InCinematographer - Issue 2 - September 2017 - 4

4

www.incinematographer.com | Issue 2 | September 2017

Canon Support
Facility Opens in Burbank
When Canon offered the video option on their DSLR cameras, they were shocked as
much as anyone with the affect it had, not only the film industry but, as one might
guess, on the company itself, writes Jimmy Matlosz...

S

o for the last eight years, Canon has been thrust
into the world of cinema and motion pictures at
warp speed, rolling with the changes, the demands
and navigating the landscape with grace and poise.
Canon soon learned of the high demand and
exacting, repeatable precision on which the cinema
crowd lives and the needy nature of the modern and
seasoned filmmaker. From an outsiders view one
could almost see this company, once split between
stills and motion 'video' morph into one of great
humble respect. But just as Canon offered some
very respectable cinema glass in the zoom variety,
they also stepped cautiously into the realm of prime
lenses and a more robust cinema camera. That is
until more recently with the announcement of the
Canon c700, (which I will be reviewing soon in a
future issue).
Canon has also made strides in 4K monitors and
projectors. However, with all this new technology, on
a playing field dominated by behemoths of longevity
and strong will, one is left to ask, where does Canon
fit in? And how does a filmmaker assess what they
have to offer?
Now that question and so many others can be
answered not only in print and through human
contact but also in an actual hands-on facility
which Canon premiered July 15, 2017 in Burbank
California, the brain child of the new Burbank facility
is Yuichi Ishizuka, President and COO and Eliott Peck,
Executive Vice President and GM.

Burning Questions
This new top of the line facility is a soup to nuts,
camera test to final color testing lab. The purpose
of the facility according to Tim Smith, Pro Market
rep at Canon, is to not only answer all those burning
questions regarding Canon gear, but to give a hands
on first person experience. The design and concept
is to raise the confidence and user-friendly nature
of any Canon product, to support any production,
before, during and through the end of post.
Alex Sax, Pro Market Specialist reiterates: 'We
want everyone in the community who wants to
experience Canon technology in the highest quality
to please contact our office. We are able to screen
anything shot on Canon, including cameras or lenses.
It is on a case-by-case basis and always depends on
availability. We limit the screening to one to two
days per project. The facility is not meant to edit
and support ongoing or existing projects. It is to see
how great the Canon image is on the best equipment
available. It should be used by DPs, producers and
directors to help decide if Canon is the best choice
for their next project.'
Prep Room
And so, it all begins with cameras and lenses, the
facility is equipped with a camera prep bay where
directors, producers, cinematographers and camera
assistants can gather to demo any combination of
cinema accoutrements to accompany their choice

of Canon gear. The prep room is a daylight studio,
complete with a patio for additional daylight options.
There is plenty of space, as well, to bring in a few
lights and test various man-made color temperature
choices and combinations. With plenty of notice,
Canon will also allow for proper testing off site. From
the camera prep, Canon offers plenty of support for
on set and post workflow options, from card readers
on site, to workflow diagrams and best-case scenario
suggestions.

Check-in

Cafe


http://www.incinematographer.com http://cps.usa.canon.com/?cm_mmc=nw-_-canon-burbank-_-cps-_-learn-more

Table of Contents for the Digital Edition of InCinematographer - Issue 2 - September 2017

In This Issue
InCinematographer - Issue 2 - September 2017 - Intro
InCinematographer - Issue 2 - September 2017 - Cover1
InCinematographer - Issue 2 - September 2017 - Cover2
InCinematographer - Issue 2 - September 2017 - In This Issue
InCinematographer - Issue 2 - September 2017 - 4
InCinematographer - Issue 2 - September 2017 - 5
InCinematographer - Issue 2 - September 2017 - 6
InCinematographer - Issue 2 - September 2017 - 7
InCinematographer - Issue 2 - September 2017 - 8
InCinematographer - Issue 2 - September 2017 - 9
InCinematographer - Issue 2 - September 2017 - 10
InCinematographer - Issue 2 - September 2017 - 11
InCinematographer - Issue 2 - September 2017 - 12
InCinematographer - Issue 2 - September 2017 - 13
InCinematographer - Issue 2 - September 2017 - 14
InCinematographer - Issue 2 - September 2017 - 15
InCinematographer - Issue 2 - September 2017 - 16
InCinematographer - Issue 2 - September 2017 - 17
InCinematographer - Issue 2 - September 2017 - 18
InCinematographer - Issue 2 - September 2017 - 19
InCinematographer - Issue 2 - September 2017 - 20
InCinematographer - Issue 2 - September 2017 - 21
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InCinematographer - Issue 2 - September 2017 - 41
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InCinematographer - Issue 2 - September 2017 - 43
InCinematographer - Issue 2 - September 2017 - 44
InCinematographer - Issue 2 - September 2017 - Cover4
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