It's the End of the Week soooooooo, ol'Father Geek is here with our downunder digger Latauro with another edition of the new, revived AICN DOWNUNDER REPORT from somewhere under a Termite Mound out in the bush...
Annnnnnd once agian I will make an effort to remind you that this column depends on your information to prosper, sooo send it all in to
Latauro along with your press passes, advanced production notes, early scripts and other swag and he'll pass the info along to Geek Headquarters deep in the hill country of Central Texas and our crew here behind our barbwired compound fences will see to it that the buzz gets the worldwide attention your project deserves...
Now, here's our editor in Australia...
Well, Latauro here
is counting down the hours until he reaches the ripe old age
of twenty-two. So, while he's still sober, still legible, and still unable
to shake the habit of talking about himself in the third (3rd) person, here is
this week's...
AICN-DOWNUNDER
In 1994, Australian filmmaker James Frazier applied for a patent on a lens
he had designed and built. The lens was revolutionary in that it was able to
keep objects both near and far to the camera simultaneously in focus.
Panavision were quick to sign up Frazier for an exclusive licensing deal,
based primarily on a test video Frazier had made. The lenses proved to be
immensely popular, and were used in JURASSIC PARK and STUART LITTLE 2.
Recently, Panavision and Frazier launched a patent infringement suit against
German company P and S Technick GmbH Feinmechanik, after they produced a
lens with similar attributes. During the case it became apparent that
Frazier had lied about the lens design. Two weeks ago, Los Angeles Judge
Gary Feess ruled that Frazier had falsified his patent application.
'Contrary to Frazier's claims ... the lens displays the same depth-of-field
properties as every other conventional lens system,' he said.
This casts shadow over Frazier's 1997 Technical Oscar win, with talk that
his statue (or, to be more accurate, piece of paper) will be revoked as it
was with 1969 documentary winner THE YOUNG AMERICANS. The Academy's John
Pavlik said 'Our scientific and technical committee will be looking into
this in great details, but it will take a while to establish exactly what
happened.'
While Frazier's lawyer is launching an appeal, this finding raises an
important question: if the lens doesn't do what it claims, what the hell
have we been looking at all this time? How did the world's best
cinematographers NOT pick up on it?
I called a local DoP and asked him 'What the dilly?'. This was his response:
Now, here's our editor in Australia...
Well, Latauro here
is counting down the hours until he reaches the ripe old age
of twenty-two. So, while he's still sober, still legible, and still unable
to shake the habit of talking about himself in the third (3rd) person, here is
this week's...
AICN-DOWNUNDER
In 1994, Australian filmmaker James Frazier applied for a patent on a lens
he had designed and built. The lens was revolutionary in that it was able to
keep objects both near and far to the camera simultaneously in focus.
Panavision were quick to sign up Frazier for an exclusive licensing deal,
based primarily on a test video Frazier had made. The lenses proved to be
immensely popular, and were used in JURASSIC PARK and STUART LITTLE 2.
Recently, Panavision and Frazier launched a patent infringement suit against
German company P and S Technick GmbH Feinmechanik, after they produced a
lens with similar attributes. During the case it became apparent that
Frazier had lied about the lens design. Two weeks ago, Los Angeles Judge
Gary Feess ruled that Frazier had falsified his patent application.
'Contrary to Frazier's claims ... the lens displays the same depth-of-field
properties as every other conventional lens system,' he said.
This casts shadow over Frazier's 1997 Technical Oscar win, with talk that
his statue (or, to be more accurate, piece of paper) will be revoked as it
was with 1969 documentary winner THE YOUNG AMERICANS. The Academy's John
Pavlik said 'Our scientific and technical committee will be looking into
this in great details, but it will take a while to establish exactly what
happened.'
While Frazier's lawyer is launching an appeal, this finding raises an
important question: if the lens doesn't do what it claims, what the hell
have we been looking at all this time? How did the world's best
cinematographers NOT pick up on it?
I called a local DoP and asked him 'What the dilly?'. This was his response:
AICN-DOWNUNDER
In 1994, Australian filmmaker James Frazier applied for a patent on a lens
he had designed and built. The lens was revolutionary in that it was able to
keep objects both near and far to the camera simultaneously in focus.
Panavision were quick to sign up Frazier for an exclusive licensing deal,
based primarily on a test video Frazier had made. The lenses proved to be
immensely popular, and were used in JURASSIC PARK and STUART LITTLE 2.
Recently, Panavision and Frazier launched a patent infringement suit against
German company P and S Technick GmbH Feinmechanik, after they produced a
lens with similar attributes. During the case it became apparent that
Frazier had lied about the lens design. Two weeks ago, Los Angeles Judge
Gary Feess ruled that Frazier had falsified his patent application.
'Contrary to Frazier's claims ... the lens displays the same depth-of-field
properties as every other conventional lens system,' he said.
This casts shadow over Frazier's 1997 Technical Oscar win, with talk that
his statue (or, to be more accurate, piece of paper) will be revoked as it
was with 1969 documentary winner THE YOUNG AMERICANS. The Academy's John
Pavlik said 'Our scientific and technical committee will be looking into
this in great details, but it will take a while to establish exactly what
happened.'
While Frazier's lawyer is launching an appeal, this finding raises an
important question: if the lens doesn't do what it claims, what the hell
have we been looking at all this time? How did the world's best
cinematographers NOT pick up on it?
I called a local DoP and asked him 'What the dilly?'. This was his response:
Panavision were quick to sign up Frazier for an exclusive licensing deal,
based primarily on a test video Frazier had made. The lenses proved to be
immensely popular, and were used in JURASSIC PARK and STUART LITTLE 2.
Recently, Panavision and Frazier launched a patent infringement suit against
German company P and S Technick GmbH Feinmechanik, after they produced a
lens with similar attributes. During the case it became apparent that
Frazier had lied about the lens design. Two weeks ago, Los Angeles Judge
Gary Feess ruled that Frazier had falsified his patent application.
'Contrary to Frazier's claims ... the lens displays the same depth-of-field
properties as every other conventional lens system,' he said.
This casts shadow over Frazier's 1997 Technical Oscar win, with talk that
his statue (or, to be more accurate, piece of paper) will be revoked as it
was with 1969 documentary winner THE YOUNG AMERICANS. The Academy's John
Pavlik said 'Our scientific and technical committee will be looking into
this in great details, but it will take a while to establish exactly what
happened.'
While Frazier's lawyer is launching an appeal, this finding raises an
important question: if the lens doesn't do what it claims, what the hell
have we been looking at all this time? How did the world's best
cinematographers NOT pick up on it?
I called a local DoP and asked him 'What the dilly?'. This was his response:
This casts shadow over Frazier's 1997 Technical Oscar win, with talk that
his statue (or, to be more accurate, piece of paper) will be revoked as it
was with 1969 documentary winner THE YOUNG AMERICANS. The Academy's John
Pavlik said 'Our scientific and technical committee will be looking into
this in great details, but it will take a while to establish exactly what
happened.'
While Frazier's lawyer is launching an appeal, this finding raises an
important question: if the lens doesn't do what it claims, what the hell
have we been looking at all this time? How did the world's best
cinematographers NOT pick up on it?
I called a local DoP and asked him 'What the dilly?'. This was his response:
I called a local DoP and asked him 'What the dilly?'. This was his response:
"Jim Frazier applied to patent a lens, which held everything in focus through a unique optical miracle. He showed test footage showing images where everything, from tiny bugs mere millimeters from the lens to buildings several kilometers in the distance were all sharp. His patent was approved and production began."
In the interim, many people speculated about how such a lens could exist. The patent infringement suit that led to the inquest and so on found this: The lens does not in fact do what was claimed during the request for patent. The footage showing the infinite focus properties of the lens were faked, and that lens itself was not used.
The idea is that there are many techniques for increasing depth of field in lenses, from small apertures and wide lenses, to things like telecentric lenses and in specialized still photography, holographic spatial filters. Basically what the patent office is saying is that the lens is not a miracle, just a collection of DoF increasing tricks we've known about for years all rolled into one.
Most DoPs that have used the lens have been well aware of the fact that the lens is not "infinite focus" just lots and lots of focus. Newton Thomas Sigel used the Frazier system on Three Kings and basically said on a sunny day everything is in focus. Indeed, Most of the moving shots in el mariachi were shot on an "infinity focus lens" which was simply a 5.5mm lens stopped down to T22. As the Frazier lens doesn't get true infinite DoF until about T16... the patent office is saying it's a scam.
It should be noted, however, that neither Panavision nor Jim Frazier ever said it was an "infinite focus lens", just a lens that increased its maximum depth of field (still impossible according to photo physics). Its main selling points were lens pivots and minimum image distortion, as well as its increased DoF.
For a very interesting history on the lens, go to: Right Here!
For Frazier's rebuttal to these allegations, check out: This Spot on the Web...
If you want to check out www.uspto.gov, the patent number is (or was): 5,727,236
For details on the patent's rejection, go to: This Site Now
Special thanks to blair_271 with his help in compiling this editorial.
NEWS
* Nicole Kidman is in talks to join Heath Ledger and Matt Damon in Terry Gilliam's BROTHERS GRIMM. Our NicT will play a small role in the production, more cameo-like than anything.
* Cate Blanchett will star in ALIAS CRACE, based on Margaret Atwood's novel. The Working Title film will be directed by British filmmaker Dominic Savage. The story concerns an 1843 Canadian housemaid who is convicted of the murder of her employer and his mistress.
* Still on the theme of Stunning Local Actresses, Naomi Watts will appear beside Don Cheadle and Sean Penn in the true-story drama THE ASSASSINATION OF RICHARD NIXON, to be directed by Neils Mueller.
* Film and television producer Anthony Buckley (who really can't be classed as a Stunning Local Actress... but keep trying, man) has been appointed to the Film Finance Corporation's board of directors. Buckley has produced such fare as THE SUGAR FACTORY, THE POTATO FACTORY, and BLISS, which had very little to do with factories.
* SALEM'S LOT, currently shooting in Victoria, Australia had just added a cast member. Donald Sutherland will play Richard Straker, alongside Rob Lowe, Andre Braugher, James Cromwell, Samantha Mathis and Rutger Hauer.
* Absolutely had to include this item: Nakedfella Productions has begun pre-production on a new Australian short animated film, HERMAN, THE LEGAL LABRADOR. The plot? It's the story of a cute Labrador dog who is also a world-class defense lawyer.
AWARDS AND FESTIVALS
CANNES FILM FESTIVAL 2003
An update to last week's assertation that JAPANESE STORY was the only Australian film entered into Cannes... WATERMARK (directed by Georgina Wills and Kerry Rock) has been invited to screen in the Directors' Fortnight portion of the festival, which has in the past launched the success of downunder films PROOF, MURIEL'S WEDDING and HEAD ON.
Also added to the short film list are Aussie film UNIT #52 (written and directed by Tony Krawitz) and CRACKER BAG (directed by Glendyn Ivin and Jane Liscombe).
TRIBECA FILM FESTIVAL
AICN-D reported a few weeks ago that Nick Giannopoulos's film THE WANNABES had been selected for Tribeca. Now another Australian flick, THE INSIDE STORY, has also been selected. INSIDE STORY has already screened at many international festivals, and won the Best Feature Film script from the Australian Writers Guild.
BANFF TELEVISION FESTIVAL
TED'S EVOLUTION has been selected for Banff's Rockie Award. The award recognises international programming from around the world. The program, produced by Film Australia, documents the theories of Australian scientist Ted Steele (who, let's face it, should really have superpowers with a name like that), who is challenging Darwinian evolutionary theory.
7TH ANNUAL WEBBY AWARDS
The 'online Oscars' will be announced on June 5, but in the meantime, HOMELESS (a documentary produced by the Australian Film Commission and ABC New Media & Digital Services' Documentary Online Initiative) has been nominated in the Broadband category, and is eligible for both The Webby Award and The People's Voice Award.
BOX OFFICE
Across the country, cries of 'Well, there's nothing else on' were let out, resulting in Kate and Matthew grabbing top spot through sheer luck and defaultedness (it's a word... look it up). X2 will undoubtedly grab the top spot and hold it until the Wachowskis return to the screen with their next improvisational romcom.
Buuuuut for now, here are the lucky top five...
- 1. HOW TO LOSE A GUY IN 10 DAYS
- 2. ANGER MANAGEMENT
- 3. JOHNNY ENGLISH
- 4. JUNGLE BOOK 2
- 5. KANGAROO JACK
RELEASED THIS WEEK
Australian director Rolf de Heer released one of the most surprisingly interesting trailers for his film ALEXANDRA'S PROJECT, and we can now see if it meets expectations. Meanwhile, the brilliant Meera Syal gives us more Indians-living-in-England, director Robert Guediguian shows us why French women need at least one man, the Russians out-Altman Atlman and create an entire movie in one shot, and the mutants unite to battle Hannibal Lecter.
(Incidentally, X2 really does rock the house; I caught it last night and...
it gets at least a ten on the boo-yah scale.)
- ALEXANDRA'S PROJECT
- ANITA AND ME
- MARIE-JO AND HER TWO LOVES
- RUSSIAN ARK
- X2
NEXT WEEK...
- Exclusive Internet film turns up illegally in cinemas across the world
- James Horner, James Newton Howard and Newton Thomas Siegel rock film industry by announcing they are different people
- New buddy comedy to star Gollum, Dobby and Jar-Jar will feature revolutionary new 'filmed footage'
