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March 2013
Panasonic Gives AF100 an A

Panasonic has released the AG-AF100A large-imager HD cinema camcorder.

Fujifilm Expands Cabrio Zoom Range

Fujifilm has introduced the PL 85-300mm Cabrio zoom (model ZK3.5x85).

Canon Builds Cine, EF Families

Canon U.S.A., Inc. has announced two new cinema prime lenses and two professional EF lenses.

Schneider Offers Compact ND Kit

Schneider Optics has introduced the Schneider Compact ND Kit for 114mm-diameter lenses.

LockCircle Introduces K-Circle

LockCircle has introduced the K-Circle wireless USB camera controller, designed to enhance professional applications in most Canon EOS HDSLR cameras.

Davis & Sanford Provides Pro Support

The Tiffen Co. is shipping the Davis & Sanford Pro Elite Tripod and Head models 5075-15 and 5100-25.

Environmental Lights Up DMX Control

EnvironmentalLights.com, a provider of high-quality LED lighting, recently added a 24-channel DMX Decoder to its Studio Series of DMX controllers and decoders.

Oxygen Monitors Field Production

Oxygen DCT has launched the 7.67" Evolution Pro P3 organic light-emitting diode (OLED) field production monitor for studio, outside broadcast, satellite news, engineering and field production. Picture quality derived from the proprietary color-management-technology engine gives rich colors and deep black detail.

Red Plays Back 4K with RedRay

Red Digital Cinema has released the RedRay ultra-high-definition 4K playback device.

SpectraCal, X-Rite Partner for Colorimeter

SpectraCal, Inc., a developer of video calibration software and training, and X-Rite Inc., a developer and manufacturer of color-measurement instrumentation and software, have collaborated to introduce the SpectraCal C3 colorimeter for home users.

Arri Moves Canadian Office

Arri has relocated its Canadian office just west of the greater Toronto area in Mississauga. Conveniently located near Toronto’s Pearson International Airport, the new site offers a more pleasant, efficient space for service and sales.

Light Iron Opens Doors in NYC

Light Iron, a post facility specializing in on-site dailies, digital intermediate, archival and data services for projects originated on file-based motion-picture-camera systems, has expanded into the New York market, where the company has acquired all of the post resources of OffHollywood in Soho.

Colorflow Posts in Bay Area

Colorflow, a full-service post company specializing in color grading for independent films, documentaries, long-form television and similar projects, has opened a state-of-the-art facility in the historic Saul Zaentz Media Center in Berkeley, Calif.

Assimilate Rents Scratch

Through its online Assimilate Store, DI and dailies software provider Assimilate now provides professionals the option to rent the company’s Scratch and Scratch Lab software for as little as a day or as a long as three months.


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Panasonic Gives AF100 an A

Panasonic has released the AG-AF100A large-imager HD cinema camcorder.

The AF100A features 10-bit 4:2:2 output for better gradation of tonal areas when recording onto external devices, such as a P2 HD recorder. The HD-SDI signal also carries a sync signal for recording start/stop with the AF100A trigger. Additionally, the AF100A is equipped with the popular expanded focus-assist function, which enlarges the center of the displayed image, and a 2.39:1 safety-zone marker.

In addition to offering the high-quality PH recording mode, the AF100A complies with the AVCHD version 2.0 standard with its new PS mode for recording, playing and outputting Full-HD progressive images. The PS/PH modes support uncompressed 16-bit LPCM 2-channel audio recording. The AF100A also features two-channel XLR audio input terminals for full-uncompressed audio recording and many other functions to meet professional needs.

The AF100A builds on the legacy of the AF100 and continues to boast film-like, shallow depth-of-field and the wider field-of-view of a large imager, with the flexibility and cost advantages of an expansive line of professional micro 4⁄3" lenses, filters and adapters. The AF100A incorporates a 4⁄3" 16:9 MOS imager that features fast image scanning to minimize skew and an optical low-pass filter for elimination of aliasing and moiré.

Weighing 3.5 pounds without lens or battery, the AF100A also features Dynamic Range Stretch in all modes and frame rates; six built-in, customizable scene files that are exchangeable for quick and easy matching between multiple cameras; seven built-in gamma curves with four selectable color matrices; a built-in optical ND filter; adjustable shutter speed and Synchro-scan function; and a high-resolution, variable-angle color LCD monitor and tiltable viewfinder.

Additional standard professional interfaces include uncompressed HDMI out and USB 2.0. The AF100A records SMPTE time code, is able to perform time-code synchronization, and has an internal down-converter facilitating output of SD signals.

The AG-AF100A is available at a suggested list price of $4,595. The camcorder is packaged with a copy of AF100 Book, written by Barry Green. Panasonic supports the AF100A with a three-year limited warranty upon registration of the camera with the PASS customer-support program.

contact info:

 
www.panasonic.com/broadcast
Fujifilm Expands Cabrio Zoom Range

Fujifilm has introduced the PL 85-300mm Cabrio zoom (model ZK3.5x85). Joining the Premier PL digital cinematography family, the PL 85-300 capitalizes on the popularity and success of the PL 19-90mm Cabrio (Model ZK4.7x19).

While the PL 85-300 is similar in size and weight to the PL 19-90, its longer lens makes it ideal for shooting documentaries, car commercials, and nature and wildlife, among other production scenarios. The PL 85-300 offers a focal length of 85-220mm at T2.9 and up to 300mm at T4, with 200-degree focus rotation.

Designed using the latest optical simulation technology, the PL 85-300 Cabrio offers exceptional optical performance not only in the center of the image, but also in the corners of the frame. Like the PL 19-90 Cabrio, the PL 85-300 is equipped with such features as flange-focal-distance adjustment, a MOD of 1.2m and a macro function for objects as close as 97mm (3.8"). Additionally, the zoom lens covers a 31.5mm diagonal sensor size.

The digital servo’s 16-bit encoding assures operators that all lens-data output — such as the position of the zoom, iris and focus — is accurate; the lens also supports Lens Data System (LDS) and /i metadata formats. Like the PL 19-90 Cabrio, the PL 85-300 features a detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-style lens. The PL 85-300 can be controlled using industry-standard wireless controllers as well as existing Fujinon wired and wireless units. Other available Premier PL Mount Series lenses include the 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400 mm T2.8-T3.8 zooms.

“We designed the new PL 85-300, and the entire Premier PL zoom-lens family, to give professional cinematographers and videographers the utmost in features and versatility,” says Thom Calabro, director of marketing and product development, Fujifilm North America Corp., Optical Devices Division. “We believe that a wide array of choices help them match the right lens with the unique demands of their high-end productions. Versatility means that videographers accustomed to shooting ENG-style will be right at home with a servo attached to the lens, while cinematographers who shoot projects like feature films and commercials can opt to shoot without it. Cinematographers will als

contact info:

 
visit www.fujinon.com
Canon Builds Cine, EF Families

Canon U.S.A., Inc. has announced two new cinema prime lenses and two professional EF lenses.

The Cinema prime series introduces the CN-E14mm T3.1 L F and CN-E135mm T2.2 L F single-focal-length lenses for large-format single-sensor cameras employing Super 35mm or full-frame 35mm imagers. These two lenses join with Canon’s CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F primes to provide a line of precision-matched EF-mount Cinema prime lenses that provide high optical performance levels and a choice of versatile focal lengths. All five Canon Cinema prime lenses are part of the Canon Cinema EOS system of professional cinematography products.

All Canon Cinema EOS lenses integrate advanced materials and coatings to meet high optical performance levels, including 4K (4096x2160) production standards. Each lens is equipped with an odd-numbered 11-blade aperture diaphragm, which is ideally suited to achieve creative depth-of-field manipulation and pleasing bokeh effects. Canon’s line of Cinema prime lenses is precision-matched for consistent and solid optical performance that minimizes focus-induced changes in the angle of view. All feature a full-frame image circle in a lightweight, compact design, and they incorporate proven Canon lens elements designed to fulfill contemporary 4K production standards. All five primes also deliver color tone and balance that matches Canon’s top-end Cinema zooms and compact Cinema zooms. Canon Cinema prime lenses are also water-resistant for severe shooting conditions and deliver the operation and reliability required in professional film-style shooting environments.

“Since our introduction to the film and television production industry in November 2011, we have brought to market five Cinema prime lenses, two top-end Cinema zoom lenses, two compact Cinema zoom lenses, and four professional digital cinematography cameras all within 18 months,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “This is a testament to the company’s dedication to the needs of the growing and diverse universe of professionals creating 4K, 2K and HD moving-image content for theatrical, television and other markets.”

The CN-E14mm T3.1 and CN-E135mm T2.2 Cinema primes are fully compatible with the Canon EOS C500, C300, C100 and EOS-1D C digital cinema cameras. The EF-mount design of all five Canon Cinema prime lenses provides communication with these cameras for such handy features as display of the f-stop in the electronic viewfinder, recording of focus/zoom position and f-stop, and Peripheral Light Compensation for pleasing effects shots.

Additionally, Canon has introduced the EF 24-70mm f/4L IS USM and EF 35mm f/2 IS USM lenses, which feature unique optical attributes for a variety of situations.

Showcasing dynamic L-series optical performance in a compact, lightweight and durable design, the new EF 24-70mm f/4L IS USM lens is suited for all levels of advanced photography on the go. The ideal companion to Canon’s full-frame Digital SLR cameras, the lens features a constant maximum aperture of f/4 throughout the entire zoom range with 15 lens elements in 12 groups including two aspherical and two UD lens elements and a 9-blade circular aperture diaphragm. It includes a macro feature at the telephoto end with a 0.2m/7.9" minimum focusing distance and Canon’s Hybrid IS system (with up to four stops of stabilization). In addition, the lens features inner focusing and a ring-type Ultrasonic Motor (USM) for quiet, fast autofocus, and has full-time mechanical manual focus that’s enabled even during AF operation. Compact at only 93mm in length, with excellent dust and water resistance, the EF 24-70mm f/4L IS USM lens has a fluorine coating on the front and rear elements for easy maintenance and cleaning. It is supplied with a lens pouch and reversible lens hood.

The successor to Canon’s EF 35mm f/2, the EF 35mm f/2 IS USM lens is a compact and lightweight wide-angle prime lens that provides a high level of image quality and functionality. The optics and mechanical workings are designed to improve image quality in the lens’s periphery and provide faster and quieter AF than its predecessor, as well as Optical IS and optional full-time manual focus, all in a durable lens body with a high-grade design. Featuring a circular aperture diaphragm and lens coatings optimized for minimal ghosting and flare, the EF 35mm f/2 IS USM lens achieves beautiful, soft backgrounds and excellent image quality.

contact info:

 
www.usa.canon.com
Schneider Offers Compact ND Kit

Schneider Optics has introduced the Schneider Compact ND Kit for 114mm-diameter lenses. The neutral-density filter kit provides a low-profile clamp-on locking ring adapter designed to mount the 4½" filters included in the kit onto camera lenses such as Zeiss CP.2 and Canon Cinema EOS primes.

The Compact ND Kit answers the specific need of cinematographers working with 114mm-diameter lenses with no front threads, or struggling with situations where using a regular mattebox to mount filters would take too long to mount or would create too much weight or wind drag. Schneider’s Low Profile Clamp-on 114mm Sunshade (not included with this kit) can be mounted on the Compact ND Kit assembly to minimize stray light from causing unwanted lens flares.

Available now for a suggested price of $925, the Compact ND Kit includes three genuine Schneider Neutral Density filters in strengths of 0.6, 0.9 and 1.2.

contact info:

 
www.schneideroptics.com
LockCircle Introduces K-Circle

LockCircle has introduced the K-Circle wireless USB camera controller, designed to enhance professional applications in most Canon EOS HDSLR cameras. With the K-Circle, camera functions such as focus, iris, shutter speed, start/stop and ISO can be controlled wirelessly over distances of up to 300'. A proprietary algorithm enables the K-Circle to control focus in three speeds.

The K-Circle system incorporates two modules: the Base Module and the Remote Module. The Base Module connects to the camera with a Lemo/USB cable, and can be used as a wired controller within 50' if remote control is not needed; the Base Module also features a built-in wireless receiver to communicate with the wireless Remote Module, which incorporates the same functions as the Base Module. To help distinguish the two modules, the Base and Remote Modules sport a gunmetal and a titanium finish, respectively. Both modules are manufactured from CNC machined aluminum for heavy-duty use.

LockCircle plans to release a Nikon-compatible K-Circle this year.

contact info:

 
www.lockcircle.com
Davis & Sanford Provides Pro Support

The Tiffen Co. is shipping the Davis & Sanford Pro Elite Tripod and Head models 5075-15 and 5100-25.

The Davis & Sanford Pro Elite Series two-in-one spreader feature includes snap-in center support brace with boots for uneven ground plus an adjustable ground spreader for maximum rigidity, providing shooters with a system that performs well on flat and uneven surfaces. The ergonomically designed lever offers shooters incredibly smooth pan, scan and tilt with counterbalance control capabilities that support a wide range of camera weights. The variable quick release lets users easily fine-tune the camera balance.

Features of both the PE 5075-15 and PE 5100-25 include aluminum tripod legs, canopy and head structure; two-stage quick-lock leg-clamping system; rapid-action transport clips; and spike feet or rubber feet option. The 515 head has selectable four-position pan and tilt drag, selectable five-position plus zero counterbalance system and an 80mm sliding-camera-plate range and bubble level. The 3-15 head has selectable four-position pan and tilt drag, selectable three-position counterbalance system, and mini Euro quick-release plate and bubble level. A heavy-duty ballistic nylon tripod bag is also included with both models.

The Davis & Sanford Pro Elite tripods are available through the Tiffen Dealer Network for $699.99 (for the PE 5075-15 model) and $1,099.99 (for the PE 5100-25 model).  

contact info:

 
www.tiffen.com
Environmental Lights Up DMX Control

EnvironmentalLights.com, a provider of high-quality LED lighting, recently added a 24-channel DMX Decoder to its Studio Series of DMX controllers and decoders. This new addition allows for greater design flexibility and higher load capacities, and includes the newest scrambled pulse-width-modulation technology.

“It takes the DMX output from any standard DMX console or controller, and decodes the signal so you can drive 4-wire LED RGB lights … such as LED wall washers, LED strip lights or LED Modules,” says Alicia Cheng, director of product development for EnvironmentalLights.

Each of the 24 channels can sustain up to 3 amps of current at 5, 12 or 24-volt DC. Channels 1-12 and 13-24 are powered by separate voltage inputs, allowing strands of two different voltages to be addressed simultaneously. Contrary to traditional decoders, which apply the same voltage to all loads, with the 24 Channel DMX Decoder, not all LED strip lights have to have the same input voltages.

With a high PWM frequency of 2,000 hertz, the appearance of flicker that can be seen by studio equipment is significantly reduced. The 24-channel DMX Decoder also contains S-PWM patented technology, which increases the visual refresh rate and supports a 16-bit grayscale control on the output channels. Simply put, this decoder allows for higher color resolution and enables high-speed cameras to seamlessly capture video in real time, without flicker.

contact info:

 
www.environmentallights.com
Oxygen Monitors Field Production

Oxygen DCT has launched the 7.67" Evolution Pro P3 organic light-emitting diode (OLED) field production monitor for studio, outside broadcast, satellite news, engineering and field production. Picture quality derived from the proprietary color-management-technology engine gives rich colors and deep black detail.

The Evolution Pro P3 monitor features luminance exposure checking, video range check, peaking for focus assist, waveform and vector display in addition to histogram and multiple zoom functions with pixel-to-pixel native HD signal display for checking back focus. There are 6 recording and playback modes for Sony, Canon and Nikon DSLR cameras and a unique, integrated HDMI to SDI converter, allowing a DSLR to be viewed on larger picture monitors. The automatic luminance control adjusts the brightness of the monitor’s display according to the location’s light levels and a proximity sensor aids shot framing. Additional features include a V-lock battery mount, a battery level indicator and horizontal and vertical flip modes.

Part of the company’s highly successful Evolution Pro P3 production monitor series, this latest addition boasts the largest OLED screen, the highest resolution display (1,280x800 pixels) and the widest color gamut (110 percent).

contact info:

 
www.oxygendct.com
Red Plays Back 4K with RedRay

Red Digital Cinema has released the RedRay ultra-high-definition 4K playback device.

Features of the plug-and-play RedRay include 4K playback and upscaling from lower resolutions, 12-bit 4:2:2 color precision, data rates less than 2.5 MB/s, and 4K TV or projector connectivity via HDMI. The RedRay interface can be controlled with the included IR Remote or through its iPad app. One RedRay supports up to 4 HD panels for digital signage, and its 4K 3-D playback system supports frame rates up to 60 fps.

contact info:

 
www.red.com
SpectraCal, X-Rite Partner for Colorimeter

SpectraCal, Inc., a developer of video calibration software and training, and X-Rite Inc., a developer and manufacturer of color-measurement instrumentation and software, have collaborated to introduce the SpectraCal C3 colorimeter for home users.

“There are lots of people consuming video content at home who would like to have a better picture, but who haven’t been able to justify the cost of doing anything about it,” says Joshua Quain, SpectraCal’s director of marketing. “The C3 removes the price obstacle while maintaining a high level of performance.”

In conjunction with the release of the SpectraCal C3, SpectraCal is also introducing an easier-to-use version of its award-winning video-optimization software, CalMan 5. The SpectraCal C3 will be sold with the new software in the CalMan 5 Home Theater Tutorial bundle.

contact info:

 
www.spectracal.com
Arri Moves Canadian Office

Arri has relocated its Canadian office just west of the greater Toronto area in Mississauga. Conveniently located near Toronto’s Pearson International Airport, the new site offers a more pleasant, efficient space for service and sales. The office features a dedicated customer showroom for testing and demonstrations of the Arri suite of motion-picture equipment.

“Arri is pleased to extend its commitment to the Canadian market, and our new office is designed to better support our local sales, demonstration, training and service functions,” says ASC associate Glenn Kennel, president of Arri Inc. The move coincides with an improved shipping pipeline that provides direct access to deeper inventory and support staff in the U.S.

 

contact info:

Arri Canada

1200 Aerowood Dr., Unit 29

Mississauga, ON L4W 2S7, Canada

 
www.arri.com
Light Iron Opens Doors in NYC

Light Iron, a post facility specializing in on-site dailies, digital intermediate, archival and data services for projects originated on file-based motion-picture-camera systems, has expanded into the New York market, where the company has acquired all of the post resources of OffHollywood in Soho.

“OffHollywood is known in New York in the same way that Light Iron is known in Los Angeles: as a leader in emerging technologies and expert workflows that are changing everything about motion pictures,” says Michael Cioni, Light Iron CEO. “[OffHollywood’s] founders, Mark Pederson and Aldey Sanchez, have built an impressive company that fully comprehends and embraces file-based workflow across production and post. As Light Iron absorbs OffHollywood’s post operations, we will push capabilities even further by bringing new talent and new technologies that the New York market hasn’t yet experienced.”

With the acquisition of OffHollywood’s facility on the eighth floor of 580 Broadway, Light Iron NY is now open for business, offering a DI grading theater, DI grading suites, a digital lab and an archive center. Cioni has moved to New York to oversee the new operations.

OffHollywood will continue as a production service company, expanding its camera-rental and support operations on the fourth floor of the same building. In addition, OffHollywood will be the New York region’s exclusive provider of Light Iron’s award-winning Outpost Mobile Systems.

contact info:

 
www.lightiron.com
www.offhollywoodny.com
Colorflow Posts in Bay Area

Colorflow, a full-service post company specializing in color grading for independent films, documentaries, long-form television and similar projects, has opened a state-of-the-art facility in the historic Saul Zaentz Media Center in Berkeley, Calif. The 7,500-square-foot facility features three color-grading and finishing suites and a DCI-compliant grading theater.

Colorflow has recently provided color-grading and finishing services for a number of films, including A River Changes Course, a documentary that premiered at the 2013 Sundance Film Festival.

Founded in 2009, Colorflow blends a boutique-style environment with talented colorists and next-generation technology. “We needed a larger facility with a more robust infrastructure and a theater environment in order to properly service the type and number of projects we are attracting,” says Alexander Black, Colorflow’s managing director.

DI supervisor Alexander MacLean adds, “We have done a careful job in balancing the creative and the technical in the new facility. Every infrastructure decision was made in service of the creative process for our artists and clients.”

The centerpiece of the new facility is its DI grading theater, which includes seating for 20, a Christie 2K digital cinema projector, a 20' screen and a latest-generation Autodesk Lustre color-grading system. Three HD color and finishing suites feature Assimilate Scratch, Autodesk Smoke and Blackmagic Design’s DaVinci Resolve. All of the company’s resources are linked via a high-speed fiber-optic network that allows seamless access to HD, 2K and 4K media in any suite. Its infrastructure is fully file based and can accommodate raw media from all digital cinema cameras, including Red Epic and Scarlet, Arri Alexa, Canon C300 and C500, and Vision Research Phantom.

“Our theater mixes the best of all I’ve seen over the years at post facilities around the globe,” says Kent Pritchett, the company’s lead colorist. “I can’t imagine a better working environment, and I am thrilled to offer this environment to clients.”

contact info:

 
www.colorflow.com
Assimilate Rents Scratch

Through its online Assimilate Store, DI and dailies software provider Assimilate now provides professionals the option to rent the company’s Scratch and Scratch Lab software for as little as a day or as a long as three months. These new rental options allow artists to pay for Scratch and Scratch Lab only when they need it.

“Scratch Lab drove innovation into the production dailies world because it was the first product that delivered all the power and flexibility of a world-class dailies system at a price on-set professionals could afford,” says Steve Bannerman, vice president of marketing at Assimilate. “And today, we’re raising the bar yet again. Scratch Lab is the first production dailies product to offer true pay-as-you-use rental options that are available online anytime, anywhere. It can’t just be about product speeds and feeds anymore. It has to be about fitting the new way on-set professionals work, making them more productive and helping them make money.”

Artists can activate their Scratch or Scratch Lab license for one day (for $150 or $50, respectively), one week ($800 or $250), one month ($2,100 or $650) or three months ($6,000 or $1,800). (Pricing includes maintenance and support during the activation period.)

contact info:

 
www.assimilateinc.com