American Cinematographer - April 2014 - 96
he added that "we anticipate that one day
we will be there to meet that challenge to
become the A camera," and foresaw that
any new technologies that the company
develops for its high-end cameras would
"trickle down" to the company's lower-end
camera models. He maintained that the
development of higher-end cameras would
require increased processing speed for semiconductors (in order to handle the sheer
volume of digital data funneling through
the workflow pipeline) and reasonable,
energy-efficient power-consumption standards.
In a separate group-interview
session, members of the company's EOS
team addressed a range of other topics,
including questions about the ergonomics
of Canon's C-Series cameras and the ongoing need for productions to add third-party
accessories to these cameras in order to
meet the high-end requirements of cinematographers like Anthony Dod Mantle,
ASC, BSC, DFF (Rush; AC Oct. '13); Sofian El
Fani (who used the C300 on Blue is the
Telecine &
Color Grading
"Jod is a true artist with
a great passion for his craft."
- John W. Simmons, ASC
96
Contact Jod @ 310-713-8388
Jod@apt-4.com
Warmest Color, which won the
Palme d'Or at the 2013 Cannes
Film Festival); and Shane Hurlbut,
ASC (who offers a detailed assessment of the C-Series cameras in this
issue's coverage of the feature Need
for Speed).
During the group session, ASC
member Jon Fauer summarized the
desires of many top cinematographers by suggesting that the C500
should be adapted for easier handheld work, with adjustable handgrips and
shoulder mounts that would make the
camera less reliant upon third-party rigs.
Fauer praised the compact design of the
C500, but also suggested that the next
model should be more modular and offer
an adjustable viewfinder. "It would be nice
if you could interchange the lens mounts
between Canon and PL mounts, or some
other neutral mount system," he added.
The EOS spokesmen conceded that
the company "must be more flexible" in the
design and engineering of future camera
models, but stressed that Canon was still in
the process of "collecting a lot of feedback
from C-Series users. Our products are being
used by many people in different and
diverse manners, so compiling all of those
comments and reflecting [those suggestions] in a new model is going to be very
difficult. We knew from the beginning that
the C500 would not [occupy] the high end
[of the market] like the Alexa. For those
people who are very used to using [highend] A cameras and B cameras, this is not
http://www.filmtoolsrentals.com
http://www.filmtoolsrentals.com
http://www.apt-4.com
American Cinematographer - April 2014
Table of Contents for the Digital Edition of American Cinematographer - April 2014
Contents
American Cinematographer - April 2014 - Cover1
American Cinematographer - April 2014 - Cover2
American Cinematographer - April 2014 - 1
American Cinematographer - April 2014 - 2
American Cinematographer - April 2014 - Contents
American Cinematographer - April 2014 - 4
American Cinematographer - April 2014 - 5
American Cinematographer - April 2014 - 6
American Cinematographer - April 2014 - 7
American Cinematographer - April 2014 - 8
American Cinematographer - April 2014 - 9
American Cinematographer - April 2014 - 10
American Cinematographer - April 2014 - 11
American Cinematographer - April 2014 - 12
American Cinematographer - April 2014 - 13
American Cinematographer - April 2014 - 14
American Cinematographer - April 2014 - 15
American Cinematographer - April 2014 - 16
American Cinematographer - April 2014 - 17
American Cinematographer - April 2014 - 18
American Cinematographer - April 2014 - 19
American Cinematographer - April 2014 - 20
American Cinematographer - April 2014 - 21
American Cinematographer - April 2014 - 22
American Cinematographer - April 2014 - 23
American Cinematographer - April 2014 - 24
American Cinematographer - April 2014 - 25
American Cinematographer - April 2014 - 26
American Cinematographer - April 2014 - 27
American Cinematographer - April 2014 - 28
American Cinematographer - April 2014 - 29
American Cinematographer - April 2014 - 30
American Cinematographer - April 2014 - 31
American Cinematographer - April 2014 - 32
American Cinematographer - April 2014 - 33
American Cinematographer - April 2014 - 34
American Cinematographer - April 2014 - 35
American Cinematographer - April 2014 - 36
American Cinematographer - April 2014 - 37
American Cinematographer - April 2014 - 38
American Cinematographer - April 2014 - 39
American Cinematographer - April 2014 - 40
American Cinematographer - April 2014 - 41
American Cinematographer - April 2014 - 42
American Cinematographer - April 2014 - 43
American Cinematographer - April 2014 - 44
American Cinematographer - April 2014 - 45
American Cinematographer - April 2014 - 46
American Cinematographer - April 2014 - 47
American Cinematographer - April 2014 - 48
American Cinematographer - April 2014 - 49
American Cinematographer - April 2014 - 50
American Cinematographer - April 2014 - 51
American Cinematographer - April 2014 - 52
American Cinematographer - April 2014 - 53
American Cinematographer - April 2014 - 54
American Cinematographer - April 2014 - 55
American Cinematographer - April 2014 - 56
American Cinematographer - April 2014 - 57
American Cinematographer - April 2014 - 58
American Cinematographer - April 2014 - 59
American Cinematographer - April 2014 - 60
American Cinematographer - April 2014 - 61
American Cinematographer - April 2014 - 62
American Cinematographer - April 2014 - 63
American Cinematographer - April 2014 - 64
American Cinematographer - April 2014 - 65
American Cinematographer - April 2014 - 66
American Cinematographer - April 2014 - 67
American Cinematographer - April 2014 - 68
American Cinematographer - April 2014 - 69
American Cinematographer - April 2014 - 70
American Cinematographer - April 2014 - 71
American Cinematographer - April 2014 - 72
American Cinematographer - April 2014 - 73
American Cinematographer - April 2014 - 74
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American Cinematographer - April 2014 - 76
American Cinematographer - April 2014 - 77
American Cinematographer - April 2014 - 78
American Cinematographer - April 2014 - 79
American Cinematographer - April 2014 - 80
American Cinematographer - April 2014 - 81
American Cinematographer - April 2014 - 82
American Cinematographer - April 2014 - 83
American Cinematographer - April 2014 - 84
American Cinematographer - April 2014 - 85
American Cinematographer - April 2014 - 86
American Cinematographer - April 2014 - 87
American Cinematographer - April 2014 - 88
American Cinematographer - April 2014 - 89
American Cinematographer - April 2014 - 90
American Cinematographer - April 2014 - 91
American Cinematographer - April 2014 - 92
American Cinematographer - April 2014 - 93
American Cinematographer - April 2014 - 94
American Cinematographer - April 2014 - 95
American Cinematographer - April 2014 - 96
American Cinematographer - April 2014 - 97
American Cinematographer - April 2014 - 98
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American Cinematographer - April 2014 - 108
American Cinematographer - April 2014 - Cover3
American Cinematographer - April 2014 - Cover4
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