InCinematographer - Issue 2 - September 2017 - 5

5

www.incinematographer.com | Issue 2 | September 2017

Canon Support Facility Opens in Burbank cont'd...
After running your gauntlet of camera and lens
tests, you can take your footage to the editing bay
just around the corner, which houses FCP, Resolve
and Premier bays for a little nip and tuck from the
editor of your own personal choosing, (ie. perhaps
the person editing your show and their trusty
assistants) to generate a sequence to your liking for
the purpose of your research. Here you will again
have full support in regards to workflow and tested
edit practices when working with Canon files, as well
as working with Canon edit bay monitors and post
support gear.
To keep your energy up and so you won't have to
wander the streets of Burbank in search of food and
beverage, there is a lovely Café on site designed to
hold as many as 15 of your closest friends and work
associates to sip lattes and discuss your game plan
and the wonderful discoveries to be had within the
Canon environment.
Next to the café is a sleek 4K theater complete
with a 19' screen, but this isn't only for projection
of your test footage, this space is tricked out with
an SGO Mistika color system, complete with a
Barco DCI 4K projector as well as a Canon Realis
4K600STZ 4K Laser projector. In this theater,
which seats up to 20, in comfortable deluxe theater
loungers, your favorite colorist can man the
controls, learn the Canon workflow and assist in
exploring the Canon color space. On the other side
of the café is the multipurpose room, capable of
holding up to 40 people and sporting the additional

Canon Realis 4K600STZ 4K Laser Projector on
the premises. A customer may simply contact the
facility to coordinate with the facility manager to
see availability of the projectors. Only projects shot
with Canon products will be welcome to screen in
the facility, you will not need to rent a projectionist
or projector. Canon has also been scheduling regular
screenings of projects shot on Canon, in continued
support of the community.

customers into the facility. Alex Sax, Pro Market
Specialist, connects engineers to the customers in an
effort to improve the products and understand the
needs of the modern filmmaker, and David Doko, an
expert of HDR display technology.
Canon may have been chasing a fast horse, a fast
horse they built and unleashed so many years ago
with the launch of the Canon 5D, but perhaps they
have finally learnt to tame the beast and be at one
with it. What this says for filmmakers is that Canon
is serious! Serious about their equipment, serious
about working with filmmakers and a company to
SERIOUSLY watch and work with in the future.
www.usa.canon.com

Oasis of Canon
To say this is the result of wishful filmmakers
clicking there heels and asking for 'no place like
home', might be an overstatement, but truly and
earnestly Canon has created an oasis for sure! Body calibration
A place to answer questions, develop ideas and
assist in stretching boundaries, pushing limits
and attaining high standards with complete
and utter confidence and support.
The facility is staffed with a full-time
receptionist who will assist with access to
full-time technicians that can service cinema
and DSLR products, as well as a full time CPS
customer service representative to facilitate
repairs.
People of note: Loren Simons, Field Engineer,
who helps create technical documents and
educational resources for customers, who is
also an expert on the technology in the facility.
Amy Kawadler, is the Event Coordinator
and social outreach expert who helps bring


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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
InCinematographer - Issue 2 - September 2017 - 22
InCinematographer - Issue 2 - September 2017 - 23
InCinematographer - Issue 2 - September 2017 - 24
InCinematographer - Issue 2 - September 2017 - 25
InCinematographer - Issue 2 - September 2017 - 26
InCinematographer - Issue 2 - September 2017 - 27
InCinematographer - Issue 2 - September 2017 - 28
InCinematographer - Issue 2 - September 2017 - 29
InCinematographer - Issue 2 - September 2017 - 30
InCinematographer - Issue 2 - September 2017 - 31
InCinematographer - Issue 2 - September 2017 - 32
InCinematographer - Issue 2 - September 2017 - 33
InCinematographer - Issue 2 - September 2017 - 34
InCinematographer - Issue 2 - September 2017 - 35
InCinematographer - Issue 2 - September 2017 - 36
InCinematographer - Issue 2 - September 2017 - 37
InCinematographer - Issue 2 - September 2017 - 38
InCinematographer - Issue 2 - September 2017 - 39
InCinematographer - Issue 2 - September 2017 - 40
InCinematographer - Issue 2 - September 2017 - 41
InCinematographer - Issue 2 - September 2017 - 42
InCinematographer - Issue 2 - September 2017 - 43
InCinematographer - Issue 2 - September 2017 - 44
InCinematographer - Issue 2 - September 2017 - Cover4
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