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June 2011
Sony Introduces F65 Camera, SR-R4 recorder
During the NAB convention in Las Vegas, Sony unveiled its next-generation CineAlta camera, the F65, along with its SR memory-card recorder, the SR-R4.
Arri Expands Alexa Line
Arri has introduced the latest addition to the Alexa family of digital-cinema cameras, the Alexa M. Comprising a camera head and separate camera body and featuring the same image quality and workflow options found in the Alexa, the Alexa M is tailored for action photography, tight-quarter shots and 3-D productions.
Convergent Design Records Uncompressed with Gemini
Convergent Design has introduced the Gemini 4:4:4 uncompressed video recorder/player. 
Codex Digital Opens Vault
Codex Digital has introduced the Vault, a next-generation on-set laboratory solution for review as well as dailies and deliverables production. 
Canon Introduces PL-Mount Lenses
Canon U.S.A., Inc. has introduced the FK14.5-60 wide-angle cine zoom and FK30-300 telephoto cine zoom, two PL-mount lenses that address emerging 4K production standards. 
Angenieux Adds Lightweight Optimo Zoom
Angenieux has unveiled the Optimo 45-120mm zoom lens for film and digital cinematography. 
Schneider Optics Provides Perspective Control
Schneider Optics has announced a new family of Perspective Control through Tilt/Shift (PC-TS) lenses, designed to provide DSLR and medium-format photographers a tool that allows them to control perspective in a manner previously possible only with a monorail-style camera.

Band Pro Distributes Horseman Tilt/Shift System
Band Pro is now the dealer for Komamura Corp.’s Horseman TS-Pro in the Americas, Europe and Israel.
Lowel Illuminates LED Studio Series
Lowel-Light has introduced the LED Studio Series, a set of powerful lighting fixtures that bring state-of-the-art LED technology to studio environments both large and small.
Litepanels Highlights Hi-Output LEDs
Litepanels has unveiled the H2 Hi-Output LED lights. 
B&M Unveils Mac Tech LED Series
Bardwell & McAlister Lighting has introduced the Mac Tech range of power-efficient LED lighting fixtures. Each fixture incorporates the latest in LED technology and boasts virtually no heat.
Rotolight Ringlight Kit Gets Creative with Color
Rotolight has launched the HD Ringlight Kit for Creative Color FX, which is designed for HD-DSLR users looking for a compact, lightweight on-camera lighting system for use in HD video and stills portraiture in macro and close-up modes.
Innovision Optics Moves with Kamtrax
Innovsion Optics has introduced the Kamtrax vertical and horizontal camera slider, which provides weightless and ultra-smooth vertical-tracking camera movement via sealed ball-bearing wheels running along an anodized stainless steel track.
K-Tek Packages Norbert Filmmaker Kit
K-Tek’s Norbert accessory frame is now available in a Filmmaker Kit that allows the Norbert to attach to a universal rail system. 
Redrock Micro Showcases 3-D Rig
Redrock Micro has introduced the Micro3D rig for professional stereoscopic 3-D production.
Manfrotto Unleashes Hurricane Rig
Manfrotto Distribution, in conjunction with Genus, has launched the Hurricane 3-D camera rig.
DSC Labs Offers Dashwood 3D Chart
DSC Labs has introduced the Dashwood 3D Chart. Developed with stereographer and Dashwood Cinema Solutions founder Tim Dashwood (pictured), the Dashwood 3D Chart allows 3-D crews to achieve accurate 3-D rig calibration when integrated with the new Dashwood Stereo3D CAT calibration software.

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Sony Introduces F65 Camera, SR-R4 recorder

During the NAB convention in Las Vegas, Sony unveiled its next-generation CineAlta camera, the F65, along with its SR memory-card recorder, the SR-R4. The F65 is Sony’s highest-quality camera to date, and presently offers HD, 2K or 4K output. Sony indicates that the camera’s raw format is also designed to allow for higher resolutions in the future, including 8K.

The F65’s image sensor is similar to Super35, and its PL-mount accommodates standard cine lenses. The camera can run up to 72 fps in full 4K mode, and up to 120 fps in “high frame rate” mode. The F65’s size and weight will be less than that of the F35. Its front end will also be detachable from the camera’s electronics to accommodate shooting on a Steadicam, in 3-D, on a crane, and in other applications that require a smaller footprint. The SR memory system offers recording of high-quality signals onto compact SR memory cards.

AC thanks Peter Crithary, Satoshi Kanemura, Richard Lewis, Dhanendra Patel and Fabien Pisano from Sony for sharing details about the new products, and Curtis Clark, ASC, who shared his shooting experience with the camera.

The F65 is the first high-end Sony camera to use a CMOS image sensor. (Previous models utilized CCDs.) Crithary and Lewis explain that Sony’s advances in semiconductor design and manufacturing have overcome the conventional deficiencies of high-pixel-density CMOS sensors, such as limited sensitivity, dynamic range and signal-to-noise ratios. Sony’s state-of-the-art CMOS design increases sensitivity and lowers noise, with faster readout and a novel photosite manufacturing process. In addition, an optional rotating mechanical shutter in the F65 should eliminate any “rolling shutter” motion artifacts linked to sequential read-out of CMOS sensors with a moving image.

“The F65 is the first CMOS camera in the industry with 8K photosites,” states Crithary. “The F65 thereby achieves an extremely detailed 4K output image that cannot be achieved with conventional Bayer patterns that only have 4K pixels.”

The F65 sensor has 4K green, 2K red and 2K blue pixels, for a total of 8K. Sony refers to this as a “True 4K” sensor, to distinguish the F65 from 4K Bayer-pattern cameras that have 2K green, 1K red and 1K blue pixels. Lewis emphasizes this by saying that the F65 has “100-percent 4K resolution in the green, where our eyes see the most resolution.” He adds that the F65 may also be used in the future to provide higher-than-4K images rendered from the 16-bit lin raw.

To achieve maximum pixel density in the Super 35-sized area, Sony uses a pattern in which the sensor pixels are rotated and placed in a diamond array; this enables the F65 sensor to pack about 20 megapixels in an area where the F35 places about 12.4 million photosites (yielding 6.2 million compound RGB pixels). Sony states that this new pixel geometry entails an increase in resolution and sensitivity and the unique sampling pattern permits the use of the green channel information to enhance higher resolutions in the red and blue channels.

The F65’s output signal is 16-bit linear raw, at a native data rate of about 19 gigabits per second, which can be mildly compressed for SR memory recording, and/or rendered to RGB.

Sony’s compact SR-R4 recorder will fit onto the F65 camera like a digital magazine. The SR-R4 will record the 16-bit linear raw signal with mild compression of less than 4 to 1 onto iPhone-sized SR memory cards. A separate “Render Module” box will convert to HD, 2K or 4K 10- or 12-bit RGB signals in real time.

The SR memory cards can record up to a sustained rate of 5 gigabits per second with built-in error correction, which will simplify high-quality recording. The biggest capacity card will carry 1TB of data — about 50 minutes of 16-bit linear at 24 fps.

Pisano adds that the advent of SR memory will also give users of other Sony cameras like the F35 (with the SR-R3) or even the F3 (SR-R1) the facility to record high-quality or stereo signals with a lightweight on-board or adjunct SR memory-card recorder. The SR memory recorders will also write the SR Codec, the same codec that is in the widely-used HDCam-SR videotape system. Sony now offers the SR Codec at the new data rate of 220Mbps, as well as the existing rates of 440Mbps and 880Mbps. The SR file format is already supported for native, direct-to-edit and DI workflows in Avid Media Composer and Symphony Nitris, Final Cut Pro, FilmLight’s Baselight system and DaVinci Resolve, and the list is growing rapidly.

At Sony’s invitation, Clark wrote, directed and photographed a five-minute film, “The Arrival,” to explore the possibilities of the first prototype F65 camera. The film was recorded in 16-bit linear raw, processed with IIF-ACES, and screened in Sony’s booth at NAB in 4K with an SXRD projector.

Shooting the short allowed Clark to evaluate the F65 in real-life production conditions for several days. After testing, the cinematographer rated the F65 at a nominal value of 800 EI, which he increased to 1,250 EI for night exteriors. He adds that the camera could go to “1,600 EI without deterioration” if needed.

The cinematographer stresses the new camera’s extremely low noise level in the shadows, and its wide color gamut, which he said exceeds that of print film. Clark adds that, while he has not yet had the possibility to “benchmark” the camera, he would estimate “pragmatically” that the F65’s “very low noise” allows for “at least 14 stops of dynamic range.”

Clark concludes that the F65 offers “extraordinary visual resolution with a nuanced reproduction of fine detail and texture that I’ve not seen in currently available digital motion-picture cameras. In conjunction with exceptionally wide dynamic range and color gamut, the F65 will open up a new set of possibilities for cinematography.”

—Benjamin B

contact info:  
www.sony.com/f65
Arri Expands Alexa Line

Arri has introduced the latest addition to the Alexa family of digital-cinema cameras, the Alexa M. Comprising a camera head and separate camera body and featuring the same image quality and workflow options found in the Alexa, the Alexa M is tailored for action photography, tight-quarter shots and 3-D productions.

The Alexa M head is optimized for small size and low weight, and multiple mounting points on the top and bottom allow for easy integration with existing 3-D rigs. The head and body are connected via a fiber-optic cable that can also be used for powering the head, depending on the distance separating the head and body. As with the Alexa, images, sound and metadata can be recorded onto SxS cards or on external recording devices, and the Alexa M’s PL mount accommodates PL-mount 35mm cinema lenses.
contact info:  
www.arri.com
Convergent Design Records Uncompressed with Gemini

Convergent Design has introduced the Gemini 4:4:4 uncompressed video recorder/player. Gemini enables users to capture at the ultimate video quality in a small, low-power, lightweight package and at a very affordable price. Gemini features a built-in high-brightness 5.0" 800x480 24-bit LCD touch-screen for monitoring and playback, and introduces the ability to simultaneously record to two removable solid-state drives, creating instant backups for insurance against lost footage and opening new workflow options.

Building on Convergent Design’s successful NanoFlash recorder, Gemini records 10-bit uncompressed 4:4:4/4:2:2 video in most popular HD/2K/3G formats, including 1080p24 and 1080p50/60, with up to 16 channels of embedded audio and time code. Gemini has slots for two removable 1.8" solid-state drives, enabling recording in either parallel mode (instant backup) or spanning mode (longer recording times). Sporting a lightweight milled aluminum case, Gemini also includes image-processing capabilities with dual HD/3G SDI I/Os, HDMI-Out and consumer level audio I/O, and it consumes only 8 to 15 watts of power.

Gemini features S-Log support with user programmable viewing LUTs, which can be enabled selectively for either HD-SDI output. Flexible recording options include simultaneously recording native S-Log video to one SSD (for on-line) and the same footage with burned-in LUTs to the second SSD for faster creation of off-line proxies and/or H.264 video for mobile and Web-enabled devices.

A 3-D option will also be available, enabling dual-stream recording and playback in a single Gemini unit. The 3-D version will record independent left/right channel files while providing fully synchronized playback of two streams as well as side-by-side, 50/50 composite or anaglyph combinations. Gemini can also output 3-D in multiple formats (such as side-by-side and 50/50 composite) simultaneously to aid in camera alignment and monitoring.

Other planned enhancements for the future include reference-image overlay, allowing users to capture still frames or create their own reference images to mix with live video, using an opacity slider. This will allow users to check the current on-set environment against a previous day’s production, assisting in camera setup and easily identifying anything out of place.

Convergent Design plans to support all major NLE programs, including Avid, Final Cut Pro, Premiere, Vegas and Edius. Editors have the option to edit in full uncompressed (transfer time off the SSD to a fast HDD is about 1⁄3 real time) or use any of the popular Codecs, such as ProRes, DNxHD and Cineform.

The Gemini 4:4:4 Kit includes the recorder, 1.8" SSD to eSATA transfer station, AC power supply and cables, all housed in a custom-fitted hard plastic case; the kit is priced at $5,995. 

contact info:  
www.convergent-design.com
Codex Digital Opens Vault

Codex Digital has introduced the Vault, a next-generation on-set laboratory solution for review as well as dailies and deliverables production. The Vault supports digital cinema cameras made by Red, Arri, Sony and other leading manufacturers. 

A fully featured Vault is a standalone solution that includes its own internal transfer drives and requires no external drives. The Vault’s support of a wide variety of cameras also provides a single, standardized workflow for productions employing multiple camera systems. Additionally, the Vault can produce deliverables in all formats required for dailies review, postproduction and archival purposes.

Other key features of the Vault include support for Red drives, CF cards and SxS cards; secure, high-speed data transfers; a metadata server for data management; an H.264 wireless server (enabling iPad dailies viewing); and a rugged design that holds up on set or on location.

“The Vault is the solution that cinematographers, producers and DITs have been waiting for,” says Marc Dando, managing director of Codex Digital. “It provides a simple, seamless workflow that can be applied to all cameras and service all deliverable needs. It eliminates much of the complexity involved in designing production workflows while taking full advantage of the efficiencies of file-based production and the ability to share rich metadata.”

contact info:  
www.codexdigital.com
Canon Introduces PL-Mount Lenses

Canon U.S.A., Inc. has introduced the FK14.5-60 wide-angle cine zoom and FK30-300 telephoto cine zoom, two PL-mount lenses that address emerging 4K production standards. The precision-matched lenses incorporate Canon optical designs that simultaneously optimize and enhance multiple imaging attributes while minimizing optical aberrations and distortions. Both lenses are also more compact and lightweight than contemporary PL-mount lenses and both feature a totally new Canon optical design that virtually eliminates focus breathing. 

Both the wide-angle and telephoto cine zooms are engineered to meet the most demanding overall imaging requirements of the latest large-format single-sensor digital cinematography cameras, and the creative requirements of the most discerning cinematographers, producers and directors. By already performing in accordance with emerging 4K production image format standards, both Canon PL-mount cine zoom lenses inherently ensure the very highest performance in contemporary 2K and HD digital motion imaging.

“The 2K and HD digital production formats are firmly established in the global marketplace today, while 4K resolution is poised to further propel the imaging quality of digital cine production,” says Larry Thorpe, Canon U.S.A.’s national marketing executive, Broadcast and Communications division. “Anticipating this exciting evolution in digital acquisition guided Canon’s developments of a new optical platform in recent years to meet the current and future imaging needs of high-resolution camera sensors. Canon has extrapolated a new optical platform … to bring to market these two new PL-mount lenses. Advanced glass materials, exotic new optical coatings, and new computer-design techniques were all employed to achieve significant overall optical performance in these two lenses.”

Both lenses are engraved with large, highly visible focus scales for convenient film-style operation. Both also have a common 136mm front diameter for use with industry-standard optical accessories. The location, diameter and rotation angle of the lens gears are also identical, which streamlines lens changes on set.

The wide-angle FK14.5-60 maintains its T2.6 maximum aperture over the entire focal range. The lens preserves a high Modulation Transfer Function at wide-open apertures, exhibits well-controlled light distribution across the image plane and greatly curtails ghosting and veiling glare artifacts from strong light sources. These attributes combine to help ensure superb contrast under a wide range of lighting conditions. The telephoto FK30-300 complements the wide-angle zoom in larger studios while also servicing many outdoor shots with exceptionally vivid imagery.

Both lenses are equipped with precision back-focus adjustments to expedite lens-camera setup; the mechanism is concealed beneath a cover plate. In addition, both lenses provide superb control over geometric distortion to prevent visible anomalies when shooting at extreme wide angles on large studio sets that contain extended straight edges.

contact info:  
www.usa.canon.com
Angenieux Adds Lightweight Optimo Zoom

Angenieux has unveiled the Optimo 45-120mm zoom lens for film and digital cinematography. Featuring a 2.7x zoom ratio and a fast aperture of T2.8, the lens weighs only 4.3 pounds, making it an ideal lens for handheld or Steadicam work. The lens also incorporates an exclusive optical design to avoid breathing, as well as such professional features as a 320-degree focus rotation with over 50 precise focus witness marks.

The Optimo 45-120mm is designed with similar specifications as the 15-40mm and 28-76mm lightweight Optimo lenses. It perfectly complements the other Optimo zooms to create a three-lens system with a total combined focal range of 15-120mm.

The Optimo 45-120mm will also be available with the Angenieux Data System /I module integrating the /I protocol and designed for all Angenieux lightweight lenses, including the Optimo DP series. The ADS/I module enables monitoring and transfer of key lens data for many applications, such as postproduction analysis, lens synchronization for 3-D, special effects and virtual studios.

With the Optimo 45-120, users can also employ Angenieux interchangeable mounts designed to easily fix lenses on DSLR cameras with APS-C format sensors.

contact info:  
www.angenieux.com
Schneider Optics Provides Perspective Control

Schneider Optics has announced a new family of Perspective Control through Tilt/Shift (PC-TS) lenses, designed to provide DSLR and medium-format photographers a tool that allows them to control perspective in a manner previously possible only with a monorail-style camera.

The PC-TS lenses can shift laterally up to 12mm or tilt at an angle up to 8 degrees. These movements can be applied in 30-degree increments at any position within the 360-degree lens rotation. With huge 90mm and 120mm image circles (for DSLR and Mamiya/Phase One System cameras, respectively), the lens retains its full range of movements without vignetting. The lenses also feature Schneider’s high-resolution optics and a precise, zero-play mechanism.

Schneider currently offers three PC-TS lenses: the Super Angulon f2.8 50mm and the Makro-Symmar f4.0 90mm for DSLR cameras and the Apo-Digitar 5.6/120 HM Aspheric lens for medium-format Mamiya/Phase One System digital cameras.

contact info:  
www.schneideroptics.com
Band Pro Distributes Horseman Tilt/Shift System

Band Pro is now the dealer for Komamura Corp.’s Horseman TS-Pro in the Americas, Europe and Israel. The Horseman TS-Pro allows DSLR and digital cinema camera users to creatively control depth-of-field and perspective distortion through lens tilt and shift, as well as lateral and rise-fall movements. Such movements allow the shooter to selectively focus on a small portion of the image while leaving the rest soft, create miniaturization effects and correct or exaggerate perspective distortion.

The TS-Pro works with four different camera-mount styles: PL, Micro 4⁄3, Canon EOS and Nikon F. With the TS-Pro’s interchangeable mount system, one main unit can work with many camera types by simply switching mounts. The mount on the lens side is also interchangeable, allowing a range of lens options, including PL, Canon EOS, Nikon F, Hasselblad, Mamiya 645, Pentax 645 and M39.
contact info:  
www.bandpro.com
Lowel Illuminates LED Studio Series

Lowel-Light has introduced the LED Studio Series, a set of powerful lighting fixtures that bring state-of-the-art LED technology to studio environments both large and small.

The first fixture in the LED Studio Series is the Studio 450, which boasts a powerful output of 89 foot candles at 9' with a beam angle of 50 degrees. The Studio 450 has a tungsten color output of 3,200°K and a CRI of 91+, which mixes perfectly with existing tungsten-halogen fixtures as well as high-CRI tungsten-color fluorescent lamps. Additionally, the fixture’s DMX jacks allow connection and communication with DMX-512 control systems.

Lowel plans to release a daylight-balanced version of the 450 shortly, as well as further tungsten and daylight LED Studio models. All fixtures in the LED Studio Series will auto-set to voltages from 90 to 240 volts. There will also be accessories such as barn doors, egg crates and honeycomb grids for each fixture in the series.

contact info:  
www.lowel.com
Litepanels Highlights Hi-Output LEDs

Litepanels has unveiled the H2 Hi-Output LED lights. The new fixtures answer the need for an LED fixture capable of throwing illumination over a 20-25' distance, providing HD-friendly light with all the advantages of Litepanels’ proprietary LED fixtures.

The H2 Hi-Output is 5,600°K color balanced, utilizing an array of 72 1-watt daylight LEDs focused to a 10-degree angle. H2 fixtures integrate perfectly into sets or locations utilizing other Litepanels fixtures, providing wide-spectrum daylight-balanced illumination.

Like all Litepanels LED fixtures, the H2 provides incredible output while remaining energy efficient. The 100-watt H2 fixture provides light equivalent to a 1,000-watt legacy lighting fixture, utilizing just 10-percent of the energy. Additionally, because H2 lights generate no noticeable heat, the need for power-hungry air conditioning is reduced.

H2 fixtures feature dimming from 100-percent to 0 with no noticeable color change; dimming is provided via a knob located on the fixture itself, or from a DMX dimmer board. H2 fixtures also boast an integrated yoke and gimbal system for easy hanging in the grid or positioning on a light stand. 

contact info:  
www.litepanels.com
B&M Unveils Mac Tech LED Series

Bardwell & McAlister Lighting has introduced the Mac Tech range of power-efficient LED lighting fixtures. Each fixture incorporates the latest in LED technology and boasts virtually no heat.

The rugged Mac Tech fluorescent-style LED tubes come in both tungsten and daylight and have a rating life of 100,000 hours. Manufactured out of high-grade aluminum, the Mac Tech fixtures are extremely sturdy and lightweight.

Currently, B&M offers five fixtures in the Mac Tech LED range: the 2x2 (two 2' LED tubes), the 2x4 (four 2' LED tubes), the 2x8 (eight 2' LED tubes), the 4x4 (four 4' LED tubes) and the 4x8 (eight 4' LED tubes). Each fixture includes a mounting yoke and works off of a 110-volt power supply. The largest fixture, the 4x8, weighs only 37 pounds and draws only 320 watts of power. 

contact info:  
www.bmlighting.com
Rotolight Ringlight Kit Gets Creative with Color

Rotolight has launched the HD Ringlight Kit for Creative Color FX, which is designed for HD-DSLR users looking for a compact, lightweight on-camera lighting system for use in HD video and stills portraiture in macro and close-up modes.

The Rotolight Creative Color Kit is a portable, professional, single-light creative HD lighting solution designed for photographers and cinematographers alike. The Rotolight ring light produces a natural, warm and “shadow-less” wide beam and is perfect for use on location or in a studio environment. As a continuous light source, Rotolight provides DSLR photographers a “shoot what you see” alternative to flash and delivers the classic fashion ring-light effect without red-eye reflection or unwanted blink responses.

Each Rotolight contains a filter holder and a custom Lee Lighting six-piece ring-filter Calibration Gel Set for studio-calibrated color at 6,900°K, 5,600°K, 4,100°K and 3,200°K, as well as soft diffusion and neutral density gels for accurate dimming over a range of up to 1.5 stops. Also included in the Creative Color Kit is the Rotolight Color FX Gel Filter Kit, comprising 10 of the most popular Lee Lighting color FX filter gels, including eight Color FX filters for sidelight, backlight, kicker or top light, and two Cosmetic filters for skin-tone enhancement, all of which enables users to create a wide range of lighting effects from one compact, easy-to-carry Kit.

The Rotolight Hotshoe/Stand Mount, also included, allows for mounting on tripods, lighting stands, rail support systems or to a standard accessory shoe for use with DSLRs and camcorder systems. The entire lighting kit fits into the supplied Accessory Belt Pouch and weighs less than 1 pound. The Pouch can also hold an iPhone, keys and six spare AA batteries.

contact info:  
www.rotolight.com
Innovision Optics Moves with Kamtrax

Innovsion Optics has introduced the Kamtrax vertical and horizontal camera slider, which provides weightless and ultra-smooth vertical-tracking camera movement via sealed ball-bearing wheels running along an anodized stainless steel track.

Kamtrax is available in 3' and 6' lengths. Both ends of the Kamtrax can be attached to various mounts, including 100mm ball, Mitchell plate or High Hat. The bottom of the track features a heavy-duty ball-bearing ring, which allows the track to pivot around endlessly.

A continuous cable surrounds the track end-to-end, providing control of camera travel up and down the track. Camera packages weighing up to 40 pounds can be mounted on Kamtrax; to render the camera weightless, a matching amount of weight is added in barbell disks to the other side of the continuous cable. The camera can then be raised or lowered with a single finger, and the camera can be positioned at any point up or down the track without being locked off. The camera platform can also swing down 90 degrees or be locked off at any point in between for a Dutch tilt.

The camera package can be mounted directly to the camera platform via 3⁄8" or ¼" threaded bolt, or with a pan-and-tilt head between camera and platform to provide pan-and-tilt control. An optional bracket allows users to mount a monitor for viewing camera output.

Using the Kamtrax Horizontal Kit, the track can be oriented horizontally in minutes to provide a side-to-side slider with the same smooth travel. Angular travel can also be achieved through the optional Angle Slider Kit. Optional durable travel cases are also available for the 3' and 6' versions as well as the accessory kits. 

contact info:  
www.innovision-optics.com
K-Tek Packages Norbert Filmmaker Kit

K-Tek’s Norbert accessory frame is now available in a Filmmaker Kit that allows the Norbert to attach to a universal rail system. The Norbert frame is a convenient way to mount accessories around a DSLR or compact HD camera, including 4⁄3"-chip cameras.

Norbert allows users to attach a large array of production tools to a DSLR camera without compromising the camera’s integral shoe mount. The heart of the kit is the Norbert base frame. Machined from rugged, lightweight black anodized aluminum, it offers 17 accessory slots, numerous ¼"-20 and 3⁄8"-16 threaded holes, and 19 standard shoe mounts that allow the operator to be creative in setting up lights, audio products, video-streaming devices and monitors when on a tripod or shoulder rig.

The Norbert Filmmaker Kit has a height-adjustable frame allowing for external batteries or for tall cameras, a standard quick release, two locking handgrips for quick handheld shots and an Iris Rod Clamp System, which allows Norbert to interface with traditional 15mm rail systems. This gives Norbert the ability to work around most existing rigs and allows the Norbert to be used in conjunction with matteboxes and follow-focus units. The kit includes a pair of 8" carbon-fiber iris rods. Additional threaded holes on the base accept tripod-mounting brackets.

The standard Norbert Filmmaker Kit comes complete with the frame, iris-rod clamp, two carbon-fiber iris rods, two locking handgrips and the Manfrotto 323 quick release. A top handle and longer iris rods are also available separately. K-Tek also offers two optional high-precision dovetails: a High Dovetail for use with the Canon 7D and similar-size cameras, and a Low Dovetail for the Canon 5D. The dovetails prevent the camera from rotating when lens-control motors are used.

contact info:  
www.ktekbooms.com
Redrock Micro Showcases 3-D Rig

Redrock Micro has introduced the Micro3D rig for professional stereoscopic 3-D production. The Micro3D delivers professional features and build quality at a price that makes 3-D incredibly accessible. 

The Micro3D rig is a state-of-the-art side-by-side support rig for two-camera stereoscopic production. It is designed for today’s smaller format cameras and price-conscious image makers looking to own high-quality 3-D gear.

The Micro3D features an 18" rail for a range of interaxial adjustments; the cameras are locked into place via locking knobs. Other key features include unique tools-free three-point XYZ adjustment plates for precision camera alignment, a bottom mounting plate with ¼" and 3⁄8" taps for virtually any tripod mount, innovative quick-release camera plates, laser-engraved markings for convergence and interaxial distance, and rugged all-metal construction.

The Micro3D carries a lifetime warranty and is available for $895, or $995 with a shroud designed for Canon XF105 or similarly sized digital video cameras. 

contact info:  
www.redrockmicro.com
Manfrotto Unleashes Hurricane Rig

Manfrotto Distribution, in conjunction with Genus, has launched the Hurricane 3-D camera rig. Designed with cost effectiveness in mind, the Hurricane rig is an entry-level mirror rig able to be used in a broad range of 3-D applications.

The Hurricane 3-D camera rig features simple, easy-to-use manual controls for camera alignment and adjustment. Targeted toward educational users and training establishments, the Hurricane rig is a perfect learning tool, simple to operate and easy to understand.

“The increased popularity of 3-D content has made the demand for a cost-effective 3-D camera rig grow considerably over the past few years,” says Wayne Schulman, Manfrotto’s sales and product manager for video. The Hurricane 3-D Rig is completely adjustable and able to fit a broad range of cameras, from small consumer-style camcorders to entry-level professional video camcorders. As a result of its simple design, the overall weight of the rig is kept to a minimum while being able to support an 8.8-pound camera or camcorder. At just over 13 pounds, the Hurricane 3-D Rig can easily be used with low-cost professional tripods.

The Hurricane 3-D camera rig is available for $8,500 and comes with a resin case.

contact info:  
www.manfrotto.us
DSC Labs Offers Dashwood 3D Chart

DSC Labs has introduced the Dashwood 3D Chart. Developed with stereographer and Dashwood Cinema Solutions founder Tim Dashwood (pictured), the Dashwood 3D Chart allows 3-D crews to achieve accurate 3-D rig calibration when integrated with the new Dashwood Stereo3D CAT calibration software. The chart’s unique visual code trackers work alongside the application’s logic system to automatically track to 1⁄100 of a pixel for ideal stereo alignment at unprecedented speeds. The chart also offers an optional interface for live wireless feedback, with iPad support to assist camera alignment, sync testing, slating, and color and gamma calibration. For those aligning without computer assistance, the Dashwood 3D Chart offers manual pattern alignment that features DSC Labs’ distinctive FiddleHead spirals for corner-to-corner focus. 

Key features of the Dashwood 3D Chart include horizontal, vertical and angled alignment patterns; ChromaDuMonde color reference on the center line to match vectorscope orientation; linear left/right grayscale for matching gamma response in both cameras; see-through slots with 0.7-percent and 1-percent markers for checking positive parallax in the background; 18-percent gray scale chips to assist in even lighting; and an optional iPad holder.
contact info:  
www.dsclabs.com
www.dashwood3d.com