The American Society of Cinematographers

Loyalty • Progress • Artistry

September 2008
Cine-tal Acquires CineSpace Online
Cine-tal Systems has reached an agreement with RSR to wholly acquire the CineSpace color-management technology and product line.
Cine-tal Davio Online
Cine-tal Systems has launched the Davio, a portable HD-video- and DI-processing system. 
Digital Filters From Tiffen Online
Tiffen has announced that its award-winning Dfx digital filter suite is now available online as a featured plug-in for Apple Aperture 2.1. 
Arri 416 High Speed Online
Following the successful launch of the Arriflex 416 Plus in 2006, Arri has introduced the 416 Plus High Speed camera, offering higher frame rates for slow-motion shots.
Arri Expands Ultra 16 Lens Set Online
Arri and Zeiss have extended the Ultra 16 lens set with the addition of four long focal lengths. 
Dr. Petrol Online
Petrol has introduced the Dr. Petrol camera carrier. Inspired by the traditional doctor’s bag, this semi-hard equipment bag is uniquely designed to hold a camera and accessories comfortably and securely and offer fast and easy access to its contents. 
P+S Technik Skater Junior Dolly Online
Expanding the popular Skater line of camera-support products, P+S Technik has introduced the Skater Junior camera dolly.
Clairmont Fish Pole Online
Clairmont Camera has developed a support system for the Iconix HD-RH1 POV camera based on a K-Tek carbon-fiber telescoping boom. 
Band Pro East Opens in N.Y. Online
Band Pro Film & Digital has opened Band Pro East, a new branch office dedicated to servicing the needs of production-industry professionals in the eastern states. 
Zacutos Full-Service Showroom Online
Zacuto has opened a full-service showroom in River North, Chicago. 
Orbit Digital Opens West Coast Doors Online
Orbit Digital, an international provider of mobile postproduction equipment and services to the feature-film and television industries, has officially opened its customizable editorial space on Los Angeles’ west side, next to sibling company PostWorks Los Angeles.
Media Distributors Offers Solutions Online
Media Distributors has launched a new company division, the Workflow & Technology Solutions Group. 
Matthews New Wheels
Matthews Studio Equipment has rolled out two new dollies, the Red and the Roundy-Round.
Twist and Shoot
Introduced last year as a prototype, Panther’s Twister doorway dolly has reached series-production status. 
Mo-Sys Shoots from Stick
Mo-Sys, manufacturer of the Lambda remote head and other products, has unveiled the Car Pole, a 9' aluminum corkscrew pole with a 48-volt motor at the top that is capable of maneuvering a stabilized camera head from 1" off the ground to 12' high. 
Sachtler Rearms Artemis
Sachtler has added two innovations to its Artemis line of professional camera-stabilization systems. 
Steadicam Flies with LE
Based on the award-winning Steadicam Flyer technology, the Tiffen Company’s Steadicam Flyer-LE offers a number of new features and benefits to operators. 
To Infinity and Beyond
Thomson has announced that its Grass Valley Infinity Digital Media Camcorder (DMC) is now widely available from certified equipment dealers and system integrators across North America. Thomson’s dealers are fully trained in the features, benefits, functionality and workflows of the camcorder.
A Classic Look for HD
Schneider Optics recently introduced HD Classic Soft filters in response to requests for a high-quality softening filter to complement new high-resolution, small-chip HD cameras. 
Looking Closer with Zeiss, Band Pro
Band Pro Film & Digital has introduced the Carl Zeiss +0.5 DigiDiopter, which joins the +1 and +2 magnifications in the line of HD-quality diopters. 
Kisslite Comes to America
Introduced in 2004, Gekko Technology’s Kisslite ring light has been put through its paces on numerous productions in Great Britain, including Eastern Promises and the forthcoming James Bond film Quantum of Solace, and the device recently became available in the United States. 
Not Another CRT
ECinema Systems has unveiled the DPX-2310 monitor, which the company touts as the industry’s first and only true CRT replacement, delivering a measurable contrast ratio of 15,000 to 1 made possible by ECinema’s Dark Pixel Technology.
S.two Increases 2K, 4K Offerings
S.two Corp. has introduced the DFR2K portable Digital Film Recorder, the DSR Digital Studio Recorder, and the I.Dock4 and A.Dock4 4K data and HD RGB ingest and archive docks.
Synthetic Aperture Gears Up
Synthetic Aperture has unveiled Test Gear 2.0, the new version of the company’s video- and audio-monitoring software designed for Adobe After Effects CS3. Test Gear’s waveform monitor, vectorscope and other diagnostic displays are now fully integrated into After Effects CS3’s user interface, and the release also adds Universal Binary support for Intel-based Macintosh systems.
Tangent Catches Wave
Tangent Devices, a manufacturer of control surfaces for color-grading software, has expanded its product range with the Wave panel, which is aimed at budget-conscious practitioners of on-set grading.
CineBags Unzips Revolution
CineBags has released the CB-25 Revolution Camera Backpack. Significantly larger than the CB-22 HD Backpack, the Revolution is designed to hold larger cameras such as the PMW-EX1 from Sony, the HVX200 from Panasonic or the Red One camera. 
New Wratten Filters
Eastman Kodak has introduced several lens filters for motion-picture cameras, including an improved Kodak Wratten 2 optical filter and a new series of Kodak Wratten 2 Carbon ND filters. 
Zacuto Expands Accessory Range
Zacuto has unveiled a wide range of accessories, including the Z-Focus follow-focus unit, the Jeep universal rod adapter and the Red One Zdapter mount.

Archives
New Products and Services
online archives. go
Cine-tal Acquires CineSpace

Cine-tal Systems has reached an agreement with RSR to wholly acquire the CineSpace color-management technology and product line; Cine-tal will continue to develop and market CineSpace as a standalone solution for color management in visual effects and digital intermediates (DI).

CineSpace is a widely used color-management technology for film and television production, employed by production and post facilities worldwide to ensure that their displays match and conform to a specified output medium, such as a particular film stock or video format. The technology ensures that the images artists see on their screens are identical to how they will look when projected in a movie theater or shown on television. The CineSpace color-management suite comprises several applications that work together to bring consistency to workflows, including CineProfiler for optimizing and profiling output devices; EqualEyes, which modifies operating system look-up tables (LUTs) to provide a calibrated desktop display; CinePlugins such as CineShake, CineFusion, CineNuke and CineFilmMaster; and CineCube, an application for building 3-D calibration LUTs and enabling the generation of CineSpace color transforms that can be easily applied in a wide range of tools.

Jeremy Pollard, RSR’s CineSpace product manager, notes, “We have been in discussion with Cine-tal for the past year about how to take the CineSpace product line and extend it both functionally and to other parts of the market. The integration of CineSpace with Cine-tal’s current and future technology creates a long-term solution in color and display management.”

Cine-tal will integrate CineSpace software with its own display-management software, and the combined technology will assist customers with any variation in image display when content moves from one phase of production to another, from one facility to another or from one type of display technology to another.

“We are taking a proven, well-conceived technology in CineSpace, building interoperability with our hardware products and extending its function through our software technology,” says Rob Carroll, CEO of Cine-tal Systems. “The extended functionality within CineSpace will allow our customers to manage their color space and their display systems. It will provide our clients with a strategically optimized solution.”

Online Online Exclusive
contact info:  
www.cine-tal.com
or www.cinespace.rsrhq.com
Cine-tal Davio

Cine-tal Systems has launched the Davio, a portable HD-video- and DI-processing system. Conceived as a smaller, lower-cost alternative to Cine-tal’s EL 1000, the Davio is highly configurable and can be applied to a wide array of production, postproduction and broadcast workflows. The processor is also scalable, and multiple Davios can be combined to handle complex tasks or to keep pace with the growing demands of the user.

Inside the Davio hardware is a programmable image-processing architecture designed for 3Gb/s SDI and HDMI 1.3 image data. The Davio software library provides a diverse set of image-processing tools designed to expand and adapt with changes in workflow, color space and image monitoring; the software library includes tools for display calibration and emulation, color pipeline management, 3-D stereo processing, still store, frame markers, graticules and cages. Planned additions to the software library include tools for image comparison, test-signal generation, HD to SD conversion, frame-rate conversion, format conversion, metadata encoding and decoding, video and audio delay, bug insertion and a tool kit for monitoring EDID.

Library packages are managed with a software application running on a Windows or Mac personal computer and are loaded into the Davio hardware through a USB connection, network connection or a Compact Flash Card. Library packages also contain user options or controls that can be configured prior to loading the hardware. Users can create multiple CF cards loaded with different library functions and change the function of the Davio as needed.

Online Online Exclusive

contact info:

Cine-tal (317) 576-0091 

 
www.cine-tal.com
Digital Filters From Tiffen

Tiffen has announced that its award-winning Dfx digital filter suite is now available online as a featured plug-in for Apple Aperture 2.1. Aperture 2.1 owners are invited to visit Tiffen’s Web site (www.tiffen.com/dfx_downloads.html) for a free, fully functional trial version.

Additionally, Tiffen has introduced Dfx version 2.0, which offers 2,000 filters and effects. New effects in version 2.0 include Ambient Light, Close-Up Lens, Dot, Eye Light, Flag, Gobo, HFX Star, Haze, High Contrast, Ice Halos, Rainbows, Sepia, Sky, Soft Contrast, Soft Light, Warm Center Spot, Warm Polarizer, Water Droplets, Wide-Angle Lens and 812 Warming. Version 2.0 also offers multiple masking and layering capabilities with its plug-ins for Photoshop/Elements and Aperture.

Tiffen Dfx version 2.0 is available as a stand-alone application for still images, specific plug-ins for Adobe Photoshop, Adobe Elements, Apple Aperture and the most popular video postproduction host software, such as Apple Final Cut Pro, Apple Express, Adobe After Effects and Avid Editing Systems. Tiffen Dfx version 2.0 is available for Windows XP and Vista and Macintosh systems v10.4 or higher. The comprehensive stand-alone edition has a suggested retail price of $99.95.

Online Online Exclusive
contact info:  
www.tiffen.com
Arri 416 High Speed

Following the successful launch of the Arriflex 416 Plus in 2006, Arri has introduced the 416 Plus High Speed camera, offering higher frame rates for slow-motion shots.

The Arriflex 416 Plus HS shares many of the features found in the 416 and 416 Plus: It sports the same 35mm-style viewfinder, high-quality video assist, compact and lightweight build, and ergonomic design. Additionally, the 416 Plus HS has integrated accessory electronics, eliminating extra boxes and cables needed for connecting lens motors and remotely controlling camera and lens through the Arri Wireless Remote System. The 416 Plus HS also uses the same magazines as the 416 Plus, simplifying equipment management in the rental house and on the set. Higher frame rates (up to 150 fps) were made possible through a completely redesigned motor, mirror shutter and internal suspension.
Online Online Exclusive
contact info:  
www.arri.com
Arri Expands Ultra 16 Lens Set

Arri and Zeiss have extended the Ultra 16 lens set with the addition of four long focal lengths. In addition to the existing 6, 8, 9.5, 12 and 14mm lenses, cinematographers can now also use 18, 25, 35 and 50mm Ultra 16 lenses. 

The new Ultra 16 lenses, as well as the existing set, combine high speed with outstanding optical performance. The widest stop of T1.3 allows shooting in low or available light to create more natural-looking images and a cinematic look. The Ultra 16 lenses are now the only complete set of carefully matched modern lenses designed specifically for the Super 16 format. All nine 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.
Online Online Exclusive
contact info:  
www.arri.com
Dr. Petrol

Petrol has introduced the Dr. Petrol camera carrier. Inspired by the traditional doctor’s bag, this semi-hard equipment bag is uniquely designed to hold a camera and accessories comfortably and securely and offer fast and easy access to its contents. 

Dr. Petrol’s hinged top unzips smoothly and opens extra wide. Inside, there is ample room for inserting a fully equipped camera without disturbing the mic, viewfinder or mattebox system. Detachable, padded dividers help secure contents and can be custom configured for important accessories like batteries and a camera light. Contents are cradled on all sides by layers of cushioned orange fabric. Upper panels of shockproof, cold-molded laminate safeguard equipment and provide extra protection. Other features include an exterior side pocket for additional storage; U-Grip interlock carrying handle; adjustable, ergonomic, padded shoulder strap; and Petrol’s dual-directional easy-glide zippers. The carrier’s exterior is constructed of heavy-duty blue and black Cordura.

The Dr. Petrol camera bag is available in six sizes to accommodate various camera bodies and accessories, and pricing begins at $139.

Online Online Exclusive
contact info:  
P+S Technik Skater Junior Dolly

Expanding the popular Skater line of camera-support products, P+S Technik has introduced the Skater Junior camera dolly.

The Skater Junior can be equipped with a wide range of smaller camera heads from manufacturers such as Cartoni, Sachtler, O’Connor and Manfrotto. (To maintain a low lens position, the heads should have a flat base or a removable bowl.) Engravings on the bottom side of the Junior’s base plate indicate several sets of mounting holes for different manufacturers.

The new, patented, adjustable wheel shows detailed scales in both metric and imperial units, allowing the operator to determine the radius for a circular tracking shot. Additionally, the adjustable wheel can be set to a position parallel with the two fixed wheels, enabling linear tracking shots.

The Skater Junior is designed to use many of the same accessories already available in the Skater product line, including the Laser Pointer, Leveling Support and Smooth Gear Module. The dolly measures 12.2”x12.6”x2.83”, weighs 4.63 pounds and can support up to 26 pounds.

Online Online Exclusive
contact info:  
www.pstechnik.de
Clairmont Fish Pole

Clairmont Camera has developed a support system for the Iconix HD-RH1 POV camera based on a K-Tek carbon-fiber telescoping boom. Referred to as the “Fish Pole,” the system features an articulated ball mount, allowing the Iconix camera to be oriented and locked in virtually any position required. As an available option, the boom can be fitted with a miniature remote pan/tilt head controlled by a small joystick for a full range of motion.

The telescoping carbon-fiber boom can be easily handheld, and a 6” HD LCD viewing monitor — powered by a custom battery that attaches to the monitor mounting bracket and acts as a counterweight to the monitor — can be attached to the boom at the operator’s end.
Online Online Exclusive

contact info:

Clairmont (818) 761-4440 

 
www.clairmont.com
Band Pro East Opens in N.Y.

Band Pro Film & Digital has opened Band Pro East, a new branch office dedicated to servicing the needs of production-industry professionals in the eastern states. Located at 645 W. 27th St. in New York City’s Chelsea district, the new location will include a spacious showroom.

Jim Hegadorn, Band Pro East’s managing director, notes, “Band Pro’s move to the East Coast is now complete with the opening of our office here. We are proud of what we have accomplished in N.Y. this past year, [and we] will continue to expand our commitment to the N.Y.C. production environment as well as to the eastern half of the United States, with technical expertise and support of our extensive line of high-end digital-cinematography products.”

Band Pro offers the full line of Sony Professional, Broadcast and Cine Alta product lines, including the F23 and PMW-EX1 cameras, as well as other digital-cinematography equipment such as the Codex Portable Digital Recorder, Carl Zeiss DigiPrime and DigiZoom lenses and more.

Online Online Exclusive
contact info:  
www.bandprodigital.com
Zacutos Full-Service Showroom

Zacuto has opened a full-service showroom in River North, Chicago. The showroom focuses on the Zacuto USA brand of products as well as other production equipment, cameras and accessories Zacuto is licensed to resell. 

With the addition of 1,500 square feet, Zacuto now occupies just over 9,000 square feet on two floors. Some of the new renovations include an interior spiral stairway connecting the two floors, expanded rental prep area, assembly area, three convenient night-drop rooms and 1,000 square feet of space that can be used for exhibitions, seminars, shoots and more. The showroom also boasts a garage and valet parking for customers.

Zacuto products are used to create cinema-style camera setups for independent filmmakers by turning small HD cameras into robust packages fit for shooting features. Zacuto’s products come with a lifetime warranty.

Online Online Exclusive
contact info:  
www.zacuto.com
Orbit Digital Opens West Coast Doors

Orbit Digital, an international provider of mobile postproduction equipment and services to the feature-film and television industries, has officially opened its customizable editorial space on Los Angeles’ west side, next to sibling company PostWorks Los Angeles. The new space offers Orbit West’s clients the ability to customize and configure their own editorial operations to match their needs.

Features of the new editorial facility include 18 sound-insulated, fully furnished, individually climate-controlled editorial rooms, each with the latest Avid or Final Cut Pro systems; private suites, each with its own reception area and internally connected editorial rooms; round-the-clock technical support; complete turnkey setup, including telephones, faxes and copiers; a fully stocked kitchen and conference room; and on-site parking. Additionally, Orbit West is both physically and digitally interconnected with PostWorks L.A.’s DI facilities at the same location in L.A.’s Tribeca West complex.

Orbit Digital has a long history of servicing high-profile feature-film and television projects, including The Chronicles of Narnia: Prince Caspian, Wanted and Journey to the Center of the Earth. Pete Conlin, Orbit Digital’s senior vice president of sales, says, “Everything about our operation is geared toward allowing our clients to create their own unique editing environment.”

Online Online Exclusive
contact info:  
www.orbitdigital.com
Media Distributors Offers Solutions

Media Distributors has launched a new company division, the Workflow & Technology Solutions Group. The division will work in conjunction with the company’s Rental Station division, which allows Media Distributors to provide Apple products — including Final Cut Pro and Mac Pro — to the entertainment community.

Steve Klein, CEO of Media Distributors, notes, “Our new Workflow & Technology Solutions Group will employ a team of experienced and dedicated technology specialists with over 40 years of combined experience. The group will provide design, sales, rentals, installation and service/support for integrated workflow solutions to a broad spectrum of clients working within the postproduction and broadcast industries. Among the group’s special solution capabilities will be the setup of HD/2K/4K workflows, telecine, facility builds and wire CAD designs.”

Richard Myerson, president of Media Distributors, adds, “Our new Workflow & Technology Solutions Group has a diverse and deep background in all areas of HD workflow, content management and systems design. As an Apple Value Added Professional Video partner, we also have the ability to provide support for the complete line of Apple products, editing systems, network-based solutions and an expansive line of shared-storage solutions. This was a logical next step in the evolution of our company as we continue to focus on the needs of our clientele.”

Online Online Exclusive
contact info:  
www.mediadistributors.com
Matthews New Wheels

Matthews Studio Equipment has rolled out two new dollies, the Red and the Roundy-Round.

Based on key grip Galen Schultz’s design, Matthews first built the Red dolly in 1976, and the company reintroduced it for a new generation of users at the recent Cine Gear Expo in Los Angeles. Featuring a number of benefits for the operator, the Red dolly is far more maneuverable than a wheelchair. It can accommodate Steadicam use with only a few minutes of rigging time, and whether the camera is handheld or hard-mounted, the Red dolly is fast and reliable. All four wheels provide eight different locked positions, allowing for crabbing, roundy-rounds, pivoting on its own axis, and smooth transitions. The dolly is small and compact, measuring 24" wide by 33" long, and weighs 119 pounds.

The Roundy-Round doorway dolly is able to make circles as small as 6' in diameter. With its all-wheel steering, the dolly moves through a full range of tight curves using its push bar, pull bar or a combination of both. Like the original doorway dolly, the Roundy-Round provides a low-cost, easily maneuvered camera platform as well as a sturdy vehicle to haul equipment.

contact info:  
www.matthewsgrip.com
Twist and Shoot

Introduced last year as a prototype, Panther’s Twister doorway dolly has reached series-production status. To ensure smooth operation, the steering geometry has been enhanced and the drawbar improved; the push bar has also been strengthened and can be assembled in six different positions on the dolly, allowing maximum support when carrying a Steadicam operator. Additionally, the length, width and height of the dolly’s body can be enlarged via side and level platforms; the latter mount above the wheels to offer an enlarged workspace that can be used for storage or as a footrest for the operator during shooting.

Permitting camera movement on track or on the ground without the need for conversion, the Twister features combined tire and track wheels. Three selectable steering modes — front, rear and roundy-round — allow the Twister to maneuver in any direction, and shifting modes is easily accomplished with locking pins. Also, with an overall width of 2'7", the Twister can easily navigate any doorway.

The Twister is fit for film and digital productions. The dolly’s platform can support up to 550 pounds, and all standard Panther accessories — including turnstile attachments, bowls, brackets and bazookas — can be used.

Panther also recently introduced a tripod operation handle for the Trixy remote head, which can be adjusted to an operator’s requirements for comfortable control independent of the crane arm, and a new platform for the Husky dolly, offering two more options for mounting bazookas.

contact info:  
www.panther-gmbh.de
Mo-Sys Shoots from Stick

Mo-Sys, manufacturer of the Lambda remote head and other products, has unveiled the Car Pole, a 9' aluminum corkscrew pole with a 48-volt motor at the top that is capable of maneuvering a stabilized camera head from 1" off the ground to 12' high. Designed in collaboration with key grip Kenneth McKenzie, the Car Pole (nicknamed the “British Stick”) can be attached to the back, front or side of a car or truck.

Thanks to its light weight, the Car Pole requires only a minimal crew to rig and operate, and it can be controlled via joystick, hand wheels, or foot pedal by either an operator or the driver. Other benefits include quick setup time, a record function that enables exact repetition of moves, and a smooth and responsive lift operation, even at variable speeds. 
contact info:  
www.mo-sys.com
Sachtler Rearms Artemis

Sachtler has added two innovations to its Artemis line of professional camera-stabilization systems. The Act 2 C carbon-fiber spring-arm upgrade turns the Artemis Act 2 arm into a carbon-fiber spring arm, and the Act 2 vest provides comfort, fit and versatility for camera-stabilization systems, including the Artemis EFP, EFP Pro SDI HD, Cine and Cine HD.

Sachtler’s engineers developed the carbon-fiber upgrade through collaboration with racecar-industry experts. For the upgrade, the Act 2 arm’s aluminum skeleton has been replaced by lightweight carbon-fiber components, which offer outstanding strength and make the Act 2 C upgrade an asset for long or fast-paced shoots. Additionally, like the standard Act 2 aluminum model, the upgrade retains the torsion-free design and features three quick-to-change spring sets that handle payloads from 24-57 pounds.

The ergonomically designed Act 2 vest features a new padding system to facilitate a comfortable fit for any body type. Six moveable pads can be custom-positioned to prevent pressure points and promote even weight distribution. The pads feature a soft moisture-wicking core and are covered with top-grade nylon Cordura, helping the operator stay dry throughout the shoot. They are also easy to remove for washing.

Memory fasteners at the chest and hip straps enable quick and easy adjustment. During shooting breaks, the entire vest can be loosened with a simple flick of the wrist and easily refastened; thanks to the memory fasteners, the Act 2 vest remembers the fit and requires no readjustment.

Both the Act 2 vest and Act 2 C arm feature industry-standard connections for compatibility with systems by Sachtler and other popular makes.

contact info:  
www.artemis-hd.com
www.sachtler.com
Steadicam Flies with LE

Based on the award-winning Steadicam Flyer technology, the Tiffen Company’s Steadicam Flyer-LE offers a number of new features and benefits to operators. 

With a newly designed sled assembly, the Flyer-LE boasts a robust, no-tools, carbon-fiber, extendable post; an internal safety system prevents the post from separating, and an index system keeps all parts in alignment. A friction-free gimbal assembly with a large, knurled, extended handle fits securely in the operator’s hand, and tool-free locking mechanisms on the top and bottom of the sled allow for quick adjustments on the set. Additionally, precision stage adjustment ensures exact balance, and the sled works with both 12- and 24-volt cameras.

The Flyer-LE’s patented tools-free ISO-elastic stabilizer arm supports 19 pounds of camera weight, and the tools-free arm/vest interface enables quick customization for individual operators. The arm’s open design also provides incredible freedom of movement for its weight class, and the adjustable arm/post assembly is generally a feature found only on more expensive systems. For quick and neat storage, the arm comes apart with a pin.

The Flyer-LE’s vest assembly features an ergonomic breastplate combined with solid-metal shoulder fasteners for increased comfort during extended use. The pads are easily removed for cleaning or replacement, and all components fit neatly and securely in the provided travel bag.

contact info:  
www.tiffen.com
To Infinity and Beyond

Thomson has announced that its Grass Valley Infinity Digital Media Camcorder (DMC) is now widely available from certified equipment dealers and system integrators across North America. Thomson’s dealers are fully trained in the features, benefits, functionality and workflows of the camcorder.

Complementing all types of file-based workflows, the Infinity camcorder uses a full 1920x1080, 2⁄3" Xensium CMOS imager; Thomson Grass Valley Rev Pro removable media; and industry-standard CompactFlash. The Infinity DMC is switchable between hi-def and standard-def, with format choices including 1080i, 720p, PAL and NTSC.

At this year’s National Association of Broadcasters conference, Thomson introduced the Infinity DMC 1000/20, a high-performance camcorder for ENG and EFP applications that offers expanded recording capacity and improved performance via Thomson’s new Rev Pro XP and ER disks. Other new additions to the Infinity product family include the Infinity Digital Media Recorder (DMR), which records and plays back material shot with the Infinity DMC 1000/20 and stored on Rev Pro XP and ER disks. The DMR also records and plays back material from other external sources, including cameras and nonlinear editors.

contact info:  
www.thomsongrassvalley.com
A Classic Look for HD

Schneider Optics recently introduced HD Classic Soft filters in response to requests for a high-quality softening filter to complement new high-resolution, small-chip HD cameras. The HD Classic Soft filter family delivers subtle, effective softening performance for shooting in the ¼", 1⁄3", ½" and 2⁄3" HD formats.

Available in strengths of 1⁄8, ¼, ½, 1 and 2, HD Classic Softs produce the same quality of diffusion as the standard Classic Soft series. Each filter features a carefully calculated amount of Micro-Lenslets to provide a soft, controlled image overlaid on a sharp, in-focus image, creating “in-focus diffusion.” This effect blends small wrinkles and blemishes while maintaining an overall sharp focus, making it appear as though no filter is being used. In the normal range of exposure, HD Classic Softs impart only a closely confined, subtle glow to highlights, but large amounts of overexposure can produce a stylish glow that keeps the scene’s contrast under control while adding a romantic look.

Like all Schneider professional filters, the HD Classic Soft line is manufactured from clear, water-white optical glass that is diamond-cut, precision-ground and polished to exacting tolerances to ensure uniformity. The filters are available in 4x4, 4x5.65, 5x5, 5.65x5.65 and 6.6x6.6 sizes.

contact info:  
www.schneideroptics.com
Looking Closer with Zeiss, Band Pro

Band Pro Film & Digital has introduced the Carl Zeiss +0.5 DigiDiopter, which joins the +1 and +2 magnifications in the line of HD-quality diopters. DigiDiopters are designed to work in conjunction with Zeiss DigiPrime and DigiZoom lenses, as well as all other top-grade 2⁄3" HD lenses. Attaching easily to the front of the lens to provide close-focus range and magnification capability, Carl Zeiss DigiDiopters are ideal for extreme close-ups or wide-angle shots with a shallow depth of field.

DigiDiopters employ an achromatic dual-lens assembly to minimize color fringing and spherical aberration, common problems with traditional single-lens diopters. The Zeiss optical design ensures a high-resolution, high-contrast image with consistent precision anywhere in the frame. Carefully selected optical glass elements and the Zeiss proprietary T* anti-reflective coating — the same coating applied to Carl Zeiss DigiPrime and DigiZoom lenses — reduce light loss and flare while improving transmission for crisp images with saturated colors and accurate blacks. DigiDiopters are designed to optically match the DigiPrimes and DigiZooms’ color balance, contrast and overall image quality.

Weighing about 10 ounces each, the DigiDiopters can be attached to the camera lens or to each other via a single thumbscrew. A self-centering clamping mechanism maintains a proper distance between diopter and lens and keeps them parallel to each other, ensuring optimal image quality. This mounting system puts the least amount of stress on the lens while keeping the Digi-Diopter securely in place. Additionally, the three available DigiDiopters can be stacked together in any combination.

contact info:  
www.digiprimes.com
Kisslite Comes to America

Introduced in 2004, Gekko Technology’s Kisslite ring light has been put through its paces on numerous productions in Great Britain, including Eastern Promises and the forthcoming James Bond film Quantum of Solace, and the device recently became available in the United States. 

The Kisslite unit clamps onto most fixed-barrel zoom and prime lenses and features an adapter clamp for standard Arri 19mm bars; step-down rings are available for most lenses. The operator has the ability to adjust the illumination level using the included dimmer, thereby achieving the appropriate amount of light without worrying about stopping down or fitting ND filters.

Since the Kisslite’s introduction, Gekko has added a number of improvements and a range of accessories, including a safety eye, a locating pip for lens and diffusion frames, a bottom-mounting position for a geared French flag, a Panavision mounting bracket, Arri 15mm studio and 15mm lightweight mounting brackets, new step-down rings, a revised ballast with an input voltage range of 11-40 volts, a wireless dimmer-control unit, a DMS dimmer-control unit and a bigger carrying case.

In addition to the Kisslite, Gekko’s George and Lenslite systems are also available for rent through VF Gadgets in Toronto and SLx Rentals & Sales in North Hollywood. Users seeking to own any of the lighting systems for themselves can purchase them directly from Gekko. The Kisslite is available in various kit configurations ranging from the XR kit — which boasts two battery belts, a car adapter, 23 different step-down rings and various brackets — to basic kits.

contact info:

VF Gadgets (416) 686-1452

SLx (818) 764-1313, 

 
www.vfgadgets.com
www.sl-x.us
www.gekkotechnology.com
Not Another CRT

ECinema Systems has unveiled the DPX-2310 monitor, which the company touts as the industry’s first and only true CRT replacement, delivering a measurable contrast ratio of 15,000 to 1 made possible by ECinema’s Dark Pixel Technology.

Currently available in a 23" model, the DPX-2310 uses full-screen LED backlighting and ECinema’s exclusive TrueGamut technology to achieve highly accurate Rec 709 color space and superb image detail. With a native 10-bit LCD panel, the DPX-2310 can reproduce over 1 billion colors at the pixel level to provide the most accurate color image display possible from an LCD. Additionally, the monitor utilizes ECinema’s PureStream Image Processor to maintain a truly lossless internal signal processing architecture from input to screen.

Other features include ECinema’s proprietary CRT Mode, which emulates the physics of a CRT image to produce an accurate reproduction of the on-screen artifacts created by interlaced video. ECinema is targeting the DPX-2310 for applications such as digital intermediates, telecine, film restoration, dirt and scratch removal, HD quality-control monitoring, visual-effects compositing and on-set color-critical viewing.

contact info:  
www.ecinemasystems.com
S.two Increases 2K, 4K Offerings

S.two Corp. has introduced the DFR2K portable Digital Film Recorder, the DSR Digital Studio Recorder, and the I.Dock4 and A.Dock4 4K data and HD RGB ingest and archive docks.

The DFR2K represents the state of the art in field-portable digital capture. Using D.Mag (Digital Film Magazine) technology, the DFR2K records up to 72 minutes of uncompressed 4:4:4 RGB industry-standard DPX files on a single removable magazine while supporting user-loaded look-up tables and DC operation.

Recording in HD, HD 4:4:4, 2K or 3K, with built-in de-Bayering for live production of single-sensor cameras, the DFR2K also supports uncompressed frame rates up to 60 fps. All current S.two workflow products are compatible with the recorder, and the DFR2K is also ArriRaw T-Link certified, meaning it can accept Arri’s uncompressed data link that sends raw 3K Bayer-pattern data from the Arri D-21 camera.

The DSR is designed to replace expensive, service-intensive VTRs; the recorder combines familiar VTR functionality with the quality of uncompressed images up to 4K, and it features DPX-file compatibility, the flexibility of removable disk-based media (using D.Mag technology) and a low price point. The DSR allows immediate access to the material from networked workstations or through real-time video interfaces, transferring DPX frames with metadata, audio and time code intact without a need to modify a facility’s existing infrastructure.

Fully compatible with S.two’s offline, archive and auto-conform products, the DSR allows post facilities to serve digital and traditional film capture with a single broad-based solution. Additional features include front-mounted control, full RS-422 edit and playback, two gigabit-Ethernet network connections, a built-in down converter and analog monitoring outputs.

Steve Roach, S.two’s vice president of marketing, notes, “The delivery of A.Dock4 and I.Dock4 complete the missing pieces in the jigsaw for 4K clients who can now utilize the S.two toolset all the way from capture through post, to archive and conform.” The A.Dock4 and I.Dock4 are fully compatible with all previous S.two products, and the I.Dock4 features real-time de-Bayering of any single-sensor Bayer-data camera. It also supports user-loaded LUTs and provides network access to uncompressed 4K and 3K frames with metadata. The A.Dock4 automatically provides fully data-based, verified, secure archive and safety copies to dual uncompressed LTO tapes, with network access to the D.Mag data.

contact info:

S.two Corporation (775) 853-9999 

 
www.stwo-corp.com
Synthetic Aperture Gears Up

Synthetic Aperture has unveiled Test Gear 2.0, the new version of the company’s video- and audio-monitoring software designed for Adobe After Effects CS3. Test Gear’s waveform monitor, vectorscope and other diagnostic displays are now fully integrated into After Effects CS3’s user interface, and the release also adds Universal Binary support for Intel-based Macintosh systems.

Version 2.0 enhances all of the test instruments by adding full support for 32-bit floating-point projects. Video footage imported into After Effects properly displays values above 100 IRE and below 0 IRE on the waveform monitor, slice display and histogram. A gamut display has been added, which clearly shows the “legality” of the levels in the image, making it easy to see where colors should be adjusted or a color legalizer applied. The swatch-book feature has also been enhanced to support 32-bit floating-point color values and to set paint and text colors with a simple right-click contextual menu. In addition to the existing support for importing Photoshop swatch books, Test Gear 2.0 now supports importing swatch books in Adobe Exchange format.

All Test Gear test-instrument windows are integrated into the After Effects CS3 user interface, allowing them to be moved, docked or floated as desired. The windows are also fully re-sizeable and can be shaped to show the most important information. For example, the waveform monitor can be made extra tall to show more resolution when measuring an exact value, or it can be made extra wide to show more detail across each scan line.

Standard features of Test Gear 2.0 include a waveform monitor with luma-only, composite, parade, RGB, YRGB, GBR or overlay displays, units selectable as IRE or mV, and field or frame display; a vectorscope with 75- or 100-percent calibration and 1x, 2x, 5x and 10x magnification; a histogram with YRGB or individual channels; an image-slice tool, which takes a user-defined slice through the image and shows the pixel values; a color picker for RGB, HLS, HSB, grayscale and webcolor — the color can be made video-legal with a mouse click; swatch books; and audio monitoring with waveform, phase, spectrum and stereo-image displays. Additionally, all instruments can be set for Rec 601 or 709 or SMPTE 240M coefficients.

Test Gear 2.0 works on either PowerPC- or Intel-based Macintosh systems as well as Windows XP and Vista 32/64. For users of After Effects 6.5 and CS2, Test Gear 1.1 is still available. Version 2.0 is priced at $125 per license; upgrades from previous versions are available for $49 by download only.

Synthetic Aperture has also announced that its Color Finesse advanced color corrector now supports the ASC CDL.

contact info:  
www.synthetic-ap.com
Tangent Catches Wave

Tangent Devices, a manufacturer of control surfaces for color-grading software, has expanded its product range with the Wave panel, which is aimed at budget-conscious practitioners of on-set grading.

Featuring all the controls expected from a color-grading panel without compromising on ergonomics, the Wave fits in any grading suite but is compact enough to be used on set. The panel boasts crisp, easy-to-read cool-blue OLED displays and custom trackball units based on a non-contacting optical pickup. Keeping the most needed controls right at the user’s fingertips, the Wave promises to boost productivity and simplify the grading process.

Chris Rose, technical director for Tangent, notes, “We created Wave in response to customer demand for a compact and lightweight control panel that would complement the entry-level pricing of software color-grading tools like Apple’s Color. Wave is not intended to replace our existing ranges; it’s just aimed at the more budget-conscious user.” The design draws heavily on the experience gained from Tangent’s CP100 and CP200 panel ranges. The Wave is also supported by Assimilate Scratch.

The Wave has a list price of $1,595.

contact info:  
www.tangentdevices.co.uk
CineBags Unzips Revolution

CineBags has released the CB-25 Revolution Camera Backpack. Significantly larger than the CB-22 HD Backpack, the Revolution is designed to hold larger cameras such as the PMW-EX1 from Sony, the HVX200 from Panasonic or the Red One camera. It also accommodates smaller cameras such as the Sony HVR-Z1U and Panasonic DVX100, allowing plenty of space for accessories such as a mattebox or follow focus.

The backpack also accommodates a 17" laptop, and CineBags’ new Thermo layer keeps the equipment protected and insulated. Other features include a pullout rain cover that encloses the entire backpack, a customizable interior, an earphone outlet, waterproof material, a heavy-duty shoulder harness and heavy-duty padding.

The CB-25 Revolution has a list price of $239.

contact info:  
www.cinebags.com
New Wratten Filters

Eastman Kodak has introduced several lens filters for motion-picture cameras, including an improved Kodak Wratten 2 optical filter and a new series of Kodak Wratten 2 Carbon ND filters. These filters, which undergo a special precision coating to improve their qualities, boast reliability and batch-to-batch consistency. The new filters are more rigid and durable, and easier to handle while offering the same spectral transmission of current Wratten gelatin filters.

“Photographers, cinematographers, engineers and scientists rely on the Wratten 2 filters for analytical consistency as well as the ease of use for critical color correction,” says Steve Hallatt, motion-picture accessories and services manager for Kodak’s Entertainment Imaging Division. “The Wratten filters provide consistent optimal performance, which is critical for those whose work requires realistic and creative effects [and] applications.”

In addition to the new Wratten filters, a variety of calibration tools and targets are available for purchase directly through Kodak and the company’s distribution partners. These tools and targets include the Color Separation Guide and Gray Scale, Control Scale, Scanner Gray Scale, Gray Card, Paper Gray Scale, Photographic Flashed Density Film, Photographic Step Tablet, Densitometry Reference and Scanner Step Table.

contact info:  
www.kodak.com/go/mpaccessories
Zacuto Expands Accessory Range

Zacuto has unveiled a wide range of accessories, including the Z-Focus follow-focus unit, the Jeep universal rod adapter and the Red One Zdapter mount.

Integrating easily with other Zacuto support accessories, the Z-Focus employs a set of gears to connect to and spin the focus ring or Zacuto zip gear on the camera lens, thereby producing an accurate follow focus and allowing the operator or assistant to pull focus easily. Furthermore, the integrated, magnetic, dry-erase disk allows the focus puller to create distance marks for repeatable focus pulls.

Other features of the Z-Focus include a worm gear adjustment screw, allowing the user to tighten the gear play; interchangeable drive gears; a standard accessory port for a Zacuto or Chrosziel follow-focus whip or speed crank; and lightweight design. The Z-Focus is supplied with an industry-standard 15mm lightweight rod mount, but an available accessory, the FF-Adapter, can convert the follow-focus unit for use with 19mm/15mm studio rods. A .8-pitch drive gear is also standard, but .6 (Fuji), .5 (Canon) or a 1"-wide .8 (for still-photography lenses) can be specified when ordering.

The Jeep universal rod adapter bridges the gap between 15mm lightweight, 15mm studio and 19mm studio rod systems, expanding functionality by allowing users to mix and match gear intended for different rod systems. For example, Steve Weiss — product designer and marketing and international-sales representative for Zacuto — notes that the Jeep can retrofit “the front of a Zacuto baseplate with a new part called a Grill Adapter, [giving the user] all three rod choices off the front of the baseplate, while still having counterbalance rods off the back in standard 15mm lightweight.”

Weiss adds that the Zdapter mount “allows you to quick-release your monitor or EVF [electronic viewfinder] with a flip of a red Zacuto lever.” Mounting on 15mm or 19mm rods, the Zdapter prevents unwinding and allows Zacuto rod extensions to make the Red arm longer. While custom configurations can be specified at the time of ordering, the standard Red One Zdapter kit consists of one 15mm lightweight Z-lock, one 19mm studio Z-lock, one Zdapter Backplate and one ¼"-20 ZUD (a quick-release adapter for articulating arms).

The Z-Focus (model number Z-FF-1) sells for $1,110, the Jeep (Z-J-1) for $265 and the Zdapter (Z-Red-ZM) for $249. 

contact info:  
www.zacuto.com