Doing more with less has become a necessity. Professionals who work in cinematic storytelling and production are not immune to the challenge of maintaining high-quality standards as budgets are slashed.

The NAB Show’s CineCentral conference is the hub for all things related to cinematography and production. This year’s roster of live demonstrations by industry professionals and hands-on learning experiences was curated with a focus on creating high-impact content with tighter budgets, shorter timelines and delivery across multiple formats and platforms.

Doing more with less takes center stage in two CineCentral workshops led by independent cinematographer David J. Frederick.

They are “The Storytellers Guide to Production on a Tight Budget: Budgeting, Crewing and Schedule” and “The Storytellers Guide to Production on a Tight Budget: On-Set Hacks to Keep Production on Time and on Budget Without Compromising Creativity.”

“I grew up with a single mom who loved Super 8 filming and learned to get by spending less on everything,” Frederick said.

“Now I find it completely preferable to look for efficient and economically artistic ways to film every project. Join me as we discuss ways to put lower budget value on the screen that looks like a champagne budget.”

A special session open to all NAB Show floor pass holders on a first-come, first-seated basis is Monday’s “Team Deakins: In Discussion — A CineCentral Feature Presentation.”

A-LIST PANELISTS

Team Deakins is the creative partnership of Sir Roger Deakins, a renowned cinematographer with 16 Academy Award nominations, two Oscars and several other honors, and his creative partner James Ellis Deakins. They will share insights from their careers and discuss their latest book, “Reflections: On Cinematography.”

The credits from Roger Deakins’ long career include the two films for which he won his Oscars, “Blade Runner 2049” and “1917.” Films for which he was nominated include Denis Villene­uve’s “Prisoners” and “Sicario,” the Coen Brothers’ “Fargo,” Martin Scorsese’s “Kundun,” Sam Mendes’ “Skyfall” and Angelina Jolie’s “Unbroken.”

Floor pass holders also can take in “CineCentral Presents: The Art and Execution of a Cinematic Live Stream.”

Scheduled speakers, all from Live Cinema Services, are co-founder and CEO Aaron Latham-James, partner and Chief Growth Officer Mike Nichols and Co-Founder and President Brandt Wille. Pamela Berry, also with Live Cinema Services, will moderate.

“NAB Show has always felt like a pulse check for where the industry is heading,” Latham-James said.

“It’s a chance to reconnect with colleagues, clients and the people building the tools we rely on every day to make our large-scale cinematic productions possible. LCS sits at the intersection of cinema and broadcast, and NAB Show is where those worlds come together.”

That’s Not All

Attendees with an NAB Show pass are welcome at daily open houses. Additional fees apply for workshops.

Highlights include:

• Michael Bravin, founder of The Digital Picture Company, will moderate workshop “Vertical Production: The ABCs of Vertical Production.”
• “Adorama Presents: Interview Angles and Lighting With Julien Jarry” is led by that director and photographer.
• Independent A-camera dolly grip professional Eric Zucker will lead CineCentral workshop “Biggest Production Challenges and Gear Hacks That Get Your Shot.” 
• CineCentral concludes with workshop “Welcoming AI and New Technology—On-Set and In Production,” led by Bravin. 

CineCentral sponsors are Adorama, Blackmagic Design, Cream, Freepik, Fujifilm, International Cinematographers Guild Local 600, J.L. Fisher, Martini, PERG, Riedel, Society of Camera Operators and Zeiss.

For a full list of CineCentral sessions, visit the NAB Show website.

© 2026 NAB

Ronkonkoma, NY - October 10, 2019 -Sigma Corporation of America, a leading camera, photography lens, cine lens, flash and accessories manufacturer, today announced that its all-new full-frame mirrorless digital camera, the Sigma fp, will begin shipping on October 25, 2019. The Sigma fp will retail for $1,899 USD for the camera body alone and $2,199 USD for the camera with the Sigma 45mm F2.8 DG DN Contemporary lens from authorized Sigma dealers.

Sigma fp Key Features:

The World’s Smallest & Lightest Full-Frame Mirrorless Camera

With dimensions of 112.6×69.9×45.3mm and body weight of 370g, the all-new Sigma fp is the world’s smallest and lightest full-frame mirrorless digital camera; it is equipped with a 24.6 megapixel Bayer full-frame sensor. Purpose-built with durability in mind, its dust and splash-proof body make it ideal for long hours in various shooting environments while the absence of a mechanical shutter removes the potential for noise and shutter shock while increasing reliability.

Dual-Purpose with Support for 12-bit CinemaDNG

The Sigma fp is capable of full-fledged video production, supporting 12-bit CinemaDNG external recording for RAW video data and 4K UHD/24fps recording. Alternating between still and cine shooting modes is possible with a simple flip of a switch. Each mode comes with a specially designed operation system and displays, making it possible to concentrate on shooting in each mode, stress-free.

Native L-Mount

The Sigma fp uses the L-mount, characterized by a short flange focal length, large diameter, and superior durability. In addition to the wide-ranging choices of Sigma lenses, other manufacturers' lenses can be used through the L-Mount Alliance with Leica Camera AG and Panasonic Corporation. With the Sigma Mount Converter MC-21, Sigma SA mount and Sigma Canon EF mount lenses can also be used.

Additional information can be found on the Sigma website: https://www.sigmaphoto.com/sigma-fp

See the Sigma fp at PhotoPlus 2019

In addition to Sigma’s full lens lineup, attendees to the 2019 PhotoPlus Expo in New York City can see the all new Sigma fp full-frame mirrorless digital camera in Sigma booth #837.

Additionally, members of the press who are interested in scheduling a briefing with Sigma at the show can contact Nick Govoni (nick@zazilmediagroup.com).

About SIGMA Corporation

Craftsmanship. Precision. Dedication. Since 1961, SIGMA has been devoted to the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning still photo and cinema camera lenses, mirrorless cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the SIGMA Global Vision with three distinct lens lines: Art, Contemporary and Sports. Designed for industry camera mount systems including Canon, Nikon, Olympus, Sony and SIGMA, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last. In 2016, SIGMA entered into the world of cinematography lens production. Embodying the core optical DNA that has defined the SIGMA benchmark of excellence, the cine lenses meet the needs of advanced 6k and 8k cinema production.

Forming the landmark L-Mount alliance alongside Leica and Panasonic in 2018, SIGMA continues its storied tradition of imaging excellence through groundbreaking innovations such as the all new native L-mount Sigma fp full-frame mirrorless digital camera announced in July 2019. The introduction of the fp along with the availability of 14 award-winning SIGMA Global Vision lenses in native L-Mount format demonstrates SIGMA’s continued commitment to the creative community through expanded product offerings. With the fp and these lenses, even more shooters can now leverage SIGMA’s renowned optical formula to achieve their creative vision with ease.

For information about SIGMA, please visit www.sigmaphoto.com or follow the company on SIGMA Blog, Twitter, Instagram and Facebook.

A lot of my projects are “raw and real” character pieces that don’t call for super-stylized lighting. My approach is often rooted in realism.

Music videos are where I tend to be able to play the most. One video that was actually pretty minimalistic was Hozier’s “Almost (Sweet Music).” Alongside an incredible director and friend, Blythe Thomas, we set out to capture what was essentially a celebration of timeless performers and of music. We photographed different performers in different rooms—a total of seven and all in one shoot day.

Why I would choose to talk about a simpler, naturalistic music video instead of one that was super-stylized is because invisible cinematography is actually very advanced. That is where you know how to build a scene in terms of units and, more importantly, take advantage of the space you are in.

OBSERVATION

When I use a realistic approach in my cinematography, I typically start by observing the space and what it has to offer—windows, practicals, etc. For the video, everything was shot in a large warehouse in New York City and not only had great character but lots of natural light. For the daylight scenes, I leaned on them. Tracking the sun is key for this—I had to pay attention to where it would hit the city beyond the windows and when it would come in directly through a window.

One tool I found myself utilizing more than usual was LED tube lighting. For the pianist scene, for example, all we did was rig up several daylight Quasars and soften them. My crews know you cannot get light soft enough for me. Large sources that are triple broken are my favorite and are especially handy in making things look natural. They feel like a simple return from the windows and not sourcey if you do it right.

In Hozier’s performance scene, all we did was use the ARRI Skypanel as a key and a K5600 Joker 1600W as a backlight.

We shot mostly during daylight and had a mix of both day and night scenes. For night, I went with the omnidirectional route and had a Jem Ball rigged up above. Then other tools such as a Skypanel S60 and Lekos went up for accents and color separation. There were also practicals in the space, which, aside from windows, are usually another starting point for putting up sources. I’ve wanted to do more top light, like in some of these night scenes, on other projects but it’s really a time issue. It’s always faster to stick up something from the ground than rigging or menace arming and then skirting, etc. a source from above.

It was also about 90% Steadicam, so we used furniture and flats to hide stands when we could not take the time to rig or arm out something. Again, we did everything in a day, so an organic, minimalistic approach was not only appropriate but a time saver. Having enough crew to leapfrog into the next setup so I can walk on and just tweak is also key.

BLENDING IN

Color separation is something to always be thinking about. A lot of times in interior spaces, it can feel like skin tones and walls can blend in. This could be from lack of production design elements that help break up the space and pop or simply because the shot is being lit with all warmer color temperatures so everything becomes similar on screen.

In a dance sequence with Cameron Boyce and Christine Flores, we had beige wallpaper that, when lighting them with tungsten from above, would pose a threat in terms of blending their whole room and dancers together. To avoid this, we threw in two practicals that leaned more yellow and we placed a Skypanel shooting out of a small glass door in the back of the room.

I tend to shoot a lot of night scenes around 3,800K or 4,400K to also help balance out a mix of color, but it’s important to also dial in the lights. The Skypanel was warmed up a bit so as not to be too bold a blue. Otherwise, it would compete with the warmth rather than provide subtle separation.

The key to invisible lighting is, in my opinion, really understanding the space. We observe light in life all the time as cinematographers and become very quick at knowing how to recreate an environment known to the average person who lives and works in these different environments every day. We understand space and how to use it. Getting deep into the story you are telling and knowing your tools will allow you to really light invisibly while also enhancing the tone of the piece.

Julia Swain is a cinematographer based in California, whose narrative films include “Killing Animals,” “Jilted” and “Cassidy Red.” She continues to shoot on a variety of formats, seeking to create compelling visuals for every story and brand. She can be contacted throughTV Technology.

Last month, and hot off the heels of the Apple Plus TV announcement, Disney too signaled an industry-changing move by launching their own new streaming service, Disney+. Both developments were shrouded by speculation for quite some time, but now that both brands have made their plans public, industry discussion has turned to how the growing pool of streaming services can compete for viewers and the golden opportunity for cinematographers.

According to new research by analyst house Ampere Analysis, consumers believe the quality of content offered by Disney+ at launch (due to be November this year) will be higher than that of its SVoD rivals, Amazon, Netflix and HBO. Taking a quality over quantity approach, Disney’s launch content will be just a fraction of the size of the U.S. Netflix catalogue.

THE ORIGINALS OPPORTUNITY

The opportunity for streaming services to compete successfully for market share lies in the creation of quality original content. Apple is expected to spend $2 billion this year on original material for its Apple Plus TV in the hope to compete with shows from Netflix (which will spend $15B), Amazon ($7B) and others. UBS Analytics estimates Disney+’s investment of original content at around $800 million.

Ultimately, this is all good news for cinematographers and DoPs. Additional streaming services provide yet another opportunity to showcase their most creative work—from documentary features to cinematic dramas. However, with Disney’s reputation for premium cinema content and the likely subscriber demographic of Apple Plus TV, we anticipate both platforms will introduce quality standards to help DoPs futureproof their content with industry-leading kit and meet the ever-evolving creative demands of the industry and customers.

THE QUALITY DEMAND

Netflix has the right formula to meet these high standards. Part of its success comes down to the governance of its originals content, with the introduction of the Netflix Post Technology Alliance, which launched September 2018. The purpose of this program is to bring together industry leaders and manufacturers, committed to working closely with Netflix, to innovate production workflows and support creatives globally. Netflix understands that quality comes from all corners.

Four Canon EOS cameras were selected for the program, chosen by filmmakers behind many Netflix Originals, including the Academy Award-winning documentary ”Icarus,” feature film ”Our Souls at Night” and Emmy-nominated series ”Grace and Frankie.” Other Netflix Originals shot on Canon include: ”Hot Girls Wanted,” “Strong Island” and “The Confession Tapes,” with more currently in production.

PUSHING BOUNDARIES WITH TOP KIT

The importance of manufacturers’ unwavering commitment to supporting state-of-the-art productions from streaming services to blockbusters is made even more clear when you look at this year’s Oscar nominees for the 2019 Best Documentary Feature. All five were filmed with Canon kit—including “Free Solo,” Jimmy Chin’s production about professional rock climber Alex Honnold’s attempt to conquer the first free solo climb of famed El Capitan's 3,000-foot vertical rock face at Yosemite National Park. Such filming put the “Free Solo” filming team, and their kit, to the ultimate test of physical demand and endurance—to say they required reliable, quality kit is an understatement.

Other hotly discussed, award-winning productions this year includes Netflix’s “Roma,” which was nominated for 10 Academy Awards—winning Best Cinematography, Best Director and Best Foreign Language Film. This win is clear evidence that streaming services are creating content fit for industry-award recognition—a great opportunity for cinematographers.

4K AND BEYOND…

One of the conditions of Netflix’s Post Technology Alliance is around resolution. Netflix does not accept any content that is less than 4K, however the bar is rising and it is likely to be a focus for other services.

While 4K televisions are yet to become the norm in most households, the technology is becoming more affordable and as such, we’re naturally seeing the appetite for 4K content rise. Down sampling to 4K from higher resolutions has resulted in premium content that meets viewers’ increasing demands for high-quality content. However, as the expectations and needs of consumers continue to grow, requirements of the broadcast industry are shifting.

8K is also firmly on the industry’s radar, as there is no doubt that streaming services are already looking seriously at 8K to further futureproof their content and stand out from competitors. In terms of resolution, 8K has many other benefits as it surpasses what the eye can see. In the future, when the infrastructure is in place and internet speed increases, 8K will enable consumers to have incredible immersive experiences—allowing them to be part of the content from the comfort of their own home, including through VR.

These are exciting developments for cinematographers. New streaming services provide a plethora of opportunity to showcase their work alongside other original series and films, grabbing the hearts and attention of a global audience. There is no doubt that we will see more streaming services aiming to create high-quality, award-winning content that does not only compete with productions made by their fellow competitors but also mainstream blockbusters.

Stephen Hart Dyke is the European product marketing manager at Canon Europe.

This story originally appeared in TVT’s sister publicationTVBEurope’sJune print issue.

Ronkonkoma, NY –December 7, 2018 –Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced that its anticipated cine lens – Sigma Cine 40mm T1.5 FF – will begin shipping in December 2018 for $3,499.00, with the option to purchase a fully luminous version (FL) for $4,499.00.

Sigma Cine 40mm T1.5 FF is a fast and sharp T1.5 cine lens compatible with full-frame camera sensors and optimized for ultra-high-resolution 6K-8K productions. Featuring a 180-degree focus rotation, this lens is available in EF, E and PL mounts with lens support foot and cap included.

It is the ninth lens in the Sigma Cine FF High Speed Prime Line. As a standard lens in the cinema industry, the focal length of 40mm has become an essential part of a typical cine prime set. By adding this lens to the Sigma Cine offering, its cine prime set can now satisfy all the demands of professional cinematographers.

Sigma Cine 40mm T1.5 FF is the first lens that was designed and developed for the cinema use rather than converting a still photography lens into a cine lens. This development illustrates Sigma’s commitment to the cine market – by always listening to its customers and what their needs are, and now even more than ever with the fully operational Sigma Burbank showcase facility, Sigma strives to develop new products based on that customer feedback.

The Sigma 40mm T1.5 FF lives up to the performance standard required by high-end cinematographers as it achieves the highest optical quality as well as consistent rendering performance over the entire image circle. The lens has one of the best MTF charts ever, making it an excellent choice for all levels of filmmakers.

Prominent Characteristics of Sigma Cine Lenses

· Individual inspection of every single lens with A1 proprietary Modulation Transfer Function (MTF) measuring system using 46-megapixel Foveon direct image sensors. Even previously undetectable high-frequency details are now within the scope of their quality control inspections.

· Computer-based ray tracing has been used from the design stage onward to minimize flare and ghosting and enhance contrast in backlit conditions. Ghosting has also been checked at every prototype stage, with its causes identified, assessed and eliminated.

· Color balance standardized across the line to make color correction a breeze.

· Dust-proof and splash-proof construction, with each ring and mount sealed to prevent water and dust from entering.

· The body is made 100% of metal to stand up to tough professional use over the long term.

· Luminous paint for enhanced visibility

· Laser engraving for enhanced durability

· Mount Conversion Service allows users to convert their lenses to and from EF and E-mounts (charges apply). If the camera system changes, it is possible to simply convert the mount system to continue using the high-performance Sigma lenses.

· The Sigma USB Dock allows the user to connect the lens to a computer and update firmware, while the Sigma Mount Converter MC-11 allows users to enjoy the high performance of Sigma’s Canon EF mount interchangeable lenses with the Sony E-mount camera body.

About Sigma Corporation

Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted to the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning cine and camera lenses, DSLR and mirrorless cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last. In 2016, Sigma entered into the world of cinematography lens production. Embodying the core optical DNA that has defined the Sigma benchmark of excellence, the cine lenses meet the needs of advanced 6k and 8k cinema production.

Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.

For information about Sigma, please visit www.sigmaphoto.com or follow the company on Sigma Blog, Twitter, Instagram and Facebook.

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Burbank, CA – October 23, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, is pleased to announce the opening of its brand new west coast showcase in Burbank, California. A modern space for its world-class products, services and support, visitors can experience first-hand the popular Sigma Cine and Global Vision lenses through product demonstrations, seminars and special events. “Having a physical presence in the greater Los Angeles area has long been a vision of ours. The new west coast Sigma center has been years in the making and to finally open it to the public is very exciting,” said Kazuto Yamaki, CEO of Sigma Corporation. “We are thrilled to be a part of this creative community, and we look forward to the new relationships Sigma will develop with filmmakers and cinematographers, right in their backyard.”

Join Sigma at Its Grand Opening Event!

To celebrate the opening of the Sigma west coast office, Los Angeles area cinematographers and filmmakers are invited to attend the special reception hosted by Sigma Corporation of America on . In addition to the open bar with rare sake tasting, scrumptious food from local food trucks, Sigma swag and giveaways, attendees will have a chance to see product demos and a special work showcase by DP Timur Civan as the first official Sigma Cine Pro. As a Sigma Cine Pro, Timur will become a valuable resource to filmmakers, presenting informative lectures, seminars and workshops to cinematographers across the US. He has worked with clients as diverse as Louis Vuitton, Pepsi, Samsung, Toyota, Home Shopping Network, Vox Media and many more. His unique approach and technique are at the cutting edge of visual storytelling, and Sigma Cine lenses are always there to help bring his creative vision to life. Timur will be in attendance and available to answer any questions about Sigma lenses and how they facilitate his creative expression.

Sigma Burbank is located at . All interested in attending the Grand Opening reception should RSVP via this link: https://sigmaburbank.eventbrite.com. Space is limited; spots on the guest list are available on a first-come, first-served basis.

About the Sigma Burbank Showcase

The new Burbank facility reflects Sigma’s commitment to the filmmaking community with a significant presence in the heart of the US film & television production scene. It offers a modern showroom where filmmakers can test out specific lenses to determine what fits their workflow best and connect with other industry professionals through engaging presentations and workshops. It will bring together Hollywood professionals and the next generation of cinematographers through student filmmaking group mixers, screenings of films shot with Sigma glass, and educational programs from Sigma and its partners. “Our high-end Cine and Art lenses are compatible with the latest full-frame camera sensors and can support workflows up to 8K. As the industry adopts new and advanced standards in image resolution, our technical team will always be available onsite and in the neighborhood to support filmmaker needs,” said Mark Amir-Hamzeh, president of Sigma Corporation of America.

Sigma’s presence on the west coast is a significant milestone for the company, its Authorized Dealer network and Sigma customers. For the first time its unrivaled service and support can be offered with more convenience for west coast cine and still photo dealers, order fulfilment will be faster than ever, and service appointments can be scheduled immediately with technical representatives available right onsite.

About Sigma Corporation

Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning still photo and cinema camera lenses, DSLR and mirrorless cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last. In 2016, Sigma entered into the world of cinematography lens production. Embodying the core optical DNA that has defined the Sigma benchmark of excellence, the cine lenses meet the needs of advanced 6k and 8k cinema production.

Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.

For information about Sigma, please visit www.sigmaphoto.com or follow us on Twitter, Instagram, Facebook or Blog.

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The American Society of Cinematographers (ASC) broke ground today on the construction of the new ASC ARRI Educational Center. The contemporary building, located behind the historic ASC Clubhouse in Hollywood, will serve as a hub for the organization’s ongoing efforts to educate the next generation of filmmakers on the art and craft of cinematography. The structure also will be home to all print and digital publications staff. The ASC ARRI Educational Center offers a modern, inspired space with offices and meeting rooms, and is slated to be completed by 2019.

ASC President Kees van Oostrum was joined by ARRI Inc. President and CEO Glenn Kennel at the groundbreaking ceremony.

“When the ASC was formed in 1919, our founding members pledged to foster and artistically inspire rising cinematographers,” says van Oostrum. “That mission has made us the society we are today. Through our members and initiatives, we have aggressively continued that edict. As we prepare to celebrate our 100th anniversary next year, the new ASC ARRI Educational Center symbolizes our commitment to the future and provides an excellent gathering place for the exchange of ideas.”

The educational center is made possible through the patronage of ARRI, a pioneering technology company that has a longstanding relationship with the ASC and its membership.

Kennel says, “ARRI’s two founders were young filmmakers who produced movies and created lighting and camera equipment to make their visions a reality. We are thrilled to continue their legacy and help create a space to inspire emerging content creators.”

The ASC and ARRI previously collaborated on the launch of the International Master Class series, intensive workshops taking place around the world with acclaimed ASC members. ARRI will continue to sponsor the International Master Classes for the next decade and host various Los Angeles-based Master Classes beginning in 2019.

ARRI’s Executive Board Member Dr. Joerg Pohlman notes, “Last year ARRI celebrated our centennial, so continuing to innovate side-by-side as the ASC enters into their 100 anniversary is an important collaboration for future generations. To have a hand in developing new talent and voices honors this legacy.”

“If we look back on 100 years, the ASC has evolved from a professional group of cinematographers into a formidable, international presence in artistry, technology and education,” van Oostrum adds. “During the past couple of years, our educational efforts have grown tremendously, supported not only by the artistic endeavors of our membership but also through the work of our Motion Imaging Technology Council and our members’ commitment to illustrating the role of the cinematographer to the world. We are very grateful to have ARRI’s backing in so many of our educational initiatives, especially the one we are celebrating today.”

The ASC began its educational mission in 1920 with the publication of its flagship magazine, American Cinematographer, which covers the artistic approaches and motion-imaging techniques of filmmakers. The society has cultivated its educational efforts over the century by establishing a number of programs to promote learning on a global basis. Its Education and Outreach Committee organizes frequent events for the benefit of filmmaking students and the general public, including week-long Master Classes taught by renowned ASC members. Additionally, the organization hosts the annual Student Heritage Awards honoring both graduate and undergraduate film students; regular camera and lighting seminars; “Coffee and Conversation” Q&A sessions analyzing the work of cinematographers on a specific project; roundtable discussions featuring panels of professionals who address a variety of topics central to the work of camera people and other industry disciplines; and a bi-annual International Cinematography Summit bringing together participants from dozens of cinematography societies from around the globe to meet, share information, and prioritize an agenda that will forward the interests of cinematographers everywhere.

More recently, the ASC Vision Committee was inaugurated to promote diversity throughout the industry with a series of popular and highly engaging seminars and events devoted to nurturing an open dialogue and progressive hiring practices for women and minority filmmakers.

ASC was officially chartered in January 1919. Today, the organization has some 380 members. For more information, visit www.theasc.com

The American Society of Cinematographers (ASC) has re-elected Kees van Oostrum as president. Van Oostrum will serve his third consecutive term.

The ASC Board also named its roster of officers for 2018-2019, including Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.

“During this past year at the ASC, we have been steadfastly focused on educational events, international outreach, and efforts to promote diversity and inclusion,” notes van Oostrum. “These all support our mission of loyalty, progress and artistry. As we look ahead, we plan to usher in the 100 anniversary of the ASC in a way that commemorates our heritage and positions our members to maintain a leadership role in the evolution of the art and craft of image making.”

Van Oostrum initiated and chairs the ASC Master Class program, which has expanded to locations worldwide under his presidency. The Master Classes take place several times a year and are taught exclusively by ASC members. It is designed for cinematographers with an intermediate-to-advanced skill set, and incorporates practical, hands-on demonstrations of lighting and camera techniques with essential instruction in current workflow practices.

The ASC Vision Committee, founded during van Oostrum’s first term, continues to organize successful symposiums that encourage diversity and inclusion on camera crews, and also offers networking opportunities. The most recent was a standing-room-only event that explored practical and progressive ideas for changing the face of the industry. The Society will continue to host more of these activities during the coming years.

Van Oostrum has earned two Primetime Emmy® nominations for his work on the telefilms Miss Rose White and Return to Lonesome Dove. His peers chose the latter for a 1994 ASC Outstanding Achievement Award. Additional ASC Award nominations for his television credits came for The Burden of Proof, Medusa’s Child, and Spartacus. He also shot the Emmy®-winning documentary The Last Chance.

A native of Amsterdam, van Oostrum studied at the Dutch Film Academy with an emphasis on both cinematography and directing, and went on to earn a scholarship sponsored by the Dutch government, which enabled him to enroll the American Film Institute (AFI). Van Oostrum broke into the industry shooting television documentaries for several years. He has subsequently compiled a wide range of some 80-plus credits, including movies for television and the cinema, such as Gettysburg and Gods and Generals, and occasional documentaries. He recently wrapped the final season of TV series The Fosters.

The 2018-2019 Board who voted in this election include: John Bailey, Paul Cameron, Russell Carpenter, Curtis Clark, Dean Cundey, George Spiro Dibie, Stephen Lighthill, Lowell Peterson, Roberto Schaefer, John Toll, and Amelia Vincent. Alternate Board members are Karl-Walter Lindenlaub, Stephen Burum, David Darby, Charlie Lieberman, and Eric Steelberg.

The ASC has over 20 committees driving the organization’s initiatives, such as the award-winning Motion Imaging Technology Council (MITC), and the Educational and Outreach committee.

For additional information about the ASC, visit www.theasc.com.  

Fremont, CA - May 17, 2018 - Blackmagic Design today announced that Academy Award-winning DP Claudio Miranda, ASC, (“Life of Pi”) uses DaVinci Resolve Studio and the DaVinci Resolve Mini Panel for editing and color grading as part of his work as a cinematographer, as well as on his personal projects.

Known for his feature film work (“Tomorrowland,” “Oblivion,” “The Curious Case of Benjamin Button”), as well as his work on a variety of shorts, commercials and music videos, Miranda noted that it’s important for him as a cinematographer to understand color grading and editing. “I like to test cameras. For me it is more intimate to deal with the footage by myself. To look at over and under exposure, highlight detail, color in highlights and shadows; I really get to know the capabilities of the camera and the capabilities in DI,” he said. “Over the years, I’ve spent a lot of time next to colorists and learned a lot from them. I am always asking questions, plus I find DaVinci Resolve Studio very intuitive.”

During a recent commercial shoot for the car brand Infinity, Miranda relied heavily on DaVinci Resolve Studio and the DaVinci Resolve Mini Panel on set. He explained, “We used a rear projection screen for the background of the interior shots and some tight exterior shots of the car, and DaVinci Resolve Studio’s speed really helped. I was adding blur, vertical blur, multiple Power Windows, checking lighting and sending cues to the dimmer board operator, positioning, and correcting perspective.

“Each of the car windows had a slightly different tint, so I created a Power Window for each of them, correcting the differences in color and luminance. Just out of the camera frame, I would add a Power Window or two that would add more lighting to the interior of the vehicle. All this had to be done while shooting. The only time I had to cache was when we were using more than one type of blur, and overall, the whole system was super fast. The client and director were impressed by DaVinci Resolve Studio’s flexibility and how flawlessly it worked.”

Rounding out Miranda’s workflow is the DaVinci Resolve Mini Panel, as well as UltraStudio Express and UltraStudio 4K Extreme 3 capture and playback devices. “I love the DaVinci Resolve Mini Panel,” he added. “I am able to work much faster with it and can fine-tune much better with the physical wheels. I also really like how I can bounce from editing to color grading quickly.”

In addition to his on-set work, Miranda also has a home system that he uses for testing, pre-production shooting and color references for larger projects, as well as his own personal projects, which are all edited and graded in DaVinci Resolve Studio. “Initially, I was using another program to edit then bringing it into DaVinci Resolve Studio, but why the extra step? Just stay in the one program,” he explained. “Also, as a cinematographer I cannot stand looking at footage that is not color corrected, so working in one program that I can bounce back and forth between editing and color grading is a great workflow for me.”

“I like to work in RAW in order to see the full capabilities of the camera, and I can even edit in RAW with DaVinci Resolve Studio. I find it so fast that I really do not need to render proxies. I especially love the stabilization tools. If I need to zoom into a shot, it’s nice to deal with the original files to see where the zoom starts to break,” Miranda concluded.

Press Photography

Product photos of DaVinci Resolve Studio, DaVinci Resolve Mini Panel, UltraStudio Express, UltraStudio 4K Extreme 3 and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

LOS ANGELES—Last month I discussed the aesthetic side of how cinematographers and lighting directors go about choosing specific fixtures for the job. This month we’re going to take a look at the technical side and how to interpret manufacturer photometrics.

The basic unit of measurement of light is the footcandle (fc). A footcandle is the theoretical light emitted from one candle, one foot away from a one-foot square “target.” In many other countries, they refer to the basic unit of light measurement as the lux, which could also be thought of as the “meter-candle” (1 fc is equal to 10.764 lux).

HOW MANY FOOTCANDLES?
Footcandles are merely a method of measuring intensity, or brightness, of light. Many lighting manufacturers present photometrics in their literature, which are charts listing the various intensities (most often in footcandles) of light that will be output from a specific fixture at a given distance. With an understanding of how footcandles relate to exposure, you can evaluate how well a particular lighting fixture will serve your needs by simply reading the literature before you buy or rent that fixture.

There’s a great rule of thumb for being able to calculate how many footcandles of illumination you’ll need for any given exposure assuming you’re shooting at 24fps with a 180 shutter:

100 fc at 100 ISO is an f/2.8.

Table 1: 24fps 180[o] shutter or [1/48] sec shutter speed

From there, you can calculate pretty much anything, always remembering that each doubling or halving of light is equal to one stop. Each doubling or halving of ISO is also equal to one stop. Table 1 may also be handy for determining how many footcandles are necessary at a given ISO to achieve a specific f-stop.

MAKING CALCULATIONS
Now we can look at photometrics for a fixture and get an idea how that fixture will perform. Somewhat randomly, I elected to look at a Mole-Richardson Studio Junior LED fixture. Most of us have a pretty solid idea what we’ll get from a traditional incandescent bulb Studio Junior, but you may not have had a chance to work with the LED version yet.

Table 2: Photometric information from Mole-Richardson

On the Mole-Richardson website (www.mole.com) you can find the photometric information (Table 2). As the fixture comes in two different colors (Daylite and Tungsten), they provide data for each color temperature.

Looking at this simple chart we can learn quite a bit. We see, first off, that the tungsten fixtures are slightly dimmer than the Daylite fixtures—this tracks through to all LED fixtures, the phosphors necessary to achieve the lower color temperature limit the output of the LED.

Looking at the numbers and remembering the footcandle/exposure axiom (100 fc at 100 ISO is a 2.8) we can see that at 10 feet, at full-flood, the Daylite fixture outputs 397 footcandles and the tungsten outputs a slightly less 380 footcandles. This is about an f/8 and 2/3 at 400 ISO. That’s quite a bit of light at 10 feet! Plenty to put this fixture through some diffusion and soften it up and still get a healthy stop out of it.

Table 3: Photometric information for the KinoFlo 401 Celeb LED fixture

Let’s take a look at the KinoFlo (www.kinoflo.com) 401 Celeb LED fixture (Table 3). So, at four feet, the Celeb gives us 279 footcandles of light. That’s about a 4 1/3 at 100 ISO or an 8 1/3 at 400 ISO. The Celeb is giving us nearly as much output at four feet as the Mole Junior LED at 10 feet.

Now, if you need that kind of stop, which fixture is right for you?

The Mole has more output at a greater distance, which gives you room to put large diffusion in front of it. Also, you can spot in the Mole Junior a bit to get some more intensity out of it if you’re only using a 4x4 diffusion frame. If you imagine the actor will be four feet from the light source, you can use the KinoFlo Celeb bare, or you can use the Mole LED through larger diffusion to get a softer source.

That isn’t to say that either one of these is better or worse than the other—just two different choices. It might be that if you’re working in a confined space and you need less of a lighting footprint, then the Kino-Flo Celeb is going to win over the Mole. If you’re looking for a larger, softer source and you have the room, the Mole will win out over the Kino.

Being able to understand photometrics will help you considerably in planning your lighting, placing your equipment order and choosing the right fixtures. Happy shooting!

Jay Holben is the author of the book “A Shot in the Dark: A Creative DIY Guide to Digital Video Lighting on (Almost) No Budget.”

During a recent class at the Global Cinematography Institute in Hollywood, a student told me about a cinematographer he worked for who lit the background first, ignoring the actors until the last minute. I was co-teaching an independent cinematography class with Suki Mendencevic, ASC (“Poison Ivy II,” “I Hope They Serve Beer in Hell”). Both he and I confirmed that this was, indeed, a very common technique and each of us elaborated a bit on how and why.

For myself, I first encountered this idea working as a gaffer for my good friend Christopher Probst (“Detention,” “Fire With Fire,” and the upcoming “Beyond Skyline”), in our very early days in Hollywood. Chris and I rose through the ranks together and I would gaff when he was shooting and he would pull focus for me when I was shooting.

A METHOD TO THE MADNESS
It used to irritate the hell out of me that Chris would always start lighting from the smallest detail in the room. Some bookshelf in the far back corner is where he’d start, with some nook light or a puck light or skipping a Fresnel across the face of the shelves.

“What do you want to do about the actors?” I’d ask.

“I dunno...” he’d send back and continue to run around the room setting small fixtures and moving practicals.

I used to think, what a waste of time! We’re here to light the actors! It’s about the actors! We need to figure out what we’re going to do for them!

However, over time I began to see the wisdom in this technique. Setting the background helped to build an overall ambiance and helped to establish motivation for where light might come for the actors. Moving a practical to light up a corner of the room gave a motivation or an edge light or lighting up that bookshelf allowed for perfect separation for the actor in a moment where they could step out of any key into silhouette against that background. It was about building the world around the actors and then allowing them to exist within that world and augmenting to light them when everything else was firmly in place.

A PLAN IN PLACE

Despite initial misgivings, the author has adopted the philosophy of lighting the smallest details first. After working with Chris and getting to know this style of his, I actually started to adopt it a bit myself in my own lighting. There was great wisdom in first lighting the environment. Not only did it allow you to set motivation or sources, but it built up the base exposure and “room tone” and made lighting the actors a lot easier and more logical. Starting from the actor’s key light and going to the background was often like painting yourself into a corner. It became more of a task of trying to flag light off of areas and fighting spill rather than already having that world lit and putting in key lights that augmented the background.

Mendencevic brought up a very interesting point. As much of his career has been spent, like mine, in the independent and low-budget world, he looked at lighting from the background forward as a defensive move. The ASC cinematographer opined that the AD and production department will always rush you. If you have the actors lit then they can easily say “OK, we’re ready, you don’t have time to do the rest, let’s shoot!”

However, if you are lighting the background and haven’t lit the actors yet, they can’t just start shooting, they have to wait. It allows you more time to make sure you’re taking care of the image. “You have to have a whole plan in place,” he asserts. “But, for me, it’s easier to work in that way. It’s almost like painting. Many painters start with the furthest point first: the sky, then the sea, then the beach, then get to the details up close. I do the same with lighting, starting with the furthest point first and ending—and spending most of my time—on the details of the actors and the close up. Working from the background forward establishes a foundation for the lighting setup and often the background can stay the same as you’re moving from setup to setup where you’re just finessing the closeup lighting, so it’s also an efficient way of working.” There is no set formula or recipe; we do what is natural to us,” Mendencevic continues. “No matter how big or small your budget is, you’ll never be given all the time in the world, so you have to do what is most efficient to get the look you need.”

I can certainly relate with Mendencevic’s experience and his strategy. The only real danger is spending too much time on details and not leaving yourself enough time to take care of the actors, who, after all, are who the audience wants to see. I used to tease Probst that it was not a movie about a bookshelf, but I came to see the brilliance of his ways and have adopted the back-to-front technique for most of my cinematographic career.

Jay Holben is the author of the book “A Shot in the Dark: A Creative DIY Guide to Digital Video Lighting on (Almost) No Budget.” He can be reached via TV Technology.