Cinematographer David Pimm used a set of Cooke Optics Panchro/i_Classic lenses for “Save Me Too,” the follow up to Sky Atlantic’s BAFTA-nominated and RTS award- winning first series “Save Me.”
Glasgow in December is a place and a time with a particular look, and The Nest is a production which enthusiastically embraces that aesthetic. Broadcast in the UK beginning in March 2020, it was produced for the BBC by Studio Lambert as five one-hour episodes featuring a couple, played by Martin Compston and Sophie Rundle, trying to start a family via a surrogate, played by Mirren Mack in her first leading role. The final two episodes were photographed by director of photography Tim Palmer, BSC, whose credit history begins in the late 90s and includes a choice selection of British television, including Life on Mars, Silent Witness, Hustle, Being Human, Line of Duty, Critical and Doctor Who, and many more.
Clever system combines popular products to create a new solution.
FujFilm has introduced a 4K-compatible broadcast lens with an extremely high zoom ratio of 125X. The new UA125X8BESM (UA125X8), is one of the newest additions to Fujinon’s UA Series of 4K lenses. It features improved optical image stabilization technology.
It’s one thing to be confronted by a big pile of technology and to be confused by it. It’s another to know something about that technology and conclude that things could be a lot simpler than they are. That’s the reaction a lot of people have to color and brightness handling in modern cameras which offer more than enough options to make things confusing. Clearly, we need standardization, but with each camera manufacturer keen to promote the benefits of its proprietary approach, it seems pretty unlikely that we’ll one day find that every camera is outputting signals and files that can be treated identically.
Fujinon has updated its UA107x8.4 4K broadcast lens with Advanced Focus (AF) capability, making it among the first 4K box lenses to feature AF features.