American Cinematographer - January 2017 - 100

New Products & Services
Canon Unveils EOS C700
Canon U.S.A., Inc., recently visited the ASC Clubhouse in
Hollywood, where ASC associates Elliot Peck and Tim Smith -
Canon's senior vice president and general manager of the Imaging
Technology and Communications Group, and the company's senior
film and television
adviser, respectively
- introduced the
company's new flagship digital cinema
camera, the EOS
C700. They were
joined by director
Tyler Stableford; cinematographer Russell Carpenter,
ASC; and 1st AC Craig Grossmueller, who
screened The Calling and discussed their experiences shooting the
short-form project with the C700.
Featuring a completely new, customizable, modular design,
the C700 and C700 PL feature a Super 35mm 4.5K sensor with
wide dynamic range. The EOS C700 GS PL features a Super 35mm
4K sensor with a global shutter to enable the distortion-free capture
of subjects moving at high speeds. In addition to supporting the
earlier XF-AVC2 recording format, the cameras also support Apple
ProRes.
The EOS C700 allows users to convert between EF and PL
mounts, and between a standard CMOS image sensor and a globalshutter CMOS image sensor at Canon service facilities. The EF lens
mount provides compatibility with Canon's diverse lineup of more
than 70 interchangeable EF lenses and enables the use of Canon's
Dual Pixel CMOS AF technology; the C700 PL and C700 GS PL allow
the use of industry-standard PL lenses and compatibility with
Cooke /i metadata communication technology.
For those wanting to shoot and deliver High Dynamic Range
(HDR) content, the EOS C700 system provides 15 stops of latitude
along with Canon's proprietary Log Gammas (Canon Log3, Canon
Log2 and Canon Log) and color science. These cameras seamlessly
integrate with Canon's professional 4K displays (DP-V2420, DPV2410 or DP-V1770) for on-set color management and review that
conforms to SMPTE ST 20846 standards of HDR display.
To complement the cameras, Canon has turned to Codex to
provide a fully integrated - no cables - recording and workflow
option. The combination of the EOS C700 camera with the optional
Codex CDX-36150 recorder allows for high-speed 4.5K raw recording at up to 100 fps, 4K raw at up to 120 fps, 4K ProRes at up to
60 fps, 2K ProRes at up to 240 fps and XF-AVC at up to 60 fps.
All three EOS C700 camera types support anamorphic shooting by utilizing a "de-squeeze" function for monitoring. Enabling
100

January 2017

* SUBMISSION INFORMATION *
Please e-mail New Products/Services releases to
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.

Full HD high-frame-rate recording at a maximum of 240 fps (crop),
the camera enables smooth playback even when slowed down.
Along with these cameras, Canon has introduced the
optional accessories OLED 1920x1080 Electronic View Finder EVFV70, Remote Operation Unit OU-700, Shoulder Support Unit SU15, Shoulder Style Grip Unit SG-1, and B4 mount adapters MO4E/MO-4P.
For additional information, visit www.usa.canon.com.
Sekonic Enhances Metering
Capabilities
Sekonic Corp., designers and engineers of
professional photographic and filmmaking light
meters, has introduced the SpeedMaster
L-858D, which boasts a 2.7" color dotmatrix touch screen and a host of sophisticated features.
Sekonic has combined more than
60 years of experience in the image-making
world with cutting-edge technology to create
the SpeedMaster L-858D, which has undergone
a significant design change. The L-858D now
offers flash-duration measurement, providing
critical flash data needed to calculate proper
ambient-flash exposure. As its name implies, the
SpeedMaster L-858D also has the capability to
measure the brief flash bursts of High Speed Sync
(HSS) for precision flash exposure control, making it an essential tool
for photographers utilizing this technology.
The L-858D builds off the popular L-478D series' features
and function sets. Filmmakers and landscape photographers will
appreciate the L-858D's increased sensitivity for both incident and
reflected-spot measurements, giving them the ability to obtain
extremely low-light-level readings. The L-858D also offers optional
wireless triggering modules for Elinchrom and Phottix in addition to
PocketWizard radio triggering devices, giving photographers utilizing strobes more control over their workflow.
Other key features of the SpeedMaster L-858D include an
extended ISO range from ISO 3 to ISO 13,107,200 + ISO 850;
expanded shutter-speed range from 30 minutes to 1/16,000 of a
second for flash light, and from 30 minutes to 1/64,000 of a second
for ambient light; Full HD Cine and CINE modes, allowing measurements for 1-1,000 fps and 1-358-degree shutter angles; and
connectivity with Mac/PC DTS software for firmware upgrades,
custom settings and exposure profiling.
"The Sekonic SpeedMaster L-858D is a perfect example of a
great brand being responsive to its fans and responding to how
popular high-speed sync is," enthuses Jan Lederman, president of

American Cinematographer


http://www.usa.canon.com

Table of Contents for the Digital Edition of American Cinematographer - January 2017

Contents
American Cinematographer - January 2017 - Cover1
American Cinematographer - January 2017 - Cover2
American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
American Cinematographer - January 2017 - Contents
American Cinematographer - January 2017 - 4
American Cinematographer - January 2017 - 5
American Cinematographer - January 2017 - 6
American Cinematographer - January 2017 - 7
American Cinematographer - January 2017 - 8
American Cinematographer - January 2017 - 9
American Cinematographer - January 2017 - 10
American Cinematographer - January 2017 - 11
American Cinematographer - January 2017 - 12
American Cinematographer - January 2017 - 13
American Cinematographer - January 2017 - 14
American Cinematographer - January 2017 - 15
American Cinematographer - January 2017 - 16
American Cinematographer - January 2017 - 17
American Cinematographer - January 2017 - 18
American Cinematographer - January 2017 - 19
American Cinematographer - January 2017 - 20
American Cinematographer - January 2017 - 21
American Cinematographer - January 2017 - 22
American Cinematographer - January 2017 - 23
American Cinematographer - January 2017 - 24
American Cinematographer - January 2017 - 25
American Cinematographer - January 2017 - 26
American Cinematographer - January 2017 - 27
American Cinematographer - January 2017 - 28
American Cinematographer - January 2017 - 29
American Cinematographer - January 2017 - 30
American Cinematographer - January 2017 - 31
American Cinematographer - January 2017 - 32
American Cinematographer - January 2017 - 33
American Cinematographer - January 2017 - 34
American Cinematographer - January 2017 - 35
American Cinematographer - January 2017 - 36
American Cinematographer - January 2017 - 37
American Cinematographer - January 2017 - 38
American Cinematographer - January 2017 - 39
American Cinematographer - January 2017 - 40
American Cinematographer - January 2017 - 41
American Cinematographer - January 2017 - 42
American Cinematographer - January 2017 - 43
American Cinematographer - January 2017 - 44
American Cinematographer - January 2017 - 45
American Cinematographer - January 2017 - 46
American Cinematographer - January 2017 - 47
American Cinematographer - January 2017 - 48
American Cinematographer - January 2017 - 48a
American Cinematographer - January 2017 - 48b
American Cinematographer - January 2017 - 49
American Cinematographer - January 2017 - 50
American Cinematographer - January 2017 - 51
American Cinematographer - January 2017 - 52
American Cinematographer - January 2017 - 53
American Cinematographer - January 2017 - 54
American Cinematographer - January 2017 - 55
American Cinematographer - January 2017 - 56
American Cinematographer - January 2017 - 57
American Cinematographer - January 2017 - 58
American Cinematographer - January 2017 - 59
American Cinematographer - January 2017 - 60
American Cinematographer - January 2017 - 61
American Cinematographer - January 2017 - 62
American Cinematographer - January 2017 - 63
American Cinematographer - January 2017 - 64
American Cinematographer - January 2017 - 65
American Cinematographer - January 2017 - 66
American Cinematographer - January 2017 - 67
American Cinematographer - January 2017 - 68
American Cinematographer - January 2017 - 69
American Cinematographer - January 2017 - 70
American Cinematographer - January 2017 - 71
American Cinematographer - January 2017 - 72
American Cinematographer - January 2017 - 73
American Cinematographer - January 2017 - 74
American Cinematographer - January 2017 - 75
American Cinematographer - January 2017 - 76
American Cinematographer - January 2017 - 77
American Cinematographer - January 2017 - 78
American Cinematographer - January 2017 - 79
American Cinematographer - January 2017 - 80
American Cinematographer - January 2017 - 81
American Cinematographer - January 2017 - 82
American Cinematographer - January 2017 - 83
American Cinematographer - January 2017 - 84
American Cinematographer - January 2017 - 85
American Cinematographer - January 2017 - 86
American Cinematographer - January 2017 - 87
American Cinematographer - January 2017 - 88
American Cinematographer - January 2017 - 89
American Cinematographer - January 2017 - 90
American Cinematographer - January 2017 - 91
American Cinematographer - January 2017 - 92
American Cinematographer - January 2017 - 93
American Cinematographer - January 2017 - 94
American Cinematographer - January 2017 - 95
American Cinematographer - January 2017 - 96
American Cinematographer - January 2017 - 97
American Cinematographer - January 2017 - 98
American Cinematographer - January 2017 - 99
American Cinematographer - January 2017 - 100
American Cinematographer - January 2017 - 101
American Cinematographer - January 2017 - 102
American Cinematographer - January 2017 - 103
American Cinematographer - January 2017 - 104
American Cinematographer - January 2017 - 105
American Cinematographer - January 2017 - 106
American Cinematographer - January 2017 - 107
American Cinematographer - January 2017 - 108
American Cinematographer - January 2017 - Cover3
American Cinematographer - January 2017 - Cover4
http://www.nxtbook.com/nxtbooks/ac/ac0420
http://www.nxtbook.com/nxtbooks/ac/ac0320
http://www.nxtbook.com/nxtbooks/ac/ac0220
http://www.nxtbook.com/nxtbooks/ac/ac0120
http://www.nxtbook.com/nxtbooks/ac/ac1219
http://www.nxtbook.com/nxtbooks/ac/ac1119
http://www.nxtbook.com/nxtbooks/ac/ac1019
http://www.nxtbook.com/nxtbooks/ac/ac0919
http://www.nxtbook.com/nxtbooks/ac/ac0819
http://www.nxtbook.com/nxtbooks/ac/ac0719
http://www.nxtbook.com/nxtbooks/ac/ac0619
http://www.nxtbook.com/nxtbooks/ac/ac0519
http://www.nxtbook.com/nxtbooks/ac/ac0419
http://www.nxtbook.com/nxtbooks/ac/ac0319
http://www.nxtbook.com/nxtbooks/ac/ac0219_v2
http://www.nxtbook.com/nxtbooks/ac/ac0219
http://www.nxtbook.com/nxtbooks/ac/ac0119_v2
http://www.nxtbook.com/nxtbooks/ac/ac0119
http://www.nxtbook.com/nxtbooks/ac/ac1218
http://www.nxtbook.com/nxtbooks/ac/ac1118
http://www.nxtbook.com/nxtbooks/ac/ac1018
http://www.nxtbook.com/nxtbooks/ac/ac0918
http://www.nxtbook.com/nxtbooks/ac/ac0818
http://www.nxtbook.com/nxtbooks/ac/ac0718
http://www.nxtbook.com/nxtbooks/ac/ac0618
http://www.nxtbook.com/nxtbooks/ac/ac0518
http://www.nxtbook.com/nxtbooks/ac/ac0418
http://www.nxtbook.com/nxtbooks/ac/ac0318
http://www.nxtbook.com/nxtbooks/ac/ac0218
http://www.nxtbook.com/nxtbooks/ac/ac0118
http://www.nxtbook.com/nxtbooks/ac/ac1217
http://www.nxtbook.com/nxtbooks/ac/ac1117
http://www.nxtbook.com/nxtbooks/ac/ac1017
http://www.nxtbook.com/nxtbooks/ac/ac0917
http://www.nxtbook.com/nxtbooks/ac/ac0817
http://www.nxtbook.com/nxtbooks/ac/ac0717
http://www.nxtbook.com/nxtbooks/ac/ac0617
http://www.nxtbook.com/nxtbooks/ac/ac0517
http://www.nxtbook.com/nxtbooks/ac/ac0417
http://www.nxtbook.com/nxtbooks/ac/ac0317
http://www.nxtbook.com/nxtbooks/ac/ac0217
http://www.nxtbook.com/nxtbooks/ac/ac0117
http://www.nxtbook.com/nxtbooks/ac/ac1216
http://www.nxtbook.com/nxtbooks/ac/ac1116
http://www.nxtbook.com/nxtbooks/ac/ac1016
http://www.nxtbook.com/nxtbooks/ac/ac0916
http://www.nxtbook.com/nxtbooks/ac/ac0816
http://www.nxtbook.com/nxtbooks/ac/ac0716
http://www.nxtbook.com/nxtbooks/ac/ac0616
http://www.nxtbook.com/nxtbooks/ac/ac0516
http://www.nxtbook.com/nxtbooks/ac/ac0416
http://www.nxtbook.com/nxtbooks/ac/ac0316
http://www.nxtbook.com/nxtbooks/ac/ac0216
http://www.nxtbook.com/nxtbooks/ac/ac0116
http://www.nxtbook.com/nxtbooks/ac/ac1215
http://www.nxtbook.com/nxtbooks/ac/ac1115
http://www.nxtbook.com/nxtbooks/ac/ac1015
http://www.nxtbook.com/nxtbooks/ac/ac0915
http://www.nxtbook.com/nxtbooks/ac/ac0815
http://www.nxtbook.com/nxtbooks/ac/ac0715
http://www.nxtbook.com/nxtbooks/ac/ac0615
http://www.nxtbook.com/nxtbooks/ac/ac0515
http://www.nxtbook.com/nxtbooks/ac/ac0415
http://www.nxtbook.com/nxtbooks/ac/ac0315
http://www.nxtbook.com/nxtbooks/ac/ac0215
http://www.nxtbook.com/nxtbooks/ac/ac0115
http://www.nxtbookMEDIA.com