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Panavision rolls out Primo 70 lenses at Camerimage 2014

Panavision Primo 70 lenses

BYDGOSZCZ, POLAND (November 13, 2014) – Panavision is showcasing their new line of Primo 70 lenses optimized to work with today’s larger sensor digital cameras. The lenses are being exhibited at the 22nd edition of the Camerimage International Film Festival, a premier event for directors of photography.

“Panavision Primo lenses have set the standard for excellence in motion picture production for 25 years,” says Kim Snyder, Panavision’s president and CEO. “Now, filmmakers can combine that essential Primo character with the larger sensors found in the latest digital cameras.”

Panavision Primo 70s are the most advanced cinema lenses ever developed, andspecifically designed to work with today’s larger sensors. The result is more consistency from edge to edge and sharper corners. The organic flavor, pleasing bokeh, and gradual focus roll-off that DPs depend on have been carefully maintained in the Primo 70 series.

Large format sensors are the natural next step for filmmakers looking to create powerful, affecting imagery, and Primo 70 lenses maximize their aesthetic potential. Together, large sensors and Primo 70 lenses deliver unprecedented visual impact.

Panavision Primo 70 prime lenses are available in eleven focal lengths: 27mm, 35mm, 40mm, 50mm, 65mm, 80mm, 100mm, 125mm, 150mm, 200mm and 250mm. Super 70 zoom lenses are also available in three sizes: 28-80mm, 70-185mm and 200-400mm. The Primo 70 series are equivalent in size and weight to standard Primos, a feature driven by the need for portability and maneuverability on today’s film sets. Primo 70 lenses have already been tested in the field under real-world production scenarios, including two feature films and several commercials.

“The 70mm Primos are beautiful – just amazing,” says Peter Menzies Jr., ACS about his experience using them on a feature film. “I have never seen lenses that hold their sharpness and contrast across the entire frame. … They are also light, fast and the lens sizes in the kit are perfect. The two zooms we used are excellent -- incredibly close to the primes.”

“The Panavision 70mm lenses have a grand look,” notes Greig Fraser, ASC, ACS who relied on the Primo 70s for a commercial shoot. “Their visual language is significantly different than 35mm. The focus falls off quickly and beautifully. As a cinematographer, this allows me to tell a different story. … For decades, Panavision has given filmmakers exciting new tools that can open up our imagination. These lenses promise really outstanding new possibilities.”

Panavision’s Dan Sasaki, VP of Optical Engineering, adds, “The cinematographers who have used these lenses reported that they were very happy that we didn’t create something that is synthetic or too scientifically sharp. Cinematographers tell us that the character of the lens is even more important with digital cinematography. We maintained the artistry, and preserved the dimensionality that was originally designed for the Primos back in the 1990s. The Primo 70 lenses definitely share the Primo family resemblance.”

Panavision Primo 70 lenses are the product of state-of-the-art design and manufacturing techniques and materials, and they incorporate feedback from industry pros. Primo 70 lenses are not compatible with film cameras, as they are specifically designed to work with digital cameras. The internal mechanics retain a familiar Primo feel. Floating internal elements control breathing and allow the lens to maintain extremely high performance from infinity to close focus. Currently, Panavision has made Primo 70 mounts for the Sony F55, RED DRAGON, ARRI Alexa (standard and Open Gate), Phantom Flex4K and Phantom 65, with other cameras being assessed for compatibility.

“Panavision’s unparalleled experience in optical design and lens construction, and our deep and longstanding relationships with filmmakers, have all been brought to bear on these superlative lenses,” adds Snyder. “Filmmakers have expressed a need for lenses that work with larger sensors in an array of cameras. We’re focused on providing the tools cinematographers need to tell their stories and express their creativity.”

The Primo 70 series of lenses are available to rent from Panavision worldwide.

Via: Panavision

Blackmagic Design Releases Fusion 7 For Free

Fusion 7

Fremont, CA - November 10, 2014 - Blackmagic Design today announced that Fusion 7, the world’s most advanced visual effects and motion graphics software, is now available completely free of charge.

Previously getting access to high end visual effects tools such as Fusion cost thousands of dollars, so it was more restricted to elite Hollywood visual effects artists. Now with Fusion 7 being available free of charge there is no limit to block anyone from creating world leading visual effects. Blackmagic Design believes this will revolutionize the industry and consumers will be able to watch dramatically better feature films and television shows in the future.

Also announced was Fusion 7 Studio, a complete bundle of VFX and motion graphics solutions with collaborative tools and unlimited network rendering for creative teams and larger facilities. Fusion 7 Studio drastically reduces the cost of setting up multi user studios. Fusion 7 Studio will be available for $995 from Blackmagic Design resellers worldwide.

Fusion has been one of Hollywood’s leading visual effects and motion graphic tools for over 25 years and has been used on thousands of feature film and television projects, including blockbusters like Maleficent, Edge of Tomorrow, Sin City: A Dame to Kill For, The Amazing Spider-man 2 and The Hunger Games, as well as hit television shows like Battlestar Galactica, Orphan Black and many more.

The free of charge Fusion 7 is a fully featured solution and is not limited in it’s features. It has a massive visual effects and motion graphics toolset that can be used for both personal and commercial work. Fusion 7 features an infinite 3D workspace and an easy to use node based workflow for quickly building unlimited effects. Customers get advanced 3D compositing, paint, rotoscope, retiming, stabilization, titling, an amazing 3D particle generator and multiple keyers, including Primatte. Fusion 7 also lets customers import and render 3D geometry and scenes from other applications as well as create their own elements from scratch.

The $995 Fusion 7 Studio includes everything found in the free Fusion 7 software, plus adds extra high end features such as optical flow tools for advanced retiming, stabilization and stereoscopic 3D production, support for third party OpenFX plug ins, and distributed network rendering so customers can render jobs on an unlimited number of computers at no additional cost! Fusion 7 Studio also includes Generation, a studio wide multi user workflow and collaboration tool that helps creative teams manage, track and review versions of every shot in a production. Customers can also move projects from the free Fusion 7 software to a workstation running Fusion 7 Studio and take advantage of workflow collaboration and unlimited distributed network rendering.

Unlike other software, Fusion 7 Studio doesn’t require annual maintenance fees, subscriptions, a connection to the cloud, or per node render license costs. That means customers don’t get tricked into hidden or on going costly payments for software they’ve already purchased.

“Visual effects software has been expensive for way too long and it’s time that this changed. Consumers are screaming for more exciting movies and television programs and so we need to do everything we can to help our customers create stunning visual effects,” said Grant Petty, Blackmagic Design CEO. “Now, with the free version of Fusion, everyone from individual artists to the biggest studios can create Hollywood caliber visual effects and motion graphics! When combined with DaVinci Resolve Lite, customers can get the world’s most advanced tools for editing, grading, 3D compositing, visual effects and motion graphics, all absolutely free!”

Availability and Price

Fusion 7 software for Windows is available for download now from the Blackmagic Design web site free of charge. Fusion 7 Studio will be available for $995 at all Blackmagic Design Resellers. Existing Fusion 7 customers and customers on a current Fusion support plan can upgrade to Fusion Studio at no additional charge by contacting Blackmagic Design.

Via: Blackmagic Design

For the Love of Film – Interstellar IMAX Featurette (video)


“For the Love of Film” goes behind-the-scenes on a year-long initiative to see the lengths one team was willing to go to bring a vision to life. Join Christopher Nolan, Hoyte van Hoytema and the IMAX team as they document the process involved for the IMAX 70mm film release of Interstellar, which involved hundreds of people, 20 tons of film prints, and countless hours of planning, installation, testing and training.

INTERSTELLAR TECHNICAL SPECIFICATIONS

Interstellar was shot using a combination of 35mm anamorphic film and 65mm 15 perf IMAX FILM. When presented on 70mm IMAX, the sequences shot on IMAX are printed full quality in their native format- the highest quality imaging format ever devised, offering almost ten times the resolution of standard formats, and filling the giant IMAX screens from top to bottom. The 35mm anamorphic sequences have been blown up to fill the IMAX screen side-to-side using a 6k digital DMR process, the highest resolution processing ever used in a feature film presentation. The finished picture switches between the 2.40:1 and 1.43:1 aspect ratios at key dramatic moments in the film. This is combined with a specially made IMAX uncompressed sound mix for the most immersive presentation of the film.

The digital IMAX presentation has been created from 6 and 8k scans of the original film elements, graded specifically for the high contrast IMAX dual-projection system. When presented on digital IMAX, the sequences shot on IMAX will fill the IMAX screens from top to bottom and switch from 2.40:1 to an aspect ratio of up to 1.9:1. It will also carry the uncompressed IMAX sound mix of the film.

When presented on regular 70mm film, the IMAX sequences have been optically reduced to 70mm 5 perf film to produce a grain-free, ultra-high resolution image, cropped top and bottom to fill the wide screen. The 35mm anamorphic sections have been blown up optically. Both processes are photochemical, preserving the original analog color of the imagery and combined in a 2.2:1 widescreen presentation. The sound is carried on a separate Datasat disc to produce state-of-the-art 6-track digital sound.


The 35mm anamorphic prints have been made photochemically, preserving all the rich analog color and high resolution of the original 35mm anamorphic photography. This is combined with new 4k negatives produced from 8k scans of the IMAX original negatives, cropped top and bottom to create a seamless 2.40:1 scope image. The sound is coded on the prints in Dolby SRD for a 6-track digital playback experience in most theatres.

The digital presentation of INTERSTELLAR has been created from 4 and 8k scans of the photochemically- color graded film elements, fine-tuned in the digital realm to maximize the color and contrast attributes of digital projectors, and dust-busted to achieve the cleanest and most stable image presentation possible. The film was mastered in 4k for the highest digital resolution currently available.

The sound on INTERSTELLAR has been specially mixed to maximize the power of the low end frequencies in the main channels as well as in the sub woofer channel. This effect is present is in all available presentations of INTERSTELLAR, all of which have been designed to play back at the volume level designated by the industry at 7 on the Dolby cinema processor.

Interstellar IMAX Featurette

Visit: Interstellar