In the production industry, one needn’t wait long for a new, cooler and better piece of film gear to hit the streets and make its older incarnations seem antiquated. Lately, the biz has been buzzing over prognoses of digital video formats killing anything with a ‘mm’ suffix, but Gerd Kurz, president of Toronto camera shop Precision Camera Inc. Canada, begs to differ.

‘I think there is no threat to 35mm,’ says Kurz. ‘That image format contains far more information. As of now, digital can’t handle that much information. But if I was manufacturing 16mm or Super 16, I’d be scared.’

PCI engineers and sells cameras as one of its services. The shop is moving into the digital and high-definition realms, trying to find ways to alter the camcorders to its customers’ liking, providing features DOPs are accustomed to from film cameras. Kurz adds that PCI, along with many equipment rental shops across Canada, is also doing its best to educate moviemakers about HD through training programs and seminars. (PCI is holding its next HD seminar in October at Toronto’s Showline studios.) It is at these seminars that Kurz gets to hear what cinematographers are looking for in digital gear.

‘The cameras are [subsequently] highly modified to become an efficient moviemaking tool,’ says Kurz. ‘It has come to the point where selling a camera and then leaving the cinematographer on his own is no longer an option.’

Bob Lynn, William F. White’s national camera manager, says these kinds of programs are necessary to help DOPs get the most out of their productions’ investments in the cameras by illustrating the time and budgetary savings they offer.

‘The initial cost saving is not really apparent when they rent the cameras because they are brand-new, state-of-the-art equipment,’ says Lynn. ‘But you won’t need to go through the process of the lab and transferring your negative. You can see the results on set – we are finding [digital camcorders] are an enhancement for things like special effects.’

Lynn says cinematographers are asking WFW about Sony’s HDW-F900 24P HD camera, which it currently stocks. He says although no equipment rental shops have ‘an abundance’ of HD and digital gear, WFW intends to be a leader in the field as technology continues to evolve.

Supporting Kurz’s belief about the longevity of 35mm, WFW is anticipating the delivery of the new Arricam Studio and Lite models. Lynn expects to have them in the shop as early as October.

‘This is a brand-new camera system with state-of-the-art technology put together through Moviecam and Arri and built by Arri,’ he says. ‘The Arri 535 is the predecessor of this camera. It is a combination of technology from the 535 and the Moviecam Compact.’

Lynn says the Arricams will likely compete with Panavision’s Millennium camera, adding that many cinematographers will likely appreciate the Lite model for its size and versatility.

‘These cameras are modular and can be used without all the bells and whistles attached,’ says Lynn. ‘You can have a stripped-down camera just for a Steadicam, or a lightweight hand-held version. These cameras are also being developed to interface with motion control and the need for more post effects work.’

He says the Arricams will also feature an encoder on the lens to provide feedback on positioning for focus.

The Big Freeze

Other gear at WFW for DOPs to drool over includes Toronto’s first ‘Big Freeze’ array camera system. Commercial director/cameraman Robert Latorre of Dallas-based Big Fish Films developed the rig, which consists of a series of still cameras lined up to shoot in sequence, giving a ‘virtual dolly’ effect, like the one seen in The Matrix. Lynn says that although it is similar to other oft-used cameras, WFW’s system can be considered an upgrade.

‘Our system is radio controlled, as well as hard wired, so the flexibility of the programs that have been written to manipulate it affect not only the frames per second, but shutter speeds and aperture pulls as well,’ he explains. ‘We can do ramps and manipulate all functions on the camera without restriction.’

Lynn says WFW also has Canada’s first Strada Crane, one of only three in North America. It is a crane for remote heads that can extend up to 85 feet. Lynn says it can be used for helicopter shots and will let a camera travel 170 feet without the use of a track.

Shedding further light on equipment trends, Rob Riselli, GM of PS Production Services in Halifax, says that, much to his surprise, he is experiencing a run on Chimeras, or ‘soft boxes,’ which provide a soft illumination pattern.

‘It’s not something new, but we have found in the past 12 or 18 months that cinematographers are asking for more and more of these things, and they are asking for all sizes,’ he says. ‘We are getting down into the small 100W Pepper Fresnel lights up to the 10Ks, 12Ks and HMIs – small ones to the big ones.’

He says 12K Pars have also been renting well. A parabolic light used primarily to create a ‘thrown’ lighting effect, the 12K is starting to replace the 6K, which Riselli refers to as ‘a workhorse in some instances.’

‘The only downside of [the 12K] is the technology is still iffy at best,’ says Riselli. ‘The bulb technology hasn’t quite caught up to the light technology, but it is starting to become more and more popular. Once they figure out the bulb technology, you’ll see more of that coming along.’ *

-www.pci-canada.com

-www.whites.com

-www.psps.com/Halifax.htm