The DI suite boasts a comfortable atmosphere and the latest digital-imaging and audio technology. Key components include a Digital Vision Film Master 2K color-grading system, a Spirit 2K film scanner, a DVS SAN, an HD projector, a 52” plasma monitor, a professional grade TV Logic grading monitor and a Genelec 5.1 full surround sound system. The room is capable of grading either film-originated or digitally acquired media for delivery in any medium, including theatrical, HD and SD video, and Web and mobile formats.

“We have always been fueled by innovation and are committed to delivering the best resources, expertise and creative talent to develop and produce assets for any media, whether it’s for Web, print, broadcast or theatrical release,” says Doug Cheek, owner and CEO of RingSide Creative. “We can now accommodate any creative postproduction workflow.”

The DI suite is fully compatible with today’s 2K and 4K digital-acquisition cameras, including the Red One, Grass Valley Viper, Vision Research Phantom and Arri D-21. Additionally, the suite’s Digital Vision color grader is linked directly to the facility’s 24TB shared-storage system, allowing the colorists to share access to media files with RingSide Creative’s editors and visual-effects artists. “We are currently working on a series of short spots for Meijers shot on the Red camera,” says colorist Rick Unger. “Our workflow allows us to load our storage with 4K images and move them into color and visual effects very easily. The great part is we all work on the same project at the same time. It is a very effective way to create stunning visuals.

“We understand that cinematographers put their heart and souls into their shoots, and we share their passion for making those images come to life,” Unger adds.

The NXCam camcorder records AVCHD up to 24 Mbps, delivering 1920x1080 HD images with both interlace and progressive modes, along with native 1080/24P, 720/60p and MPEG-2 SD recording. The camcorder includes HD-SDI and HDMI outputs, as well as two-channel linear PCM audio capabilities.

AVCHD technology has been widely adopted in Sony’s consumer camcorder line. AVCHD is a highly efficient codec based on MPEG-4 AVC/H.264 Long-GOP compression, a member of the MPEG family of codecs embraced by Sony’s HDV, XDCam HD optical and XDCam EX series of professional camcorders.

The NXCam camcorder shares the G lens used in Sony’s HVR-Z5U professional camcorder, and it will also use Memory Stick Pro Duo recording media along with an optional 128 GB Flash Memory Unit for Hybrid Recording. This module can be easily removed and simply powered through a computer’s USB connection to make file downloading or editing easier and faster.

Vicon’s smallest optical capture camera, Bonita has been engineered to be powerful, accurate, reliable and affordable. It’s easy to set up and accurate enough to capture with positional accuracy down to one millimeter in a 4-meter-by-4-meter volume. Key features include small form factor, single Power over Ethernet (PoE) connection to a PC for easy configuration and system connectivity, a variable focal-length lens for full flexibility within a variety of environments, and 68 high-powered LEDs for better illumination of markers than other cameras in its class.

Key features of Vicon’s Tracker software include optimized rigid body tracker, resulting in reliable data tolerant to occlusion of markers; low latency output, allowing data to be received quickly after an observed event; ease of use; flexible integration with third-party applications; full support for Windows Vista; and compatibility with Vicon MX3+, F-Series and T-Series cameras. Tracker can also be used independently of any hardware by using the Vicon Virtual System Emulator.

Designed for capturing action in extreme conditions, the XC Micro comes with a universal mounting system that can connect the camera to goggles, helmets, sporting equipment, dashboards and more. The camera’s high-dynamic image sensor and 90-degree wide-angle lens allow users to capture clear, undistorted video even in low light and underwater. Additionally, Tachyon’s patented shockproof battery system keeps the camera’s batteries locked and secure.

“We’re constantly looking to produce high quality, affordable products that fill in the necessary technology holes for our consumers,” says Chris Whitehouse, creative director for Tachyon, Inc. “We listen to our customers and the XC Micro combines the top features requested in a helmet camera in a compact design, allowing customers a supreme adventure experience.”

The Tachyon XC Micro can be purchased for $129.99. 

Able to be cut into custom lengths in 1" increments, LiteRibbon is complemented by LiteDimmer, a high-frequency, high-capacity LED dimmer capable of flicker-free operation regardless of camera speed, shutter angle or ramping. LiteRibbon strips are easily powered by 12 volts of DC power from supplies, batteries or automobile adapters. The system can also be made waterproof.

Al DeMayo, LiteGear’s head of engineering, says, “Technicians like the ability to easily create custom light fixtures that meet their unique needs. On the fly, guys can whip up something that fits into a handheld prop, spaceship or even the [illuminated] power source for a certain iron superhero.” LiteRibbon has been tested and proven on such features as Star Trek (AC June ’09) and the upcoming Iron Man 2 as well as such series as Bones, The Mentalist and Southland.

Boasting 30-percent more light output than 18K discharge lights, both the Challenger and G4 are ETL listed to UL standards and built by highly trained IATSE Local Union craftsmen.

In addition to the Sunray product line, Dadco manufactures a line of specialty lighting fixtures and AC power-distribution systems.

The Brute3 is available in different kit options, including a car kit with two head units and an extended battery that clips to a belt or c-stand; the extended battery will run the fixture for up to 4 hours. Additionally, LEDZ provides the following photometrics for the Brute3:

Distance    Footcandles    Diameter
2'                 400                   1.5'
4'                 90                      2'
6'                 48                      3'
8'                 30                      4'
10'               22                       5'

All LEDZ products are available through worldwide
distributor Hollywood Rentals.

The HPM200 offers all of the popular features found in its predecessor, the AJ-HPM110, and adds such functionality as enhanced editing with separate source and record windows, playback from external disk drives, AVCHD compatibility (with the AJ-YCX250G option card), up-conversion of live video inputs in real time, FTP and Giga-bit Ethernet interfaces for expanded network connectivity and 24p time code input for production applications, including use as a source for a dailies process.

With DVCPro HD and AVC-Intra standard compatibility, AVCHD optional compatibility and expanded input/output connections, the HPM200 P2 Mobile is a comprehensive and versatile master-quality HD field recorder that can be used with a wide array of camera systems. The field recorder offers 10-bit independent-frame 4:2:2 quality recording in a variety of high-definition formats and frame rates, including 1080p (native), 1080i and 720p, as well as standard-definition DVCPro50/25 and DV.

With enhanced editing functions and network capabilities, the HPM200 has increased appeal for use in production facilities, news, sports and live-event staging applications. The HPM200’s split-screen function displays both the source and recorded images simultaneously for easier editing, and other new features enable clip exchange, multiple clip selection, undo/redo last action, auto record and text memo. The P2 Mobile also offers two-channel voiceover recording and real-time audio memory during playback.

In addition to the connections offered on the HPM110 — including HD-SDI input/output, analog com-ponent/composite and audio, IEEE 1394 and USB 2.0 — the HPM200 adds compatible AES Digital audio inputs and outputs as well as high-speed eSATA and Giga-bit Ethernet. The P2 Mobile ensures high-quality recording with 10-bit 4:2:2 AVC-Intra or compatibility with existing DVCPro editors when connected to any HD-SDI-equipped camera, camcorder, deck or device; professionals can then randomly access and view content selected via thumbnail clips on the unit’s built-in 9" LCD monitor.

Additional features include RS-422A for remote-control operation, a range of recording functions (including loop record), eight 16-bit digital audio channels, built-in waveform and vectorscope, broadcast-level editing controls with a jog/shuttle dial (100x forward/reverse speed) and audio faders, an SD card slot and assignable user files. The P2 Mobile boasts a durable, compact, laptop-style design with a magnesium die-cast frame for easy transport. It operates on either AC or DC power and is backed by a five-year limited warranty program.

Features of the Camtrol include a LANC remote receiver, “true-feel” Action Control Grip (ACG), fully articulated joint system, channeled mounting plate and retractable “landing gear.” The ACG provides for natural hand positioning and control, and the channeled mounting platform helps keep the system centered, level and easy to handle. The platform also adds critical weight for stability, and its cushioned design prevents camera slippage and unwanted vibration.

Camtrol’s three 360-degree rotating ball joints enable both low angle and overhead shots, and the four swing-out legs give the user a quick and safe way to reset the Camtrol in different positions. A vertical stabilizing bar properly adjusts the system’s center of gravity and also enables two-handed control. Additionally, the sturdy T-6 aluminum body offers protection and support in case the camera is dropped.

The Camtrol has a recommended price of $399.99.

The facility can scan and manage film in 4K to ensure the highest quality archival and distribution product for new and restored motion-picture projects. To manage the extraordinary size of digitized motion pictures, the DI center houses nearly 3.5 petabytes of computer storage. In fact, Colorworks’ digital-file-based workflow leads the studio’s development of a digital production and distribution infrastructure called the Digital Backbone.

“Digital intermediate and mastering are a lesser known but critical piece of the filmmaking puzzle,” says Gary Martin, president of Production Administration and Sony Pictures Studio Operations. “We are thrilled to have our own center here on the lot, but more than that, the facility and the personnel are truly top of the line.” The Colorworks team includes colorists John Persichetti, Steve Bowen and Trent Johnson; projects that have already gone through the Colorworks’ pipeline include Michael Jackson’s This is It, Zombieland and Cloudy with a Chance of Meatballs.