American Cinematographer - June 2010 - 82

The lens also boasts a Full Manual Focus mode with mechanical “hard” end stops and distance markers for professional operability and repeatable manual focus. To minimize chromatic aberrations and provide a compact size and weight to the lens while also delivering a resolution of approximately 1,000 TV lines, Canon utilized HI-UD (highindex, ultra-low dispersion), UD and aspherical lens elements. The lens also features a new SuperRange Optical Image Stabilizer system with Dynamic and Powered modes for optimal performance in the greatest variety of situations. At the heart of the XF305 and XF300 are three native 1920x1080 CMOS image sensors developed and designed by Canon, as well as Canon’s proprietary DIGIC DV III Image Processor, which ensures natural colors and captures tonal gradations and shadow detail with remarkable accuracy. The DIGIC DV III Image Processor also powers Canon’s innovative Face Detection Technology, an autofocus option that can significantly reduce the effort required when camera operators work alone. Additionally, Canon’s new XF Codec boasts excellent color detail, and the 4:2:2 color sampling offers twice the color resolution of HDV and other 4:2:0 formats. To ensure compatibility, Canon has worked in cooperation with such editing- and postproduction-software developers as Adobe, Apple, Avid and Grass Valley. To maximize the camcorders’ adaptability across various production environments, each model can record at multiple bit rates, resolutions and variable frame rates for slow and fast motion. At 50Mbps (Continuous Bit Rate) 4:2:2, the camcorders can capture 1920x1080 resolution at 60i, 30p and 24p or 1280x720 resolution at 60p, 30p and 24p; at 35Mbps (Variable Bit Rate) 4:2:0, they can capture 1920x1080 60i/30p/24p or 1280x720 60p/30p/24p; and at 25Mbps (CBR) 4:2:0, they can capture 1440x1080 60i/30p/24p. Additional professional features include variableinterval for time lapse, frame-record for stop-motion animation and a photo feature for frame grabs. Each camcorder features a freely rotating 4.0", 1.23-megapixel LCD monitor that can be positioned at either the right or left side of the camcorder body. The LCD
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monitor can provide a display of the camcorders’ built-in waveform monitor and vectorscope to aid in achieving accurate exposure and color levels; it can also show peaking, edge-monitor focus and magnification, enabling the user to confirm critical focus. The camcorders are also equipped with a 0.52", 1.55-megapixel color electronic viewfinder, providing ample resolution for critical focus and approximately 100-percent field-of-view coverage for accurate framing. Both camcorders feature a built-in stereo microphone as well as dual XLR inputs for external audio sources; the camcorders support 16-bit PCM audio at 48 kHz with automatic and manual audio level adjustment. The XF305 also features industry-standard HD-SDI output, genlock and SMPTE time code (in/out) terminals for

multi-camera or 3-D productions. The XF305 is priced at $7,999 and the XF300 is priced at $6,799, and both models are expected to be available in late June. For more information, visit www.usa.canon.com. Angenieux Adopts Cooke’s /i Technology Thales Angenieux and Cooke Optics Ltd. have announced a partnership agreement in which Thales Angenieux will incorporate Cooke’s /i Technology into its lenses. Cooke’s /i Technology enables film and digital cameras to automatically record key lens and camera data for every film frame shot and provide it digitally to postproduction teams. The technology streamlines both production and post, saving significant time and costs and eliminating

Arri, Fujinon Collaborate on Alura Zooms Arri and Fujinon have partnered to create a completely new family of modern cine zoom lenses. Using the latest in optical design technology and innovative manufacturing techniques, the Arri/Fujinon Alura Zooms combine the highest optical performance with an amazingly small size, weight and price. The wide Alura Zoom 18-80 and the long Alura Zoom 45-250 are a set of matched PL-mount cine zooms designed for use with both film and digital camera systems. Both zooms exhibit excellent optical performance, and their size and weight have been kept practical, allowing crews to work fast on the set. Both lenses share a maximum open aperture of T2.6. Great care has been taken during the design phase to ensure that the T-stop remains truly consistent over the entire zoom range, avoiding a decrease in light level across the zoom range common with other lenses. This is especially beneficial when the Alura Zooms are used on digital cameras, where a drop in light level quickly becomes visible. Alura Zooms exhibit high contrast and high resolution for sharp, punchy images. While the special optical design ensures an evenly illuminated image on the

sensor or film plane, internal reflections like flares and veiling glare have been greatly reduced through the use of Fujinon’s multilayer EBC (Electronic Beam Coating) lens coating. This ensures maximum light transmission and a high-contrast image with clear highlights and true, deep blacks. Color fringing is minimized through the use of extraordinary dispersion glass. Breathing has been greatly reduced, especially at the wide end. Nine iris leaves provide round out-offocus highlights and a pleasing, organic bokeh. Alura Zooms are compatible with Arri digital and film cameras as well as Arri accessories, and they have been constructed for the rough conditions of professional production. Large, easy-to-read, precision focus scales on both sides of the lenses aid focus pulling. Additionally, the zooms’ color characteristics and handling are matched to existing prime lenses in Arri’s repertoire. For additional information, visit www.arri.com and www.fujinon.co.jp.

American Cinematographer

http://www.usa.canon.com http://www.arri.com http://www.fujinon.co.jp

American Cinematographer - June 2010

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