The lens features an extremely fast (f/2.4) and consistent aperture speed of T2.6 throughout the zoom range for improved shooting across various lighting conditions. Along with impressive contrast and color reproduction, the design of the Optimo 28-76mm lens has eliminated the potential problems of iris changes during zooming or image-size changes when the focal length is changed, with no ramping or breathing.

Features designed for the professional user include a 320-degree focus rotation with more than 25 witness marks for maximum accuracy. The lens is available with both PL and Panavision mounts and has a range of 28-76mm (2.7x zoom ratio) and a close-focus range of 0.6–2 feet.

OConnor’s engineers developed EX technology to address the heavy payloads often required for some of today’s film and electronic-cinematography systems when fully loaded. With its continuous counterbalance system and ultra-smooth pan and tilt fluid drag, the 120EX is custom designed for film-style shooting.

This patented head delivers counterbalance through the full ±90° forward and backward range for camera packages weighing 30-120 pounds (14-54kg). As counterbalance for a camera package in excess of 120 pounds is cranked into the head, it automatically begins limiting the forward and backward tilt range. At 147 pounds (67kg), tilt is limited to ±80°, at 188 pounds (85kg) to ± 70°, and at 240 pounds (109kg) to ±60°.

The 120EX is the perfect match for the OConnor Cine HD Tripod. Additionally, all existing accessories for the popular 2575C and 2060HD fluid heads are fully compatible with it.

“This solution had to be full-featured yet offer a level of affordability on par with the applications for which it was intended. The FX line is just that: a highly affordable monitor for desktop and general HD/SD viewing applications. It was very important to us to be able to achieve excellent price points without compromising in areas that are important to our users. Colorimetry and upgradeability, among other things, are excellent.”

FX-class monitors are precalibrated at the factory. The displays feature an array of inputs: HD 4:2:2/SD-capable SDI, S-video, Composite Video, Analog RGB and Digital DVI. This flexibility makes them a natural fit in any multi-format system. The FX-series features an advanced 10-bit image-processing engine suitable for viewing and semi-critical evaluation applications. Scaling is used on all non-1080 standards.

The first filters in the Soft Tone range offer a great set of options for image softening and skin enhancement. They combine a new, unique softening pattern together with a very subtle skin-tone enhancement in a range of shades, sufficient to take the edge off of HD’s harshness. The Soft Blush, Soft Lilac, Soft Pink, Soft Cool, Soft Turquoise and Soft Bronze, produced in three grades, deliver global softening of the image with subtle skin-tone enhancement. More filters will be added to the range later this year.

“HD cameras highlight far more detail, quite harshly at times, and there’s a necessity for an enhancing range of filters for facial close-ups,” says David Stamp, managing director of Formatt Filters. “Many presenters and actors have found that their most minute facial blemishes are highlighted onscreen [in HD]. With the filters we’re launching this year, we offer cinematographers the widest choice in image enhancement for both HD and film.”

Formatt is also launching a range of new Graduated Blender filters. Standard graduated filters affect the top part of the image while leaving the bottom undisturbed, and are most commonly used with skylines. The graduated filters are available in soft or hard-edged varieties. The Blender is the same as a graduated filter, but with the transition taking place gradually over the whole length of the filter rather than in the middle. They are available in all colors in which Formatt manufactures graduated filters, including NDs.

All Formatt Filters are manufactured to the highest optical standards using the latest in materials technology to ensure color consistency when used in HD production.

Sachtler’s engineering team has used new-technology springs and bearings and materials such as high-rigidity reinforced aluminum. The result is an arm that is 3 pounds lighter yet offers unmatched torsional strength to benefit daily operations and ensure a long life.

The Act 2 is designed for versatile, speedy setup. Three interchangeable stainless-steel spring sets handle payloads from 24-57 pounds (11-26kg). The intuitive pre-tensioning capability allows the operator to adjust spring tension to accommodate various loads simply and quickly with a single 5/32" (4mm) Allen wrench. When it’s time for action, the arm fully engages at once, even at maximum load.

The arm also has a flip-over vest attachment that makes it easy to switch from right-handed to left-handed operation (and vice versa) without disassembling the vest connection. The 5/8" gimbal mounting post, available in 6", 10" and 12" lengths, offers adjustable friction.

The Act 2 housing undergoes a chemical process that hardens the aluminum and produces a smooth finish that repels scratches and nicks and sports a deep, long-lasting matte black color. The arm is crafted in Eching, Germany, alongside Sachtler’s other precision Artemis products. It is available through the Sachtler dealer network.

Fisheyes expand the view of the lens, providing a wide-eyed perspective that pulls the eye close to the center of the action. Images appear convex, with exaggerated angles and extreme barrel distortion. With .45x magnification, the new EX Super Fisheye is the widest single-element fisheye adapter on the market. Added to the HVX200 lens, it delivers a 115-degree horizontal and 135-degree diagonal field of view.

The EX Super Fisheye Weighs 13.75 ounces (390g) and has a front diameter of 120mm. It comes outfitted with a 72-82mm step-up ring for attachment to the HVX200. Anchored by a single set screw, the ring is mounted to the back of the adapter. With the ring removed, the Super Fisheye’s 72mm rear-thread fits neatly to the front of the Sony HVR-Z1U, Canon’s XH A1 and XH G1, or Panasonic’s AG-DVX100B lens. For mounting to the Sony HVR-V1U/HDR-FX7, an optional 72-62mm step-down ring is available.

Engineered and built in Japan for optimum optical performance, 16x9 Inc.’s HD-quality EX lens add-ons are crafted of the finest grade materials and feature an innovative, advanced design. Suggested price for the EX Super Fisheye is $695.

The first model in the series is the BVM-L230 LCD video reference monitor, a 22.5" unit (viewable area, measured diagonally) that combines a full-resolution LCD panel, a newly developed high-precision backlight system and a display engine which has been in development for several years. The LCD panel is the industry’s first with a 10-bit driver that’s capable of producing 1,024 levels of gray scale, making the BVM-L230 ideal for high-end applications, including digital cinema, digital intermediate, telecine and high-end postproduction, as well as program and preview monitoring in broadcast master control rooms or in OB trucks.

With the BVM-L230, video professionals can achieve the critical evaluation capabilities associated with Sony’s line of BVM CRT monitors, while gaining the benefits of flat-panel technology, including lower weight, lower power consumption and a reduction in heat load.

The BVM-L230 monitor incorporates key TriMaster technologies such as a newly developed wide color-gamut panel, color management system, full HD resolution (1920x1080), high gray-scale gradation, motion picture response, precision-signal processing, and a calibration and feedback system.

The monitor adds several features specifically designed for professional monitoring requirements, including a new color space selection function, advanced picture-in-picture display and a true interlace display mode, which helps accurately reproduce interlaced signals. The monitor’s enhanced LED backlighting system offers a wider color gamut than found in any other direct view display technology, including CRT. This new system can fully cover the range of broadcast-standard color spaces as well as support the new digital cinema standards. SMPTE C, EBU, and ITU 709 color gamuts are available via button selection.

The backlight system also incorporates a uniformity control function and a color feedback system that constantly monitors and compensates for color shifts, maintaining accurate luminance uniformity equal to the BVM CRTs.

Complementing the backlight system is a newly designed color management system developed specifically for the BVM-L series, offering more consistent and stable color reproduction that uses a proprietary color feedback stability system. This technology is designed to accurately reproduce color spaces with 3-D LUT management. A black frame insertion mode significantly reduces motion blur by combining a high frame rate and black frame inserted between image frames.

The monitor’s signal processing engine incorporates 12-bit accuracy, and also delivers a high-quality IP conversion algorithm for interlaced signal display and reduced processing delay.

The BVM-L230 offers multiformat monitoring capabilities, displaying SD and HD formats up to 1080 60p. In addition to HDTV data, the BVM-L230 supports a range of signal formats, including 2048x1080 24p for digital-cinema applications and VGA-WUXGA (1920x1200) PC signals.

The monitor offers several connectivity options, including a standard DVI-D input. Optional inputs include HD-SDI/SDI SDI (4:2:2 10-bit and 4:4:4 10- or 12-bit), composite, Y/C, RGB/YPbPr/XYZ, and dual-link HD-SDI. Sony is developing larger screen sizes for this new series of LCD monitors. A 42" version (viewable area, measured diagonally) is scheduled for availability next year.

The BVM-L230 will be available this fall at a suggested list price of about $25,000.  

Because all Super 8 cameras were originally designed to shoot 160-ASA tungsten film, Pro8/43 is 100-percent compatible with all existing Super 8 camera exposure systems embracing 40 years of camera design. Any make or model of Super 8 camera will read the exposure correctly.

Pro8mm sells the film in the convenient 50' light-tight cartridge for $30 including processing. The negative film cannot be projected, and must be scanned to digital for viewing. An all-inclusive sample (Tester) can be purchased for $88.88, which can be delivered in MPEG-2 DVD-R format for viewing or QuickTime DV on DVD for use in NLE Systems. Multiple roll value packages for film, processing and digital scanning to production formats such as MiniDV, DVCam or Digital Beta are available.