Definition July 2019 - Sampler

LARGE FORMAT LENS SPECIAL

THE NEW GLASS AND THE NEW TECHNIQUES P42

July 2019

£4.99

WINNER ROLL CALL Our first awards presentation

WOMEN IN COLOUR

International graders profiled

O N F IL M

VFX and celluloid in Pokémon heaven ALSO KIT REVIEWS | GOOD OMENS PART 2 | CINE GEAR EXPO REVIEW INSIDE STRANGER THINGS 3 | REMOTE HEADS FOR SUMMER | CLINK DRAMA

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W E LC O M E

BRIGHT PUBLISHING LTD, BRIGHT HOUSE, 82 HIGH STREET, SAWSTON, CAMBRIDGESHIRE CB22 3HJ UK

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EDITORIAL Editor Julian Mitchell 01223 492246 julianmitchell@bright-publishing.com Staff writer Chelsea Fearnley 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 Designers Lucy Woolcomb, Emily Lancaster, Emma Di’Iuorio Ad production & designer Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck SOCIAL MEDIA Facebook @definitionmagazine Twitter @definitionmags Instagram @definitionmags MEDIA PARTNERS & SUPPORTERS OF

One of our awards awaiting its official presentation in the Paramount Studio’s backlot

WELCOME

We had an immense awards-based couple of days at Cine Gear at Paramount Studios last month, and if you turn to page ten you can see some of the winners holding their awards and looking pretty pleased with themselves – congratulations to them all and the shortlisted companies.

We have also made our People’s Choice award, and that has gone to LA’s Radiant Images who were shortlisted in our Capture category. They received lots of love online and ended up winning comfortably. We specified their AXA VR rigs in the shortlist, but this company is much more than just rigs, they are the ultimate capture problem-solving outfit.

It was also great to hear that the winners were being true to the spirit of the awards, as many were planning to house their awards in their company’s R&D department – Sony’s award is already on a plane to Japan. In the next few issues we will be digging a little deeper into the stories behind some of our winners, with further analysis of the product or service that they won for. We wanted to include this analysis now that we know these companies a little bit better.

As for Cine Gear itself, apart from the June gloom hanging around, it was as usual a great show, with some superb seminars and great tech.

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.

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GETTING STRANGER

© 2019 Netflix

The Netflix teen horror show that is Stranger Things gets its third season, coming in July. They’re rushing them through before the cast gets too old.

Once again, one of the DOPs is Tim Ives. Gear choices are very similar to the previous seasons – the difference is, as new versions of old equipment get introduced, they are inserted into the show’s workflow. So, Red Monstro 8K for the Helium and Leitz Summilux-C lenses, the new label for Leica lenses.

Suffice to say Stranger Things 3 keeps the eighties colour palette that both previous seasons delighted in.

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S E T- U P | AWA R DS P R E S E N TAT I O N

TECH INNOVATION: THE WINNERS AWA R D S

After much deliberation and mulling over, our judges decided on the winners of our inaugural awards, which were revealed in our previous issue. To celebrate, we presented each winner with their beautiful slice of award glass at Cine Gear Expo on the backlot of Paramount Studios W O R D S & P I C T U R E S J U L I A N M I TC H E L L

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anding out awards is a great thing to do, everyone’s happy, enthused and humble in equal measures. Backs are slapped and drinks are poured – especially at Cine Gear.

We managed to present awards to Michael Cioni and Ian Vertovec who authored the Light Iron Color 2 for Panavision’s award for COLOUR SCIENCE. For Arri Rental’s LENS award, we made our way through the always busy Arri stand to present to the brains behind DNA glass, Christoph Hoffsten, Matt Kolze, Andrew Prior, Mike Sippel and Rafael Adame. They promptly put their award in the DNA lens exhibition glass case.

On his own for the MOVEMENT award was Motion Impossible CEO, Rob Drewett, and of course his robot the Agito.

For the LIGHTING award, we had a double date with the teams from Cineo Lighting and NBCUniversal who co-developed the LightBlade Edge Series. Shout out to Dennis Kelly, Aaron Rogers, Trisha Maas, Ashley Hutchings, Brandon Rensvold, Rich Pierceall, Chuck Edwards and not forgetting the mighty Tom Yuhas.

The CAPTURE award went to Red for its Gemini sensor, which was presented to Cheri Quigley and Andrew Coonan at the Red annual studio party. The award was quickly sent to Uday Mather, Red’s head of Engineering, to take pride of place on his desk. For the CODEC award, we caught up with Sebastian Leske, Sony’s product manager of Venice and X-OCN. We presented him with the award in front of the crazy skater girl on the Sony stand. Michael Gailing, VP Marketing, Creative Solutions, (Teradek, SmallHD, Wooden Camera) enthusiastically received the PLAYBACK award.

Two other awards are, as we write this, winging their way to their respective homes in North America’s west coast. The first went to Mark Tobin, CEO of Arraiy, who won in the VIRTUAL category (Cine Gear Expo isn’t the place for the virtual world). The other award is on its way to Radiant Images, who won our People’s Choice. We had more than 5000 entries for this award and Michael Mansouri’s shop in Glendale won it, see the picture of a delighted crew on page 14.

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AWA R DS P R E S E N TAT I O N | S E T- U P

ARRAIY – VIRTUAL WINNER There’s something profound about the winner of the Virtual category being presented with a virtual award. The less interesting truth is that Mark Tobin of Arraiy was elsewhere, securing ongoing finance and also in negotiation with its company’s first broadcast customers. The real award is on its way to Silicon Valley

WINNER OF VIRTUAL

ARRAIY D E E P T R AC K

ARRI RENTAL – LENS WINNER

Above, from left to right: Christoph Hoffsten, Matt Kolze, Andrew Prior, Mike Sippel, and Rafael Adame. Their award was placed snug in the DNA cabinet

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D R A M A | D E T E C T I V E P I K AC H U

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D E T E C T I V E P I K AC H U | D R A M A

© Warner Bros. Pictures

FILMING IN RYME CITY

Why does conventional wisdom demand that a film with digital characters has to be captured digitally? Pokémon Detective Pikachu blows that theory out of the water 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 WA R N E R B R O S / M P C

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f you’re a new convert to Pokémon or still a fan from your childhood, it will only take a few seconds for you to believe the fantasy world that Pokémon Detective Pikachu presents to you. The VFX embedded in John Mathieson’s cinematography really is that good.

Mathieson is a true artist, but he wouldn’t thank you for calling him that. His skills are finely hewn from his early days on films like Gladiator and Hannibal, working with directors like Ridley Scott (he also shot Kingdom of Heaven and Robin Hood with Scott). He recently shot Mary Queen of Scots on digital, but thought there was a bigger movie to be made, perhaps with a bigger cinematic directorial vision.

He may or may not have his pick of interesting feature products, but a CG-heavy pre-teen origins tale might not have been on the top of his list. So, what made this movie rise above the others? Mathieson’s agent mentioned it to him, insisting: “It’s a great ‘fun film’ and tracks from kids to grandparents.” Mathieson adds: “I liked the director and he promised it would be stupid in this quirky Japanese way. There is a certain amount of honesty that comes through with this film. It doesn’t pretend to be morally superior or anything that it isn’t; this is purely a romp.”

Pokémon Detective Pikachu could be the start of a series of movies for the heavily invested among us. It had plenty of things going for it: Ryan Reynolds doing a de-tuned Deadpool for one, and a huge gallery of Pokémon characters to (literally) draw on for two. But cinema audiences can smell a rat when CG and the real world have a disconnect. The virtual world has to resemble the real world shortly after the lights go down or you’ve lost the mood.

LOCATION, LOCATION, LOCATION When Mathieson came on-board, the director, Rob Letterman, promised him the use of film, less use of green screen and real locations – not just sound stages. This was music to his ears (and eyes). “Now, producers are so lazy, they want to shoot the outdoor scenes inside. It makes the budget so much simpler: if you have so many days on stages, you can work out that budget pretty quickly. If you have to go to a jungle in Thailand, for instance, or a desert beyond the Atlas Mountains and you have to build a road, stable some horses, dig for water and build a bridge, that all gets a bit tricky and there are a lot of unknowns. The laziness of studios who then say, ‘Just shove it against a green screen’ and it doesn’t match up,” Mathieson explains.

There is a certain amount of honesty that comes through with this film LEFT Detective Pikachu, Tim and Lucy inhabit a world that feels real through the use of film

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DRAMA | GOOD OMENS

COLOUR IN A WORLD OF BLACK & WHITE Following on from our last issue, we dig deeper into Good Omens, with a focus on the series’ colour and visual effects W O R D S C H E L S E A F E A R N L E Y / P I C T U R E S A M A ZO N P R I M E V I D E O

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GOOD OMENS | DRAMA

The desire was to give Good Omens a timeless and courageous feel

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et’s be real, you probably watched it all in one sitting. So you know what we mean when we say Good Omens is a somewhat kitsch yet highly addictive production, flitting between a litany of pleasantly cliched English aesthetics, from the comic characteristics of PG Wodehouse to the unconventional, but now familiar style of Harry Potter.

It’s clear a lot of love has gone into ensuring the show has a sense of nostalgia and reverence for fans, all the while capturing the hearts of those who haven’t yet read the 1990 novel by Neil Gaiman and Sir Terry Pratchett, from which the television series was adapted.

When we spoke to DOP Gavin Finney in the last issue of Definition (June 2019), we learned his visual decisions were influenced largely by the characters and their dynamics. Remember, we’re talking about a series that encapsulates biblical Armageddon and is largely concerned with the war between good and evil – perhaps the strongest of archetypes. In part two

ABOVE RIGHT The Antichrist, an 11-year-old boy named Adam, and his three comrades

of our Good Omens series, we further explore the grade and visual effects used to enhance and complement Finney’s shots.

Finney set the tone from the very beginning, with a title sequence that is fantastically whimsical and does a great job of embodying the dark, fanciful and irreverent tone of Good Omens. Throughout the series, there is environmental foreshadowing, which is emphasised by the different colours and auras unique to individual characters’ dispositions, and post-production house, Soho-based Molinare, was tasked with continuing the tone and look that Finney had set up.

Molinare was a perceptive choice, since a lot of Good Omens was shot around the streets of Soho. Definition recently visited Molinare, and upon entering its noiseless, yet unusually ambient theatres – referred to as “dark rooms” by colourists chatting in the hallway – we saw the suite used by Gareth Spensley for the grade. Spensley is one of the most sought-after colourists in the industry, having previously worked on some of the highest-rated drama productions in the UK, including Doctor Who and Killing Eve. Spensley took direction from Finney for the grade, as he explains: “Finney used a lot of technical film references, and he wanted me to incorporate the specific look of film stocks and processing techniques, as well as the look of classic adventure movies, crossed with more British adventure references. The desire was to give the series a timeless, courageous feel. Finney wanted it to feel like it was bedded into nostalgia, so the audience would feel comfortable with the quite fantastical biblical storyline.”

The complexities of the show’s various elements – which often involved going

back in time to different eras – required careful attention and understanding. “The show had some multifarious flashback scenes, and under Gaiman’s direction, Finney wanted to create distinctive looks as we jumped through the different time periods,” says Spensley.

He adds: “This was a gift and a joy to grade as a colourist. I think we covered every trick in the toolbox: period film print LUTs, complex colour crosstalk layers and classic ideas such as heavy desaturation as we zipped from the Garden of Eden to Noah’s Ark, and from ancient Rome to Blitz-era London.”

The grade was done on FilmLight’s Baselight v5 and grading sessions took place with the Sony X300 as reference monitor and Panasonic OLED as client monitor. Molinare’s Theatre 1 was the backdrop for the final check and – with its many seats, a Barco DP90 DCI projector and an eight-metre wide screen – it enabled all relevant picture post-production teams to attend final check.

Because of the multiple colour space deliverables, both HDR and SDR in UHD and HD, Spensley used the Baselight’s T-Log colour space and TCam display rendering transforms. “They offered the greatest flexibility to support the different looks Finney wanted to create,” he explains. “I was able to manage LUTs from our library, modern LMTs and the latest input colour spaces for the various shooting formats, all within one timeline.”

CROWLEY’S CAR Demon Crowley’s 1920s Bentley is one of the most iconic elements of Good Omens.

The car is clearly important to him – an extension of himself in a way – and by

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

AT THE RECENT CINE GEAR EXPO, THERE WERE MORE LAUNCHES OF LARGE FORMAT LENSES BUT ALSO NEWS OF NEW SUPER 35 CAMERAS, SO WHERE DOES THAT LEAVE THE NEW FORMAT? 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

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

F TOP Shot on a 35mm DNA LF prototype.

There’s a softness to the boy’s face, which is the vintage glass working its magic ABOVE Arri Alexa Mini LF with the DNA LF series of lenses LEFT A Cooke Full Frame + 75mm lens on a Sony Venice camera

ull-frame still cameras revolutionised photography and when the same happened in the multi-frame world, it was thought the same fundamental change would materialise. However, the full-frame argument has been condensed into two parts: the merits of resolution and the huge range of Super 35 glass that already line the shelves of rental companies and do the job.

Lens manufacturers, like Cooke, were quick to support the new format and had a range ready to service it, but others have been more circumspect and only now are releasing their mostly prime large format ranges; companies like Angénieux who after 50 years of delivering wonderfully cinematic zoom lenses have now produced – with development help – its first primes. But are they too late to the increasingly crowded market chasing a hopefully nascent one?

WHAT DOES LARGE FORMAT GIVE YOU Well it depends on who you talk to.

Cinematographers love this format as it

allows you to play with perspective and eyepopping depth-of-field. DOP Jon Joffin had used the Zeiss Supreme range with Sony’s Venice cameras and was smitten with the effect. “Such extreme depth-of-field seems to work great on faces and, of course, other objects. The thin depth-of-field that LF provides was one reason we used the Venice/Supreme combination. The ultrathin depth-of-field allowed us to use wider lenses than we would normally choose and still maintain the beautiful, painterly background blur. There is something about LF that looks rich and cinematic, even when downsized to 4K. It has the feel of 70mm film,” he says. Zeiss has recently added the 21mm and 135mm to the range, both T1.5.

Joffin’s director, Aisha Schliessler, was even more effusive. “Large format is like seeing in a new way. The richness and the texture of the image feels incredibly filmic.

The thin focus and almost anamorphic quality (without typical anamorphic distortion and bending) helps to direct the viewers’ eyes to where we want them to go, and the image feels much more three

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F E AT U R E | F E M A L E CO LO U R I S T S

WOMEN IN COLOUR AS PART OF OUR SERIES PROFILING WOMEN IN THE FILM INDUSTRY, WE SHOWCASE THE FEMALE COLOURISTS ON OUR RADAR C O M P I L E D BY L A R I S S A M O R I & J U L I A N M I TC H E L L

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F E AT U R E | F E M A L E CO LO U R I S T S

NSPCC campaign

Balmain online boutique

C A RO LIN E M O RIN

SIMONA CRI S TE A

The Levelling

VA N E SSA TAYLO R

Job title: Colourist at WASH Location: London, UK Recent work: Campaigns include Championbranded content, Adidas-branded content, Ama Lou music video and a NSPCC campaign

Job title: Head of Colour at Coffee & TV Location: London, UK Recent work: Advertising campaigns and brand films for the likes of Superdry, Jo Malone and Balmain

Job title: Senior colourist at Molinare Location: London, UK Recent work: Red Joan, Anne, Lady Macbeth, The Levelling, Calibre, The White Princess and Avengers: Age of Ultron

“My first experience in the film industry started when I decided to move to London,” Caroline Morin explains. “I started out as a runner as part of the Erasmus programme for a boutique facility in Dalston. During my spare time, I was helping the editors and quickly learned the skills of a good assistant, but my interest was always in the amazing work done by the colourist.”

Initially hired as a colour assistant at CHEAT, Morin spent evenings and weekends outside work practising her grading skills to become a junior colourist.

“It is important to learn to work under pressure and long hours in this industry, but if you are motivated and know what you want, the hard work will pay off,” she adds.

Morin has now moved to WASH as a colourist, alongside Jon Dobson. WASH is a boutique post-production facility in Farringdon, London, specialising in colour grading and VFX finishing.

From a visual arts background, Simona Cristea studied Fine Art Painting at the National University of Arts in Bucharest before being recruited to learn colour grading at post-production house, Abis Studios. She next worked at Prime Focus in London and Mumbai, before becoming the first female head of Colour at Rushes. Now at Coffee & TV, she works with a lot of her old colleagues from Prime Focus.

“Historically, colour timing with film in the lab was considered more of an engineer’s job, a career path dominated by men, so it’s been great to see women galvanise on an international level over the past couple of years,” Cristea says. “I have now had many female assistants, and it is with great joy that I have seen them become colourists in their own right, such as my colleague at Coffee & TV, Katie Dymmock.”

She adds: “Always remember film is a collaborative art form and your relationships with people matter. In my experience, some of the most successful people I have met have been the nicest. There are also great organisations for women in this industry, such as ‘Women in Advertising Production’, ‘Free the Bid’, ‘Good Girls Eat Dinner’ and ‘illuminatrix’. I actively support and involve myself with these where possible.”

Vanessa Taylor has worked internationally on many prestigious projects over the past 20 years. She started out in online editing and visual FX before changes in technology brought her to the newly formed Digital Intermediate Department at Peter Jackson’s company, Park Road Post.

This is where her passion for colour truly began. The following decade saw her grade more than 60 feature films and she has trained many colourists around the world. Recently, she joined the prestigious Molinare in London as a senior colourist. Her recent projects include Red Joan, starring Judi Dench, and the upcoming ITV drama Anne, starring Maxine Peake.

“It is hard to get started in the industry for anyone,” Taylor explains. “You have to really want it, but that shouldn’t put anyone off. There is certainly more of a push to promote women in recent years, and I’m doing what I can to keep the momentum up. I’m working with a lot more women in key roles these days. Adult Life Skills, Lady Macbeth and Old Boys all had female DOPs, and The Levelling – which was written and directed by a woman – also excelled with a fully female camera department. I’m really excited by all the new stories being told from a female perspective,” she says.

Portfolio: coffeeand.tv/work/ grading-reel

Portfolio: molinare.co.uk/people/ vanessa-taylor

Portfolio: thewash.tv/showreel-carolinemorin

It is hard to get started in the industry for anyone, you have to really want it

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SENNHEISER MEMORY MIC PRICE FROM £169/$178

A clever Bluetooth lavalier microphone that captures audio when shooting on smartphones W O R D S J U L I A N M I TC H E L L

hen you make the decision to bring video in to your digital and social media channels, and if you’re not a videographer, you might think a budget of a few thousand pounds will cover it. It also depends what your expectations are and what you want to achieve.

We go to many well-attended events with plenty of interesting people to talk to, and conventional wisdom maintains that to video them will usually mean a DSLR-type camera with a microphone attached, probably a radio mic. That’s pretty guerrilla filmmaking and easy to get together, but there is a more guerrilla way to bag these interviews.

MEMORY MIC Sennheiser has launched its Memory Mic – a name that doesn’t really explain what it does, or do it justice.

We always thought using your smartphone for media for a serious magazine like Definition wasn’t a great idea, but when we heard that legendary DOP Robert Richardson says all he uses is his iPhone in his leisure time, and he’s given up ‘serious’ cameras, we realised that as a pure video capture device it wasn’t bad – apart from the audio, which is terrible for anything further away than a metre.

This is where the Memory Mic comes in. Sennheiser has designed an admittedly strange looking microphone to independently record the audio you are shooting on your iPhone. Through an app, you pair the Memory Mic to your phone and after a few adjustments (mostly to sensitivity levels) you’re ready to shoot. This is child’s play.

You’re then in a shooting situation where your subject is working within a Bluetooth range, which is up to 20 metres, and so he or she is set free to perhaps demonstrate while talking. You are

RIGHT The app and mic combination works to Bluetooth distances

“WE WANTED QUICK INTERVIEWS WE COULD UPLOAD TO IGTV” also set free to shoot the subject pretty much however you want.

IN PRACTICE The microphone itself is an odd, squared-off design with a corporate grey colour (there perhaps should be more a skin-coloured version or at least different colours). There is a magnetic strap to attach to clothes, predominately, and a small microphone grill to house this condenser design.

We wanted quick-fire interviews that we could upload to IGTV without editing, so once we were synched up, with a quick shooting idea confirmed between us and the

subject, we pressed record and got on with it. To have the audio remoted to the subject was like having a sound person in the crew, and in a noisy convention hall it was a revelation.

When you finish your shot, all you do is synch up the audio, now stored on your Memory Mic, with the app on your smart phone. In fact, you can do this later if you haven’t got the time, just don’t give your microphone to anyone else before you do!

Downsides are the physical design and also the battery life, which isn’t great. We also had a bit of trouble synching, not helpful when you find yourself in a pressurised, time-limited shoot situation.

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DEFINITION’S 4K CAMERA LIST

BASED ON:

RED HELIUM 8K DOCUMENTARY Our Planet, a major Netflix series, required heightened production demands to get the best image Our Planet is a groundbreaking, four-year collaboration between Netflix, Silverback Films and WWF. It explores the rich, natural wonders, iconic species and wildlife spectacles that remain on Earth and reveals the key issues that urgently threaten their existence.

Although the production used multi-format acquisition, the main camera was Red, used for its resolution, off-speed ability and reliability.

Silverback Films stated: “The four-year project takes viewers into never-before-filmed wilderness areas, from the ice caps and deep ocean to deserts and remote forests, introducing them to the most precious species and places that must withstand the impact of humanity.” Using the latest in 4K camera technology, the series is bringing millions of people into intimate contact with some of the rarest animals and most precious natural habitats.

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SPECIFICATION SENSOR – FORMAT AND SIZE

Helium 8K 8192×4320, 35.4 megapixels, 29.90x15.77mm 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), 240fps at 2K

LENS MOUNT

EF, F, PL, Leica M

RECORDING OPTIONS

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

EXPOSURE LATITUDE

16.5+ stops

© Netflix

D O C U M E N TA RY K I T S

RECOMMENDED KIT The kit recommended to accompany the Red Helium 8K from the experts at CVP OCONNOR ULTIMATE 2560 Perfectly suited to the adaptable, à la carte configurations of accessorised digital cinematography, the 2560 design delivers cinema standard positioning of controls, including brakes and rosettes for easy and intuitive use.

ARRI CINE PLATE FOR RED DSMC2

The Arri Cine Plate for Red DSMC2 is designed to fit over classic studio bridge plates, such as the Arri BP-8 and BP-9, and offers a pair of sturdy rosettes.

ARRI BP-8 I N A S S O C I AT I O N W I T H

The Arri BP-8 is a bridge plate that attaches to the bottom of the camera’s front foot, so the camera can be mounted on the Arri Bottom Plate.

ARRI BOTTOM PLATE SET 600MM/24IN INCL RSB-19

ESSENTIAL KIT

Discover key components from the CVP camera kit, including a telephoto lens and a top plate

The Arri 600mm/24in Bottom Dove-Tail Plate is the perfect solution when working with large and heavy zoom lenses, with an additional 19mm rod support to prevent long rods from flexing.

CANON CN-20

An ultra-telephoto Canon CINESERVO lens, the CN20x50 IAS H E1/P1 offers outstanding quality, 20x zoom and a 1.5x built-in extender for an unrivalled 50-1000mm focal length (751500mm with extender).

REVOLVA KIPPERTIE

Available in EF and PL mount versions, the Revolva is a rotating ND filter wheel for Red DSMC2 cameras.

The system contains four Full Spectrum Neutral Density filters, ranging from clear to 2.1.

WOODEN CAMERA REVOLVA TOP PLATE

The Revolva Pass Through Top Plate (DSMC2) has all the same features as the Pass Through Top Plate, but adds a small cut-out on the front to make it compatible with the Revolva Kippertie.

BUILD YOUR PERFECT KIT AT CVP NEWMAN STREET 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.

SEE MORE ON THIS MONTH’S KIT:

cvp.com/definitionkit

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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 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

70

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

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

15 stops

15 stops

D E F I N I T I O N | J U LY 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

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

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 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

3840x2160/30p, 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

Fixed lens

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

15 stops

N/A

N/A

N/A

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