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CAMERAS & LENSES www.postmagazine.com 23 POST MAR/APR 2021 with director Vincent Haycock was made for the European market. "I've been working with Panavision for quite a few years," he explains. "I really like the approach that Panavision has to filmmaking, and I have a great part- nership with Rik (DeLisle, marketing executive at Panavision Hollywood). He's been really supportive. And there are always new things, new lenses or new old lenses to try. When I talk to Guy (McVicker, technical marketing manager) and he does special adjustments to the optics, I learn a lot about a part of my craft that's really a mystery for most of us who are out in the field. Since everything's designed in-house, people have a real knowledge of the lenses, what they can do and how you can move them around. It's a great experience." Zabé takes full advantage of the camera's 8K sensor and also appreciates its native 1600 ISO, which enables him to use less light. "I'm comfortable pushing it at least to 3200," he adds, "and sometimes a little bit more. It's such a flexible camera and very easy to use…You get such a nice, filmic look with it. The color technology's really great. I've been using its Film LUT to preview what we're shooting, and then I do a lot of on-set grading, so we'll just grade off the raw. I love the results, so whenever I can, I'll shoot large format with a DXL." Canon's C70 puts RF mount on EOS camera Canon USA's EOS C70 4K digital cinema camera is the company's first-ever RF-mount Cinema EOS camera. The release is a response to requests by filmmakers to put an RF mount on a Cinema EOS camera so that future lens per- formance could capitalize on the short flange depth. The design of the EOS C70 camera puts a significant emphasis on operational convenience, with a small form-factor and weight of just 2.6lbs. The camera features a slim, motorized ND filter unit that is built into the short flange back of the RF mount. The motorized 10- stop ND filter provides users with the flexibility to control exposure while keeping the desired depth-of-field and capturing images that feature the desired level of bokeh. Thirteen customizable buttons allow users to select from more than 80 functions to be assigned based on individual preferences. The C70 features Canon's Super 35mm DGO sensor, capable of capturing imagery at up to 4K/60p or 2K/120p in Super 16mm crop mode. The C70 cam- era can also record 4K DCI or UHD up to 120fps, and 2K DCI or HD up to 180fps. The C70 is priced at $5,499. Canon's EOS C300 Mark III cinema camera is described by the company as being "a next-generation, Super 35mm workhorse". It features a new Dual Gain Output (DGO) sensor and, like the full-frame EOS C500 Mark II digital cinema camera, employs a modular design and an interchangeable lens mount optional accessory that allows users to easily customize the camera according to the needs of their project. The 4K Super 35mm DGO imaging system generates high dynamic range and maintains low noise levels by reading out each photodiode with two dif- ferent gains. One gain prioritizes saturation in highlight areas while the other suppresses noise in the shadows. The result is an image with up to 16-plus stops of dynamic range, clean rich shadows and vibrant highlights in up to 4K/60p. In 2K recording mode, the EOS C300 Mark III camera features recording speeds up to 180p. Weighing 3.9 lbs., the EOS C300 Mark III is priced at $10,999. And on the lens front, Canon's Cine-Servo 25-250mm T2.95-3.95 cinema lens is available in both EF and PL mount. Designed for use with 4K cameras, the lens features 10x optical zoom, a built-in 1.5x extender and a powerful and removable servo motor drive unit. It weighs 6.7 lbs. and is priced at $29,999. Ma Rainey's Black Bottom Tobias Schliesseler shot Ma Rainey's Black Bottom, which is nominated for five Academy Awards this year, including Actor in a Leading Role (Chadwick Boseman) and Actress in a Leading Role (Viola Davis). The film takes place in Chicago in the late 1920s, where tensions are rising between Ma Rainey (Davis), musician Levee (Boseman) and the management company that's determined to control her legacy as "Mother of the Blues". Schliessler selected Sony's Venice digital cinema camera for several reasons, including its ability to capture skin tones and contrast. He also turned to Tiffen's Bronze Glimmer glass filters, which he had used before on a commercial featur- ing darker skin tones. For the longer takes, Schliessler employed Zeiss Supreme Prime lenses, making use of focus pulls between actors while not interrupting the dialogue. The Zeiss lenses were also used for wide lens close-ups. For the tent sequences, where Ma and the band play before adoring fans, Schliesseler made use of a cablecam and a disguised ramp that allowed the Steadicam to follow Ma. Cooke offering new macro lenses Cooke (www.cookeoptics.com) has developed new macro lenses across four lens series: Anamorphic/i, Anamorphic/i Full Frame Plus, Panchro Classic/i and S7/i Full Frame Plus. As the full-frame format continues to gain popularity, Cooke is equipped to serve filmmakers seeking the benefits of full- frame sensors. The Anamorphic/i Full Frame Plus range now offers eight focal lengths, as well as the option of the SF (Special Flair) coating for exaggerated lens flare. For spherical shooting, the S7/i Prime lens range features 17 focal lengths.