Political Correctness: When we agree as a society to abuse those who speak the language of truth.
I wonder if religion might actually be a placebo, so to speak, a placeholder that lets us imagine that we know the truth when actually we don't.
Just say no to Television. Stop believing it. Turn it off.
I confess I have done no research to support anything I am writing about this historic event but this is the week that President Trump finally booted out the political hack at the head of the FBI. Liberals throughout America (the Dems and virtually the entire television and print media - the actual fake news outlets) are trumpeting the conspiracy theory that Trump did this to impede the FBI's investigation of Russia colluding with Trump and his teams before, during, and after the 2016 campaign.
Shortly before this week began and for months prior, Liberals blamed this same FBI director for costing Hillary Clinton her entitlement to be leader of the free world (so-called). Since the firing, it's as if James Comey could do no wrong. Why, if Liberals were religious, James Comey should be Saint James or something.
I didn't really see Comey as a mystery and certainly not as a saint. If you look at him as a political hack acting to further the political careers of certain powerful Democrats, pretty much every controversial thing he did related to the 2016 campaign makes sense.
Democrats say that by investigating Hillary Clinton during the 2016 election year Comey caused Clinton's downfall. What I saw, though, was this political hack heading up the FBI reassuring the American public, not just once but TWICE that there was nothing to be concerned about other than that Hillary made a few mistakes. He assured us there was nothing she could be arrested for regarding all her email lies.
More recently I saw this very same hack using the power of his office to cast a dark shadow over the Republican President of the United States, not based on verifiable evidence but rather by colluding with mainstream Liberals everywhere to cast doubt.
So his boss fired him.
I think it's time all the left-wing hacks in government joined the unemployed.


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Everything You Need To Know About Margo Harshman – Wiki
By Olivia Clarke July 16, 2022
Keith (2008)
as Brooke
Fired Up! (2009)
as Sylvia
as Chugs
From Within (2008)
as Sadie
Fact Became a freshman in community college. [August 2002]
1 Who is Margo Harshman? Wiki Bio
3 Appearances in movies
7 Appearance and net worth
14.2 Soundtrack
15 Awards
15.1 Won Awards
15.2 Nominated Awards
Who is Margo Harshman? Wiki Bio
Margo Cathleen Harshman was born in San Diego, California USA, on 4 March 1986, so her zodiac sign is Pisces and she holds American nationality. She is an actress who gained recognition after portraying Tawny Dean in the comedy TV series "Even Stevens", and Alex Jensen in the sitcom "The Big Bang Theory".
Margo was raised alongside her two brothers and two sisters in La Costa in San Diego County, by their father who was a professor at a local college, and their mother who was a nurse – she died on 14 May 2014 after having fought breast cancer for years.
#HappyBirthdayMargoHarshman #HappyBirthday #MargoHarshman
A post shared by Emanuela Ela (@ela_emanuela) on Mar 4, 2015 at 3:24pm PST
Margo finished elementary school in La Costa, and then moved to Orange County in California where she attended Hewes Middle School before moving to Foothill High School.
She actually began modelling at the age of two, when her grandmother signed her up to compete in a local beauty pageant, and after that Margo began dancing and doing gymnastics. She became interested in acting at the age of eight, and soon found her first manager. Upon matriculation, Margo focused on her acting career and didn't enroll at college.
Appearances in movies
Margo made her debut film appearance in "The Elf Who Didn't Believe" in 1997, followed by roles in "Murphy's Dozen" in 2001 and "Recipe for Disaster" in 2003, before she was invited to portray Tawny Dean in the Disney film "The Even Stevens Movie" which starred Shia LaBeouf, Christy Carlson Romano and Donna Pescow and which follows the Stevens family while they're spending a week on a mysterious island in the Pacific. For her performance, Margo was nominated for a Young Artist Award for the Best Performance in a TV Movie, Miniseries or Special by a Supporting Young Actress.
In 2005, she portrayed Gina in "Fellowship", while the year 2006 saw her appear in the slasher movie "Simon Says", and "Hiding Victoria". She co-starred in the action horror movie "Rise: Blood Hunter" in 2007, and then had side roles in five movies in 2008, some of which were "College Road Trip", "From Within", and "Pretty Little Devils". Margo was praised for her portrayal of Sylvia in the comedy sport film "Fired Up!" in 2009, which starred Eric Christian Olsen and Nicholas D'Agosto, and which follows two guys attending high school as they decide to go to a cheerleader camp.
Some of Margo's latest appearances in movies have been in "Sorority Row" in 2009, for which she won a ShoWest Award for the Best Female Star of Tomorrow, "Toxin" in 2015, and "Love on the Vines" in 2016.
Margo became famous in the US after she was invited to portray Tawny Dean in the comedy series "Even Stevens" in 2000, which starred Shia LaBeouf and Christy Carlson Romano and which is about the Stevens family in Sacramento, California and their adventures and misadventures. For her performance, Margo was nominated for a Young Artist Award for the Best Performance in a TV Series (Comedy or Drama) by a Supporting Young Actress.
Margo Harshman
Margo then portrayed the lead character Brooke Franklin in the sitcom "Run of the House" in 2003, and appeared in a single episode of "Without a Trace" and two episodes of "Center of the Universe" in 2004. She was then invited to guest star in numerous TV series, some of which are "Everwood" in 2005, "Grey's Anatomy" in 2006, and "Journeyman" in 2007, while she was praised for her performance in the episode "Hollywood Forever" of the series "90210" in 2008.
She appeared in "Boston Legal" in 2008, and "Modern Family" in 2009, and then in the episode "Family Dinner for Schmucks" of the series "$h*! My Dad Says" in 2010.
She was cast to portray Screwsie in six episodes of the sitcom "Bent" in 2012, and then guest starred in five episodes of the critically acclaimed sitcom "The Big Bang Theory", and also in four episodes of the web series "Betas".
Some of her most recent appearances in TV series have been in "Bones" in 2013, "CSI: Crime Scene Investigation" in 2014, and "NCIS" in which she appeared as Delilah Fielding in 14 episodes between 2013 and 2019.
Margo met her future husband Austen Hooks in 2015, at a club where he was playing music as he is a musician and a DJ, and the two started dating only days later. They married at a small ceremony held in San Diego in 2917, which was attended by the two's closest friends and family, however, after just a year of being married, Margo filed for divorce on 6 December 2018.
As several sources have stated, Margo and Austen were living separately for two months prior to Margo filing for divorce, and they agreed not to pay each other spousal support.
They divided their assets between themselves, with Margo getting to keep her house in California, her car Honda Pilot, and their dog Bullet while Austen kept his car Toyota Tundra. The two also have firearms, but they have left it to the judge to decide who gets what.
Margo is currently single, and doesn't have children.
Margo has been interested in sports and various activities since she was five – her biggest passion is dancing, and she attended the same dance school as her colleague actress Shia LaBeouf. She likes to travel and has been all around the US as well as to several European countries such as Germany, England and Ireland, as her ancestors lived in these countries. She is a lover of animals, and has a pet dog and a cat. Margo's favorite season is summer as she enjoys laying at the beach with a cocktail in her hand, while she is also keen on swimming in the ocean and playing beach soccer and volleyball.
Posted by Margo Harshman on Wednesday, December 4, 2013
Margo likes to watch movies in her spare time, and some of her favorite actors and actresses are Johnny Depp, Robert De Niro and Natalie Portman, while some of her favorite movies include the franchise "The Pirates of the Caribbean", "Pulp Fiction", and "V for Vendetta".
Appearance and net worth
Margo is 34 years old. She has long brown hair and blue eyes, is 5ft 4ins (1.63m) tall, and weighs around 121lbs (55kgs). As of April 2020, her net worth is estimated at over $6 million.
Full Name Margo Harshman
Education Foothill High School, La Costa Heights Elementary School, Hewes Middle School
Parents David Harshman, Janelle Harshman
Movies Sorority Row, College Road Trip, Fired Up!, Keith, Simon Says, The Even Stevens Movie, Rise: Blood Hunter, From Within, Hiding Victoria, Extreme Movie, Recipe for Disaster, Toxin, Pretty Little Devils, Judy's Got a Gun
TV Shows Bent, Run of the House, Even Stevens, The Adventures of Big Handsome Guy and His Little Friend
1 She has German, Swiss-German, Danish, Norwegian, English, Irish, Scottish, and distant French ancestry.
2 Became a freshman in community college. [August 2002]
3 Attended one of her school dances at Foothill with Shia LaBeouf.
4 Attended Foothill High School in Orange County, California.
Love on the Vines 2016 TV Movie post-production Diana Armstrong
NCIS 2013-2016 TV Series Delilah Fielding
The Muppets: First Look Presentation 2015 Short Becky
Toxin 2015 Mandy
CSI: Crime Scene Investigation 2014 TV Series April Brock
Betas 2013 TV Series Lisa
Bones 2013 TV Series Alison Kidman
The Big Bang Theory 2012-2013 TV Series Alex Jensen
Bent 2012 TV Series Screwsie
House M.D. 2012 TV Series Melissa
$#*! My Dad Says 2010 TV Series Kim
Modern Family 2009 TV Series Jungle Tanya
Sorority Row 2009 Chugs
Jenny Got a Boob Job 2009 Short Courtney Sager
Fired Up! 2009 Sylvia
Extreme Movie 2008 Ted's Girlfriend
Boston Legal 2008 TV Series Margie Coggins
90210 2008 TV Series Detention girl
Legacy 2008 Video Nina
From Within 2008 Sadie
Keith 2008/I Brooke
College Road Trip 2008 Katie
Judy's Got a Gun 2007 TV Movie Maya Spektor
Journeyman 2007 TV Series Abby Armstrong
Rise: Blood Hunter 2007 Tricia Rawlins
The Adventures of Big Handsome Guy and His Little Friend 2006 TV Movie Jane
Hiding Victoria 2006 Victoria Walker
Grey's Anatomy 2006 TV Series Jennifer Morris
Simon Says 2006 Kate
Everwood 2005 TV Series Maura
Fellowship 2005 Gina
Center of the Universe 2004 TV Series Sara
Without a Trace 2004 TV Series Harley Palmer
Run of the House 2003-2004 TV Series Brooke Franklin
Even Stevens 2000-2003 TV Series Tawny Dean
The Even Stevens Movie 2003 TV Movie Tawny Dean
Recipe for Disaster 2003 TV Movie Rebecca Korda
Titletown 2003 TV Movie
Murphy's Dozen 2001 TV Movie Bridgett
The Elf Who Didn't Believe 1997 Jolie
Even Stevens 2000-2002 TV Series performer - 3 episodes
NCIS - Season 13: All's Fair in Love and War 2016 Video short Herself
Simon Says Chopped Chiseled and Charred 2009 Video short Herself
This Is Not a Cheerleading Movie: The Making of 'Fired Up!' 2009 Video short Herself
Disney Channel Holiday 2005 Video Tawny Dean
2009 ShoWest Award ShoWest Convention, USA Female Star of Tomorrow
2004 Young Artist Award Young Artist Awards Best Performance in a TV Movie, Miniseries or Special - Supporting Young Actress The Even Stevens Movie (2003)
2004 Young Artist Award Young Artist Awards Best Performance in a TV Series (Comedy or Drama) - Supporting Young Actress Even Stevens (1999)
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redpajama_set_name: RedPajamaCommonCrawl


We sing music written or arranged by women. That is what we do. We work to effect positive change in cultural attitudes toward women and women artists, as well as to increase the visibility of lesbian feminists. In doing that, we explore the roots of who we are as women, as lesbians, as feminists. That in turn often leads us to themes of peace, community building, and social justice. We don't always get along. Our meetings and rehearsals are sometimes less than harmonious. But whatever else happens, we always come back to the music and to one another.
Want to sing with us? Join us for new member night on Thursday, Jan 25!


text:
Q: Error appears in Facebook sdk library file I just started working with Facebook sdk and I am following the packet code example. But when I start running it, it gave me many errors but was able to fix them by referring to this, but this I couldn't fix this error:

HTTP Status 500 - java.lang.RuntimeException: PHP Parse error: syntax error, unexpected T_OBJECT_OPERATOR in C:\Users\HP USER\Downloads\Apache Tomcat \GraphSessionInfo.php on line 90
java.lang.RuntimeException: PHP Parse error: syntax error, unexpected T_OBJECT_OPERATOR in \GraphSessionInfo.php on line 90

Error refered to the below code
public function getIssuedAt()
{
    $stamp = $this->getProperty('issued_at');
    if ($stamp) {
        return (new \DateTime())->setTimestamp($stamp);  **//line 90**
    } else {
        return null;
    }
}

A: Calling class methods directly after instantiation (sth. like (new \DateTime())->setTimestamp(...)) was added in PHP 5.4 and was not supported in prior versions (also see the official documentation).
When you are using an older PHP version (probably 5.3 from the looks of it), you will need to store the constructor result in a variable before calling additional methods on that object:
$datetime = new \DateTime();
return $datetime->setTimestamp($tstamp);

You should also consider that PHP 5.3 has reached it's end-of-life in August 2014 and is not supported anymore. Consider upgrading to a newer version (since you appear to be running PHP in a Java servlet container, this might not be trivial, though).

redpajama_set_name: RedPajamaStackExchange


Welcome to the website of Donna G. Cambria Consulting, LLC, a company dedicated to equitable and excellent educational services for all students. Donna G. Cambria Consulting, LLC was established in July, 2012, with a mission to provide special education advocacy, consultation and training towards this aim. As the owner of Donna G. Cambria Consulting, LLC, I bring to this company an unwavering commitment to the education of all students, with a specialization in students with disabilities and in students whose education has been impacted by mental illness, trauma or by their involvement in the child welfare or juvenile justice systems. Having assured the provision of an appropriate education for students in multiple capacities for over thirty years, it is my vision to continue this work through the establishment and services of this company.
Donna G. Cambria Consulting, LLC is dedicated to serving its clients with respect, responsiveness and regard for their specific needs. Please explore the services described in the content of this website and contact me at any time for further information regarding these services or for a free consultation regarding your specific needs.
© 2019 Donna G. Cambria Consulting, LLC.


Games [4Diversity] is always looking for sponsors. Any 'penny' helps in making a bigger impact! 😀 Please feel free to donate or sponsor our mission to improve the representation and inclusion of socio-cultural minorities in games.
We can promote your organization on our website, events & newsletters. Please contact Sabina Dirks (sabina@eventina.nl) to discuss the possibilities.


The collective soul is yearning for full creative expression, expressing the true source of who we are. That time is now.
In truth, you are already whole. Embracing your wholeness is about realizing and living the truth of who you are. Embracing your wholeness is about choosing a consciousness to love all fragmented parts of yourself back into wholeness. All unloved parts that have been broken are an invitation waiting for your love. It takes a tremendous amount of courage to face and bring radical self-love to anything within your physical body/reality/ experience that has never seen the light of the day or experienced your amazing capacity to love. Embracing your wholeness is about honoring your daily practices taking into consideration the spiritual body, the mental body, the emotional body and the physical body. Embracing your wholeness is the self-realization that you have never been separated from your creator and that you have within your physical body the ability to heal any imbalance that has caused you to feel pain and isolated from your creator from yourself and others. Embracing your wholeness is about being active with our love, by choosing unconditional love for yourself first and foremost to applying love without condition or judgment as you practice living, and building your new foundation from a place of wholeness love, and peace. It's your divine birthright.
Part of the change and evolution that is taking place for every human being on this planet at this time is happening no matter what. Anything that defines you is being stripped away, this is helpful in your evolution to release and let go of old conditions, old beliefs, old habits SO that you can align with the truth of who you are. We are ascending/ the planet is ascending into higher vibrational ways of living and being. The Ascension journey is not easy but' it's very simple it requires a technique of learning to let go and release everything you thought you knew was true and it's asking you to examine what you believe is true for you today. Ascending into higher states of consciousness requires for you come home to the truth. You are a powerful creator fully capable of co-creating a peaceful world with your unique authentic essence. If you have not made peace with your past it is still part of your present and you will make choices based on those beliefs and emotions that will create your reality today.
Make peace with your past. Create the life you dream of.
Once you begin this process of loving the self-whole. You will find it does not have to take years to leave the past behind. The energies in our evolution today support us to have spontaneous healing, clearings, and new beginnings. You were not meant to fit into an old dying world. You were born, to create and build a new one world with you at the helm. In letting go and making peace with your past you are lightening your load. All the heavy baggage that has caused you suffering and keeping you in pain will soon be a distant memory. You can choose now to get unstuck and live your best life. You are more powerful than you know. With your intent to heal, release your karmic past you will move into your truth. Living the truth of your being is liberating and empowering. You can experience great relief and immense peace now. Having a strong spiritual practice is the key to your well-being and that will be part of your daily practice in taking care of your physical body.
My childhood had me well prepared, to never acknowledge myself and put my own needs aside. What a long and painful path to claim my worth and love each and every part of myself into wholeness. My life's work has been undoing all the old conditioning, old beliefs, and healing my emotional core wounding. Through this work, I achieved self and life mastery. Because of my own transformation – having emotionally processed the entire Universe though my physical body – it is my hope and desire to share my awakenings, my wisdom with others so they too can heal awaken and live their truth. Today it is hard for me to imagine that I ever, ever had a thought that was attached to a belief that was attached to an emotion that I was not good enough, and that I used to make choices that reflected that belief.
Healing our emotional core wounding of feeling betrayal, feeling not good enough and feeling like we are victims is the release of the old human. The opposite of betrayal is trust and the events happening in the world in your relationships are triggering us to release the old so we can reclaim our inner power and embody trust. If you don't trust yourself/ your creator and the universe how can you experience trust in your relationships? The world is an inside job, Peace is an inside job. Love is an inside job.
YOU are the one that can make a difference and together we are building a world that is rooted in love peace trust and unity consciousness. Claiming our inner power is being spiritually mentally emotionally responsible for ourselves as sovereign beings this is our call to action now.
With the global dark night of the soul playing out in our personal lives, family, and business relationships all are about deep change & growth. From politics to our inner communities new foundations are being built, old ones are falling away. We are in trying and challenging times. While all these challenges seem overwhelming they don't have to pull you down. Yes, Change can be difficult yet — Change is the only constant and the truth is you are stronger than you think you are. These are perfect opportunities to re- claim your inner power, and be the authority on your own life. If you have charged reactions to the events in the world such as frustration, fear, anger, judgment or jealousy these are all old suppressed feelings coming up to the surface so you can release them once and for all from your physical body. These energies have been stored suppressed in your DNA based on our conditioning from the past. When these energies were stored they were strengthening the victim consciousness archetype and the emotional core wounding of the old suppressed human. The activated human is now releasing this old energy reclaiming empowerment.
It is important to not repress or suppress the energy yet at the same time, it is equality important not to be projecting these issues onto others. How do we do that? ——First.- Remember you are stronger and more powerful than you think you are. All this change is happening for your empowerment and your freedom. Use these energies to liberate yourself. What are your relationships, events of the world mirroring to you? In making peace with the opposing forces that are at war within yourself. YOU are being the change you want to see in the world. Peace is an inside JOB. We must master the emotional waters of our body. Taking the trigger inside alchemizing your trigger into wholeness. Be willing to examine what is being shown to you and transform the core wounding, powerlessness of negative beliefs dysfunctional patterns and habits into pure empowerment.
The physical body carries the load for everything and is also the densest and also the most neglected. The release process is about Your releasing the old energy's the old experiences and memories of the past the karma the density the dNA the old suppressed emotions that have been stored inside the the body's cell memory are coming up for purging and release . The light that is coming in is assisting with the purging. It's happening no matter what with the evolution of our planet and us ascending/ moving into higher vibrational ways of living and being.
In turn what will be going in it's place is light, leaving you feeling vitality, health, radiance, energetic youthfulness. You will no longer be a victim to your body and you will no longer be mistreating your body but come from a place of having a new relationship with your body. An honoring from you. Always listening with what you body needs and what it's communicating to you. The physical body is the place where we are either experiencing health and vitality and feeling whole or we are experiencing the opposite. Our focus is bringing our bodies into a higher vibrational state of vibrating if you will so that you can vibrate and emit a frequency of love, joy and abundance, instead of vibrating and emitting a frequency of fear, sadness and survival and lack consciousness. The release process will offer this to you, a form of freedom like you have never felt before.
Another reason to clearing your body of the past cell memory and why it all can seem overwhelming is because our physical body is experiencing the world through our emotions and as sensitives, we also pick up the emotions of others that are around us. Staying emotional neutral keeping your body happy and feeling good is a full-time job.You are responsible for your physical body.
You are ever only releasing and letting go of all the illusions and separated parts that have never been loved into wholeness and unity. The old human identified with a consciousness of not good enough or feeling abandonment or betrayal or self-hatred these are all emotional core woundings that are waiting for healing. Each time you release and old thought, an old belief and the emotions that are attached to that belief you are loving yourself free.In the releasing and letting go you are allowing parts your yourself to fall away that are not in alignment with your truth.
When does the pain stop? after you feel, release the old energy, layer by layer the pain stops. You move into a neutral space with your being. The wounded child, the one who has been crying for your attention all your life, has now been loved and nurtured by you. The wounded ego has learned to let go of control and trusts the higher self to be lead from the heart. The victim after many lifetimes of dedicated service work and slavery has been retired and is now free. The addict is no longer looking for something to numb or fill a void, as the addict now has chosen to fill itself with radical- self-love, nothing else will do. The wounded child, The Wounded Ego, The Victim, The Addict are no longer playing parts in your movie. Through connection and deep intimacy…with this process you are mastering the human condition with your unconditional love and letting go of the old story.
You will bring your physical body into a higher vibrational way of living and be so that you can vibrate an energy of harmony Peace, JOY, abundance, Unity, Unconditional love, faith, success. (Become a wholeness Practitioner click here for the next step in the process.
We are the creators of the universe and our vision is to build a new paradigm on the foundation of unconditional love and empowerment. We are an international community of awakened beings, guides, mentors and coaches who are committed and devoted to loving the self and each other, raising the consciousness of the planet. In the course of the 3-day retreat, you will gain experience in empowering each other with what we have learned from the basics of energy work.
There is nothing more powerful than learning about the basics of emotion and how to be an emotionally healthy person. Learning how to respond to life from a place of emotional empowerment will be a skill that you will get really good at as well as the skill of learning to undo the outworn subconscious beliefs that have been programed into you since childhood. Having a skill set that will assist you to navigate the changing world while at the same time uncovering what's true for you so that you can build and co- create a world that is in alignment with you and your essence, is a major aim of the program.
Be part of the empowerment network, a new generation of women and men who are leading in their self-actualization, Spiritual growth can take place when you are open and ready to learn and receive . As an empowered human, you will experience true spiritual power and greater freedom in your life than you ever thought possible. Your heart will heal from the suffering of your past and you will feel encouraged and excited to build a foundation that has you in charge of your reality based on what is true for you now. Living in the reality you wish to create, you will experience yourself soaring in your spirituality with vibrant health, harmonious relationships, financial peace, and the passionate work you love.
The less self-mastery and sovereignty we possess, the more apt we are to give our power away to outside forces. This has been a long-ingrained pattern and can show up in the subtle ways we give our authority away in our personal relationships or the group collective, most of the time out of fear. In raising our consciousness step by step, ,we are grabbing the opportunity to self-actualize. This is empowering energy work, tapping into the true source of who you are, a new generation of women and men who are leading in their self-actualization. There has never been a more victorious time than now to claim our sovereignty, our independence.


text:
Showing results for tags 'Panavision'.
Panavision to Showcase End-to-End Ecosystem at 2019 Camerimage
Sue Smith posted a topic in News & Press Releases
Panavision and its family of companies return to the EnergaCamerimage International Film Festival from November 9-16 in Torun, Poland, with an immersive, end-to-end experience for attendees. Torun's newly renovated Karczma Damroki facility, across the street from the Jordanki Festival Center, will be transformed into an interactive festival space called PanaVillage and will showcase the integrated technologies, products, and services from Panavision, Panalux, Light Iron, LEE Filters, and Direct Digital. "We are giving filmmakers the opportunity to experience our broad array of tools in a simulated production environment," says Kim Snyder, Panavision president and CEO. "Our global team and product experts look forward to engaging with attendees in a hands-on experience with our end-to-end offerings." At the PanaVillage, guests will interact with Panavision's complete ecosystem of cameras and lenses, lighting, filters, gels, grip, and remote systems. Visitors will be able to fully control and monitor an 8K Millennium DXL2 large-format camera mounted on a SuperTechno 30 crane, using an innovative new wireless fiber technology with a range of more than a kilometer (0.6 miles). Mounted in front of a Primo 70 lens, Panavision's LCND filter offers six stops of variable density. Guests can remotely adjust the camera, iris, and LCND filter while monitoring 4K video inside the PanaVillage on a LINK HDR Cart. Panavision and Light Iron's LINK HDR system, which debuted at Cine Gear Expo Los Angeles earlier this year, is now being utilized on feature and episodic projects. PanaVillage guests will experience how the Panavision LINK HDR cart and Light Iron LINK HDR dailies and finishing services put the power of creating HDR images into the hands of all creatives – including cinematographers, editors, and colorists – throughout the entire imaging chain. While inside the PanaVillage, attendees will have the opportunity to experiment and craft unique looks using the DXL2 camera and the more compact DXL-M system. A selection of large format lenses, including the T1.4 Panaspeeds, will be available to frame the scene. Guests can illuminate the scene and control the lighting with a variety of Panalux and third-party options. LEE Filters' full collection of lighting gels, including the expanded range of Zircon LED gels, will be available to further modify the scene. PanaVillage visitors will also encounter LEE Filters' ProGlass CINE IRND range of neutral-density filters and the LEE100, a lightweight, high-performing 100mm photographic filter mount system. Experts from Direct Digital will be on hand to discuss stills and motion rental services. Guests looking to purchase consumables and merchandise can find the Panastore in the main Jordanki Festival Center. Additional micro-workshops hosted by the Panavision group will be programmed throughout the week and real-time details will be shared on Panavision's social media accounts. This year, Panavision is proud to sponsor a cinematic retrospective from EnergaCamerimage Lifetime Achievement Award recipient John Bailey, ASC. On November 12 at 15:00h at CinemaCity, Bailey will present insights from his impressive career, spanning more than 40 years with credits including Ordinary People, The Big Chill, In the Line of Fire, American Gigolo, A Walk in the Woods, Mishima, and The Accidental Tourist. Panavision's long-standing relationship with Bailey resulted in the 2004 creation of the AWZ2, or the "Bailey Zoom," the first modern zoom to use anamorphic elements in front of the lens. For more information about Panavision's end-to-end offerings, visit www.panavision.com. To learn more about EnergaCamerimage, go to https://camerimage.pl/en/.
camerimage
Panavision's Camera-to-Finish Imaging Ecosystem Featured at Cine Gear 2019
Panavision, the world-class provider of end-to-end solutions, will return to Cine Gear Expo (May 31-June 1) at The Studios at Paramount to showcase the latest innovations in the company's ever-expanding production and post production ecosystem. Panavision, Light Iron and LEE Filters will display an array of integrated technologies and systems at booth S408 on Stage 3 – ranging from lenses, cameras and filters, to state-of-the-art production and post production workflows – that illustrate Panavision's commitment to providing the most versatile and powerful storytelling tools. "At Panavision, our vision is to support filmmakers with solutions that expand creativity and efficiency," says Kim Snyder, president and CEO of Panavision. "We're always focused on adapting the tremendous power of technology to the needs of the visual artist. We're proud and excited to demonstrate our latest advancements." Among the breakthroughs on display are Panavision and Light Iron's new LINK HDR system. Creatives are producing for HDR-capable distribution platforms more than ever before as consumers seek premium viewing experiences. LINK HDR was developed to address the challenge of viewing HDR (high dynamic range) images throughout the production and post production process. Offering HDR and SDR viewing options in tandem, LINK HDR provides cinematographers, directors, editors and creative talent throughout the imaging chain the ability to view their image at the same quality delivered to consumers. The LINK HDR system consists of: Panavision LINK HDR On-Set Cart – a modular cart outfitted with various monitoring configurations that offers creatives the ability to view HDR and SDR live from the camera. Light Iron LINK HDR Dailies – an NLE process that creates HDR and SDR deliverables simultaneously, which allows editors to cut, toggle between, and export in either format. Light Iron LINK HDR Finish – a combination of creative talent, technical expertise, and leading technologies that link the creative decisions made on-set to the HDR mastering process for delivery to various HDR platforms. "As adoption rates of the HDR format rapidly grow, it is more critical than ever for creatives to view a consistent image from on-set through the finishing suite," notes Light Iron Supervising Colorist Ian Vertovec. "We want filmmakers to have all the tools they need for this new deliverable. The components of LINK HDR were designed with them in mind." Panavision's Millennium DXL2 and DXL-M camera systems will also be showcased at the Panavision booth, demonstrating the value of this expanding ecosystem. With new industry developments, the DXL2's 6G 4K SDI outputs, which allow direct connection to a Teradek Bolt 4K with a single SDI cable, can now be fully utilized. The latest enhancements to the DXL2 also include: an integrated C-Motion F.I.Z. module allowing the use of Arri WCU4 wireless lens control handsets with full lens mapping support; a proxy workflow that allows easy creation of traditional dailies while archiving 8K files for DI and VFX; a wireless audio module adding expanded audio capabilities; and DXL Control for iPhone and Android. The DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED's DSMC2 cameras, is now available to filmmakers. In addition to the Primo HDR viewfinder, DXL menu system and LiColor2, the DXL-M now offers 2x2 SDI outputs delivering two independent monitoring paths across 4x HD-SDI outputs. Along with added accessories, battery elevator and control upgrades, these advancements add to the efficiency and flexibility of the kit. The result is a fully-equipped camera that is conveniently adaptable to any shooting scenario, including drone, remote head shots and situations where space is at a premium. Panavision's LCND, a variable liquid crystal neutral density filtration system, will be presented with expanded new features. LCND is now wirelessly controllable via the Preston handset and offers functionality that translates to creativity on the set. The ability to maintain a given stop under changing lighting conditions by riding the ND filter instead of the iris adds powerful image control options at the moment of photography. LCND also has manual controls and a 24-hour internal battery built into the single filter tray. Panavision's longstanding emphasis on delivering superior lens quality and unmatched selection continues to be a priority as it serves the artistic needs of today's creative community. At Cine Gear, filmmakers can examine the company's proprietary portfolio of optics, including the Primo-X (weatherproof and compact drone and gimbal solution), Panaspeed (large format, high-speed T1.4 with the classic Primo look), H-Series (vintage portrait look for spherical large format), and UltraVista (1.65x large-format anamorphic) lines, as well as other lenses in Panavision's large-format offerings. In addition to exhibiting, Panavision, in partnership with RED Digital Cinema, will present a panel featuring Oscar®-nominated cinematographer John Schwartzman, ASC. Panavision's SVP of Optics Dan Sasaki will join Schwartzman as he discusses his approach to visual storytelling and explores the fusion between visual concepts and tools. Schwartzman will reveal his decision-making process from pre-production to post on such projects as The Highwaymen and the upcoming Last Christmas, on June 1 at 11:45 a.m. in the Sherry Lansing Theater. LEE Filters will highlight the LEE100, a newly updated 100mm filter mount system that boasts lighter weight and improved performance. The LEE100 Filter System incorporates a rotation lock as well as a newly designed clip-on polarizer filter for ease of use. Additionally, LEE's full collection of lighting gels, including the expanded range of Zircon gels specifically designed for fine-tuning LED fixtures, will be touted, as well as the ProGlass CINE IRND range of neutral-density filters, precisely built to meet the exacting needs of cinematographers. "The advancements on display at Cine Gear exemplify our commitment to providing end-to-end solutions that put creative flexibility in the hands of filmmakers," says Snyder. "Each tool is conceived as an element of a unified ecosystem designed to deliver customizable solutions to meet any need or budget. We're looking forward to the opportunity to present the results to our friends and colleagues in the filmmaking community, and we can't wait to see how they're used in the visual storytelling of tomorrow."
cinegear
light iron
Award Contenders Enlist Light Iron for Post Services
Light Iron, a Panavision company specializing in post production services, is again playing an important collaborative role with notable episodic series this season. Customized workflow offerings from Light Iron for BETTER THINGS, THE GOOD FIGHT, THE OA, RAMY, SHRILL, THE MARVELOUS MRS. MAISEL, and WHAT WE DO IN THE SHADOWS, included dailies, digital intermediate, archive, and data services, among other creative and technical contributions. From San Francisco and Los Angeles to New York and Toronto, Light Iron serviced the productions from a range of locations with color and front-end teams involved from pre-production for a smooth and efficient experience. "We are honored to support these outstanding projects," says Peter Cioni, Light Iron's General Manager. "Our unique understanding of the demands of episodic schedules coupled with our technical skills in file-based workflows fuels our ability to fulfill the creative vision on time and on budget. Light Iron at its core is focused on innovation and, as part of the Panavision family, we offer our expertise from pre-production through finishing, creating efficiencies throughout the imaging chain." A closer look at the projects demonstrates the possibilities for end-to-end solutions from Light Iron and Panavision: • BETTER THINGS, season 3 (FX) – Already renewed for a fourth season, BETTER THINGS follows the trials and tribulations of Sam Fox (Pamela Adlon), a single mother and working actor with no filter, raising her three daughters in Los Angeles. The season was shot by Paul Koestner who collaborated with Light Iron's dailies colorist Gregory Pastore and DI colorist Corinne Bogdanowicz. Panavision Hollywood provided the camera and lens package. • THE GOOD FIGHT, season 3 (CBS All Access) – Entertainment Weekly hails the third installment of THE GOOD FIGHT as "the best show on TV." Shot by Fred Murphy, ASC, this season was supported by Light Iron with dailies by Andrew Hodgdon and final color from Steven Bodner. The production is also serviced by Panavision New York. • THE OA, season 2 (Netflix) – The first season of THE OA quickly developed a cult fan base. For the highly anticipated second installment, Light Iron worked closely with series DPs Steven Meizler and Magnus Nordenhof Jønck to ensure the work done by dailies colorists Andrew Hodgdon and George Thomas was reflected in the final color grade with Ian Vertovec. Services included location support in San Francisco and Los Angeles. • RAMY, season 1 (Hulu) – Winner of the 2019 SXSW Audience Award, RAMY stars actor-director-comedian Ramy Youssef as the son of Egyptian immigrants in New Jersey. Light Iron worked closely with cinematographers Adrian Peng Correia and Ashley Connor to establish the look in dailies, which transferred seamlessly into the DI where the final color grade was performed by Steve Bodner. Cameras and optics were supplied by Panavision New York. • SHRILL, season 1 (Hulu) – From executive producers Lorne Michaels and Elizabeth Banks and showrunner Ali Rushfield, SHRILL stars Aidy Bryant (from SATURDAY NIGHT LIVE) as Annie, an overweight young woman who wants to change her life — but not her body. Based on the 2016 memoir by Lindy West, Vox calls the series "a quietly tender portrayal of learning how to love yourself." Light Iron colorist Nick Lareau provided the final color grade in collaboration with cinematographer Joe Meade. • THE MARVELOUS MRS. MAISEL, season 2 (Amazon) – Light Iron worked alongside cinematographers M. David Mullen, ASC and Eric Moynier, returning for the second season of this award-winning series created by Amy Sherman-Palladino. Light Iron's Aaron Burns handled dailies color and Steve Bodner collaborated with the two DPs during finishing. For camera and lens options, Panavision New York was the go-to resource. • WHAT WE DO IN THE SHADOWS, season 1 (FX) – Based on the feature film of the same name, WHAT WE DO IN THE SHADOWS is a documentary-style look into the lives of four vampires who have "existed" together for hundreds of years on Staten Island. The film's cinematographer D.J. Stipsen returned for the series, which has earned a 96% rating from Tomatometer critics on Rotten Tomatoes. Christian Sprenger lensed the pilot. Light Iron dailies colorists Gregory Pastore and Jacob Doforno supported early look development in Toronto via the local Panavision facility, which carried over into finishing in the DI by Ian Vertovec. For more information, visit www.lightiron.com.
Complete Imaging Ecosystem to be Showcased by Panavision at BSC Expo 2019
Panavision, the world-class provider of end-to-end solutions that power the creative vision of filmmakers, will return to BSC Expo (Feb. 1-2) with a demonstration of the company's comprehensive and expanding ecosystem for feature film, television and commercial productions. Along with Panalux and LEE Filters, the array of integrated technologies – ranging from lenses, camera systems, and accessories, to filters and lights – illustrates the extent to which Panavision is committed to giving filmmakers the most versatile and creative storytelling tools possible. "Panavision is excited to exhibit our latest innovations at BSC Expo and, in particular, to share how our products and services are designed to work together to help creatives tell their stories," says Kim Snyder, president and CEO of Panavision. "We are delighted to demonstrate the full extent of this growing ecosystem to filmmakers at BSC Expo." BSC Expo attendees were among the first in the world to get up close and personal with the DXL2 in 2018, and this year visitors can look forward to discovering a host of new options for the large format camera system. New to the DXL2 this year is an integrated C-Motion F.I.Z. module to allow the use of Arri WCU4 wireless lens control handsets with full lens mapping support. This important development broadens the DXL2 ecosystem for the European market. D2E version 1.0 gave DITs the ability to wirelessly control the LUT and CDL directly in the DXL2 camera. New to the DXL2 ecosystem being shown at BSC Expo is the Comtek Audio Module, which is the basis for the D2E 2.0 enhancement. In addition to the LUT and CDL from D2E 1.0, DXL2 now has the ability to receive audio feeds from the sound mixer via the industry standard Comtek transmitter, turning DXL2 in camera proxies into D2E dailies with colour and sound. Further advancing the popularity of the DXL camera system is the DXL-M Module and accessory kit for Red's DSMC cameras, which includes expansive power and communication ports, the DXL menu system and LiColor2. Also included is an additional SDI output path giving users two independently controlled outputs as well as clones. Notable to the DXL-M package is the Panavision Primo HDR viewfinder and motorized cinema lenses, which create a unique option for filmmakers not found anywhere else. Cinematographers keen to infuse distinct looks into their storytelling will be eager to see and handle the company's proprietary portfolio of optics. Panavision's team will be available at BSC Expo to offer tips and guidance on the large-format lenses on display, which include: Panaspeed, a large format update of the classic Primo look, offering the fastest option @ T1.4; Ultra Vista large format anamorphic optics with a 1.65x squeeze; H Series spherical lens set created with vintage glass for a classic portrait look; and the Primo X, the weather-proof compact and aerodynamic drone and gimbal solution. "Panavision's array of camera and glass options are meeting the demand for large-format filmmaking and illustrate the unmatched creative agility available to filmmakers," adds Snyder. Additionally, wireless or wired control of DXL2 and DXL-M is now available for Android alongside iOS devices. The Android DXL Control app allows users the option of wired control in situations where wireless is not ideal, such as aerial, underwater, and for Techno cranes. LEE Filters will be present at BSC Expo to highlight their range of next-generation filters, including the latest Zircon gels for essential fine-tuning LED control and ProGlass CINE IRND, the ultimate in precision Neutral Density filters for cinema. Panalux will present a diverse range of products on practical display lighting the booth. In addition, there will be demonstrations of the Cine Reflect Lighting System by The Light Box illustrating how any light source can be shaped by diffusion reflectors to produce natural looking light and shadows. "As a camera and lens manufacturer that also serves filmmakers as a trusted equipment and service provider, Panavision is uniquely positioned to respond to the needs of the community," notes Jeff Allen, managing director, EAME, Panavision. "All the technologies displayed at BSC Expo, including gels and lights, can be integrated in any combination and for any type and style of production to help creatives tell their stories with maximum control from the moment of capture through delivery and display."
BSC Expo
Sundance Filmmakers Turn to Panavision for Production and Post Services
As entertainment industry luminaries prepare to swarm Park City for the Sundance Film Festival, Panavision and Light Iron (Panavision's post production subsidiary) are proud to announce their collaborations with filmmakers on more than 25 projects screening or competing at the 2019 event (Jan. 24 – Feb. 3). The independent filmmakers behind these unique stories leveraged the innovative services of Panavision and Light Iron to provide a full range of offerings from gear to final deliverables. "We're honored that independent artists join forces with us to achieve their vision," says Kim Snyder, president and CEO, Panavision. "We are dedicated to delivering the tools and expertise that content creators need, wherever they are in the world, from pre-production to post." The 2019 Sundance lineup illustrates Panavision's enduring commitment to supporting the creative community and reinforces the importance of fostering filmmaking around the world. Across a number of titles, Panavision provided camera, lens and accessory packages, as well as dailies, offline editorial, and final color services from Light Iron. The comprehensive and single-point offerings underscore the company's dedication to meeting the individual needs of independent filmmakers and their budget demands. Snyder adds, "Panavision's vast portfolio of cameras and lenses coupled with our technical expertise present filmmakers with a phenomenal mix of options to creatively assemble the right equipment for any job. Additionally, the workflow savvy and creative services from Light Iron provide critical components that ensure quality imagery throughout the entire process." Here's a look at some of the highly anticipated productions at Sundance supported by Panavision and Light Iron: U.S. Dramatic Competition Big Time Adolescence (dir. Jason Orley, DP Andrew Huebscher) – Camera rental, Superspeed lenses, Panavision New York. Brittany Runs a Marathon (dir. Paul Downs Colaizzo, DP Seamus Tierney) – Camera rental, Primo prime lenses, Panavision New York. Color by Sean Dunckley, Light Iron New York. Hala (dir. Minhal Baig, DP Carolina Costa) – Camera and optics package, Panavision Chicago. Honey Boy (dir. Alma Har'el, DP Natasha Braier, ASC, ADF) – Camera and optics package, Panavision Hollywood. Luce (dir. Julius Onah, DP Larkin Seiple) – Panavision XL2 camera, G Series lenses, Panavision New York. To the Stars (dir. Martha Stephens, DP Andrew Reed) – Camera rental, Primo Prime lenses, Panavision Dallas. Premieres Animals (dir. Sophie Hyde, DP Bryan Mason) – Camera rental, Superspeed lenses, Panavision Ireland. Extremely Wicked, Shockingly Evil and Vile (dir. Joe Berlinger, DP Brandon Trost) – Camera rental, C Series anamorphic lenses, Panavision Hollywood. Late Night (dir. Nisha Ganatra, DP Matthew Clark) – Camera rental, Primo Zoom lenses, Panavision New York. Dailies by Light Iron New York. Color by Sean Dunckley, Light Iron New York. Paddleton (dir. Alex Lehmann, DP Nathan M. Miller) – Color by Corinne Bogdanowicz, Light Iron Los Angeles. Photograph (dir. Ritesh Batra, DP Ben Kutchins) – Offline editorial rentals, Light Iron New York. The Boy Who Harnessed the Wind - Opening Night Film (dir. Chiwetel Ejiofor, DP Dick Pope, BSC) – Camera rental, Primo Prime lenses, Panavision Johannesburg. The Tomorrow Man (dir. and DP Noble Jones) – Color by Corinne Bogdanowicz, Light Iron Los Angeles. Top End Wedding (dir. Wayne Blair, DP Eric Murray Lui) – Camera and optics package, Panavision Sydney. Troop Zero - Closing Night Film (dir. Bert & Bertie, DP Jim Whitaker) – Dailies by Light Iron New Orleans. Color by Corinne Bogdanowicz, Light Iron Los Angeles. Velvet Buzzsaw (dir. Dan Gilroy, Robert Elswit, ASC) – Panavision Millennium DXL2, Standard Prime lenses, Panavision Woodland Hills. NEXT Competition Selah and the Spades (dir. Tayarisha Poe, DP Jomo Fray) – Camera and optics package, Panavision New York. Color by Steven Bodner, Light Iron New York. The Wolf Hour (dir. Alistair Banks Griffin, DP Khalid Mohtaseb) – Camera rental and T-series, MAP55, and AWZ2.3 lenses, Panavision New York. WORLD Cinema Dramatic Competition Judy and Punch (dir. Mirrah Foulkes, DP Stefan Duscio) – Camera rental, C Series lenses, Panavision Sydney. Midnight Corporate Animals (dir. Patrick Brice, DP Tarin Anderson) – Color by Nick Hasson, Light Iron Los Angeles. Little Monsters (dir. Abe Forsythe, DP Lachlan Milne, ACS) – Camera rental, anamorphic lenses, Panavision Sydney. Spotlight The Nightingale (dir. Jennifer Kent, DP Radek Ladczuk) – Camera rental, PVintage lenses, Panavision Sydney. Doc Premieres Ask Dr. Ruth (dir. Ryan White, DP David Jacobson) – Color by Nick Lareau. Light Iron Los Angeles. Indie Episodic It's Not About Jimmy Keene (Dir. Caleb Jaffe, DP Noble Gray) – Color by Ian Vertovec. Light Iron Los Angeles. Special Events Lorena (dir. Joshua Rofé, DP Ronan Killeen) – Dailies by Light Iron Los Angeles. Color by Nick Lareau, Light Iron Los Angeles. Now Apocalypse (dir. Gregg Araki, DP Sandra Valde-Hansen) – Camera rental, Primo Prime lenses, Panavision Hollywood. U.S. Narrative Shorts Lockdown (dir. Celine Held and Logan George, DP Caleb Heller) – Rental package, Panavision Woodland Hills.
Panavision Appoints Zoe Iltsopoulos Borys As Vice President and General Manager of Atlanta Office
Panavision, the entertainment industry's leading designer, manufacturer and rental provider of high-precision optics and camera systems, has named Zoe Iltsopoulos Borys to lead the company's Atlanta office as vice president and general manager. Borys will oversee day-to-day operations in the region, and ensure Panavision's customers continue to receive the highest level of service to support their production needs. "Zoe is a respected partner to the cinematic community and we are pleased to have her on the team at Panavision," said Michael George, Panavision's chief operating officer. "Her understanding and familiarity with the needs of our customers will be an invaluable addition to our presence in the region. Filmmakers can be confident that they will continue to receive our superior service, along with our innovative Panavised camera systems and premier lenses." Borys' 25 years of experience in the motion picture industry includes business development for Production Resources Group (PRG), and general manager for Fletcher Camera and Lenses (now VER). This is her second turn at Panavision, having served in a marketing role at the company from 1998-2006. Throughout her career, she has been responsible for bringing innovative technology to the creative community, empowering them to bring their vision to the screen. She is also an associate member of the American Society of Cinematographers. Panavision's Atlanta facilities, located in West Midtown and at Pinewood Studios, are the largest suppliers of camera rental equipment in the southern U.S., with a full staff of prep technicians and camera service experts. The Atlanta team has provided equipment and services to productions such as Avengers: Infinity War, Black Panther, Guardians of the Galaxy: Vol. 2, The Immortal Life of Henrietta Lacks, Baby Driver, and Pitch Perfect 3, among others.
Panavision at Cine Gear Expo Highlights the Continuing Expansion of the Millennium DXL2 Ecosystem
Panavision's Millennium DXL2 8K camera makes its Cine Gear Expo debut on June 1-2 at The Studios at Paramount in Los Angeles. The premier, large-format camera with a new post-centric firmware upgrade will be showcased at the Panavision booth (#S102) in Stage 17, along with four new large-format lens sets, a DXL-inspired accessories kit for RED DSMC2 cameras, and a preview of custom advancements in filter technology. "Millennium DXL2 is the cornerstone of an ever-evolving ecosystem that is designed to improve creative control across every department," says Michael Cioni, senior vice president of Innovation at Panavision and Light Iron. "By combining the company's expertise in optics, filters, color science, and post production with strategic partner integrations, we are able to offer filmmakers an entirely fresh image and workflow that is only available within DXL's ecosystem." DXL2 incorporates technological advancements based on professional input from acclaimed cinematographers, camera assistants, and post production groups. The camera offers 16 stops of dynamic range with unmatched shadow detail, a native ISO setting of 1600, and 12-bit ProRes XQ up to 120fps. New to the DXL2 is version 1.0 of a directly editable (D2E) workflow. D2E gives DITs wireless LUT and CDL look control and records all color metadata into camera-generated proxy files for instant and render-free dailies. DXL2, which is available to rent worldwide, also incorporates an updated color profile, Light Iron Color 2 (LiColor2). This latest color science provides cinematographers and DITs with a film-inspired tonal look that makes the DXL2 feel more cinematic and less digital. Panavision, renowned for its full line of top-quality optics, will also showcase the company's large-format spherical and anamorphic lenses. Four new large-format lens sets will be on display, giving Expo attendees the unique opportunity to preview upcoming, innovative glass options: Primo X is the first cinema lens specially designed for use on drones and gimbals. They are fully sealed, weather proof, and counterbalanced to be aerodynamic, and able to easily maintain a proper center of gravity. Primo X lenses come in two primes – 14mm (T3.1) and 24mm (T1.6) – and one 24-70mm zoom (T2.8). Available in 2019. H Series is a traditionally designed spherical lens set with a glamorous, rounded, soft roll-off, giving a pleasing tonal quality to the skin. Created with true vintage glass and coating, these lenses offer slightly elevated blacks for softer contrast. High speeds separate subject and background with a smooth edge transition, allowing subject to appear naturally placed within the depth of the image. Available now. PanaSpeed is a large-format update of the classic Primo look. At T1.4, PanaSpeed will be the fastest large-format lens option available on the market. Available in Q3 2018. Ultra Vista is a series of large-format anamorphic optics. Using a custom 1.6x squeeze, Ultra Vista covers the full height of the 8K sensor in the DXL and presents an ultra-widescreen 2.76:1 aspect ratio along with a classic elliptical bokeh and Panavision horizontal flare. Available in 2019. Panavision will also be unveiling cinema's first dynamically adjustable liquid crystal neutral density (LCND) filter. LCND instantly adjusts up to six individual stops with a single click or ramp – a significant departure from traditional approaches to front-of-lens filters, which require carrying a set and manually swapping individual NDs based on changing light. LCND starts at 0.3 and goes through 0.6, 0.9, 1.2, 1.5, to 1.8. Available in 2019. Following up on the success of DXL1 and DXL2, Panavision is launching the latest in its cinema line-up by showcasing the newly created DXL-M accessory kit. Designed to work with RED DSMC2 cameras, DXL-M marries the quality and performance of DXL with the smaller size and weight of the DSMC2. DXL-M brings popular features of DXL to RED MONSTRO, GEMINI, and HELIUM sensors, such as the DXL menu system (via an app for the iPhone), LiColor2, motorized lenses, wireless timecode (ACN), and the Primo HDR viewfinder. Available in Q4 2018. Light Iron and LEE Filters can also be found at the Panavision booth.
Cine Gear Expo
Cinematography Electronics film/video sync control
Vince Sweeney posted a topic in Cine Marketplace
This is a rare Cinematography Electronics film/video sync. system. Complete kit from a major Hollywood camera house, ready to go. This was another extra item from an auction lot. These are over $5000 new from C.E.. Sell for $350. Ships in hard case for $25 From the CE spec page: Works with: Aaton 7 LTR, 54 LTR, LTR-X, XC, XTR, XTR+, XTR, Prod, XO+, X Prod, 35 mm Type (1, 2, 3) Arriflex 16SR (1,2,3), 16 SRHS (1, 2, 3), 35-3, 35-2A*, 35-2B*, 35-2C*, 35-3C*, 435, 535, 535B, 35 BL (1,2,3,4,4S) Panavision 16MM, Gold (1,2), Millennium, Panaflex, Panaflex X, Platinum, Panastar (1,2), PSR Moviecam Compact*** Mitchell Fries** Showscan Showscan ILM Vistaflex MSM Vistavision Wilcam Vistavision * With Cinematography Electronics 2C CRYSTAL MOTOR BASE ** With Cinematography Electronics FRIES/ARRI MODIFICATION *** With Cinematography Electronics COMPACT PRECISION SPEED PLUS
moviecam
Why do people pick different lenses?
Gerald King posted a topic in Camera Operating
Is it mostly based of preference? The one's I know by name are Canon, Sony, Zeiss, Cooke's, Leica's, Sigma's, Panavision, Arri and Rokinon. I like the Zeiss super speeds because the smoothness of the gears whenever on I'm on a follow-focus rig. Also the sigma's quality I really love. Rokinon's are pretty decent for their price when you need to get something like a knock-off zeiss, I've heard people say. I own two Roks, really are impressed with them. So all in all, does it comes down to preference/price? or are there more factors?
Rehoused 14mm Canon FD - What is the deal?
Will Wertz posted a topic in Lenses & Lens Accessories
Looking for more info on this rehoused 14mm f2.8L. Just got a great deal on ebay. There was little info on the post and the guy didn't get back to me. From the photos I thought it was PL, but it's wider and the seat is deeper. Any ideas on the source of the rehouse or the mount?
Millenium DXL2 Camera from Panavision Makes NAB Debut
Panavision, the motion picture industry's most respected designer, manufacturer and provider of state-of-the-art cinema lenses, high-precision camera systems and innovative post production technologies, will showcase its Millennium DXL2 8K camera at the National Association of Broadcasters (NAB) Show, which runs April 7-12 in Las Vegas. Technology leaders from Panavision and its subsidiary Light Iron will also share their vision and expertise during panel discussions throughout the conference. The DXL2 is the evolution of a unique camera ecosystem, built by Panavision based on the input of cinematographers whose feedback contributed to the DXL2's many significant advances. Introduced in February, the DXL2 features a RED MONSTRO 8K VV sensor with 16-plus stops of dynamic range, improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using new Light Iron Color 2 science (LiColor2), which streamlines the 8K pipeline and provides quick access to high-quality RAW images. Additional features to the DXL2 include a custom-made, integrated PX-Pro color spectrum filter offering a significant increase in color separation and dramatically higher color precision to the image; a built-in Preston MDR; 24v power; and expanded direct-to-edit features. Hands-on demonstrations of the DXL2 will take place at the Vitec booth (C6025) and at Vitec Creative Solutions (C9544). NAB attendees also have a chance to hear directly from the experts and designers behind Panavision's cameras and lenses, and post production innovator Light Iron. Several discussions will take place at the Las Vegas Convention Center (unless otherwise noted), including: Avid Customer Association Technology Open Forum Light Iron Panel Participant Jeff Sengpiehl, VP of Engineering Friday, April 6, 4:45-5:30pm Location: Avid Connect (pre-NAB conference) Wynn Las Vegas Conference Center 3131 South Las Vegas Boulevard HDR Varicam Workflow for Netflix's The Week Of Light Iron Panel Participant Katie Fellion, Head of Business Development & Workflow Strategy Monday, April 9, 12:30-1pm Location: Panasonic booth (C3607) Made in Georgia: Shaking up the Film and Digital Media Production Landscape Panel moderated by Clark Cofer, Director of Business Development, Light Iron Monday, April 9, 3:30-4:30pm Location: S222-S223 Venice HDR Creative and Workflow for #PictureDay Music Video Panavision/Light Iron Panel Participant Michael Cioni, Sr. VP of Innovation Tuesday, April 10, 1-1:30pm Location: Sony booth (C11001) The Media Archivist vs. Entropy, or, Why On-Set Data Verification is Really Important Presented by Keenan Mock, Senior Media Archivist, Light Iron Tuesday, April 10, 3-3:20pm Location: LumaForge's "Faster, Together" Stage (S112LMR) The Future of 8K Presented by Michael Cioni, Sr. VP of Innovation Panavision and Light Iron Wednesday, April 11, 10-10:20am Location: LumaForge's "Faster, Together" Stage (S112LMR) Understanding Full Frame Cameras & Lenses Panavision Panel Participant Guy McVicker, Manager, Technical Marketing & Optics Wednesday, April 11, 2:00-3:15pm Location: Post Production World session (N231) For more information about the Panavision Millennium DXL2, visit www.panavision.com/dxl. For more information about Light Iron, visit www.lightiron.com
DXL2 Camera
Panavision Panel to Explore the Beauty of 8K Large Format at SXSW
Sue Smith posted a topic in Panavision
Panavision, a global leader in optics and camera systems, will explore the beauty of 8K large format in an eye-opening presentation at SXSW on March 13 at 11:00 a.m. at the Vimeo Theater. Attendees to the interactive discussion will learn about the symbiotic relationship between full-frame imaging devices and large-format optics, and how these tools can help improve production value while remaining cost effective. The session will also present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to more creative control. Panavision's Dan Sasaki, a revered optical engineer who has developed and customized lenses for such films as "Dunkirk," "The Hateful Eight," and "Saving Private Ryan," will lead the presentation. Joining him will be Panavision's Aaron Kroger, director of digital camera systems, and Light Iron Senior Colorist Sean Dunckley. Sasaki developed many of Panavision's popular anamorphic and large-format lenses. Since joining the company in 1986, he has designed and customized optics for many award-winning cinematographers, including Steve Yedlin, ASC ("Star Wars: The Last Jedi"); Haris Zambarloukos, BSC, GSC ("Murder on the Orient Express"); and Rachel Morrison, ASC ("Black Panther"), to name just a few. Kroger began his career at Light Iron, where he was instrumental in designing the facility's Outpost mobile post lab as well as training camera crews how to use them on-set. He supported Steven Spielberg's "Lincoln," several seasons of "Criminal Minds," 3D features such as "The Amazing Spider-Man," and dozens of movies. After Light Iron was acquired by Panavision, Kroger joined the team that created the Millennium DXL camera and has been instrumental in demonstrating the new camera to cinematographers, directors, and studio executives. Dunckley has collaborated with some of the industry's top talent working on features, commercials, and television shows. His credits include Dan Fogelman's upcoming feature "Life Itself," past SXSW selections "Patti Cake$," "Lucky," and "Kelly & Cal," and this year's Oscar-nominated short "Heroin(e)." He has also colored music videos for John Mellencamp, Dr. John, and Beyoncé. Panavision recently introduced the Millennium DXL2, a next-generation, large-format 8K camera that is at the core of a complete imaging ecosystem designed from filmmakers' perspectives. The DXL2 seamlessly incorporates Panavision's unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron Color 2 science (LiColor2). Festival-goers must have a Platinum or Film Badge to attend. To register for SXSW, visit www.sxsw.com.
8K Large Format
FS: Zeiss 28MM & 50MM Standard Speed
Wendy Lavely posted a topic in Cine Marketplace
For Sale: Zeiss/Arriflex 28MM & 50MM Lenses have been mounted, but never used in a production environment. "New" in original boxes. The physical condition is as new and is free of scratches, cleaning marks or oil. Based on serial numbers these are from the last batch of Standard Speeds Arri made. Rare opportunity to own new vintage lenses. Format: Super 35 PL Mount 80mm Front Diameter Include front and rear caps Lenses 28 mm T* 2.1 ($5500.00) 50 mm T* 2.1 ($5500.00) PM with any questions or interest Lenses are in Los Angeles and available to see.
Master Prime
Super Speeds
Panavision Debuts Millennium DXL2 Camera at BSC Expo
Panavision (Stand 502) is introducing the new Millennium DXL2 8K camera here at BSC Expo 2018, running Feb. 2-3 at Battersea Evolution. The large-format camera is the heart of a complete imaging ecosystem designed from filmmakers' perspectives, seamlessly incorporating Panavision's unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from Panavision's unique and storied partnership with cinematographers, whose real-world experience and input are manifested in the DXL2's many significant advances. "The Millennium DXL2 8K camera system was conceived with the goal of maximum creative control from the moment of capture through delivery and display," says Michael Cioni, senior VP of Innovation at Panavision and Light Iron. "Panavision's vast inventory of advanced large-format and anamorphic optics combined with RED's MONSTRO imager expands what's possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams." As a camera and lens manufacturer that also serves filmmakers as a trusted rental house, Panavision is uniquely positioned to respond to the needs of the community. Since its introduction, the DXL has been used on over 20 feature films, and countless television shows, commercials and music videos. Oscar® nominee John Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, providing input that has guided the design. Schwartzman says, "When you take an 8K image and super-sample it, it only gets better. It's absolutely beautiful to look at. For me, the Millennium DXL2 is a no-brainer. It's something I would use on anything. It does it all. And in fact, I'm currently planning to shoot my next feature with it." The RED MONSTRO 8K VV sensor in the DXL2 offers a healthy 16-plus stops of dynamic range with improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using Light Iron color science. An integrated PX-Pro color spectrum filter custom-made for the DXL offers a significant increase in color separation and dramatically higher color precision to the image. Built-in Preston MDR, 24v power and expanded direct-to-edit features are also standard equipment on the DXL2. An anamorphic flare attachment (AFA) offers a convenient, controllable method of introducing flare with spherical lenses. New to the DXL2, LiColor2 streamlines the 8K pipeline, smoothly handling the workflow and offering convenient and quick access to high-quality RAW images, accommodating direct to edit without delays. "We are proud to provide an ecosystem of tools that gives filmmakers more choices to express their vision," adds Panavision CEO and President Kim Snyder. "We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2. We remain committed to continuous technological development and are excited to bring this new camera to market." The Millennium DXL2 will be presented at the Panavision booth (Stand 502) alongside a showcase of the company's large-format and anamorphic optics, as well as the latest products and solutions from Panalux, Light Iron and Panavision Grip and Remote Systems. Also at BSC Expo, Panavision presents "The Beauty of Large Format 8K" at 14:00 on Feb. 2 in the seminar room. The session will offer a preliminary introduction to the DXL2 while taking a deep dive into the relationship between resolution and large-format optics. Cioni will guide the discussion and present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to creative control with smoother imagery. DXL2 cameras are available now to rent exclusively from Panavision on a worldwide basis. For more information, visit www.panavision.com/dxl.
Panavision Hollywood Names Dan Hammond Vice President and General Manager
Panavision has named Dan Hammond, a longtime creative solutions technologist in the industry, as vice president and general manager of Panavision Hollywood. Hammond will be responsible for overseeing daily operations at the facility, and working with the Hollywood team to leverage the exceptional camera systems, optics, service and support that Panavision customers have come to expect. Hammond is a Panavision veteran, who worked at the company between 1989 and 2008 in various departments, including training, technical marketing, and sales. Most recently he was at Production Resource Group (PRG), expanding his technical services skills. Hammond is active with industry organizations, and is an associate member of the American Society of Cinematographers (ASC), as well as a member of the Academy of Television Arts and Sciences (ATAS) and Association of Independent Commercial Producers (AICP). "Dan has a broad range of strengths in developing technology solutions, and extensive experience providing production studios, cinematographers and directors with the products and services they need on a global level," said Michael George, Panavision's chief operating officers, to whom Hammond will directly report. "We are excited to have him back with the team at Panavision." Hammond added, "Service, innovation, and growth are always the top priority at Panavision. I look forward to continuing to work with filmmakers to provide creative solutions and further expanding Panavision Hollywood's offerings to the production community." For more information, visit www.panavision.com.
Dan Hammond
Homestore + More - The Date - Directed by Ciar
Miguel Angel posted a topic in On Screen
A commercial I shot in September was released today and I thought that it would be interesting to post it here as it has a mix of "things that the client wanted" and "things that we wanted" on a really tight budget. Directed by Ciarán Dooley, the commercial is a 2 minutes commercial for a company called Homestore + More which sells House thingies such as cutlery, ornaments, towels, etc here in Ireland and it tells the story of an elderly widow who is urged to seek companionship by her loving grandson Everybody had a clear vision of what they wanted to do for the campaign as they had shot 2 commercials already for the brand when I came on board so it was great to be able to enter a group of people who had been working together for such a long time and getting great results. Our guidelines for the commercial were "naturalistic and uplifting cinematography mixed with a bit of melancholy and nostalgia" and I think that we achieved it. Ciarán wanted to shoot wide shots to show the loneliness of the woman and we found really great spots in our location, that, mixed with two days of really good weather and scheduling some key shots at the right times of the day worked great for the tone we wanted to create. I also wanted to give him the freedom to shoot 180º at any time as our 2 day schedule was really really really tight. 90% of it is natural light by the way, except the kitchen, which had to go from "normal" to "happy" because it was the place where we saw all the products from Homestore and the bedroom, lit with a 2.5K through a couple of frames of diffusion from outside. It has gotten great reactions already. Shot on Alexa Plus + Panavision Primos at T2.8 / T4 Lighting Rental Company: Cine Electric Ireland Colour: Elements Post Production Hope you like it! :) Thank you!
Panavision Primos
Panavision to Host John Toll Masterclass, 8K Workshop at Camerimage
Continuing 25 years of support, Panavision once again celebrates the art and craft of moving pictures with filmmakers at the Camerimage International Film Festival of Cinematography, which runs November 11 - 18 in Bydgoszcz, Poland. This year, Panavision hosts a masterclass with Oscar®-winner John Toll, ASC, and a workshop on large-format filmmaking. http://www.panavision.com/panavision-brings-millennium-dxl-camera-and-large-format-lenses-camerimage-2017 On Nov. 14 in the MCK, Panavision Day begins with the workshop, "The Beauty of 8K Large-Format" from 11:00 – 13:00. Peter Deming, ASC recently wrapped production on The New Mutants, utilizing the Panavision Millennium DXL 8K camera and lenses to create stunning visuals for the next X-Men installment. A screening of The New Mutants trailer be will explored by Panavision's VP of Optical Engineering Dan Sasaki, Senior VP of Innovation Michael Cioni, and Light Iron supervising colorist Ian Vertovec. They will discuss the unique advantages of 8K capture, high-resolution creative control, and how ultra-high resolution is one of the best-kept secrets for producing even better imagery. Toll, who is this year's Camerimage Lifetime Achievement Award recipient, will participate in a moderated conversation from 14:00 – 16:30. The two-time Oscar®-winner (Legends of the Fall, Braveheart) will discuss excerpts from his films, share anecdotes from the set, and answer questions from the audience. At the Camerimage exhibition area in the Opera Nova, Panavision will have Millennium DXLs on display for festival attendees to get hands-on with the camera. The new HDR OLED Primo Viewfinder, the advanced PX-Pro color spectrum filter, and a selection of innovative large-format and anamorphic Panavision lenses also will be showcased alongside the Panavision System 65mm film camera used to shoot Murder on the Orient Express. The iconic tale of mystery aboard the legendary train, directed by Kenneth Branagh and shot by Haris Zambarloukos, ASC, GSC, will screen on the opening night of Camerimage. Adjacent to the Panavision exhibit, the Light Iron Theater will screen DXL footage in HDR format; Panalux will demonstrate their new underwater light, the AmphiTube product range, which features a bi-color LED solution designed for both wet and dry environments; and LEE Filters, celebrating 50 years in business, will showcase their next-generation neutral density PanaND filters.
Panavision Names Johanna Gravelle Canada
TORONTO (September 27, 2017)—Panavision announced that Johanna Gravelle has joined the company as Canada's national sales manager. Gravelle will be based in Toronto, and is responsible for ensuring that customers receive unparalleled service and top-notch camera and lens systems for their productions in the region. "We are truly excited to have Johanna join the Panavision team," says Paul Mason, senior vice president and CFO of Panavision Canada. "Her invaluable experience and longstanding relationships will contribute to our progressive efforts to serve the needs of cinematographers and production companies across Canada at the highest level achievable." Gravelle brings a wealth of entertainment industry experience to Panavision, having spent over a decade working with Kodak in both senior sales and marketing leadership roles. During her time at the company, she served as manager of Kodak Canada before making the move to lead marketing efforts in Australia, and eventually worldwide. Gravelle begins immediately while transitioning into her role alongside Panavision Canada's Vice President/Director of Sales and Marketing Jeffrey Flowers, who after 33 years at Panavision Canada will retire at the end of 2017. Flowers career at Panavision began in the Toronto lighting department. He then went on to work as a commercial production manager before returning to Panavision. Flowers moved up the ranks through the camera department, and relocated to Vancouver where he led the regional office and ultimately transitioned to his national sales and marketing role. In 2016, Flower's contributions to the motion picture industry were recognized by the Canadian Society of Cinematographers during the annual gala event where he was presented with the Bill Hilson Award for "outstanding service contributing to the development of the motion picture industry." "On behalf of the entire Panavision team, I'd like to thank Jeff for his dedication and significant contributions to the company" said Panavision President and CEO Kim Snyder. "Jeff is highly respected amongst the Canadian production community and he will be greatly missed."
company hires
High Speed 16mm Camera (300 fps)
Jacob Mitchell posted a topic in 16mm
Hi all, I'm starting prep work for my college thesis at Emerson and I'm researching into the different challenges with shooting the project on film. I'm particularly thinking 16mm, just for budgetary reasons, and can't seem to find a Super 16mm camera that shoots up to 300 fps other than scientific/military cameras. The film is about a track athlete, so I'm wanting to get some very beautiful, frozen moment shots of our talent running. Does anyone know of any cameras that shoot as high as 300 fps? I see most of the HS cameras from Arri only go up to 150 fps. Thanks!
The Largest Anamorphic Lens Test
Brent Barbano posted a topic in Lenses & Lens Accessories
Hey guys! Please check out The Ultimate Anamorphic Lens Test where we tested 13 brands, 40 lenses and created over 500 tests and 130 4K videos. You can compare them all in our 4x side-by-side viewer here. Brands tested include: Angenieux Optimo 44-440mm T4.5 AS-2 Anamorphic Zoom ARRI / Zeiss Master Anamorphic Atlas Lens Co. Orion Series Anamorphic 65mm T2.0 Cineovision Anamorphic Cooke Anamorphic /i Special Flare Elite Anamorphic Hawk V-Lite Vintage `74 Anamorphic Iscorama Pre-36 Anamorphic Lens Adapter Kowa Cine Prominar Anamorphic Lomo Round-Front Anamorphic Panavision Auto-Panatar Anamorphic P+S Technik 35-70mm T3.2 Cinemascope Zoom Todd AO High-Speed Anamorphic Hope you enjoy it. Please let me know if any questions!
Cinematography Electronics Speed Control-II for film cameras
Selling a like-new Precision Speed Control 2 that is currently selling for $3000 on CE's website. This one has the LED display and the 3-perf option. Link here: https://cinemaelec.com/products/precision_speed_control_2/ This connects to your film camera and gives you control of your frame rates for over and under cranking, flicker reduction, TV scan line issues etc.. The display also serves as a digital tachometer and footage/meter counter. Works on Panavision, Aaton, Arri, Moviecam and more. Comes with a cable but you may need a different connector for your specific camera. Only uses the one cable, no other power cable is needed. $350 and will ship for free to the lower 48 or you can pick up near North Hollywood. Camera Compatibility Aaton 7 LTR, 54 LTR, LTR-X, XC, XTR, XTR+, XTR Prod, XO+, X Prod, 35MM (Type 1, 2, 3) Arriflex 16SR (1, 2, 3), 16SRHS (1, 2, 3), 35BL (1, 2, 3, 4, 4S), 35-3, 35-2A*, 35-2B*, 35-2C*, 35-3C*, 435, 535, 535B Panavision 16MM, Gold 1,2, Millennium, Panaflex, X, Platinum, Panastar 1,2, PSR Moviecam Compact*** Mitchell Fries** Showscan Showscan Beaumonte Vistavision llm Vistaflex Msm Vistavision Wilcam Vistavision * With Cinematography Electronics 2C CRYSTAL MOTOR BASE ** With Cinematography Electronics FRIES/ARRI MODIFICATION *** With Cinematography Electronics COMPACT PRECISION SPEED PLUS
Panavision to Unveil Powerful New Tools for Groundbreaking Millennium DXL 8K Camera at Cine Gear Expo
WOODLAND HILLS, CA, (June 1, 2017) – Panavision will reveal advanced new tools for its unprecedented, large-format Millennium DXL 8K camera at their booth in Stage 2 (#S302) at Cine Gear Expo, June 2-3. Demonstrating the evolution of their innovative approach to filmmaking, Panavision will debut a set of fast, wirelessly controlled "Primo Artiste" lenses that cover the full 8K HDR image; the world's first HDR OLED "Primo" Viewfinder; a new color spectrum filter called "PX-Pro"; and "DXL Control," an iPhone app for remote camera control. These new technologies support Panavision's Millennium DXL, which was engineered to offer superior creative control over the entire imaging chain. "The DXL was designed based on feedback from veteran filmmakers who wanted a large format digital system to serve their vision, and these new tools extend that level of innovation," notes Panavision CEO Kim Snyder. "We are excited that the camera has been met with great enthusiasm for what it offers in terms of creative flexibility and progressive technology at the service of the artist." Featuring Panavision's premier large format optics and modular accessories, advanced 8K sensor technology from RED, and unique color science and workflow optimization from Light Iron, the Millennium DXL has been the camera of choice for numerous productions since becoming available in January. "Filmmakers have chosen the camera to shoot major motion pictures, commercials and TV shows," says Panavision and Light Iron Senior Vice President of Innovation Michael Cioni. "We've been listening to filmmakers and developing top-notch capabilities for the camera, as well as fine-tuning what's next for its ecosystem. These savvy tools continue our solution-focused efforts to deliver the best in class." The Primo Viewfinder is the industry's first HDR OLED viewfinder. Designed, engineered and manufactured at Panavision, the Primo Viewfinder offers Panavision optics and proprietary mechanics, an HDR OLED screen, 600-nit brightness, image smoothing, a heater, and custom Panavision glass to limit eye fatigue and make it easier to focus in very bright or dark environments. The viewfinder also boasts a theoretical contrast ratio of 1,000,000:1. In creating the Primo Viewfinder, Panavision has made liberal use of customer feedback. "We have been extremely transparent with our trusted customers and shown them iterations along the way," explains Cioni. "Their fingerprints go into this camera, because it's their hands that touch the buttons." Panavision will be showcasing a prototype of its PX-Pro color spectrum filter, which ushers in a significant increase in color separation and dramatically higher color precision. The filters provide an infrared (IR) and ultraviolet (UV) cut that improves color clarity and reduces noise and IR contamination, which can corrupt or distort digitally captured images. "PX-Pro was custom made for DXL," says Haluki Sadahiro, director of Panavision Electronics and Product Development. "It has been specially designed to allow for a wider range of precise color that supports all color palettes and flare characterizes of lenses new and old, while reducing many of the optical artifacts we see on digital cinema cameras." The Primo Artiste lenses, available by the end of 2017, are a full series of T/1.8 Prime lenses, making them the fastest optics available for large format cinematography. The Artiste Series is an evolutionary step in large format optics design, becoming the second series of Panavision lenses to include a fully internalized motor and complete metadata compatibility. The essence of the Artiste concept is an innovative design that takes advantage of the aesthetic flexibility available within large format digital imagers, and the resulting look evokes a quality reminiscent of vintage optics. The series incorporates modern features such as focus breathing control, even field illumination and optimized close focus performance. "The primary goal of the Primo Artiste line is to balance the intricacies of aberration control and the art of lens design to create a lens that produces images that resonate with our instinct to relate to painterly images that are identified by smooth transitions between surrounding objects," says Panavision VP Optical Engineer and Lens Strategy Dan Sasaki. An added feature of the Primo Artiste series is a true anamorphic glass attachment that retains the spherical nature of the base lens yet induces many of the artifacts associated with anamorphic photography such as directional flares and distorted bokeh. The Artiste lenses will initially come in eleven focal lengths (27mm, 35mm, 40mm, 50mm, 65mm, 80mm, 100mm, 125mm, 150mm, 200mm, and 250mm) with expanded focal lengths available in 2018 New DXL Control software mirrors the camera menu system on the user's Apple device, allowing wireless camera control. "It's got all the familiar buttons and displays," says Cioni, who notes the software is available now with a DXL camera rental, and will be available to download for free from the iTunes store starting June 2. Cine Gear attendees will also see the Millennium DXL in action on three live sets that show different lighting conditions, mounted with the Primo Artiste and the Panavision T Series anamorphic lenses. Also at the booth, Light Iron will have their unique post production solutions on display in a theater via an HDR Video Village Cart showcasing 8K HDR DXL footage. Light Iron representatives will be demonstrating how this system helps cinematographers evaluate their images simultaneously in high dynamic range and standard, or low, dynamic range. Having access to both image specs while in production enables cinematographers to better prepare for post-production color grading, given that distributors are frequently requiring both standard- and high-dynamic range deliverables. Light Iron colorists will also be on hand to discuss the finishing process as well as "Light Iron Color," which is the custom color science built into the DXL. LEE Filters will be exhibiting their ProGlass Cine range of neutral-density filters. ProGlass Cine filters are designed to meet the exacting needs of all cinematographers — whether shooting digitally or on film. They are remarkably neutral, eliminating infrared pollution and ensuring all colors remain accurate and true. This simplifies workflow, saves time and enables cinematographers to focus on their creative goals. For more information on Panavision, visit www.panavision.com.
Millennium DXL
2017 Cine Gear
Panavision Millennium DXL Camera to be Showcased at NAB 2017
Panavision, the motion picture industry's most respected designer, manufacturer and provider of state-of-the-art cinema lenses and high-precision camera systems and innovative post production technologies, will bring its Millennium DXL 8K Camera to the 2017 National Association of Broadcasters (NAB) Show, which runs April 24-27 in Las Vegas. Technology leaders from Panavision and its subsidiary Light Iron will also offer their insights and expertise during panel discussions throughout the show. Developed through an unprecedented collaboration of three companies, the Millennium DXL brings together large-format optics and modular accessories from Panavision; an 8K sensor from RED Digital Cinema; and new color science and optimized workflow from Light Iron. The DXL camera has been renting since January. Hands-on demonstrations of the DXL will take place at the following locations during NAB: LEE Filters, A Panavision Company (Booth C11746)with LEE's new remarkably color-accurate ProGlass Cine IRND Filters. Vitec Videocom (Booth C6025)Freefly Systems (Booth C2922)NAB attendees will have an opportunity to hear from some of the experts and designers behind Panavision's cameras and lenses, and post innovator Light Iron. Following are the discussions Panavision and Light Iron will participate in: (All locations are at the Las Vegas Convention Center unless otherwise noted.) On the Verge: How Innovation Threatens the Future of Broadcast: OTT distributors Netflix and Amazon are implementing technological innovations that are being chosen by a new generation of content creators. How will that impact traditional broadcast and cable companies?Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron Saturday, 4/22, 3:20-3:55pm LVCC Room N262-N264 Is Cinephilia Dead or Is It Just Expanding? A unique gathering of panelists discuss the infinite palette of technological possibilities and its role in the art of cinema and movie distribution.Panavision Panelist: Michael Cioni, SVP of Innovation, Panavision and Light Iron Sunday, 4/23, 9:15-10:15am LVCC Room S222-S223 DXL on Tap – Reduser Meetup Join SVP of Innovation, Panavision and Light Iron Michael Cioni and other DXL experts for a casual chat about 8K, VV, and Light Iron Color.Sunday, 4/23, 5:00-7:00pm MGM Grand Hotel - Lobby Bar (3799 S. Las Vegas Blvd.) Where Is the Content "Puck" Going to Be? Silicon Valley's influence over the marketplace is changing not only how content is delivered, but the type of content produced.Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron Monday, 4/24, 12:45-1:15pm LVCC The Studio @ B&H - Booth C10415 Understanding Optics for 8K Panel: Al Collins, from Panavision, and Matt Duclos, from Duclos Lenses, offer thoughtful guidance on large-format optics, anamorphic vs. spherical glass, and what this all means for the average filmmaker.Panelist: Al Collins, Optical Technician, Panavision Tuesday, 4/25, 9:30-10:45am LVCC Room S2227 ASC Lens Committee Update & Trends in Optics: After an update on the ASC Lens Committee, American Cinematographer contributor Jay Holben will have a conversation with Dan Sasaki about the increased use of vintage and large-format lenses.Speaker: Dan Sasaki, VP of Optical Engineering, Panavision Tuesday, 4/25, 9:30-10:15am LVCC Tiffen Booth - C6019 Do We Have Stockholm Syndrome with Apple? Apple fans rejoiced after a recent announcement about the potential future of MacPros. Now is the time to continue to press Apple for the functionality needed to push the boundaries of creativity.Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron Wednesday, 4/26, 10:00-10:20am LumaForge Suite @ Courtyard Marriott (3275 Paradise Road) Digital Cinema Trends, 4K, 8K, HDR, VR at 2017 NAB Panel: As another NAB comes to a close, a lively panel of experts will discuss how this year's exhibits align with the professional world of content creation.Panelist: Josh Haynie, VP US Operations, Light Iron Wednesday, 4/26, 3:15-4:00pm LVCC The Studio @ B&H - Booth C10415 For more information about the Panavision Millennium DXL, visit www.panavision.com. For more information about Light Iron, visit www.lightiron.com
2017 NAB Show
FS One-of-a-kind Anamorphic Angenieux 25-250 Zoom Lens with motor, controller, etc
Ryan Parteka posted a topic in Cine Marketplace
One-of-a-kind Anamorphic or Spherical Angenieux 25-250 Zoom Lens with compact zoom motor, hand held zoom-speed controller, cables, bracket, and custom case. Excellent condition. $6950 Dan Sasaki at Panavision rebuilt and rehoused this Angenieux 25-250 HP. He added a special low dispersion front element coated with Panavision's anti-reflection coating, and a 119mm Front Filter thread. He improved the mechanics with smoother movement of the barrel and standard focus gearing at the rear of the lens. He fitted the lens with a compact Panavision Zoom motor, which can be removed, and a Panavision/Shiga glass rear 2x Anamorphic capsule that can be added with five hex bolts so the lens can be used as either anamorphic or spherical. The Anamorphic capsule alone is worth more than the entire package. This package is priced to sell fast at $6950. The lens is fitted with a removable PV mount, but a stainless steel PL flange from Zeiss, Century, or MTF Services can easily bolt on. The Anamorphic capsule; however, has a fixed PV mount and would require an adapter or remounted. I have a stainless steel PV to Canon mount that Ken Stone made which can be included in the package for an extra $450. *If purchased before May 8th 2017, I can hand deliver this to Panavision in Woodland Hills for pick-up. If purchased after May 8th, the lens will be shipped from Europe and the buyer covers shipping, insurance, and customs clearance. for images: https://drive.google.com/file/d/0B0NSXBkbH4f2OXpwYjBOTXp3Q28/view?usp=sharing https://drive.google.com/file/d/0B0NSXBkbH4f2Y2EzWkVRNzEwRjg/view?usp=sharing https://drive.google.com/file/d/0B0NSXBkbH4f2VV9jOTk4OTZadlk/view?usp=sharing
Camera Essentials January Raincover Sale
Patti Harrison posted a topic in Cine Marketplace
Camera Essentials camera raincover sale is underway! For a 20% discount on our website: coupon code is RAIN (for raincovers only) Alexa, Epic, Sony F55/F5 Weather Protectors We still have some FILM camera raincovers at a deep discount, attached is the list with prices We also have a few sample raincovers, along with some raincovers for Steadicam (the clear vinyl kind) While supplies last.... Patti Harrison Camera Essentials www.cameraessentials.com cameraessentials@gmail.com Raincover Sale 2017.pdf
Weather Protectors