Feedback using the Blackmagic Cinema Camera by Marc Linnhoff

Tournage clip Broad Rush - Don't stop
It happens from time to time to give a voice to others, Marc has produced turned, made a nice clip and post production, and I asked him to cause us the BMCC his hands for some time.

here's the clip :


here's what Marc Linnhoff and

I realize, turned and climbed my films in recent years with occasional peaks of motivation-, the arrival of the GH1 in my legs was a great moment, I appreciate the way Emmanuel Pampuri for his film “RSS” qui impulsa l’achat de mon premier boitier 🙂

Tournage clip Broad Rush - Don't stop

With the announcement of the BMCC at NAB 2012 and that of the Bolex Digital via Kickstarter shortly before, I saw the future in a new light! Finally the arrival of tools “affordable” that do not compromise the quality of our images..

As winter in Alsace, delivery of my BMCC has been widely felt.. It was an opportunity for me to educate myself on Resolve and understand a new workflow. J'ai reçu ma caméra, do some tests and then got involved in writing and directing the clip “Don’t Stop” the music of my friend Broad Rush. This shoot was an opportunity for me to tame the beast..

Here are my impressions and comments on its use :

First, la BMCC : bare ergonomics is really not ideal, with a rig, an external battery and a monitor or EVF, all rolls, this is not the configuration options are missing.. It is therefore essential to equip a minimum the camera still has some drawbacks (possible to update the firmware…?) : no display audio meters seen, no option to format the disk or erase our clips via the camera itself.

Without the display on an external monitor oscilloscopes, the zebras to manage exposure, otherwise it is quickly lost on shooting outdoors. The BMCC is not equipped with built-in filters, my variable ND filter (Genustech Eclipse) I have more than once saved the ...
Tournage clip Broad Rush - Don't stop

The choice DNG / ProRes with license Resolve bonus for me are undeniable advantages.

For the video shoot “Don’t Stop”, I shot everything in RAW, about 750GB.. Our great team spent two days at the scene of shooting (The ancient baths Soultzbach-les-Bains), with all the accessories you could possibly need for this clip, the lever to the convertible car without license. I brought lemon. The script was in my head, technical cutting half and the rest is done on the spot. The camera was equipped with its Rig Bebob, we had a small batch of optical CP.2 (21, 35, 50), une Tokina 11-16, un-55mm Micro-Nikkor AI-S, a cineslider, un travelling, une Kino, some tangerines, fresnels, reflectors ... The weather was on our side, il a fait Moche, cold and it rained for two days !!

Le clip ‘Don’t Stop’ was my first experience of workflow with RAW files, je dis le haut a fort : j'aime Resolve !! There are many tutorials on the net, comprehensive training in French, English.. and of course training centers for those who can. I opted for a series of tutorials with exercises for the key, I must admit that it has opened my eyes.

Knowing the potential of a calibration in the treatment of DNG software affect our shooting, our light… The announcement in Resolve 10 the calibration option “Online” we will go further, I can not wait to test this function.


Here is the workflow that I applied to the post-production of the clip “Don’t Stop” :

1- I imported my rushes in Resolve, slightly increased the contrast and saturation of all my clips and then exported my Proxies

2- I imported these proxies in my event FCPX, dérushé, mounted and exported my XML

3- Resolve back on, I imported the XML, calibrated the while exploiting the high latitude of my DNGs then exported the clip ProRes 4444 2,5C

4- I finalized in After Effects with a passage by Mocha Pro for the first disappearance of the protagonist, added my effects then resized in my composition 1920/816px (report 2:35) and exported my Master

The Blackmagic Cinema Camera is a tool that pushes me to go further in the writing of my films and in the treatment of my images, it stimulates me and covers most of my needs are mostly clip, of fiction and corporate movie.

After the experiment “Don’t Stop”, I did not just want it to do it again and soon. While camera models are increasing at high speed making them obsolete earlier and earlier, greater accessibility to tools like BMCC and democratization of practices such as benchmarking in Resolve are very beneficial for me.
Tournage clip Broad Rush - Don't stop

The announcement of new versions Blackmagic Pocket Camera Production and hit her hard. I see the BMCC associated with several pockets camera for effective multi-cam and discreet, regarding the Blackmagic Camera Production, I rejoice at the idea of ​​having hands..

Marc Linnhoff


Marc summarizes everything there that I think this camera, it produces an image of an amazing quality, but it was designed with the feet. So we can welcome Blackmagic for successfully democratize RAW video but also for all the work from the first card Decklink ago 10 years, as ergonomics is really bleak.

But when we get the images in a calibration system as muscular Resolve, indeed, it is a treat !

dynamics, resolution are of exceptional quality considering the price, All these elements make an amazing product for just one accepts his disabilities. The colors are very good too. Brief, pending D16 Digital Bolex which seems to be a bit better designed on paper, it semblerai BMCC and that these future versions M43, 4C (Production caméra) a 1080p (Pocket) will sell like hotcakes. If ADOBE actually released a DNG Cinema Lossless compression is gained ! Because it is inconsistent in the chain resulting from these cameras is the price of storage required for each project when you turn RAW. With rates from 8,5 to 10,5 go / min depending on the framerate that complicates the situation.

RED today reigns supreme in this war codecs because it is alone in a compressed RAW file a weight ratio / incomparable image quality. The question ” therefore expected by other ?” the answer is probably on the side of a patent filed by RED does compress the RAW. The alternative Cineform seems to fall by the wayside, This is unfortunate because this codec is very good but since the takeover by GoPro is not clear that it will become …

Wet & see


Production and direction : Marc Linnhoff –

Music BROAD RUSH, download the full version :

Stills by P-mod :

With : Joffrey Schmidt – Clarisse Hagenmuller – Denis Jelly – Nina Schouler – Pierre Riff

Framework and post-production : Marc Linnhoff

Light : Ludovic Haas – I Pichard / P-mod

Hair and Makeup : Anne-K Lejeal – Elsa Parmentier

Un grand merci à Yoko Tsuji, Jacques Roth, Tsaki, Arnaud Masson, Jessi & Michel.

Filming locations : Elders Baths Soultzbach-les-Bains

Digital Bolex S16 camera Raw … WTF !?!

I just found something amazing, have you heard about the project Bolex Digital ? A band of lunatics currently working on a camera with a CCD (yes it is not the CMOS) size of S16 (12,25 x 9,64) de chez Kodak, capable d’enregistrer des fichiers RAW en 2048 x 1152 (Super 16mm mode) or 1920 x 1080 pixels (16mm mode).

Equipped with XLR and capable of recording on CF cards in Adobe DNG Cinema, RAW universal free choice as to the famous Penelope Delta.

In a cutthroat world where everything seems to push us towards cameras increasingly high-tech, high end, a little boldness and freshness makes me the most good and I find it terribly exciting and bold project ! Who are these people ? or they come from ? I confess that I was so surprised that I thought for a moment that this was a hoax ?!

More information on their site internet

and the technical here

a small video

RED Epic Shooting Day #1


it is after much procrastination and other fears with the help of rotten team FEDEX, I do not thank and I managed to destroy the nerves and put me 48 hours to deliver the marvel ; we are to make operational tests this afternoon at PhotoCinéRent who provided the accessories such as optical.

The camera est incroyable, compactness, the perceived quality, finishing material selection leaves a feeling of robust hardware, finely tuned and look really professional. The multitude of possible controls via the dials on the side handle, REDMOTE or the touch screen is quite nice and we can have leisure to spend from one to

as a function of the other and feeling or one is relative to the camera. The screen is not too yucky after several hours of manipulation and the image produced is of good

readable and light quality.

The usability is very effective, it's simple, intuitive and much more logical than the RED One. The app is not yet 100% operational and we feel we still have a ways to go for something that should make reference. The touch screen is not a gimmick and I caught him several times to drop Matthew knobs to control the camera no longer than fingertip.

I'll try to make you regular feedback from this first adventure with this camera that I like a lot you'll understand. There is no ultimate tool, but I think it will be my big favorite toy.

Tomorrow the first real day of shooting, we hope to have good weather 100 % external …


“In countries cannibal” Feature Film being shot.

it's been a long time I expected it, a film project, or something or you did not hesitate when you read the script you tell yourself that you have to go and when you encounter the real, and the small world that share in this adventure you tell yourself you got a role to play … I thought it was just technical and I am co-producer of a film that makes me salivate.

Countries in Cannibal's film Alexander Villeret and Aymeric de Heurtaumont

directed by Alexandre Villeret

produced by Aymeric de Heurtaumont / Takamat Movies

Synopsis : Max vit traffic drogue… His life is not just to much, if not muddy slope on which it slides every day more and more.
Two speeds, He still finds that his life is full of dangerous surprises, dating viscous, so many moments that make up his adrenaline levels.
He decided to shoot on his travels 48 Lenny embarking hours, a cameraman in search of recognition and a young sound engineer, Yoann still naive.
But what initially was going to be a megalomaniacal whim gradually reveal the true nature of Max, much more fragile and sensitive as it seems.

With :

  • Axel Philippon in the role of Max
  • David Saracino in the role of Leny
  • Ivan Cori in the role of Yoann
  • Jo Prestia in the role of Angelo
  • Danny Verrissimo in the role of Nathalie
  • Sophie Chamoux in the role of Mary
  • The image is signed by Jean Baptiste career
  • Music by Stéphane Zidi

The film is shot on RED One MX will be in black and white and everything is managed by the workflow Machineurs. The film was shot partly with Zeiss primes CP2 but in the end they used a lot Angenieux Optimo zoom DP 30/80 T:2,8.

I went on set the other day and I found myself make up the numbers … you will understand I am excited about this project at the highest point, I also invite you to share and help me to buzz around the indie film.

In the meantime here's a video shot on the 27th day of the shooting of “In countries cannibal” You can follow this adventure facebook


ARRI Alexa VS Red One Mx … suite …

The long awaited sequel to the comparative test conducted at Etretat in the company of Matthew Misiraca the photo is going on Camera-forum at this address, You are invited to vote for your favorite image.

estrait a post of director of photography is Matthew and that was the image of this project :

“Accompanied by Emmanuel Pampuri, Thibaut Petillon, Michael Lagerwey, Armel Nknuidji and myself we looked at different pictures of the two cameras on the Dav Vinci Resolve

Personally, the two cameras are equal is really perfect hair c… found there a difference to the point where we knew what to what was … The sharpness (details) the two cameras are identical “

My personal view on the matter is that ARRI has worked in the grain of the development taking into account the past. Our collective unconscious, our tastes are forged over a century of silver image, This is because most of us prefer the rendering “soft film” the Alexa.

For my part I prefer the RED 2 things, the definition, I like it but the feeling of more modeling, more depth, more relief. The image of Alexa has an indescribable too “solid color” it can be said as Matthew related to Log C that crushes a little too dynamic, and the sudden we would lose a bit light in the middle. It will probably be a different rendering when we can work with the famous ARRI Raw.

First, le vrai making of signé Olivier Heraud

Micro 4/3 – Panasonic AF101 – Lumix “G” my favorite optical

Several people have asked for me to do a small article on the optical range for a Panasonic Lumix “G” (GH1/GH2 G1/G2 GF1 GF2 and soon + G10)

We will distinguish 4 types of optical.

  1. The micro objectives 4/3
  2. The objectives 4/3
  3. The optical images require adapter ring
  4. the optical film also requires an adapter ring.

1. The micro optics 4/3

At the moment there are not many manufacturers that produce optical micro 4/3

Panasonic I will retain essentially :

the 14/140 I think that is the “zoom base” for the AF101 has great qualities but also a big failure. This lens offers a zoom range from 14mm to 140m X10 is an amplitude which is very comfortable, its optical quality as its stabilizer is very good, It has also an AF ultra quiet and a stabilizer which does not hurt. Its failure is its lack of openness in fact f:4/4,8 it's not great when we want to work in low light.

Panasonic 14/140

The other interesting Zoom lens in the range is the 100/300 also stable and very high quality optical.

Zoom wide angle 7/14 f:4 is a small bomb, it is a bit expensive but the quality is really very high level. The distortion is quite pronounced in the corners is about 7mm at the edges but this is the game length.

I'm not a fan of 14/42 and prefers the 14/45 a bit above in terms of quality, However, we must start somewhere and this is not bad.

Small important note : Panasonic objectives are the only really communicate 100% the case whether the AF101 or GH2 for example they are treated electronically associated to correct chromatic aberrations and vignetting other.

The objective of the exceptional range is the 20mm f:1,7, this “Pancake” ultra mini has not only an interesting opening, beautiful “bokeh” , a superb dive, but also a very attractive price, his only fault, an autofocus motor noise. This approach allows you to produce images of high quality. AF101 on one sounds a bit ridiculous but the priority is the quality of images produced.

Panasonic 20mm f:1,7

The 45mm f:2,8 Leica Macro is also signed an optical exception that I like but it is a bit expensive.

The 14mm f:2,5 is also a great stone, It's part of my basic equipment and despite its size ridicule it produces very nice images, is a more affordable optical.

There is also a good 8mm fisheye.

To conclude, there is no ugly duckling in this range but I hope as many of you that we will lay a Pansonic true “trans-standart grand opening” At the Photokina 2010 we heard a Zoom 12/75 f:2,5/3,3 is it fall into oblivion ? Was it a rumor ?

Other brands in micro 4/3

The serial killer of the opening is undoubtedly the Voigtlander Nokton 25mm f:0,95 To this end 100% manual is an exceptional view with a minimum of “Masters” because at 0,95 to the point it does not forgive any approximation.

Voigtlander Nokton 25mm f:0,95

Other brands such as Sigma provides or will provide targets for micro lens 4/3 . I like the Sigma 30mm f I often:1,4 EF on the 7D and the 50mm f:1,4

The South Korean Samyang will also propose setting targets for micro 4/3 100% Manuals. These lenses are pretty amazing and incredible value for money. Their lack of awareness just. Their fisheye 8mm 85mm and above f:1,4 were announced a few months ago.

I know very little about the micro optical 4/3 Olympus, I often have prime lenses Panasonic because of their link to the box that enables the correction circuits. The only light that I really tested is the 14/35mm f:2 via adapter 4/3 to micro 4/3.

2. The Optical 4/3

Before the micro 4/3 there was 4/3, Only Olympus has continued on this path and produces some very nice stones. We dwell a moment on the 2 Zuiko Digital optics that are truly exceptional 14/35 f:2 and 35/100 f:2


I could try 14/35 with AF101 in Osaka during my little trip to Japan. This approach is simply amazing, the sharpness is excellent and the opening to f:2 constant zoom is virtually , magic !

But then there's a catch, or even two, the first is the price, over 2000 euros for the 14/35, I think however that this should be the optical zoom base AF101 requiring any user with no optical possession. The second flat on the development, auto-focus is not 100% operational, we must set “manuel” and use the button “push auto” the camera. The steering diaph it poses no problem.

Many images from the film that I shot in Kyoto are touring with this 14/35 Zuiko Digital.

Additional optics are available 4/3 from Sigma and Olympus but at Leica / Panasonic.

you'll find on the site

3. The Optical “Photo”

As I have written several times the value of these cameras and camera mount is equipped with this ability via adapter rings to mount optical pictures. And photographers equipped with Nikon optics, Canon, Pentax, Minolta, Leica, etc.. Can set up their stones at leisure on the preferred AF101, the Lumix “G” or the Olympus Pen.

I have no particular preference but I have in stock junk friendly branded Pentax or Nikon are very good companions of my boxes GH1 / GH2

For the selection of rings Novoflex German manufacturer has long been my favorite but I must admit my interest was closely Kipon offering such a ring to mount lenses Canon EF has the distinction of being equipped with a manual iris.

Canon EF Ring Kipon to micro 4/3 with iris

One board, if you want to see the side of eBay and many Chinese rings “no name” know that it is “toss” I had very good as surprises.

2. The Optical “Movies”

there are several adapters to move to the PL mount. HotRod camera recognized by its green anodized aluminum.

AG-AF10 + HotRod PL mount camera and optical Zeiss Ultra Prime

The other mark that is about her is available at DENZ Photocinerent its advantage is to be integrated into a base and stem. The problem is that the frame of the AF101 is designed for optical weighing 1kg which is often limited because these objectives loom large.

PL adapter Denz

There are other outsiders as MTF which provides a PL mount to micro 4/3 less than 400 €

PL mount microphone 4/3 MTF home services

On eBay we also find a dealer that offers something more exotic to mount optics or by BNCR mount PV (Panavision)

Optical side you can choose, Cooke, Zeiss, UniQoptics, Hawk, Panavision, Fujinon, RED or the superb zoom Angenieux.

AF101 Panasonic + Optimo 28/76 Angenieux

That's the conclusion you will like me to tell you that it's almost impossible to talk about all the possibilities offered by this super horse malignancy that is the micro 4/3.

ARRI Alexa / RED One MX … first sensations

Comme promis, I will give my first impressions after the life test.

To start, know that as I got into the habit, this is not a scientific test as it would be possible to do, but only my appreciation of the subject. It is subjective, it is only my opinion and I do not claim absolute truth.

This test was carried out during the filming of a fake commercial for Etretat First Taking the production company Armel Nkuindji

I want to thank first and foremost :

  • Magali Rider in TRANSPACAM for Alexa
  • Cinélum for light.
  • Roman Prover which secured the shooting RED One while Matthew was afféré on Alexa.
  • The 2 super-Saunier assistants Prune Dardant & Aurélie Temmerman.
  • Benjamin Fatras et son steadycam
  • Both appliances Cédric Lemonnier & Victor Chwalczynski
  • Dorothy Roffat la makup artist
  • Natty Notre nicer template
  • Kevin O'Brian for fashion
  • Olivier Héraud we will lay a short film “Behind the scene” as he has the secret
  • Matthieu Misiraca DOP
  • Armel Nkuindji pour the prod, the real, but especially good idea and initiative of this test

Thank you all for your talent, your energy and time spent on this project.

The RED One is output 2007 and it is 2010 the ARRI response rears its nose with ALEXA. The Alexa is born a camera, on which much has been written. From my side I followed the story from the beginning with great interest. Who else could claim ARRI propose a tool like Alexa ? For me, Alexa is a camera which has an interesting position, its roots in serious image of the big house ARRI, it will reassure operators that may have been somewhat baffled by the arrival of the RED, because the company had no anticipation and even less in this area or you like to apply the old adage : “it is in the old pots …”

The Alexa therefore reassuring because it's ARRI and ARRI is the Low Cost as some might think, Indeed D21 costing over € 200k is a bit what everyone thought about the output of this “small” positioned to € 45k camera. On this view ARRI has common sense, indeed, Part evolved, RED One and especially the flood DSLR are all elements that the cards are distributed. Creation tools become more accessible but the rental prices are not calculated as before. Fads and rarity make this Alexa, despite an almost affordable price is however very expensive to rent (approximately 1000 € / j)

I've already written, what I like about this camera is how it has to gather purists and geeks that we are about a tool that is a real link between tradition and modernity.

In its design so it should be noted that with his record Quicktime Apple ProRes 4:4:4 this is undoubtedly the camera “tapeless”which offers the most immediate postprod Service. On prend la carte, you plug in an ExpressCard slot and can be mounted directly into Avid Media Composer 5 / Final Cut Pro or Premiere Pro CS5. This is in my opinion a huge benefit to all that must end on TV. Pub, clip, telefilm etc. are the field dreamed for this camera. For fiction cinema is in my opinion a shame to have released a limited camera 2K 2010 and this is why the RED One will keep my preference. 2011 will be a year or Texas Instruments will release its offensive 4K digital cinema in the U.S. and the world. In the end even if the resolution is not everything, it is still important. So yes, Alexa certainly has an image and a texture “grain” sexier than the RED One but take HD / 2K at the time or it is option is in my opinion a small error.

By or against there ARRI will disappoint some it is all those who have been bitching after RED had not finished out a camera … Sorry guys, Alexa but it is the same or worse on certain points. Imagine our surprise when we discovered that we could not read the ProRes clips on the camera !

If yes, the Log C is a system which allows for exceptional flexibility and can stand up to a Raw file R3D calibration without any concern.

Example of processing a TIFF extracted and edited in lightroom as if it was a picture picture.

Fichier Jpeg exporté brut d'après le ProRes

Image développée dans lightroom d'après un fichier tiff extrait du ProRes

It has in fact all matter and all the momentum needed to create beautiful images.

Aside from the small teething problems and some aberrations as favorite reading, So this is a camera that makes you want to make beautiful pictures.

The following soon with further in theatrical presentation when we have had time to post-produce it all in engine-.

RED One MX / ARRI Alexa … tournage demain

En exlusivité planétaire et avec la complicité de Caméra-Forum et à l’initiative de Première prise. Nous partons demain pour tourner quelques images en Normandie. Ce sont deux des caméras qui passionnent le plus ces derniers temps, deux caméras cinéma numérique avec deux philosophie légèrement différentes mais une seule finalité : tourner du cinéma mais en numérique.

Même taille de capteur mais pas la même résolution, d’un côté ARRI opte pour le 2K alors que RED propose du 4K.

Trois années séparent les sorties des deux caméras, L’Alexa est clairement une réponse de ARRI à RED …

ARRI a préféré miser sur la latitude, la texture d’image et l’ergonomie, RED a depuis sorti un nouveau capteur et l’évolution logicielle de la RED nous offre désormais plus de chose, posée désormais à 800 ISO la RED One dans son évolution Mysterium X corrige les petits bémols du passé.

Loin de nous l’idée de proposer un vrai Match car nous savons dors et déjà que les 2 cameras offrent des positionnement lérèrement différents.

Le Casting :

Armel Nkuindji pour Première Prise qui assurera la prod et la réalisation

Matthieu Misiraca Chef Op fondateur du Camera-Forum

TRANSPACAM pour la partie ALEXA

Les Machineurs Pour la partie RED One MX & Postprod

CINELUM pour la lumière.

Je serais accompagné d’Olivier Héraud pour alimenter les tuyaux en image et en information

Pierre-Loïc Précausta nous donnera son feedback d’étalonneur sur ce qu’elles ont dans le bide ces caméras.

Rendez vous demain soir pour la suite et un premier feedback.

Angénieux, 75 ans de passion pour l’optique cinéma …

J’ai eu la chance d’avoir été invité par la maison Angénieux pour fêter lundi 14 décembre leurs 75 ans et la présentation officielle de leur nouveau Logo.

Pour ceux qui ne connaissent pas Angénieux est une société qui fabrique des optiques depuis 75 ans donc. Cette société est remarquable car elle a été créée par un ingénieur opticien passionné.

Fondée en 1935 par Pierre Angénieux, cette société est basée à côté de Saint Etienne. Pierre Angénieux était un ingénieur opticien innovent et clairvoyant, We owe particular “Zoom” and “Retrofocus” 2 major inventions in the development of objectives. Primé à plusieurs reprises avec des Oscards techniques et autres grammy, la marque Angénieux est plus connue à Hollywood ou à Bolywood qu’en France. Pourtant leurs produits sont d’une qualité exceptionnelle et c’est un des derniers industriels lié au monde de l’image qui subsiste en europe. Angénieux a aussi par le passé réalisé d’excellentes optiques pour la photographie. J’ai moi même eu la chance d’avoir un zoom 28/70 f:2,8 en monture Nikon au début des années 90. Pourquoi j’aime cette “home” me demanderez vous ? Tout simplement car c’est une grande maison, celle qui privilégient la qualité avant tout, au même titre qu’un Cooke ou qu’un Zeiss dans le Cinéma c’est un acteur incontournable et ils ont continué d’innover en permanence. Mais aussi parce que les gens que je connais là bas sont tous des passionnés, et que le simple fait de leur parler rajouté à la qualité technique extraordinaire de leurs produit fait qu’on ne peut rester indiférent. C’est du matériel haut de gamme créé par des professionnels, pour des professionels.

J’ai donc pu visiter leur usine hier et je peux vous dire que je comprend mieux pourquoi ils obtiennent un tel niveau de qualité. Firstly, toutes les phases les plus délicates sont confiées à l’oeil et au savoir faire de personnes ultra qualifiées et cette entreprise est très soucieuse de ses recrutements et de la façon dont sont formés ses futurs employés. Les taches qui sont confiées à des machines sont tout le temps contrôlées par les sens aiguisés d’hommes et de femmes garants de cette qualité exemplaire. Au cours de la visite, on apprend par exemple qu’un zoom Optimo est capable de “lire” 200 lignes de définition par millimètre ! C’est le niveau de tolérance en dessous duquel l’optique partira à la poubelle. Malgré ça le prix de ces optiques reste relativement accessible en comparaison à des focales fixes de chez les 2 autres gros fabricants européens que sont Zeiss ou Cooke, un zoom 28/76 T:2,2 coûte a peut près le même prix qu’une focale fixe qui ouvrira certes un peu plus. A l’heure ou les caméras numériques sont de plus en plus sensible il est peut être temps de changer son point de vue sur la question et je pense qu’envisager de tourner à 100% avec un zoom de cette qualité peut vraiment s’envisager. Les amoureux d’Angénieux sont nombreux, mais ils sont plus nombreux outre atlantique que chez nous.

La gamme DP dédiée aux capteurs numérique par exemple est d’un rapport qualité prix exceptionnel, compter environ 15k€ pour un 16/42 ou le 30/80 t:2,8 qui sont d’excellente facture.

Le fer de lance de la marque est sans aucun doute le 24/290 très apprécié des américains. J’avoue avoir un gros faible pour le 17/80 T:2,2 (si si c’est pas une blague ya tout ça de lumière qui rentre dans ce zoom ! ) A noter que les 3 zooms de la série “cinema” sont livrable en monture Canon EF ou Nikon.

AATON Penelope ∆ … Camera D-Cinema Made In France

Pour ceux qui seraient plus à l’affut de matériel pro, plus haut de gamme, voici des informations qui devraient vous plaire si vous n’êtes pas déjà au courant.

Je pensais avoir perdu ce petit bout de film car j’avais égaré la carte SD sur lequel il se trouvait, tourné à l’arraché à la cloture du NAB 2010 en avril dernier, même si ces informations ne sont pas de la première fraicheur, je pense que ça intéressera du monde.

Si vous ne connaissez pas Eve, c’est un fabricant français, fleuron de notre industrie dont nous pouvons être fier, non seulement ils fabriquent parmi les meilleures caméra cinéma au monde mais en plus ils n’arrêtent pas d’innover. AATON est comme Angénieux, une marque plus connue à Hollywood et à Bollywood que dans leur Pays d’origine.

Vous avez peut être entendu parler du Cantar qui est un enregistreur audio numérique multipiste haut de gamme dédié a l’enregistrement du son pour le cinéma.

L’AATON K est un imageur 35mm cinéma qui permet le retour sur support film d’après des fichiers numérique avec une précision incomparable (4C).

Chez AATON on sait marier avec un certain talent tradition et modernité, c’est en tout les cas ce qui ressort de leurs travaux.

Jean Pierre Beauviala qui est le fondateur de cette société est un personnage a qui l’on doit beaucoup d’inventions qui ont marqué le monde de l’image, le moteur à quartz, la camera paluche, the “3 perfo” sur le film 35 mm etc. (Wikipedia)

La Penelope est une caméra qui est déjà sortie il y a bientôt 2 ans dans sa version 35mm, c’est une des caméras film les plus modernes du marché. Depuis quelques années on sait que ce projet de camera recevra un dos numérique qui se greffera à la place du traditionnel magasin 35mm. La camera devrait enregistrer au moins du 4k en DPX sur des enregistreurs composés de disques SSD montés en RAID 0. Par ailleurs elle enregistrera des proxy pour le montage en DNX HD Avid et peut etre même dans d’autres codec comme le ProRes (à confirmer)