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  • 26 January 2024 14:52 | GBCT Info (Administrator)

    FOOTHILL RANCH, Calif. (Jan. 25, 2024) — RED DIGITAL CINEMA® has released the new V-RAPTORTM [X] 8K VV and V-RAPTOR XL [X] 8K VV cameras with RED Global Vision, both are available today at or from any of RED’s authorized premium dealers. Featuring the acclaimed low-light performance, dynamic range, resolutions, high frame rates and form factor of its V-RAPTOR predecessor, the V-RAPTOR [X] introduces RED Global Vision, which includes an all new 8K VV global shutter sensor, enabling innovative features including Extended Highlights and Phantom Track. Additionally, the V-RAPTOR [X] and V-RAPTOR XL [X] systems offer increased exposure times, a further optimized optical cavity and improved audio performance.


    RED Global Vision uses the global shutter sensor in V-RAPTOR [X] and V-RAPTOR XL [X] to open unprecedented capabilities. Global Vision’s Extended Highlights mode allows the camera to see color and detail into extreme highlights like never before, providing even softer and more subtle highlight roll-off when in uncontrollable environments, and an overall dynamic range of over 20 stops.Phantom Track dual-capture streamlines any virtual production environment employing GhostFrameTM or frame-remapping, capturing distinct R3D clips per LED wall view, as well as allowing for monitoring of either view live on-set over each SDI.


  • 25 January 2024 21:01 | GBCT Info (Administrator)
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    Zoom in on Zoom Lenses – The How and Why

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    By: The Cooke Team  |   3 min read

    An introduction to cine zoom lenses

    The Zoom Lens – the lens that afforded filmmakers new techniques, the lens that revolutionised news gathering, the lens that can be just as good as a prime? Perhaps… let’s deep dive into the history of the zoom and how it has developed over the decades.

    If you consult the trusted American Cinematographer Manual then ‘by definition a PROFESSIONAL zoom lens is a precision optical/mechanical system, which can change its field of view without noticeably changing its aperture or focus.’ In physical design this is made possible by the use of complex cams and followers which control precisely designed and manufactured optical components.

    Zoom lenses are frequently more intricate in their design, as well as physically bulkier and weightier compared to prime lenses. The intricacy of their optics makes it challenging to produce a zoom lens without some compromise in image quality. Traditionally, it was commonly believed that zoom lenses fell short optically when compared to prime lenses. This was largely due to varying image aberrations across the zoom range.

    However, in the realm of modern zoom lenses from reliable manufactures this is no longer the scenario. A well-crafted contemporary zoom lens such as the Cooke Varotal/i FF can match the performance of a prime lens. There will however be added size and weight. This is primarily attributed to factors such as the higher count of optical elements and more complex design considerations to achieve similar precision and aberration correction as an equivalent prime lens.

    This being said, the gains from utilizing zoom lenses abound – you’re not limited to the set focal lengths of your prime lens set – if you’re in a location where the shooting space prohibits ideal camera placement then a zoom lens can get you much closer to the most suitable framing than a prime set could. If working on a remote head or crane there’s more options for flexibility without having to loose time changing lenses. Then there’s the creative possibilities; adding speed to action through zooming in, revealing the vastness of a space a character is inhabiting through zooming out. Giving the camera a “roaming” style perspective reminiscent of newsreel footage or even the ever popular Dolly Zoom effect. The increase in quality over the years has also led to the real possibility of using a zoom as a “variable prime” without compromise of clarity.

    Cinema zoom lenses became popular in the 1960s and 70s. To begin with, zooming within a shot was frequently employed and some may feel it was overused which lead to a dated reputation. But like any technology, if used to support the story and emotions it can be an incredibly useful tool.

    The range of a zoom can be very short while others may have a significantly longer range. A matched set of zooms ideally gives you a crossover between ranges for increased flexibility and usability. Zoom ranges can be noted by the specific range (such as 30-95mm) or by a ratio (such as 10:1) or a multiplier (10x), the longest focal length in both these cases being 10-times longer than the widest.


  • 25 January 2024 20:57 | GBCT Info (Administrator)

    LIVE Magazine have featured our Marketing Director, Stephen Gallagher in their Innovator Profiles. Take a look to find out how he got into AV, and what he thinks the future holds for Virtual Production in the Education & Corporate markets 

    Read the full article here

  • 25 January 2024 20:47 | GBCT Info (Administrator)

    Panalux announces new London headquarters

    Direct link here

    Purpose-built, conveniently located facility will bring Panalux London’s rental inventory, service, manufacturing, textile fabrication and more under one roof.

    LONDON, England (23rd January, 2024) – Panalux, a leading rental provider of lighting and power solutions for the motion-picture industry and part of Panavision’s end-to-end service offerings for image makers, is opening a new, purpose-built London headquarters. With approximately 60,000 square feet of warehouse, 12,000 square feet of office space, and 40,000 square feet of mezzanine, the new site will bring Panalux London’s full operations — which had previously been spread across two separate London locations — together under one roof.

    "With this new facility, we're able to have our complete London operations on site at a single location, which will streamline communications and maximise efficiencies between departments and with our customers," said Panalux Managing Director Mark Furssedonn. "We conducted an extensive search to find this location because we wanted to ensure it ticked all the boxes for our operations and our customers. The new space is well positioned within the West London production corridor, and beyond housing our operations today, it gives us room to grow in the future."

    The new site also underscores Panalux's focus on sustainable practices, with features including electric-vehicle charging points and a roof-mounted photovoltaic array that powers the site's backbone infrastructure. At the completion of construction, the building earned an energy performance certificate (EPC) rating of A+, with net zero carbon emissions.

    The building's layout has been designed to streamline workflows between all areas, including rental inventory, engineering, mechanical workshop, R&D, assembly, textile manufacturing, repairs, testing and calibration, and technical support. Additionally, a new demonstration studio will provide a dedicated space for customers to test equipment. The facility also houses a fully integrated vehicle maintenance unit for on-site service of Panalux London's transportation and power-generation fleet. For crews loading in and out, the new building features a significantly expanded loading yard, now with 10 dock levellers and three level load doors. The yard offers ample parking for Panalux London's fleet, employees and visitors.

    Panalux London's new home will be fully operational in the coming months and is conveniently located in the West London production corridor at Pasadena Close, Pump Lane, Hayes, UB3 3NQ. The facility is in close proximity to the M4, M25 and M40 motorways, the Elizabeth train line and Heathrow airport, as well as London-area studios and other Panavision group services.

    Recent projects supported by Panalux London include the features All of Us Strangers, Napoleon and Red, White & Royal Blue, and the series The Crown, The Burning Girls and The Great. The company’s rental inventory includes proprietary solutions such as the Panalux Sonara and Panalux Allegra LED ranges and an extensive catalogue of third-party products. Panalux runs its full fleet of vehicles and generators using HVO fuel instead of fossil diesel, and the company’s eco-conscious offerings also include the innovative Panalux Power i-Series rechargeable battery arrays and h-Series hybrid generators.


  • 25 January 2024 20:45 | GBCT Info (Administrator)

    DP Cristina Dunlap’s journey from music videos to “American Fiction”

    Cinematographer Cristina Dunlap opted for the dynamic range of ARRI’s ALEXA Mini LF on the award-winning and impactful feature film “American Fiction.”

    Jan. 24, 2024

    Direct page here:

    Cristina Dunlap, the talent behind the lens of Amazon MGM Studios’ “American Fiction,” sat down with ARRI to talk about her journey from a 16-year-old photography enthusiast to the director of photography for the critically acclaimed film. Just recently, "American Fiction" was nominated for the Oscar in five categories, including Best Picture. Dunlap’s creative vision was also recognized at the 2023 Toronto International Film Festival, where “American Fiction” earned the People’s Choice Award, underscoring the film’s impactful narrative and visual storytelling. The film also received two nominations at the Golden Globes and five nominations at the 29th Critics Choice Awards, including Best Picture.

    Dunlap’s career trajectory is the stuff of a Hollywood script. Her entry into the industry occurred in “a weird way,” starting with a chance meeting. “I met a director at Venice Beach through some friends. He said he was shooting a music video, and I said I was a photographer. From that conversation, he invited me to the video’s set to come take pictures, and to my surprise, it ended up being a real music video for Death Cab for Cutie, who was big at the time.”

    It was there on Dunlap’s first professional film set that she discovered the role of a DP and decided to pursue it as a career. Dunlap split her time between two days of community college classes a week and working as a production assistant on as many productions as possible.

    Her passion for the art of cinematography was fueled by her hands-on experience on various sets, learning about lighting and equipment from gaffers and grips, and keeping a detailed diary of the lighting setups she witnessed. Dunlap’s attention to detail eventually paid off, resulting in promotions to coordinator and shortly thereafter, production manager. From those promotions and elevated responsibility on set, Dunlap gained invaluable insights into gear, equipment, and best practices on set.


    DP Dunlap and “American Fiction” director Cord Jefferson connected on vision almost immediately

    After two years of splitting her time between community college classes and working, Dunlap transferred to USC’s film school, continuing to work while finishing her education. The years following her graduation from USC’s film school saw her work diligently on a variety of sets, continuing to build a robust resume of work as an operator while maintaining and developing connections along the way. She credits producer Melissa Larsen with nurturing her aspirations, providing opportunities to operate cameras, and encouraging her to build her body of work through music videos and commercials that eventually became her showreel.

    Dunlap’s break into “American Fiction” came somewhat serendipitously through a connection she developed on a music video set. Despite not having much correspondence with this connection, Dunlap was one of a few cinematographers shortlisted to meet with the film’s first-time director, Cord Jefferson. Dunlap was the first cinematographer that Jefferson met with, and her passion for the project was evident from the start, as the script immediately inspired her with vivid images. She compiled a lookbook that perfectly aligned with Jefferson’s vision, securing her role as the DP.

  • 25 January 2024 20:41 | GBCT Info (Administrator)

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  • 25 January 2024 20:39 | GBCT Info (Administrator)

    Visit website | Where to buy | Other stories
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  • 05 November 2023 10:01 | GBCT Info (Administrator)



    Cooke anamorphic lenses alleviate the concerns of Indian skin tones, field of view and close focus for the third film in the Lokesh Cinematic Universe

    Leicester, UK – 1 November 2023 – Leo is the third film in the Lokesh Cinematic Universe. Inspired by the A History of Violence graphic novel series, Lokesh Kanagaraj’s Tamil-language action thriller follows family man Parthi who resides in Northwestern India where he owns a coffee shop and helps the local forest ranger rescue animals. His attempts to keep a low profile fall short after he saves the townsfolk from a wild spotted hyena and makes national news. Anarmy of crazed and dangerous gangsters begin to hunt Parthi, obsessed with their belief that he is in fact Leo, a master criminal and son of their kingpin Antony Das. Parthi must fight to protect his family and convince them of his innocence…


  • 05 November 2023 10:00 | GBCT Info (Administrator)

  • 05 November 2023 09:58 | GBCT Info (Administrator)


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