film photography 1

Jon Fauer, ASC

February 2009  Issue 21

Japan Lighting with Paint Banjin by Andrew Laszlo, ASC Canon Vixia HF S10 Canon Tour Camaras y Luces, Argentina Tandem Receiver Rendezvous Reverse

Lighting with Paint The Treaty of 1854 between Commodore Matthew C. Perry and representatives of the Shogun ended Japan’s 200 years of isolation. The impact of Western technology (photography, transportation and manufacturing) was immediate. Just as pivotal was Japan’s sudden influence on Western art. The French were quick to name it “Japonisme.” Japonisme started with a frenzy to collect or study Japanese print art, paintings, ceramics, metalwork, and architecture, which inspired new directions in composition, color and design. Some of the artists influenced by Japanese art were Monet, Whistler, van Gogh, Manet, Bonnard, Toulouse-Lautrec, Cassatt, Degas, Renoir, Whistler Pissarro, Gauguin, Beardsley, Klimt and Degas. In 1867, the same year that the Meiji Emperor was “restored” to power, French novelist Emile Zola published an article praising the art of Edouard Manet. In gratitude, Manet painted Zola’s portrait (at left), with a Japonismista’s attention to details.

Edouard Manet “Portrait of Emile Zola. 1868. Oil on canvas. 146 x 114 cm. Musée d’Orsay, Paris Utagawa Hiroshige, “Great Bridge, Sudden Shower at Atake” 1857. Woodblock print. Brooklyn Museum, NY

Vincent Van Gogh, “The Bridge in the Rain” 1887. Oil on Canvas, 73 x 54 cm. Van Gogh Museum, Amsterdam

On the wall is a reproduction of Manet’s Olympia, Zola’s favorite, reclining on a Japanese silk fabric. The French art world was shocked, SHOCKED! Olympia’s pose had classic provenance, but the establishment critics were not amused by who she was. The bouquet of flowers was probably the gift from a grateful client, perhaps Manet himself, though where he contracted syphilis is not revealed. The print on the wall and the screen at left are further homages to the art of Japan. And the lighting: one Kinoflo Vista Single, which is a one-lamp, 96 watt single-source soft light—hung out of frame above Zola’s right shoulder, with a honeycomb louver to prevent spill onto the wall. Vincent Van Gogh wrote to his brother Theo, in 1888, “All my work now is more or less based on Japanese art.” Vincent had a collection of woodcut prints by Utagawa Hiroshige, including “Great Bridge, Sudden Shower at Atake” (left), which certainly influenced his “The Bridge in the Rain” (right). INFLUENCED! Japanese woodblock prints had a huge influence on artistic trends in the West: graphic style, less emphasis on lighting and shadows, more sense of what we would later call cinematic movement, perspective enhanced by diagonal lines, greater simplicity, large areas of solid colors, repeating decorative patterns, and possibly the precursors of anime. One hundred and fifty-five years after the Treaty of Kanagawa, we continue to be influenced by Japanese art, and as we shall see in this issue, by Japanese technology.

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Feb 2009

Japan

Andrew Laszlo’s latest novel, BANJIN, arrived fortuitously in time for a recent flight to visit Canon in Japan, and at 700 pages, kept me captivated the entire fourteen hours. While ninja businessmen (black eyeshades, blankets, slippers) around me were beating back jet lag under Ambien induced slumber, I was transported to the mid nineteen century foundation of modern Japan, the Meiji Restoration, the introduction of photography and an assortment of intertwined themes that magically managed to put my technological pilgrimage into context. It’s no surprise that BANJIN reads like an epic mini series or major motion picture. That’s because it was written by Andrew Laszlo, ASC, who was the cinematographer on SHOGUN, the 10-hour, Golden Globe-winning saga starring Richard Chamberlain, based on James Clavell’s bestselling novel. The prolific Mr. Laszlo is well known for his impressive credits as Director of Photography on more than 60 motion pictures and television specials. He is also famous for his prodigious storytelling prowess, as shown in this, his seventh book. Told with a cinematographer’s attention to detail and a filmmaker’s gift for creating images from words, BANJIN is the kind of historical fiction that keeps the reader spellbound and sleepless—it’s impossible to put down. In SHOGUN, the year is 1600. Rival Samurai warriors battled to become Shogun. John Blackthorne, English navigator of a Dutch

trading ship was shipwrecked on the coast of Japan. He became an ally of Toranaga, fell in love with his interpreter, and became assimilated into Japanese culture. BANJIN picks up more than 200 years after SHOGUN. The year is 1843. A Japanese boy, Masahiro, is shipwrecked on a desolate island, rescued by American whalers and brought to New Bedford, Massachusetts in a voyage that would make Conrad, Melville or Dana envious. As John Mong, the boy is well educated at Exeter, advises Congress, goes back to sea, joins the Gold Rush in California, and returns home to Japan. He becomes Lord Tanaka Masahiro, and helps open Japan to the west as a leading character in the Meiji Restorataion. There’s enough action, intrigue, passion, and character development to fill a dozen regular novels or Hollywood movies. Andrew Laszlo’s book BANJIN will undoubtedly become, as they say, “Soon to be a Major Motion Picture.” I’m reminded of another major motion picture, Akira Kurosawa’s Yojimbo, as we dine with our Canon hosts at the historic Meiji Kinenkan (above), and the outer gardens of the Meiji Shrine. In Yojimbo, Toshiro Mifure plays The Samurai, once a faithful warrior of the Emperor, now a “ronin,” an outsider, with no master to serve. The reticent loner and terrorized townsfolk of Yojimbo would soon become western archetypes, influencing Sergio Leone’s A Fistful of Dollars, starring Clint Eastwood as The Man with No Name, a fistful of Spaghetti Westerns, and a wave of innovation in Western cinema similar to the influence of Japanese art at the beginning of the Meiji Restoration. What we also find in Japan today is continued artistic and technological innovation and the early rumblings of a yet another new paradigm, simultaneous Hybrid High Resolution motion and still imaging and further democratization of the process with proliferation of consumer and prosumer equipment. Feb 2009

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Face Detection Technology uses advanced algorithms to track a person’s face–both static and moving–along with the ability to pick and choose with the joystick which face you want to follow when there are several people in the shot.

Video Snapshot Mode: 4 second cuts

Yes, it does 24p. MPEG4-AVCHD H.264 Up to 24 Mbps recording

The HF S10 detects up to 35 faces, and can display 9 of them on screen at one time.

There are four groups of lens elements, and 6 VCMs (voice coil motors) to control zoom, focus, iris, ND, Image Stabilization Pitch and Image Stabilization Yaw. Aspeherical lens elements improve image quality. CMOS sensor has low power consumption.

Canon’s Super Range Optical Image Stabilization uses corrective optics to compensate for high and low frequency moving and shaking. The optical image stabilization removes handheld wobble, camcorder vibration, bouncing from trains, planes and automobiles: .1 - 20 Hz (shaky camera); .1 -1 Hz (slow shake from human body; 1 - 10 Hz (camcorder vibration); 10 - 20 Hz (bouncing from vehicles). The HF S10 uses gyro sensors and a lens shift system.

Neutral Density filtration is handled with a circular, graduated ND filter that works in conjunction with the iris.

For a detailed guide on how to get what you shot into your computer, and how to wrangle and edit the AVCHD files, go to www.fdtimes.com/canon

It’s all about lenses, and this camcorder is almost all lens. 10x Optical zoom: 6.4- 64mm f/1.8-3.0

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Feb 2009

Canon Vixia HF S10 Is the consumer/prosumer market driving the development of professional cameras, and what technologies will be shared? To find out, Canon invited members of the fifth (journalists) and sixth (cinematographers) estates for a rare visit to corporate headquarters in Tokyo and the factory in Oita, where they assemble one camera every minute. When you look at the numbers, your jaw drops. Canon shipped more than 10 million consumer camcorders and cameras last year. A product’s life-cycle (from concept to distribution) is now estimated at 1 to 1.5 years, and 20 new products are introduced each year. Canon is celebrating the 50th anniversary of singlelens reflex still camera production, with 39 million film-based cameras and 14 million digital SLRs sold. The camera we had all come to see was the new Canon VIXIA HF S10 (opposite page). It is a tiny, tapeless, 24p, AVCHD video camcorder that happens to shoot high resolution stills, the flip side of Canon’s wildly successful 5D Mark II, a still camera that happens to shoot great video. After signing serious non-disclosure agreements and pledging zipped lips until the official unveiling at CES in January, we met with Canon’s top executives, research, development and design teams in the stunning boardroom atop Canon’s Tokyo office tower.

Above: Canon’s Tokyo Office Park Headquarters. Below: Neil Matsumoto and Stephen Pizzello, with VIXIA HD cameras. Middle: Meiji Kinenkan. The King of Spain is on the second floor, rear. Bottom: Picture show—shadows of four actors and lots of hands, pre-cinema.

Canon’s VIXIA HF S10 will be available in Spring 2009. Like its predecessors (HF10 and HF11), I think it will become the darling of news, documentary and second-unit camera crews, as well as casting agencies, location scouts and directors doing rehearsals. About the size and weight of a can of Pocari Sweat (Japanese Red Bull), the VIXIA HF S10 records AVCHD video to a 32GB internal Flash drive or directly to an SDHC memory card. It has an 8.59 Megapixel CMOS Image Sensor, capable of shooting Full HD (1920×1080) or 8 MP digital stills. There are three game-changing concepts in this camera. 1. Canon estimates that by 2011, a majority of their camcorders will use Flash Memory. 2. Face Detection Technology that uses advanced algorithms to track and focus on a person’s face (both static and moving) may help you get your HD in focus. Face detection also works in post production: you can sort all your shots by a specific person. 3. In Video Snapshot Mode, every time you push RECORD, the camera shoots for 4 seconds, then cuts. You’ll find yourself composing more carefully, and sparing your audience endless hours of out-takes. Supplied software even includes a selection of background music, letting you easily and quickly cut a lively presentation. Maybe the next model will have a music video MODE, with one second cuts. But there are more things in heaven and earth that went into this camera, so please join us on an interesting journey in Japan. Feb 2009

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Canon History

In 1933, Takeshi Miterai set up the Precision Optical Instruments Laboratory in an apartment in Roppongi, Tokyo, now known more for its bars, clubs, red lights, tourist traps, rumors of Yakuza and missing fingers. With no previous experience building cameras, Miterai aspired to build, in Japan, a still camera as good as the legendary Leica. In 1934, he built a prototype 35mm focal plane shutter camera, named the Kwanon, after the Buddhist Goddess of Mercy. In 1937, the company became Canon, the same year that Toyota Motors was founded. The Canon logo was created in 1947, and Canon opened an office in New York in 1955.

Above left: Canon’s Tokyo headquarters. Above, right: President and COO Tsuneji Uchida. Over 6,000 employees work at Canon’s Tokyo headquarters in research, development and administration. Canon is a multinational company of 131,000 employees worldwide, making computer peripherals, office imaging products, cameras and optical products, including Semiconductor Exposure Equipment (opposite page). The resolution of the lenses that “etch” computer chips has been described as equivalent to reducing two basketball courts to an area 2 inches square, and still being able to define the details of one single strand of a person’s hair. Things have gotten a lot smaller since Canon introduced its toaster-sized Canola, the world’s first 10-key electronic calculator, in 1964.

Above, left: Kwanon 35mm Rangefinder camera. Above right: do not attempt cutting your EOS SLR Camera in half on a bandsaw at home. Canon is among the top 3 recipients of US patents, and returns 10% of net sales into R&D. The worldwide digital camcorder market is now about 16.7 million units. Japan’s share of HD is currently 72% HD, USA is 21%, Europe 14%, China 27%, and Australia 16%. 6

Feb 2009

Canon Technology

Left: To produce semiconductor chips with 45 nm circuit widths (1 nm = one millionth of a millimeter) a light source is projected through a reticle, using lenses that are several thousand times more precise than ordinary camera lenses. Above: the opposite extreme. Micro miniaturized lenses, driven by actuators, for today’s digital still cameras and camcorders. The 1 Yen coin on the right is about the size of a penny. Moore’s law is important because, as someone at Microsoft said, “it is the only stable ruler we have today. . . it’s a sort of technological barometer. It very clearly says that if you take the information processing power you have today and multiply by two, that is what your competition will be doing 18 months from now. And that is where you too will have to be.” Ironically, Bill Gates commented on the tendency of software bloat to outpace the every-18-month doubling in hardware capacity, “The speed of software halves every 18 months.” So, whether you’re creating lenses to manufacture microchips or designing camcorders, you essentially have to start designing the next generation as soon as you’ve signed off on the current model. You have eighteen months for development and even less time for practical marketing and sales. You need rapid research and development, rapid prototyping and manufacturing. We are already seeing what Canon engineers told us: we’re heading rapidly toward cross-media imaging, a hybrid of stills, moving pictures, sound and text as high-speed digital networks and society both mature. Below: Canon USA’s Tiger Ishii captures the Japan tour with the Canon VIXIA’s Video Snapshot Mode.

Feb 2009

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Canon Oita

After two days at Canon’s Tokyo headquarters, it’s time to see how and where all this miniaturized high technology is assembled, so we’re off to Oita. Japan was first opened to foreigners following the entry of Admiral Perry into Tokyo Bay (above, left) in 1853. A daguerreotype photographer accompanied Perry’s expedition, which features prominently in Andrew Laszlo’s novel, BANJIN. At Haneda Airport’s gourmet food stores, we stock up on deliciously cute furry chestnuts, (above right).

A couple of hours later, we’re in the town of Beppu (above, left), in Oita Prefecture, on the Island of Kyushu. Oita is famous for its high tech factories and highly skilled labor pool. But we stop off first at a different kind of pool: Blood Pond Hell. The “hells” (jigoku) of Beppu are nine spectacular, geothermal hot springs, too hot for bathing. For that, our next stop is the luxurius riyokan Suginoi Hana Kan, with indoor swimming pool, artificial waves, and outdoor modern spa overlooking Beppu Bay, no pictures please.

The Suginoi Hana Kan is not a small, traditional riyokan. With over a thousand rooms, the gift shop (above left) is larger than most modern supermarkets, and the hotel has more restaurants than many towns. Later that evening, we are treated to a traditional Kaiseki dinner, entertained by geishas, traditional drummers, massive quantities of sake, and toasts of “Happiness, happiness.” 8

Feb 2009

Oita Canon is the main production base in Japan for Canon cameras, and hub of technical support for Canon’s worldwide plants. The facility was opened in 1982; by 1997 Canon had manufactured 100 million cameras, and by 2005 had produced over 50 million digital products. The Oita plant makes Canon digital SLR cameras, EOS Iv Film SLR cameras, compact digital cameras like the Powershot and Elph, and compact digital camcorders like the Vixia HF, HV and HS series and 3 CCD camcorders like the XL and XH series.. Oita has an automated circuit board assembly area that makes 400,000 circuit boards a day. Assembly line conveyor belts were discontinued in 1999, and replaced by the modern “cell” production system (see below). With the cell system, cameras are put together by small teams of at workstations grouped into pods. This lets the production go at the pace of the workers, actually speeding up assembly, improving quality and encouraging individual creativity by providing a voice in the process. As each subassembly is passed on, the previous work is inspected, so there is a constant quality control cycle. On average, one cell or team of workers can produce about 500 cameras or camcorders in an 8 hour shift. With all the cells working, one camera goes into the automated shipping department every minute.

Lenses are injection molded in automated machines that press molten glass, heated to 700 degrees (glass melts at 600 degrees), under pressure, into spherical and aspheric elements. One lens is made every 4.3 minutes. The tolerance is 30 nm; no polishing is needed. For reference, high end aspheric cinema lenses are polished to 4 nm. There’s a difference, of course, in tolerance and quality between professional and consumer/prosumer lenses, which is why there can be up to a twenty times price difference. You pay for what you get. Designers at the Oita plant work together with the manufacturing teams for new products to take advantage of existing infrastructure, and new methods are being developed all the time. The level of environment awareness was impressive. Canon adheres to the Kyoto Protocol and takes active measures to counter global warming. Energy-saving methods are updated, the surrounding area is undergoing reforestation, water is recycled and industrial waste is reduced, recycled and reused. We didn’t hear anyone yelping about how much this would cost, so it is clear that in some places of the world, protecting the environment is recognized as good business. It would be good for some of our more obdurate, ostrich-like politicians to visit Oita. And now it’s time for us to fly back to Tokyo.

Feb 2009

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Tokyo

9:00am. Board subway at Kanda station. It’s more crowded than the New York Number 6, but runs like clockwork every 3 minutes. Arrive at Yurakucho Station and visit the Tsukiji Fish Market where fish is packed as carefully as camcorders. Are the sushi chefs working together? Is this sushi cell production? One wraps the rice, passes it on... Is Mochi Ice Cream made in cell production?

Above left: Mochi Ice Cream: sticky rice on the outside and wonderful designer flavors inside, packed like jewels. Will it be the next Jamba Juice or Pinkberry chain of choice? Above right: Yodobashi: world’s largest electronics store, heaven on earth. Below left: aisles and aisles of memory cards. Below right: yellow for Kodak and green for Fuji—film is alive and well and ubiquitously available here.

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Feb 2009

Above: The light changes in the Shibuya area: one of the world’s busiest intersections begins to look like a Bayer pattern of moving pixels. Right: Lone Salaryman late for work. Left: Akihabara Electric Town. This is the neighborhood festooned with tiny shops that sell every electronic part known to man or geek. Right: The poster says, “Animation Studio and Maid Cafe.” Max Preston, son of Howard Preston, on exchange in Tokyo from Berkeley, explained that this latest fad is like Starbucks with costumes. Left: Takeshita Street, where almost every teenager goes shopping after school. No wonder millions and millions of cameras have been sold by Canon. As the worlds of stills and movies become intertwined, a vast new group of users and a huge new audience will surely emerge. Feb 2009

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Camaras y Luces

Cut to: Buenos Aires, Argentina. When cinematographers gather to discuss favorite rental houses, Camaras y Luces is always on the short list, with excellent service and meticulously maintained equipment in pristine condition. What makes a camera crew immediately happy? A spotless check-out facility cleaner than most hospitals’ operating rooms, thoughtfully designed cases, all the latest cameras, lenses and accessories, and everything logically labeled, marked and compatible. Camaras y Luces was started more than 30 years ago by Jose Maria Pagazaurtundua, a cinematographer who wanted to see, and get, improved service from the companies he was using. So, he started a small rental house with an Arriflex 35-2C camera. In those first years, Jose Maria worked with Isabel, his wife. Since then, Camaras y Luces has grown into a full service company. There are now over 120 employees on staff. The whole Pagazaurtundua family continues to work together, taking care of details from small to large, continuously developing and investing in new technologies. There are now more than 57 film cameras in rental: Arricams, Arriflex 435 Xtremes, 235, 35-3, 2C, Moviecams, Eyemos, Photosonics, 416, SR3 and more. For 3 perf, they have Arriflex 435, 235 and Arricam Lite or Studio. There are 10 digital cameras: ARRI D-21, Red, SI-2K, and soon the Weisscam HS-2. The lens department maintains and rents Zeiss Master Primes, Ultraprimes (including 8R), Ultra 16 and Cooke S4 Primes. Zooms include Angenieux 24-290, 28-76, 17-80 and 15-40 zooms, as well as the 15-40 Cooke zoom, Cine Magic’s Revolution Snorkel, P+S Skater Scope, Anamorphic lenses and the first 300mm delivered by Cooke. Camaras y Luces usually services large features and commercials. The extensive grip and lighting departments include the Arrimax 12

Feb 2009

18K, Maxmovers, Flight Head, generators and a fleet of trucks to transport everything.   Recent productions include: Assassination Tango, starring, written and directed by Robert Duvall; Seven Years in Tibet with Brad Pitt and directed by Jean Jaques Annaud; Evita, written, produced and directed by Alan Parker, with Madonna and Antonio Banderas; Imagining Argentina, performed by Antonio Banderas and Emma Thompson, written and directed by Christopher Hampton; The City of Your Final Destination, directed by James Ivory; La Luce nel Cuore, a feature film for Italian television by Alberto Simone. Camaras y Luces handles many Argentinian productions, including Son of the Bride (El Hijo de la Novia), nominated for an international Oscar.   Camaras y Luces owns Pilar Studios, located outside the city of Buenos Aires. This new studio complex was developed two years ago. It is state of the art, and attracts national and international productions.

Rental House and Studios in Argentina

More than 57 film cameras in rental: 35mm, 16mm, 3 and 4 perf, digital.

Individual Camera Checkout Room, with focus and registration targets.

ARRI D-21 in camera room.

ARRICAM Lite 3 perf in camera room

Jonas Pagazaurtundua in camera repairs, above. Dollies and heads, below.

Generator area, above. Grip and Electric departments, below.

Feb 2009

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Tandem

Rendezvous Reverse

From Lentequip in Canada comes the new Tandem Receiver, a full-featured UHF/CATV receiver designed to work with wireless video assist transmitters on set. Its sensitivity rivals rack-mounted demodulators costing many times more. Here’s a hypothetical setup. A CanaTrans transmitter is attached to the video output of the film camera’s video assist. Several Tandems are on set. One is attached to the Director’s large video-village monitor. Another sits on the sound mixer’s cart, attached to a smaller monitor. And so on. Just remember that it is better to receive than to give...er...transmit, because you still must check on the latest government rules about becoming your own TV station on set, and reallocation of the spectrum. Now that the ubiquitous Sony Watchman is gone—the days of small, cheap, handheld, on-set consumer televisions has given way to something much more high-tech. Tandem seamlessly lets you switch between the NTSC, PAL and CATV standards of various countries by selecting from the menu—like the CanaTrans Global Edition version. In addition to being multistandard, the Tandem provides battery voltage monitoring, storing and recalling favorite channels by means of dedicated Add and Remove Channel buttons, and a signal strength display calibrated in dBs. This signal-strength feature is useful when positioning the direction of a shark-fin type of receiving antenna. The Tandem will also receive audio transmissions. Cables and connectors are compatible with the CanaTrans: any power-only cable (no video signals wired within) can be used with the Tandem. To maintain compatibility with existing receiver antennas already in use, the antenna connection on the Tandem is BNC only. Lentequip has also designed a special bracket with an optional battery mount to attach Sony’s popular NP-QM71D/91D InfoLithium 7.2 volt consumer camcorder batteries. The Lentequip Tandem is available in the U.S. from Birns and Sawyer, in Europe from Gecko-Cam (gecko-cam.com) and worldwide from Lentequip (lentequip.com). 14

Feb 2009

Automotive video assist is getting to be almost as good as what we saw on set a few years ago, with wide-angle, aspheric lens backup cameras and monitors built into rear-view mirrors. I recently rented a Traverse LT. The car itself left me wondering, “what were they thinking? Bailout?” But the picture wasn’t bad. Though the video monitor in the rear-view mirror may not threaten the team at Transvideo, and the wide angle lens will not have the crew at Cooke quaking in their boots, I am waiting for Claude Lelouche to put one of these cars into reverse and do a sequel to his classic short film, Rendezvous. Rendezvous was shot in a single take with a camera mounted on the front of a Mercedes 450SEL 6.9 (soundtrack is a dubbed Ferrari), at 230-240 km/h through Paris. No streets were closed, since Lelouch was unable to obtain a permit. He was arrested after the shoot, but was soon released because the officer liked Lelouche’s A Man and A Woman. See the clip by googling “Rendezvous,” or better yet, order the DVD online.

The Journal of Art, Technique and Technology for Film, Video and Digital Production Film and Digital Times is a newsletter for Cinematographers, Photographers, Directors, Producers, Studio Chieftains, Camera Assistants, Camera Operators, Grips, Gaffers, Gearheads, Crews, Rental Houses and Manufacturers. Published every two months, written and edited by Jon Fauer, ASC, with inside-the-industry “secrets-of the-pros” information from professionals who shoot, direct, light, design, edit and work in the business. Jon Fauer is an award-winning Cinematographer and Director with 11 bestselling books (over 120,000 in print), famous for their user-friendly way of explaining things as if you were right there on location with him. publisher and editor: Jon Fauer © 2009 Film and Digital Times, Inc

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Welcome New and Renewing Sponsors Our back page keeps growing. More new sponsors joined us recently than ever before, and more companies became exalted Moguls. Our sponsors are not randomly selected: the companies we keep make the equipment we use, and many are run by longtime friends and fellow colleagues. The unique relationship we have is that most of our sponsors are also our gurus, and have been for a long time. They are the worldwide technical support lifelines we have always called, and continue to call, for advice, facts, information and articles. It is a true collaboration. The New York Times reported recently that Hollywood, previously derided in investment circles for its unfathomable accounting practices, is now considered one of the safer places to park your hard-earned fortune compared to Wall Street, real estate, the art market, Ponzi schemes and imploding investment banks. The movie business is proving more resilient to recession than most other industries; last year was the best box-office in history, and this year is already up 9%. Though box office and studio profit is rarely seen as translating into equitable equipment sales and rental rates, it does provide a light at the end of the tunnel, whether 24K or inkie. Please welcome our recession-resistant, newly elevated or existing Moguls: Abel Cine Tech, ARRI, Band Pro, Bogen Imaging, Canon, Cooke Optics, Fujifilm, Fujinon, Oconnor, P+S Technik, Preston Cinema Systems, Sachtler (and its parent company, Camera Dynamics), Sony, Transvideo, Vantage Film (makers of Hawk Anamorphic Lenses), ZEISS and ZGC. As the quintessential Hollywood Mogul Darryl F. Zanuck used to say, “Don’t say yes until I finish talking.” Meanwhile, please welcome Film and Digital Times Executive Producers: Aaton, Angenieux, Chrosziel, JVC, Kodak, P+S Technik, 16x9inc and Tiffen. Our Producers are: Blixt in Denmark, Cartoni, Clairmont Camera, Lentequip, Lowel and Otto Nemenz International. Co-Producers are: Camaras y Luces, Dedo Weigert Film and Dedolights, Formatt Filters, Kata, Manfrotto, Petrol, Reflecmedia, SI-2K cameras, Phantom camera, and Weisscam. We’re excited to welcome Frieder Hochheim and Kinoflo as Associate Producers, along with Rainer Hercher and Camelot Broadcast Services in Berlin. They join cmotion, Litepanels and Birns and Sawyer. As that other archetypal mogul Sam Goldwyn said, “Pictures are for entertainment, messages should be delivered by Western Union...” Although Goldwyn was also famous for having said “include me out,” I’d like to think that he would have included us in for delivery of the latest messages on technique, technology and the state of our arts. Feb 2009

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Assoc. Producers birnsandsawyer.com camelot-berlin.de cmotion.eu kinoflo.com litepanels.com

Media Partners cinec.de cinegearexpo.com icgmagazine.com nabshow.com peraonline.org