Author Archives: Mark Ritchie

HDOC on Set with The Big Picture Film & Video

 

HD Optics & Camera was proud to support The Big Picture Film & Video on their recent project for Land O’ Lakes.
Director / DP Mark Ritchie chose to use the New Arri Amira for it’s light weight and versatility.
“With over twenty set-ups a day and multiple company moves, we needed to move fast and I didn’t want to sacrifice quality”.
Paired with the complete set of Angenieux Optimo compact Zooms and lightweight accessories, Ritchie was able to capture some stunning moments over this three week campaign.

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FUJI FILM IS Mini LUT Generator – A little box with a big bang!

 

With so many digital cameras offering log capabilities, on set viewing for the cinematographer has never been so crucial.
Fuji film is now offering an incredible compact & affordable solution for on set LUT viewing.
Users now have the option to apply built in LUTs or to work with Live Grade or Resolve for real time on set monitoring.

Now Available at HD Optics.

http://www.fujifilmusa.com/products/motion_picture/image_processing/is_mini/

Digital color adjustment device used for on-set camera preview and for monitor calibration for professional motion picture productions.
Small and lightweight with outputs for both HD-SDI and HDMI.
The IS-mini utilizes 3D color LUTs in cube sizes almost 50% larger than other products enabling much more accurate image display for on-set production and post-house environments. Included Mini Manager software incorporates 3-wheel color correction capability. Monitor calibrations can be done in less than 10 minutes.

HDOC On Set with New Jaguar F Type

 

HD Optics & Camera was excited to support RDP Productions & our friends at the Ultimate Arm in capturing some stunning footage of Jaguar’s new F-Type Coupe.

It sounds as good as it looks!

HD Optics & Camera on set with the Jaguar F-Type

HD Optics & Camera on set with the Jaguar F-Type

HD Optics & Camera on set with the Jaguar F-Type

HD Optics & Camera on set with the Jaguar F-Type

 

Optimo Anamorphic 56-152 mm 2S Now Available at HDOC!

 
  • Aperture: f/3.6 – T:4
  • Zoom ratio: 2.7X
  • Weight (approx.):  4.8lb -2.2kg
  • Length:  210 mm
  • MOD: 2’1’’ – 0.63m
Image coverage: 4 perf. scope +:  28.8mm diagonal

 

• Exceptional optical performance, not previously achieved with an anamorphic zoom:
2x squeeze, no ramping or breathing, a fast aperture of T:4 exceptional sharpness and low distortion.
• For high-end film and digital cameras.
• Perfect homogeneity of colorimetry, contrast and resolution.
• Compact and very light (4.8 lbs- 2.2 kgs)
• Focus scale with over 50 witness marks for precise focus position. Easy interchangeable scale between imperial and metric
• Minimum image coverage of 28.8mm diagonal perfect of 4 perf scope film camera and S35 digital camera with 4/3 or 16/9 sensor type
• Available in PL mount, PV mount on request
• The flexibility of the zoom and the exceptional image performances of the 56-152 A-2S provide a new freedom of movement while shooting in anamorphic 2x squeeze mode

“PLEASE CALL OR EMAIL FOR PRICING AND AVAILABILITY”

Optimo Anamorphic 56-152 mm 2S Now Available for Rental at HDOC!

Optimo Anamorphic 56-152 mm 2S Now Available for Rental at HDOC!

 

Arri Amira Arriving at HD Optics & Camera

 

HD Optics & Camera is excited to announce that it will be receiving four new Arri Amiras in the month of August.

The Arri Amira brings with it all the features and functionality you’ve come to expect from the Alexa however many exciting new features have been added making this camera one of the most powerful filming tools to emerge in a decade. Stayed tuned for our Amira workshops coming this summer.

The all new Arri Amira now available at HD Optics & Camera

The all new Arri Amira now available at HD Optics & Camera

Canon announces new CINE-SERVO 17-120mm T2.95 PL Zoom Lens

 

Riding on the coat tails of Fujinon’s unprecedented success of their 19-90 PL Zoom, Canon has dropped a bombshell and announced their new 17-120 PL Zoom, both wider and longer.

New Canon CINE-SERVO 17-120mm T2.95 PL Zoom Lens

New Canon CINE-SERVO 17-120mm T2.95 PL Zoom Lens

Over the past year, I’ve personally seen a huge spike in the demand for compact zooms for reality TV, documentary work, live concerts and the like. The biggest obstacle has always been the limited range of the lens. Although Canon 17-120 doesn’t solve all the short comings it will, without doubt, become an industry standard in the above genres as the lenses become available.

Before you go out and buy a dozen (at an affordable $33,000), remember, we’ve been here before. The battle between Fujinon & Canon has been played out with the B4 2/3″ lenses for years. Each vendor outdoing the last by redesigning a new lens every year that’s just few millimeters wider and longer.

By Mark Ritchie

More info from Canon

http://usa.canon.com/cusa/professional/products/lenses/cinema_lenses/cine_servo_lenses/cine_servo_17_120mm_t2_95_pl#Overview

The CINE-SERVO 17-120mm T2.95 lens provides cinematographers and broadcast operations with a compact, lightweight design (only 6.4 lbs.) using Canon optical elements, while offering outstanding performance and reliability in professional shooting environments.The new lens is fully 4K-ready, with a high optical resolution and support for Super35mm large-format cameras. An 11-blade aperture diaphragm helps ensure an artistic and beautiful representation of out-of-focus areas (or “Bokeh”).

The lens also features a high 7x zoom magnification, wide focal length range of 17mm to 120mm, and a 180º smooth rotating focus ring. Acknowledging that broadcasters often need to control zoom, focus and iris/aperture in different ways than filmmakers, Canon has developed this zoom lens with full external servo control for drama, documentary and other broadcast productions.

The servo drive unit is compatible with industry-standard protocols for control from a number of lens controllers including Canon’s standard broadcast lens controllers (ZSD-300D/FPD-400D) and multiple industry standard cinema lens controllers. The drive unit can be easily removed for cinema-style shoots and can be easily re-attached without any manual re-alignment. A 16-bit metadata output enables connection to virtual studio systems.

Also available in EF mount, the lens can be converted at an authorized Canon service facility..