InCinematographer - Issue 1 - June 2017 - 18

18

www.incinematographer.com | Issue 1 | June 2017

Fujinon MK18-55mm
Zoom Winner

FUJINON MK18-55mm zoom's ability to retain
focus through its range, lack of breathing,
image quality, and weight put lens at top
of Lance Murphey's go-to gear...

L

ast month, award-winning photojournalist and
cinematographer Lance Murphey, stopped in
front of Fujifilm's NAB booth, first impeded by the
large crowd listening to noted DoP Philip Bloom, then
intrigued by the lightweight form factor of the Fujinon
MK18-55mm zoom Bloom was holding, and finally
rooted to his spot when he saw the imagery the lens
produced.
Two days later, after entering a draw during
Bloom's presentation, the three-time Emmyaward winning DP and two-time Scripps Howard
photographer of the year, was the proud winner of
an MK18-55mm T2.9 lens.
"No one was more surprised than me when I got
back to Boulder and received a text that I'd won the
single most exciting new product at NAB this year,"
said Murphey.
Primarily a one-man-band and stills shooter
who works with corporate clients, major media
outlets and magazines, Murphey attributes his

career as a newspaper
photojournalist
as
shaping his shooting
style: "I'm driven to
Lance Murphey
create projects that
open people's minds and that encourage positive
actions to transform our world. The gift of this
incredible lens felt like a sign that I should redouble
my efforts telling the untold stories of struggle,
economic inequality and environmental impact in
this world. I'm incredibly grateful to FUJIFILM for this
gift."
Murphey just finished a video on an aspiring female
horse jockey for TIME magazine and wrapped several
shoots about diabetes for UNIVISION. He's currently
in development on projects about refugees, girl
power and environmental issues.
"I'm beyond excited to have a wide to mediumrange, parfocal Cine lens like the MK18-55," he
added. "This will replace a set of heavy DSLR

primes that I carry everywhere and constantly
switch between, for different focal lengths, even
on documentary shoots. It will also replace the
convenient, but heavy breathing, kit lens. My initial
tests with the lens have blown me away in terms
of image quality, usability and weight. I've already
determined I need to start saving for the MK 50135mm to replace my other set of primes."
Murphey recently switched to a Sony PXW-FS5
Super 35 4K Camera. For his aerial cinematography
work covering large music festivals and events, he
uses DJI Inspire1 and Phantom4 Pro drones.
Second in the MK Series, the FUJINON MK50135mm T2.9 will be available this summer.
www.fujifilmusa.com/northamerica

KFX Technology Celebrates
Partnership with camadeus

KFX Technology and camadeus Film Technologies are forging an east coast west coast partnership...

A

t Cine Gear Expo 2017, New York based KFX
Technology will celebrate its new partnership
with Los Angeles based camadeus Film Technologies,
also launching a new US East Coast showroom and
sales office in New York City.
KFX CEO Steve Scammell said: "I've established a
base in NYC and we've been successful in selling our
high-quality engineered products like the Aurora
remote head into the film industry here in the USA
and in other parts of the world.
"The Aurora head is precision engineered, easy and
intuitive to use, with more than enough power for
the most demanding applications, and already has
an established success and reputation in the movie
industry worldwide.
The KFX Ronford-Baker
Motorized Camera
Slider

"With this new partnership
camadeus will help with KFX sales
as well as introducing its new
expanded catalogue to the East
Coast. Their product range now
includes cmotion lens control
systems, Panther dollies & cranes,
Ronford-Baker camera support
equipment,
Gecko-Cam
lens
testing tools, and Transvideo
HD monitors, as well as KFX
Technology."
Sebastian Lumme, camadeus
Film Technologies Managing
Director said: "The expansion to
the East Coast and the opening
of a sales, training and service
hub in New York is a key step in our goal to improve
brand awareness and training across our entire
product portfolio. We've already been working
successfully with KFX and Stephen for a few years
and are looking forward to this new endeavour."
KFX Technology was born out of Kontrol Freax Ltd,
a London-based company that helped to introduce

affordable, portable motion
control technology to the UK and
beyond. Following work on the
award winning BBC Planet Earth
TV show KFX went on to design
and build innovative and reliable
motion control equipment for the
follow up Frozen Planet TV show
that worked in the most extreme
The KFX
conditions.
Technology
Aurora Remote
Since 2012, KFX Technology
Head
have been quietly engineering
a revolution for the world of
remote heads putting simplicity,
reliability and usability at the
forefront of its design philosophy.
camadeus Film Technologies
is the North American distributor of many of the
industry leading products for the motion picture
industry.
camadeus offers sales, rental, training and
technical support from both its Los Angeles or New
York office.
www.kfxtechnology.com www.camade.us


http://www.incinematographer.com http://www.fujifilm.com/products/optical_devices/tv_cine/cine/mk/mk18_55mm/ http://www.fujifilmusa.com/northamerica http://www.camade.us/ http://www.camade.us/ http://www.kfxtechnology.com http://www.camade.us

Table of Contents for the Digital Edition of InCinematographer - Issue 1 - June 2017

In This Issue
InCinematographer - Issue 1 - June 2017 - Intro
InCinematographer - Issue 1 - June 2017 - Cover1
InCinematographer - Issue 1 - June 2017 - Cover2
InCinematographer - Issue 1 - June 2017 - In This Issue
InCinematographer - Issue 1 - June 2017 - 4
InCinematographer - Issue 1 - June 2017 - 5
InCinematographer - Issue 1 - June 2017 - 6
InCinematographer - Issue 1 - June 2017 - 7
InCinematographer - Issue 1 - June 2017 - 8
InCinematographer - Issue 1 - June 2017 - 9
InCinematographer - Issue 1 - June 2017 - 10
InCinematographer - Issue 1 - June 2017 - 11
InCinematographer - Issue 1 - June 2017 - 12
InCinematographer - Issue 1 - June 2017 - 13
InCinematographer - Issue 1 - June 2017 - 14
InCinematographer - Issue 1 - June 2017 - 15
InCinematographer - Issue 1 - June 2017 - 16
InCinematographer - Issue 1 - June 2017 - 17
InCinematographer - Issue 1 - June 2017 - 18
InCinematographer - Issue 1 - June 2017 - 19
InCinematographer - Issue 1 - June 2017 - 20
InCinematographer - Issue 1 - June 2017 - 21
InCinematographer - Issue 1 - June 2017 - 22
InCinematographer - Issue 1 - June 2017 - 23
InCinematographer - Issue 1 - June 2017 - 24
InCinematographer - Issue 1 - June 2017 - 25
InCinematographer - Issue 1 - June 2017 - 26
InCinematographer - Issue 1 - June 2017 - 27
InCinematographer - Issue 1 - June 2017 - 28
InCinematographer - Issue 1 - June 2017 - 29
InCinematographer - Issue 1 - June 2017 - 30
InCinematographer - Issue 1 - June 2017 - 31
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InCinematographer - Issue 1 - June 2017 - 33
InCinematographer - Issue 1 - June 2017 - 34
InCinematographer - Issue 1 - June 2017 - 35
InCinematographer - Issue 1 - June 2017 - 36
InCinematographer - Issue 1 - June 2017 - 37
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InCinematographer - Issue 1 - June 2017 - 41
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InCinematographer - Issue 1 - June 2017 - 49
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InCinematographer - Issue 1 - June 2017 - 65
InCinematographer - Issue 1 - June 2017 - 66
InCinematographer - Issue 1 - June 2017 - 67
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