CO-FINANCED BY: KUJAWSKO-POMORSKIE REGION, MINISTRY OF CULTURE AND NATIONAL HERITAGE FROM PROMOTION OF CULTURE FUND AND POLISH FILM INSTITUTE
CANON AT EnergaCAMERIMAGE 2019
Monday November 11th, 2019
Join Canon seminar at the 27th edition of the EnergaCAMERIMAGE International Film Festival, and don't hesitate to visit their booth at EnergaCAMERIMAGE Market in CKK Jordanki!
WEDNESDAY, 13 NOV
Seminar Room (CKK Jordanki)
CANON: Join Canon Seminar featuring Canon’s new Sumire Full Frame PL Prime lenses
This seminar will feature technology demonstrations by three cinematographers working on Sumire lenses in three different locations. They will share the experience of working on lenses, motion in post-production and footage review.
Attendees will have an opportunity to get touch & try with Canon’s latest Sumire Full Frame Prime Lenses paired with Canon’s C700FF camera and C500 Mk II, offering an artistically pleasing look, beautiful skin tones, and smooth bokeh.
The seminar will be hosted by Paul Atkinson, European Product Specialist, Professional Video Division. Canon Europe
Hans von Sonntag Filmmaker directed a film, called Love Us, in the unforgiving light of Tenerife.
He shoot tested the capabilities of the Canon Sumire Prime series cine lenses to deliver a classic cinematic look. “These lenses are kind of a modern interpretation of the best vintage lenses out there. They deliver plenty of sharpness but they still have this, well, vintage personality, and that is what many, many of us are after.”
Tania Freimuth tested out the Sumire Primes in a real-world scenario, she was tasked with shooting a cinematic short film in one the most challenging of environments - a dimly-lit restaurant at night. Tania found what she was looking for with the new Sumire Primes. “They have a very soft look, akin to a vintage lens, which in everybody’s minds emulates the film look. But these new lenses are designed to work with digital cameras, so there are certain attributes to them that are beneficial in modern filmmaking.”
Freek Zonderland challenged himself. So he shot many of the scenes in dimly-lit locations with the lenses wide open, and instead of using trained actors he used ‘real’ people.“
I’m not looking for a perfect lens at this point. But the Sumire Primes have an interesting look - a sort of bridge between softness but if something is in focus, it’s in focus. And then everything else is turned into this pool of unsharpness. That’s until the moment you stop them down - then the contrast comes back and everything gets sharper. I feel that they do stay sharp all the way open, but there is a softer quality to it.”