• Thursday, Oct. 15, 2020
Sony Imaging Products & Solutions acquires Nevion
TOKYO -- 

Sony Imaging Products & Solutions Inc. is acquiring Nevion AS, a provider of virtualized media production solutions, providing end-to-end IP and cloud-based production solutions for broadcasting and other applications. Sony, which has been a minority shareholder in Nevion since July 2019, is purchasing the remaining shares in the company, and making it a subsidiary. 

In recent years, there’s been an increasing demand in broadcasting and other areas for remote production solutions and remote integration, as they allow resources such as equipment, facilities and even staff to be shared across locations in real-time, resulting in greater efficiency and effectiveness. COVID-19 has accelerated this trend, and the need of combining on-premise facility and cloud processing, enabling remote work and resource sharing, has become the basis of business continuity planning for the broadcast and production community. Since June 2019, Sony has had a strategic partnership with Nevion, collaborating to address those markets. This investment will enable Sony to build a much closer relationship with Nevion and lead to the delivery of more integrated solutions.

  • Thursday, Oct. 15, 2020
"I Know This Much is True" limited series from HBO "Cookes" up a period look
A scene from "I Know This Much is True" (photo by Atsushi Nishijima/courtesy of HBO)
LEICESTER, UK -- 

Set from 1913 to the early 1990s, HBO’s six-episode limited series I Know This Much is True required director Derek Cianfrance and cinematographer Jody Lee Lipes to make a choice: What would the show look like? They agreed that a cohesive, period look for the project would be the way to go as opposed to a contemporary feel--and decided that the marriage of Cooke Optics S4/i T2 prime lenses and Kodak Vision3 500T 5219 35mm film would be an ideal combination.

Mark Ruffalo, whose work on the show won him the Primetime Emmy® for Outstanding Lead Actor in a Limited Series or Movie, plays the roles of twins: middle-aged Dominick Birdsey who recounts his troubled relationship with Thomas, his paranoid schizophrenic twin brother.

“Deciding on a period look led us to 2-perf film framed for a 2:1 aspect ratio, using a small piece of the negative to give us film texture with present grain,” said Lipes. “I purposely underexposed the 1.7 million feet of film to accentuate the grain and muddiness.” That just happens to be the perfect environment for Kodak’s 5219, as it delivers high image-quality in low-light scenes, with higher signal-to-noise ratios. Teamed with the Cooke S4/i primes and Kodak 5219 were a number of ARRI Arricam LT cameras, optimized for smaller, lightweight usage in handheld mode. The kit was rented from ARRI Rental.

“The Cooke S4/i lenses give me the perfect place to land,” explained Lipes. “They don’t draw attention to themselves. They’re not distractingly soft and not super sharp, but add so much aesthetic into the filmmaking technique. I didn’t need, or want to use a lens series that added an unrealistic quality to the images – and with Derek having used the S4/i lenses in the past, he knew exactly what we would get.  Having a director already know that is a really big plus.”

Using four full sets of Cooke S4/i prime lenses (each set consisting of 15 primes: 16mm, 18mm, 21mm, 25mm, 27mm, 32mm, 25mm, 40mm, 50mm, 65mm, 75mm, 100mm, 135mm, 150mm, and 180mm) is not what one would typically expect to be used on a limited series, but circumstances warranted it. “We started with two full sets of the Cooke S4/i prime lenses and four Arricam LT bodies--two 2-perf and two 3-perf (for some visual effects work)--that were all lost in a fire. It was a $4 million loss, on camera equipment alone” said Lipes. “ARRI Rental was great; we got everything replaced and we were back up and running. The transition from the first two sets of Cooke S4/i prime lenses to the second set was totally seamless. They matched perfectly.”

While zoom lenses played an important role, Lipes’ prime lenses of choice were the Cooke S4/i 35mm, 40mm and 50mm on the wider side, with the 65mm, 75mm, 100mm and 135mm lenses for long shots.

  • Tuesday, Oct. 13, 2020
RED's KOMODO 6K camera system enters the market
RED DIGITAL CINEMA's KOMODO 6K
IRVINE, Calif. -- 

RED DIGITAL CINEMA®’s new KOMODO™ 6K camera system is now available to order. The KOMODO 6K comes to market after extensive engineering to incorporate production-tested innovations, including a breakthrough global shutter sensor (27.03mm x 14.26mm) that maintains RED’s standard of image quality and dynamic range. The camera is packaged in a small 4-cubic-inch (101.6 mm) form factor and weighs only 2.1 pounds (0.95 kgs). Joining RED’s product lineup in its own category, KOMODO includes features designed for professional filmmakers and content creators who want high-end visuals in an easy-to-use, compact, and versatile camera.

Jarred Land, president of RED Digital Cinema, said, “This tiny chameleon of a camera packs in amazing resolution, dynamic range and image quality with a global shutter that has allowed filmmakers to capture footage in ways never thought possible.”

KOMODO captures 6K at 40 fps, 6K WS at 50 fps, and 4K at 60 fps. Highlights of the camera include an RF mount for users to leverage adaptors for EF, PL and other lens systems, including anamorphic lenses, for maximum creative flexibility; a phase-detect based autofocus control on the integrated, color LED touchscreen display that simplifies monitoring and menu navigation; and new streamlined REDCODE® RAW settings (HQ, MQ, and LQ compression options) enhancing the user experience for various shooting needs. Additional features include compatibility with CFAST 2.0 recording media, 4K SDI output, built-in wireless capabilities, and connectivity via the all new RED Control app, which is available now for iOS devices and coming soon on Android.

KOMODO comes to market after extensive testing by many leading creatives, among them, renowned filmmaker Michael Bay, avid storyteller and artist Jason Momoa, and Emmy®-nominated cinematographer Erik Messerschmidt, ASC.

“The sensor is beautiful,” said Bay. “I always wanted something this small, this sophisticated in terms of a high-quality image. It’s very lightweight; very handheld.”

Messerschmidt noted, “There is no other camera on the market with a global shutter that is this size and this versatile. And yet there are no quality compromises.”

Momoa put the KOMODO camera to the test in the frozen tundra of New Jersey while shooting footage for Harley-Davidson. On the size and quality of the camera, he remarked, “It’s like cinema in the palm of your hands.”

Additionally, a dedicated community of partners worked with RED to bring KOMODO and KOMODO accessories to market, including Angelbird, CoreSWX, Fool Control, Gates Housing, KipperTie, SmallHD, and Wooden Camera. Adobe, DaVinci Resolve, Final Cut, Assimilate, Autodesk, Avid, and Colorfront all offer postproduction support for KOMODO via RED’s latest SDK.

Priced at $5,995, the KOMODO is ideal for a wide range of filming situations. Studio productions can use KOMODO as a B, C, or D camera. Its small size also makes it a natural fit for gimbals, drones, cranes, remote heads, and more. For content creators at all levels, KOMODO’s user-friendly system combined with RED’s unrelenting commitment to image quality provides the ability to ramp up production value, or easily venture into the RED ecosystem for the first time.

The KOMODO 6K includes:

  • KOMODO 6K camera brain
  • AC power adaptor 45W
  • 1x RF to EF mechanical lens adapter
  • Mini world travel adaptor kit

RED is also launching two pre-bundled pack options:

  • KOMODO Starter Pack ($7,200) This pre-bundled setup is for content creators and run and gun operators. Including KOMODO 6K with the Wing Grip and RF to EF adapter with ND filter. Also included is media and media reader, as well as a PTap-to-power cable and timecode cable.
  • KOMODO Production Pack ($8,200) This includes everything from the Starter Pack plus additional production-level accessories including the Expander Module and Outrigger Handle.

Several accessories are also available from RED to customize the KOMODO, including the Outrigger Handle, an Expander Module, a Wing Grip, Link Adaptor, RED® CFast 2.0 Card Reader, and RED® PRO CFast 512GB.

  • Thursday, Oct. 8, 2020
Engineering Emmy Recipients Include 4 Companies For Addressing Issues Related To COVID-19
Kirsten Vangsness will return to host the Engineering Emmy Awards for the fifth straight year.
NOHO ARTS DISTRICT, Calif. -- 

The Television Academy has announced the recipients of the 72nd Engineering Emmy® Awards honoring an individual, company or organization for developments in broadcast technology. Kirsten Vangsness, who most recently starred on the critically acclaimed CBS drama Criminal Minds, returns to host the awards for the fifth consecutive year. For the first time, the ceremony will stream live on Emmys.com on Thursday, Oct. 29, at 5 p.m. PDT.

Engineering Emmys are presented to an individual, company or organization for developments in engineering that are either so extensive an improvement on existing methods or so innovative in nature that they materially affect the production, recording, transmission or reception of television. This year the Academy is recognizing nine companies and five individuals with the prestigious award.

As the television industry has struggled to meet the challenges of a global pandemic, the Academy’s Engineering Emmy Awards Committee has selected four companies for recognition in addressing issues related to COVID-19. These organizations have developed and deployed engineering technology that has allowed remote production to continue during this unconventional year.

Recipients of this recognition are:

Evercast
Evercast is a real-time collaboration platform that combines video conferencing, HD livestreaming and full-spectrum audio in a single web-based platform. Requiring no file sharing and no specialized hardware, Evercast allows users to securely stream any creative workflow (live cameras on set, Avid, Premiere, Maya, Pro Tools, etc.) to anyone, no matter where they are located. With ultra-low latency and uncompromising quality, Evercast offers a digital experience that mirrors the ease and productivity of a team sitting shoulder to shoulder.

HP Inc.
Advancing the art of television during the global pandemic with access to high-performance computing from anywhere, ZCentral Remote Boost continues to accelerate remote creative processes for production teams around the world. Z by HP technology is powering remote work for editors, artists and other creative professionals with the capabilities required for collaboration, creativity and production. ZCentral Remote Boost provides users access to high-performance computing for a range of applications and use cases including VFX, simulation and 3D, providing flexibility for end users to create on almost any end-point device remotely. 
 
Sohonet
ClearView Flex enables a user-friendly, real-time remote collaboration capability that creatives can initiate and manage for a wide range of uses in preproduction, production, VFX and postproduction. Of special value to those working from home, it can be deployed on any network and viewed with reliably consistent user success in a rock-solid, studio-approved secure ecosystem on the most popular consumer devices including AppleTV, iPads/iPhones, Android tablets/phones and Mac/PC.

Teradici
Teradici has specialized in providing remote access to workstations for over 15 years and has been widely recognized for delivering an uncompromising user experience for graphics-intensive workloads. Teradici Cloud Access Software enables artists and producers to work from home or anywhere they need to be by establishing a secure remote access connection to Windows or Linux desktops hosted in the studio, a private data center or a public cloud. Users can access their remote workstations through the Teradici PCoIP protocol from a wide choice of client devices and can use their display, keyboard, mouse and peripherals like Wacom devices as if they were on a local machine, with the resolution and color fidelity they need to maintain the highest-quality standards.
 

Another magnificent seven
Seven additional Engineering Emmy awards were given to the following recipients for exceptional engineering developments:

Apple Inc.
Introduced in 2007, Apple ProRes has become a ubiquitous video codec in the film and television industry. It offers excellent preservation of source video quality and, thanks to innovative algorithm design, fast encoding and ultra-fast decoding. These two properties—combined with Apple’s industry licensing and certification support—make ProRes among the most widely used codecs for end-to-end content-creation workflows: from high-quality acquisition to high-performance editing, color correction, broadcast ingest and playout, and FX creation to master content distribution and archiving.

CODEX 
CODEX RAW Workflow provides the fastest high-speed data-migration process for RAW camera content available on the market. It provides a completely proven and deployed end-to-end secure-transport workflow from production to post, while reducing storage costs and saving time with high-density encoding.

Dan Dugan for Gain Sharing Automatic Microphone Mixing
Gain sharing is a unique audio process that helps an audio mixer mix multiple live talkers with ease. There are no upcuts, no missed words and no fluctuations of background noise. The technology allows mixers to easily manage multiple live mics without constantly riding individual input faders—ideal for unscripted events such as talk shows, game shows, news and sports panels, town hall meetings, and debates. Gain sharing automates the robotic part of mixing multiple live talkers, recognizing who’s talking and crossfading them faster than a human can react.

Epic Games
Unreal Engine is one of the most advanced real-time 3D engines that features photorealistic rendering, dynamic effects and multi-user capabilities. Broadcasters choose Unreal Engine to deliver cutting-edge content, virtual sets and AR-enriched programming with much higher fidelity than traditional broadcast graphics engines. Unreal Engine frees creativity and eliminates the overlapping hurdles of time, budget and bandwidth, giving television professionals the flexibility and efficiency to integrate high-end graphics, VFX, motion capture and CG animation into their visual storytelling.

RE:Vision Effects
RE:Vision Effects introduced the industry to optical flow-based postproduction video tools via the products Twixtor®, ReelSmart Motion Blur®, RE:Flex® and others. In addition, RE:Vision Effects supplies these technologies as plug-ins to a wide range of host applications and interfaces that are already familiar to the user.

Sound Radix
Sound Radix Auto-Align Post makes phase/time corrections of a moving multi-microphone recording. By dynamically correcting delay and phase between the boom and lavalier microphones as they move around the set, this tool automates what was previously a labor-intensive task for sound editors across the industry.

Bill Spitzak, Jonathan Egstad, Peter Crossley and Jerry Huxtable for Nuke®
Nuke® is an award-winning node-based compositing toolkit. A one-stop for VFX houses globally, Nuke’s toolset has been used on a wide range of television, feature films, video on demand and commercials to solve complex visualization challenges and turn incredible ideas into reality. Nuke’s flexible, efficient and feature-packed toolset delivers film-grade results fast to compositors, lighters and animators who require a robust, production-proven toolset for compositing, VFX editorial and review.

The 72nd Engineering Emmy Awards are overseen by chair John Leverence and committee members Wendy Aylsworth, Stuart Bass, Bob Bronow, Jeff Calderon, Tony Carey, Jim DeFilippis, Greg Gewickey, Frank Morrone, Jeffrey Riedmiller, Leon Silverman, Derek Spears, David Stump, Craig Weiss and Barry Zegel.

  • Thursday, Oct. 8, 2020
IBM to spin off $19B business to focus on cloud computing
In this March 18, 2019, file photo, the logo for IBM appears above a trading post on the floor of the New York Stock Exchange. IBM says it is breaking off a $19 billion chunk of its business to focus on cloud computing. The 109-year-old tech company said Thursday, Oct. 8, 2020, it is spinning off its managed infrastructure services unit into a new public company, temporarily named NewCo. (AP Photo/Richard Drew, File)
ARMONK, NY (AP) -- 

IBM says it is breaking off a $19 billion chunk of its business to focus on cloud computing.

The 109-year-old tech company said Thursday it is spinning off its managed infrastructure services unit into a new public company, temporarily named NewCo. The separation is expected to take effect by late 2021.

IBM CEO Arvind Krishna said the split will help IBM focus on its cloud platform and artificial intelligence, while the newly formed company will provide services to manage the infrastructure of businesses and other organizations. 

IBM's annual revenue was $77.1 billion last year. Krishna said in April at his first quarterly earnings call as CEO that the company will continue to eliminate software and services that don't align with IBM's top two focus areas for growth: cloud computing and artificial intelligence.

Once a household name for its personal computers, IBM shed its PC business in 2005 and has since become focused on supplying software services to big businesses, governments and other organizations. It has worked to strengthen its cloud computing business but has struggled to compete with top cloud rivals Amazon, Microsoft and Google.
 

 

  • Wednesday, Oct. 7, 2020
Google, Oracle meet in copyright clash at Supreme Court
In this Oct. 5, 2020, photo the Supreme Court in Washington. Tech giants Google and Oracle are clashing at the Supreme Court in a copyright dispute worth billions and important to the future of software development. (AP Photo/J. Scott Applewhite)
WASHINGTON (AP) -- 

Tech giants Google and Oracle are clashing at the Supreme Court in a copyright dispute that's worth billions and important to the future of software development.

The case before the justices Wednesday has to do with Google's creation of the Android operating system now used on the vast majority of smartphones worldwide. Google says that to create Android, which was released in 2007, it wrote millions of lines of new computer code. But it also used 11,330 lines of code and an organization that's part of Oracle's Java platform. 

Google has defended its actions, saying what it did is long-settled, common practice in the industry, a practice that has been good for technical progress. But Oracle says Google "committed an egregious act of plagiarism" and sued, seeking more than $8 billion.

The case has been going on for a decade. Google won the first round when a trial court rejected Oracle's copyright claim, but that ruling was overturned on appeal. A jury then sided with Google, calling its copying "fair use," but an appeals court disagreed.

Because of the death of Justice Ruth Bader Ginsburg, only eight justices are hearing the case, and they're doing so by phone because of the coronavirus pandemic. The questions for the court are whether the 1976 Copyright Act protects what Google copied, and, even if it does, whether what Google did is still permitted. 

Oracle, for its part, says the case is simple. 

"This case is about theft," Oracle's chief Washington lobbyist, Ken Glueck, said in a telephone interview ahead of argument. He compared what Google did to plagiarizing from someone else's speech. When you plagiarize one line from a speech, he said: "That's a plagiarized speech. Nobody says, 'Oh, well, it was just one line.'"

But Google's Kent Walker, the company's chief legal officer, said in an interview that Google wrote "every line of code we possibly could ourselves."

"No one's ever claimed copyright over software interfaces, but that's what Oracle is claiming now," Walker said.

Microsoft, IBM and major internet and tech industry lobbying groups have weighed in — in favor of Google.

The Trump administration, the Motion Picture Association and the Recording Industry Association of America are among those supporting Oracle.

The case is Google LLC v. Oracle America Inc., 18-956.

  • Monday, Oct. 5, 2020
Nvidia says it will build UK's most powerful supercomputer
In this Tuesday, May 30, 2017 file photo, Nvidia CEO Jensen Huang delivers a speech about AI and gaming during the Computex Taipei exhibition at the world trade center in Taipei, Taiwan. Graphics chip maker Nvidia said Monday, Oct. 5, 2020 it plans to build Britain's fastest supercomputer that healthcare researchers can use to work on medical problems including COVID-19. Santa Clara, California-based Nvidia said it will spend 40 million pounds ($52 million) on the supercomputer, dubbed Cambridge-1, which will consist of 80 Nvidia systems and is expected to be online by the end of the year. (AP Photo/Chiang Ying-ying, File)
LONDON (AP) -- 

Graphics chip maker Nvidia said Monday it plans to build Britain's fastest supercomputer that healthcare researchers can use to work on medical problems including COVID-19.

Nvidia, based in Santa Clara, California, said it will spend 40 million pounds ($52 million) on the supercomputer, dubbed Cambridge-1, which will consist of 80 Nvidia systems and is expected to be online by the end of the year.

Nvidia CEO Jensen Huang said Cambridge-1 will be available to healthcare researchers using artificial intelligence to working on urgent medical challenges. 

"Tackling the world's most pressing challenges in healthcare requires massively powerful computing resources to harness the capabilities of AI," Huang said. 

Cambridge-1 would be ranked the world's 29th most powerful supercomputer and the most powerful in the U.K., the company said.

Pharmaceutical companies GlaxoSmithKline and AstraZeneca are among the groups that have already signed up to use the supercomputer. 

The announcement comes after the company said last month  it agreed to buy U.K.-based chip designer Arm Holdings for up to $40 billion, and would set up an artificial intelligence research center in Cambridge, England, where Arm is headquartered. 

  • Monday, Oct. 5, 2020
Microsoft plans $1 billion data center venture in Greece
Microsoft President Brad Smith, left, speaks with Greek Prime Minister Kyriakos Mitsotakis during a ceremony held in the Acropolis Museum; in the background is the ancient Parthenon temple, central Athens, on Monday, Oct. 5, 2020. Microsoft has announced plans to build three data centers in greater Athens, providing a badly needed investment of up to $1 billion to the Greek economy which has been hammered by the pandemic. (AP Photo/Petros Giannakouris)
ATHENS, Greece (AP) -- 

Microsoft has announced plans to build three data center sites in greater Athens, providing a badly needed investment of up to $1 billion to the Greek economy which has been hammered by the pandemic.

The news was announced Monday by the U.S. tech giant and Greek Prime Minister Mitsotakis and follows nine months of confidential negotiations for an agreement that also includes digital-skills training programs for some 100,000 government and private sector workers as well as educators and students.

"This significant investment is a reflection of our confidence in the Greek economy, in the Greek people and the Greek government," Microsoft President Brad Smith said at a ceremony held in the Acropolis Museum, facing the ancient site in central Athens. "It's not something we do often and it's not something that we do lightly."

Greece recently emerged from a years-long financial crisis but its economy has been hard hit by the pandemic, suffering a 15.2% drop in output on the year in the second quarter. Unemployment in June climbed to 18.3% from 16.4% at the start of the year. 

According to budget figures submitted to parliament Monday, Greece's economy is expected to contract 8.2% this year due to the effects of the coronavirus pandemic, and grow by up to 7.5% next year.

The COVID-19 pandemic has exposed the country's heavy reliance on tourism. The Mitsotakis government says it wants to shift the balance of the Greek economy during its recovery, developing the energy, tech, and defense sectors, hoping to lure back tens of thousands of graduates who left during the crisis. 

"We are starting to create the conditions for their return," Mitsotakis said. "The creation of a data center upgrades a country as an investment destination ... Greece has the sun and now it's getting a cloud."

Microsoft currently has data centers in 26 countries, including seven in the European Union. The company based in Redmond, Washington, is already working with the Greek government on an augmented reality project on Ancient Olympia, birthplace of the Olympic games.

Microsoft officials said the timetable for the development of the data center in Greece was still being worked out, but added added that the process in other countries typically took about two years. Greece, the officials said, would comply with Microsoft's pledge to run all its data centers worldwide on renewable energy sources by 2025. 

  • Tuesday, Sep. 29, 2020
Amazon sees its palm recognition tech in stadiums, offices
In this March 4, 2020 file photo, people walk out of an Amazon Go store, in Seattle. Amazon is rolling out a new device for contactless transactions that will scan an individual’s palm. The Amazon One, which will initially launch in two Amazon Go stores in Seattle, is being viewed as a way for people to use their palm to make everyday activities like paying at a store easier. (AP Photo/Ted S. Warren, File)
SEATTLE (AP) -- 

Amazon has introduced new palm recognition technology in a pair of Seattle stores and sees a broader potential audience in stadiums, offices and elsewhere. 

Customers at the stores near Amazon's campus in Washington can flash a palm for entry and to buy goods. 

The company chose palm recognition, according to Dilip Kumar, vice president of Physical Retail & Technology, because it's more private than other biometric technology, and a person would be required to purposefully flash a palm at the Amazon One device to engage. 

"And it's contactless, which we think customers will appreciate, especially in current times," Kumar wrote in a blog post Tuesday. 

The company expects to roll out Amazon One as an option in other Amazon stores in the coming months, which could mean Whole Foods Market grocery stores. But Amazon believes the technology is applicable elsewhere.

"In most retail environments, Amazon One could become an alternate payment or loyalty card option with a device at the checkout counter next to a traditional point of sale system," Kumar wrote. "Or, for entering a location like a stadium or badging into work, Amazon One could be part of an existing entry point to make accessing the location quicker and easier."

People can sign up for an Amazon One account with a mobile phone number and credit card. An Amazon account isn't necessary. 

  • Wednesday, Sep. 23, 2020
ARRI to introduce Signature Zoom lenses
ARRI's new Signature Zoom lenses
MUNICH -- 

Responding to market requests for high-quality zoom lenses to match and accompany the Signature Primes, ARRI has announced four new Signature Zooms designed for universal usage with any large-format or Super 35 camera. They offer a fast stop of T2.8 across all four lenses, what’s billed as unrivalled focal length range, absolute image consistency, HDR compatibility, and 8K resolving power.

The four Signature Zooms, with an extender for the longest of them, cover a focal length range of 16 mm to 510 mm, which is the largest in the industry. Features include a fast stop of T2.8 shared by all four lenses, as well as stable exposure and quality through all focal lengths and iris settings. 

The Signature Zooms carefully balance the requirements of a very high optical performance, pleasing look, and lightweight mechanical design. Like the Signature Primes, they render a beautifully warm image, with smooth, flattering skin tones, natural colors, and elegant out-of-focus highlights. The Signature look is unique because it is characterful, and yet is not based on visible aberrations or imperfections. Audiences are enveloped in the images and connected to the storytelling without interference.

There will always be instances where prime lenses are the first choice on set, but as a logical extension of the Signature family, the Signature Zooms increase the number of situations where the timesaving and practical benefits of zooms can be taken advantage of without appreciable compromises. They also share the detachable magnetic rear filter holder of the Signature Primes, allowing filmmakers to change and personalize the look of the entire Signature lens system.

In addition to the inherently faster on-set workflows that zoom lenses bring, specific features of the Signature Zooms speed things up still further. Flares are shaped and honed through the best available lens coatings, reducing delays; setups are made easier and quicker by the lightweight magnesium design; and the in-built ARRI LDS-2 Lens Data System simplifies complex tasks on set and in post. Truly exceptional close-focus distances increase creative flexibility, but also save time by reducing lens changes and save money by allowing crews to carry fewer lenses.

Fundamental to the design of the Signature Zooms is their suitability for shooting not just in large format (also known as full frame or VistaVision), but also in Super 35. While the high image quality and beautiful background separation enhance the almost three-dimensional feel of large-format cinematography, the 8K resolving power and stunning bokeh also ensure pristine, immersive images in the smaller Super 35 format. Equipped with an LPL lens mount, which is an open, universal standard for cross-format shooting, the Signature Zooms can be used with any large-format or Super 35 camera, from any manufacturer.

Recognizing that high-end zoom lenses are a significant investment, ARRI has drawn on all of its experience and expertise to future-proof the Signature Zooms. Aside from the fact that they can be used for all formats up to full frame, other attributes safeguard them for a future in which a lot of current zooms won’t make the grade. The fact that the look is not based on aberrations of any sort means easier HDR and UHD workflows, which tend to exaggerate the aberrations of other lenses and create problems in post. The 8K resolution and deep shadow detail also lend themselves to future display requirements, while ARRI’s build quality and support structure assure a long product life.

ARRI Signature Zooms will be especially useful to productions that want a high-end look but rely on the versatility and time-efficiency of zooms, such as TV series, commercials, music videos, and remote applications. Feature films now also have a high-quality zoom series to accompany and complement the Signature Primes, and productions that carry both will find that they are covered for every possible shooting situation.

The 45-135 mm T2.8 and 65-300 mm T2.8 Signature Zooms will be released during Q1 2021, along with a dedicated 1.7x extender for the 65-300 mm that makes it a 110-510 mm T4.9. The 16-32 mm T2.8 and 24-75 mm T2.8 will be released later in the same year.

MySHOOT Company Profiles