the traditional 36x24mm sensor side, rather than a wider sensor like we see in the Monstro. It will also have a native ISO of 1600 and an interchangeable lens mount. While Kinefinity has been slow to take off in the North American market, there is clearly a big push coming from the company, and between the announcements in March and a working demo in June, the company is working quickly to capitalize on the publicity.
RGB Control for LED lighting keeps showing up in more places, with the latest being within the hair & makeup trailer.
It's a situation we've all been through, working on a beauty spot with elaborate, colorful lighting. And then....wait a minute....the talent comes to set and the makeup looks "off" while under the saturated lighting. Traditionally, most makeup mirrors are fluorescent light units, which, while cost effective and power efficient, aren't always color accurate. This can lead the makeup team making choices that aren't a good match for the actual lighting of the final scene.
Hive Lighting, known for its popular Wasp LED and Hornet Plasma lights, have come up with an innovative solution: full RGB controllable makeup mirror lighting. By integrating their highly customizable light control into the mirror unit, cinematographers and makeup artists can collaborate more effectively to create dynamic, stylized looks faster than ever. Once the makeup department approves the look in the mirror, last looks on a set with matched lighting will go faster making, essentially providing a more pleasant workflow.
We all know we shouldn't drop our batteries, but when we do, Gen Energy has you covered.
We know, we know: we shouldn't drop our batteries, but we do. It's the item on set that "flies" the most, being run from the charging station to the camera at the very last minute, getting knocked off a light or a camera by an errant stand, or just by it slipping out of your hand.
Gen Energy wants to make our batteries last longer by not only building in shock protection to the case, but also in using a single circuit board (instead of wiring) to create a more durable connection between cells. This makes for a longer-lasting battery whether you're dropping them or not.
Sometimes even the best cared for gear gets so shaken aboard a truck that poorly soldered connections can come loose. This will not happen with a board.
Available starting at $349 from Adorama.
No Film School's complete coverage of CineGear 2018 can be found here.
The Robert De Niro and Jane Rosenthal-founded New York festival arrives in style.
If it's springtime in New York City, it can only mean one thing: allergy season! But if it means two things, then we're pretty sure it's the Tribeca Film Festival. Now in its 17th year, the downtown-based festival has only grown in scope, incorporating film, television, VR, AR, free film-and-techmaker talks, and a whole lot more.
Running April 18th thru April 29th, the festival is a fully immersive experience, and the No Film School team is excited to cover it! We'll have ongoing coverage over the next two weeks, but to get things started, check out our most anticipated films and events for this year's fest.