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December 2009
Prime Focus Transforms Global Brand
Prime Focus, a visual-entertainment-services group, has announced the transformation of its 15 global facilities, including Post Logic Studios and Frantic Films VFX, into a single global company under the Prime Focus brand. Bolstering the brand identity, the company has also unveiled the Clear media-asset-management system, the View-D 2-D to 3-D conversion pipeline, and a new visual-effects production facility in Vancouver.
Previsualization Society Is Born
The Previsualization Society, a non-profit interdisciplinary organization dedicated to the advancement of previsualization, has been officially announced. Founded by previs practitioners for those who produce or use previs, the society aims to build a community to maximize the current and future capabilities and contributions of the previs medium.
P+S Gives 16SR Digital Facelift
Based on an idea originated by Joe Dunton, BSC, P+S Technik and Lux Media Plan have cooperated to design a digital film magazine for the popular Arri 16SR camera, bundling the successful characteristics of the 16SR camera with a digital RAW workflow. 
Fujinon Intros PL-Mount Zoom Lineup
Fujinon has introduced a line of four PL-mount zoom lenses, the 18-85mm T2.0, the 14.5-45mm T2.0, the 24-180mm T2.6 and the 75-400mm T2.3-4.0.
Arri Gets up Close with Master Macro
Arri has introduced the Master Macro 100, ideal for tabletop cinematography, product shots, close-up inserts on features and countless other applications. 
Zeiss Introduces EF-Mount Lenses
Carl Zeiss has introduced three EF-mount lenses for use with analog and digital EOS SLR cameras: the Distagon T* 3,5/18 ZE, the Distagon T* 2,8/21 ZE and the Distagon T* 2/28 ZE.
OptiTek Unveils Optimator
OptiTek has introduced the Optimator, a high-precision instrument for sensor-location checking and adjustment of camera back focus and sensor flange depth. 
Alan Gordon Offers Polaview
Designed specifically for cinematographers, Alan Gordon Enterprises’ Polaview offers a quick and accurate preview of the effects of a polarizing filter without having to use the actual filter.
Viewing Glass from the DoP Shop
The DoP Shop, Inc. has released a new line of viewing glasses, including the Solar Viewing Glass, which allows the user to look at the sun without causing eye damage or vision loss; unlike a darkened ND gaffer’s glass, the Solar Viewing Glass is purpose-built for viewing the sun. 
Airfloater Lifts Off
Ciné-Qua-Non, a Belgium-based grip company, has introduced the Airfloater, a camera-head support system that allows users to simulate point-of-view and handheld shots.
ABC Products Gets Tripods Rolling
ABC Products, a MovieTech AG brand, has introduced a transportable tripod roller specially designed for the company’s MiniCrane, Traveller, Speedy and Crane 100 series of lightweight cranes.
Digital Vision Updates Product Portfolio
Digital Vision has announced updates for its 2009 Film Master and Phoenix product line. The new tools will introduce new features that significantly simplify the creative process as well as integrate support for third-party applications.

Media Technology Employs Baselight Kompressor
FilmLight has introduced the Baselight Kompressor, which allows Baselight color-grading systems to share direct access to media files with Avid systems.

Final Frame Expands with DCP Services
Final Frame, a New York City-based postproduction service provider, has introduced Digital Cinema Package (DCP) services, providing a complete solution for the encoding, secure-key embedding, encryption, storing, decoding, viewing and packaging of digital-cinema content for delivery to digital cinemas and digital festival screenings.

Visual Data Adds DCP Services Online
For over 15 years, Burbank, Calif.-based Visual Data Media Services, Inc. has provided integrated, end-to-end postproduction solutions for clients that include studios, production companies, content creators and distribution companies. Recently, Visual Data unveiled its Digital Cinema Package (DCP) services, providing high-quality Digital Cinema Initiative (DCI) compliant movie files.
Alan Gordon Distributes Arri Gear Online
Alan Gordon Enterprises has attained exclusive U.S. dealership rights to sell and distribute Arri’s line of durable, weather-resistant camera-assistant bags, pouches and belts.
Pocket Mini Viewfinder from Alan Gordon Online
Alan Gordon Enterprises has introduced the Pocket Mini 11x Telescoping Director’s Viewfinder for budget-conscious filmmakers. The Pocket Mini includes many of the same features as the previous models in Alan Gordon’s viewfinder line and has been redesigned to meet the specific requirements of modern film and video production.
MovieTech Intros U-Bangi Adapter Online
MovieTech AG has introduced a tripod-adapter set for its U-Bangi.
MovieTech Updates Magnum Dolly Online
MovieTech AG’s flagship Magnum Dolly now ships with a completely redesigned system platform, opening up new options for mounting MovieTech’s large range of accessories and making the dolly even more versatile.

MovieTech Offers Flexible Platforms Online
MovieTech AG has extended its complete range of crane dollies to include specially adapted platforms and an optional push bar.
Blu-ray Recording from JVC Online
JVC Professional Products, a division of JVC U.S.A., has introduced the SR-HD1500 and SR-HD1250 Blu-ray disc and HDD recorders. These standalone Blu-ray recorders feature a built-in hard disk drive for easy duplication and disc authoring without a PC.

Super-Slim Monitor from JVC Online
JVC Professional Products, a division of JVC U.S.A., has introduced the GD-32X1 32” super-slim flat-panel HD monitor. Just ?” thick at its thinnest point and weighing only 12.5 pounds, the monitor produces vivid images with faithful color reproduction while using fewer materials to minimize its impact on the environment.
JVC Unveils 42 Online
JVC Professional Products, a division of JVC U.S.A., has introduced the GD-42X1 LCD monitor, a 42” wide-gamut HD monitor offering native HD 1920x1080 pixel resolution with a 50,000:1 dynamic contrast ratio.
Artbeats Launches FootageHub Online
Providing filmmakers with quick and easy access to a wider variety of 100-percent royalty-free stock footage, Artbeats has launched FootageHub, an extension of the Artbeats library that allows customers to search from a large database of clips derived from over 50 different brands, 20 of which are exclusive to FootageHub.

Footage Search Opens Portals Online
Footage Search, Inc. has released newly designed portals for the company’s OceanFootage and NatureFootage stock-footage collections, as well as streamlined means of licensing stock footage.

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Prime Focus Transforms Global Brand

Prime Focus, a visual-entertainment-services group, has announced the transformation of its 15 global facilities, including Post Logic Studios and Frantic Films VFX, into a single global company under the Prime Focus brand. Bolstering the brand identity, the company has also unveiled the Clear media-asset-management system, the View-D 2-D to 3-D conversion pipeline, and a new visual-effects production facility in Vancouver.

“This rebrand represents the coming together of all our companies around the world,” says Namit Malhotra, founder of Prime Focus. “Our goal is to communicate our ability to provide entertainment producers with a Hollywood-caliber experience, whether they’re working at a Prime Focus facility in Mumbai, L.A., London or New York City.”

All of the Prime Focus offices around the world will be interconnected via Clear, the company’s proprietary Web-based media-asset-management service, which manages the entire lifecycle of content from production to distribution and offers a secure, fast and reliable digital delivery platform. Clear is also available as a customizable and scalable subscription service, allowing film studios, broadcasters and advertisers to more efficiently manage their content and workflows.

“In the digital-media world, the management of content, processes and interactions is key,” says Ramki Sankaranarayanan, president and CEO of Prime Focus Technologies. “With Clear, such workflow items can be managed across locations, and the platform is customized to increase productivity. This is particularly pertinent at a time when companies are looking to cut costs and generate new revenue streams while changes in the way content is produced and managed call for increased collaboration and efficiencies.”

Prime Focus’ View-D, developed under the guidance of Chris Bond, president and senior visual-effects supervisor of Prime Focus VFX, allows filmmakers to create stereoscopic 3-D movies from source material shot on virtually any medium. Michael Fink, CEO of Prime Focus VFX, observes, “Prime Focus is a visual-effects facility, so we’ve been calculating 3-D space from 2-D images for years and developed the technology behind View-D after having worked on several stereo 3-D shows. With View-D, we’re offering the industry an exciting new production method to convert both library titles and new releases to terrific stereoscopic quality in considerably less time than other methods.”

Further underscoring Prime Focus’ commitment to visual effects, the company has opened a new facility in Vancouver that will become Prime Focus’ visual-effects hub in North America. Designed to meet the growing number of feature productions coming to shoot and post in the region, the facility is four times larger than its previous space and able to house up to 200 artists and support staff. Located in the city’s downtown district, the office boasts the most up-to-date technological pipeline, a 50-seat HD screening room with stereoscopic 3-D viewing capabilities, luxurious client meeting rooms, and studios for 3-D, 2-D, matte painting, creature and character animation, R&D and other departments important to an efficient workflow.

“We’re excited about what lies ahead as we embrace our new corporate identity and vision,” says ASC associate member Rob Hummel, CEO of post pro-duction, North America. “The combined wealth of talent, resources and infrastructure of our global network of companies will enable us to provide our clients in North America and abroad with unparalleled expertise in digital postproduction and visual effects, tailor-made to meet diverse film, television and commercial projects of varying size, scope and budget.”

contact info:  
www.primefocusworld.com
Previsualization Society Is Born

The Previsualization Society, a non-profit interdisciplinary organization dedicated to the advancement of previsualization, has been officially announced. Founded by previs practitioners for those who produce or use previs, the society aims to build a community to maximize the current and future capabilities and contributions of the previs medium.

Like the previs process itself, the society includes members from many different disciplines and markets; it already comprises a number of charter members from the motion-picture industry. The society will focus on producing and publishing information and resources to promote effective previs through key activities such as promoting standards, education, workflow development and practical knowledge exchange. As inspired by the recent Joint Technology Subcommittee on Previsualization, which included membership from the ASC, the Art Directors Guild and the Visual Effects Society, and which was co-chaired by David Morin and Ron Frankel, the organization will also provide a platform for ongoing interchange and learning between all contributors engaged with previs.

The Previsualization Society’s founding members comprise David Dozoretz, founder, director and visual-effects supervisor at Persistence of Vision Previs; Chris Edwards, CEO of The Third Floor; Ron Frankel, president and founder of Proof; Colin Green, president and founder of Pixel Liberation Front; Daniel Gregoire, owner of Halon Entertainment; and Brian Pohl, CEO of POV Previs. The society’s charter membership currently includes directors, cinematographers, visual-effects supervisors, production designers, art directors, editors, technology developers, and previs artists and supervisors. Funding for the society is provided through membership and sponsorship, including charter sponsor Autodesk.

“When I started my career 15 years ago, I used to always have to explain why productions might need previs,” says Colin Green, president of the Previsualization Society. “Now producers simply call, saying, ‘We need previs.’ Despite the popularity of the process, there are still many different views of what previs is and how it should all work. The Previsualization Society will be a great way to bring expertise into a common forum for everyone to share.”

Morin adds, “In this brave new world of digital moviemaking, previsualization has the potential to do a lot more good than it already has. The Previsualization Society will develop that potential, and anyone interested in helping should join!”

contact info:  
www.previssociety.com
P+S Gives 16SR Digital Facelift

Based on an idea originated by Joe Dunton, BSC, P+S Technik and Lux Media Plan have cooperated to design a digital film magazine for the popular Arri 16SR camera, bundling the successful characteristics of the 16SR camera with a digital RAW workflow. 

Fitting to the camera by means of a simple and reversible mechanical setup, the 16Digital SR Mag can record HD RAW (1920x1080) and 2K RAW (2048x1152) images. With a native 16:9, 2048x1152 sensor resolution, the 16Digital SR Mag is compatible with 16mm PL-mount lenses and 16SR bodies up through the 16SR 3. The magazine weighs approximately 8.8 pounds, measures 6.9"x12"x5.2", and is powered directly by the camera, with no need for an additional power source. Additionally, the magazine outputs flicker-free HD-SDI for on-set video assist, and the magazine’s operation can be controlled through the 16SR’s existing interface.

contact info:  
www.pstechnik.de
Fujinon Intros PL-Mount Zoom Lineup

Fujinon has introduced a line of four PL-mount zoom lenses, the 18-85mm T2.0, the 14.5-45mm T2.0, the 24-180mm T2.6 and the 75-400mm T2.3-4.0.

Fujinon’s PL Series was developed with an advanced optics design to maximize image capture capabilities of current and rapidly emerging 35mm motion-picture film and digital-cinematography cameras. Fujinon’s series of four zoom lenses provide unprecedented focal range choices from 14.5 to 400mm, with fast T-stop performance and exceptional optical quality. Uniform front-barrel size (136mm) and gear placement, with consistent color-matched image quality in four focal ranges, facilitate quick lens changes, efficient production and creative expression.

With minimal breathing, 280-degree focus-barrel rotation, accurate and repeatable marks, and comparable size and weight across the line, Fujinon PL Series zooms are ready to meet the challenges of modern digital cinematography. The zooms join Fujinon’s growing family of quality Digital Cinematography lenses, including E Series zoom and prime lenses and C Series zooms, designed for 2⁄3" B4-mount HD cameras.

contact info:  
www.fujinon.com
Arri Gets up Close with Master Macro

Arri has introduced the Master Macro 100, ideal for tabletop cinematography, product shots, close-up inserts on features and countless other applications. With a 1:1 magnification ratio, a maximum aperture of T2.0 and an optical design developed specifically for macro work, the Master Macro 100 delivers phenomenally sharp, high-contrast images for extreme close-ups of the highest visual quality.

The Master Macro 100 has been designed and built by Carl Zeiss specifically for motion-picture cinematography. The optical performance of the lens matches that of the Master Primes, with shared features such as exotic glass materials, special lens coatings and aspherical glass surfaces that require ultra-high precision in design and manufacture.

The Master Macro exhibits remarkably even illumination and resolution across the whole Super 35 frame. It also benefits from an advanced, multi-bladed iris, resulting in round and natural looking out-of-focus highlights.

The front element of the Master Macro 100 is set back within the lens housing, which protects it from the reflected light that can so often be a problem when lighting subjects positioned close to the front of a lens. In effect, the forward section of the lens acts as a shade, absorbing stray light. This, in combination with the T* XP anti-reflex coating, strategically painted lens rims and special light traps, means that cinematographers may spend far less time worrying about unwanted light on the image than with any other macro lens. It also means that the Master Macro exhibits exceptional contrast and low veiling glare.

With a magnification ratio of 1:1 and a close-focus distance of only 0.35 meters, the Master Macro 100 can magnify objects beyond what a diopter would allow. Super Color Matched to the Master Primes, Ultra Primes, Ultra 16 lenses and Lightweight Zoom LWZ-1, the Master Macro allows cinematographers to create a consistent look on set rather than in post. 

contact info:  
www.arri.com
Zeiss Introduces EF-Mount Lenses

Carl Zeiss has introduced three EF-mount lenses for use with analog and digital EOS SLR cameras: the Distagon T* 3,5/18 ZE, the Distagon T* 2,8/21 ZE and the Distagon T* 2/28 ZE.

The Distagon T* 3,5/18 ZE offers EOS camera users an ultra-wide-angle lens with an extremely wide 99-degree angle of view especially suitable for full-frame sensors. Despite its short focal length, the lens has an extremely compact design compared to other zoom lenses in its category; internal focusing helps reduce its size while delivering extremely precise and smooth focus control. To prevent image aberrations during close-ups, the lens’ floating-elements design individually repositions internal lens groups during focusing.

The Distagon T* 2,8/21 ZE is ideally suited for shooting HD video due to its wide focus rotation, superb image quality and minimal breathing characteristics. The lens’ ability to correct color errors prevents color fringing and unwanted lack of focus that can result from chromatic aberrations, making the lens a perfect choice for contrast-rich scenes and intense lighting angles. The lens’ floating-elements design also guarantees high image performance, from close-ups to infinity.

With an initial aperture opening of 1.2, the Distagon T* 2/28 ZE is among the fastest lenses of its kind in its focal length. Despite its fast aperture and complex retro-focus construction, the lens boasts a compact build, making it highly versatile, and it is ideally suited for shooting HD video due to its wide focus rotation, superb image quality, floating-elements design and minimal breathing characteristics.

All three lenses boast the Zeiss T* anti-reflective coating, resulting in razor-sharp images even under the toughest lighting conditions or with wide aperture settings. The Distagon T* 3,5/18 ZE retails for a suggested price of $1,290, the Distagon T* 2,8/21 ZE for $1,540 and the Distagon T* 2/28 ZE for $1,080.

contact info:  
www.zeiss.com/photo
OptiTek Unveils Optimator

OptiTek has introduced the Optimator, a high-precision instrument for sensor-location checking and adjustment of camera back focus and sensor flange depth. 

Mounting in place of the lens on any single-sensor, PL-mount digital-cinematography camera — such as the Sony F35 and the Red One — the Optimator projects a high-resolution test chart onto the camera’s sensor. When viewed on an instrument-grade monitor, the chart becomes clearest when the lens mount is precisely positioned relative to back focus, and adjustments can be made with the Optimator in place.

The Optimator’s high-resolution optics are capable of resolving in excess of 5,000 lines per inch, which is several times greater than the resolution of any current digital cinema camera. Additionally, the test image covers an area of 34mm, which exceeds the imaging area of a 5K sensor, and because the Optimator’s extremely flat field displays the whole frame accurately, it makes sensor tilt errors easy to spot.

The Optimator’s test image is projected by a white LED backlight with a power supply precisely calibrated to assure identical light intensity on each step. A built-in rechargeable battery and on-board battery charger are provided to power the LED. Lens-mount adapters — precision ground of stainless steel to minimize thermal expansion issues — are also available, making for quick remounting on various systems such as Canon, Panavision and Nikon.

Band Pro Film and Digital is the worldwide distributor of the OptiTek Optimator.

contact info:  
www.bandpro.com
www.optitek.org
Alan Gordon Offers Polaview

Designed specifically for cinematographers, Alan Gordon Enterprises’ Polaview offers a quick and accurate preview of the effects of a polarizing filter without having to use the actual filter.

The small, lightweight, precision-machined tool boasts easy portability and handling. Just as a polarizing filter functions by turning the index point in either direction, the Polaview offers a preview of reduced or eliminated glares and reflections, increases and decreases in contrast, and color enhancement. The Polaview is available for a recommended price of $95.

contact info:  
www.alangordon.com
www.polaview.net
Viewing Glass from the DoP Shop

The DoP Shop, Inc. has released a new line of viewing glasses, including the Solar Viewing Glass, which allows the user to look at the sun without causing eye damage or vision loss; unlike a darkened ND gaffer’s glass, the Solar Viewing Glass is purpose-built for viewing the sun. 

Also available is the B/G Viewing Glass for reviewing foreground subject contrast against blue- and greenscreens. The red glass in the B/G Viewer cuts the wavelengths of key blue and green, rendering blue- and greenscreens as “black” backgrounds visually isolated from the foreground subject.

A Polarizing Glass and Modern Contrast Glass are also available from the DoP Shop. All viewing glasses are supplied with a silent neck cord and pouch.

contact info:  
www.thedopshop.com
Airfloater Lifts Off

Ciné-Qua-Non, a Belgium-based grip company, has introduced the Airfloater, a camera-head support system that allows users to simulate point-of-view and handheld shots.

Developed in collaboration with key grip Koenraad Firlefijn and cinematographer Glynn Speeckaert (pictured), the Airfloater gives the sensation of total freedom of movement without straining the operator’s shoulders and back. Lightweight cameras up to the heaviest configurations can be perfectly balanced on the Airfloater’s durable air cushion, which can be quickly inflated with a small hand pump or deflated to the desired pressure level.

Equipped with Chapman/Whitworth bolt and holes, the Airfloater can mount to a 150mm Arri bowl, a 300mm Mitchell bowl or a Cardellini Head Lock, and it allows 360-degree panning and a tilt range of -18 degrees to +18 degrees. Additionally, the support system can be locked and used as a conventional head.

Measuring approximately 10.6" high by 13.4" wide and long, and weighing approximately 42 pounds, the Airfloater can be quickly exchanged with a conventional head, and the camera similarly mounts to the Airfloater by way of a heavy-duty quick-release baseplate. The Airfloater can also come with an optional custom-built flight case, which features compartments for all of the bases, plates and tools.

contact info:  
www.airfloater.com
ABC Products Gets Tripods Rolling

ABC Products, a MovieTech AG brand, has introduced a transportable tripod roller specially designed for the company’s MiniCrane, Traveller, Speedy and Crane 100 series of lightweight cranes.

The tripod roller is ideal for studio use, allowing position changes of cranes with a gross weight of up to approximately 350 pounds. The rollers attach securely to the legs of the tripod by means of clamps and without the need for any tools. Tripods with or without feet can be used with the roller, and the “drivable subframe” boasts three leveling supports, ensuring quick leveling and a secure and stable footing when panning.

To facilitate transportation, the roller, which weighs approximately 15 pounds, folds to a length of 40.6", a width of 11.8" and a height of 5.9". When unfolded, the roller measures 65" long; the dimensions allow even a fully extended crane tripod to be mounted to the roller.

contact info:  
www.abc-products.de
Digital Vision Updates Product Portfolio

Digital Vision has announced updates for its 2009 Film Master and Phoenix product line. The new tools will introduce new features that significantly simplify the creative process as well as integrate support for third-party applications.

As part of the 2009 update, Digital Vision has announced its support for Interplay, Avid’s popular production asset management system. This feature will enable editors to share entire timelines with colorists, providing an extra level of automation and streamlining the grading process by enabling metadata transfer and versioning management.

Also among the update’s new offerings, a six-vector color-correction application provides fast, accurate and precise color isolation, allowing six simultaneous color-corrections without creating keys. Designed for ease of use and quick setup, this tool also boasts automatic pre-filtering of the key signal, which allows easy isolation of material that has heavy grain structure, noise or compression artifacts.

2009 Update 1 also introduces variable softness on the mask or secondaries. This allows colorists to carry out a pure vortex radius on both sides of a shape, softening the inside and the outside independently for each point.

Expanding its support for Red One workflows, Digital Vision has also announced support for Red Rocket, a hardware accelerator card used to decode and de-bayer R3D media in real time. The Update 1 software release also enables native support of many other digital camera formats, including Arri’s D-21, Vision Research’s Phantom and Silicon Imaging’s SI-2K.

contact info:  
www.digitalvision.se
www.digitalvision.se
Media Technology Employs Baselight Kompressor

FilmLight has introduced the Baselight Kompressor, which allows Baselight color-grading systems to share direct access to media files with Avid systems. Following Kompressor’s availability, Paris, France-based Medialab Technology integrated the solution into its postproduction workflow, enabling the facility’s colorists — using Baselight systems — and editors — using Avid Media Composer workstations — to collaborate easily and finish projects more quickly.

“As a top commercial post house, Medialab has an imperative to complete projects quickly while working at the highest levels of quality and creativity,” says Mark Burton, FilmLight’s European sales manager. “Baselight Kompressor furthers all three of those goals by making color grading an integral part of a true nonlinear workflow. For editors and colorists, this is an exciting and liberating leap forward.”

Medialab Technology currently operates three Baselight systems: a Baselight Transfer for processing digitally acquired dailies, a Baselight HD for ingesting media and preparing projects for final grading, and a Baselight Eight for final grading. The three systems are connected via a 10 Gb network now routed through the Baselight Kompressor, which in turn is linked to an Avid Unity storage device shared by the company’s three Avid Media Composer Nitris DX editing systems.

“Baselight Kompressor allows us to exchange media directly between editing and color-correcting suites,” says Thierry Calvet, technical manager for Medialab Technology. “It is also connected to our 1 Gb facility network, which allows us to exchange files with other equipment in our fleet such as our Flame stations.”

contact info:  
www.filmlight.ltd.uk
www.medialabtechno.com
Final Frame Expands with DCP Services

Final Frame, a New York City-based postproduction service provider, has introduced Digital Cinema Package (DCP) services, providing a complete solution for the encoding, secure-key embedding, encryption, storing, decoding, viewing and packaging of digital-cinema content for delivery to digital cinemas and digital festival screenings.

At the heart of its DCP service, Final Frame has invested in a scalable digital-cinema solution from Dolby including Dolby Secure Content Creator (SCC2000) and Dolby Screen Server (DSS200). The Dolby SCC2000 offers a comprehensive set of tools needed to take a Digital Cinema Distribution Master (DCDM) and quickly produce final 2K or 4K DCPs for distribution to cinemas via satellite, fiber or physical media. The DSS200 is a platform that stores, decodes and delivers content to a digital-cinema projector. All DCPs completed at Final Frame follow the recommended specifications of SMPTE and the Digital Cinema Initiative.

The Dolby SCC2000 and DSS200 fit seamlessly into the existing Final Frame digital-intermediate workflow. The facility’s screening room is equipped with a Barco digital cinema projector, which is designed with a high-end post and digital cinema workflow in mind.

“Our goal is to help studios, independent filmmakers and television producers realize their vision,” says Will Cox, co-founder of Final Frame. “Providing DCP services was a logical next step for us, and enables us to provide our customers with a complete solution of editing, DI, digital cinema playback and viewing, as well as DC packaging to create the final digital distribution files for delivery to theaters, festivals or screening rooms. We selected the Dolby DCP platform because of their long history of technical innovations and proven track record of delivering high quality solutions and support.”

contact info:  
www.finalframepost.com
Visual Data Adds DCP Services

For over 15 years, Burbank, Calif.-based Visual Data Media Services, Inc. has provided integrated, end-to-end postproduction solutions for clients that include studios, production companies, content creators and distribution companies. Recently, Visual Data unveiled its Digital Cinema Package (DCP) services, providing high-quality Digital Cinema Initiative (DCI) compliant movie files. The new services are structured to support existing studio and distribution company customers as well as independent filmmakers and content holders distributing their features and projects for theatrical release or festival screenings.    

In conjunction with Qube, Visual Data delivered its inaugural DCP assignment from Los Angeles-based Maya Entertainment, a production and advisory company specializing in independent films. Maya joined forces with Blockbuster to present the Maya Independent Film Series, which comprised an eight-city theatrical release of eight Latino-themed films. “We have been working with Visual Data for contract fulfillment and other services, and we knew that if they took on the DCP packaging, we’d be in great shape,” says Kristi Alires, Maya’s vice president of Home Entertainment. “We were right. They are diligent, adept and possess all of the technical and creative skills required to deliver these files perfectly. We wanted the festival to be free of any technical issues and to look as great as possible, and Visual Data helped us accomplish that.”

John Trautman, CEO of Visual Data, adds, “We strive to stay ahead of our clients’ needs. When we analyzed the knowledge and skill set required to provide state-of-the-art DCP services, we quickly saw that we had everything needed. Visual Data was already a first-rate source of versioning, editorial, duplication, closed captioning, DVD authoring and encoding. This is a natural next step for our studio, contract fulfillment and independent-film customers, and we were eager to keep our full-service position in place. A DCP master is a great launching point for many other deliveries and enables content owners to move swiftly and accurately. We are ready and able to support that need.”

Online Online Exclusive
contact info:  
www.visualdatainc.com
Alan Gordon Distributes Arri Gear

Alan Gordon Enterprises has attained exclusive U.S. dealership rights to sell and distribute Arri’s line of durable, weather-resistant camera-assistant bags, pouches and belts.

Designed to protect equipment from rain and water as well as dust and dirt, the Arri bags and pouches can accommodate a wide range of cameras and accessories. The belts and pouches also provide a wide range of configurations.

Online Online Exclusive
contact info:  
www.alangordon.com
Pocket Mini Viewfinder from Alan Gordon

Alan Gordon Enterprises has introduced the Pocket Mini 11x Telescoping Director’s Viewfinder for budget-conscious filmmakers. The Pocket Mini includes many of the same features as the previous models in Alan Gordon’s viewfinder line and has been redesigned to meet the specific requirements of modern film and video production.

Weighing only 4.5 ounces, the Pocket Mini covers 16mm and 35mm film, as well as 1/3”, ?” and 1?” video formats. Users can choose from various aspect ratios, and lens focal lengths are clearly marked along the barrel of the viewfinder to enable rapid lens selection.

The Pocket Mini Viewfinder comes equipped with an adjustable eyepiece and rubber eyecup, and sells for a recommended price of $229.50.

Online Online Exclusive
contact info:  
www.alangordon.com
MovieTech Intros U-Bangi Adapter

MovieTech AG has introduced a tripod-adapter set for its U-Bangi. Featuring a Euro-mount clamp, the adapter extends the U-Bangi’s possible applications, making it possible to mount the accessory directly on column extensions or tripods with ball-socket adapters at any time. The central section of the U-Bangi can then be used as a camera carriage with a sliding range of up to 34.3”.

The adapter set can be mounted on all existing MovieTech U-Bangis, and it comes included with the purchase of any new U-Bangi from MovieTech.

Online Online Exclusive
contact info:  
www.movietech.de
MovieTech Updates Magnum Dolly

MovieTech AG’s flagship Magnum Dolly now ships with a completely redesigned system platform, opening up new options for mounting MovieTech’s large range of accessories and making the dolly even more versatile.

With the new platform — which can be used without any need for conversion, even on existing Magnum Dollies — seating arms and offset ball adapters can be mounted securely and directly in a matter of seconds. The redesigned platform measures 29.1” long, 6.7” wide and 1” high and weighs 13.2 pounds. MovieTech also offers an optional platform with a spherical shell insert for various ball adapters in low camera positions.
Online Online Exclusive
contact info:  
www.movietech.de
MovieTech Offers Flexible Platforms

MovieTech AG has extended its complete range of crane dollies to include specially adapted platforms and an optional push bar.

Extending the possible applications of the MT400 crane, the versatile new platform, which boasts a pre-fitted turnstile, enables the mounting of seats, column extensions and other MovieTech accessories. Additionally, the economical platforms introduced for the CD5 and CD6 dollies offer users the ability to use the crane dollies as camera dollies. Enabling a second person to provide additional pushing and pulling force to a dolly move, the new platforms also accommodate the attachment of a second push bar.

The CD5 platform measures 36.6”x27.6” and weighs 32.8 pounds, the CD6 platform measures 39.4”x39” and weighs 43 pounds, and the MT400 platform measures 45.3”x39.4” and weighs 56.9 pounds.

Online Online Exclusive
contact info:  
www.movietech.de
Blu-ray Recording from JVC

JVC Professional Products, a division of JVC U.S.A., has introduced the SR-HD1500 and SR-HD1250 Blu-ray disc and HDD recorders. These standalone Blu-ray recorders feature a built-in hard disk drive for easy duplication and disc authoring without a PC.

With the SR-HD1500 and SR-HD1250, users can record and author professional BDMV (with menu) or BDAV discs. Advanced MPEG-2 and MPEG-4 (H.264) encoding provides support for HD and SD sources, and a built-in format converter can downconvert HD content for recording to a standard DVD. The units support BD-R or BD-RE (erasable) Blu-ray discs.

The decks also offer a variety of digital inputs, including USB and i.Link (IEEE-1394) ports and an SDHC card slot, for wide compatibility with today’s digital SD and HD camcorders. Composite and S-Video inputs provide interfaces for legacy analog devices as well.

Users can transfer videos from a camcorder or other device to the internal hard drive. Then, using a simple, menu-driven interface, edited clips can be assembled into a completed project and recorded to Blu-ray discs. Discs can also be authored for auto-start or repeat playback, which provide ideal options for presentations, kiosks and point-of-sale displays.

Unprotected DVD and Blu-ray discs are easily duplicated as well. Simply insert the original disc into the drive, then specify how many copies to make. Disc content is temporarily stored to the hard drive before being burned to the blank discs.

Both models include component and HDMI outputs for flexible monitoring options. The SR-HD1500 features a 500 GB hard drive, plus an RS-232C terminal and support for .MOV files (for Apple Final Cut Pro), which makes it compatible with footage recorded with JVC GY-HM100 and GY-HM700 ProHD camcorders in the SP (19/25 Mbps) mode. The SR-HD1250 has a 250 GB hard drive, but does not include RS-232C connectivity or .MOV support.

The SR-HD1500 has a recommended price of $2,550 and the SR-HD1250 has a recommended price of $1,995.

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Super-Slim Monitor from JVC

JVC Professional Products, a division of JVC U.S.A., has introduced the GD-32X1 32” super-slim flat-panel HD monitor. Just ?” thick at its thinnest point and weighing only 12.5 pounds, the monitor produces vivid images with faithful color reproduction while using fewer materials to minimize its impact on the environment.

Even with its thin, lightweight form factor, the 16:9 monitor is durable enough to be mounted on the wall or hung from the ceiling. Additionally, JVC has designed an original LED edge-lighting system for the GD-32X1 that delivers uniform brightness and light efficiency with a 178-degree viewing angle. It features full 1920x1080 resolution with a 4,000:1 contrast ratio, and provides 90 percent coverage of Adobe RGB’s wide color space.

With its Intelligent Color Management, the GD-32X1’s picture engine analyzes color distribution in each frame of the input signal in real time for precise processing that results in images with more realistic colors and textures. High-speed Intelligent Gamma Adjustment improves contrast, particularly in scenes with light and dark areas. Intelligent Clear 3D Noise Reduction detects and reduces picture noise without motion blur, while 100Hz/120Hz Clear Motion Drive III technology uses a 3-D real-time noise reduction system to significantly reduce motion blur.

The GD-32X1 also offers a variety of inputs, including analog RGB, component/composite and two HDMI ports. Plus, it includes SD/SDHC card and USB slots for viewing photos, as well as RS-232C connectivity and a stereo 3.5mm mini-jack. An optional speaker unit (TS-C32SPG) is also available.

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JVC Unveils 42

JVC Professional Products, a division of JVC U.S.A., has introduced the GD-42X1 LCD monitor, a 42” wide-gamut HD monitor offering native HD 1920x1080 pixel resolution with a 50,000:1 dynamic contrast ratio. Its picture engine accurately reproduces natural colors and clear pictures with an original algorithm that analyzes color distribution in each frame of the input signal.

With its preset professional color profiles, the GD-42X1 is ideal for a wide range of critical monitoring applications. For more exact image settings, the GD-42X1 also features 52 on-screen image-adjustment properties, which allow fine-tuning of color, tint, gamma and more. In addition, each unit’s gamma curve is adjusted prior to shipping to ensure extremely precise grayscale characteristics.

Digital still photographs taken using sRGB or Adobe RGB color space are faithfully reproduced on the GD-42X1 thanks to the monitor’s wide color gamut and Adobe RGB compatibility. A 12-bit per color processor upconverts 8-bit PC or video signals into 12-bit deep color signals to ensure smoother gradation, regardless of the original source. Plus, built-in noise reduction for moving and still images detects picture noise in each of the 16 frequency areas in real time, while a high-precision interpolation algorithm significantly reduces motion blur in moving pictures.

Housed in an attractive black and silver cabinet with an ultra-slim profile and removable stereo speaker, the GD-42X1 features a swiveling stand with three-step height adjustment for tabletop use, as well as VESA holes for wall mounting. There are three HDMI inputs, plus an RGB input for VGA, component, and composite sources. The monitor also offers RS-232C control, and monitor calibration (gamma and white balance) software is available.

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Artbeats Launches FootageHub

Providing filmmakers with quick and easy access to a wider variety of 100-percent royalty-free stock footage, Artbeats has launched FootageHub, an extension of the Artbeats library that allows customers to search from a large database of clips derived from over 50 different brands, 20 of which are exclusive to FootageHub. With thousands of diverse and hard-to-acquire shots, FootageHub immediately broadens stock footage opportunities for any project or budget range.

“When it comes to stock footage, professionals are looking for the fastest, easiest and most cost-effective solution,” says Phil Bates, founder and president of Artbeats. “No one wants to take the time to search several different footage sites just to find a single clip. This is exactly why Artbeats created FootageHub. Whether it is high-resolution Red footage, medical animations or unique and exotic locations, FootageHub provides the breadth that only multiple brands can bring. Through this concept, customers can access a vast resource of downloadable royalty-free clips in one simple, customized search.”

An actively growing resource, FootageHub currently includes footage from many notable content providers, including Rubberball, A Luna Blue, RocketClips, Steve Gibby and 3D4Medical. The rapid expansion of the FootageHub service allows Artbeats to increase its stock-footage library by 10 times in a single month; FootageHub additionally serves as a platform for professional independent producers to distribute their footage libraries, providing an opportunity to stay competitive with large brand names.

All full-resolution footage purchased from Artbeats and Artbeats FootageHub is licensed for royalty-free broadcast use worldwide.

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www.artbeats.com
Footage Search Opens Portals

Footage Search, Inc. has released newly designed portals for the company’s OceanFootage and NatureFootage stock-footage collections, as well as streamlined means of licensing stock footage. The OceanFootage and NatureFootage Web sites are loaded with tools to aid stock-footage researchers and purchasers with research, viewing and licensing.

Among the new portals’ features are greatly expanded stock-footage collections. With a provider network now exceeding 250, including many of the world’s top natural-history filmmakers, Footage Search incorporates a line of premium HD footage and Red One footage in both its OceanFootage and NatureFootage collections.

Registered media professionals now have access to immediate SD-quality watermarked preview downloads. Thumbnail video search results offer a mouse-over video-preview feature including double- and triple-speed fast-forward. Video subjects may also be found via new browse categories and collection highlights. Additionally, redesigned Clipbin and Cart footage-management features allow clients to search, store and forward potential selections to associates via email, and a Pricing Calculator enables quick and easy viewing of license rates based on source material, project type and delivery needs.

A newly automated orderware system allows clients to set their project license terms and delivery format and pay online, speeding the preparation and release of SD and HD content. 

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www.footagesearch.com