16
Shooting
through the
prism of the
most advanced
camera lenses
Michael Dosch to lead
product management for
Lawo Radio
Lawo has appointed
Michael Dosch
as senior product
manager, Radio OnAir.
He succeeds Stephan
Türkay, who assumes
the position of senior
product manager,
Networked Audio. In his new role, Dosch
will manage Lawo’s entire portfolio of
radio products, which includes a variety of
physical mixing surfaces, audio processing
and routing engines, next-generation
virtual radio software, as well as networked
audio nodes that use the AES67/Ravenna
standard.
Stage Tec now part
of Ravenna
Stage Tec, a Berlin-based manufacturer of
professional audio mixing consoles and
routers, has become the latest manufacturer
to join the Ravenna partnership. The
Ravenna technology supports real-time
distribution of audio and other media
content in IP-based network environments.
With its engagement in Ravenna, Stage
Tec will be able to provide an even wider
spectrum of IP solutions to its customers,
said Helmut Jahne, CEO of Stage Tec. “We
have been providing IP-based technology
since 2012 with the Nexus Dante card
XDIP. With the launch of our RIF67 router
interface last year, Stage Tec also offers IP
audio transport via AES67.”
Next Month @ Creation
Broadcast AoIP
Networking Solutions
PANELLISTS
Dr Ahmad Zaki
Mohd Salleh
Group GM, Engineering
Media Prima
Phan Tien Dung
CTO
Vietnam Digital Television
Mike Whittaker
Executive Vice-President
and CTO, Asia-Pacific and
the Middle East,
Fox Networks Group Asia
April 2018
May
2012
In the world of media
production, camera
operators have been
innovating by adding new
elements in shooting scenes.
And as Josephine Tan
discovers, camera lenses,
used in conjunction with a
camera system, are helping
to turn every second into a
long-lasting moment.
E
very picture tells a story. And behind eve-
ry image capture by the camera, it is only
completed with the lens — a transmissive
optical device that brings the world into
focus. Through the array of glass pieces
within the lens, cinematographers are able
to capture different types of shots — from
portrait to panoramic photography —
empowering them to add more creative
control into digital cinematography.
The era of digital cinematography has
brought forth the feature of large-format
sensor. While a larger sensor generally
provides higher resolution by including
more pixels, it also has the potential to
capture a wider range of colours and
skin tones.
For instance, ARRI has introduced
a complete camera system that is based
on a large-format 4K/Ultra HD (UHD)
version of the Alexa sensor. The camera
package comprises the Alexa LF camera,
ARRI Signature Prime lenses, LPL lens
mount and PL-to-LPL adapter.
Equipped with native 4K/UHD re-
cording capability, the Alexa LF camera,
according to ARRI, enables filmmakers to
explore a large-format aesthetic while re-
taining the sensor’s natural colourimetry,
“pleasing skin tones”, and suitability for
ARRI has introduced 16 large-format Signature Prime lenses, ranging from 12mm-280mm,
which are integrated with the company’s LDS-2 Lens Data System, which offers high data rates
and encoders for fast initialising.
high dynamic range (HDR) and wide
colour gamut (WCG) workflows.
Accompanying the Alexa LF camera
are 16 large-format ARRI Signature
Prime lenses, ranging from 12mm-
280mm, and fitted with the ARRI LPL
mount. Besides the ability to exemplify
optical precision, the Signature Prime
lenses is able to render “organic, emo-
tionally engaging” images while “soften-
ing and texturising” the large format,
said ARRI.
Dan Lausten, ASC, DFF, who is
renowned for his work on The Shape
of Water fantasy drama film, is among
a number of cinematographers who
have shot with the Alexa LF camera and
Signature Prime lenses. He says: “We
were trying to tell a story about wide-
ness and freedom; the Alexa LF worked
really well. The depth of field is so small,
creating its own world.
“The lenses are lightweight and are
not too sharp, but with a certain softness
and very specific. With the 25mm lens,
you feel like you are there in the scene
with the actors.”
Another cinematographer who has
shot with the ARRI system prior to its
release was Wang Yu, who used it to
explore the atmospheric studio and
creative inspirations of the Chinese art-
ist and furniture-maker, Shao Fan. Wang
explains: “The camera and lens captured
every tonal nuance with unmatched
detail, gradation and colour. I love how
the out-of-focus areas are rendered, con-
tributing to a rich and vivid overall look.”
Additionally, the Signature Prime
lenses also feature LDS-2, ARRI’s next-
generation Lens Data System (LDS). LDS
was first introduced in 2000 with the LDS
Ultra Prime and Master Prime lens series,
then used in combination with ARRI’s
film cameras. As a companion for visual-
effects work, LDS was later incorporated
into ARRI’s digital camera systems, in-
cluding the Alexa series of cameras.
LDS is designed to describe digital
lens settings. Lenses with LDS functional-
ity are able to deliver information about
its current settings — such as focus, iris
and zoom — to the camera; the camera
then interprets these values and transmits
the information to its recording module.
Shooting wide open with ARRI
Signature Prime lenses for shallow focus
and “gorgeous bokeh”, French cinema-
tographer, Matias Boucard, worked with
natural light and available sources when
he tried out the new system in Thailand.
Describing the Alexa LF camera and
Signatur