April 2020 Edition

• Introduction, Part 1: Film in Coronavirus Times……………………………………….. 4
• Part 2: Working in this Town Again………………………………………………………. 5
• Canon EOS C300 Mark III Super35 Camera…………………………………………… 6
• Canon EOS C300 Mark III with CINE-SERVO 25-250mm T2.95-3.95………….. 7
• Canon EOS C300 Mark III Super35 Camera……………………………………….8-14
• Steve Holleran on EOS C300 Mark III and CINE-SERVO 25-250 Zoom……….. 15
• Steve Holleran on Canon EOS C300 Mark III…………………………………….16-17
• Steve Holleran on CINE-SERVO 25-250………………………………………………. 18
• Steve Holleran on Boneyard Ballet……………………………………………………… 19
• Steve Holleran on Boneyard Ballet……………………………………………………… 21
• Gods of Focus: Dennis Scully……………………………………………………………. 22
• Dennis Scully: What’s on the Camera…………………………………………………. 23
• Dennis Scully…………………………………………………………………………….24-25
• Canon EOS C300 Mark III…………………………………………………………….26-27
• Boneyard Ballet Frames……………………………………………………………….28-31
• Canon EOS C300 Mark III Specifications………………………………………….32-33
• Canon EOS C300 Mark III Formats…………………………………………………….. 34
• Resolution, Bit Depth, Max FPS, Slow & Fast, etc…………………………………… 34
• Sensor Modes………………………………………………………………………………. 35
• Frame Rates…………………………………………………………………………………. 35
• Recording Times……………………………………………………………………………. 35
• Canon CINE-SERVO 25-250 mm T2.95-3.95 Zoom ………………………….36-39
• Canon CINE-SERVO 25-250mm T2.95-3.95 Specs………………………………. 40
• Canon CINE-SERVO 25-250mm T2.95-3.95 Image Coverage…………………. 41
• Aperture Ramping Explained…………………………………………………………….. 41
• Teradek Bolt 4K…………………………………………………………………………42-43
• Apple ProRes RAW with Panasonic LUMIX DC-S1H and Atomos Ninja V……… 44
• Panasonic LUMIX DC-S1H Firmware Version 2.0…………………………………… 45
• Panasonic LUMIX DC-S1H……………………………………………………………….. 46
• Panasonic LUMIX DC-S1H, Atomos Ninja V & Apple ProRes RAW……………… 47
• Discussion with Panasonic S1H Design & Engineering Team……………………. 48
• Panasonic S1H Image Area Dimensions……………………………………………… 49
• Panasonic S1H Sensor Modes………………………………………………………….. 49
• Panasonic S1H Selected Settings for Apple ProRes RAW Output………………. 50
• Panasonic S1H Menu Settings………………………………………………………….. 51
• Chris Sieniawski on Panasonic S1H and Atomos ProRes RAW………………52-54
• Jeromy Young, CEO of Atomos………………………………………………………55-57
• Codex Compact Drive Dock for ARRI ALEXA Mini LF…………………………..58-59
• Codex Compact Drive Reader…………………………………………………………… 59
• Codex Compact Drive Adapter………………………………………………………….. 59
• Attila Kaldy, Australian Bigfoot and Blackmagic Pocket Cinema Camera 4K…. 60
• Attila Kaldy, Australian Bigfoot, Pocket Cinema Camera 4K………………….61-63
• Into The Rising Sun with Blackmagic Pocket Cinema Camera 6K……………… 64
• Into The Rising Sun with Pocket Cinema Camera 6K………………………….65-69
• Cooke Optics: Factory Tour 2020………………………………………………………. 70
• The Ins and Outs of Cooke Optics……………………………………………………… 71
• Les Zellan, Chairman of Cooke Optics…………………………………………….72-75
• Robert Howard, CEO of Cooke Optics……………………………………………..76-77
• Alan Merrills, COO………………………………………………………………………….. 78
• Allison Langley, Front of House…………………………………………………………. 78
• Chris Marriott, Next COO…………………………………………………………………. 79
• New Optical Design and Mechanical Engineering Offices………………………… 80
• John Monahan, Production Engineering Manager …………………………………. 81
• Steve Pope, Director of Engineering…………………………………………………… 81
• Building Cooke Lenses……………………………………………………………………. 82
• Grinding and Polishing……………………………………………………………………. 83
• Polishing……………………………………………………………………………………… 84
• Paul Prendergast, Glass Production Manager……………………………………….. 85
• Paul Utting, Supervisor of Edging and Blacking…………………………………….. 86
• Edging…………………………………………………………………………………….87-88
• Blacking………………………………………………………………………………………. 89
• Irises…………………………………………………………………………………………… 89
• Metrology…………………………………………………………………………………….. 90
• Ian Johnson, Coater for Cooke Optics…………………………………………………. 91
• Keith Wykes, Production Manager for Assembly……………………………………. 92
• Jamie Cluer, Assembly Supervisor and Service Manager…………………………. 93
• Cooke Clean Room…………………………………………………………………….94-95
• Marking the Focus Scale……………………………………………………………..96-97
• Projection…………………………………………………………………………………….. 98
• Delivery……………………………………………………………………………………….. 99
• New: Cooke S7/i Full Frame Macro 1:1 60mm, 90mm, 150mm Primes…… 100
• ERM Wireless Range Extenders for ARRI……………………………………………. 101
• ARRI EF Mount with LBUS for ALEXA Mini, Mini LF and LF ………………102-103
• Lenses and Mounts for Large Format ARRI ALEXA LF and Mini LF ………….. 103
• ARRI OCU-1 Operator Control Unit……………………………………………………. 104
• ARRI Master Grips………………………………………………………………………… 105
• ARRI OCU-1 and Master Grips Around the World……………………………106-107
• ARRI Master Grips Around the World………………………………………………… 108
• Mole LED Spacelites…………………………………………………………………….. 109
• Mole 20K LED…………………………………………………………………………….. 109
• DENZ FDC-LPL Flange Focal Depth Tester…………………………………………. 110
• DENZ FDC Multi…………………………………………………………………………… 111
• Hunters, Rexer, SIGMA, RED……………………………………………………..112-114
• Gods of Focus: Michael Burke on Hunters………………………………………….. 115
• Michael Burke on Hunters……………………………………………………………… 116
• Hunters Equipment List……………………………………………………………117-119
• FUJINON Premista Production Stills from Around the World……………………. 120
• Paolo Sodi – Director / Cinematographer …………………………………………… 121
• David Dellaria – Cinematographer…………………………………………………….. 122
• Patrick Longman – Aerial Cinematographer………………………………………… 123
• Bill Bennett, ASC – Cinematographer ……………………………………………….. 124
• AJ Bleyer – Director ……………………………………………………………………… 125
• Jeff McCoy – Owner, Industrial Digital ………………………………………………. 126
• Corey Koniniec – Cinematographer / Motion State Co-Owner…………………. 127
• Mohd Abudin Abdullah, Focus Puller at Work in Malaysia…………………128-129