In the Best Picture category, no less than three of the five nominees were filmed using equipment supplied by Clairmont. These included “Milk” (DP Harris Savides, ASC - full Clairmont camera package), “Frost/Nixon” (DP Salvatore Totino, ASC - full Clairmont camera package) and “The Curious Case of Benjamin Button” (DP Claudio Miranda, ASC - Image Shaker). These three films also garnered Best Director nods for Gus Van Sant (Milk), Ron Howard (Frost/Nixon) and David Fincher (Button).
nominations for Cinematography went to Claudio Miranda, ASC, as
well as Wally Pfister, ASC for “The Dark Knight” (Clairmont
Image Shaker, Camera Shaker, HVX-200, Fire Housing and other accessories).
Kudos to the crews involved with making these worthy nominees!
A large 35mm CMOS sensor captures HD images. The D-21 offers 4:4:4 and 4:2:2 sampling in both Log or Linier color space. The D-21 frame rate is adjustable from 1 to 30 fps in 4:4:4 and 1 to 60 fps in 4:2:2 when using the Arri Fiberoptic system in combination with the Sony SRW-1/SRPC-1 field recorder. Various solid state recording devices are also available when “on-board” recording is required.
course, the D-21 accommodates most 35mm PL mount lenses including
primes, zooms and telephotos. Since it uses a single sensor that
is the same size and aspect ratio as a 35mm 4-perforation motion
picture camera full gate, the D-21 is the ideal digital camera to
use when shooting with film-style Anamorphic lenses. Utilizing the
D-21 “M-Scope” or “ARRIRAW” outputs, the
Anamorphic image can be recorded to the included Sony SRW1 tape
deck or a “third party” hard drive recorder such as the S-Two
DFR or CODEX recorder. The D-21 uses a full lineup of popular
|ARRICAM STUDIO & LITE|
At the top of the ladder are the Arricam Studio and Arricam Lite cameras. The Lite weighs only 23.5 lbs. in Steadicam mode (which includes a 400’ magazine of film, matte box, Steadicam optics and Zeiss 32mm lens). These are the quietest 35mm Motion Picture Sound Cameras in the world and you cannot get a better video assist!
The Studio model can also be set up for Steadicam work, as it only weighs 5-1/2 lbs. more than the Arricam Lite. This 35mm sound camera has an adjustable frame rate from 1-60 fps, and can be reversed.
For the budget-minded, both the Arricam Studio and Lite are available set up for 3-perf operation.
|RED ONE CAMERA|
In 2008, Clairmont Camera added Red One cameras to our inventory. Initially, several television series (including “Supernatural” and “Reaper”) wanted to use these cameras to complement their “A” and “B” Arri D-21 cameras. Because demand in the industry is so great for the Red One cameras, we have added even more to our inventory to accommodate additional television projects as well as commercial and corporate productions.
Tech highlights of the Red One include a 12 megapixel Mysterium™sensor, 4K resolution, and PL mount to accommodate most popular motion picture lenses. It has the ability to record to flash or hard disk based digital storage, it can deliver in 1920x1080 or 1280x720 progressive, RGB or 4:2:2, at a rate of 23.98, 24, 25, 29.97 and 30 fps.
It can also provide 3K images at up to 60 fps or 2K at up to 120 fps. Clairmont offers compatible DIT Engineering Stations and monitoring options. The Red One camera image outputs include HD-SDI and HDMI. On-camera monitors are also available. The Redcode RAW codec and workflow is accommodated by many Post houses. All of our Red cameras are updated with the most recent software improvements. In addition to the highlights already mentioned, Clairmont Camera has taken several steps to ensure compatibility with a vast majority of Arriflex accessories. Our technical staff is constantly re-educating themselves to provide you with the absolute best technical support.
|SONY F35 CAMERA|
A major feature of the F35 is its super 35mm-sized CCD sensor, which allows for full resolution 1920x1080 RGB images. The frame rate is fully selectable from 1 to 50 fps with 4:4:4 or 4:2:2 recording. The F35 is capable of in-camera speed ramps and “slow shutter” photography.
The F35 has an ergonomic design that allows direct docking with Sony’s SRW-1 portable HDCAM-SR recorder. It is a very durable camera that has an operating temperature range from 32° to 104° Fahrenheit (0° C to 40° C). The F35 also has the ability of Log and Linear output and has selectable gain up to 12 db. It is compatible with the same accessories you can use on the Arriflex cameras.
also offers Sony’s F23 digital
cameras, which are virtually identical to the F35, but have three
sensors and utilize a B4 mount for HD lenses. It is common to
see both the F23 and F35 employed on the same project.
|PURE REACH PERISCOPE|
beauty of the Pure Reach is that it does not affect the focal length
of the lens, as delivered to film or a digital sensor. You can use
the very same prime lenses that you’ve been using
all along and the tracking of the lenses that has been worked out
will remain the same. Moreover, it delivers images as sharp as the
prime lens would if it was mounted directly to the camera, and won’t
vignette on any focal length. It’s extra sturdy, too.
THE HEART OF ANY CAMERA PACKAGE
Extreme heat and cold are often the cause of battery failure. To overcome this we designed a specially insulated case that can withstand all weather conditions. What’s in the case is equally important. Each Clairmont battery undergoes rigorous cycle testing before it leaves our facility. And the cells are replaced well before their time is up.
Because of this,
cameramen have come to find that at Clairmont you don’t
need to rent eight batteries if you only need four. Our batteries are just
one of the many reasons why confidence comes in a yellow case.
KEEP YOUR FIBER OPTIC CABLE CLEAN
Install protective covers whenever possible to keep dirt off exposed fiber contacts. Very small foreign particles can easily find their way onto the fiber contact anytime cables are disconnected. Avoid dropping unprotected connectors on the ground, as that would be an invitation for problems. Keep in mind that fiber equipment can function seemingly without flaw even if the contacts are dirty but not dirty enough to block significant light. Guarantee optimum performance, even if you have been making a diligent effort to prevent contamination, by cleaning contacts regularly.
cleaning is easy, takes little time and translates to less down time.
Cleaning can be done with good quality alcohol and appropriate cleaning
swabs. (SMPTE 311 contact cleaning is easier after removing the alignment
sleeve with a special tool). Use a swab slightly wet with alcohol
to gently wipe the contact. Move the swab across the center of the
contact or rotate over the contact, depending on the diameter of
the swab. Use a dry swab to wipe alcohol off the contact to minimize
residue. Ensuring flawless fiber-optic cable performance is this
|THE LAND OF ENCHANTMENT|
of the productions that have used equipment from Clairmont’s New
Mexico office include The Missing, Swing Vote, Breaking Bad,
In Plain Sight, Sex And Lies In Sin City and Crash.