Definition May 2019 - Sampler by Bright Publishing

5-PAGE AERIAL SPECIAL

NEW GEAR, TRENDS AND TECHNIQUES P52

May 2019

£4.99

DUTY CALLS

Shoot story analysis on Line of Duty series five

CAREER BUILDING

Why you need to know about virtual production

Posting Our Planet ALSO KIT REVIEWS | TECH AWARDS SHORTLIST | NAB SHOW GEAR REVIEW INSIDE WILD ROSE | SOFTWARE CAMERA TRACKING | CHERNOBYL’S AESTHETIC

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W E LC O M E

BRIGHT PUBLISHING LTD, BRIGHT HOUSE, 82 HIGH STREET, SAWSTON, CAMBRIDGESHIRE CB22 3HJ UK EDITORIAL Editor Julian Mitchell 01223 492246 julianmitchell@bright-publishing.com Staff writer Chelsea Fearnley Contributor Phil Rhodes Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editor Felicity Evans Junior sub editor Elisha Young ADVERTISING Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Sales manager Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Key accounts Nicki Mills 01223 499457 nickimills@bright-publishing.com DESIGN Design director Andy Jennings Designer Lucy Woolcomb, Emily Lancaster, Laura Bryant Senior designer & production manager Flo Thomas Ad production Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck SOCIAL MEDIA Facebook @definitionmagazine Twitter @definitionmags Instagram @definitionmags

Candace Nelson and Zilong Liu capture a CG character performance using Genesis virtual production platform

WELCOME

’m back from the culture vacuum that is the NAB Show, but this time with a warning: whatever your traditional production skill – whether it’s operating a camera, lighting a scene, even moving cameras – the virtual world wants to model what you do and then repeat it, without you being there. Through the rise of game engines and the demand from broadcasters for more real-time virtualisation, post-production companies like MPC are creating massive databases that record everything used on a production. This includes data from cameras, grip equipment and even, increasingly, lighting. The endgame aim is to have that data in a sterile boardroom so, for instance, producers can re-lens, relight and recreate the production that you worked on. But don’t be afraid: this is progress, and the post-production giants want you on board. You just need educating! The good news is that your friendly neighbourhood editor has your corner, and we cover the growth of virtual production (and what it means for your future) in this issue. What you shouldn’t do is deny its existence. It’s happening, whether you like it or not.

MEDIA PARTNERS & SUPPORTERS OF

JULIAN MITCHELL EDITOR

Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press.

M AY 20 1 9 | D E F I N I T I O N

ARTEMIS FOWL

Disney is hoping for a new movie franchise through the adaptations of Irish author, Eoin Colfer’s books. In total, there are eight books following the adventures of criminal mastermind Artemis Fowl. In the first film, Artemis, a 12-year-old boy with a liking for fairy gold, kidnaps the fairy LEPrecon officer, Holly Short... you get the idea. For director Sir Kenneth Branagh, it’s back to film after directing and starring in All is True, a tale about Shakespeare’s retirement. It’s also fully Panavision with Panavision Panaflex Millennium XL, Panavision Primo Anamorphic, C and G Series lenses. It’s also DOP’s Haris Zambarloukos (pictured) first film since Murder on the Orient Express.

D E F I N I T I O N | M AY 20 1 9

M AY 20 1 9 | D E F I N I T I O N

S E T- U P | R E V I E W

SHOW REVIEW

The visitor numbers might be down at this huge broadcast show, but the organisers have been quick to react – and we still had a great show W O R D S J U L I A N M I TC H E L L

or those of us involved with the NAB Show every year (over 100,000 of us), it came as no surprise that, next year, the exhibition part of the show is sliding back a day to start on Sunday. The show organisers want the weekend warriors to catch their day at the show – probably meaning the gigantic tech crowd from LA who have to go back and join their car parade queues for work on Monday. This way, they also get Saturday night in Sin City. But why has the juggernaut tech show changed things this way? I would chance a guess. If you’ve ever visited the acquisition halls on Thursday you already know: it’s very quiet, and all you can hear is the tapping of exhibitor’s feet as they wait for customers. To give this decision some credence, if you

IMAGES News from Arri, Blackmagic and Canon

D E F I N I T I O N | M AY 20 1 9

visited the halls on Wednesday of this year’s exhibition, you could also see the crowd thinning out. It was also pretty cold that day, so you can’t blame the sun for keep them away. So why are the crowds down? Your guess is as good as mine, but we’re not alone and not far from the truth when we blame the internet for almost everything. On a positive note, we can see that, this year, Cine Gear Expo has a bumper turnout of exhibitors and, after the slight scare of having to move the show, we’re looking forward to being back in the village atmosphere of the Paramount backlot.

THE SHOW With such a huge exhibition to cover, Definition chose to keep mainly to the

R E V I E W | S E T- U P

Two days later, there was no camera, as it had an appointment in Korea

Central Hall with a few excursions elsewhere – mostly the cavernous South Halls. One of our first visits was to ARRI, where we wanted to spot the very new Alexa Mini LF. Arri’s large format version of its hugely successful S35 Mini was dropped (in a news way) only a couple of weeks before the show. As you can imagine, getting close to the camera after such a short introduction was difficult so apologies for our snap (far left). As it turns out, the crowds getting close to the camera must have known something: two days later, there was no camera, as it had an appointment in Korea and had left the building. BLACKMAGIC DESIGN had its usual pre-show press conference and, again, as usual there was lots to talk about. First was Resolve 16. The headline news was the introduction of a new cut page. CEO Grant Petty, who presents these conferences to camera for the global streaming market, described the discovery that editing in Resolve had become slightly ‘button heavy’ – as in, there was too much to go through to get a basic edit done. He introduced a new cut page to streamline this and mentioned that basic editing in Resolve 16 was more like a linear experience now. There were many more new Resolve features, but check the Blackmagic website for these. What is very exciting is Blackmagic’s first own edit keyboard; a must for all Resolve editors.

Also new on the stand was a new battery accessory for the Pocket Cinema Camera 4K; if this had been a room full of this camera’s owners, there would have been a few shouted ‘come on’s and ‘you got it’. This camera, although brilliant, is known for less than great battery management. There was also something new on the CANON stand – and something beautiful at that; the new large format Sumire lenses. There are seven new lenses, which have the same focal lengths as the existing CN-E range: 14, 20, 24, 35, 50, 85, 135 (with the same apertures values as well). Wide open, these lenses are superb for skin tones. The lenses were described as having a ‘gentle softness’, but they are still very sharp. The fall-off from focus to out of focus is lovely, and the bokeh is described as like a ‘cat’s eye’, meaning oval-shaped, basically. According to Canon, the lenses have character and personality, encroaching slightly on Cooke’s usual go-to label. The design, then, is not to go for total sharpness and resolution, but to add ‘personality’. All I can say is that they looked magical, and I urge you to try one out. Most of the lenses are 1.3 and the rest are 1.5s, but the 135 is a 2.2. Each of the lenses cost the same: USD$7410. The first ones out are the core set of the 24, 50 and 85 – and they’ll be around from August this year. Light manufacturer, the newly named CREAMSOURCE, had a new light,

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D O C U M E N TA RY | O U R P L A N E T

POSTING OUR PLANET For the first time, a major natural history series has been streamed; but what were the requirements to make it look better than traditional broadcast? W O R D S J U L I A N M I TC H E L L / P I C T U R E S N E T F L I X

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O U R P L A N E T | D O C U M E N TA RY

M AY 20 1 9 | D E F I N I T I O N

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W I L D R OS E | D R A M A

BORN TO BE WILD We speak to director Tom Harper and colourist Simone Grattarola about the making of Wild Rose, a new country music drama starring Jessie Buckley and Julie Walters W O R D S J U L I A N M I TC H E L L / P I C T U R E S B F I F I L M F U N D

f the 2019 Oscars offer evidence of a rising trend, it’s one involving features with musical motifs. They’re no longer simply just blockbusters aimed at entertainment: they now have the capacity to regularly break records, too. Winner of four Academy Awards, Bohemian Rhapsody has made history as the highest-grossing music biopic ever made, while A Star is Born features a soundtrack that rose to number one on the Billboard 200 – and won Lady Gaga her first Academy Award statuette. Then there’s Wild Rose – a new indie feature that promises to capitalise on the ever-growing hunger for music-inspired drama, while simultaneously delivering several completely unexpected twists to the

traditional rising-star narrative audiences might have come to expect. Directed by Tom Harper and graded by Time Based Arts’ Simone Grattarola, with cinematography by George Steel, the film tells the story of Rose-Lynn Harlan, a brazen talent from Glasgow whose dream is to go to Nashville to become a country music star. Her personal problems, however, have the potential to get in the way. The film begins right after Rose-Lynn’s release from prison, where she’s served a year-long sentence on drug offences. Definition spoke to Harper and Grattarola – who graded the feature in Blackmagic Design’s DaVinci Resolve – about how they ensured an unsympathetic heroine was nonetheless also relatable.

IMAGES The wild rose herself, Jessie Buckley (top), and DOP George Steel setting up a shot (above)

DEFINITION: How did you first become involved in Wild Rose? TOM HARPER: I initially heard about it ten years ago, when the film’s scriptwriter, Nicole Taylor, began working on it. It wasn’t until about a year before we started shooting, though, that I read the script after going for a cup of tea with producer Faye Ward. She was just starting to get the project off the ground, and as soon as I read the script, I fell in love with it. I knew I had to get Jessie Buckley on board. We worked together on BBC’s War & Peace and, as both a singer and an actress, I knew the lead role was perfect for her immediately.

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AIR FORCE

F E AT U R E | A E R I A L S P E C I A L

OUR ANNUAL COVERAGE OF THE ART OF AERIAL CINEMATOGRAPHY SEES MORE R&D AND GREATER DEMANDS ON WHAT AERIAL CAN ACHIEVE

W O R D S J U L I A N M I TC H E L L / P I C T U R E S VA R I O U S

ut of all the news we gathered at the start of the year, the fact that an aerial company had built their own drone was one we didn’t see coming. The DJI takeover was seen to be insurmountable and the heavy lift world was also seemingly set. Helicopter Film Services, however, has kept at the top of the business by pushing the barriers and investing in its own engineering offering, and both of these are at the root of its pursuit of its own drone platform.

Jeremy Braben explains the route to market for the Titan drone. “We built it to satisfy the demands we were getting to fly certain camera packages, primarily the Alexa 65. At the same time, we were asked to fly film cameras.” The film angle makes perfect sense with the recent uptake on the use of the medium which we covered in last month’s issue (Rise of the super labs, April 2019). “That is a big heavy lump to lift, with a 400-foot load of film, an Arri 435 body or a Panaflex body which we have to carry.

ABOVE The new Titan drone from Helicopter Film Services

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A E R I A L S P E C I A L | F E AT U R E

M AY 20 1 9 | D E F I N I T I O N

F E AT U R E | V I R T UA L P R O D U C T I O N

VIRTUAL TAKEOVER VIRTUAL PRODUCTION WANTS TO USE YOUR CINEMATOGRAPHY SKILLS IN ITS VIRTUAL WORLD. BUT HOW DO YOU GET INVOLVED IN ITS INEVITABLE SUCCESS? W O R D S J U L I A N M I TC H E L L

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V I R T UA L P R O D U C T I O N | F E AT U R E

irtual assets are part of the fabric of filmmaking, and have been for a while. However, improvements to the time it takes to create those assets has grown virtual production into a real step change in production, which now encompasses using traditional filmmaking tools and, increasingly, their specific terms. Head of Moving Picture Company LA (MPC), Kerry Shea, explains what she means by the term: “Virtual production right now is such a generalised, catch-all term, but what it truly entails is film and television production that allows creatives to interact directly with CGI content in real time. It’s not one single process or product; it’s several different methodologies and several different tools where you can work in a very small or large scope.”

VIRTUAL PRODUCTION ORIGINS In fact, virtual production has been with us since the early nineties. Of course, back then, we weren’t talking real time, but filmmakers started integrating motion capture into their workflow in order to work with virtual characters. “We wanted to see more and more unique characters; to allow actors to perform those characters and have their performance directly translated. It was those directors who wanted to do animation, but didn’t come from an animation background who pursued this new type of production,” explains Shea.

Those directors wanted to direct actors, but also wanted to use what they were familiar with. That is, they wanted to use familiar camera outputs. “Virtual production back then just meant you wanted to see the performance as a CGI asset – now you can see them live on the set,” says Shea. “Originally when you were doing motion capture, you could just see a skeleton walking around and then you could see a better version of the skeleton, but you had to use a lot of imagination. Now, with the addition of game engines, everything is instantaneous. A director can look on set and see an actor and somebody in a motioncapture suit, then look into their monitor and, suddenly, they aren’t looking at an actor in a suit – they’re seeing an actor and a CGI character interacting with each other.

We’re trying to go back to traditional film production almost, not looking to replace it

ABOVE Traditional filmmaking tools and techniques are being modelled into game engines

This immediate visualisation is a game changer for both the director and the performer – as well as everyone else on set. “For cinematographers, what has changed is that we are using traditional camera outputs like master wheels, pan and tilt heads - even the aesthetic of a handheld camera,” she explains. “We have those camera outputs, so we can walk around with the hardware, and yet what they see in the monitor is the CGI content. It’s not film, it’s not video; it’s the CGI content moving around.” As a result of game engines, it is now possible to affect lighting and feature different lenses, which is perfect for cinematographers, according to Shea. “They can then plan out the entire shoot and have control – or more control – over the camerawork, as opposed to the VFX companies simulating that in the back end. Now, instead, what you’re shooting is what you’re going to get in VFX,” she says.

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U S E R R E V I E W | L I T E PA N E L S

LITEPANEL GEMINI 1 X 1 SOFT PANEL PRICE £2340/$3067

Litepanels has introduced its smaller version of the 2 x 1 Gemini LED light, but half the size doesn’t mean only half the features W O R D S P H I L R H O D E S / P I C T U R E S L I T E PA N E L S

itepanels was among one of the first manufacturers to offer LED lighting. Since then, solid-state light has evolved from fixed colour through to variable colour temperature, and now full colour mixing – something offered by Litepanels in its Gemini range. An evolution of the 2 x 1 Gemini is the latest addition: a 1 x 1 soft panel that’s around half the size, but, at 200W, a little more than half the power of its predecessor. The design of the Gemini 1 x 1 separates the LED array and

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control panel, maximising space for heatsinking between the two. LED lighting design is equal parts colour control and heat management, and problems with cooling can provoke more fan noise or even colour problems and reduced lifespan. The Gemini is fan cooled – as any light of its power and size would need to be – but that generous heat sink allows noise to be kept very low. It’s hard to tell if the fan is running at full power, but under test (in the UK in early April) it was barely audible at a couple of feet, even in an otherwise silent room.

ABOVE The new 1 x 1 soft light has four modes: CCT mode for daylight and tungsten with fine tuning; HSI mode to create colour in the 360° colour wheel; Gel mode to dial up gels, and Effects mode for creative lighting effects

FORM FACTOR A mains power supply, with captive output cable, is bolted into the yoke. This keeps everything together, but does mean that anyone walking around with a battery-powered light will generally be carrying the (unused) mains power supply around, too. This is a choice; separate everything and it’s flexible, but takes longer to set up and wrap, because there are more individual parts involved. At a bit less than five and a half kilos, the Gemini 1 x 1 is not noticeably heavier than most of its competitors, and lighter than many,

L I T E PA N E L S | U S E R R E V I E W

ABOVE At a bit less than five and a half kilos, the 1 x 1 Gemini is not noticeably heavier than its competitors

even with the power supply, so it really isn’t a problem. Connectors for comms and control are on the top. Litepanels’ control system for the Gemini range offers CCT mode, which produces tuneable white light, plus several adjustable colour modes and a selection of effects such as firelight, vehicle strobes and lightning. The controls are continuously rotating encoders with some programmed acceleration, so that one click means a 1% or 10% adjustment, depending on how fast the control is turned. In CCT mode, colour temperature (in 10K steps) and green-magenta bias are adjustable. As with almost all LEDs, the last few percentage points of intensity show visible steps, at least from the on-board controls. DMX was not tested. Light quality and accuracy was characterised by measuring a total of 63 data points. Seven colour temperature settings between 2700K and 10000K were each metered for colour temperature, TLCI and output

at one metre, each at 5%, 50% and 100% intensity.

QUALITY OF LIGHT White quality is excellent, with no TLCI measurement below a 92 encountered at minimum colour temperature and maximum output. TLCI generally increases with higher colour temperature, while the Gemini is slightly more powerful at medium colour temperature, with a peak of around 5700lx at 4200K. This is common for colour-mixing lights that blend various LEDs to achieve variable colour temperature; in the middle of the range, more of the LEDs will be active. These good numbers are maintained in HSI or RGBW modes; wind the saturation down to zero, and the white quality remains as good as in CCT mode. Colour temperature accuracy is best at the lower end of the range. At 2700K selected, output measured 2828K – an error of about 19 mireds and roughly equivalent to a barely-visible one-eighth CT

“COLOUR TEMPERATURE ACCURACY IS BEST AT THE LOWER END OF THE RANGE”

RIGHT In the CCT mode, colour temperature is in 10K steps

M AY 20 1 9 | D E F I N I T I O N

DEFINITION’S 4K CAMERA LIST

BASED ON:

RED MONSTRO 8K DRAMA Discover how the look of Wild Rose, a new country music drama, was created The Red Weapon with Helium sensor was the preferred choice to create the atmosphere of Wild Rose, as the colourist, Simone Grattarola, explains: “Ultimately, we knew we definitely didn’t want Glasgow to have a glossy, modern look – full of big rooms and brightly saturated. We wanted the scenes shot there to look a bit grittier and noisier, with grain added.” Director, Tom Harper, adds: “We shot in a way where we were always on our feet, ready to light on the fly if Jessie [the lead actor] decided to take the action somewhere else. We wanted to give the actors space to do their best work, and have that blur between where the film stopped and reality started. George Steel (the DOP) knew that if the action went somewhere else, he was free to follow it. The sound team knew that, too – sometimes they had to just pick up their boom and run.”

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SPECIFICATION SENSOR – FORMAT AND SIZE

Monstro 8192×4320, 35.4 megapixels, 40.96x21.60mm CMOS

FRAME RATES

60fps at 8K full format (8192×4320), 75fps at 8K 2.4:1 (8192×3456). 120fps at 4K full format (4096×2160), 150fps at 4K 2.4:1 (4096×1728), 300fps at 2K 2.4:1 (2048×864)

LENS MOUNT

EF, F, PL, Leica M

RECORDING OPTIONS

Redcode Raw; ProRes 4444 XQ, 422 HQ; DNxHR HQX

EXPOSURE LATITUDE

17+ stops

DRAMA KITS

RECOMMENDED KIT The kit recommended to accompany the Red Monstro 8K from the experts at CVP CFORCE MINI RF

Based on the widely accepted Cforce Mini lens motor, it includes the latest iteration of Arri’s white-coded radio module, with improved interference resistance and six additional radio channels.

LEE PROGLASS IRND

Manufactured from 2mmthick optically flat glass, the ProGlass IRND range of filters are remarkably neutral, with virtually no colour shift and extremely accurate stop values.

LMB 4X5

I N A S S O C I AT I O N W I T H

The LMB 4x5 set fulfils all needs with the most modular matte box – from single-stage, to three-stage, to bottom and top lightweight-mounted, to the full-blown version with swing-away tilt module.

ESSENTIAL KIT

Discover key components from the CVP camera kit, including monitoring and mounting options DSMC2 PRODUCTION MODULE

Designed for professional shooting configurations, the DSMC2 Production Module offers a comprehensive array of video, power, communication and pro audio connections.

ULTRA-BRITE 7IN TOUCH MONITOR The DSMC2 Touch 7.0-inch Ultra-Brite LCD offers a 1920×1200 resolution display panel with 2200 nits of brightness for a high-definition viewing experience, even in bright outdoor environments.

BUILD YOUR PERFECT KIT AT CVP NEWMAN STREET

ARRI PRO CINE SET DSMC2

CVP’s flagship showroom is home to a full spectrum of production equipment ready to see, combine and evaluate. Visitors are supported by creative and technical staff who are committed to finding the right solution for every production need. To arrange a visit to the Newman Street showroom in London, call 020 8380 7400 or visit cvp.com.

The Arri Pro Cine Set for DSMC2 cameras includes a cine plate, top plate, top handle, monitor bracket and bridge plate set.

DSMC2 RED EVF

Featuring the latest OLED technology, DSMC2 EVF provides an unmatched personal viewing experience with a high-contrast 1080p OLED micro-display and improved colour accuracy with 30-bit RGB colour representation.

SEE MORE ON THIS MONTH’S KIT:

cvp.com/definitionkit

M AY 20 1 9 | D E F I N I T I O N

4 K C A M E R A LI S T I N G S

ARRI ALEXA LF

ARRI ALEXA MINI

ARRI ALEXA MINI LF

ARRI ALEXA SXT W

SPECIFICATION SENSOR – FORMAT AND SIZE

Full-frame CMOS, 36.70x25.54mm – 4448x3096, ø 44.71mm

Super35 CMOS, 28.25x18.17mm – 3840x2160, ø 33.59mm

Large format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern colour filter array

Super35 CMOS, 28.25x18.17mm – 3840x2160, ø 33.59mm

FRAME RATES

ARRIRAW: 0.75-150fps ProRes: 0.75-100fps

ARRIRAW: 0.75-30fps, ProRes 0.75-200fps

LF Open Gate ProRes 4.5K: 0.75 – 40 fps; LF Open Gate ARRIRAW 4.5K: 0.75-40fps; LF 16:9 ProRes HD: 0.75-90fps LF 16:9 ProRes 2K: 0.75-90fps

ARRIRAW and ProRes: 0.75-120fps

LENS MOUNT

LPL, PL

LPL, PL, EF, Leitz M, B4 w/Hirose connector

LPL lens mount with LBUS connector PL-to-LPL adapter Leitz M mount (availbale from Leitz)

LPL, PL

RECORDING OPTIONS

4448x3096 ARRIRAW and ProRes 4.5K open gate and 2.39:1, 3840x2160 ARRIRAW and ProRes 16:9

3840x2160 ProRes4K, 3424x2202 ARRIRAW, 2880x2160 ARRIRAW and ProRes,1920x1080 ProRes HD and Anamorphic

MXF/ARRIRAW MXF/Apple ProRes 4444 XQ MXF/Apple ProRes 4444 MXF/Apple ProRes 422 (HQ)

3424x2202 ARRIRAW and ProRes, 3414x2198 ProRes, 2880x2160 ARRIRAW and ProRes, 2560x2146 ProRes and Anamorphic

EXPOSURE LATITUDE

14+ stops from EI 160-3200

14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)

14+ stops from EI 160-3200

BLACKMAGIC DESIGN URSA

BLACKMAGIC DESIGN URSA MINI PRO G2

CANON EOS C200

CANON EOS C300 MARK II

SPECIFICATION

SENSOR – FORMAT AND SIZE

25.34x14.25mm – 4.6K 22x11.88mm – 4K

Super35 CMOS 25.34x14.25mm, 4608x2592

Super 35mm CMOS, 4096x2160

Super 35mm CMOS, 4096x2160s

FRAME RATES

23.98, 24, 25, 29.97, 30, 50, 59.94 and 60fps supported

Blackmagic Raw 4.6K to 120fps, UHD windowed 150fps, HD windowed 300fps, ProRes 4.6K to 80fps, UHD windowed 120fps, HD windowed 240fp.

4K 24/25/30/50p. HD 120fps

4K 30/29.97/25/24/23.98fp, 2K 60/59.94/50/30/29.97/25/24/ 23.98fps

LENS MOUNT

N/A

EF, PL, B4, F

EF (PL optional upgrade)

RECORDING OPTIONS

CinemaDNG Raw 3:1 – 180MB/s CinemaDNG Raw 4:1 – 135MB/s

4608x2592, 4608x1920 (4.6K 2.40:1), 4096x2304 (4K 16:9), 4096x2160 (4K DCI), 3840x2160 (Ultra HD), 3072x2560 Anamorphic

4096x2160, 3840x2160, 2048x1080, 1920x1080, Cinema Raw Light, XF-AVC, MP4

4096x2160, 3840x2160, 2048x1080, 1920x1080, XF-AVC

EXPOSURE LATITUDE

N/A

15 stops

D E F I N I T I O N | M AY 20 1 9

I N A S S O C I AT I O N W I T H

ARRI ALEXA 65

ARRI AMIRA

BLACKMAGIC DESIGN URSA BROADCAST

BLACKMAGIC DESIGN MICRO STUDIO

BLACKMAGIC DESIGN POCKET CINEMA 4K

ARRI A3X CMOS sensor, 54.12x25.58mm, 6560x3100

Super35 CMOS, 28.25x18.17mm – 3840x2160, ø 33.59mm

2/3 inch sensor when using 4K B4 mount 13.056x7.344mm

Single CMOS, 13.056mmx7.344mm

Four Thirds CMOS, 18.96x10mm, 4096x2160

ARRIRAW: 20-60fps

ARRIRAW: 0.75-48fps, ProRes 0.75-200fps

23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps. Off-speed frame rates up to 60p

HD 1080p23.98, 24, 25, 29.97, 30, 50, 59.94, 60 Ultra HD 2160p23.98, 24, 25, 29.97, 30

4K 23.98, 24, 25, 29.97, 30, 50, 59.94, 60fps, windowed HD 120fps

XPL

LPL, PL, EF, Leitz M, B4 w/Hirose connector

B4 2/3in

Active MFT

6560x3100, 5120x2880, 4320x3096, 4448x3096 and: 3840x2160 ARRIRAW

3840x2160, 3200x1800, 2048x1152, 1920x1080 ProRes, 2880x1620 ARRIRAW

3840x2160, 1920x1080, CinemaDNG Raw, ProRes 4444, DNxHQ

3840x2160, 1920x1080, 1280x720,

4096x2160, 3840x2160, 1920x1080, 10-bit ProRes 422 and 12-bit Blackmagic Raw

14+ stops from EI 160-3200

12+ stops

11 stops

13 stop

CANON EOS C700

JVC GY-HM170/180

CANON EOS C700 FF

JVC GY-HM500/550

JVC GY-HM250E

Super 35mm CMOS, 4622x2496

Full frame CMOS, 38.1mmx20.1mm, 5952x2532

Single 1/2.3in CMOS sensor, 12.4 megapixels

Single 1in 4K CMOS sensor

4K Raw 60/59.94/50/30/29.97/ 25/24/23.98fps, up to 120fps with external recorder, 2K cropped to 240fps

5.9K Raw 60/59.94/50/30/29.97/ 25/24/23.98fps, 2K cropped to 168fps with external recorder,

3840x2160/30p, 120fps HD

3840x2160/50-60p

EF, (PL and B4 mount adapter options)

Canon EF Mount with Cinema Lock/PL Mount (Cooke/i Technology compatible)

Fixed lens

4096x2160, 3840x2160, 2048x1080, 1920x1080, Canon Raw, XF-AVC, ProRes

4096x2160, 3840x2160, 2048x1080, 1920x1080, XF-AVC, ProRes, 5952x3140, 5952x2532, 4096x2160, 3840x2160 2048x1080 Canon Raw to recorder

4:2:2 50Mbps 4K Ultra HD recording HM180 has live streaming and full screen graphic overlay

4:2:2 50Mbps 4K Ultra HD recording live streaming and full screen graphic overlay

4K UHD 50/60p Apple ProRes 422 10-bit

15 stops

N/A

M AY 20 1 9 | D E F I N I T I O N