CINE GEAR EXPO 2017 PREVIEW
The Exhibits at Cine Gear Expo 2017 will be open on Friday, June 2 and Saturday, June 3 at Paramount Studios in Hollywood, California. Attendees can look forward to a major film screening, filmmaker panel discussions, groundbreaking techniques and new equipment premieres from nearly 300 exhibitors. The Event will be packed with members of the world’s top motion picture, video, and new media community providing the perfect setting for networking with colleagues and getting the first look at newly released film-making technology.
At 7pm on Friday, Sony will present an exclusive screening of Phil Keoghan’s film Le Ride, preceded by a special announcement. The documentary focuses on a small under-resourced, untested team from New Zealand and Australia who lined up in Paris to ride in the toughest sporting event on earth, The Tour de France in 1928.
The remarkable underdog story was brought back to life by Phil Keoghan who rode an original 1928 steel bicycle with no gears, and retraced the exact route covering an average of 150 miles a day, completely circumnavigating France in just 26 days. Le Ride was selected for South by Southwest, was the second highest grossing film at the New Zealand Film Festival, won the Festival Favorite Award at the Louisville International Film Festival, won the Best Director Award at the American Documentary Film Festival, and will have a wider international theatrical release this summer.
New cameras will be in abundance at this year’s exhibit, with Panasonic unveiling a small and lightweight “mystery cinema camera”, with low-cost media and workflow, and high-end cinematic imagery. More can be learned at the Panasonic presentation on Friday from 4:15 – 5:15 pm in the Paramount Theater.
Sony will be displaying its current and future professional motion
picture imaging technologies, including 4K anamorphic and new 4K and
High Dynamic Range technologies. RED Cinema visitors can check out their
DSMC2™ accessories, compatible with the SCARLET-W™, RED EPIC-W™,
WEAPON® 8K S35 and WEAPON 8K VV. New for Blackmagic Design is the URSA
Mini Pro 4.6K, a professional digital film camera that combines the
incredible image quality of URSA Mini 4.6K with the features and
controls of a traditional broadcast camera.
CineGear offers a close-up look at the world’s great lens brands. Cooke will reveal its new Cooke Anamorphic/I 45-450mm T4, with 2X squeeze. The newly launched “MK” Series cinema lenses from the Optical Devices Division of FUJIFILM, along with the UA Series of HDR zooms, will also make their Cine Gear debut. Carl Zeiss’ new ZEISS Compact Prime CP.3 lenses will be on display, offering the perfect combination of high-image quality and reliable usability. They exhibit the clean, crisp characteristics ZEISS is known for, together with an interchangeable mount system and full-frame coverage.
Additionally, CW Sonderoptic will introduce the Leica Thalia large format spherical lenses and Leica M 0.8 lenses. Schneider-Kreuznach will be premiering the Radiant Soft Diffusion Filter made to smooth skin imperfections with minimal effect on contrast. Prepare to see the aisles packed with innovative products created to provide top of the line camera support. SmallHD offers a full lineup of monitors including the FOCUS 5” micro HDMI touchscreen monitor, UltraBrights with breakthrough screens up to 2500-nits, the color accurate 702 OLED, and full size daylight-viewable 13”, 17”, 24” & 32” Production monitors. Manios Digital & Film will showcase new camera accessories giving attendees the chance to inspect newly-developed fluid heads, tripods, specialty rigs, matte boxes, lights and power systems. Cool-Lux will be debuting an early prototype model of Clutch, a new transforming camera rig support for smaller cameras, and Matthews Studio Equipment will give a first ever look at the revolutionary MyWay Grip rigging system the future of on-set rigging.
Lighting professionals are sure to get their fix of new and exciting equipment. Known for innovative remote phosphor lighting BB&S Lighting will display their Pipeline Bank fixtures including a brand new 1’ 4-bank and 2’ 2-bank, joining 3’ and 4’ 4-banks in 3200°, 4300°, 5600°. Cineo Lighting plans to make an announcement focusing on a collaboration that combines NBCUniversal’s decades of production and broadcast experience with their award-winning proprietary technologies. DoPchoice and The Rag Place will be showing some exciting new products including the RABBIT-EARS, OCTA 7' and SNAPBOX
Among the crowd will be rental house VER, highlighting their Enhanced Environment process which utilizes LED walls and projection to light talent and fixtures in shot with amazing authenticity. Another out of the box company, Timecode Systems, will be showcasing not only a new, cost-effective way to streamline multi-camera production workflows using the UltraSync ONE, but also demonstrating how its system can now be configured to offer efficiency benefits to professional VR workflows.
Press release courtesy of Lewis Communications: susan@lewiscommunications.net
NEW HIVE LIGHTING WASP 100-C AT NAB SHOW 2017
The Wasp 100-C™ Omni-Color LED is the first LED with the color quality of Plasma. With up to a 98 CRI and 97 TLCI, Hive's first LED fixture uses a proprietary algorithm to combine 5 different color LEDs into brilliant white light and infinite color combinations.
Wasp 100-C™ Omni-Color
• Saturation: 0% - 100%
• Hue: 360° Hue Control (Δ 6°)
• Output: 0% - 100% Dimming
• Temp: 1,650K - 8,000K (Δ 25K)
• Direct 100-240 VAC input via 4-Pin XLR
• Manual, DMX, Smartphone Control
• 98 CRI / 97 TLCI
• 5 lbs. (2.3 kg.) / 7.5 in (190 mm) long
www.hivelighting.com/
Booth C10342.
NEW LENSES TO SEE AT NABSHOW 2017
New Canon 70-200 Cine Zoom: EF, AF, AE, IS
www.usa.canon.com
NAB Booth C4325
SIGMA Cine Full Frame 14mm T2 & 135mm T2
www.sigma-global.com/en/cine-lenses/
NAB Booth C11525
Angénieux Optimo Style 48-130 T3.0
Angenieux welcomes a 3rd sister in their lightweight, high-class, high-quality, compact Optimo Style family of S35 mm format zooms. The new 48-130 T3.0 zoom lens joins the Optimo Style 16-40 T2.8 and 30-76 T2.8 zooms. Actually there’s a 4th Style sibling, a bit longer, less accustomed to hand-holding, but equally popular. He’s the bigger brother: Angenieux’s Optimo Style 25-250 T3.5.
The new 48-130 T3.0 is the longest zoom in the lightweight series: excellent for close-ups, portraits, and tighter angles on all productions.
The Angenieux Optimo Style 48-130 has superb optical performances, covers an image circle up to 34.6 mm diameter, with a constant maximum aperture of T3.0. There’s no ramping (change of exposure) when zooming in. As with the rest of the Optimo Style family, there’s minimal breathing (changing image size when focusing), minimal distortion and minimal optical aberration.
www.angenieux.com
NAB Booth C9039
New Cooke S7/i Full Frame Plus
Leica Thalia Large Format Cine Lenses
The 15-bladed irises are totally round at every aperture and create the same beautiful, smooth bokehs across the entire set. The iris ring is linear—marks are evenly spaced across all T stops.
NAB Booth C4345
Courtesy of Film & Digital Times
NAB Booth C10206
Exactly a year ago at NAB 2016, Canon introduced a new cine lens for Super 35. The Compact Servo 18-80 mm T4.4 (CN-E18-80mm T4.4 L IS KAS) EF-mount zoom was a compelling hybrid that combined the best attributes of cine and still photography.
Three different lines of Canon lenses intersect in the design: more than 60 L-Series EF lenses for professional still photography, Cinema Zooms with manual focus/iris/zoom barrels (15.5-47, 30-105, 14.5-60, 30-300 mm), and Cine-Servo (17-120, 50-1000 mm) zooms. Now, a year later at NAB 2017, Canon's Compact Servo family gets a new sibling. The Canon 70-200 mm T4.4 (CN-E70-200mm T4.4 L IS KAS S) EF-mount zoom covers longer, essential focal lengths.
And so, with just two lightweight, compact, affordable, high performance lenses, you can cover any angle from wide 18 mm to long 200 mm. An accessory 2x extender gets you to 400 mm.
www.usa.canon.com
NAB Booth C4325
SIGMA Cine Full Frame 14mm T2 & 135mm T2
SIGMA Corporation adds two more cine lenses at NAB. Covering incredibly wide and extremely tight, the new cine lenses in the SIGMA FF High Speed Prime Line are 14mm T2 FF and 135mm T2 FF.
There are now seven prime lenses in the SIGMA FF High Speed Prime Line: 14, 20, 24, 35, 50, 85, and 135mm. All these cine lenses come with PL, EF and E-mounts. (Only the 24-35 T2.2 FF Zoom lacks a PL mount option: it comes in EF and E-mount only.) SIGMA offers a mount conversion service.
www.sigma-global.com/en/cine-lenses/
NAB Booth C11525
Angénieux Optimo Style 48-130 T3.0
Angenieux welcomes a 3rd sister in their lightweight, high-class, high-quality, compact Optimo Style family of S35 mm format zooms. The new 48-130 T3.0 zoom lens joins the Optimo Style 16-40 T2.8 and 30-76 T2.8 zooms. Actually there’s a 4th Style sibling, a bit longer, less accustomed to hand-holding, but equally popular. He’s the bigger brother: Angenieux’s Optimo Style 25-250 T3.5.
The new 48-130 T3.0 is the longest zoom in the lightweight series: excellent for close-ups, portraits, and tighter angles on all productions.
The Angenieux Optimo Style 48-130 has superb optical performances, covers an image circle up to 34.6 mm diameter, with a constant maximum aperture of T3.0. There’s no ramping (change of exposure) when zooming in. As with the rest of the Optimo Style family, there’s minimal breathing (changing image size when focusing), minimal distortion and minimal optical aberration.
www.angenieux.com
NAB Booth C9039
New Cooke S7/i Full Frame Plus
The new Cooke S7/i lenses cover an image circle up to 46.31 mm diameter. That’s every format from RED 8K VV 21.60×40.96 mm (46.31 diagonal) to Full Frame 24×36 mm (43.3 mm diagonal) Full Frame and Large Format is gathering momentum. It is future-proof because these lenses work equally well on Super35, current Full Frame, VV and the inevitable arrival of new cameras to come.
The new Cooke S7/i lenses are extremely fast and go incredibly close. Maximum aperture is T2. Minimum object distance is around 4 to 6 inches in front of the wider ones. Front diameters are nicely compact at 110 mm.
Cooke /i Technology connections are in the expected places. Focus is the same familiar Cooke cam-drive mechanism that feels as smooth and silky as the image looks. The main difference is large format coverage.
Available beginning June 2017 in focal lengths: 18, 25, 32, 40, 50, 75, 100 and 135 mm..
NAB Booth C5414
CW Sonderoptic introduces nine new prime lenses that cover all formats from Alexa 65, Panavision DXL, RED 8K VV, Full Frame, to Super35.
Leica Thalia primes ship with stainless steel PL mounts. An XPL version will be available for ARRI Rental. Thalia lenses have front diameters that are all 95 mm, just like Leica Summilux-C and Summicron-C lenses. They work with the same front accessories like clamp-on Leica Cine MacroLux +0.5, +1, +2 diopters. Thalias accept 92 mm screw-in front filters and have a rear net holder just like the Summilux-C. Incredibly, most of the large format Thalias are actually lighter and shorter than the Super35 Summicron-C primes, which are already extremely light and small. The mechanical design is consistently Leica-like, rugged and ergonomic.
Leica Thalia primes ship with stainless steel PL mounts. An XPL version will be available for ARRI Rental. Thalia lenses have front diameters that are all 95 mm, just like Leica Summilux-C and Summicron-C lenses. They work with the same front accessories like clamp-on Leica Cine MacroLux +0.5, +1, +2 diopters. Thalias accept 92 mm screw-in front filters and have a rear net holder just like the Summilux-C. Incredibly, most of the large format Thalias are actually lighter and shorter than the Super35 Summicron-C primes, which are already extremely light and small. The mechanical design is consistently Leica-like, rugged and ergonomic.
The 15-bladed irises are totally round at every aperture and create the same beautiful, smooth bokehs across the entire set. The iris ring is linear—marks are evenly spaced across all T stops.
The initial set of 6 Thalia lenses is expected to ship around July: 30, 35, 45, 70, 100, 180 mm. The remaining 3 Thalias should ship towards the end of 2017: 24, 55, and 120 mm with close focus capability.
Courtesy of Film & Digital Times
NAB Booth C10206
NAB SHOW 2017 - WHO IS WATCHING WHO?
New Technology showcasing this year at NAB Show.
WHO IS WATCHING WHO?
Audience Recognition Technology now uses Artificial Intelligence to control TV Content and Advertisement.
The recent trend to Digital Broadcast Television in conjunction with the advancements in Artificial Intelligence has provided the ability for Broadcasters and Marketers to know exactly who is watching the television. Using facial recognition and big data, FlySwipe has developed a technology that can determine which commercial to place in front of a viewing audience based on the groups gender and age. The technology is also able to limit adult oriented advertisement while children are present.
“This changes the way that advertisers can reach their intended audience while viewing TV in a group setting. Prior to this technology, you would not know who in the household is watching and could never use household Ad targeting effectively.” says William Delisi, managing partner and architect of the Audience Recognition Technology platform called A.R.T.™ The platform was developed by the Boca Raton based company FlySwipe LLC and will debut at the National Association of Broadcasters (NAB 2017) (http://www.nabshow.com) conference in Las Vegas, Nevada this year.
Marketers gather large amounts of data on TV subscribers called attributes which are based on their digital viewing habits, internet activity, buying habits and public records. TV is now transferring to the digital world enabling broadcasters to apply the same Ad techniques that are used on traditional web pages. Those Ads assume that the person who is logged on or is using the device is the same person that generated the individual’s attributes. This is not the case when using the typical family TV in the living room where multiple people view various forms of TV content.
The solution is to understand who is watching the content at any particular time. The A.R.T.™ platform distinguishes everyone in the viewing audience and matches multiple attributes against the inventory of Ads to deploy. The reliance on content to determine the Advertisement no longer works. Providing a commercial of women’s perfume fragrances to a male audience is not effective and would not happen when the A.R.T.™ platform is being utilized. The platform also can determine a mixed gender audience, or a mixed age group, and act accordingly to deploy the proper advertisement based on a brand’s requirement.
Marketers can acquire feedback from the TV audience without any interaction. A commercial may invoke a specific emotion such as sadness, laughter, anger or simply stress. This can be provided back to the marketer to determine if the correct response was anticipated. This same technique can be used by publishers to determine how a scene effects the TV subscriber. The platform can also determine if anyone is even watching the commercial or show that is being broadcast.
http://www.flyswipe.com
NAB 2017 Booth: SU13014 South Upper Hall
INTRODUCING DIRECTOR'S MONITOR CAGE V2 AT NAB SHOW 2017
Wooden Camera's Director's Monitor Cage v2 is engineered to be universally compatible with any monitor up to 9 inches (measured diagonally) and attaches via top, bottom, or rear 1/4-20 mounting locations. Newly designed main brackets also allow direct mounting to the rear of Convergent Design Odyssey and Apollo.
An included sun shade is adaptable to most monitors and snaps directly to the cage frame. The bottom of the shade is made of velcro, which can be adjusted to the proper width of the monitor and an included loop piece can be used to hook onto the bottom of the cage for a more permanent mounting of the shade.
Vertical and side-by-side mounting of two monitors is also possible with the Dual Director's Monitor Cage v2!
Works with: Blackmagic Video Assist, SmallHD DP4, DP6, AC7, DP7, TVLogic VFM-056W/WP, VFM-058W,
Ikan D5, VK7i, VH8, VL5, VX9e, Odyssey 7, 7Q, Atomos Samurai, Ninja, Shogun.
For more information, please visit: www.woodencamera.com/
CINEO UNVEILS THE QUANTUM c80 AT NABSHOW 2017
Cineo Lighting will reveal the Quantum c80 (Qc80) full-gamut color lighting fixture at NAB 2017 (Booth C9945). Featuring 50,000 lumens of Cineo's proprietary color-tunable white light, the Qc80 also includes a full RGB gamut, which works in conjunction with the reference-quality white light as a complete, creative lighting toolkit.
To support the Qc80's innovative approach to saturated color technology, Cineo has developed a simple, four channel interface that provides control locally using the system's graphical control panel, through traditional wired DMX or with the Integrated LumenRadio™ CRMX bi-directional wireless DMX/RDM control.
The versatile Qc80 provides predictable, repeatable results for end users that are unachievable with any other lighting instrument. The same color shading can be realized through the camera regardless of the CCT used for photography.
For example, +2 Green added to 3000K CCT will look the same as +2 Green at 4500K to the correctly white-balanced camera. In addition to Cineo's proprietary phosphor-converted white light LEDs, the Qc80 is the first unit designed with phosphor-converted saturated color LEDs, thus extending Cineo's deep-red color rendering technology. Cineo's Photo Accurate Dimming, which maps both local and DMX control to camera f-stops, is also fully supported.
“The Qc80’s color LEDs use the same die as its white LEDs, achieving identical thermal stability,” says Chuck Edwards, CTO, Cineo Lighting. “Ultimately, this allows for the color to remain consistent throughout the lifetime of a fixture. This product consistency means that our customers will achieve the highest quality results over the extended lifetime of the product.”
Weighing in at under 40 lbs., Qc80 measures 2 ft. x 4 ft. x 5.5 in., including the internal 800-watt power supply. As with all Cineo products, it features flick-free operation and a silent, passive cooling system without fans to ensure that no noise from the unit will disrupt a shoot.
The built-in USB port provides 5VDC power for accessories and supports uploading of new firmware as new features become available.
For more information, please visit www.cineolighting.com.
DoPCHOICE OCTOGONAL SNAPBAG SOLUTIONS
DoPchoice added the new Octa 7 to its lineup of octagonal Snapbag® Rabbit-Ears softboxes. With a 7-foot (205cm) diameter, this larger octagonal-shaped softbox joins the smaller Octa 3 and Octa 5 to fit most LED soft lights. Each delivers smooth and even illumination across the front with or without a baffle. The larger the Octa, the softer and smoother the light output around the subject.
Like the rest of DoPchoice’s Rabbit-Ears Snapbag family, Octas pack up small and set up fast. All 3 models are designed to employ DoPchoice’s revolutionary Rabbit-Ears™ system.
Rabbit-Ears are so versatile a single unit can quickly and securely mount to various LED light brands. All Snapbags feature a highly reflective inner fabric that provides maximum light output. Even without a baffle, they deliver even illumination across the front surface.
The spread of light from Octa Snapbags can be further controlled by simply installing a DoPchoice Snapgrid® on the front.
Octa Rabbit-Ears Snapbags fit a variety of softlights, including ARRI’s SkyPanel S30 and S60, THELIGHT Velvet 1 and 2 including the Power version, BB&S Lighting’s Area48 Softs, Cineo HS and Maverick Trucolors, Creamsource’s Full and Mini, Litepanels Astra1x1, and many more.
The Octa 7 weighs 6.5 pounds (3.45 kg) when installed (w/o Rabbit-Ears). When not in use, it conveniently folds to a compact and convenient 80x33x20-cm/31.5x13x7.8-inches. The Octa 7 Snapbag includes a Front Diffuser, Baffle and canvas carry bag. Setting up requires Rabbit- Ears which are sold separately but may be interchanged to use on a variety of Snapbags.
For more information visit www.dopchoice.com
FUJINON MK 18-55MM AND MK 50-135MM ZOOM LENSES LAUNCHED AT ASC CLUBHOUSE
The new lenses were presented to a selected group of media professionals by the Optical Devices Division of FUJIFILM, with the participation of cinematographers Nancy Schreiber ASC, Bill Benett ASC, Eric Longden, Joe Slavin and Izzy Isidor Maxwell Pollak.
Fujinon’s
MK 18-55 T2.9 is an affordable, lightweight, compact zoom lens intended for the rapidly growing independent owner-operator market. The MK 18-55 T2.9 is the first in a new series of Fujinon affordable E-mount zooms. (MK 50-135 T2.9 comes next.) The MK zoom only comes in E-mount (18mm flange focal depth) and
represents a growing affirmation of a lens interface that was introduced by Sony.
Nancy Schreiber, ASC sharing her thoughts in an interview
of the new Fujinon MK 50-135mm zoom lens
Fujinon's Joshua Ewing answering questions
about the new MK 18-55mm zoom lens
Bill Bennett, ASC taking a first look of the Fujinon MK 18-55 zoom lens
Shingo Harada, President of Fujifilm North America Electronic Imaging and Optical,
presenting the Mk series of cinema lenses at the ASC in Hollywood
Key Specs of both lenses: Parfocal, No Breathing, Built-in Macro, No Ramping and Lightweight Compact Design (2.2 lbs). The 18-55mm will be shipping in March and the 50-135mm T2.9 will be available this summer. Cinematographers can attach the MK 18-55 zoom onto Sony FS5, FS7, FS7 II, FS100,
and FS700 cine cameras as well as Sony still cameras like the a7 series
and a6500. Price $3799 USD
Cinematographers
and the Optical Devices Division of FUJIFILM gathered
at the ASC
clubhouse to launch the new MK series of cinema lenses,
the MK 18-55mm
zoom lens and the MK 50-135mm zoom lens.
The front diameter is a mere 85 mm and has 82mm threads for a front
screw-in filter. There’s a Macro button for close focus to 1 ft 2.9 in /
0.38 m. You don’t need shims; a thumbscrew enables flange focal depth
adjustment. (Once set, tape the barrel to avoid accidentally moving it.)
Accessories include a lens support foot and rectangular lens shade.
for more information: read FDTimes article or visit FUJIFILM/Fujinon
LA LA LAND NABS CAMERA OPERATING HONORS AT SOC AWARDS
The Society of Camera Operators (SOC) was honored this year to present the Governor’s Award to Mr. Michael Keaton for his extraordinary body of work and commitment to the craft of Camera Operating on February 11, 2017 at the Loews Hollywood Hotel.
Mr. Keaton’s most recent successes with Birdman or The Unexpected Virtue of Ignorance, Spotlight, and The Founder are examples of his expanding creative genius and the depth and variety of his performances. Mr. Keaton has also been in the director’s chair with The Merry Gentlemen, starring Mary McDonald.
The Society of Camera Operators (SOC) advances the art, craft, and creative contributions of the Camera Operator. The SOC is an internationally recognized professional honorary society. The core activities of the Society are the annual SOC Awards, publishing the Society’s magazine Camera Operator and our charitable commitment to The Vision Center at Children’s Hospital Los Angeles.
SOC AWARDS 2017- Nominees and Honorees
SOC Camera Operator Lifetime Achievement Award
Garrett Brown
Garrett Brown
SOC Camera Technician Lifetime Achievement Award
Bobby Mancuso
Bobby Mancuso
SOC Still Photographer Lifetime Achievement Award
Phil Caruso
Phil Caruso
La La Land Camera Operator Ari Robbins
won SOC Feature Film Award.
Andrew Mitchell won the SOC Television Camera Operator Award
for The People v. OJ Simpson: America Crime Story.
for The People v. OJ Simpson: America Crime Story.
SOC Mobile Camera Platform Operator Lifetime
Achievement Award Mike Moad
SOC Technical Achievement Award
That Cat: The Patented Silent Cat Camera Slider
SOC Technical Achievement Award
SHOTOVER: K1 6-Axis Stabilizer
Camera Operator of the Year - Film
Nominees:
Stephen Campanelli, SOC – Sully
David Emmerichs, SOC – Nocturnal Animals
Mark Goellnicht, SOC – Hacksaw Ridge
Petr Hlinomaz – Manchester By the Sea
Jacques Jouffret, SOC – Deep Water Horizon
Ari Robbins, SOC – La La Land -WINNER
Camera Operator of the Year - Television
Nominees:
Andrew Mitchell, SOC – The People v. OJ Simpson: American Crime Story- WINNER
Ben Semanoff, SOC & Bruce MacCallum, SOC – The Night Of
Steven Matzinger & Greg Smith – Westworld
Bob Gorelick, SOC – Stranger Things
Aaron Medick, SOC – Mr. Robot
Sean Savage, Assoc. BSC & ACO – Game of Thrones
La La Land Camera Operator Ari Robbins Won SOC Feature Film Award.
Phil Caruso was handed the SOC Still Photography Lifetime Achievement Award.
Phil Caruso was handed the SOC Still Photography Lifetime Achievement Award.
Steadicam Inventor/operator Garret Brown received Camera Operator Lifetime
Achievement Award. The Honorees and winner are accompanied by SOC
President George Billinger.
John Toll, ASC presented the SOC Mobile Camera Platform Operator Lifetime
Achievement Award to Mike Moad
Dr Thomas Lee, Vision Center, Children Hospital Los Angeles &
Nichole Huenergardt, Chapman /Leonard Studio Equipment
Caleb Deschanel, ASC presented the SOC Camera Operator
Lifetime Achievement Award to Garrett Brown
Tim Smith, Amy Kawadler, & Canon EOS Digital Cinema team
attended the award ceremony
Ari Robbins, SOC addresses the audience on his experiences camera operating
the multi-award winner feature film "La La Land"For a extensive gallery of photos of the SOC Awards visit: SOC Awards 2017 Albums
LION TAKES TOP AMERICAN SOCIETY OF CINEMATOGRAPHY AWARDS
Greig Fraser, ASC, ACS earned the coveted Theatrical Award for best cinematography
in a motion picture for “Lion” at the 31st Annual American Society of Cinematographers
(ASC) Awards for Outstanding Achievement.
The ASC Spotlight Award was given to
Gorka Gómez Andreu, AEC for “House of Others.”
Winners in the TV categories included Fabian Wagner, BSC for “Game of Thrones,” Tod Campbell for “Mr. Robot” and Igor Martinovic for “The Night Of.” The ceremony took place tonight at the Ray Dolby Ballroom at Hollywood & Highland.
Theatrical Release Category (presented by Giovanni Ribisi)
Greig Fraser, ASC, ACS, “Lion” - WINNER
James Laxton, “Moonlight”
Rodrigo Prieto, ASC, AMC, “Silence”
Linus Sandgren, FSF, “La La Land”
Bradford Young, ASC, “Arrival”
Spotlight Category (presented by Dakota Johnson)
Lol Crawley, BSC, “Childhood of a Leader”
Gorka Gómez Andreu, AEC, “House of Others” - WINNER
Ernesto Pardo, “Tempestad”
Juliette van Dormael, “Mon Ange” (“My Angel”)
Regular Series for Non-Commercial Television (presented by Darby Stanchfield)
John Conroy, “Penny Dreadful” (The Day Tennyson Died)
David Dunlap, “House of Cards” (Chapter 45)
Anette Haellmigk, “Game of Thrones” (Book of the Stranger)
Neville Kidd, “Outlander” (Prestonpans)
Fabian Wagner, BSC, “Game of Thrones” (Battle of the Bastards) - WINNER
Regular Series for Commercial Television (presented by Patrick J. Adams)
Tod Campbell, “Mr. Robot” (eps2.0_unm4sk-pt1.tc) - WINNER
John Grillo, “Preacher” (Finish the Song)
Kevin McKnight, “Underground” (The Macon 7)
Christopher Norr, “Gotham” (Wrath of the Villains: Mr. Freeze)
Richard Rutkowski, “Manhattan” (Jupiter)
Movie, Miniseries, or Pilot for Television (presented by Jason Schwartzman and John Schwartzman, ASC)
Balazs Bolygo, HSC, BSC, “Harley and the Davidsons” (Amazing Machine)
Paul Cameron, ASC, “Westworld” (The Original)
Jim Denault, ASC, “All The Way”
Alex Disenhof, “The Exorcist” (Chapter One: And Let My Cry Come Unto Thee)
Igor Martinovic, “The Night Of” (Subtle Beast) - WINNER
All recipients were first-time winners. Wagner was previously nominated for episodes of “Game of Thrones” in 2016 and 2015.
Special awards presented during the ceremony included:
The ASC Board of Governors Award was presented to Denzel Washington
(“Fences,” “Glory,” “Training Day”) by Samuel L. Jackson for his significant and
indelible contributions to cinema through his body of work. It is the only ASC Award
not given to a cinematographer, and is reserved for filmmakers who have been champions
for directors of photography and the visual art form.
The ASC Lifetime Achievement Award was given to Ed Lachman, ASC
(“Carol,” “Far from Heaven,” “Mildred Pierce”) and presented by director
and frequent collaborator Todd Haynes.
The ASC Career Achievement in Television Award was presented
to Ron Garcia, ASC (“Murder in the Heartland,” “The Day Lincoln was Shot”)
by Steven Poster, ASC.
Philippe Rousselot, ASC, AFC (“A River Runs Through It,”
“Hope and Glory,” “Henry & June”) received the ASC International
Award from actress Rachel Nichols.
Nancy Schreiber, ASC (“Your Friends and Neighbors,” “The Nines,” “The Comeback,” “The Family,” “Better Things”) was bestowed the ASC Presidents Award by James Chressanthis, ASC, GSC. This award is given not only for the recipient’s body of work, but dedication to the organization and its mission of advancing the art of cinematography through education.
The ASC Bud Stone Award of Distinction was given to Bruce Berke, longtime motion picture marketing and sales executive and ASC Awards show director, and Frank Kay, marketing director at J.L. Fisher and chairman of the ASC Awards Sponsorship Committee. This award is presented to an ASC Associate Member who has demonstrated extraordinary service to the society and/or has made a significant contribution to the motion picture industry.
For more information regarding the ASC Awards, visit the ASC website at www.theasc.com.
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