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PARIS – The second edition of the five-event Paris Images Trade Show, is currently hosting its last event – the Micro Salon – that wraps Sat, Feb. 7.

Micro-Salon is organized by the French Cinematographer’s Association, the AFC and is held in the FEMIS national film school in Montmartre. The Micro Salon showcases cutting edge filming, sound and lighting equipment from France and the rest of the world – with 50 exhibitors this year – and is also the main annual meet for cinematographers.

It’s a very special event,” says Jacques Delacoux, president of Aaton Digital, Transvideo and AFFECT. “I don’t think anything else exists like it in the world. It’s very attractive for people coming from abroad.”

Each year the Micro Salon has a country of honor in terms of cinematographers – in 2012 it was Belgium, last year Russia and this year is Italy – including a showreel of work by Italian DPs, and a conference on Italian cinema – covering the Italian film industry in general and Italian cinematography in particular.

The event includes a special tribute to three Italian cinematographers: Vittorio Storaro, Daniele Nannuzzi and Luciano Tovoli. Next week, on Weds 11 Feb., Tovoli will give a masterclass in Le Grand Action cinema in Paris’ Latin Quarter.

Matthieu Poirot-Delpech, co-prexy of the AFC, spoke to Variety about some of the highlights of this year’s edition. He underlined the overwhelming shift to digital production – with less than 10% of French films now being shot on film.

Now that digital cameras are extremely powerful and light-sensitive, he considers that the main focus is on the lenses, including the chance to recover lenses that initially fell out of fashion in the digital context.

Digital cameras took a while to stabilise but they now offer very good quality and so the key focus is on the lenses. Before we needed excellent high-speed lenses, as camera sensors were evolving, but now we can return to some of the older lenses. Each lens has a special look.”

Poirot-Delpech provides as an example the fact that more French films are being shot using anamorphic Cinemascope lenses – giving a special quality. He cited the examples of Joachim Lafosse’s “Les Chevaliers” and Jean-Paul Rappeneau’s “Belle famille.”

A member of the AFC did a test on Panavision lenses and will screen the results at the Micro Salon, aiming to shown the full creative potential of lenses available in the market. There will also be tests of the new Panasonic 35 mm camera.Post-production and VFX firms will also be attending the Micro-Salon.

Poirot-Delpech emphasizes that whereas it used to be very difficult to mix together different formats – film, DSLR, Gopro etc – it’s now easy to combine different formats. He cited 2013 Cannes Palme d’Or winner “Blue is the Warmest Color” as a good example of a film made with a small camera.

Overall, the second edition of the Paris Images Trade Show was considered a resounding success by the organisers. This year’s edition included innovations such as launch of the Digital Creation Genie Awards, and masterclasses by leading filmmakers, including French helmer Patrice Leconte, Chinese director Wang Chao and Italian cinematographer Luciano Tovoli.

Attendance at the events recorded a higher level this year. For example, Paris Images Location Expo recorded a 13% increase – with 2085 participants.

Olivier Rene-Veillon, prexy of the Ile de France Film Commission summed up his satisfaction with this year’s edition: “The most obvious phenomenon that was highlighted this year is the convergent mobilization of industry professionals who are committed to increasing their international markets and to establishing strong synergies between VFX , locations and an underlying passion for diverse cultures …”