Issue link: http://digital.copcomm.com/i/837213
www.postmagazine.com 2 POST JUNE 2017 ine Gear Expo took place at The Studio at Paramount earlier this month, giving Hollywood's production community a chance to check out the latest new products and services, as well as listen to expert panels and take in master classes. A number of announcements were made at the show, and here, I'd like to call attention to highlights in the camera segment. Sony Electronics announced plans for its next-generation CineAlta digital motion picture camera. The next-gen CineAlta will feature a full frame 36x24mm sensor, and will be aspect ratio agnostic, allowing for production in full frame, Super35 4K 4-perf 4:3 anamorphic and 4K spherical 3-perf 17:9. The camera will maintain the workflow established with Sony's 16-bit raw/X-OCN and XAVC, and will be compatible with current and upcoming CineAlta accessories. Panavision revealed new tools for its large-format Millennium DXL 8K camera. The DXL incorporates advanced 8K sensor technology from Red and unique color science and work- flow optimization from Light Iron. At Cine Gear, Panavision debuted a set of fast, wirelessly controlled Primo Artiste lenses that cover the full 8K HDR image. They also showed the Primo Viewfinder, an HDR OLED viewfinder featuring 600-nit brightness and a theoretical contrast ratio of 1,000,000:1. In addition, Panavision showcased a prototype of its PX-Pro color spec- trum filter, and a free iPhone app called DXL Control that mirrors the camera menu system. Canon introduced the EOS C200 and C200B, two new entry-level digital cinema camer- as that are well-suited for cinema, documentary, wildlife, wedding and event production. The C200s both sport an 8.85MP CMOS sensor and can record in two 4K video formats. They will be available in August and are compatible with Canon's Compact-Servo 70-200mm zoom lens. Red showed off its range of DSMC2 cameras, including the Scarlet-W, Epic-W, Weapon 8K S35 and Weapon 8K VV, as well as workflow options covering their new image processing pipeline (IPP2), HDR and 8K. At their booth, Red demonstrated a realtime 8K workflow that showcased 8K Helium R3D playback. And Panasonic previewed the AU-EVA1, a new 5.7K cinema camera positioned between the company's Lumix GH5 4K and the VariCam LT 4K camera. The compact, lightweight AU-EVA1 is intended for handheld shooting, as well as for producing documentaries, commercials and music videos. It will ship this fall for under $8,000. Check out "Special Report" (page 30) and "Bits & Pieces" (page 4) for more cameras. t's been a long wait, but after 75 years, DC Entertainment and Warner Bros. studios finally bring Diana, princess of the Amazons, to the big screen in Wonder Woman. According to director Patty Jenkins, "The time is absolutely right to bring Wonder Woman to movie audiences. Fans have been waiting a long time for this, but I believe people outside the fandom are ready for a Wonder Woman movie, too." The film's production spanned various locations in Italy, the UK and France, and was shot on film, rather than digital. To bring the superhero to the big screen, Jenkins surrounded herself with a stellar core team, including DP Matthew Jensen, who says, "It was never a question for us what format we were going to shoot on. Patty is a huge fan of film. I'm a huge fan of film. It just has a weight and a gravity that is different than digital. One is not necessarily better than the other, it's just that there's a different feeling with film; it's just a different experience." With the film's setting taking place during World War I, it was important to get the environ- ments and sets right. "I found myself very worried about the period," says Jenkins. "Putting Wonder Woman into the time frame was tough," adds Jensen. "A World War I movie has a very specific visual language, from the costumes to the production design to the lighting, but audiences have more modern expectations for the look of a superhero film. That was our challenge, to be of that time and yet also beyond it. The thing that Patty kept driving home is that this is not a period film; it's a modern film that just happens to be set in 1918." Joining Jenkins was VFX supervisor Bill Westenhofer, who I had a chance to speak with last month. In our cover feature (page 14), Westenhofer discusses the various VFX scenes throughout the film, focusing on the important environmental work. Read our feature to find out more about the key role VFX played in creating the Wonder Woman world. THE ONLINE BY MARC LOFTUS SENIOR EDITOR/ DIRECTOR OF WEB CONTENT MLOFTUS@ POSTMAGAZINE.COM BY LINDA ROMANELLO EDITOR-IN-CHIEF LROMANELLO@ POSTMAGAZINE.COM SEE US ON EDITORIAL LINDA ROMANELLO Editor-in-Chief 631-257-5038 lromanello@postmagazine.com MARC LOFTUS Senior Editor/Director of Web Content 516.376.1087 mloftus@postmagazine.com CHRISTINE BUNISH Film & Video IAIN BLAIR Film JENNIFER WALDEN Audio ANGELA AKERS Art Director angela@moontidemedia.com KELSEY ELLIOTT Designer ADVERTISING MARI KOHN Director of Sales 818.291.1153 cell 818.472.1491 mkohn@postmagazine.com LISA NEELY Corporate Sales Executive, Events, Custom and Integrated Print/Publishing Services lneely@copcomm.com 818.660.5828 SUBSCRIPTIONS 818.291.1158 CUSTOMER SERVICE 620 West Elk Ave, Glendale, CA 91204 csr@postmagazine.com 800.280.6446 DALE ESCEN Account Manager 818.291.1122 descen@copprints.com REPRINTS 781.255.0625 • 818.291.1153 LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 800.280.6446 WILLIAM R. RITTWAGE President / CEO Post Magazine is published by Post, LLC, a COP communications company. Post does not verify any claims or other information appearing in any of the advertisements contained in the publication, and cannot take any responsi- bility for any losses or other damages incurred by readers in reliance on such content. Post cannot be held responsible for the safekeeping or return of unsolicited articles, manuscripts, photographs, illustrations or other materials. Subscriptions: Address all subscription correspondence to Post Magazine, 620 West Elk Ave, Glendale, CA 91204. Subscribers December also contact customer service at 818.291.1158, or send an email to csr@postmagazine.com For change of address please include the old and new address information, and if possible, include an address label from a recent issue. Subscriptions are available free to qualified individuals within the United States. Non-qualified 1 year rates: USA $63.00. Canada & Mexico $94.00. All Other Countries $133.00. Airmail Delivery is available for an additional $75.00 annually. Postmaster: Send address changes to Post Magazine, 620 W. Elk Ave., Glendale, CA 91204. Please send customer service inquiries to 620 W. Elk Ave., Glendale, CA 91204 CAMERAS COMPETE AT CINE GEAR 2017 I C IT'S A WONDER EDITOR'S NOTE