Technical stuff

During the CineGear show held in June in Los Angeles, Transvideo presented several major evolutions of its range of HD field monitors.
During the show it was 46 degrees centigrade in the shade, but monitors in full sunlight were perfectly readable without sunshades, operating flawlessly.
The CineMonitor range consists of 6 ", 8", 12 "and 15" HD monitors. The image quality in HD as SD is impeccable with a proprietary Transvideo processor.

Two years after the launch of the Weisscam HS-1, P+S Technik and Stefan Weiss present the follow-up model: the Weisscam HS-2.

Following the text by Sophie Landry published in the AFC newsletter, Pascale Recher and Sabine Courtant, makeup artists from the workshop "Lighting and Makeup" comment about their experiences filming in HD during the last IDIFF conference, which was held at the Palais des Congrés in Paris from January 30^th to February 1^st, 2008.

Public makeup tests were held at IDIFF, produced by Cine System and shot through the lenses of four different HD cameras (Thomson Viper, Panasonic HPX3000, Arri D20 and Sony F23).

On the 5^th and 6^th of May, Matthieu Poirot-Delpeche and I have attended this conference cycle organised by Imago and the Norwegian Film Institute. Being quite busy last month, I couldn’t find the time to write down a summary. Here it is at last.
We have to start by complementing the extreme quality of the cycle, which brought together over 200 European Directors of Photography. Each intervention led to questions and answers, allowing both the audience and the lecturers to specify number of points.

On October 18^th 2005, within the framework of the Satis Forum and at the behest of TF1, the CST organised a presentation of the various production options using Super 16 film and HD, along with high definition post-production options, allowing the various advantages and disadvantages to be explained in each case.

Here is a photo of the Aaton Penelope prototype. This is the only auto-silenced 35 mm camera with instantaneous magazines that was ever built and it is also the first 35 mm camera that definitively abandons Dickson/Edison’s 4-perf film.
The film-pulling mechanism only works with 3-perf for lovers of 1.66:1, 1.78:1, 1.85:1 formats or with 2-perf for Scope addicts.

Following upon the invitation of the 25 Images Group - an association of TV film directors, several members of the AFC (Robert Alazraki, Gérard de Battista, Jean-Jacques Bouhon, Jean-Noël Ferragut, Dominique Gentil and Charlie Van Damme) attended a debate on the use of HD for TV dramas that took place Wednesday March 17^th in the SACD facility. The theme was HD’s possibilities and limits, and its future in French audiovisual production.

No need, for once, to rush up the steps of the Cannes Festival Palais, dressed like a penguin and adjusting one’s bow tie, in order to attend the 3^rd edition of the IDIFF (International Digital Film Forum) which took place from the 2^nd to the 4^th of February, 2005. All that was needed was an interest, however small, in anything that borders on what has come to be known as « digital cinema ». For this is what IDIFF is about.

Kodak launches the latest colour negative film in the Kodak Vision 2 250D range on January 25^th at La fémis.