American Cinematographer - April 2014 - 97

[an ideal design], but people who have
been using the EOS system with DSLRs
say this is the form they would like to
see."
ASC associate Eliott Peck, senior
vice president and general manager of
Canon USA, firmly asserted the
company's commitment to research and
outreach, and its willingness to incorporate user suggestions into new camera
designs. "We entered this business with a
thirst to learn and to listen. Every different
film and every setup is going to be a little
different. We've sent our engineers and
our technical people on set. [When] Ron
Howard was shooting his film Rush, every
day there was something new. We
approach [those visits] to listen and to
learn, to make adjustments and changes,
[and to bring] that feedback on technical
concerns and issues back to Canon Inc."
Both Maeda and the EOS team
confirmed that Canon would still be striking deals with third-party manufacturers
to produce rigs and accessories for the CSeries cameras. "Regarding accessories,"
Maeda stated, "of course if it is in the
domain where we have the expertise,
then we might produce them ourselves,
but currently we have [partnerships with]
a lot of dedicated, expert manufacturers
of such rigs and accessories, so we would
like to establish great working relationships with them to provide the best accessories [for our products]."
One area of new exploration was
emphasized by Laurence J. Thorpe, a

senior fellow at Canon who supervises
professional engineering and solutions
within the company's Imaging Technologies
& Communications Group. Thorpe emphasized Canon's commitment to the ACES
workflow standard, noting that the
company had developed a new ACESproxy
output that is now available via the C500
camera's 3G-SDI monitor terminal.
ACESproxy allows filmmakers to immediately grade raw footage using a compatible
ACES monitor (such as Canon's DP-V3010)
and the ASC CDL system, providing an
accurate representation of how the footage
will look after being graded in the DI suite.
Thorpe added that Canon's support for the
DCI-P3+ Color Gamut allows the C500 to
capture a far wider range of color in raw
mode than the current DCI-P3 industry standard for digital cinema projection, enabling
an increased ability to faithfully reproduce
more saturated elements. The DCI-P3+
gamut shares the same white point as DCIP3, but accommodates a much larger color
range that allows users to take full advantage of the large volume of color space
available in ACES. "I think that's going to be
huge," he concluded. "We've immersed
ourselves in [the ACES] technical committee,
which includes all the major manufacturers,
and we're way down the road in terms of
the ACESproxy. There are great exchanges,
we all understand each other, and we're
also playing in that workspace of ACES. We
totally bought into it, we totally support it,
and it's the workflow of the future."
➣
97


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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
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