Technical stuff

Mountain shots for ACS France

Grip and Cranes

Some specials memories of the filming... Touching and exciting! With the mountain theme as the color changes of November were beginning. It was a wonderful opportunity to work on two great projects where the action took place in the mountains. ACS France conducted its aerial shots in the Maurienne Valley and Mont-Blanc for two feature films which are currently showing at this time.

"Debayering" special report
By Madelyn G. Most

Digital Workflow

Since their last meeting at Camerimage 2012, Philippe Ros, AFC, and Roberto Schaefer, ASC, AIC, have an ongoing conversation about what really makes up the look of the captured image from various digital cameras, and how people in all disciplines of the industry are overlooking other important elements to be concerned with, other than 4K, or2K, or 8K capture or which camera to use, such as:
- How and when the debayering is implemented after the recording of the files
- The curves implemented in the camera (i.e. Arri Alexa or Sony F35), or those implemented in post (i.e. Lin to Log with the Sony F65)
- Which system to use to transcode and intake those image files.

Lumex announces the "Energy Center"

Lighting and Power Equipment

Lumex launches the "Energy Center", a new generation of secure power source. Already at the forefront of new technologies such as the “Agilight” lighting crane and the “Twin Pack” mobile secure power sources, Lumex adds the “Energy Center” to its range of innovative products now available for rent.

Too Many Labs Out of Control
By DoP Philippe Ros, AFC, Imago Technical Committee Member

Digital Workflow

For several months we’ve been talking with Irena Gruca from FilmPRO Magazine about the qualities of Digital Intermediate and connected issues. In this article I have the opportunity to recap the discussion.
Special thanks to Irena Gruca who gave authorization to AFC to publish this article released in “Intermediate” european magazine launched by CineArte (Germany) & FilmPro (Poland).
This article has received some more inputs after the last Camerimage and the Micro Salon 2012.

Did you say organic?
By Caroline Champetier, AFC

Digital Cameras

The first publicly available images filmed with the new Delta-Penelope camera were shown by Eclair on November 17, 2011 with Catherine Athon, Aude Humblet, Thierry Beaumel, Caroline Champetier AFC, and Jean-Pierre Beauviala in attendance.
This camera is the first “4K” with an optical viewfinder and an internal SSD recorder for full resolution uncompressed images that are totally open to whomever wants to debayerize them in their own way.

"Do we need shooting “RAW” to achieve the best quality?"

Digital Workflow

Yves Cape, AFC, SBC, signal us an interesting aricle wrote by our Belgian colleague Louis-Philippe Capelle, SBC, about RAW Mode published on Belgian Society of Cinematographers web site.
In the article, he gives details on this uncompressed pictures recording format and ask questions about the advantages, consequences and drawbacks.

Angénieux, an ingenious balance between craft and industry
by Renato Berta

Lenses

I met Philippe Parain during the presentation of the new Fuji film, on the 24th of September last year.

In discussing the quality of the Angénieux zooms, I told him of my "doubts" about the historical flaws, particularly distortions.

On Thursday, November 26, after giving a presentation at the Architectural School of Saint-Etienne, I took advantage of the proximity of St. Héand, and visited Angénieux.

To stop the whispers: silencing HMI noise
by Marc Galerne (K5600 Lighting)

Lighting and Power Equipment

Following our discussions at the Satis and AFC Micro Salon shows, six members of the AFSI (French association of sound recordists) came to us, so that we could shed light on the issue of the noise made by HMI light sources.
Since we had to start somewhere, we proposed a meeting on our premises, so as to glean great ideas for future development. We therefore borrowed some used K5600 units from our rental house customers, as well as ballasts from different manufacturers, and brand new bulbs.

Test of the Canon D5 Mark II
by Jean-Marie Dreujou, AFC

Digital Cameras

After seeing Slumdog Millionaire this winter, knowing that some shots had been filmed with the Canon D5 Mark II, I asked Olivier Garcia, (a vision engineer, with whom I work when I shoot digital), to test this device.
We filmed a few shots in Paris, which we watched in the big DI room at Digimage with Laurent and Guillaume. Despite many flaws, the Canon, thanks to its large sensor, proved very interesting, and greatly impressed us.

Is Super 16 solvable in HD?
by Herve Lefel

Digital Workflow

On September 2nd at the Espace Pierre Cardin, the Technical Commission of the FICAM (French federation of the cinematographic audiovisual and multimedia industries) and the Image department of the CST (French Superior Technical Commission) invited many professionals involved in the creation, production, postproduction and broadcast of television fiction to a morning presentation of the results of a joint working group, "Super 16 - HD". With the friendly authorization of the CST, which organized this meeting, we propose an account of this event, written by Herve Lefel, member of the department of the CST Image department.

Mscope and IBC Amsterdam 2009
by Yves Cape

Digital Cameras

I shot Renaud Bertrand’s film, Just the Three of Us (produced by Fabio Conversi at Babe Films). When I arrived on the project, the decision had already been made to shoot in HD, but we still needed to determine which camera use!

Following the tests that I had the opportunity to make for the film by Patrice Chereau, we were leaning towards the D21. We then discovered the Mscope process, which allows you to shoot anamorphic in a 4:2:2 configuration recording on to HDCAM SR.

Transvideo HD field monitors

Displays

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.