0

January 2013
Hurlbuts Unveil Revolution Cinema Rentals

Hurlbut Visuals DSLR Cinema Rentals has been rebranded as Revolution Cinema Rentals and has moved to a new facility in the San Fernando Valley.

Pursuit Systems Adds to Fleet

Pursuit Systems, the camera-car partner of car-prep company Shelly Ward Enterprises, has expanded its fleet by adding a fourth Porsche Turbo Cayenne, a traditional insert car and a new process trailer along with various tow dollies, stage cranes and other specialty equipment.

Autodesk Flame Turns 20

Autodesk has released the Flame Premium 2013 20th Anniversary Edition software, which integrates visual effects, editorial and real-time color grading.

Sony Expands CineAlta Family

Sony Electronics has unveiled two new CineAlta 4K cameras, the PMW-F55 and PMW-F5. Both cameras feature a PL lens mount, a modular and compact design for easy configuration, and a new type of 4K Super 35mm image sensor with 4096x2160 resolution (11.6 million total pixels).

Arri, Zeiss Unveil Master Anamorphic

Arri and Carl Zeiss have unveiled the Arri/Zeiss Master Anamorphic lenses, the first anamorphic glass designed from scratch for modern digital cameras.

Anton/Bauer Builds Confidence with Direct VU

Building upon the success of its AB-HDRF 5.8 GHz COFDM RF system, Anton/Bauer, part of Vitec Videocom, a Vitec Group Company, has introduced the AB Direct VU COFDM diversity receiver/monitor.

PAGlink Powers Accessories

Camera-power and lighting-systems provider PAG has introduced the PowerHub and PAGlink Micro Charger.

Cel-Soft Probes Pixels

Cel-Soft, a specialist in high-performance image-processing and audio products, has introduced the Pixel-Probe, which allows TV cameras and program content to be checked for postproduction analysis or prior to acceptance.


Archives
New Products and Services
online archives. go
Hurlbuts Unveil Revolution Cinema Rentals

Hurlbut Visuals DSLR Cinema Rentals has been rebranded as Revolution Cinema Rentals and has moved to a new facility in the San Fernando Valley.

Hurlbut Visuals DSLR Cinema Rentals has been rebranded as Revolution Cinema Rentals and has moved to a new facility in the San Fernando Valley.

Founded by ASC member Shane Hurlbut, Mike Svitak and Lydia Hurlbut (who serves as CEO), RCR grew out of the experiences gained on the feature Act of Valor (AC Feb. ’12) and other projects that employed multiple DSLR cameras in run-and-gun configurations and with other camera systems. The company has continued to refine its camera rigs and workflows and offer expertise on commercials, features and other projects. “We’re saying, ‘Come here, take our cameras, let’s do a test together and see what you want to put on your set,” says “Q” Edwards, RCR’s vice president of marketing and operations.

“It’s a very collaborative environment,” adds Lydia Hurlbut. “We take the time to have a customized experience with everyone who comes through the door.”

At the root of RCR’s approach is a multiple-camera paradigm in which different types of cameras, each designated for a particular purpose (such as handheld, Steadicam or high speed), stands ready to roll throughout the shooting day, enabling a small crew to move quickly. “Even before we had digital, we would carry a sound camera, a lightweight handheld camera and a high-speed camera,” says Shane Hurlbut. He notes that productions have also traditionally employed different film stocks for different shooting scenarios. In the digital realm, he says, he treats each camera as “its own ‘emulsion.’ I try to use the best of what each camera does.

“We want to be the go-to place if these Canon cameras are going to be your emulsion,” he continues, noting that RCR is a “Canon-centric” facility, specializing in the 7D, 5D Mark II and III, 1D Mark IV, 1D C, and C300 and C500. “We take these bodies with many buttons, load in our customized settings and picture styles, and turn them into a camera system that looks and feels like a motion-picture camera — with a variety of accessories and supports that are familiar to filmmakers.”

RCR sees itself as a complement to rental houses where filmmakers might go for a film or digital camera for use on the same production. “Rather than a one-stop-shop paradigm, it can be two stops now,” says Shane. “We can pack up our gear and deliver it to Panavision, Otto Nemenz, Clairmont, wherever the customer wants so they can prep their entire package at once.”

For the cameras’ back end, RCR offers Convergent Design Gemini 4:4:4 and Codex Digital Onboard S and Vault recording options. On the front end, the company is investing in what it calls its Vintage Glass Department. “When you use an older piece of glass with lower contrast, it takes away the [digital image’s] hyper-crisp quality, and it starts to look a lot more like film,” says Shane. “We’ve taken Leica R mounts and engineered them to have EOS mounts; we have old Cooke Panchros; and we’ve re-housed Kowas so a camera assistant can work with them on a C300, C500 or
1D C.”

RCR has been working with Duclos Lenses and other fabricators to re-house and cine-modify many of these vintage lenses for use with digital systems in a configuration that will be familiar to camera assistants. Edwards enthuses, “We’re taking old glass that has been sitting in warehouses, giving it a breath of new life and repurposing it for a new market.”

RCR’s new facility also affords ample space for educational events. “We’re trying to educate cinematographers and their crews on how to use this hybrid multi-camera approach,” says Shane. Part of the trick, notes Edwards, is “removing all the time you would otherwise spend flipping a camera body from a studio to a Steadicam configuration, for example. Take all that time out of the day by having multiple cameras in multiple configurations always ready to go, and you can start adding setups.”

Through RCR’s educational initiatives, Edwards continues, “we’re building a team of camera assistants and other filmmakers who are out there working and are not afraid of rapidly evolving technology. We’re constantly encountering people who have been let down by DSLRs on other jobs, and they’re afraid to use one again. So they come here to be educated in an immersive environment.”

RCR has also launched an internship program. Participants work behind the scenes and on the prep floor in the rental house, learning to set up and care for the cameras and accessories and gaining practical experience for working on set. Additionally, interns are involved with test shoots and taken out on actual productions. “Our interns are hungry,” says Edwards. “They’re sponges. They’re motivated. They want to learn. What better environment for them to learn in?”

 

contact info:

Revolution Cinema Rentals

1102 Arroyo St.

San Fernando, Calif., 91340

 

 

 
revolutioncinemarentals.com
Pursuit Systems Adds to Fleet

Pursuit Systems, the camera-car partner of car-prep company Shelly Ward Enterprises, has expanded its fleet by adding a fourth Porsche Turbo Cayenne, a traditional insert car and a new process trailer along with various tow dollies, stage cranes and other specialty equipment.

Led by Shelly Ward, Mike Johnson and Mike Majesky, Pursuit combines a full line of camera-car equipment and services with SWE’s 35 years of experience in car prep and stunt driving. From their base in North Hollywood, the two companies offer around-the-clock assistance with everything from preproduction planning to stunt driving and camera-car rigging. The additional equipment advances Pursuit and SWE’s joint mission to provide a one-stop shop for a production’s car and action filmmaking needs.

SWE’s car-prep services include basic washing and waxing, complex brake and headlight rewiring, paint and vehicle wraps, peel coats and repairs. The company also offers custom designs and fabrication, mechanical effects, consultation on shooting locations and conditions, and vehicle transportation.

Pursuit Systems enables experienced crews to maximize shooting flexibility while providing efficient and safe use of a large selection of camera cars and related equipment. Pursuit’s fleet includes Porsche Cayenne Turbo and Mercedes-AMG camera cars, the Mitsubishi Lancer Evo, Mini Cooper, standard plate cars, B1 Camera Bike, off-road camera buggy, electric cart, gas camera cart, process trailers, and multiple open and enclosed vehicle transporters.

Pursuit’s camera vehicles are complemented by state-of-the-art rigging such as the company’s innovative R1 Carbon Fiber Arms and Pursuit Cranes. The company’s proprietary equipment is built in-house and is operated by its team of experts in conjunction with SWE’s stunt experts.

contact info:

 
pursuitsystems.com
Autodesk Flame Turns 20

Autodesk has released the Flame Premium 2013 20th Anniversary Edition software, which integrates visual effects, editorial and real-time color grading. Flame Premium 2013 streamlines complex tasks and improves speed with a new creative workspace, top-level editorial timeline integration and an enhanced GPU pipeline.

“As an integral tool for the highest-quality visual effects for film and television, Flame has been used on numerous Super Bowl commercials, top-rated TV shows, and blockbuster movies from Titanic to The Avengers,” says Marc Petit, senior vice president of Autodesk Media & Entertainment. “Flame artists are often called upon to ‘do everything.’ With changes to the industry, they required an evolved toolset that would allow them to oversee entire projects. The Flame 20th Anniversary Edition is that tool.”

Flame Premium 2013 brings core postproduction tools into a unified creative environment where a full editorial timeline is now closely linked to the popular Flame Desktop, Batch and Action. The redesigned workflow also features improved access to media and a new task-based workflow with one-click access to the main finishing tasks and creative tools.

The redesigned timeline allows artists to more easily work within the timeline’s context. Artists can now build timelines from scratch or match an offline cut without leaving the desktop. With this new integration, artists can more easily accomplish editorial tasks and move seamlessly between creative and editorial functions.

Flame Premium 2013 also features a re-engineered GPU/CPU processing pipeline for faster compositing and visual-effects development in Batch and Action. Additionally, the 20th Anniversary Edition adds native support for the 16-bit, 4K-capable Sony F65 digital cinema camera format, using the necessary color transforms to bring the raw format into the ACES-compliant color space.

contact info:

 
www.autodesk.com
Sony Expands CineAlta Family

Sony Electronics has unveiled two new CineAlta 4K cameras, the PMW-F55 and PMW-F5. Both cameras feature a PL lens mount, a modular and compact design for easy configuration, and a new type of 4K Super 35mm image sensor with 4096x2160 resolution (11.6 million total pixels).

“These two new models join a family of Sony large-sensor cameras that complement each other and deliver powerful new capabilities to professionals working at every level of production,” says Rob Wilcox, director of marketing for large-image-sensor cameras at Sony Electronics. “They fill a critical gap in large-sensor acquisition between Sony’s PMW-F3 camcorder and F65 digital motion picture camera, and give content creators new levels of flexibility and creative options for acquisition and production in HD, 2K, 4K and beyond. The total lineup, with our new accessories, further underscores Sony’s commitment to supporting every aspect of the highest-quality professional workflows.”

The F55 and F5 both offer support for multiple codecs, including Sony’s new XAVC MPEG-4 AVC/H.264 format, the SR codec (MPEG4 SStP) and the XDCam 50Mbps 4:2:2 codec. Both systems feature in-camera recording to Sony’s SxS Pro+ memory-card media.

The F55 can connect to the PVM-X300, Sony’s 4K 30" LCD monitor, using four 3G-SDI interfaces for live monitoring at 4096x2160 at up to 60p while recording XAVC 4K. Users can also connect directly to Sony’s 84" Bravia 4K (3840x2160) LED TV for large-screen monitoring of the camera’s 4K 60p images.

With Sony’s AXS-R5 raw recorder, enhanced high-frame-rate capabilities allow shooters to capture slow-motion imagery in up to 60p 4K raw on AXS memory (or, for 2K raw, up to 240 fps with the F55, and up to 120 fps with the F5) without crop factor or loss of angle of view.

The F55 also adds a global shutter to eliminate rolling shutter skew and flash band, delivering the same color filter and ultra-wide color gamut as the F65 for true color reproduction. The cameras are further distinguished by wide exposure latitude (14 stops, according to Sony), high sensitivity and low noise.

Both the F55 and F5 can dual-record in a number of different configurations depending upon codec selection and the use of the optional AXS-R5 raw recorder. Combinations include recording in parallel to a single SxS Pro+ card, to both SxS slots with the same or different codecs, and to the SxS at the same time as to the AXS-R5 in raw. These features enable highly efficient offline and online workflows, as well as the archiving and repurposing of the raw data.

The cameras’ accessories include a new line of Sony PL-mount prime lenses (comprising 20mm, 25mm, 35mm, 50mm, 85mm and 135mm); the DVF-EL100, DVF-L700 and DVF-L350 electronic viewfinders; the BP-FL75 battery pack; and Sony’s latest shoulder rig.

contact info:

 
www.sony.com/35mm
Arri, Zeiss Unveil Master Anamorphic

Arri and Carl Zeiss have unveiled the Arri/Zeiss Master Anamorphic lenses, the first anamorphic glass designed from scratch for modern digital cameras. The lenses are also suited to film cameras.

The Master Anamorphics were developed for the Alexa Studio, Alexa Plus 4:3 and Alexa M digital cameras, all of which are equipped with a 4:3 sensor. The lineup comprises seven anamorphic primes: 35mm, 40mm, 50mm, 60mm, 75mm, 100mm and 135mm. Each lens is fast (T1.9) and compact, and most have a front diameter of 95mm; the maximum lens weight is less than 6.6 pounds.

The optical technology in the Master Anamorphics features a newly developed iris with 15 aperture blades, while the near-telecentric design reduces color fringing and shading at the image corners. Virtually no image breathing or anamorphic mumps are experienced. Additionally, a completely new focusing mechanism overcomes time-consuming mechanical readjustments on set, and state-of-the-art lens barrels feature improved dust and water protection.

The Master Anamorphics optimize bokeh with evenly illuminated, oval, out-of-focus highlights. Anamorphic blue streaks are rendered in a fresh style with enhanced flares and reflections for additional aesthetic options.

The Master Anamorphics are color matched to other Arri/Zeiss primes and Arri/Fujinon zooms, and they rely on the same mechanics and superior standards of the award-winning Arri/Zeiss Master Prime lenses.

contact info:

 
www.arri.com
www.zeiss.com
Anton/Bauer Builds Confidence with Direct VU

Building upon the success of its AB-HDRF 5.8 GHz COFDM RF system, Anton/Bauer, part of Vitec Videocom, a Vitec Group Company, has introduced the AB Direct VU COFDM diversity receiver/monitor. The result of a collaboration between Anton/Bauer and Vitec Group sister company Integrated Microwave Technologies, LLC, the AB Direct VU offers a compact, portable system that includes a handheld monitor and receiver, all powered using Anton/Bauer Gold Mounts and batteries.

The AB Direct VU displays COFDM video transmissions using an internal 9" 16:9-format screen. The bright, high-resolution (1200-NIT), 1080i HD LCD screen makes the unit suitable for a variety of uses, including ENG/EFP, sporting events and cine production. The high-bright LCD screen is easy to read in daylight. The unit also features a simple-to-use menu-driven interface.

Combining ease of operation with MPEG-2/MPEG-4 auto-detect decoding, the AB Direct VU can receive up to 12 camera positions and send video over Ethernet to remote software or hardware decoders as well as stream shots live over the Internet via IP. This allows multiple remote viewers to monitor the same video simultaneously. The receiver/monitor also features audio connections as well as two speakers. The bandwidth is customizable between channels 6, 7 and 8.

For advanced functions such as changing frequency plans or unit naming, a user-friendly administration software package is included. The administration software package allows users to configure and store up to 16 custom preset configurations. These values can then be locked in place, providing simple and reliable operation. Additionally, access control ensures that users will not inadvertently corrupt critical production settings. The OSD display helps the user navigate the local user interface and features receiver statistics such as signal strength, preset, modulation and remaining battery life.

contact info:

 
www.antonbauer.com
PAGlink Powers Accessories

Camera-power and lighting-systems provider PAG has introduced the PowerHub and PAGlink Micro Charger.

The PowerHub powers camera accessories from the PAGlink system of intelligent, linking, high-power batteries, which in turn is designed for high-load camera setups — the linked batteries provide up to 12 amps, enabling users to simultaneously power the camera and multiple 12-volt accessories. The PowerHub incorporates four D-Tap output connector units, which have been designed to be interchangeable with other connectors of the user’s choice, such as PP90 or Hirose (available separately).

The ultra-compact and lightweight PowerHub draws power from contacts on the face of the PAGlink battery, and it can be sandwiched between two batteries or connected to the rear battery, where an accessory bracket can be mounted to the unit’s face. Additionally, the outputs can be positioned to the left or right side of the camera. A USB module (1 amp) has also been incorporated, allowing users to charge a smartphone.

The PAGlink Micro Charger is an ultra-compact battery charger for PAGlink or standard V-Mount Li-Ion batteries. Designed to travel light inside of any kit bag, the Micro Charger clips over the battery contacts and is connected to a plug-in power-supply unit that accepts a 100-240-volt AC input and interchangeable plug adaptors for worldwide use.

Using the Micro Charger, two fully discharged PAGlink batteries will be fully charged in approximately 8 hours; one fully discharged battery can be 80 percent charged in approximately 3 hours. The charge status of each battery is shown on its individual display.

The Micro Charger is smaller than a PAGlink battery and weighs less than half a pound. The unit features LED indicators for charging, charge completion, faulty battery and absent battery.

contact info:

 
www.paguk.com
Cel-Soft Probes Pixels

Cel-Soft, a specialist in high-performance image-processing and audio products, has introduced the Pixel-Probe, which allows TV cameras and program content to be checked for postproduction analysis or prior to acceptance.

“Broadcasters have hitherto had little option but to perform acceptance tests visually,” says Cel-Soft Managing Director Robin Palmer. “Detecting rogue pixels by eye among the 6 million RGB elements in images from HD cameras is almost impossible.

“Once a camera gets into the studio or the field, pixel defects can appear at any time as a result of age or temperature,” Palmer explains. “Dust on the sensor or optics can be another problem. An uncorrected pixel error can show as a colored black dot. In single-sensor cameras, it can appear as a tiny cross because of the way the pixels are spatially sampled.

“Our Pixel-Probe algorithm automatically generates a statistical log of every pixel, allowing a check to be made of relative response,” Palmer continues. “It can then work out, over a short period of fluctuating footage from the camera, if any pixels are not working properly. Pixel-Probe can also identify pixels that have changed their behavior since the previous time the camera was checked, or between different shots in post.

“The increasing use of digital single-lens-reflex cameras for broadcast and even cinema production, along with other low-cost cameras, will make this sort of test process essential,” Palmer adds. “Bigger and better high-resolution displays are also making uncorrected pixel defects more obvious to television viewers.”

Pixel-Probe is fully compatible with Cel-Soft’s Reel-Check SoloQC live source or file analyzer and Cel-Scope 3D real-time stereoscopic test and measurement system.

contact info:

 
www.cel-soft.com