film photography 1

7/28/2019 film photography 1

1/16

on Fauer, ASC February 2009 Issu

Japan

Lighting with Paint

Banjin by Andrew Laszlo,

Canon Vixia HF S10

Canon Tour

Camaras y Luces, Argenti

Tandem Receiver

Rendezvous Reverse


2/16

Feb 20092

Lighting with PaintTe reaty o 1854 between Commodore MatthewC. Perry and representatives o the Shogun endedJapans 200 years o isolation. Te impact o Westerntechnology (photography, transportation andmanuacturing) was immediate. Just as pivotal wasJapans sudden inuence on Western art. Te Frenchwere quick to name it Japonisme.

Japonisme started with a renzy to collect or studyJapanese print art, paintings, ceramics, metalwork,and architecture, which inspired new directions incomposition, color and design. Some o the artistsinuenced by Japanese art were Monet, Whistler,

van Gogh, Manet, Bonnard, oulouse-Lautrec,Cassatt, Degas, Renoir, Whistler Pissarro, Gauguin,Beardsley, Klimt and Degas.

In 1867, the same year that the Meiji Emperor wasrestored to power, French novelist Emile Zola

published an article praising the art o EdouardManet. In gratitude, Manet painted Zolas portrait(at lef), with a Japonismistas attention to details.

On the wall is a reproduction o Manets Olympia,Zolas avorite, reclining on a Japanese silk abric.Te French art world was shocked, SHOCKED!Olympias pose had classic provenance, but theestablishment critics were not amused by whoshe was. Te bouquet o owers was probably thegi rom a grateul client, perhaps Manet himsel,though where he contracted syphilis is not revealed.Te print on the wall and the screen at le are urtherhomages to the art o Japan. And the lighting: oneKinoo Vista Single, which is a one-lamp, 96 wattsingle-source so lighthung out o rame aboveZolas right shoulder, with a honeycomb louver toprevent spill onto the wall.

Vincent Van Gogh wrote to his brother Teo, in1888, All my work now is more or less based onJapanese art. Vincent had a collection o woodcutprints by Utagawa Hiroshige, including GreatBridge, Sudden Shower at Atake (lef), whichcertainly inuenced his Te Bridge in the Rain

(right). INFLUENCED!

Japanese woodblock prints had a huge inuence onartistic trends in the West: graphic style, less empha-sis on lighting and shadows, more sense o what wewould later call cinematic movement, perspectiveenhanced by diagonal lines, greater simplicity, largeareas o solid colors, repeating decorative patterns,and possibly the precursors o anime. One hundredand y-ve years aer the reaty o Kanagawa, wecontinue to be inuenced by Japanese art, and as weshall see in this issue, by Japanese technology.

Utagawa Hiroshige, Great Bridge, SuddenShower at Atake 1857. Woodblock print.Brooklyn Museum, NY

Vincent Van Gogh, The Bridge in the Rain1887. Oil on Canvas, 73 x 54 cm.Van Gogh Museum, Amsterdam

Edouard Manet Portrait o Emile Zola. 1868. Oil on canvas. 146 x 114 cm. Muse dOrsay, Paris


3/16

Feb 2009

Andrew Laszlos latest novel, BANJIN, arrived ortuitouslyin time or a recent ight to visit Canon in Japan, and at 700pages, kept me captivated the entire ourteen hours. While ninjabusinessmen (black eyeshades, blankets, slippers) around mewere beating back jet lag under Ambien induced slumber, I wastransported to the mid nineteen century oundation o modernJapan, the Meiji Restoration, the introduction o photogra-phy and an assortment o intertwined themes that magicallymanaged to put my technological pilgrimage into context.

Its no surprise that BANJINreads like an epic mini seriesor major motion picture.Tats because it was writtenby Andrew Laszlo, ASC, whowas the cinematographer onSHOGUN, the 10-hour, GoldenGlobe-winning saga starringRichard Chamberlain, based onJames Clavells bestselling novel.

Te prolic Mr. Laszlo is well

known or his impressive creditsas Director o Photography onmore than 60 motion picturesand television specials. He is

also amous or his prodigious storytelling prowess, as shown inthis, his seventh book. old with a cinematographers attentionto detail and a lmmakers gi or creating images rom words,BANJIN is the kind o historical ction that keeps the readerspellbound and sleeplessits impossible to put down.

In SHOGUN, the year is 1600. Rival Samurai warriors battled tobecome Shogun. John Blackthorne, English navigator o a Dutch

Japan

trading ship was shipwrecked on the coast o Japan. He becamean ally o oranaga, ell in love with his interpreter, and becameassimilated into Japanese culture.

BANJIN picks up more than 200 years aer SHOGUN. Teyear is 1843. A Japanese boy, Masahiro, is shipwrecked on adesolate island, rescued by American whalers and broughtto New Bedord, Massachusetts in a voyage that would makeConrad, Melville or Dana envious. As John Mong, the boy is

well educated at Exeter, advises Congress, goes back to sea, joinsthe Gold Rush in Caliornia, and returns home to Japan. Hebecomes Lord anaka Masahiro, and helps open Japan to thewest as a leading character in the Meiji Restorataion. Teresenough action, intrigue, passion, and character developmentto ll a dozen regular novels or Hollywood movies. AndrewLaszlos book BANJIN will undoubtedly become, as they say,Soon to be a Major Motion Picture.

Im reminded o another major motion picture, Akira Kurosa-was Yojimbo, as we dine with our Canon hosts at the historicMeiji Kinenkan (above), and the outer gardens o the MeijiShrine. In Yojimbo, oshiro Miure plays Te Samurai, once a

aithul warrior o the Emperor, now a ronin, an outsider, withno master to serve. Te reticent loner and terrorized townsolkoYojimbo would soon become western archetypes, inuencingSergio LeonesA Fistul o Dollars, starring Clint Eastwood asTe Man with No Name, a stul o Spaghetti Westerns, and awave o innovation in Western cinema similar to the inuenceo Japanese art at the beginning o the Meiji Restoration. Whatwe also nd in Japan today is continued artistic and technologi-cal innovation and the early rumblings o a yet another newparadigm, simultaneous Hybrid High Resolution motion andstill imaging and urther democratization o the process withprolieration o consumer and prosumer equipment.


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Feb 20094

Face Detection Technology uses advancedalgorithms to track a persons aceboth static andmovingalong with the ability to pick and choosewith the joystick which ace you want to ollow when

there are several people in the shot.

The HF S10 detects up to 35 aces, and can display9 o them on screen at one time.

Its all about lenses, and this camcorder is almost all lens.10x Optical zoom: 6.4- 64mm /1.8-3.0

There are our groups o lens elements, and 6 VCMs (voice coil motors) tocontrol zoom, ocus, iris, ND, Image Stabilization Pitch and Image StabilizationYaw. Aspeherical lens elements improve image quality. CMOS sensor has lowpower consumption.

Neutral Density ltration is handled with a circular, graduated ND lter that worksin conjunction with the iris.

Canons Super Range Optical Image Stabilization uses corrective opticsto compensate or high and low requency moving and shaking. Theoptical image stabilization removes handheld wobble, camcorder vibra-tion, bouncing rom trains, planes and automobiles: .1 - 20 Hz (shakycamera); .1 -1 Hz (slow shake rom human body; 1 - 10 Hz (camcordervibration); 10 - 20 Hz (bouncing rom vehicles). The HF S10 uses gyrosensors and a lens shit system.

For a detailed guide on how to get what you shot into your computer, andhow to wrangle and edit the AVCHD les, go to www.dtimes.com/canon

Yes, it does 24p.MPEG4-AVCHD H.264Up to 24 Mbps recording

Video Snapshot Mode:4 second cuts


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Feb 2009

Canon Vixia HF S10Is the consumer/prosumer market driving the development oproessional cameras, and what technologies will be shared?

o nd out, Canon invited members o the h (journalists)and sixth (cinematographers) estates or a rare visit to corporateheadquarters in okyo and the actory in Oita, where theyassemble one camera every minute.

When you look at the numbers, your jaw drops. Canon shippedmore than 10 million consumer camcorders and cameras lastyear. A products lie-cycle (rom concept to distribution) is nowestimated at 1 to 1.5 years, and 20 new products are introducedeach year. Canon is celebrating the 50th anniversary o single-lens reex still camera production, with 39 million lm-basedcameras and 14 million digital SLRs sold.

Te camera we had all come to see was the new Canon VIXIAHF S10 (opposite page). It is a tiny, tapeless, 24p, AVCHD

video camcorder that happens to shoot high resolution stills,

the ip side o Canons wildly successul 5D Mark II, a stillcamera that happens to shoot great video. Aer signing seriousnon-disclosure agreements and pledging zipped lips until theocial unveiling at CES in January, we met with Canons topexecutives, research, development and design teams in thestunning boardroom atop Canons okyo oce tower.

Canons VIXIA HF S10 will be available in Spring 2009. Likeits predecessors (HF10 and HF11), I think it will become thedarling o news, documentary and second-unit camera crews,as well as casting agencies, location scouts and directors doingrehearsals. About the size and weight o a can o Pocari Sweat(Japanese Red Bull), the VIXIA HF S10 records AVCHD videoto a 32GB internal Flash drive or directly to an SDHC memorycard. It has an 8.59 Megapixel CMOS Image Sensor, capable oshooting Full HD (19201080) or 8 MP digital stills.

Tere are three game-changing concepts in this camera.

1. Canon estimates that by 2011, a majority o their camcorderswill use Flash Memory.

2. Face Detection echnology that uses advanced algorithms totrack and ocus on a persons ace (both static and moving) mayhelp you get your HD in ocus. Face detection also works in post

production: you can sort all your shots by a specic person.

3. In Video Snapshot Mode, every time you push RECORD,the camera shoots or 4 seconds, then cuts. Youll nd yourselcomposing more careully, and sparing your audience endlesshours o out-takes. Supplied soware even includes a selectiono background music, letting you easily and quickly cut a livelypresentation. Maybe the next model will have a music videoMODE, with one second cuts.

But there are more things in heaven and earth that went into thiscamera, so please join us on an interesting journey in Japan.

Above: Canons Tokyo Oce Park Headquarters.Below: Neil Matsumoto and Stephen Pizzello, with VIXIA HD cameras.Middle: Meiji Kinenkan. The King o Spain is on the second foor, rear.Bottom: Picture showshadows o our actors and lots o hands, pre-cinema.


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Feb 20096

In 1933, akeshi Miterai set up the Precision Optical Instruments Laboratory in an apartment in Roppongi, okyo, now knownmore or its bars, clubs, red lights, tourist traps, rumors o Yakuza and missing ngers. With no previous experience buildingcameras, Miterai aspired to build, in Japan, a still camera as good as the legendary Leica. In 1934, he built a prototype 35mm ocalplane shutter camera, named the Kwanon, aer the Buddhist Goddess o Mercy. In 1937, the company became Canon, the sameyear that oyota Motors was ounded. Te Canon logo was created in 1947, and Canon opened an oce in New York in 1955.

Above lef: Canons okyo headquarters. Above, right: President and COO suneji Uchida. Over 6,000 employees work at Canonsokyo headquarters in research, development and administration. Canon is a multinational company o 131,000 employees world-wide, making computer peripherals, oce imaging products, cameras and optical products, including Semiconductor ExposureEquipment (opposite page). Te resolution o the lenses that etch computer chips has been described as equivalent to reducing twobasketball courts to an area 2 inches square, and still being able to dene the details o one single strand o a persons hair. Tingshave gotten a lot smaller since Canon introduced its toaster-sized Canola, the worlds rst 10-key electronic calculator, in 1964.

Above, lef: Kwanon 35mm Rangender camera.Above right: do not attempt cutting your EOS SLR Camera in hal on a bandsaw at home.Canon is among the top 3 recipients o US patents, and returns 10% o net sales into R&D. Te worldwide digital camcorder market is nowabout 16.7 million units. Japans share o HD is currently 72% HD, USA is 21%, Europe 14%, China 27%, and Australia 16%.

Canon History


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Feb 2009

Lef: o produce semiconductor chips with 45 nm circuit widths(1 nm = one millionth o a millimeter) a light source is projectedthrough a reticle, using lenses that are several thousand timesmore precise than ordinary camera lenses.

Above: the opposite extreme. Micro miniaturized lenses, drivenby actuators, or todays digital still cameras and camcorders.

Te 1 Yen coin on the right is about the size o a penny.

Moores law is important because, as someone at Micrososaid, it is the only stable ruler we have today. . . its a sort otechnological barometer. It very clearly says that i you take theinormation processing power you have today and multiplyby two, that is what your competition will be doing 18 monthsrom now. And that is where you too will have to be.

Ironically, Bill Gates commented on the tendency o sowarebloat to outpace the every-18-month doubling in hardwarecapacity, Te speed o soware halves every 18 months. So,

whether youre creating lenses to manuacture microchips ordesigning camcorders, you essentially have to start designingthe next generation as soon as youve signed of on the currentmodel. You have eighteen months or development and evenless time or practical marketing and sales. You need rapidresearch and development, rapid prototyping and manuactur-ing. We are already seeing what Canon engineers told us: wereheading rapidly toward cross-media imaging, a hybrid o stills,moving pictures, sound and text as high-speed digital networksand society both mature.

Canon Technology

Below: Canon USAs Tiger Ishii captures the Japantour with the Canon VIXIAs Video Snapshot Mode.


8/16

Feb 20098

Aer two days at Canons okyo headquarters, its time to see how and where all this miniaturized high technology is assembled, sowere of to Oita. Japan was rst opened to oreigners ollowing the entry o Admiral Perry into okyo Bay (above, lef) in 1853. Adaguerreotype photographer accompanied Perrys expedition, which eatures prominently in Andrew Laszlos novel, BANJIN. AtHaneda Airports gourmet ood stores, we stock up on deliciously cute urry chestnuts, (above right).

A couple o hours later, were in the town o Beppu (above, lef), in Oita Preecture, on the Island o Kyushu. Oita is amous or itshigh tech actories and highly skilled labor pool. But we stop of rst at a diferent kind o pool: Blood Pond Hell. Te hells (jigoku)o Beppu are nine spectacular, geothermal hot springs, too hot or bathing. For that, our next stop is the luxurius riyokan SuginoiHana Kan, with indoor swimming pool, articial waves, and outdoor modern spa overlooking Beppu Bay, no pictures please.

Te Suginoi Hana Kan is not a small, traditional riyokan. With over a thousand rooms, the gi shop (above lef) is larger than mostmodern supermarkets, and the hotel has more restaurants than many towns. Later that evening, we are treated to a traditionalKaiseki dinner, entertained by geishas, traditional drummers, massive quantities o sake, and toasts o Happiness, happiness.

Canon Oita


9/16

Feb 2009

Oita Canon is the main production base in Japan or Canoncameras, and hub o technical support or Canons worldwideplants. Te acility was opened in 1982; by 1997 Canon hadmanuactured 100 million cameras, and by 2005 had produced

over 50 million digital products.

Te Oita plant makes Canon digital SLR cameras, EOS Iv FilmSLR cameras, compact digital cameras like the Powershot andElph, and compact digital camcorders like the Vixia HF, HV andHS series and 3 CCD camcorders like the XL and XH series..Oita has an automated circuit board assembly area that makes400,000 circuit boards a day.

Assembly line conveyor belts were discontinued in 1999, andreplaced by the modern cell production system (see below).With the cell system, cameras are put together by small teams oat workstations grouped into pods. Tis lets the production go atthe pace o the workers, actually speeding up assembly, improv-ing quality and encouraging individual creativity by providinga voice in the process. As each subassembly is passed on, theprevious work is inspected, so there is a constant quality controlcycle. On average, one cell or team o workers can produceabout 500 cameras or camcorders in an 8 hour shi. With allthe cells working, one camera goes into the automated shippingdepartment every minute.

Lenses are injection molded in automated machines that pressmolten glass, heated to 700 degrees (glass melts at 600 degrees),under pressure, into spherical and aspheric elements. One lensis made every 4.3 minutes. Te tolerance is 30 nm; no polishing

is needed. For reerence, high end aspheric cinema lenses arepolished to 4 nm. Teres a diference, o course, in toleranceand quality between proessional and consumer/prosumerlenses, which is why there can be up to a twenty times pricediference. You pay or what you get.

Designers at the Oita plant work together with the manuactur-ing teams or new products to take advantage o existing inra-structure, and new methods are being developed all the time.

Te level o environment awareness was impressive. Canonadheres to the Kyoto Protocol and takes active measures tocounter global warming. Energy-saving methods are updated,the surrounding area is undergoing reorestation, water isrecycled and industrial waste is reduced, recycled and reused.We didnt hear anyone yelping about how much this wouldcost, so it is clear that in some places o the world, protecting theenvironment is recognized as good business. It would be goodor some o our more obdurate, ostrich-like politicians to visitOita. And now its time or us to y back to okyo.


10/16

Feb 20090

9:00am. Board subway at Kanda station. Its more crowded than the New York Number 6, but runs like clockwork every 3 minutes.Arrive at Yurakucho Station and visit the sukiji Fish Market where sh is packed as careully as camcorders. Are the sushi chesworking together? Is this sushi cell production? One wraps the rice, passes it on... Is Mochi Ice Cream made in cell production?

Above lef: Mochi Ice Cream: sticky rice on the outside and wonderul designer avors inside, packed like jewels. Will it be the nextJamba Juice or Pinkberry chain o choice?Above right: Yodobashi: worlds largest electronics store, heaven on earth. Below lef: aislesand aisles o memory cards. Below right: yellow or Kodak and green or Fujilm is alive and well and ubiquitously available here.

Tokyo


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Feb 2009

Lef: akeshita Street, wherealmost every teenager goesshopping aer school.

No wonder millions andmillions o cameras have beensold by Canon. As the worldso stills and movies becomeintertwined, a vast new groupo users and a huge newaudience will surely emerge.

Right: Lone Salaryman late orwork.

Above: Te light changes inthe Shibuya area: one o theworlds busiest intersectionsbegins to look like a Bayerpattern o moving pixels.

Right: Te poster says,Animation Studio and MaidCae. Max Preston, son oHoward Preston, on exchangein okyo rom Berkeley,explained that this latest ad islike Starbucks with costumes.

Lef: Akihabara Electric own.Tis is the neighborhoodestooned with tiny shopsthat sell every electronic partknown to man or geek.


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Feb 20092

Cut to: Buenos Aires, Argentina. When cinematographersgather to discuss avorite rental houses, Camaras y Luces isalways on the short list, with excellent service and meticulouslymaintained equipment in pristine condition. What makes acamera crew immediately happy? A spotless check-out acilitycleaner than most hospitals operating rooms, thoughtullydesigned cases, all the latest cameras, lenses and accessories, andeverything logically labeled, marked and compatible.

Camaras y Luces was started more than 30 years ago by JoseMaria Pagazaurtundua, a cinematographer who wanted tosee, and get, improved service rom the companies he wasusing. So, he started a small rental house with an Arriex35-2C camera. In those rst years, Jose Maria worked withIsabel, his wie. Since then, Camaras y Luces has grown intoa ull service company. Tere are now over 120 employeeson staf. Te whole Pagazaurtundua amily continues to worktogether, taking care o details rom small to large, continuouslydeveloping and investing in new technologies.

Tere are now more than 57 lm cameras in rental: Arricams,Arriex 435 Xtremes, 235, 35-3, 2C, Moviecams, Eyemos,

Photosonics, 416, SR3 and more. For 3 per, they have Arriex435, 235 and Arricam Lite or Studio. Tere are 10 digitalcameras: ARRI D-21, Red, SI-2K, and soon the Weisscam HS-2.

Te lens department maintains and rents Zeiss MasterPrimes, Ultraprimes (including 8R), Ultra 16 and CookeS4 Primes. Zooms include Angenieux 24-290, 28-76, 17-80and 15-40 zooms, as well as the 15-40 Cooke zoom, CineMagics Revolution Snorkel, P+S Skater Scope, Anamorphiclenses and the rst 300mm delivered by Cooke. Camaras yLuces usually services large eatures and commercials. Teextensive grip and lighting departments include the Arrimax

18K, Maxmovers, Flight Head, generators and a eet o trucksto transport everything.Recent productions include:Assassination ango, starring,written and directed by Robert Duvall; Seven Years in ibetwith Brad Pitt and directed by Jean Jaques Annaud; Evita,written, produced and directed by Alan Parker, with Madonna

and Antonio Banderas; Imagining Argentina, perormed byAntonio Banderas and Emma Tompson, written and directedby Christopher Hampton; Te City o Your Final Destination,directed by James Ivory; La Luce nel Cuore, a eature lm orItalian television by Alberto Simone. Camaras y Luces handlesmany Argentinian productions, including Son o the Bride (ElHijo de la Novia), nominated or an international Oscar.

Camaras y Luces owns Pilar Studios, located outside the city oBuenos Aires. Tis new studio complex was developed two yearsago. It is state o the art, and attracts national and internationalproductions.

Camaras y Luces


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Feb 2009

Individual Camera Checkout Room, with ocus and registration targets.

ARRI D-21 in camera room.

Jonas Pagazaurtundua in camera repairs, above. Dollies and heads, below. Generator area, above. Grip and Electric departments, below.

Rental House and Studios in Argentina

ARRICAM Lite 3 per in camera room

More than 57 lm cameras in rental: 35mm, 16mm, 3 and 4 per, digital.


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Feb 20094

Rendezvous ReverseFrom Lentequip inCanada comes thenew andem Receiv-er, a ull-eaturedUHF/CAV receiverdesigned to workwith wireless videoassist transmitterson set. Its sensitivityrivals rack-mounteddemodulatorscosting many timesmore.

Heres a hypotheticalsetup. A Canaranstransmitter isattached to the

video output o

the lm camerasvideo assist. Severalandems are onset. One is attachedto the Directorslarge video-villagemonitor. Anothersits on the soundmixers cart, attached to a smaller monitor. And so on. Justremember that it is better to receive than to give...er...transmit,because you still must check on the latest government rulesabout becoming your own V station on set, and reallocation othe spectrum.

Now that the ubiquitous Sony Watchman is gonethe days osmall, cheap, handheld, on-set consumer televisions has givenway to something much more high-tech. andem seamlesslylets you switch between the NSC, PAL and CAV standardso various countries by selecting rom the menulike theCanarans Global Edition version. In addition to being multi-standard, the andem provides battery voltage monitoring,storing and recalling avorite channels by means o dedicatedAdd and Remove Channel buttons, and a signal strengthdisplay calibrated in dBs. Tis signal-strength eature is useulwhen positioning the direction o a shark-n type o receiving

antenna. Te andem will also receive audio transmissions.

Cables and connectors are compatible with the Canarans: anypower-only cable (no video signals wired within) can be usedwith the andem. o maintain compatibility with existingreceiver antennas already in use, the antenna connection onthe andem is BNC only. Lentequip has also designed a specialbracket with an optional battery mount to attach Sonys popularNP-QM71D/91D InoLithium 7.2 volt consumer camcorderbatteries. Te Lentequip andem is available in the U.S. romBirns and Sawyer, in Europe rom Gecko-Cam (gecko-cam.com)and worldwide rom Lentequip (lentequip.com).

Tandem

Automotive video assist is getting to be almost as good as whatwe saw on set a ew years ago, with wide-angle, aspheric lensbackup cameras and monitors built into rear-view mirrors. Irecently rented a raverse L. Te car itsel le me wondering,what were they thinking? Bailout? But the picture wasnt bad.

Tough the video monitor in the rear-view mirror may notthreaten the team at ransvideo, and the wide angle lens will nothave the crew at Cooke quaking in their boots, I am waiting orClaude Lelouche to put one o these cars into reverse and do asequel to his classic short lm, Rendezvous.

Rendezvous was shotin a single take with a camera mountedon the ront o a Mercedes 450SEL 6.9 (soundtrack is a dubbedFerrari), at 230-240 km/h through Paris. No streets were closed,since Lelouch was unable to obtain a permit. He was arrestedaer the shoot, but was soon released because the ocer likedLelouchesA Man and A Woman. See the clip by googlingRendezvous, or better yet, order the DVD online.


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Feb 2009

Welcome New andRenewing Sponsors

Our back page keeps growing. More new sponsors joined usrecently than ever beore, and more companies became exaltedMoguls. Our sponsors are not randomly selected: the companieswe keep make the equipment we use, and many are run by

longtime riends and ellow colleagues. Te unique relationshipwe have is that most o our sponsors are also our gurus, andhave been or a long time. Tey are the worldwide technicalsupport lielines we have always called, and continue to call, oradvice, acts, inormation and articles. It is a true collaboration.

Te New York imes reported recently that Hollywood,previously derided in investment circles or its unathomableaccounting practices, is now considered one o the saer placesto park your hard-earned ortune compared to Wall Street, realestate, the art market, Ponzi schemes and imploding investmentbanks. Te movie business is proving more resilient to reces-sion than most other industries; last year was the best box-oce

in history, and this year is already up 9%. Tough box oce andstudio prot is rarely seen as translating into equitable equip-ment sales and rental rates, it does provide a light at the end othe tunnel, whether 24K or inkie.

Please welcome our recession-resistant, newly elevated orexisting Moguls: Abel Cine ech, ARRI, Band Pro, BogenImaging, Canon, Cooke Optics, Fujilm, Fujinon, Oconnor,P+S echnik, Preston Cinema Systems, Sachtler (and its parentcompany, Camera Dynamics), Sony, ransvideo, Vantage Film(makers o Hawk Anamorphic Lenses), ZEISS and ZGC.

As the quintessential Hollywood Mogul Darryl F. Zanuck usedto say, Dont say yes until I nish talking.

Meanwhile, please welcome Film and Digital imes ExecutiveProducers: Aaton, Angenieux, Chrosziel, JVC, Kodak, P+Sechnik, 16x9inc and ifen.

Our Producers are: Blixt in Denmark, Cartoni, ClairmontCamera, Lentequip, Lowel and Otto Nemenz International.

Co-Producers are: Camaras y Luces, Dedo Weigert Film andDedolights, Formatt Filters, Kata, Manrotto, Petrol, Reecme-dia, SI-2K cameras, Phantom camera, and Weisscam.

Were excited to welcome Frieder Hochheim and Kinoo asAssociate Producers, along with Rainer Hercher and CamelotBroadcast Services in Berlin. Tey join cmotion, Litepanels andBirns and Sawyer.

As that other archetypal mogul Sam Goldwyn said, Picturesare or entertainment, messages should be delivered by WesternUnion... Although Goldwyn was also amous or having saidinclude me out, Id like to think that he would have includedus in or delivery o the latest messages on technique, technol-ogy and the state o our arts.

Film and Digital Times is a newsletter or Cinematographers, Photog-

raphers, Directors, Producers, Studio Chietains, Camera Assistants,Camera Operators, Grips, Gaers, Gearheads, Crews, Rental Houses andManuacturers. Published every two months, written and edited by JonFauer, ASC, with inside-the-industry secrets-o the-pros inormationrom proessionals who shoot, direct, light, design, edit and work inthe business. Jon Fauer is an award-winning Cinematographer andDirector with 11 bestselling books (over 120,000 in print), amous ortheir user-riendly way o explaining things as i you were right there onlocation with him.

publisher and editor: Jon Fauer 2009 Film and Digital Times, Inc

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