British Cinematographer 044
British Cinematographer Magazine: Covering International Cinematography – Europe’s No.1 cinematography magazine, with a growing worldwide audience – reflects the dynamism of the times. Encompassing the beauty of tradition, as well as the shock of the new, we focus on the art and craft of cinematographers, and the technologies they use during production and post production. This flagship title is endorsed and read by the membership of the British Society of Cinematographers, the Guild of British Camera Technicians, and IMAGO, the Federation of European Cinematographic Societies. It is avidly read, and supported, by individuals working at the grass roots of production through to multi-national blue-chip organizations. For those who really want to know about the world of cinematography today and those who want to influence the world of cinematography, British Cinematographer is the essential resource.
British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk March 2011 ��� �7 � 058 � 057 � 056 � 055 � 054 � 053 � 052 � 051 � 050 � 049 � 048 � 047 � 046 � 045 � 044 � 043 British 044 Cinematographer Covering International Cinematography � 042 � 041 � 040 � 039 � 038 � 037 � 036 � 035 � 034 � 033 � 032 � 031 � 030 WEEK YN MY RIL H MA WIT DP BEN SMITHARD TALKS ABOUT HIS INSPIRATIONS ON SHOOTING SIMON CURTIS'S FEATURE-FILM DEBUT 16mm vs HD ��� THE 83rd ACADEMY AWARDS ��� WHO'S SHOOTING WHAT? ANTHONY DOD MANTLE DFF BSC ON 127 HOURS, THE EAGLE & DREDD 3D JEFF CRONENWETH ASC ON THE SOCIAL NETWORK ��� ED WILD ON CHALET GIRL TIM CRAGG ON FLYING MONSTERS 3D ��� BSC, IMAGO, GBCT & PRODUCTION NEWS CARLOS CATALAN ��� STEVEN POSTER ASC ��� CHRISTOPHER CHALLIS British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 02 Section ���Person's Name BSC Project Line1 Line2 Project British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 03 Contributers. Ron Prince ��� has many years experience working in the film, TV, CGI and visual effects industries. He is the editor of British Cinematographer magazine and runs the international marketing and communications company Prince PR (www.princepr.com). Bob Fisher ��� has authored 3,000 magazine articles about cinematographers and filmmakers during the past 35 plus years. He has also moderated many panel discussions for both the American Society of Cinematographers and the International Cinematographers Guild. Carolyn Giardina ��� is a freelance journalist based in the US. She previously served as the technology reporter at Hollywood Reporter, the editor of Film & Video, and as senior editor of post-production at SHOOT. Her work has also appeared in IBC Daily News, Digital Cinema, Post and Below The Line. British Cinematographer Issue 044 British Cinematographer Covering International Cinematography. Pinewood Studios Iver Heath Buckinghamshire SL0 0NH United Kingdom t/ +44 (0) 1753 650101 f/ +44 (0) 1753 650111 Publishers. ��� Alan Lowne t/ +44 (0) 1753 650101 e/ email@example.com ��� Stuart Walters t/ +44 (0) 121 608 2300 e/ stuartwalters@ britishcinematographer.co.uk Editor. ��� Ron Prince e/ firstname.lastname@example.org Sales. ��� Alan Lowne t/ +44 (0) 1753 650101 e/ email@example.com ��� Stuart Walters t/ +44 (0) 121 608 2300 e/ stuartwalters@ britishcinematographer.co.uk Design & Creative Direction. Open Box Media & Communications ��� Lee Murphy Senior Designer t/ +44 (0) 121 608 2300 e/ lee.murphy@ openboxpublishing.co.uk The Publication Advisory Committee comprises of Board members from the BSC and GBCT as well as the Publishers. British Cinematographer is part of Laws Publishing. Laws Publishing Ltd Pinewood Studios Iver Heath Buckinghamshire SL0 0NH United Kingdom. The publishers wish to emphasise that the opinions expressed in British Cinematographer are not representative of Laws Publishing Ltd but the responsibility of the individual contributors. Credits ���British Cinematographer Magazine: Issue 44 "I must not get lazy, complacent, nor go on autopilot. I have to keep reviving the child in me that asks, `How could I do this better, or how could I do this differently.'" Anthony Dod Mantle DFF BSC Contents. 25 Creative. Camera President's Perspective. John de Borman BSC on talent, luck and happy accidents... 05 07 Anthony Dod Mantle DFF BSC on 127 Hours, The Eagle and Dredd 3D. 28 Shooting Who? Who's IMAGO News. Nigel Walters BSC, with the low-down on the recent General Assmbly in Tallinn. See which DPs are shooting who and where. Production / Post & Techno News. All the latest worldwide cinematography news. 30 13 & Let DI. To Live 16 Discover who's dialling-in the DI grades and more... 32 from America. The latest Tools of the Trade. We feature the very latest new kit and services... Steven Poster ASC, ICG president, IATSE Local 600, on Moore's Law in motion pictures and our round-up from Los Angeles during Awards season. 18 On the Job. 35 Close-ups. Ben Smithard on My Week With Marilyn. 20the New Wave. Meet 21 Debate. The Great Jeff Cronenweth ASC on The Social Network, Tim Cragg on Flying Monsters 3D & Ed Wild on Chalet Girl. ���� The BSC John Allcott award sponsored by ARRI. David A Ellis ��� started out as a projectionist and then moved on to work for BBC Television in London as a film assistant. He has written numerous articles about the industry including many features about cinematographers. John Keedwell ��� the GBCT News Editor, is a documentary and commercials cameraman who has worked on many productions around the world. He crosses over in both film and tape productions and has great knowledge of the new formats and their methods of production. Kevin Hilton ��� is a freelance journalist who writes about technology and personalities in film and broadcasting, and contributes film reviews and interviews to a variety of publications in the UK and abroad. Valentina I. Valentini ��� focuses on the art and craft of cinematography, and all that includes, as a freelance writer based in Los Angeles. She has contributed to ICG Magazine, Camera Angles, HDVideoPro, and has recently been named West Coast Correspondent to IndieFilm3D.com and DigitalCinemaReport.com Carlos Catalan... makes a Spanish omlette to die for! 38 Greats. All Time 40 The adjustment bureau The legends continue... Christopher Challis. Where is 16mm now, and what does the future hold for this favourite filming format? GBCT News. The chairman's statement & all the latest new from the Guild. Congratulations to Roger Deakins BSC ASC, who picked up two prestigious awards this season - the BAFTA for his cinematography on True Grit, and the ASC's Lifetime Achievement Award. He actually won both awards on the same day, but even a man of his extraordinary visual talents could not be in two places at once, and so he collected his ASC Award amongst his peers in Los Angeles. The Grand Ballroom at Hollywood & Highland was full of praise and admiration for him, along with the evening's other winners John Seale ACS ASC, Michael O'Shea ASC and photographer Douglas Kirkland. Congratulations also to Wally Pfister ASC on a remarkable double. Along with the Academy Award for Inception, which he was visibly stunned and thrilled to win, he is also scheduled to become a BSC member very soon. He joins William Fraker ASC as the second ASC member to also become part of the British society, and is a welcome addition to the ranks. Both Roger and Wally are film stalwarts, although Roger did mention that he'd shot his first digital feature during his acceptance speech. For everyone who cares about film, and its longevity as a capture medium, I`d urge you to read the last sentence of our Great Debate about 16mm vs HD. We went hunting for some good news about one of he cinematographer's favourite formats, and to paint a realistic picture about its future. With the inexorable rise of HD, DI and file-based workflows, not to mention market forces, film is going to need every champion it can get. And it isn't just 16mm that will require people to rally round with perhaps a more concerted voice than ever. That said, what Anthony Dod Mantle DFF BSC has to say about the future of cinematography and how cinematographers need to keep both themselves and the art of image making alive, makes for interesting reading in this edition. Adjusting to the times is all-important. Ron Prince British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 04 Section ���Person's Name BSC Project Line1 Line2 Project British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 05 British Society of Cinematographers Board Members. John de Borman BSC (President) Joe Dunton MBE BSC Chris Seager BSC Sean Bobitt BSC (Vice Presidents) Sue Gibson BSC Gavin Finney BSC Nic Morris BSC Haris Zambarloukos BSC Robin Vidgeon BSC John Daly BSC David Odd BSC Ashley Rowe BSC Nigel Walters BSC Derek Suter BSC Harvey Harrison BSC Phil Meheux BSC David Higgs BSC (Governors) Presidents Perspective ���John de Borman BSC BSC President Talent, luck & ac idents I would like to start by congratulating our BSC members who have been acknowledged in the various awards ceremonies this year. Danny Cohen for the wonderfully successful The King's Speech, Anthony Dod Mantle for 127 Hours and Roger Deakins for True Grit; all three had BAFTA nominations and, of course, well done to Roger for winning the BAFTA for True Grit. It's very well deserved, as are and Danny and Roger's Oscar and ASC nominations, and Roger's ASC lifetime achievement award. I can't tell you how proud we are of their achievements, and many congratulations from us all at the BSC. I was recently invited by the AFC to their Micro Salon in Paris. It was a wonderful venue, full of energy, spirit and camaraderie. It was lovely to talk to Caroline Champetier, the president of the French society, about how we could cross the channel and have joint events that would reflect and compare our different cinema traditions, styles and history. I saw last weekend a French film called Living On Love Alone by Isabelle Czajka. It was remarkable to see a film whose subject was so small and intimate. I just know that this film would have never been made in this country, and that interests me � the approach and subjects of stories in different countries, their sensibilities and traditions. I am hoping to start investigating this by having Bertrand Tavernier and his cinematographer Bruno de Keyser (who is an AFC and BSC member) host an evening together to show The Princess Of Montpensier in London soon. Being half-French, I so love cross culturalisation. Last month we started our season of BSC Indie films with Eduard Grau, a Spanish cinematographer, presenting his wonderful film Buried to a packed audience. He was so funny and charming that it was a delight to interview him. What I didn't realise at the time is that some of his success was owed to the support of Skillset's funding. Eduard attended the NFTS, a Skillset Film and Media Academy, and from there was promoted at the Edinburgh International Film Festival. That has to be a great example of money very well spent. Kodak's sponsorship, and our partnership with the Apollo theatre in The Haymarket, created a very enjoyable evening, so thank you all very much. Our next event was on the 23rd February when John Mathieson spoke about his work on Brighton Rock, remaking a classic. Our Q&A was chaired this time, as I was away working, by Haris Zambarloukos who is so youthful, articulate and such an admirer of John's work, that it made for a great evening. If you missed it, don't worry because we are filming all our Q&As, and putting them on our new website as soon as it is up and running. It has been heartening to see the solid and constant response to joining our BSC Club. We are planning many more interesting events like Coriolanus with Barry Ackroyd and hopefully Ralph Fiennes, The Eagle with Anthony Dod Mantle, and for the BSC Grand Masters Shawshank Redemption with Roger Deakins, and hope you will come along. I still want to get you all to send your behind-thescenes photos, or articles, or films that you think our members would enjoy, or be interested in for the website. I don't know about you lot out there, but one of my favourite things in this magazine is the section, Who's Shooting Who? I would love to expand on that, and get lots of photos and anecdotes. So please send them. We are trying to be completely inclusive to all our members as we are to the industry and will be introducing a TV drama award. We want any DP out there who thinks that their TV drama should be included in our TV Award selection to contact Frances Russell at the BSC. There are so many stunning and beautifullyshot TV shows these days, that it's about time the DPs are recognised by us. The speed and page count that they have to achieve in a day makes it very different to moviemaking and yet, at times, they succeed to realise just as good an end product. Bravo! Back to Roger Deakins for a moment. What a wonderful cinematographer. I am so looking forward to him coming over and speaking to us. What a treat that will be. I sometimes ponder on what makes one cinematographer so much more successful than another. First of all, of course, it has to be talent. But, also, undoubtedly there's a fair amount of luck in being in the right place at the right time, meeting the right people and being chosen. Talent, luck, coincidences and accidents, that's what I put it down to. Dustin Hoffman told me that the original casting for Midnight Cowboy was meant to have been Sammie Davies Jnr and Frank Sinatra, but due to actor availability was changed. What a happy accident for Dustin, and all of us, that was! John de Borman BSC President, British Society of Cinematographers British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 06 Section ���Person's Name BSC Project Line1 Line2 Project British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 07 UK film production spend hits �1.5 billion. Investment in UK film production reached �1.155 billion across 119 films in 2010, a new record for the British film industry, according to independent figures published by the UK Film Council. Films of different genres and budget levels including Harry Potter And The Deathly Hallows Part 2, Pirates Of The Caribbean: On Stranger Tides, War Horse, Horrid Henry, Tinker Tailor Soldier Spy and Sherlock Holmes 2 increased spend in the British film production sector by 8% on 2009's �1.071 billion. Within the overall production spend, international investment also set a new record, with �928.9 million spent in the UK on making 28 films, a 15% increase on 2009. The number of domestic UK films made last year was 72, an 11% drop on 2009. The expenditure on making those films � �174 million � registers as a 22% fall. Globally, there was a drop in feature film production investment, with 2009 down by 4% (the latest figures available). At the same time, the number of UK co-productions with other countries dropped to 19 from 26 in 2009, but, at �52 million, spend on these films is a 45% increase on 2009. Box office figures increased by 2% on 2009, breaking through the �1 billion barrier for the second year running. Toy Story 3, Harry Potter And The Deathly Hallows Part One, Alice In Wonderland and Inception topped the charts. British films proved popular with audiences, accounting for 22.6% of all ticket sales, including 5.5% from independent British films. Streetdance 3D, backed by the UK Film Council with �1 million of Lottery funding, was the most successful independent British film at the UK box office, earning in excess of �11.6 million. Tim Cagney, MD of the UK Film Council, said "These figures underline the vital contribution that film makes to Britain's cultural and economic fabric. After ten years of UK Film Council support, they highlight the importance of a strong film sector and reinforce the UK's reputation as one of the most competitive and highlyskilled places in the world to make films. "But the figures also show how difficult it is to raise finance for making independent British films and, with four of the top ten grossing UK independent films funded by the UK Film Council, the on-going value of public investment in new British films and talent." News ���Production / Post & Technology round-up Roger Deakins BSC ASC won the BAFTA cinematography Award for his work on True Grit, and picked up the ASC's prestigious Lifetime Achievement Award 2011. He was, however, denied the Oscar for for True Grit, at the 83rd Annual Academy Awards, by Wally Pfister ASC, who won the gong for Inception, directed by Christopher Nolan. During his acceptance speech, Pfister thanked the Academy for the respect it had shown to this year's nominees, and said, "Good God, what have you done? This is a phenomenal honor for me. None of what I did would have been possible without the incredible vision of my master Christopher Nolan. His work has inspired me for 12 years and continues to. He's a brilliant filmmaker, as we all know." Pfister has been invited to become a BSC member, and will join the late Bill Fraker ASC to have dual ASC/BSC membership. Deakins gets BAFTA and ASC Awards, whilst Pfister grabs the Oscar. Harry Potter gets a BAFTA. Pinewood Indomina Studios To launch. Indomina Group, a fast-growing US and Dominican Republic based producer and distributor of film, TV and transmedia content, has entered into a partnership agreement with the Pinewood Studios Group, which will see the group operate and market a new state-of-theart film and TV facility in the Dominican Republic. Located in the beach town of Juan Dolio on the Dominican Republic's southern coast, about 40 miles east of Santo Domingo, the new Pinewood Indomina Studios will offer a full-service, production facility for film, TV, and other related media content, servicing the Caribbean, southern and central American markets as well as Hollywood, and filmmakers worldwide. Facilities will initially comprise 5,000sq/m of sound stage space, along with 15,000sq/m of associated production support facilities. The 35-acre site will include an acre of water effects facilities, including a 75m x 75m exterior water tank with natural ocean horizons, blue screen capabilities and a fully-equipped diving and marine department. When completed it will be the only tank of its type and size in the region. Commencement of initial operations is expected by early 2012. The Indomina Group is an independent studio launched in 2008 by Jasbinder Singh Mann and asset manager Vicini. The company's global operations include the production and distribution of motion pictures, television, music, interactive games, and the ownership of world-class studio facilities and production services. The National Congress of the Dominican Republic passed into law a new bill that will provide a tax credit of up to 25% for feature films and TV series shot in the Dominican Republic. Pinewood Shepperton plc, VFX house Framestore, Steve Norris, former British Film Commissioner, have established a relationship to provide services and support to filmmakers from around the world on a wide range of issues relating to film production. Apollo Productions will advise on all aspects of film production in the UK, from film qualification and the UK cultural test, to co-production status and tax credits, as well as managing the production process. Warner Bros.' Harry Potter franchise won BAFTA's Balcon Award for British contribution to cinema at the Orange British Academy Film Awards. Author J.K. Rowling and producer David Heyman picked up the honour during the ceremony at London's Royal Opera House. Starting in 2001 with Harry Potter And The Sorceror's Stone, its six subsequent installments have earned more than $5.4 billion worldwide, making it the top-grossing film series of all time. Roger Deakins BSC ASC collecting his ASC Lifetime Achievement Award. Mock-ups of the new Pinewood Indomina Studios in the Dominican Republic. British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 08 Litepanels Sola 6 LED Fresnels light Super Bowl XLV . Litepanels Sola 6 Fresnel LED lighting fixtures made their debut in the main announcers booth at this year's Super Bowl XLV, broadcast on The Fox Sports Network. The Sola Fresnel series combines the advantages of LED lighting with the properties of a Fresnel lens, including light projection over long distances and precise focusing and control of the light's output. Fox Sports Network has used Litepanels 1x1 fixtures in its NFL broadcast announce booths throughout the 2010 season. A pair of Sola 6 Fresnels for the show's opening talent shot, introducing announcers Joe Buck and Troy Aikman, with the field and Cowboy Stadium crowd in the background. Buck McNeely, producer and host of US adventure TV series The Outdoorsman, chose Litepanels as his premiere lighting. Each week McNeely, along with a celebrity guest, bring important conservation issues to their national and international audience. "When you move around as much as we do, you need lighting that is up to the often rugged conditions and variety of atmospheric elements you get on location," says McNeely. "Litepanels are rugged in design, have a great light intensity and brilliance and a soft light that can function as key or fill lights outdoors or indoors." McNeely recently journeyed to the Costa Rican jungle for an episode of the series. "Litepanels worked great as fill light under the jungle canopy for a zip line adventure segment." ACS offers new heads. ACS France, specialist supplier of aerial camera systems, has become the European agent for Nettmann Systems International's the Super G/Stab C gyro stabilised heads. The Super-G provides five-axis full stabilisation, steerable roll, pan and tilt axes, and can operate at up to 120 knots. For years, an absolute level horizon has been nearly impossible to capture, as the sensor systems on the market were not suited for the dynamics of rotary aircraft. Helicopter crabbing, lateral accelerations and tight cornering confused the sensors, resulting in an unlevel horizon. Nettmann Systems has overcome this aerial dilemma with its Horizon Control Unit. This sensor package, combines special sensors, new software and GPS location tracking to offset all level horizon problems associated with the extreme dynamics of aerial cinematography. The HCU has already been used on such productions as Mission Impossible 4, Fast And Furious 5, and commercials for Heineken, Carlsberg and Mitsubishi. STAB-C provides five-axis stabilisation, is a silent system and can be fitted with an entire range of cameras from HD video to IMAX 15perf/65mm film cameras. What's shooting on Kodak?. Features opting for Kodak stocks include the South African productions of... Safe House, Moonlighting SA for Universal, dir Daniel Espinosa, DP Oliver Wood; and Strike Back, Out of Africa SA for Left Bank Pictures/Sky TV, dir Daniel Percival, DP Steve Lawes. Other features include... Sherlock Holmes 2, dir Guy Ritchie, DP Philippe Rousselot; The Iron Lady, dir Phyllida Lloyd, DP Elliott Davis; and Winds Of Change, dir Deepa Mehta, DP Giles Nuttgens. Commercials include... Arla Yoghurt (Another Film Company), DP Ben Butler; AA (Outsider), DP Mike George; Vision Express (Partizan), DP Simon Richards; Wickes (Thomas Thomas), DP Mike George; Activia (2AM), DP Jan Richter-Friis; Olay (Home Corp), DP Adrian Wilde; Clearasil (Academy), DP Ross McLennan; Bupa (Bare Films), DP Ben Smithard; Debenhams (Bare Films), DP Haris Zambarloukos BSC; Promise (Channel Four), DP Mark Patten; Tesco (Little Fish), DP Keith Goddard BSC; Fosters (Hungryman), DP Antonio Paladino; Dreams (Why Not Ltd), DP Gary Shaw; DFS (Ink Films), DP Mik Allen; Batchelors (MJZ), DP Magni Agustsson; H&M (H.S.I), DP Crille Forsberg; Gillette (The Fred Film Co), DP Steve Keith Roach; Morrisons (Park Village), DP Mark Emberton; Ariel (Production Int), DP George Steel; McDonalds (HLA), DP Martin Hill; MIU MIU (Independent), DP Steve Keith Roach; 02 (H.S.I), DP Will Bex; Revlon (Independent), DP Oliver Curtis BSC; Dove (Mad Cow), DP Adrian Wild; Olay (Home Corp) DP Adrian Wild; Morrisons (Park Village), DP Oliver Curtis BSC; and Schwarzkopf (Cherry) DP Simon Chaudoir. Television series include... New Tricks VIII, dir. Philip John, DP Sean Van Hales. Now you're guaranteed a true horizon with the new heads from ACS. Litepanels' Ben Altopp (r) and David Thrower In Fox Sports Network announce booth at Super Bowl XLV. Rodrigo Gutierrez, ACO President, wants to broaden the understanding of the vital role played by camera operators. The ACO's new board at a meeting: (l-r) Martin Hume, Peter Taylor, Peter Robertson, Lucy Bristow, Peter Cavaciuti and Chris Plevin. ARRI releases ALEXA Update. ARRI has released a software update for its ALEXA camera system. New features of the Software Update Packet (SUP) 3.0 include, in-camera playback of QuickTime clips from on-board SxS PRO cards enabling an instant image check, in-camera audio recording, a smooth mode for any frame rate up to 30 fps and any shutter angle up to 180 degrees, which eliminates shuttering in the viewfinder image, a single frame grab option, and extended sensitivity to EI 3200 for low light situations. The SUP also .0 offers an improved colour processing engine providing higher colour saturation in highlights, as well as improved skin tones under tungsten light, and a colour exposure check which changes the image to black-andwhite, and uses colour to indicate specific signal levels such as clipping, skin tones and 18% medium grey. All new ALEXAs will have SUP 3.0 installed, and all existing cameras can be upgraded to SUP 3.0. Camera Operators band together. The Association of Camera Operators (ACO) has been formed to promote the technical and creative skills of the camera operator and to emphasise the importance of the role in the filmmaking process. "Staging of action, choreography of camera moves, composition and framing, are all areas of expertise that the camera operator brings to the art of filmmaking, along with the essential organisational and communication skills when dealing with cast and crew," said ACO president Rodrigo Gutierrez. "Last year over 30 major American and British film productions shot in the UK, with a potential of over a billion dollars worth of box office business. Most productions had an average of three or four operators at anyone time, proving that camera operators are not a thing of the past. "Now, the ACO provides a way for camera operators to come together, and to work as one voice to increase the understanding of our contribution to filmmaking." The ACO's inaugural board of directors includes Gutierrez as president, vice president Chris Plevin, secretary Peter Robertson, treasurer Peter Cavaciuti, and board members David Worley, Nick Bees-Sanders, Lucy Bristow, Andre Austin, Peter Taylor, Martin Hume and Paul Edwards. THE ACO has over 50 full members. The ACO is planning a series of workshops and seminars, in the UK and Europe, designed to inform directors, producers and cinematographers about the camera operator's craft and importance in the storytelling process. British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 09 Todman rejoins Panavision. Charlie Todman has rejoined Panavision UK after a two-year stint at Take Two Films. Todman is well known by feature cinematographers and their crews, having worked for 20 years previously at Panavision. He worked for over a decade in camera and lens maintenance at the company, often attending shoots, before joining marketing director Hugh Whittaker in the marketing department. He has rejoined in a technical marketing role for features, and will work alongside Whittaker again. Panavision has lured Charlie Todman back to keep up service levels on features. Marek ydowicz is a champion for cinematographers worldwide. The King's Speech makes it an Oscar treble for Fujifilm. BVK award for Zydowicz. Plus Camerimage Film Festival director Marek Zydowicz has been honored by the German Society of Cinematographers, BVK. The award was made for his "incredible efforts to organise the most impressive international festival of the art of cinematography. We wanted to give a strong signal to the professional audience and the political decision-makers in Poland that Plus Camerimage, and its founder and director Marek Zydowicz, is the most important person to keep the cinematographers' family worldwide in touch," said Falko Ahsendorf, BVK president. Gekko restructures distribution. The success of The King's Speech at the 2011 Academy Awards completes a memorable hat-trick for Fujifilm Motion Picture UK. This is the third year running that the Fujifilm UK office has supplied a feature produced on Fujifilm Motion Picture filmstock which has been awarded best film in both the Oscars and the BAFTAs. The win for The King's Speech follows similar triumphs in 2010 for The Hurt Locker and for Slumdog Millionaire in 2009. The King's Speech shot by Danny Cohen BSC, was originated on 35mm Fujicolor ETERNA, Vivid 500T 8547, ETERNA Vivid 160T 8543 and ETERNA 250D 8563. Black Swan, shot by DP Matthew Libatique ASC, a best cinematography nominee this year, was originated on 16mm ETERNA Vivid 500T 8647 and ETERNA Vivid 160T 8643. The King's Speech records a hat-trick for Fujifilm UK. LED lighting manufacturer Gekko Technology has restructured its distribution in the UK and Northern Europe to enable the next phase in the company's growth. All resellers within the territory will be managed directly by an enlarged Gekko sales and marketing department. This role, until now, has been undertaken by Cirro Lite (Europe) Ltd, which will remain as a valued reseller. Under the new structure, repairs (including warranty issues) and sales enquiries for UK, Northern Europe, Middle East, Asia and South America should be directed to Gekko Technology, Germany and Eastern Europe to Dedo Weigert, and USA and Canada to PRG in Los Angeles. What's shooting on Fujifilm?. The following features and TV dramas selected Fuji film stocks... I, Anna, DP Ben Smithard, dir Barnaby Southcombe; Untitled Bosnian War Love Story, DP Dean Semler ACS, ASC, dir Angelina Jolie; Tinker Tailor Soldier Spy, DP Hoyte van Hoytema FSF NSC, dir Tomas Alfredson; The Best Exotic Marigold Hotel, DP Ben Davis BSC, dir John Madden; Stolen, DP Rob Hardy BSC, dir Justin Chadwick; Hot Potato, DP Ashley Rowe BSC, dir Tim Lewiston; and Resistance, DP John Pardue, dir Amit Gupta. Commercials & Promos supplied via Island Studios and Panavision include... Brittany Ferries (The Gate), DP Richard Stewart; Yell.com (Gorgeous), DP Patrick Duroux; Heineken (Sonny London), DP Mattias Montero; Rimmel (Annex), DP Robbie Ryan BSC; Nokia (Pulse Films), DP Christopher Ross; BBC Radio4 `Film Season' Ident (Red Bee Media), DP Will Bex; James Blunt Promo (Pulse Films), DP Richard Stewart; Maverick Sabre Promo (Blackdog Films), DP Justin Brown; Barclays (Outsider), DP Tom Townend; Dyson (Rogue Films), DP Simon Richards; Newcastle Brown Ale (Academy Films), DP Rob Hardy BSC; Duffy Promo (Davey Inc), DP Simon Richards; Rice Krispies (Production International), DP Denis Crossan BSC; Plan B Promo (Somesuch & Co), DP Lol Crawley; Barclays (Outsider), DP Tom Townend; Dementia (Smuggler), DP Nanu Segal; Volkeswagen, DP Rennie Rousa; Actimel (Another), DP Nanu Segal; Heston Michelin Impossible Ident (Channel 4), DP Tom Townend; and Sound Girl Promo (Between The Eyes), DP Adam Frisch. British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 10 Angenieux 3D lens packages prove popular. Lens maker Angenieux has reported record sales of its 3D-Ready Optimo DP Lens Package. Recent customers purchasing the package include Offhollywood Pictures, 21st Century Pictures, Element Technica, Indierentals, E3D Creative, Evergreen Films, TCS, Vision3, Pace HD and Axis Films. The equipment is available in two versions; the 16-42 and 30-80 Optimo DP lens packages. To help ensure equivalent performance, the lenses used are from the same production run, and include specific features for 3D application including factory-matched zoom and focus scales, comparable optical quality and easily adjustable tracking to ensure optimal performance. The lenses feature a T:2.8 aperture and deliver optical performance quality equal to prime lenses. Cirro Lite introduces Felloni LED panel . Lighting services company Cirro Lite has introduce the Felloni LED Panel, the latest LED fixture from Dedolight's Techpro range. It is claimed this fixture offers the best light output and efficiency currently available for this type of LED fixture. The fixture itself is built in a lightweight, toughmoulded casing that is water resistant and will withstand the rigours of life on location. It has Techpro specified LEDs inside, that produce produce twice the light of comparable lights, but achieved at half the current draw of similar units. Also included, built-in, are Sony NP battery and V-Loc battery sockets making for convenient the power options. The Felloni includes a remote cable for 0 � 100% dimming. They reckon the new Felloni LED is twice as bright as competing fixtures, at half the price! Not for the queasy, the Quasar rig gets close into the action on The Mortician In 3D. PFL gives Carmen third dimension. Working in conjunction with film director Julian Napier and DP Sean MacLeod Phillips, Principal Large Format (PLF) producer Phil Streather brought a new perspective to Georges Bizet's much-loved opera, enabling movie-goers and opera fans alike to enjoy Carmen in 3D for the first time. Featuring an all-star cast from London's Royal Opera House � with Christine Rice singing the title role � and 3D glasses technology from RealD, Carmen 3D gives viewers the best seat in the house, taking them into the heart of the production and immersing them in Bizet's perennially popular story of love, jealousy and betrayal. Commenting on PLF's contribution to the project, Streather said, "This production of Carmen is truly dazzling, with a vibrant stage design by Francesca Zambello that features crowds of peasants, gypsies, bullfighters and soldiers � not to mention a magnificent horse, a donkey and even some chickens. "Working hand-in-hand with the film crew from the start, we were able to craft a truly unique event that is as innovative cinematically as it is energetic and engaging musically, dramatically and theatrically. As you would expect with such a cutting-edge project, there were a number of hurdles to overcome along the way, but we, the film crew, the Royal Opera House and RealD are all delighted with the results. We are confident that everyone who sees Carmen 3D will be blown away by the experience." Opera gets a new dimension thanks to PFL, Royal Opera House and RealD. New Rotolight kit comes with lovely Lee Filters. New PAG battery communicates with the viewfinder display and shows remaining capacity as a percentage. Quasar rigs used for The Mortician in 3D. PAG powers Red One. PAG, which makes technologicallyadvanced power solutions for a broad range of professional cameras, has introduced a new, compact version of its L95e battery, specifically for use with the Red One camera. The 95 watt-hour, V-Mount Li-Ion L95eR battery provides a capacity reading, expressed as a percentage, in the viewfinder of the popular digital cinema camera. The PAG L95e has a maximum continuous output current rated at 7 amps, and is suitable for use with a broad range of professional cameras. The PAG L95eR is an adapted version of the L95e, and provides 1.25hrs of continuous runtime for the Red One. The Mortician, the first American feature to use Element Technica's Quasar 3D rigs, made its premiere at the 2011 Berlin Film Festival. The rig was supplied to the production by equipment rental company OFFHollywood. The psychological thriller, written and directed by Gareth Maxwell Rogers starring Method Man, was shot on location in New Orleans, Louisiana, by cinematographer Michael McDonough. "An important consideration in 3D is to avoid torquing of the camera bodies once the rig is set up, as this will throw out all of your careful lens alignment. I found Element Technica's rig to be quite rugged," said McDonough, who worked with OFFHollywood's Mark L. Pederson and stereographer Keith Collea. Fully equipped, the ET 3D rig weighed 105 pounds, heavy enough to handle the stress of an active shoot, yet light enough to allow the team to make some tricky moves. "I remember one sequence where we were fighting daylight and we needed the Hydro Techno Crane up and running under the rain towers, with no time to do serious critical alignments," recalls Collea. "Within minutes the ET rig was up, aligned and shooting. The shot went off without a hitch. The alignment procedures with the ET rig are a snap. And, once the rig is aligned, it stays that way over the course of several setups, including serious jolts from riding on the process trailer." Element Technica has delivered 160 combined of its Quasar, Pulsar, Neutron and Atom rigs. Rotolight launches Creative Colour Kit. Rotolight has launched Creative Colour Kit a professional, single-light lighting system for DSLR photographers and HD videographers. The Rotolight ringlight produces a natural, warm and shadowless wide light beam, and each kit contains a filter holder plus a custom, Lee Lighting, 6-piece ring-filter Calibration Gel Set for studio calibrated colour at 6900K, 5600K, 4100K and 3200K, plus soft diffusion and ND gels for accurate dimming over a range of up to 1.5 aperture stops. Also included is a Colour FX Gel Filter Kit, comprising 10 of the most popular Lee Lighting colour FX filter gels. British Cinematographer Covering International Cinematography www.britishcinematographer.co.uk Issue 044 11 FLYKA Electric Dolly. The Flyka Electric Dolly was launched at the recent BVE show at Earl's Court. The product was developed by stills photographer and cameraman Tony Holker who broke his leg in 2008 and used a disabled buggy for filming. "I decided the smooth ride from a disabled buggy was a great plat