Canon U.S.A. will showcase its latest 4K digital cinema products for professionals in the motion picture, television production, and video content creation industries in Booth #12 at Cine Gear Expo Los Angeles 2015 from Friday, June 5 through Saturday, June 6.
Located at the Studios at Paramount Pictures in Hollywood, Calif., visitors to the Canon booth will have an opportunity to receive hands-on experience with the latest cinema equipment offerings including the new EOS C300 Mark II Digital Cinema Camera, XC10 4K Digital Camcorder, and DP-V2410 4K Reference Display introduced in April. Canon will also have its new CINE-SERVO 50-1000mm T5.0-8.9 ultra-telephoto 4K zoom lens on display. In addition, the new 50.6 megapixel, high-resolution EOS 5DS and 5DS R Digital SLR cameras will be shown.
In the Paramount Theatre during the Expo will be three Canon-hosted educational panel discussions, featuring industry professionals discussing their craft, and how Canon products have helped power their work. The panel discussion schedule is as follows:
Friday, June 5, 5:30 – 6:30 pm — Amazon Studios’ Transparent: Capturing Intimate Scenes in 4K with the EOS C500 Camera featuring Jim Frohna (DP), Corinne Bogdanowicz (Colorist), and Zoe Van Brunt (2nd AC).
Saturday June 6, 12:45 – 1:45 pm – A First Look at the EOS C300 Mark II Camera with Gale Tattersall featuring Gale Tattersall (DP), Tony Gutierrez (1st AC) and Ari Robbins (Steadicam Operator).
Saturday June 6, 4:30 – 5:30 pm – Documentary Panel Discussion featuring Jenna Rosher (DP, “An Open Secret”, “Janis: Little Girl Blue”), Svetlana Cvetko (DP, “Brand: A Second Coming”, “Inequality for All”) and Jerry Henry (DP, “City of Gold”).
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More