American Cinematographer - December 2009 - 92

explain why productions might need previs,” says Colin Green, president of the Previsualization Society. “Now producers simply call, saying, ‘We need previs.’ Despite the popularity of the process, there are still many different views of what previs is and how it should all work. The Previsualization Society will be a great way to bring expertise into a common forum for everyone to share.” Morin adds, “In this brave new world of digital moviemaking, previsualization has the potential to do a lot more good than it already has. The Previsualization Society will develop that potential, and anyone interested in helping should join!” For more information, visit www.previssociety.com. Additionally, the magazine outputs flicker-free HD-SDI for on-set video assist, and the magazine’s operation can be controlled through the 16SR’s existing interface. For more information, visit www.pstechnik.de. P+S Gives 16SR Digital Facelift Based on an idea originated by Joe Dunton, BSC, P+S Technik and Lux Media Plan have cooperated to design a digital film magazine for the popular Arri 16SR camera, bundling the successful characteristics of the 16SR camera with a digital RAW workflow. Fitting to the camera by means of a simple and reversible mechanical setup, the 16Digital SR Mag can record HD RAW (1920x1080) and 2K RAW (2048x1152) images. With a native 16:9, 2048x1152 sensor resolution, the 16Digital SR Mag is compatible with 16mm PL-mount lenses and 16SR bodies up through the 16SR 3. The magazine weighs approximately 8.8 pounds, measures 6.9"x12"x5.2", and is powered directly by the camera, with no need for an additional power source. 92 December 2009 Fujinon Intros PL-Mount Zoom Lineup Fujinon has introduced a line of four PL-mount zoom lenses, the 1885mm T2.0, the 14.5-45mm T2.0, the 24-180mm T2.6 and the 75-400mm T2.3-4.0. Fujinon’s PL Series was developed with an advanced optics design to maximize image capture capabilities of current and rapidly emerging 35mm motion-picture film and digital-cinematography cameras. Fujinon’s series of four zoom lenses provide unprecedented focal range choices from 14.5 to 400mm, with fast T-stop performance and exceptional optical quality. Uniform front-barrel size (136mm) and gear placement, with consistent colormatched image quality in four focal ranges, facilitate quick lens changes, efficient production and creative expression. With minimal breathing, 280degree focus-barrel rotation, accurate and repeatable marks, and comparable size and weight across the line, Fujinon PL Series zooms are ready to meet the challenges of modern digital cinematography. The zooms join Fujinon’s growing family of quality Digital Cinematography lenses, including E Series zoom and prime lenses and C Series zooms, designed for 2⁄3" B4-mount HD cameras. For more information, visit www.fujinon.com. Arri Gets up Close with Master Macro Arri has introduced the Master Macro 100, ideal for tabletop cinematography, product shots, close-up inserts on features and countless other applications. With a 1:1 magnification ratio, a maximum aperture of T2.0 and an optical design developed specifically for macro work, the Master Macro 100 delivers phenomenally sharp, high-contrast images for extreme close-ups of the highest visual quality. The Master Macro 100 has been designed and built by Carl Zeiss specifically for motion-picture cinematography. The optical performance of the lens matches that of the Master Primes, with shared features such as exotic glass materials, special lens coatings and aspherical glass surfaces that require ultra-high precision in design and manufacture. The Master Macro exhibits remarkably even illumination and resolution across the whole Super 35 frame. It also benefits from an advanced, multibladed iris, resulting in round and natural looking out-of-focus highlights. The front element of the Master Macro 100 is set back within the lens housing, which protects it from the reflected light that can so often be a problem when lighting subjects positioned close to the front of a lens. In effect, the forward section of the lens acts as a shade, absorbing stray light. This, in combination with the T* XP anti-reflex coating, strategically painted lens rims and special light traps, means that cinematographers may spend far less time worrying about unwanted light on the

http://www.pstechnik.de http://www.previssociety.com http://www.fujinon.com

American Cinematographer - December 2009

Table of Contents for the Digital Edition of American Cinematographer - December 2009