The American Society of Cinematographers

Loyalty • Progress • Artistry

June 2012
Rotolight Shines with Anova
Rotolight has introduced the eco-friendly Anova LED EcoFlood, a computer-controlled, bi-color LED floodlight that delivers a 110-degree super-wide beam angle and the equivalent output of a 1K tungsten fixture while drawing only 38 watts of power.
Litepanels Highlights Inca Series
Litepanels has introduced the Inca Series tungsten-balanced LED Fresnel fixtures, which incorporate LEDs that are color-matched to the incandescent tungsten-halogen lighting fixtures used in many television stations and other facilities. 
Blackmagic Design Unveils Cinema Camera
Blackmagic Design has introduced the Blackmagic Cinema Camera, a digital-cinema camera that offers 13 stops of dynamic range, a 2.5K sensor, a built-in SSD recorder, a built-in capacitive touch-screen LCD, standard jack audio connections, built-in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and full compatibility with Canon EF- and Zeiss ZF-mount lenses.
Canon Offers 4K Imaging Solutions
Canon U.S.A., Inc. is expanding its Cinema EOS System of professional cinematography products with the introduction of the Cinema EOS C500 and Cinema EOS C500 PL cameras.
Sony FS700U Captures High Speed
Sony has introduced the NEX-FS700U Full HD super-slow-motion camcorder, the latest in its line of NXCam interchangeable-lens E-mount camcorders. 
Arri Advances Anamorphic
Arri has unveiled the Alexa Plus 4:3, a new Alexa model with similar functionality to the Alexa Plus but featuring a 4:3 Super 35 sensor, the ability to switch from 16:9 sensor mode to 4:3 sensor mode, and built-in licensing for high-speed shooting, anamorphic de-squeeze and DNxHD.
Panasonic Presents Upgradeable HPX600
Panasonic has unveiled the AG-HPX600 P2 HD shoulder-mount camcorder, which boasts 10-bit, 4:2:2 AVC-Intra recording.
JVC Expands ProHD Camcorder Line
JVC Professional Products Co., a division of JVC Americas Corp., has introduced the GY-HM650 and GY-HM600 ProHD handheld cameras.
Angenieux Focuses on Optimo Zooms
Thales Angenieux has introduced two additions to its line of Optimo lenses: the Optimo 19.5-94mm and Optimo 28-340mm.
Fujifilm Adds PL-Mount Zoom
ujifilm Optical Devices has introduced the PL 19-90mm Cabrio ZK4.7x19, the newest member of the company’s Premier PL-Mount Zoom family.
Sachtler Supports Ace
Sachtler, part of Vitec Videocom, a Vitec Group company, has introduced the Ace tripod system.
EasyRig Goes Mini
EasyRig and 16x9 Inc. have introduced the EasyRig Mini body-worn camera-support system.
P+S Technik Launches PS-Micro Rig
P+S Technik has introduced the compact and versatile PS-Micro Rig for native 3-D productions.
Codex Gets Aboard Cinema EOS
Codex has begun shipping the Onboard S Recorder, a recording solution for compact HD digital-cinema cameras such as the Canon Cinema EOS C300.
AJA Goes 4K with Ki Pro Quad
AJA Video Systems has introduced the Ki Pro Quad solid-state portable video recorder, which is capable of capturing high-quality edit-ready files in formats including 4K (4096x2160), Quad HD (3840x2160), 2K (2048x1080) and HD (1920x1080), providing a fast path from camera-to-editorial with 10-bit 4:4:4 and 10-bit 4:2:2 color support.
Convergent Design Records Raw
Convergent Design has unveiled the Gemini Raw, which supports 4K raw recording with live preview and playback to a 4K monitor. Gemini Raw also boasts such features as four-camera recording/quad-split playback (in HD) and support for Avid DNxHD (RGB and YCC), uncompressed RGB 444, stereoscopic 3-D, simultaneous recording of raw/dailies, and 120 fps (in 2K/HD).
MTI Film Conveys Cortex Platform
MTI Film has unveiled the Cortex platform, a family of products that brings coherence and portability to the process of managing digital assets from the set to the screen.
FotoKem Offers NextLab Version 3.0
FotoKem has unveiled the newest version of its NextLab software and on-set system. Designed and developed in-house, NextLab v3.0 can manage digital camera files and metadata, supporting Arri Alexa and Sony F65 in their native raw formats, Red Epic and Scarlet, Silicon Imaging and the Canon DSLR and Cinema EOS lines. NextLab v3.0 also incorporates the Academy Color Encoding Specifications (ACES) architecture. 
Autodesk Redesigns Smoke
Autodesk, Inc. has unveiled Smoke 2013 video-editing software, a redesigned version of the all-in-one video editing and visual-effects tool for the Mac.
GenArts Packs Monsters GT v7
GenArts Inc., a leader in specialized visual-effects software, has released Monsters GT v7, the latest addition to the company’s Sapphire Accents line. 
Avid Releases iPad Editing App
Avid has released its first video-editing application for the iPad, Avid Studio, which is available in the Apple App Store. 
Telemetrics Drives Lenses
Telemetrics Inc., a leading provider of camera robotics and control systems, has introduced the Universal Lens Driver System, which motorizes zoom, focus and iris functions.

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Rotolight Shines with Anova

Rotolight has introduced the eco-friendly Anova LED EcoFlood, a computer-controlled, bi-color LED floodlight that delivers a 110-degree super-wide beam angle and the equivalent output of a 1K tungsten fixture while drawing only 38 watts of power.

Anova can accurately reproduce any color of white light from candlelight to full daylight (3,150°K to 6,300°K). Weighing 5.7 pounds, it is highly portable and well suited for both studio and location work. The Anova is also equipped with a V-lock plate for battery operation, providing three hours of operation at 100-percent output.

Users can control Anova locally on the fixture, via wired DMX, or through the built-in Wi-Fi with Rotolight’s Magic Eye app on an iPhone or iPad. Magic Eye provides wireless remote control of brightness and color temperature across multiple lights, and the app can store, recall and transmit settings and transitions, enabling the replication of lighting conditions from location to studio.

The Anova also offers remote control of third-party fixtures via DMX Master Mode. Additionally, using the camera in an iPhone or iPad, the Anova can see and measure both color and brightness, allowing the fixture to accurately track changing light conditions on location.

Building on the quality of light, color accuracy, portability, ease of use and affordability of the company’s RL48 LED Ringlight, Rotolight LED systems deliver full-spectrum “continuous light” with studio-accurate color and a soft, wide, shadowless quality that is perfect for portraiture or interview lighting.

contact info:  
www.rotolight.com
Litepanels Highlights Inca Series

Litepanels has introduced the Inca Series tungsten-balanced LED Fresnel fixtures, which incorporate LEDs that are color-matched to the incandescent tungsten-halogen lighting fixtures used in many television stations and other facilities. The Inca Series makes it possible for a studio to change over from incandescent to LED fixtures in a staged, multi-year plan, rather than having to do so all at once.

The Inca 4 (4" lens) and Inca 6 (6" lens) Fresnel fixtures are the first members of the series. The Inca 4 focuses from 13-72 degrees, and the Inca 6 focuses from 15-67 degrees. Both units provide dimming from 100 to 0 percent with no noticeable shift in color temperature. Focus and dimming can be controlled via DMX 512 protocol, or by on-fixture knobs.

The Inca 4 and Inca 6 use significantly less power than conventional tungsten-halogen fixtures. The Inca 4 draws about 39 watts and provides comparable illumination to a 300-watt traditional tungsten Fresnel; the Inca 6 draws approximately 104 watts and provides comparable illumination to a 650-watt traditional tungsten Fresnel. Because Litepanels LED fixtures run cool to the touch, there is an additional savings in the power it takes to cool a studio.

contact info:  
Blackmagic Design Unveils Cinema Camera

Blackmagic Design has introduced the Blackmagic Cinema Camera, a digital-cinema camera that offers 13 stops of dynamic range, a 2.5K sensor, a built-in SSD recorder, a built-in capacitive touch-screen LCD, standard jack audio connections, built-in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and full compatibility with Canon EF- and Zeiss ZF-mount lenses.

The camera also includes a full copy of DaVinci Resolve 9.0 for color correction, and Blackmagic Ultrascope software for waveform monitoring. Ultrascope can be run on a laptop connected to the camera via a Thunderbolt connection.

The Blackmagic Cinema Camera includes a fast SSD recorder that can record the full sensor detail in 12-bit Log raw files onto fast solid-state disks. The CinemaDNG-format files can be read by all high-end video software. Additionally, the camera can record ProRes and DNxHD for HD-resolution files compatible with Final Cut Pro X and Avid Media Composer. When recording in either 2.5K or 1080 HD resolution, the camera can capture 24, 25, 29.97 or 30 fps.

The built-in LCD display makes focusing easy, and allows playback of captured files. A speaker is built-in for clip playback, and there is also a headphone socket and embedded audio on the SDI output and Thunderbolt connection. The SDI output includes all camera data such as time code, transport control, shutter angle, color temperature setting and ASA information overlaid in anti-aliased fonts.

For easy metadata entry, the LCD features fast and responsive touch-screen technology. When the user taps the display with a finger, a data-entry window called the “slate” appears; this lets the user enter shot information just like typing on a smart phone. This data is then stored in the files and can be accessed by NLE software during editing. Metadata is compatible with software such as Final Cut Pro X and DaVinci Resolve. All camera settings — such as frame rate, shutter angle, color temperature, dynamic range and focus assist — can be changed on the touch LCD.

The Blackmagic Cinema Camera will be available in July for $2,995.

contact info:  
www.blackmagic-design.com
Canon Offers 4K Imaging Solutions

Canon U.S.A., Inc. is expanding its Cinema EOS System of professional cinematography products with the introduction of the Cinema EOS C500 and Cinema EOS C500 PL cameras. The C500 features an EF mount for Canon EF lenses, and the C500 PL features a PL mount for PL lenses. Both cameras are capable of originating 4K-resolution (4096x2160) imagery with uncompressed raw output for external recording.

The C500 and C500 PL cameras output their 4K-resolution video as a 10-bit uncompressed raw data stream with no deBayering. The cameras can also output quad Full HD (3840x2160), 2K (2048x1080), Full HD (1920x1080) and other resolutions. All of these digital-image-source formats fully conform to established SMPTE production standards.

All 4K formats can be selected to operate from 1 to 60 fps. The cameras employ a 12-bit RGB 4:4:4 signal format during 2K output, which can be selected to operate from 1 to 60 fps as well. If switched to a 10-bit YCrCb 4:2:2 mode, the camera can operate at up to 120 fps.

The C500 and C500 PL simultaneously record 50 Mbps HD proxy video to an in-camera CF card that is immediately available to support offline editing. Equipped with a new 8.85-megapixel CMOS sensor, the cameras are compatible with Canon’s wide range of interchangeable EF Cinema and PL-mount lenses and EF lenses for Canon SLR cameras.

Canon has also unveiled the EOS-1D C digital SLR, the newest addition to its line of EOS DSLR cameras, and the first to be designed as a member of the Cinema EOS system. The EOS-1D C records video at 4K (4096x2160) or Full HD (1920x1080) resolution to support high-end motion-picture and advanced-imaging applications. The camera incorporates Canon Log Gamma to enable the recording of high-quality video while also providing a high level of color-grading freedom.

The camera includes an 18.1 megapixel full-frame 24mm x 36mm Canon CMOS sensor with the ability to record 8-bit 4:2:2 Motion JPEG 4K video or Full HD video to the camera’s CF memory card. Additional features include an extended sensitivity range of up to ISO 25,600 for exceptional motion-imaging results with reduced noise even in low-light settings.

Additionally, Canon has announced the development of four new EF Cinema zoom lenses designed to deliver exceptional optical performance on 4K-resolution cameras. Each of the four lenses features a compact, lightweight design to facilitate handheld and Steadicam shooting while also covering a wide range of focal lengths. The lineup comprises two wide-angle cine zooms — the CN-E15.5-47mm T2.8 L S (for EF mounts) and the CN-E15.5-47mm T2.8 L SP (for PL mounts) — and two telephoto cine zooms — the CN-E30-105mm T2.8 L S (for EF mounts) and CN-E30-105mm T2.8 L SP (for PL mounts).

contact info:  
www.usa.canon.com
Sony FS700U Captures High Speed

Sony has introduced the NEX-FS700U Full HD super-slow-motion camcorder, the latest in its line of NXCam interchangeable-lens E-mount camcorders. 

The camcorder delivers Full-HD images at 120 and 240 fps in an 8- or 16-seconds burst mode, respectively. 480 fps and 960 fps rates at reduced resolution are also available. The NXCam system’s E-Mount flexibility is designed to accept virtually all SLR and DSLR 35mm lenses, with the use of simple, inexpensive adapters without optical degradation.

The FS700U uses a new 4K Exmor Super 35 CMOS sensor that comprises 11.6 million pixels. This high-speed readout chip is optimized for motion-picture shooting, providing high sensitivity, low noise and minimal aliasing. Users can also capture high-quality still images with the FS700U.

The FS700U’s 3G HD-SDI and HDMI connectors can output Full HD 50p and 60p, in addition to standard HD 60i, 24p, 25p or 30p frame rates with embedded time code and audio. 3G HD-SDI can output native 23.98, 25 or 29.97 progressive signals; users can also choose to output PsF over the 3G HD-SDI. Thanks to the flexibility of the digital ports, virtually any external recorder can be connected.

NEX-FS700U operators can take advantage of the camcorder’s built-in ND filters, with a newly designed wheel that rotates across the sensor like a turret. The wheel includes positions for Clear, 1⁄4 (2 stops), 1⁄16 (4 stops) and 1⁄64 (6 stops). The camcorder also includes face detection and auto focus to help ensure the subject is always kept in focus.

Users can save up to 99 camcorder profile settings on a memory card and can copy the same setting to multiple units. Compatible media includes MS and SD memory cards and Sony’s HXR-FMU128 flash memory unit that attaches to the camcorder.

Additional features include a detachable top handle secured by a pair of screws (a cold shoe, plus two sets of ¼" and 3⁄8" holes) that allow heavy accessories to be mounted; the handle is attached with a rosette mount. The handle incorporates an “active grip” that features four buttons for commonly used functions: expanded focus, auto iris, still capture and recording start/stop. Function buttons are also enlarged to make operating easy, even while wearing gloves. The camcorder’s enhanced, durable design also includes anchor points for compatibility with third party accessories. The camcorder is 60/50 Hz switchable.

Sony is planning a firmware upgrade that will enable the NEX-FS700U to output 4K bit-stream data over 3G HD-SDI when used with a Sony 4K recorder.

The NEX-FS700U (body only) and NEX FS700UK (with 18-200mm zoom lens) are planned to be available this month at a suggested list price starting at less than $10,000.

contact info:  
pro.sony.com
Arri Advances Anamorphic

Arri has unveiled the Alexa Plus 4:3, a new Alexa model with similar functionality to the Alexa Plus but featuring a 4:3 Super 35 sensor, the ability to switch from 16:9 sensor mode to 4:3 sensor mode, and built-in licensing for high-speed shooting, anamorphic de-squeeze and DNxHD.

Anamorphic lenses squeeze the image by approximately a factor of two. When using sensors that are natively 16:9 or wider, it becomes necessary to crop the sides of the image to achieve the desired widescreen aspect ratio, resulting in a smaller used sensor area and a different angle of view for the lens. With the Alexa Plus 4:3 camera, the full area of the sensor is used, which means more light per photosite, translating into greater sensitivity, less noise, more exposure latitude and sharper images. Alternatively, the larger sensor area can be used for greater freedom in vertical repositioning when using spherical lenses.

The Alexa Plus 4:3 joins the Alexa Studio and Alexa M, which already have 4:3 sensors. The Studio might typically function as an A camera, the Plus 4:3 as a B camera, and the M as a compact, versatile C camera.

contact info:  
www.arri.com
Panasonic Presents Upgradeable HPX600

Panasonic has unveiled the AG-HPX600 P2 HD shoulder-mount camcorder, which boasts 10-bit, 4:2:2 AVC-Intra recording.

Weighing less than 7 pounds, the HPX600 incorporates a new 2⁄3-type MOS sensor to produce HD and SD images. The HPX600 achieves a high sensitivity of F12 (at 59.94 Hz) and a signal-to-noise ratio of 59dB. The camcorder supports AVC-Intra 100/50, DVCPro HD, DVCPro 50, DVCPro and DV as standard. It is 50 Hz and 59.94 Hz switchable for worldwide use.

The HPX600 will be upgradeable as new functionality becomes available. Upgradeable options will include wireless metadata input, proxy recording, variable frame rates and AVC-Ultra recording. When available in 2013, AVC-Ultra will offer master-quality and/or low-bit-rate 10-bit, 4:2:2 recording in Full HD to meet a variety of user needs from mastering to transmission. (However, the HPX600 will not support all AVC-Ultra formats.) The HPX600 also features wireless and wired connection ability with Wi-Fi, USB and Gigabit Ethernet. In addition, a future option will support LiveU for video uplink with real-time indication of LiveU’s transmission status and video transmission quality to the camera operator.

The interchangeable lens camcorder will be equipped with Chromatic Aberration Compensation to maximize lens performance, Dynamic Range Stretch function to help compensate for wide variations in lighting, and a highly accurate flash band detection and compensation software. Original features will include a smart user interface that permits accessibility to the camera’s extensive functions from an LCD display on the side of the camera. The HPX600 will offer two P2 card slots and an SD card slot.

The AG-HPX600 will be available in the fall at $16,000-$18,000.

contact info:  
www.panasonic.com
JVC Expands ProHD Camcorder Line

JVC Professional Products Co., a division of JVC Americas Corp., has introduced the GY-HM650 and GY-HM600 ProHD handheld cameras.

Both cameras feature a built-in wide-angle 23x autofocus zoom lens and boast superior low-light performance and excellent sensitivity (F11 at 2,000 lux) in a comfortable, versatile form factor. The lightweight cameras record HD or SD footage in multiple file formats, including native .MP4, .MOV and AVCHD, to non-proprietary SDHC or SDXC media cards. In addition to relay mode for uninterrupted recording, the cameras allow simultaneous recording to both memory cards for instant backup or client copy.

The cameras feature a 1.22-megapixel color viewfinder and color 3.5" LCD. A second trigger and servo zoom control on the built-in handle make it easy to record while holding the camera at low or high angles. Additionally, the Pre Rec (retro cache) feature continuously records and stores up to 5 seconds of footage in cache memory to help prevent missed shots.

The cameras are equipped with three 1⁄3" 12-bit CMOS sensors, each with 1920x1080 pixels. The built-in Fujinon HD lens features a wide focal range of 29-667mm (35mm equivalent) and has manual focus, zoom and iris rings, along with three ND filters. Other features include auto focus with face detection and an optical image stabilizer.

The cameras also include a built-in stereo microphone and two XLR inputs with phantom power and a shotgun mic holder, as well as a headphone jack and separate input for a wireless mic receiver. The cameras are also equipped with a LANC remote connector and are compatible with JVC’s Compact Studio ProHD 7" monitor for an affordable studio system. Additionally, the cameras include a time-code synchronization input and HD-SDI and HDMI outputs.

Equipped with dual codecs, the GY-HM650 is capable of producing Full HD files on one memory card while simultaneously creating smaller, Web-friendly files (1⁄4 HD) on a second card; with built-in FTP and Wi-Fi connectivity, the camcorder can deliver the footage without a microwave or satellite connection. It also records .MXF files with rich descriptive metadata that is optimized for asset management.

The GY-HM600 will be available in the fall for a recommended price of $4,695; the GY-HM650 will be available in the winter for a recommended price of $5,695.

contact info:  
pro.jvc.com
Angenieux Focuses on Optimo Zooms

Thales Angenieux has introduced two additions to its line of Optimo lenses: the Optimo 19.5-94mm and Optimo 28-340mm.

The Optimo 19.5-94mm is a 4.7x zoom lens with a fast aperture of T2.6 (wide open). The lens features a 329-degree focus rotation with more than 50 calibrated witness marks for precise focusing in feet or meters. It weighs 12.3 pounds and features a front diameter of 136mm and a close focus of 2'5".

The 12x Optimo 28-340mm long zoom lens features a fast aperture of T3.2 (wide open) and is ideal for capturing critical close-ups from longer distances. It is designed with a 327-degree focus rotation and more than 70 precise witness marks, available in feet or meters. The Optimo 28-340mm weighs approximately 24.4 pounds and features a front diameter of 162mm and a close focus of 4'5".

The Optimo 19.5-94mm and 28-340mm boast minimal breathing. Both lenses are available with PL mounts (PV mounts by request) and are compatible with Angenieux’s 1.4x and 2x extenders.

contact info:  
www.angenieux.com
Fujifilm Adds PL-Mount Zoom

Fujifilm Optical Devices has introduced the PL 19-90mm Cabrio ZK4.7x19, the newest member of the company’s Premier PL-Mount Zoom family. The lens features an exclusive detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-style lens. The PL 19-90mm also features flange focal-distance adjustment and macro function and is Lens Data System and /i metadata compatible.

The PL 19-90mm covers a 31.5mm sensor size on a digital-cinema-style camera. Weighing 5.95 pounds (including servo motors), the lens also incorporates a nine-blade iris.

The digital servo boasts 16-bit encoding. The PL 19-90mm can be controlled using industry-standard wireless controllers, as well as existing Fujinon wired and wireless units. Other features include luminous barrel markings for visibility in dark shooting situations; distances are listed in feet or meters and can be changed in the field. 

contact info:  
www.fujifilm.com
Sachtler Supports Ace

Sachtler, part of Vitec Videocom, a Vitec Group company, has introduced the Ace tripod system. With a payload of up to 8.8 pounds, Ace is ideal for smaller HDV camcorders and video-enabled DSLR cameras. Ace is also compact, durable and extremely lightweight. As with all Sachtler products, Ace is ergonomically designed and offers an intuitive feel.

For Ace, Sachtler developed the patented Synchronized Actuated drag, which guarantees accuracy and repeatability. With three vertical and three horizontal grades of drag (plus 0), SA-drag enables fine adjustment for precise panning and tilting. Additionally, Ace’s five-step counterbalance makes counterbalancing fast and simple. The Ace fluid head has a tilt range of +90 degrees to -75 degrees.

Ace incorporates a glass fiber reinforced composite material that makes the 75mm fluid head especially light and offers a comfortable and non-slip surface. The head enables camera operators to work intuitively and professionally. In addition, Sachtler’s 50 years of experience in developing camera support promises dependability, easy operation and such features as the practical parking position for spare camera screws and the long 104mm sliding range of the camera plate.

contact info:  
www.sachtler.com
EasyRig Goes Mini

EasyRig and 16x9 Inc. have introduced the EasyRig Mini body-worn camera-support system. The EasyRig Mini replaces the Turtle X and features a stabilizing vest rather than a backpack to evenly distribute weight across the chest and back. The EasyRig Mini also allows for the adjustment of the support bar in relation to the vest in height, so camera height can be tailored to each user.

The EasyRig Mini is available in two models: the Mini, suitable for cameras weighing up to 9 pounds, and the Mini Strong, for cameras between 9-13.2 pounds. A new protective transport bag can store both the camera and rig together safely, and it can also be quickly transformed into a backpack by simply unfolding the shoulder straps that are securely stored in the bag’s side pockets.

The EasyRig Mini is available now for a recommended price of $1,410.

contact info:  
www.16x9inc.com
P+S Technik Launches PS-Micro Rig

P+S Technik has introduced the compact and versatile PS-Micro Rig for native 3-D productions.

Building on the success and functionality of the PS-Freestyle Rig, the PS-Micro Rig is compatible with any kind of micro camera (such as the SI-2K or the SinaCam) and boasts a flyweight of only 8.8 pounds. The rig can be used with remote control or in a completely manual mode. The PS-Micro Rig is suited for shoulder, crane or tripod operation, and is also balanced for use on a Steadicam. The rig is also compatible with a wide range of accessories from P+S Technik and other third-party manufacturers.
contact info:  
www.pstechnik.de
Codex Gets Aboard Cinema EOS

Codex has begun shipping the Onboard S Recorder, a recording solution for compact HD digital-cinema cameras such as the Canon Cinema EOS C300. Data is recorded onto Codex’s new Capture Drives from the HD-SDI output of the camera. Codex has partnered with both Vocas and Arri’s Professional Camera Accessories group to design new mounts and handheld solutions for the C300 to accommodate the Onboard S recorder. 

Codex worked with Canon during the development of the C500, which is capable of originating 4K (4096x2160) motion imagery, to ensure that the entire workflow from recording to production is a seamless experience. The Codex Onboard M can record 4K raw files from the Cinema EOS C500 onto Codex datapacks at up to 120 fps. The datapacks can then be loaded on a Codex Transfer Station for Mac OS X, a Codex Digital Lab or a Codex Vault S for QC, dailies generation and archiving.

“Codex is committed to supporting a wide range of cameras and we are excited to work with Canon as they introduce a variety of cameras for the feature film, television and commercials markets,” says Marc Dando, Codex’s managing director. “Given our experience in recording raw data, it was a natural progression for us to develop an entire workflow, from recording through post.”

The Codex Onboard M Recorder was used with the C500 camera to capture the Canon promo film 4 Cities, which features material shot by cinematographers Tony Pierce-Roberts, BSC; Ben Seresin, ASC, BSC; and Martin Ruhe.

contact info:  
www.codexdigital.com
AJA Goes 4K with Ki Pro Quad

AJA Video Systems has introduced the Ki Pro Quad solid-state portable video recorder, which is capable of capturing high-quality edit-ready files in formats including 4K (4096x2160), Quad HD (3840x2160), 2K (2048x1080) and HD (1920x1080), providing a fast path from camera-to-editorial with 10-bit 4:4:4 and 10-bit 4:2:2 color support.

Ki Pro Quad helps facilitate a powerful workflow for 4K, making it suited to such camera systems as the new Canon Cinema EOS C500. Ki Pro Quad accepts raw camera output via SDI and simultaneously outputs that data via Thunderbolt. The recorder also per-forms deBayer processing of the raw data that can be used to produce on-board Apple ProRes recordings to SSD media. HD, 2K and 4K ProRes files recorded to removable SSD media can then be used in a variety of popular nonlinear editors. The deBayered image produced by the Ki Pro Quad can also be used for real-time 4K monitoring; a scaled or cropped output is also simultaneously available for 2K or HD monitoring via dedicated SDI and HDMI connections.

Ki Pro Quad will be available later this year through AJA’s worldwide network of resellers for $3,995.

contact info:  
www.aja.com
Convergent Design Records Raw

Convergent Design has unveiled the Gemini Raw, which supports 4K raw recording with live preview and playback to a 4K monitor. Gemini Raw also boasts such features as four-camera recording/quad-split playback (in HD) and support for Avid DNxHD (RGB and YCC), uncompressed RGB 444, stereoscopic 3-D, simultaneous recording of raw/dailies, and 120 fps (in 2K/HD).

Gemini Raw offers all the features of the Gemini 4:4:4 with significantly greater processing power, while retaining the same size, power and weight. Six programmable 3G-SDI ports can be configured as four-in/two-out or two-in/four-out; this innovative capability enables such configurations as quad-input record/quad-split display or single-stream 4K raw recording/4K monitoring. Stereo 3-D output options include luma differencing, side-by-side and anaglyph.

Gemini Raw allows recording in high-quality HD (in DNxHD-220) and simultaneously in raw/uncompressed. Users can use the DNxHD footage for fast-turnaround projects while archiving raw for future, higher-resolution applications. Alternatively, users can record raw and DNxHD-36 proxy for dailies and offline work.

Gemini Raw includes a built-in 5.0" 800x480 LCD touch screen for live preview and playback. Gemini Raw also employs dual 1.8" SSD drives, which greatly reduce size, weight and cost. Currently, these drives support quad-stream recording of up to 1080p30/2K raw, single-stream 4K raw up to 30p, single-stream 1080p/2K raw up to 120 fps (over dual 3G-SDI) or, in some formats, the creation of two identical masters (auto backup). The Gemini Raw production kit includes (at no extra cost) a simple SSD transfer station compatible with widely available, low-cost USB 3.0, FW-800 and Thunderbolt adapters.

Pending certification by Arri, Gemini Raw will support both ArriRaw 16:9 up to 60 fps and ArriRaw 4:3 up to 48 fps. Full support for Weisscam/P+S Technik HD/2K raw is also planned. Convergent Design also anticipates future support for additional 2K and 4K raw cameras and higher frame rates.

contact info:  
www.convergent-design.com
MTI Film Conveys Cortex Platform

MTI Film has unveiled the Cortex platform, a family of products that brings coherence and portability to the process of managing digital assets from the set to the screen.

The first offering in the Cortex family is Cortex Convey, which builds on the foundation of the automated, data-centric deliverables application used in MTI Film’s Control Dailies system. Cortex Convey is a standalone application that features a powerful, multi-threaded transcoding engine that supports all popular video codecs with an interface that is easy to use. The result is a simple, streamlined solution that can be used at any phase in the postproduction workflow.

Cortex Convey includes MTI Film’s best-of-breed algorithms for down-conversion and color processing in a 32-bit floating-point pipeline, as well as the latest real-time GPU-accelerated demosaicing algorithms for raw camera codecs. Cortex Convey’s advanced project-management features include multiple deliverable templates per project, automated workflows and a one-to-many render engine. It is a simpler and more flexible way to reliably and simultaneously generate multiple, high-quality file-based deliverables for all steps in the post process.

MTI Film has also unveiled Cortex Capture, a simple and powerful application that includes all the functionality needed by DITs and data wranglers with a price tag of only $95. Cortex Capture provides onset playback of a dozen common camera formats, including Sony SRMaster and F65, Red, ArriRaw, DNxHD and ProRes. It includes tools for maintaining color decisions by importing and setting looks that can be exported as stills, ASC CDLs and LUTs. Its project-management features include commenting on frames or clips and creating templates with color, audio and burn-in options for use in dailies and throughout the post process. All metadata, including color, generated in Cortex Capture can be exported and shared with other Cortex products at the post facility, saving time and ensuring consistency.

MTI Film also plans to roll out Cortex Control Dailies to address other points in the production and post process. Ultimately, the Cortex family will form a seamless solution for managing media assets from prep through post and beyond.

“A lot of time and money is wasted because creative decisions and other metadata cannot be passed seamlessly from one step in the process to the next,” says David McClure, vice president of product development for MTI Film. “It either has to be re-entered or is lost completely. The Cortex platform is designed to allow all the actors, from DITs to dailies colorists to assistant editors and more, to easily share this information while remaining focused on their central task, undistracted by a large, complex application.”

contact info:  
www.mtifilm.com
FotoKem Offers NextLab Version 3.0

FotoKem has unveiled the newest version of its NextLab software and on-set system. Designed and developed in-house, NextLab v3.0 can manage digital camera files and metadata, supporting Arri Alexa and Sony F65 in their native raw formats, Red Epic and Scarlet, Silicon Imaging and the Canon DSLR and Cinema EOS lines. NextLab v3.0 also incorporates the Academy Color Encoding Specifications (ACES) architecture. 

Additionally, FotoKem’s NextLab Live is an application that supports on-set color correction directly from digital camera feeds in real time. It enables cinematographers to load a look-up table, generate a color-decision list, and make color choices while recording images. With a digital-imaging technician, NextLab Live is simple to set up on a laptop and provides a color-control surface with an SDI interface.

The NextLab software securely stores media, archives to LTO, provides quality control tools, audio syncing, color management and transcoding. It is incorporated into an array of services and offerings at FotoKem and its affiliates, including Keep Me Posted, Spy and Margarita Mix/LA Studios.

FotoKem’s NextLab Mobile is a unified, rugged cart loaded with hardware running the software on set or near location. The NextLab Mobile unit has been redesigned with a smaller footprint and a sturdier enclosure.

“Our focus is solving on-set needs and helping to integrate production and post,” says Tom Vice, vice president and general manager of NextLab. “Our NextLab software solutions bring creative flexibility to filmmakers in new ways that adapt to how productions want to work.”

contact info:  
www.fotokem.com
Autodesk Redesigns Smoke

Autodesk, Inc. has unveiled Smoke 2013 video-editing software, a redesigned version of the all-in-one video editing and visual-effects tool for the Mac. Smoke 2013 features a unified creative workflow that brings powerful node-based compositing right in the timeline. Smoke can help editors simplify their workflow, centrally manage their media, work interactively with high-resolution media throughout their projects and deliver high-end content.

Smoke 2013’s intuitive, all-in-one user interface combines track-based editorial, industry-standard editing conventions and proven Autodesk creative tools. Smoke’s robust toolset includes proven high-end finishing tools such as Action for true 3-D compositing, Color Warper for professional grading and color matching, and Master Keyer for one-click chroma keying and stereoscopic 3-D editing and effects. Powerful ConnectFX node-based compositing inside the timeline enables high-end effects and advanced compositing without having to leave the editorial environment. MediaHub offers a modern approach to working natively with the most common formats, facilitating the management of all project media from ingest to edit, effects and archiving. Additionally, Smoke 2013 runs on the most recent generation of Apple iMac and MacBook Pro systems using high-bandwidth Thunderbolt storage and IO, bringing true high-end video effects to flexible desktop and mobile workflows.

Smoke 2013 will be available this fall for $3,495 per license.

contact info:  
www.autodesk.com
GenArts Packs Monsters GT v7

GenArts Inc., a leader in specialized visual-effects software, has released Monsters GT v7, the latest addition to the company’s Sapphire Accents line. Designed to meet the demand for both realistic and original looks, Monsters GT features a wide range of more than 50 exceptional effects that enrich every artist’s visual-effects portfolio so they can create extraordinary imagery. For the first time, Monsters GT is available in 11 mini-packs for $99 apiece and a Natural Phenomena theme pack for $299.

The Natural Phenomena theme pack and the 11 mini-packs are available for Autodesk systems, Adobe After Effects, The Foundry Nuke, Eyeon Fusion, Assimilate Scratch and Sony Vegas and deliver specific types of effects in a single, convenient package. The Natural Phenomena theme pack features 19 creative problem-solving tools that realistically simulate weather, atmospheric, fire and water effects without spending hours building the effects from scratch.

The Monsters GT mini-packs each feature 2-5 effects and are ideal for creating project-specific effects like film burns, night vision, fluids, security-camera monitoring, time-based image trails and dozens of other looks. The complete collection of all 59 Monsters GT effects is also available for a starting price of $499.

Additional features of Monsters GT v7 include enhanced sprite quality and smoother particle motion, new effects and enhancements to create a more streamlined workflow, resolution independence, GPU acceleration for improved render times and floating point processing for improved image quality.

contact info:  
www.genarts.com
Avid Releases iPad Editing App

Avid has released its first video-editing application for the iPad, Avid Studio, which is available in the Apple App Store. 

Avid has made the Avid Studio app for the iPad easy enough for first-time users yet sophisticated enough for more advanced editors. Offering frame-by-frame editing accuracy and access to all kinds of media, Avid Studio for iPad allows users to quickly and easily create and share highly professional multimedia experiences, wherever they want to.

Avid Studio for iPad allows users to begin editing with ease by offering access to any videos, photos and audio already in their iPad library, or media that can be imported from iTunes, cameras and more. Users can then arrange clips in the Storyboard, make precision edits using the Timeline and enhance their movie creations with high-quality transitions, effects and a soundtrack. They can share movies directly to YouTube, Facebook and more — or export projects to Avid Studio software, where they can continue editing with even more advanced tools. Users can get started fast with an included, easy-to-understand how-to guide.

Avid Studio for iPad takes full advantage of touch capabilities to offer a fun, easy and professional-level editing experience. Multiple audio tracks also allow for easy layering of music, audio and sound effects.

contact info:  
www.avid.com
Telemetrics Drives Lenses

Telemetrics Inc., a leading provider of camera robotics and control systems, has introduced the Universal Lens Driver System, which motorizes zoom, focus and iris functions. It is fully adjustable and easily adapted to any manufacturer’s lens and can also be used on most cameras with integral non-motorized lenses. Additionally, the Lens Driver supports three methods of control — Serial RS232/422, Ethernet IP and analog (standard broadcast lens interface) — and is specially designed to perform smooth motion transitions.

“The added production efficiency that the new Lens Driver System generates will be appreciated by a wide range of end users,” says Anthony Cuomo, vice president and general manager, Telemetrics Inc. “Because of its universality, it will give us the opportunity to offer a larger variety of cameras and lenses for integration into our camera robotics systems.”

contact info:  
www.telemetricsinc.com