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February 2010
Sony Updates Vegas Pro Online
Sony Creative Software Inc. has announced Vegas Pro 9.0c software, the latest update to the company’s award-winning nonlinear HD video and audio editing application.
Posterboy is reDI to Roll Online
Toronto-based post company Posterboy Inc. has purchased a Baselight Transfer (BLT) system from FilmLight.
Red Rentals from TCS Online
Technological Cinevideo Services, Inc., a Manhattan-based rental, sales and service house, now rents its Red One camera packages with Element Technica gear, including the Breakout Box, Viewfinder mount, V-Dock and Mantis.

Element Technica Supports Red One Online
Element Technica has expanded its Red One EVF line with a family of precision accessories that work seamlessly together to support the camera’s electronic viewfinder.
Artemis Stabilizes Red One Online
Sachtler, a Vitec Group brand, has introduced the Artemis EFP HD SE camera-stabilizing system, designed to work with the Red One camera. 
Petrol Covers Red  Online
Petrol, a Vitec Group brand, has introduced the PRC-RED-1 Raincover especially designed to provide environmental protection for a fully equipped Red One camera. 
Alan Gordon Offers Redbyte Decimator Online
Alan Gordon Enterprises has introduced the Redbyte Decimator HD-SDI to SD down converter, which converts HD signals into various file formats and aspect ratios. 
R2E Cable for Red One Online
CoolCameraGear.com, a one-stop shop for tools of the cinema trade, offers the R2E cable for the Red One camera.

Media Distributors Integrates Red Rocket  Online
Media Distributors has been named an official systems integrator for Red Rocket, the real-time 4K playback and processing card from Red Digital Cinema. 
Digital Vision Supports Red Rocket Online
Digital Vision has announced its support for the Red Rocket real-time 4K playback card, allowing facilities around the world to work on Red projects within the Nucoda product line at a fraction of the time previously required.

Assimilate Ignites Rocket Fuel Bundle Online
Assimilate has introduced its Rocket Fuel bundle, which includes the necessary tools for real-time ingest, conform, output and delivery of Red One 4K digital-camera material. 
JMR Stores Red Data
JMR Electronics, Inc. has launched the BlueStor Red Video Storage Server, which boasts a transfer rate of over 1.4 GB/s and is ideal for recording and streaming digital video imagery captured on a Red One digital camera or used in complex SD, HD, 2K and 4K postproduction workflows.

Fast Forward Video Launches Micron Recorder
Fast Forward Video (FFV) has announced the release of its Micron HD digital video recorder (DVR), a powerful, cost-effective solution for recording and playing-out broadcast-quality digital SD and HD video.
IDX Redefines Red Camera Power
IDX System Technology Inc. has unveiled the Redefined Elite battery system for powering the Red One camera. 
Osram, Mole Introduce MoleLED
Mole Richardson and Osram have launched the MoleLED film-friendly LED lighting solution.
Sony Updates HDCam-SR
Sony Electronics has unveiled the next generation of its HDCam-SR production technology, including the SRW-9000 HDCam-SR camcorder, which features a “future-proof” upgrade path to 35mm imaging and file-based production. 
Element Technica Goes 3-D with Quasar
Element Technica, whose series of Technica 3D Rigs are designed to precisely position a pair of cameras to achieve realistic stereoscopic digital video for broadcast and cinema applications, has begun delivering its Quasar 3D Rigs to owner/operators and rental houses.
Petrol Bags Red One
Petrol, a Vitec Group brand, has introduced the Petrol Red Bag (PRB-15), an innovative camera carrier specifically designed to transport and protect the Red One digital camera.
Chrosziel Accessorizes Red
Chrosziel now offers three matteboxes specially designed for the Red One camera, as well as a support system with a bridge plate and 19mm rods.
AJA Releases Free iPhone App
AJA Video Systems has released the AJA DataCalc iPhone application, a fast and simple storage-requirement calculator for video and audio professionals.
Filmworkers Adds Digigog Services
Filmworkers has launched the Digigog digital-media processing service at its Chicago and Dallas locations. 

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Sony Updates Vegas Pro

Sony Creative Software Inc. has announced Vegas Pro 9.0c software, the latest update to the company’s award-winning nonlinear HD video and audio editing application.

Vegas Pro 9.0c features Sony XDCam EX MP4 file rendering and the ability to Smart Render MPEG-2 video across different containers for faster, more seamless editing. New audio features include exclusive élastique Pro time stretching and Import Stereo Audio as Dual Mono. Additional support for media filmed with the Red One video camera streamlines file access and efficiency for editors working with footage up to 4K resolution. The software also includes additional car support for capture and output via SDI, HD-SDI and HDMI.

“This Vegas Pro update delivers a stronger, more flexible NLE to better equip video-editing professionals with the necessary tools to create exceptional results in an evolving digital-editing landscape,” says Dave Chaimson, vice president of global marketing for Sony Creative Software. “With significant additions to XDCam rendering functionality, expanded Red One media support and all-new high-quality audio tools, Vegas Pro 9.0c software nimbly handles the challenging and diverse needs of today’s editors.”

The Vegas Pro 9.0c software update is free for existing registered users and is available for download online. Vegas Pro 9 software is available for a suggested price of $699.99. 

Online Online Exclusive
contact info:  
www.sonycreativesoftware.com
Posterboy is reDI to Roll

Toronto-based post company Posterboy Inc. has purchased a Baselight Transfer (BLT) system from FilmLight. The cost effective, digital telecine tool enables seamless integration of RedCode RAW source material into standard non-linear editing, grading and finishing workflows, and it can be used near set or within a post environment.

Posterboy has also introduced a digital workflow management service called reDI-to-Roll. The purpose-built 28’ mobile post house enables instant review of footage, and it can create color-graded dailies as well as transcode for Avid or Final Cut Pro offline editing. The BLT is at the center of the unit, which also includes an Avid and Final Cut Pro system for on-site editorial work. With a temperature-controlled environment and onboard generators, the unit can travel to any location in any weather.

“I looked at a number of systems for on-set data management and Baselight Transfer seemed the only one to have the whole package,” says Michael Forsey, post supervisor and president of Posterboy. “We need to be able to review in real time and transcode quickly for Avid or FCP and have those files immediately available for offline editing. We also need a color-management system that gives the clients confidence, and with the integration of Truelight we can ensure that.”

Online Online Exclusive
contact info:  
www.filmlight.ltd.uk
Red Rentals from TCS

Technological Cinevideo Services, Inc., a Manhattan-based rental, sales and service house, now rents its Red One camera packages with Element Technica gear, including the Breakout Box, Viewfinder mount, V-Dock and Mantis.

Technological Cinevideo Services, Inc., a Manhattan-based rental, sales and service house, now rents its Red One camera packages with Element Technica gear, including the Breakout Box, Viewfinder mount, V-Dock and Mantis.

The V-Dock is a safe and sure precision-mounting system that eliminates mounting with Velcro or gaffer’s tape. It combines a V-lock and S-clamp to facilitate the Red setup. The V-Dock is also an integral part of the Element Technica Red Drive Shock Mount system, which expands the range of acceptable shooting conditions by eliminating dropped frames in many situations. Mantis is an innovative shoulder-mounting solution for film and digital. Oliver Schietinger, TCS’s Chief Technology Officer, notes, “When doing handheld, the Mantis allows for a quick conversion from studio mode and can be adapted to any user’s preferences.

“Element Technica’s user-friendly accessories make prep easier for both rental house technicians and end users,” Schietinger continues. “Element Technica equipment is thoughtfully designed and reliably built. And ET is usually the first with solutions to problems that would otherwise make the camera unusable. Accessories such as the Shock Mount [ISO-Plate], Breakout Box, Viewfinder Bracket and more have helped many a tightly scheduled and challenging production go smoothly.”

Online Online Exclusive
contact info:  
www.elementtechnica.com
www.tcsfilm.com
Element Technica Supports Red One

Element Technica has expanded its Red One EVF line with a family of precision accessories that work seamlessly together to support the camera’s electronic viewfinder.

The EVF Deluxe Mounting System provides a secure interface capable of attaching to a variety of points on the camera body or even to other accessories, allowing 4” of vertical and 6” of telescoping adjustment along the viewfinder axis. The system’s rugged, smooth-turning clutch lets the viewfinder be tilted to almost any angle; once positioned, the cine-style clutch holds the EVF securely in place, regardless of the shooting conditions. What’s more, it can be converted from left to right eye or moved to the right side of the camera in seconds. All adjustments, including clutch drag, are tool free for quick setup even on the go.

The EVF Mount Extension works with the EVF Mounting System to add professional grade compatibility with a geared head and dolly. Attached to the system, this handy accessory lengthens the distance between the clutch and the viewfinder, letting the EVF maintain a constant tilt angle even during extreme tilting of the camera system. Installation is fast and tool free.

Element Technica’s EVF Eyepiece Leveler integrates elegantly with the EVF Mount Extension (which is also compatible with Arri’s viewfinder leveling rod). The Leveler’s final telescoping stage is made of top-grade stainless steel to resist bending.

Finally, the easy-to-install EVF Button Guard protects against accidental operation of the Red One viewfinder’s buttons and rotary dial without hampering their regular use.

All of Element Technica’s Red One EVF accessories are precision machined from aircraft-grade aluminum and are made in the USA. 

Online Online Exclusive
contact info:  
www.elementtechnica.com
Artemis Stabilizes Red One

Sachtler, a Vitec Group brand, has introduced the Artemis EFP HD SE camera-stabilizing system, designed to work with the Red One camera. 

Two key features of the system are the 15-amp high-capacity camera power supply and new Hot Swap technology. In addition to the standard 3-pin camera out, 3-pin Aux power and 4-pin focus power-out sockets, there is an extra camera power-out, using the same LEMO 2B 6-pin socket and wiring scheme as the Red One. The HiCap high-capacity power supply allows the Artemis EFP HD SE to handle 14 volts, 15 amps at 210 watts without any problem.

When the Artemis EFP HD SE system is used with 14 volts and up to 11 amps/154 watts, the voltage drop is less than four percent; when shooting with the Red One camera using the Red Brick 140 watt-hours battery pack, the operator is guaranteed maximum run time and optimum battery capacity. The voltage drop in this combination is less than four percent. Plus, battery-capacity data is displayed in the eyepiece of the Red One when a Red Brick or other battery supporting capacity data is used.

Due to the modularity of the Artemis EFP HD SE, the use of the 5’3” super post with an HD camera-stabilizer system is no longer a problem, allowing unusual perspectives to be achieved. The patented “dual dynamic balance” of Artemis systems allows mounting of two batteries at four independently adjustable positions for maximum battery power and perfect dynamic balance.

The Artemis EFP HD SE’s Hot Swap technology, made by Anton/Bauer, lets users change the batteries on the rig without rebooting the camera. The Anton/Bauer circuit ensures easy and problem-free hot-swap procedures, is friendly to the batteries, and saves valuable production time.

The Artemis EFP HD SE supports HD and SDI video processing up to 4.5 GHz, and the HQ HD SDI video line allows the use of the award-winning Transvideo CineMonitor HD 6” SBL. The Act 2 vest and Act 2 spring arm round out the modular Artemis EFP HD SE system.

Online Online Exclusive
contact info:  
www.sachtler.us
Petrol Covers Red

Petrol, a Vitec Group brand, has introduced the PRC-RED-1 Raincover especially designed to provide environmental protection for a fully equipped Red One camera. 

Comprised extensively of clear polyurethane for maximum visibility, the transparent Raincover offers quick and easy access to all camera features. The Raincover is also roomy enough for users to work with the camera’s onboard high-resolution LCD monitor.

Petrol’s smart one-piece design makes the PRC-RED-1 easy to install while shooting. The rigid front hood comes outfitted with a hot-shoe connector that anchors and stabilizes the Raincover on the camera, and the practical viewfinder protector takes just seconds to attach thanks to a dependable waterproof zipper. The Raincover’s front section, constructed of waterproof polypropylene board, covers and protects the lens and mattebox system. Plus, atop the hood, a smartly designed 6” ABS track allows for the addition of an on-camera light or wireless receiver.

The PRC-RED-1 has a suggested price of $199. 

Online Online Exclusive
contact info:  
www.petrolbags.com
Alan Gordon Offers Redbyte Decimator

Alan Gordon Enterprises has introduced the Redbyte Decimator HD-SDI to SD down converter, which converts HD signals into various file formats and aspect ratios. There is no need for an HD monitor to preview recently photographed HD footage; with the Decimator, shots can be viewed on an SD monitor.

The Redbyte Decimator can be purchased through Alan Gordon’s Web site for $435.00. 
Online Online Exclusive
contact info:  
www.alangordon.com
R2E Cable for Red One

CoolCameraGear.com, a one-stop shop for tools of the cinema trade, offers the R2E cable for the Red One camera. The cable adds standard eSATA to the array of Red-Drive interface options, in turn offering users more ways to make multiple, simultaneous copies of Red footage to different destinations.

“The ability to offload footage over eSATA has been on the wish list of Red users since the camera’s inception, and we are thrilled to make that wish come true,” says Raffi Kryszek, founder of CoolCameraGear.com. The R2E LEMO to eSATA cable lifts the burden off of a computer’s FireWire 800, FireWire 400 or USB buss.

CoolCameraGear.com specializes in accessories for digital filmmaking. The company has partnered with Birns and Sawyer to be an authorized R2E cable reseller.

Online Online Exclusive
contact info:  
www.coolcameragear.com
www.birnsandsawyer.com
Media Distributors Integrates Red Rocket

Media Distributors has been named an official systems integrator for Red Rocket, the real-time 4K playback and processing card from Red Digital Cinema. Media Distributors also recently introduced its Archive Station R-Series Remote Digital Lab for Red workflows, which includes the Line 1 Media Fusion Drive, a hybrid storage system that includes LTO-4 and Blu-ray drives for media archive, creating an efficient solution for immediate backup of tapeless content for productions.

Media Distributors will integrate both R-Series products and other Red Rocket solutions for customers working with Red camera systems. The Fusion Drive is currently the industry’s most cost-effective tapeless workflow solution, enabling video postproduction professionals to deliver high-end HD video editing and effects in an affordable system.

“We have worked closely with customers to understand how Red camera output can be more efficiently integrated into production and postproduction jobs, and we look forward to furthering the Red market as an official systems integrator,” says Tony Cahill, chief engineer of Media Distributors.

Fusion Drive is a new addition to Media Distributors’ Archive Station storage solution, offering a fully integrated single road case system for both on-set and in-house use and incorporating the company’s Constellation VCM asset-management system. The fully configurable system can be customized to a wide range of workflow requirements. Furthermore, Fusion Drive’s one-button power-up solution provides production companies with secure backup and rapid access to archived video content. The system includes four 1 TB hard drives and enables backup to either Blu-ray disc or LTO-4 media; it also provides for cloning on additional portable hard drives.

Fusion Drive options include dual quad-core Apple Mac Pro with Final Cut Studio 7 and AJA Kona 3 video-capture card and dual LTO-4 simultaneous backup. The system supports both Windows and Mac OS environments. Fusion Drive captures all metadata included with video files, maintains linking of project files from online to archive medium, and offers full asset management support for all archived content.

Online Online Exclusive
contact info:  
www.mediadistributors.com
Digital Vision Supports Red Rocket

Digital Vision has announced its support for the Red Rocket real-time 4K playback card, allowing facilities around the world to work on Red projects within the Nucoda product line at a fraction of the time previously required.

Bruno Munger, product manager for Digital Vision’s Film Master, notes, “We are very excited to announce our support for Red Rocket, which takes digital video capture to the next level. Digital Vision is a state-of-the-art technology provider that pushes the creative boundaries and provides ROI in both production and post environments.”

Online Online Exclusive
contact info:  
www.digitalvision.se
Assimilate Ignites Rocket Fuel Bundle

Assimilate has introduced its Rocket Fuel bundle, which includes the necessary tools for real-time ingest, conform, output and delivery of Red One 4K digital-camera material. Created specifically for cost-sensitive indies, filmmakers and postproduction facilities, the Rocket Fuel bundle comprises an Nvidia Quadro FX3800 SDI board, Red’s Red Rocket card and Assimilate’s Scratch Cine 4K post solution.

The Rocket Fuel bundle gives anyone working with Red 4K material on a PC-based workstation the following functionality: tape dailies in a variety of formats, from NTSC and PAL up to dual-link 2048x1080; screening in virtually all formats; accelerated data output to QuickTime and file sequences; quality check for on-set and post dailies; R3D conform from editorial EDLs; pan/scan and output in real time with animated curves; a low-cost method of getting timelines set up for migrating to Scratch Finish for final mastering and delivery; and a low-cost method of getting timelines set up and rendered for migrating to other DI systems.

Jeff Edson, CEO of Assimilate, says, “The big news here is that with Rocket Fuel, we’ve created a highly affordable option for boosting the performance of 4K that didn’t exist until today. Aggressively priced at half the cost of Scratch Cine alone, it’s the first product bundle for Red Rocket that meets the needs of the PC user. When considering the overall cost of a 4K workflow, this is a huge win for all filmmakers and post houses who can now afford the essential tools to push the performance of their 4K tools to the outer limits and achieve high quality output comparable to 35mm.”

Lucas Wilson, Assimilate’s director of business development, adds, “We’re out in the field every day, working side by side or over the phone with users to ensure their 4K workflows are optimized and running smoothly. If they’re not yet working in 4K, the Rocket Fuel bundle is a nice incentive to move to a powerful 4K workflow, create amazing imagery and stay competitive in the marketplace.”

Online Online Exclusive
contact info:  
www.assimilateinc.com
JMR Stores Red Data

JMR Electronics, Inc. has launched the BlueStor Red Video Storage Server, which boasts a transfer rate of over 1.4 GB/s and is ideal for recording and streaming digital video imagery captured on a Red One digital camera or used in complex SD, HD, 2K and 4K postproduction workflows.

The 4U rack-mount 16-bay RAID system offers extremely high performance, robust reliability and a wide variety of ingest and output features, making it ideal for both postproduction, streaming and DVR/DVTR replacement editing applications. The BlueStor Red also features dual quad-core processors; dual 3 Gb/s internal SAS expanders; dual PCIe RAID controllers; redundant hot-swap power supplies and fans; a 19-in-1 card reader; Blu-ray writer; an Nvidia Quadro FX5600 SDI graphics card;
24 GB of DDR3 ECC memory; and USB, FireWire, dual GigE and an E-SATA storage port. The system can scale up to 32 TB using the latest generation 2 TB disk drives.

JMR’s affordable and fault-tolerant storage solutions are based on the company’s PeSAN (PCIe Storage Attached Network) technology. The company’s 16-bay BlueStor PeSAN RAID systems were developed to be the ultimate in high-performance Direct Attached Storage or Network Attached Storage for a wide range of video applications, including content creation, video editing and 2K/4K digital-intermediate applications requiring extremely high sustained throughput and reliability. For collaborative or multi-stream SD/HD and 2K/4K DI workflows requiring even higher performance and scalable storage, BlueStor PeSAN RAIDs can achieve up to 4,000 MB/s and be expanded to over 4,000 TB using the current JMR PeSAN technology.

contact info:  
www.jmr.com
Fast Forward Video Launches Micron Recorder

Fast Forward Video (FFV) has announced the release of its Micron HD digital video recorder (DVR), a powerful, cost-effective solution for recording and playing-out broadcast-quality digital SD and HD video. The Micron HD offers many of the features of FFV’s Omega HD DVR in a single rack unit and at a price point specifically targeted to today’s most budget-conscious broadcast-grade operations.

“The Micron HD is a direct response to many of our customers who requested an inexpensive entry-level HD DVR that could still measure up to the superb picture quality of the Omega HD,” says Harry Glass, vice president of sales for FFV. “The single-channel Micron HD is an ideal solution for broadcasters seeking to migrate to HD operations at a low cost per channel while maintaining SD capabilities.”

The Micron HD utilizes high-quality JPEG2000 compression at speeds up to
100 Mb/s, making it an excellent replacement for SD-only DVRs and analog tape decks. It offers up to five hours of record time, and its removable non-proprietary 2.5" SATA drive is fully compatible with FFV’s Elite HD camera-mounted DVR. Users can record, play and store multiple SD and HD video files, and with a simple machine controller, users can access a larger set of functions and command multiple units with one keystroke.

The suggested retail price of the Micron HD DVR is $4,995. 

contact info:  
www.ffv.com
IDX Redefines Red Camera Power

IDX System Technology Inc. has unveiled the Redefined Elite battery system for powering the Red One camera. The Redefined solution consists of two power packages centered on Elite batteries along with the sleek EL-BAPIDXA mounting plate, which is customized with V-mount and Lemo technology.

Redefined Elite is a 136 watt-hour high-capacity V-mount battery system with the unique IDX twin power-cartridge construction as well as multiple safety and protection features. In addition to award-winning architecture, the Redefined solution offers the exclusive Elite Smart Battery mode, which quickly and easily activates the protocol data for tighter integration with the Red One system. V-mount battery plate EL-BAPIDXA — which was crafted by Element Technica in partnership with IDX — enables operators to view live battery-life data by percentage in the Red One viewfinder. When the batteries are drained, new power-cartridge pairs can be inserted into the original housing in less than 30 seconds.

IDX Elite batteries are in full compliance with the 2009 DOT and IATA Dangerous Goods Regulations, meaning they can be carried aboard all national and international flights. Professionals also have the option of either using the high-performance quad charger VL-4S or dual charger/AC adapter VL-2SPLUS. Additional variations of the mounting plate are available and can be purchased separately from Element Technica.

contact info:  
www.elementtechnica.com
www.idxtek.com
Osram, Mole Introduce MoleLED

Mole Richardson and Osram have launched the MoleLED film-friendly LED lighting solution. The MoleLED system unites a sophisticated fixture designed by Mole Richardson with Osram’s advanced remote-phosphor LED technology.

Touting 3200°K and 5600°K color, the 50-watt MoleLED fixture offers an alternative solution for fluorescent fixtures up to 110 watts or tungsten solutions up to 300 watts. MoleLED fixtures have a rated life of over 25,000 hours and will operate on everything from a 12-volt car battery or 14.4-volt Anton/Bauer or IDX V-mount battery to a 24-volt camera battery or any DC source up to 50 volts. The MoleLED was designed with both local and remote DMX dimming, and the fixtures can be dimmed down to 10 percent without any shift in color temperature.

Each MoleLED fixture consists of 12 Osram Kreios LED metal core circuit boards; the 12 boards each contain 20 high-output blue LEDs topped with a remote-phosphor dome, for a total of 240 individual sources. The phosphor domes, an Osram proprietary design, are blue-light activated to produce light in two exact color temperatures, tungsten and daylight. Osram’s remote-phosphor technology offers a single semiconductor system leading to consistent temperature behavior, allowing the module to easily achieve a CRI greater than 90. Spectral characteristics are simple to adjust with remote phosphors, and the technology further ensures light and color output stability over time.

“Remote-phosphor technology allows the MoleLED fixture to provide tungsten and daylight white light that parallels both the spectral sensitivity curves of film and the visible spectrum, or what the eye sees,” says Leslie Trudeau, Osram Sylvania NAFTA business unit manager for entertainment. “This is one of the many benefits over LED mixing.” Mike Parker, CEO of Mole Richardson and an ASC associate member, adds, “Unlike existing LED fixtures, the MoleLED blends these multiple sources into one soft light source. This single-source approach renders the light more attractive to the talent and more familiar to the technicians.”

Built rugged and with a low profile and mobile features, MoleLEDs are ideally suited for all set-lighting needs. The fixtures also feature multiple rigging points and mounting options, and Mole Richardson offers a wide range of standard accessories, including barn doors, louvers and gel frames.

contact info:  
www.sylvania.com
www.mole.com
Sony Updates HDCam-SR

Sony Electronics has unveiled the next generation of its HDCam-SR production technology, including the SRW-9000 HDCam-SR camcorder, which features a “future-proof” upgrade path to 35mm imaging and file-based production. Sony has also announced SR memory solid-state media and more cost-effective BCT-SR series tape pricing.

“HDCam-SR technology now meets the current and future needs of high-end cinematic and TV broadcast production,” says Rob Willox, director of Sony Electronics’ content-creation group. “SR is already file based and can support data recording in resolutions up to 4K as DPX today. The benefits of non-linear acquisition are now a production requirement. The addition of solid-state media enhances the format’s inherent file-based design and brings SR’s proven quality to an even wider audience.”
The SRW-9000 camcorder combines the SR format’s image quality with the versatility of a one-piece camcorder. The full HD (1920x1080) resolution camcorder uses 2⁄3" CCDs with a 14-bit A/D converter and digital signal processing to capture up to 1080/60p images with a high level of detail. Furthermore, recognizing the market’s requirement for a 35mm “B” camera complement to its high-end F35, Sony has unveiled an optional upgrade path for the SRW-9000 to a 35mm imager and PL mount to increase the camcorder’s flexibility and protect a user’s investment.

The latest HDCam-SR compression is SR Lite, a 220 Mb/s data rate codec based on the open MPEG-4 SStP (Simple Studio Profile); SR Lite will be supported as an MXF-wrapped file to help ensure high picture quality while enabling almost real-time exchange over a GB Ethernet connection. SR Lite is designed to provide more efficiency and flexibility for SStP file-based production, using an open codec that is ideal for high-end cinematic and broadcast production. Because the system is backwards compatible, content recorded on HDCam tape can also be integrated into the MXF SStP file-based operation.

Sony has also announced the next version of its popular SRW recorder, the SRW-5800/2. The updated deck will support MXF file transfer and the 220 Mb/s data rate as well as the ability to record and play back 4:4:4 content at 2X real time. These capabilities will also be available to existing SRW-5800 owners through optional hardware upgrades.

The SR solid-state memory cards will deliver rapid transfer rates of more than 5 Gb/s and storage capacity of up to 1TB. This new SR memory technology is designed to be the ideal media for future high-end production, with native acquisition capabilities for applications such as 3-D 1080p and higher resolutions up to 4K. Sony also plans to deliver an upgrade to SR memory on the existing SRW-9000 camcorder, along with a memory adapter for the F35 and F23.

“Our enhancements to the SR technology extend far beyond product announcements,” Willox stresses. “We’re reassuring customers that what they buy not only works now, but also supports future needs and delivers a return on their investment.”

The SRW-9000 camcorder is currently available through Band Pro Film & Digital.

contact info:  
www.bandpro.com
http://pro.sony.com
Element Technica Goes 3-D with Quasar

Element Technica, whose series of Technica 3D Rigs are designed to precisely position a pair of cameras to achieve realistic stereoscopic digital video for broadcast and cinema applications, has begun delivering its Quasar 3D Rigs to owner/operators and rental houses.

The Quasar is designed to accommodate full-size digital-cinema cameras like the Sony F23 and F35, Red One, and Panavision Genesis, as well as full-body box-type digital broadcast cameras like the Sony F950 and 1500, Philips LDK and more. Regardless of the cameras utilized, the Quasar’s precision and refinement make it an ideal platform for matching zoom or prime lenses to accommodate any shooting style or format.

The Technica 3D Series provides smartly engineered 3-D systems that are lighter weight and less costly than previous 3-D rigs, making 3-D acquisition easy for traditional 2-D production crews. Complete camera/lens installation and alignment can be completed in less than 15 minutes with nothing more than a set of Allen wrenches and a mirror gauge. Wayne Miller, president of Action 3D Productions, chose the Quasar 3D Rigs to capture the Dave Matthews Band concert at the Austin City Limits Festival, Ben Harper at the Mile High Music Festival, and Gogo Bordello at the All Points West Music Festival. “The functionality of the Technica 3D Rigs is such that when you’re out on location shooting, they are quick to set up and calibrate,” he says. “Once aligned, they hold that alignment very well.”

“Now, for the first time, the very best 3-D acquisition equipment can be rented much like a traditional camera package,” says Stephen Pizzo, co-founder of Element Technica. “Combine that with the ability to choose your own crew as well as your favorite post facility, and you gain greater creative control over the entire 3-D process.”

Technica 3D systems will soon be available in three different sizes to accommodate a variety of cameras. In addition to the largest system, Quasar, the mid-sized Pulsar mounts box-style digital-cinema cameras such as the Red Scarlet, Red Epic and Silicon Imaging SI-2K. The ultra-small Neutron is designed for tiny 2⁄3"- or 1⁄3"-imager cameras supporting C-mount lenses, such as the SI-2K Mini and the Iconix HD-RH1. All three Technica 3D Rig systems can convert from parallel to beamsplitter configuration and back.

Element Technica has also developed a series of intuitive hardware/software tools to automate stereo calculation. These tools will be available as add-on modules for the core 3D Rig systems to enable users to intuitively control how much or how little the subject comes off of the screen without requiring complex interocular and convergence calculation techniques. Interocular, convergence, zoom, focus and iris control can all be coordinated through Element Technica’s Stereo Assist feature; Technica 3D Rig users can also choose to integrate Preston motors with the system via ports and adapters.

Element Technica is coordinating one-day operator training classes geared toward camera assistants through Keslow Camera and Offhollywood.

contact info:  
www.elementtechnica.com
www.technica3d.com
www.keslowcamera.com
www.offhollywoodny.com
Petrol Bags Red One

Petrol, a Vitec Group brand, has introduced the Petrol Red Bag (PRB-15), an innovative camera carrier specifically designed to transport and protect the Red One digital camera.

The Red Bag’s dual-directional upside-down zippers open smoothly for quick and easy access to the smartly designed interior, where a removable upper tray with detachable dividers provides the perfect place to stash the Red One’s essential accessories. Rugged nylon handgrips on either side of the tray allow for easy removal and carrying. Underneath, the Red One fits comfortably in the bag’s lower padded compartment. When a panel is removed from the upper accessory tray, the camera can be stored without disturbing the viewfinder. An adjustable nylon strap holds the camera firmly and safely in place, and four detachable padded dividers help secure the compartment’s contents and form pockets for additional storage.

The PRB-15 comes equipped with a separate fabric sleeve to hold the Red One’s steel support rods. With the rods inside, the sleeve stores neatly against the lower chamber’s middle divider. An external envelope-style pocket keeps important documents close at hand. Additional features include an internal envelope-style pocket of clear plastic mesh, Petrol’s built-in smooth-gliding wheel-and-tote assembly, Griplock interlocking top carrying handle and a padded shoulder strap. Petrol’s exclusive thermoformed panels of cold-molded laminate and injection-molded polypropylene legs safeguard the bottom of the bag from dirt or water. The exterior is constructed of black ballistic nylon and Cordura.

The PRB-15 has a recommended price of $499.

contact info:  
www.petrolbags.com
Chrosziel Accessorizes Red

Chrosziel now offers three matteboxes specially designed for the Red One camera, as well as a support system with a bridge plate and 19mm rods.

Of the three matteboxes, MB 840 R2 offers the most versatility, with its double-rotating filter stage and two identical multi-format filter holders for 4"x5.65" horizontal and 5"x5". Both rotate independently and boast independent height adjustment. The MB 840 R2 also features a convenient swing-away design for easy lens changes, and the mattebox mounts directly to the 19mm rods without the need for an adapter. (If necessary, a tools-free clamp adapter can be attached for mounting the mattebox directly to the lens.) The maximum lens diameter compatible with the mattebox is 142.5mm; smaller diameters use rubber bellows and retaining rings.

The MB 805 Red is a variation on the standard MB 805 mattebox. Like MB 840 R2, MB 805 Red fits directly onto the 19mm support rods. The fixed stage is equipped with multi-format filter holders for 4"x4" and 4"x5.65" horizontal; a second stage features multi-format filter holders for 5"x5" and 4"x5.65" horizontal. Both the MB 840 R2 and MB 805 Red can be upgraded with further filter stages.

The MB 456 R2 boasts a compact and lightweight (approximately 1.3 pounds) design. It can be used with 15mm support rods or it can attach directly to the lens as a sunshade. The two rotating filter stages are equipped with identical 4"x5.65"/4"x4" filter holders. The maximum front-element diameter is 130mm, covering most lenses commonly used with the Red One.

Chrosziel products are distributed in the United States by 16x9 Inc.

contact info:  
www.chrosziel.com
www.16x9inc.com
AJA Releases Free iPhone App

AJA Video Systems has released the AJA DataCalc iPhone application, a fast and simple storage-requirement calculator for video and audio professionals. DataCalc can be used in the field during acquisition or in the edit bay during post, allowing the user to effortlessly calculate their storage consumption and data-capturing requirements. The application supports a wide array of video-compression formats, including Apple ProRes, DVCProHD, HDV, XDCam, DV, RGB and YUV uncompressed, and more. Supported video standards include NTSC, PAL, 1080i, 1080p, 720p, 2K and 4K.

“We’re all big fans of the iPhone and wanted to create an application that would be useful to our customers in professional digital content creation,” says Nick Rashby, president of AJA Video Systems. “DataCalc is right in line with AJA’s product philosophy, which aims to deliver products that simplify and streamline the often complex workflows of video professionals. It’s a simple little application that has already proven to be very handy in the field!”

The application features an intuitive user interface where most settings can be entered with a simple finger scroll through lists of the most common file-format configurations. Durations can be entered in units of days, hours or seconds, or in a precise time code frame count. A “More” button allows users to further select and specify frame rates, frame sizes and compression type, as well as audio sample rates and bits per sample. Pressing the “Information” icon on the “More” page takes users to a “Summary” page where they can review results and have the option to deliver the data via email.

DataCalc is available as a free download from the Apple iTunes Store.

contact info:  
www.aja.com
Filmworkers Adds Digigog Services

Filmworkers has launched the Digigog digital-media processing service at its Chicago and Dallas locations. The service is aimed at facilitating the growing number of feature film, television and commercial productions that are choosing to capture and post their projects as data.

The Digigog offers a seamless, one-stop solution for servicing commercials, films and other projects from dailies through delivery, especially those shot with digital cameras such as the Red One and Vision Research Phantom HD. Services include dailies processing for digitally acquired media, real-time non-linear color grading at resolutions up to 2K, and final assembly and deliverables production. The Digigog’s services can also be packaged with other services offered by Filmworkers, including visual-effects production, CG and motion-graphics design.

“Projects that originate on data have special technical and creative requirements,” says Reid Brody, president of Filmworkers. “The Digigog has the resources needed to process Red camera and other data files with maximum quality and efficiency. Our staff understands the nuances of working with data. They can help clients reap the benefits of a data-centric mode of production while avoiding the pitfalls.”

The Digigog offers overnight dailies processing for data files from virtually any source. The system generates dailies in the format required by the project’s editorial team, including Avid DNX-HD and Apple ProRes 422, as well as uncompressed files for final color-correction and assembly. Deliverables for review purposes are available in a variety of popular formats, including QuickTime.

The Digigog also offers real-time non-linear color-grading services for both film-based and digitally acquired projects through the use of DaVinci’s Splice technology, which allows the company’s DaVinci 2K Plus color correctors to grade scanned imagery directly on a SAN. Commercials and features can be graded in context, saving time and enhancing the creative process. Repositioning, grain reduction and other image-processing functions can be applied in real time. Colorist Lynette Duensing notes, “Splice allows us to directly access Red camera DPX conversions. It’s a seamless process from end to end.”

The Digigog’s proprietary software facilitates importing EDLs and automates most aspects of the final assembly process. As color grading occurs at 2K, the workflow results in a high-resolution master that can be used to produce deliverables for all distribution channels, including HD, SD and Internet media. Because all elements are stored in a randomly accessible shared-storage environment, multiple versions of a project can be produced quickly and with ease.

contact info:  
www.filmworkers.com