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November 2006
Kerner Optical Gains Independence
Small Scope
The Skater Scope is a compact periscope lens system that is the result of close cooperation between renowned cinematographers and P+S Technik. It has a T-stop of only T5.6 (calculated aperture of f/4 1/3) and is optimized for the Super 35 format with superior image quality.
High-Speed Digital Camera
The Weisscam HS-1 camera body is designed by cinematographer Stefan Weiss and manufactured by P+S Technik as a combination of the classic form of a 2/3" video camera and the clarity of a film camera body.
New Wratten Filters
Kodak has introduced two series of advanced optical lens filters for conventional still- and motion-picture photography and specialized scientific and industrial applications. 
Tele-Converter for Camcorders
Schneider Optics has introduced the Century Pro Series HD 2X Tele-Converter for the Panasonic HVX200 and DVX100A/B, as well as the Sony HVR-Z1U and FX1.
HD Backpack
CineBags, manufacturer of professional motion-picture- and video equipment, has released a new Camera backpack.  
S.two Take2
S.two Corporation’s second-generation Digital Film Recorder, Take2, has been introduced.
Makeup for Digital Applications
The Numeric Proof professional-grade makeup line by Distrimaq, a French company specializing in makeup distribution, is specifically formulated for those photographed by digital imaging. 
Denz Analog Video Link
Denz has introduced the Analog Video–Link AVL-01. Only a mini transmitter on the film or video camera is needed for a wireless video image transmission up to a distance of 300m.
Panasonics P2 Lineup: AJ-HPC2000, AJ-HPS1500, AJ-HPM100 and AJ-PCD20 Online
NAB 2006 witnessed the expansion of Panasonic’s P2 DVCPro HD product line. These multi-format P2 products allow users to record in the 720p or 1080i HD formats or 480i SD, in addition to offering full bandwidth, contribution quality HD with independent intra-frame encoding, 4:2:2 color sampling and less compression.
Panasonic AG-DVC20 Shoulder-Style Camcorder Online
Aimed at educators and entry-level shooters, Panasonic has introduced the AG-DVC20 3-CCD MiniDV camcorder.
Panasonic AK-HC1500G Camera Online
Panasonic has unveiled its new 1080i/720 switchable HD camera, the multi-format AK-HC1500G, which is compatible with all international HD standards. The camera further distinguishes itself with its inclusion of a variable frame rate functionality and cine gamma curve similar to those found in Panasonic’s VariCam HD Cinema Camcorder.
Panasonic BT-LH2600W LCD Monitor Online
Building on the success of its 17” BT-LH1700W production monitor, Panasonic has introduced the BT-LH2600W 26” HD LCD monitor with a true 16x9 widescreen panel, one-piece design (eliminating the need for an umbilical cord or separate AC power supply), high resolution (1336x768), low delay, and integrated HD-SDI/SDI I/O with embedded audio.
Panasonic AJ-HDP2000 Film-to-Data Processor Online
Panasonic has announced the development of the AJ-HDP2000 2K Film-to-Data Processor for the AJ-HD3700 D-5 HD Universal Mastering VRT. Used typically with a telecine system, the processor accepts 2K full-frame film, 2K or HD images and processes them for recording onto an AJ-HD3700 D-5 HD VTR for archive and distribution.
Panasonic AJ-HD1400 HD VTR Online
Succeeding the AJ-HD1200A DVCPro HD VTR, the new AJ-HD1400 delivers all its predecessor’s capabilities plus comprehensive assemble/insert editing functions controlled by either the RS422 9-pin or IEEE 1394 interfaces.
Panasonic AJ-HDX900 Camcorder Online
At NAB 2006, Panasonic unveiled an advanced HD version of its popular AJ-SDX900 camera, the new AJ-HDX900 multi-format DVCPro HD camcorder. Recording 100Mbps HD images, the HDX900 supports 1080 59.94i/50i/29.97p/25p/23.98p/23.98pA and 720 59.94p/50p/29.97p/25p/23.98p.
Panasonic AK-HC931B HDTV Studio Camera System Online
Panasonic announced at NAB that it has upgraded its multi-format HDTV studio camera system by giving the AK-HC931B the capability to switch between 1080i and 720p high-definition formats. The camera also provides exceptional 480i standard definition performance.
Panasonic AV-HS300 Video Switcher Online
Panasonic has introduced the AV-HS300, a compact, six-input/four-output video switcher for live events.
Imagine Products HD Log P2 Viewer Online
Imagine Products has announced the release of a new P2 viewer application for the Apple Macintosh platform. Called HD Log, the viewer is a flexible logger and asset management tool that works seamlessly with the MXF format stored on P2 memory cards.
V2 Upgrade for AJA Kona 3 Online
AJA Video, a leading manufacturer of professional video-interface- and conversion solutions, has announced 2K-resolution video support with the V2 upgrade to the recently released Kona 3, the company’s top-of-the-line HD/SD capture card.
AJA Xena 2K Online
AJA Video has unveiled XENA 2K and the V2 software upgrade to the Xena LS and LH line of video-playback and capture cards. Xena V2 software offers unparalleled support for Adobe Premiere Pro 2.0 across the Windows-based Xena product family.
AJA HD10AVA and RD10MD Converters Online
AJA Video has announced two new additions to its line of standard-definition and high-definition converters: the HD10AVA — a high-quality, HD/SD audio and video A/D miniature converter; and RD10MD — a 10-bit, broadcast-quality card for dual down-conversion from HD to SD.
Arri 416 Super 16 Camera Online
Encouraging the resurgence in popularity of the Super 16 format, Arri has unveiled the Arriflex 416, a lightweight, modern Super 16 film camera with 35mm-style viewfinder and an amazingly low sound level similar to that of the Arricam. 
Arri/Zeiss Ultra 16 Lenses Online
Coinciding with the release of the new 416 Super 16 Camera, Arri and Carl Zeiss have introduced the new line of five Ultra 16 lenses — 6mm, 8mm, 9.5mm, 12mm and 14mm.
Arri/Zeiss Lightweight Zoom LWZ-1 Online
Another result of the fruitful Arri/Zeiss collaboration, the 15.5-45mm T2.6 Lightweight Zoom LWZ-1 was recently introduced to the cinematography profession.
Arri/Zeiss Ultra Prime 8R Online
New from Arri and Zeiss, the Ultra Prime 8R is an exteme wide-angle lens with a rectilinear design, giving it an extremely wide angle of view without any of the commonly associate fisheye distortions.
ArriMax 18/12 and MaxMover from Arri Online
Arri has unveiled the new ArriMax 18/12 HMI, providing an exciting new choice for productions requiring maximum light output. According to Arri’s data, a spotted ArriMax delivers 14,400 footcandles from 30’ away with a 15° beam angle (from the same distance but set to full flood, the ArriMax provides 1,495 footcandles with a 50° beam angle).

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Kerner Optical Gains Independence

On a good traffic day, you can follow the 101 Freeway north out of San Francisco and reach the quiet Marin County hamlet of San Rafael in less than 20 minutes. Once you’re there, it only takes a few seconds to pass through town, and then you’re on your way into Petaluma and Hitchcock country. But if you were to stop for a moment, you’d find there’s a lot more to this sleepy little town than meets the first fleeting glance.

North of the canal that bisects the hip downtown quarter are redwood trees, quiet neighborhoods, boutiques, and the 4th Street Miracle Mile, where, 30 years ago, a young filmmaker named George Lucas shot a little film called American Graffiti. However, south of the canal, you will find yourself in a distinctly different landscape of car dealerships, industrial parks and nondescript warehouse locations. Look closer still, and you’ll also find a fully armed and operational space station, a time machine built out of a DeLorean, a few Velociraptors, strange alien landscapes, and maybe even a pirate ship or two.

Amazingly, the epicenter of all this activity has been kept secret only by virtue of the sign that reads, with some irony, Kerner Optical Co. For almost 30 years, this seemingly innocuous cluster of nondescript buildings has been a playground for some of the motion-picture industry’s most talented and innovative visual-effects magicians, and since its inception, the artists and engineers of Industrial Light & Magic have concerned themselves with every level and discipline of the filmmaking process, from physical production and optical printing all the way up to digital compositing and animation.

All that changed in the summer of 2005, when Lucas moved the bulk of his empire south to the newly remodeled Letterman Digital Arts Center in San Francisco’s Presidio. The new facilities weren’t equipped to house ILM’s digital-effects artists in addition to the model shop and physical production departments, so anything not crunching ones and zeroes was left behind at the Kerner campus. It was at about this time that a good idea came to 18-year effects veteran Mark Anderson, who was then serving as ILM’s director of physical production: spinning Kerner off as an independent entity. “I started to realize that this move could be a good opportunity for both ILM and my group back at Kerner,” recalls Anderson. “Having separate companies not only gives us the opportunity to facilitate ILM’s projects and anything that comes through their door, but also allows us to get back into the commercial industry, as well as get involved with smaller independent productions.”

So even though the divorce became official in August, everyone involved still feels like it’s a match made in heaven. Kerner will focus exclusively on model work, miniatures and physical production as ILM continues to operate solely within the digital-effects realm. Already, Kerner has been awarded three big-budget films through their former umbrella: Pirates of the Caribbean 3, Evan Almighty and Transformers.

Anderson, who founded Kerner with 3-D cinematographer Yuska “Joe” Siuicki and Denver businessman Kevin Duncan, doesn’t foresee any difficulty in stepping out of ILM’s long shadow. Conceived as a “full-spectrum production facility,” the new Kerner Optical will return the focus of their visual-effects work to a purely physical operation, while at the same time developing new equipment and technologies. “We really don’t plan on getting into the computer-graphics end of the industry,” says Anderson. “We have a niche, and we’re extremely fortunate to have some of the best artists from that niche in this group.

“We have engineering people here now who have been with us for the last 20 years,” he continues, citing an impressive roster that includes Greg Baumonte, inventor of the 8-perf VistaVision-derived Beaucam, and Martin Brenneis, an electronics engineer who helped develop the first motion-control cameras.

“We do plan on taking this group into many other areas,” Anderson adds. “We’re looking at building a substantial IP portfolio, which is really something that we didn’t have the option for at ILM.”

One area Kerner is exploring is 3-D stereoscopic cinematography. While eager to discuss their enthusiasm for the technology and what it can do for a potentially waning theatrical market, Anderson and Siuicki are tight-lipped when it comes to specific details. “3-D is something we’re going to be highly involved in,” explains Anderson. “We’re developing both 3-D film cameras and 3-D HD cameras, and we’re not only dealing with the hardware end, but also with some software conversion, too.”

Siuicki has spent the last 20 years doing some research of his own on the topic, drawing on his experience as a mechanical draftsman and test engineer for General Dynamics. “I was introduced to stereoscopics as a kid when I saw the original 13 Ghosts with my dad,” Siuicki reminisces. “That really hooked me. I love the process of filmmaking. It didn’t matter what I was doing, I always ended up getting back to the film process.”

Siuicki and Anderson plan on making stereoscopic technology the tentpole of Kerner Optical, despite the fact that in the past, 3-D has proved not only to be a hard sell from the filmmakers’ perspective, but difficult from distribution and exhibition standpoints as well. “3-D is a totally viable format,” Anderson asserts. “We’re going to see that this is an opportunity to get people back in the theaters to experience something a little bit different from what they’ve seen before. You just have to keep pushing the boundaries and the limits on those things, to make it more than what the average consumer can experience in their living room.”

Anderson also concedes that, inevitably, 3-D could soon be rolled out into consumer use as well. “We’re working towards the goal that maybe someday you won’t require any of the circular polarized lenses or shutter glasses to view the effect,” he remarks.

Though they may be mum when it comes to Kerner’s plans, Anderson and Siuicki are enthusiastic about the opportunity to share their many years of knowledge. “We are very much into the training process,” says Siuicki. “I mean, where do you go to learn to shoot great 3-D? There are maybe five or six really good 3-D shooters in the world, so right now we’re looking at developing a training process of our own.”

Despite the computer-graphics steamroller that continues to break down confining barriers and blaze new paths through the visual-effects world, Anderson remains positive about Kerner Optical’s future within the industry. “I kind of think of the physical-effects end of the business as being just another color on the painter’s palette,” he offers. “You’re only as good as the colors you can use in your painting. It’s still a very important part of the business.

“We love doing it,” Anderson continues, “because you get so much more when you’re dealing with elements and gravity and all the things that are in this world that are outside of the computer, which are basically numbers at the end of the day. It’s science, it’s art, it’s cooking — playing with everything you’ve got. It’s invigorating. You cross your fingers and just see what happens.”

by Iain Stasukevich


contact info:

Kerner Optical
90 Windward Way
San Rafael, CA, 94901

(415) 448-2000

www.kerner.com

 
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Small Scope

The Skater Scope is a compact periscope lens system that is the result of close cooperation between renowned cinematographers and P+S Technik. It has a T-stop of only T5.6 (calculated aperture of f/4 1/3) and is optimized for the Super 35 format with superior image quality.

The design virtually eliminates unwanted vibration or oscillation when using remote controls. The tilt element can be adjusted from -105° to +105°, and the lens block can rotate full 360° without restriction as many times as needed. The image rotation can be used to level the horizon or to achieve dutched camera angles without altering the position of the camera. A back focus that extends close focus by 10mm to macro, even with standard lenses, completes this versatile system. The back focus ring also provides a gear for a follow focus, to use with lenses that don’t have their own geared rings. The Skater Scope can be used as a borescope as well as a periscope. (The Skater Mini dolly is a separate product and not needed for Scope operation.) The Cine version is available with PL mounts for camera and lens and can be used with most PL lenses, including the Zeiss High Speeds, Cooke S4/is and Arri/Zeiss Ultra Primes. However, a wide range of lens mounts are available, including B4 for high- and standard-definition video cameras.

contact info:

P+S Technik
+49 89-450 98 230

www.pstechnik.de

In the U.S., contact ZGC
(973) 335-4460

www.zgc.com.

 
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High-Speed Digital Camera

The Weisscam HS-1 camera body is designed by cinematographer Stefan Weiss and manufactured by P+S Technik as a combination of the classic form of a 2/3" video camera and the clarity of a film camera body. P+S Technik’s interchangeable mount is integrated to make available the maximum range of lenses designed for the 35mm format, both motion and still photography. Frame size is selectable to fully utilize the camera’s memory. Frame rates up to 1,000 fps are possible, and the maximum resolution of the HS-1 is 1280x1024 pixels through a progressive-scan CMOS sensor. Dynamic range is at 8-bit color depth, 10-bit DPX or 10-bit monochrome. Sensitivity is equivalent to 160 ASA.

Through the Hand Unit, the most important features can be remote controlled, including start/stop, frame rate adjustment, frame-ramp settings and frame-rate jumps. The ergonomic design allows comfortable one-hand use to start and stop recording. With the hand wheel, the frame rate can be changed smoothly while recording.

The Weisscam Control Unit is a complete, portable-power PC with the latest dual-core processor technology. The unit comes with 500GB internal disk space which can be expanded, a removable SATA hard disk drive for easy data exchange, and integrated monitor and waterproof keyboard. The software offers extensive features for image control, color correction, frame size adjustments and shutter control. Output formats include 8-bit TIFF uncompressed, AVI, 10-bit DPX or MPEG proxy.

contact info:

P+S Technik +49 89-45 09 82-30

 
www.pstechnik.de
info@ pstechnik.de
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New Wratten Filters

Kodak has introduced two series of advanced optical lens filters for conventional still- and motion-picture photography and specialized scientific and industrial applications. The Kodak Wratten 2 Optical and Kodak Wratten 2 Carbon ND Filters represent the next generation of filters and are designed to offer improved batch-to-batch consistency, rigidity and durability. The Wratten 2 filters are easier to handle and clean and are less sensitive to varying humidity conditions.

“The Wratten 2 Optical Filters fulfill the requirements of photographers, cinematographers, engineers and scientists who require analytical consistency and ease of use for critical color correction in their creative effects or optical applications,” says Steve Hallatt, motion picture services manager for Kodak’s Entertainment Imaging Division. “The spectral characteristics of the new filters are an exact match to the popular Kodak Wratten Gel Filters. Additionally, Kodak’s investment in the technology affords us the opportunity to offer customized filters to meet specified spectral characteristics for various markets.”

The new Kodak Wratten 2 Carbon ND Filters are primarily designed for use with instrumentation applications. Hallatt notes that they cost less and are easier to convert than metallic-coated glass filters. Other features include reduced light fading and enhanced neutrality from the visible to infrared region of the spectrum.

“Film remains a dominant choice by the creative community for producing entertainment content,” adds Hallatt. “Kodak is dedicated to investing in motion-picture film technology and the ancillary origination tools that offer filmmakers more options for telling their stories.”

contact info:

 

 
www.kodak.com/go/motion
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Tele-Converter for Camcorders

Schneider Optics has introduced the Century Pro Series HD 2X Tele-Converter for the Panasonic HVX200 and DVX100A/B, as well as the Sony HVR-Z1U and FX1. This professional optic instantly mounts to the camcorder lens front to effectively double focal length range in the telephoto direction, while maintaining the lens’ original f/stop at full telephoto.

Designed in response to requests for a tele-converter offering even greater magnification than the Century 1.6X, the Schneider engineering team utilized leading-edge computer design techniques to successfully develop the 2X, which provides extreme magnification while maintaining performance required by the new higher resolution formats.

This professional accessory features multi-coated glass elements to deliver ultra-sharp images free of unwanted distortion or chromatic aberration. Equipped with a bayonet mount, installation to the front of the camcorder lens is quick, easy and secure. The unit comes complete with a lens support slider for mounting on standard 15mm support rods.

The new 2X Tele-Converter offers a 105mm diameter front for compatibility with many existing shades, matteboxes and accessories. The new attachment ships complete with a lightweight round shade with a built-in rectangular mask. For greater protection, the face of the unit offers 102mm threads for direct attachment of Schneider 102mm clear UV filters.

The new Century Pro Series HD 2X Tele-Converter is available in three models: for the DVX200 (stock code OHD-20TC-HVX), for Panasonic HVX100A/B (stock code OHD-20TC-DVX), and for the Sony HVR-Z1U (stock code OHD-20TC-HDS). Suggested list price, including support slider and lens shade, is $1,495.

For more information, contact , www.schneideroptics.com.

contact info:

Schneider Optics (818)766-3715

 
www.schneideroptics.com
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HD Backpack

CineBags, manufacturer of professional motion-picture- and video equipment, has released a new Camera backpack.  Designed to accommodate the most popular HD/DV video cameras such as Panasonic’s DVX100 or HVX 200 and most Sony models, as well as SLR cameras, the new CB-20 HD/DV Backpack protects all your equipment on the beach, the mountain, your next outdoor adventure or sporting event. A customizable interior allows for a snug fit around your camera and accessories. Other features include: a large, padded shoulder harness; waterproof material, tripod strap; bottle holder; and see-through compartments.

The retail price for the pack is $169, and it’s sold through the CineBags’ dealer network, including B&H Photo or Express Video Supply, or online.

contact info:

 

 
www.cinebags.com
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S.two Take2

S.two Corporation’s second-generation Digital Film Recorder, Take2, has been introduced. “Take2 supplements the award-winning S.two DFR, which has been broadly adopted for digital film capture with the D.MAG Digital Film Magazine System,” comments Chris Romine, S.two president. “Take2 represents the application of superior D.MAG robustness to evolving technologies — allowing a considerable reduction in size and weight. The new model marks another step forward for recording uncompressed DPX images in the field and adds a new level of portability to digital film capture. Because it accepts 24-volt DC power, Take2 can be used anywhere, even on moving platforms or handheld which makes it ideal for ‘run-and-gun’-style productions.”

A complete digital film solution, Take2 offers a full set of dual-link HD inputs and outputs and a variety of monitoring ports. Users are able to view live or recorded images with user-supplied look-up tables (LUTs) onto virtually any monitor, provide frame grabs to attached portable computers, and track important metadata associated with the shoot (including the S.two Autoslate system).

Take2 features the new D.MAG2 Digital Film Magazines, which are less than half the size and weight of the standard D.MAG. The new D.MAG2 magazines record 24 minutes of uncompressed DPX files at 24 fps. An adapter is available for using the D.MAG2 in existing D.MAG system components such as A.DOCK and F.DOCK, or even the DFR — protecting the investment of users around the world. The DFR offers longer loads and more connectivity features through the new Take2. Says Romine, “Take2 has been developed in response to user requests for a smaller, lighter unit for capture in the field — increased portability was the goal. However, being committed to protecting our existing customers’ capital investments, compatibility with existing DFR and D.MAG system components such as our family of docking stations was an important priority.”

contact info:

S.two Corp.  (775) 853-9999

 

 
www.stwo-corp.com
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Makeup for Digital Applications

The Numeric Proof professional-grade makeup line by Distrimaq, a French company specializing in makeup distribution, is specifically formulated for those photographed by digital imaging. This line combines coverage and luminosity to hide imperfections highlighted by digital processing while still leaving a natural surface on the skin.

After two years of research aiming to meet the technical constraints of digital imaging, the company developed this carefully balanced formula, which is both matte and luminous. The skin can breathe, features stay natural in the image and the face preserves its glow in all circumstances. This line has become the reference brand in France for high-definition professional makeup.

Numeric Proof has now been on the market for three years and offers a wide range of nearly 200 products going far beyond foundation. Its legitimacy is proven in all cosmetic segments: face, body, eyes, lips, and accessories such as brushes, sponges and professional baggage.

Numeric Proof, created in Paris, is now in 11 countries, including England, France, Germany, Kuwait, South Korea, Taiwan, the United Arab Emirates and the United States. It offers a range of shades and makeup solutions for all skin types.

contact info:


 
www.numericproof.com
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Denz Analog Video Link

Denz has introduced the Analog Video–Link AVL-01. Only a mini transmitter on the film or video camera is needed for a wireless video image transmission up to a distance of 300m. The whole system consists of a transmitter and receiver. All common formats, such as PAL, NTSC and Secam, are transmitted in color or black and white. The system works in the worldwide license-free ISM-band with a frequency of 2.4GHz.

With a transmitter size of only 40mm x 40mm x 47mm and a weight of 90g, there is no loss of transmission quality. With this small design, the transmitter can be mounted inconspicuously on any camera. The supply voltage is 9-30 volts. To increase the transmission distance, small amplifier is available, which can be mounted on the transmitter instead of the antenna.

The receiver of the AVL-01 works with two independent antennas. The one with the better reception is always sending the image. The search for the better signal is independent and works without any interference. The receiving antennas avoid picture losses by fast recognition of RF interferences and video synchronous switching. At only 4.7 in. x1 in. x5 in., the receiver can be operated, transported and stored without notice. The supply voltage is also 9-30 volts

The system has five selectable independent channels for the use of four parallel units. It operates with any monitor, including small battery-powered video monitors.

contact info:

PE Denz  +49 89 629866 0

 
www.denz-deniz.com
info@denz-deniz.com
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Panasonics P2 Lineup: AJ-HPC2000, AJ-HPS1500, AJ-HPM100 and AJ-PCD20

NAB 2006 witnessed the expansion of Panasonic’s P2 DVCPro HD product line. These multi-format P2 products allow users to record in the 720p or 1080i HD formats or 480i SD, in addition to offering full bandwidth, contribution quality HD with independent intra-frame encoding, 4:2:2 color sampling and less compression. These products are also backwards compatible with existing DVCPro50, DVCPro and DV-based facilities.

First on the table is the new AJ-HPC2000 shoulder-mount camcorder, equipped with three HD-resolution 2/3" CCDs and 14-bit A/D processing. While the 2/3" imager allows the use of professional quality lenses and accessories, the camera also offers high sensitivity (f/10 at 2,000 lux) and can capture images at a minimum illumination of 0.032 lux (at +62dB). Other features include five P2 card slots (with hot-swap function) for enhanced onboard recording capacity; an SD card slot for recording and replicating setup information; extensive signal connectivity and control capability (HD-SDI, genlock, time code, composite video, IEEE 1394 (AVC), and USB 2.0); four channels of uncompressed audio supported with XLRs, stereo front mike, and Unislot wireless mike connections; prerecord function; and color LCD monitor with GUI menu control.

Next up, the AJ-HPS1500 is a high-performance P2 DVCPro HD solid-state memory studio recorder that serves as a bridge between HD and SD, with capabilities including optional down-converting and up-converting, Gigabit Ethernet, USB 2.0 ports, IEEE 1394 (AVC), and HD-SDI and SD-SDI input/outputs. With five P2 card slots, the recorder also offers two slots for adding removable hard-disk drives. Other features include VTR-like panel with Jog/Shuttle dial, Video Encoder adjustment control, a front-panel Graphic User Interface (GUI) and play list making and playback capabilities; a built in 3.5" color LCD; standard A/V outputs/inputs, including analog component, composite and reference video, digital audio (AES/EBU Ch 1-Ch 8), analog audio (XLR, Ch1-Ch 2), monitor out, and time code in/output; and remote control capability with RS-422A, RS-232C and GPI.

With a 9" widescreen LCD monitor, a six-slot P2 drive, an SD card slot, jog/shuttle dial, function buttons, stereo speakers, and AC/DC operation, the compact AJ-HPM100 mobile recorder/player is fully equipped for fieldwork. Able to play back with up-converting and down-converting between standard- and high-definition formats, the recorder (with 8GB cards in the six P2 slots) can record for 192 minutes in DVCPro, 96 minutes in DVCPro50, and 48 minutes in 1080i and 720p. Other features include IEEE 1394 (AVC) and USB 2.0 interfaces, RS-422 for remote control, and an array of input/outputs such as switchable HD/SD SDIs, analog composite, analog HD component, analog 4-channel audio, time code and analog HD component out.

Lastly, the AJ-PCD20 internal/external drive incorporates five 8GB P2 card slots for high-speed file transfer. As an internal drive, the AJ-PCD20 installs in a standard PC-type 5.25" bay drive enclosure and, through its high-speed USB 2.0 or IEEE 1394b interfaces, connects to the host computer. For in-the-field use, the AJ-PCD20 serves as a standalone external drive and teams with a notebook PC or Mac PowerBook for editing and playback.

Online Online Exclusive

contact info:

 
www.panasonic.com/broadcast
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Panasonic AG-DVC20 Shoulder-Style Camcorder

Aimed at educators and entry-level shooters, Panasonic has introduced the AG-DVC20 3-CCD MiniDV camcorder.

Equipped with three 460,000-pixel CCDs, the camcorder also sports an optical 10x zoom with Electric Image Stabilizer, and IEEE 1394 DV interface, “Color Night View” for shooting under virtually no light and a six-language menu, and it only weighs 4.4 lbs in full operating condition.

New One-Touch Navigation facilitates the control of all basic operations with one hand for manipulation while shooting. Also, a Power LCD function brightens the backlight for shooting in bright sunlight, and under low light conditions, the same 2.5" color LCD can be used as a light source by turning it towards the subject and activating the Zero Lux Night View mode.

Other features include 8-bit digital recording system and 16-bit digital audio system (48kHz/16-bit, 2-channel recording); Cinema (letterbox), tele-macro, and soft skin shooting modes; five program AE settings that optimize shutter and iris; 14 shutter speeds (from 1/60 to 1/8000); digital gain selection (0 to +18dB); color electronic viewfinder; composite video, S-video and audio outs, mike in; auto/manual focus and iris; and white balance, white balance selection (indoor, outdoor, set) and auto tracking white balance.

The AG-DVC20 is available at the suggested list price of $1,850. 

Online Online Exclusive
contact info:  
www.panasonic.com/dvproline
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Panasonic AK-HC1500G Camera

Panasonic has unveiled its new 1080i/720 switchable HD camera, the multi-format AK-HC1500G, which is compatible with all international HD standards. The camera further distinguishes itself with its inclusion of a variable frame rate functionality and cine gamma curve similar to those found in Panasonic’s VariCam HD Cinema Camcorder.

Incorporating proprietary Panasonic innovations, including new IT-CCDs, 14-bit A/D converter and digital signal processors, the new camera boasts 1-megapixel, 2/3" 3-CCDs with outstanding color accuracy and improved on-chip lenses for a standard sensitivity of f/10.0 at 2,000 lux and a smear level of less than -130dB.

Offering both 1080 (60i/59.94i, 50i, 30p, 25p/24p) and 720 (60p. 59.94p/50p), the camera also features variable frame rates ranging from 4-60fps. Additionally, the remotely-controllable AK-HC1500G is compatible with Panasonic’s comprehensive line of indoor and outdoor pan-tilt heads, pan-tilt controllers, and camera control units. The camera also has a rear option slot for expansion (e.g., down-converter, analog or fiber output unit).

Other key features include a standard HD-SDI output; a 12-axis color-correction circuit for adjustment of saturation and hue; an Electronic Extender for magnifying the image by 2x; genlock; DC (+12V) operation; a mini 15-pin connector; tally function; and iris and zoom/focus controls. The camera has a low power consumption of about 18 watts and compact footprint of 3.5"W x 4.6"H x 6.2"D and weighs in at just 3.3 pounds.

The AK-HC1500G is available at a suggested list price of $19,950. 

Online Online Exclusive
contact info:  
www.panasonic.com/broadcast
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Panasonic BT-LH2600W LCD Monitor

Building on the success of its 17” BT-LH1700W production monitor, Panasonic has introduced the BT-LH2600W 26” HD LCD monitor with a true 16x9 widescreen panel, one-piece design (eliminating the need for an umbilical cord or separate AC power supply), high resolution (1336x768), low delay, and integrated HD-SDI/SDI I/O with embedded audio.

Some of the performance characteristics incorporated from the 17" monitor include two auto switching SDI/HD-SDI inputs; high-speed response with no blurring; waveform monitor that graphically displays luminance levels from -5 to 108 IRE in any of the monitor’s four corners; and a split-screen/freeze-frame function. New to the 26” model are “Pixel to Pixel” mode, audio level meters superimposed and translucent (eight channels in HD-SDI and four channels in SDI), a safe-area frame, and the ability to use an external quad splitter to yield four 13" wide pictures on the screen.

With a 700:1 contrast ratio, the monitor is compatible with multiple HD/SD formats including 1080/24PsF, 1080i, 720p, 480p, and 480i, and it can reproduce up to 16.7 million colors. The monitor also offers selectable color temperature, adjustable gamma, and cine gamma compensation for monitoring with Panasonic’s VariCam HD Cinema Camera.

Other features include frame marker lines (including 4x3, 16x9, and 2.35:1); component (YPbPr), PC RGB, Y/C and composite inputs/outputs; wide vertical and horizontal viewing angle of 176°; GPI and RS-232C ports for external control of many functions; built-in, amplified stereo speakers; and a red/green/amber tally lamp.

The BT-LH2600W is available at a suggested list price of $4,950.

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Panasonic AJ-HDP2000 Film-to-Data Processor

Panasonic has announced the development of the AJ-HDP2000 2K Film-to-Data Processor for the AJ-HD3700 D-5 HD Universal Mastering VRT. Used typically with a telecine system, the processor accepts 2K full-frame film, 2K or HD images and processes them for recording onto an AJ-HD3700 D-5 HD VTR for archive and distribution.

After careful study over several years, Panasonic has decided to utilize JPEG2000 compression, the Digital Cinema Initiative (DCI) standard for cinema release, in the AJ-HDP2000. The 2K-to-D5-to-2K conversion algorithm implemented in the AJ-HDP2000 maintains the resolution and the color fidelity of the original film transfer when returning to the data domain from a D-5 archive cassette. The processor uses JPEG2000 compression and 4:4:4 sampling to convert digitized film at a maximum of 188Mbps data rate in 2K (2048) resolution as well as in HD (1920) resolution levels for recording to an AJ-HD3700 recorder. Maximum record time is 155 minutes at 24 fps HD.

Audio support includes eight discreet channels in 24 fps mode and multi audio channels using outboard compression or as an embedded input of HD-SDI. Video inputs at 1.5Gbps include two Dual-Link BNCs and a VTR Link, and 1.5Gbps video outputs include two dual-link BNCs and a bit-stream BNC, as well as XGA or 72 fps RGB.

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Panasonic AJ-HD1400 HD VTR

Succeeding the AJ-HD1200A DVCPro HD VTR, the new AJ-HD1400 delivers all its predecessor’s capabilities plus comprehensive assemble/insert editing functions controlled by either the RS422 9-pin or IEEE 1394 interfaces. The VTR features HD-SDI in/out and SD-SDI out, supports VANC metadata (UMID, CC, et al.) and encoder remote control (component/composite style), and incorporates a built-in up/down/cross-converter so that users can play back DVCPro50, DVCPro and DV tapes and output a converted HD signal. Utilizing the DVCPro HD codec, the AJ-HD1400 supports 4:2:2 color sampling and independent frame compression.

Only x rack-width wide and 18 pounds in weight, the AJ-HD1400 can record up to 64 minutes of HD footage on a single, compact cassette (AJ-HP64ELG). The VTR can play the entire family of DVCPro tapes — DVCPro HD and HD-EX, DVCPro50 and standard DVCPro, as well as any DV and DVCam tapes. It also allows playback of both NTSC (480i) and PAL (576i) tapes.

The AJ-HD1400 supports multiple U.S. and worldwide HD/SD formats including 1080/59.94, 1080/50i, 720/60p, 720/59.94p and 720/50p, and it can convert from an AJ-HDC27 VariCam 50p recording (over 60p) source to native 720p/50 or PAL output. Additionally, digital audio with up to eight embedded channels ensures high sound quality.

The AJ-HD1400 will be available at a suggested list price of $25,000.

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Panasonic AJ-HDX900 Camcorder

At NAB 2006, Panasonic unveiled an advanced HD version of its popular AJ-SDX900 camera, the new AJ-HDX900 multi-format DVCPro HD camcorder. Recording 100Mbps HD images, the HDX900 supports 1080 59.94i/50i/29.97p/25p/23.98p/23.98pA and 720 59.94p/50p/29.97p/25p/23.98p.

Featuring a native 16x9, 2/3" HD, 1-million pixel 3-CCD system, the HDX900 boasts a high sensitivity of f/10 at 2,000 lux and low-light shooting down to 0.032 lux (at +62 dB gain). It is equipped with 14-bit A/D DSP circuits and features 4:2:2 color sampling, independent frame compression, built-in image-enhancing features including three cine-like gamma modes, and compatibility with a wide range of 2/3" lenses and accessories.

The AJ-HDX900 uses DVCPro HD-EX 9-micron recording to record 33 minutes on a DVCPro medium-size cassette, and records 48kHz/16-bit digital audio on all four channels. The camera provides as standard a prerecording function that permits it to capture spontaneous scenes a shooter might otherwise miss. A standard HD-SDI output is included for monitoring and line recording, and a down-converter is built in to produce an SD output, eliminating the need for an expensive SDI monitor.

Other standard features include: two four-position optical filters (ND: clear, 1/4, 1/16, 1/64; CC: Cross, 3200°K, 4300°K and 6300°K); four user scene files, three user-customized buttons; electronic shutter (1/100 to 1/2000 sec.) with synchro scan shutter (1/60.3 to 1/249.8 sec.); Remote Control Unit support; an easy-slide shoulder pad that adjusts 1.18” in 10-steps; and a three-point locking viewfinder mount for precise adjustment.

The AJ-HDX900 will be available at a suggested list price of $26,500 (plus viewfinder).

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Panasonic AK-HC931B HDTV Studio Camera System

Panasonic announced at NAB that it has upgraded its multi-format HDTV studio camera system by giving the AK-HC931B the capability to switch between 1080i and 720p high-definition formats. The camera also provides exceptional 480i standard definition performance.

The AK-HC931B features three, high-performance 2/3" 1-million pixel (1280x720 progressive scan) IT CCDs clocked at 74MHz ensuring a flat frequency response through the 30MHz-pass band of the HD system. The camera’s horizontal single-read CCDs and spatial-offset processing reduce moiré and assure high resolution in both 720p and 1080i formats. Furthermore, the system is equipped with advanced digital processing LSIs and 12-bit analog-to-digital conversion circuits with 38-bit internal processing. It also offers a high sensitivity of f/10 at 2,000 lux and a low smear of –130dB.

The AK-HC931B incorporates Digital Signal Processing (DSP) circuits optimized for low noise and high-resolution images and the latest generation of video processing features, including skin detail, dynamic detail, programmable gamma and adjustable colorimetry.

Other performance-enhancing features include extensive auto-setup functions, a broadband single-mode optical fiber transmission system for long-distance signal transmission of full bandwidth HD (to and from the camera), teleprompt and program video as well as data trunk function with two RS422 links for control of pan/tilt systems, lens or robotic studios.

The camera offers extensive Neutral Density (CAP, 100-, 25-, 6.3-, 1.6 percent) and color temperature filters (Cross, 3200°K, 4300°K, 6300°K, Diffusion), with low vertical smear. Camera outputs include HD monitor, QTV and AUX, and inputs include MIC, intercom and genlock (black burst or tri-level sync with EVF, lens and Mic for Vinten). Return video is full HD, and power consumption is a low 160VA (camera head, 2" viewfinder, CCU and RCOP).

The camera head weighs less than 10 pounds and is ergonomically designed for comfortable user operation. For optimum flexibility, the system can be configured for either studio or hand-held use, and its standard bayonet lens mount permits the use of an array of available SD and HD lenses.         
The AK-HC931B is available at a suggested list price of $49,000 (camera head only). Available options include 7" color electronic viewfinder, camera control unit (CCU), remote operator panel (RCOP), and master setup unit. 

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Panasonic AV-HS300 Video Switcher

Panasonic has introduced the AV-HS300, a compact, six-input/four-output video switcher for live events.

Compact and cost effective, the HD/SD switcher is designed to work with projectors, displays, playback devices and in multi-camera systems, such as ENG cameras for news production vans or the company’s configurable point-of-view cameras and pan/tilt systems.

The live switcher has a built-in, 10-bit, 6-channel frame synchronizer, which is useful for high-quality switching and eliminates the need to genlock when switching between cameras. It is NTSC and PAL switchable, and can also be switched to a genlock system for high-quality video live switching in video production applications.

The AV-HS300’s HD/SD SDI input/outputs include six inputs (five HD/SD-SDI, one DVI/RGB) and four outputs (three HD/SD-SDI, one DVI). It supports 1080/59.94i, 1080/50i, 720/59.94p, 720/50p, 480/59.94i (NTSC) and 576/50i PAL, and incorporates HD/SD-SDI and DVI inputs. It features nine wipe patterns with three directional wipes.

Operated on 12V DC power, the AV-HS300 also offers a tally output, RS-422 control, and an Ethernet connection to import images from a PC to the unit’s frame memory for use as background. 

The AV-HS300 will be available in fourth quarter 2006 at a tentative list price of $8,000. The tentative list price of the HD analog option is $2,000.

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Imagine Products HD Log P2 Viewer

Imagine Products has announced the release of a new P2 viewer application for the Apple Macintosh platform. Called HD Log, the viewer is a flexible logger and asset management tool that works seamlessly with the MXF format stored on P2 memory cards.

Able to reference the original video source without QuickTime file conversions, HD Log gives immediate viewing and manipulation of video clips and speeds the transfer of selected clips to the editor or asset management system. Other features include the capability to catalog and add notes at the point of acquisition; the ability to subdivide video clips with Imagine’s scene detection tool; video output; printable storyboards or thumbnail tables; searching function; file sharing; and customizable data templates.

Imagine Products will make the HD Log available for the Microsoft Windows platform in the near future. 

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Imagine Products (317) 843-0706

 
www.imagineproducts.com
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V2 Upgrade for AJA Kona 3

AJA Video, a leading manufacturer of professional video-interface- and conversion solutions, has announced 2K-resolution video support with the V2 upgrade to the recently released Kona 3, the company’s top-of-the-line HD/SD capture card. Additionally, Kona 3 V2 will address users’ needs with support for hardware-based 1080-to-720 or 720-to-1080 cross conversion, further streamlining dailies and deliverables creation at broadcast picture quality in real time.

2K telecine to Kona 3 directly and simultaneously creates 2K DPX files and 2K QuickTime reference movies. Material can then be played out at 2K via HSDL (High Speed Data Link). Furthermore, Kona 3 V2 allows 2K files to be viewed on HD 1080 24p-supported video monitors, and this 1080 HD playout can also be down-converted to SD in real time.

Other new features of Kona 3 V2 include 16-channel embedded digital audio — allowing for full support of all audio channels on HD tape formats, such as HDCam SR — and 96kHz AES audio.

Kona 3 is priced at $2990, and the V2 software can be downloaded from AJA’s website at no cost to existing owners of KONA 3. Further, Kona 3’s I/O connections are supported with supplied breakout cables and AJA’s K3-Box — a rack-mountable IRU enclosure — is available as an option.

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AJA Xena 2K

AJA Video has unveiled XENA 2K and the V2 software upgrade to the Xena LS and LH line of video-playback and capture cards. Xena V2 software offers unparalleled support for Adobe Premiere Pro 2.0 across the Windows-based Xena product family. The Xena 2K video card is AJA’s top-of-the-line card for Windows XP, delivering uncompressed SD, HD, and dual-link HD and enabling customers to work with 2K frames in what AJA describes as a flexible and future-safe architecture.

V2 software for the Xena LS, LH, and 2K offers AJA’s exclusive plugins for seamless integration with Adobe Premiere Pro 2.0 in addition to existing support for Adobe After Effects, Adobe Photoshop, Autodesk Combustion, and Eyeon Fusion. Xena 2K combines state-of-the-art hardware for Windows PCs with AJA’s own drivers, supporting uncompressed SD or HD formats, including new 2K and dual-link formats. Aside from multi-format uncompressed, Xena V2 software also offers HDV playback via the Xena card’s multiple video outputs within Premiere Pro 2.0.

The new Xena 2K workflow enables ingest and output of 2K files via HSDL (High Speed Data Link) for integration with telecine and film-scanning devices. Within Premiere Pro 2.0, full raster 2K files of any supported file format (DPX, Cineon, AVI, QuickTime, etc.) are instantly accessible for editorial and playback, without the need to render into proprietary codecs. Real-time key-frameable Primary Color Correction is also offered within Premiere Pro 2.0 for 2K and HD projects.

Flexibly suited to meet a variety of production needs, Xena 2K (for PCI-X) and Xena 2Ke (for PCIe) supports 2K, SD, HD and dual-link HD; Xena LH and its PCI Express-compatible cousin Xena LHe support SD and HD workflows; and Xena LS and Xena LSe support SD-only workflows at an entry-level price.

Additional features of Xena 2K include SDI, HD-SDI, dual-link SD and HD-SDI 4:4:4 and 4:4:4:4, HSDL; AJA Machina software; native support for uncompressed DPX, Cineon, TGA, TIFF, BMP, YUV, and AVI and QuickTime files; look-up table support; four-lane PCI-express bus interface (Xena 2Ke); PCI-X 133 interface (Xena 2K); broadcast-quality hardware 10-bit up-convert, down-convert, and cross-convert; 12-bit HD component and SD component/composite analog output; eight-channel 48kHz and 96kHz AES, and 16-channel embedded audio; and RS-422 machine control.

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AJA HD10AVA and RD10MD Converters

AJA Video has announced two new additions to its line of standard-definition and high-definition converters: the HD10AVA — a high-quality, HD/SD audio and video A/D miniature converter; and RD10MD — a 10-bit, broadcast-quality card for dual down-conversion from HD to SD.

Especially useful for adding SDI/HD-SDI output to most HDV cameras or decks, the HD10AVA automatically detects the video input format and also embeds the four-channel XLR audio inputs into the SDI/HD-SDI outputs.

The dual-channel RD10MD features three re-clocked outputs on each channel that can be independently configured as SDI or composite analog. Additionally, the RD10MD supports all HD formats and 24p/psf with 3:2 pulldown. SD output can be formatted for 16x9 monitors or 4x3 monitors in Letterbox and Crop modes. Lastly, the RD10MD is also dual-rate (HD/SD), supporting either SDI or HD-SDI inputs, and is compatible with AJA’s FR1 or FR2 frames.

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Arri 416 Super 16 Camera

Encouraging the resurgence in popularity of the Super 16 format, Arri has unveiled the Arriflex 416, a lightweight, modern Super 16 film camera with 35mm-style viewfinder and an amazingly low sound level similar to that of the Arricam. Some of the highlights include variable speed from 1-75 fps, a mirror shutter adjustable from 45°-180°, a completely new lightweight ergonomic design, integrated electronic accessories, and compatibility with the same accessories and PL-mount lenses used by its 35mm siblings.

Touting fewer lens elements of higher quality and a shorter optical path, the 416’s viewfinder optics have been completely redesigned, resulting in significantly higher contrast, higher resolution and a brighter image. Furthermore, the viewfinder ergonomics are based on the Arriflex 235 viewfinder; the 416 viewfinder can be freely rotated, extended or flipped to the other camera side. Image orientation can be set automatically or manually, and medium or long eyepiece extensions can be used with no loss in image quality. Also, because the viewfinder is located higher above the lens mount, the 416 accepts large-diameter 35mm format primes, including the new Master Primes.

The 416’s new RGB Arriglow allows the user to choose any color frameline he or she likes, including grey. Also included is a video assist of the same image quality and features as the Arricam and 435 integrated video assists (IVS). Moreover, viewfinder and video assist are independent of each other, making for faster switches from handheld to Steadicam and eliminating the need for a 100-percent video top. Other features include two 12V accessory outputs, color bars, adjustable electronic image enhancement, manual white balance, ground fault warning and close integration into the camera body.

Both the 416 and its newly designed magazine feature a completely new sound insulation design that makes the new system as quiet as an Arricam. Parts that create vibrations are mounted to an inner skeleton suspended by symmetrically positioned rubber insulators, and those insulators prevent any sound from radiating to the outer shell. The result is an operating sound level of less than 20dBA.

To power the 416, Arri has developed the new, smart lithium-ion onboard battery OBB-2, which can run up to five magazines while keeping camera and video assist in standby for more than two hours. With a built-in power gauge, the state of the OBB-2 can easily be determined, and communication between battery and camera allows the 416 to accurately display its current voltage, remaining capacity or how many more magazines the battery’s charge can run.

In comparison to the 16SR-3, the 416’s weight has been reduced 25 percent (when looking at a configuration including body, viewfinder, IVS and magazine). Further enhancing speed and low-profile operation, the magazine as well as the new onboard battery can be quickly removed with one hand, and the new front shape makes attaching lens accessories easier and faster. Also, lens motor electronics and a wireless radio can be integrated directly into the camera body, which is then called an Arriflex 416 Plus. Lastly, there is also a new split bridgeplate, allowing the camera to be removed from a zoom lens/tripod configuration in two quick steps: open the lens mount and split the bridgeplate, and the camera pops off.

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Arri/Zeiss Ultra 16 Lenses

Coinciding with the release of the new 416 Super 16 Camera, Arri and Carl Zeiss have introduced the new line of five Ultra 16 lenses — 6mm, 8mm, 9.5mm, 12mm and 14mm.

With a widest stop of T1.3, all five Ultra 16 lenses cover the full Super 16 format and are fully compatible with the optical quality, color balance and ergonomics of the other Arri/Zeiss lenses, including the Ultra Primes, Master Primes, Variable Primes and Lightweight Zoom LWZ-1. In fact, the Ultra 16 lenses have been designed as an extension to the Ultra Primes and Master Primes in the wide end, with their size, focus and iris barrel position and 95mm front diameter all matching exactly. Other features include high contrast, high resolution, almost no chromatic aberration (color fringes) and a great resistance to flaring (thanks to Zeiss’s T* XP anti-reflex lens coating).

Also akin to the Master Primes, the Ultra 16 lenses feature large diameter aspherical and radically shaped spherical glass surfaces. While the aspherical glass surface located inside the 12mm and 14mm Ultra 16 lenses helps in reducing spherical aberration (the inability to focus all light rays from a point source onto a point on film), the aspherical front surface of the 6mm, 8mm and 9.5mm keeps the image free of geometrical distortions, so that straight lines stay straight from infinity to close focus.

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Arri/Zeiss Lightweight Zoom LWZ-1

Another result of the fruitful Arri/Zeiss collaboration, the 15.5-45mm T2.6 Lightweight Zoom LWZ-1 was recently introduced to the cinematography profession.

Combining the outstanding optical image quality inherited from the Master Primes with smooth mechanics and a light weight of 4.4 lbs, the LWZ-1 employs radical spherical and aspherical lens elements, exotic glass materials, and the T* XP anti-reflex coating to ensure a sharp, high resolution image that covers the entire Super 35 frame and perfectly matches the other Arri/Zeiss lenses. The LWZ-1 also boasts almost no chromatic aberration or geometric distortion over the entire zoom range and at all focus settings, with minimal breathing.

With a front diameter of 114mm (4.5 inches) and a length of 8.2", the LWZ-1 has a close focus of 18" and a horizontal angle of view of 90.2° at 15.5mm and 40.0° at 45mm.

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Arri/Zeiss Ultra Prime 8R

New from Arri and Zeiss, the Ultra Prime 8R is an exteme wide-angle lens with a rectilinear design, giving it an extremely wide angle of view without any of the commonly associate fisheye distortions.

Because of its aspherical front element, the Ultra Prime 8R has both a high optical quality and substantially reduced size and weight (at 4.4 lbs, it boasts 2/3 of the weight of the Ultra Prime 10mm). Additionally, the 8R is Super Color Matched to the rest of the Ultra Prime family, promising seamless cuts between scenes.

Other features of the Ultra Prime 8R include an aperture of T2.8 to T22; close focus of 1'; length of 5.1" and a front diameter of 5.3" (134mm); horizontal field of view of 114° for ANSI Super 35 silent camera aperture, 112° for DIN Super 35 camera aperture, and 107° for Normal 35 Academy camera aperture; and Zeiss’s T* XP anti-reflex lens coating.

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ArriMax 18/12 and MaxMover from Arri

Arri has unveiled the new ArriMax 18/12 HMI, providing an exciting new choice for productions requiring maximum light output. According to Arri’s data, a spotted ArriMax delivers 14,400 footcandles from 30’ away with a 15° beam angle (from the same distance but set to full flood, the ArriMax provides 1,495 footcandles with a 50° beam angle).

Combining the variable beam spread of a Fresnel and the light output of a Par, the ArriMax uses a unique reflector concept for beam control that eliminates the need for spread lenses. Additional features of the ArriMax 18/12 include lensless design; 50-percent brighter output than a 12k Par; arc-like shadow quality; 15-50° beam angle with the Standard Reflector, and 8-15° beam angle with the Spot Reflector; easy relamping; support for lamps with GX52 or GX38 base; and the ability to use 18K or 12K SE lamps.

Features of the new ArriMax ballast include 12/18K Auto Detection; Input Voltage Regulation; Input Frequency Regulation; Active Line Filter (ALF); DMX control option; 12/18K power indication; dimming to 50 percent; Low Noise Mode (50/60Hz); and Flicker Free Mode.

Additionally, Arri has introduced a new automated stirrup, the MaxMover, offering remote pan, tilt and focus for large lighting fixtures. Arri boasts that most large fixtures (6K-24K) can be fitted to the MaxMover and mounted on boom arms, tall platforms, or in hard-to-reach positions. These fixtures can then be operated safely and conveniently from the ground using a simple analog or optional DMX (wired or wireless) control. Additional features include a universal adapter plate, variable width adjustment, 176-pound capacity and an included remote control.
To learn more about these and other lighting products available from Arri, E-mail lighting-info@arri.com or visit www.arri.com.

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