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September 2012
Goldcrest Post, Narduzzo Too Embrace LightSpace Online
London-based Goldcrest Post has teamed with Narduzzo Too, a grading facility owned by Vince Narduzzo, after high demand at Narduzzo Too’s Pinewood facility prompted the need for expanded services.
Fraunhofer Announces Digital Cinema Developments
The Fraunhofer Digital Cinema Alliance, which has recently been working with high-frame-rate 3-D technology, has launched the A/V Analyzing Toolbox and STAN Stereo Analyzer.
Hot Rod Cameras Expands
Hot Rod Cameras has expanded operations and moved into a new facility in Hollywood. The new facility features a showroom that offers demonstrations of accessories from such respected brands as Arri, Cartoni, Chrosziel, Element Technica, OConnor and Zacuto.
Congo Films Services Latin America
Congo Films S.A. has announced the addition of the Russian Arm Mark IV to its rental inventory for the Latin American film market. 
Encore Adds Vancouver Facility
Expanding on a network of post houses that includes facilities in Los Angeles and New York, Encore, a Deluxe Entertainment Services Group company, has announced a new facility in Vancouver, British Columbia.
Technicolor Vancouver Moves to Bridge Studios
Technicolor Vancouver is moving its primary facility to the Bridge Studios, with additional digital-dailies labs at the North Shore Studios and the Vancouver Film Studios.

FilmLight Manages Color Pipeline
FilmLight has introduced a number of solutions that combine to make a seamless, end-to-end color-management and manipulation pipeline. 
Digital Vision Enhances Nucoda
Digital Vision has unveiled significant enhancements to its Nucoda color-grading platform, providing increased workflow capabilities and additional tools for grading, pre-grading and stereoscopic projects. 
Signiant, 5th Kind Streamline Asset Management
Signiant, a provider of intelligent file-movement software for media and entertainment, and 5th Kind, an innovator of asset-management and workflow solutions optimized for production environments, have partnered to integrate Signiant’s accelerated file-movement capabilities with 5th Kind’s Core platform, enabling dispersed production teams to ingest and share digital media files quickly and securely.
Paralinx Launches Arrow
Cinema electronics company Paralinx, LLC, has unveiled the Arrow uncompressed wireless video transmitter. 
Boxx Builds Meridian Family
Boxx Communications, the North American headquarters and official reseller for Boxx TV, has unveiled the Meridian Lite and Meridian Tallis systems.
K 5600 Illuminates Joker 1600
K 5600 has introduced the Joker 1600, a 1,600-watt daylight fixture that produces an output comparable to a 6,000-watt quartz fixture. It is available in three configurations: Bug-Lite, Beamer and Zoom Beamer.
Panasonic Unveils F Series P2 Cards
Panasonic has announced the F Series next-generation P2 solid-state recording media. 
Sound Devices Mounts Pix 260
Sound Devices has introduced the Pix 260 production audio/video recorder and a V.2 firmware update for the Pix 240 portable audio/video recorder. 
DeepX Takes Epic Underwater
Australian inventor and filmmaker Pawel Achtel has unveiled the DeepX underwater camera-housing system. 
CineBags Rolls Out CB40
CineBags has released the CB40 High Roller, the company’s first bag to incorporate a retractable telescope arm and wheels.
Vinten Unveils Vision Blue5 System
Vinten, part of Vitec Videocom, a Vitec Group company, has unveiled the Vision Blue5 pan-and-tilt head and tripod system. 
Digital Anarchy Opens Beauty Box
Digital Anarchy has introduced Beauty Box Video 2.0 for OpenFX, bringing the skin-retouching plug-in to Assimilate Scratch and Scratch Lab, and Sony Vegas Pro and Movie Studio. 
CamOne Explores Infinity
CamOneTec has launched the CamOne Infinity micro camera. 

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Goldcrest Post, Narduzzo Too Embrace LightSpace

London-based Goldcrest Post has teamed with Narduzzo Too, a grading facility owned by Vince Narduzzo, after high demand at Narduzzo Too’s Pinewood facility prompted the need for expanded services.

As part of the expansion, Goldcrest Post has adopted Light Illusion’s LightSpace CMS color-management system to guarantee facility-wide color calibration, matching the color-management workflow already in place at the company’s New York facility and at Narduzzo Too. In addition to purchasing LightSpace CMS with an X-Rite i1 Display 2 OEM probe, Goldcrest Post asked Light Illusion to consult on defining the new DI operation’s workflow, suggesting associated display and monitoring systems, and overseeing the initial calibration of the room.

LightSpace CMS is one of a range of calibration systems developed by Light Illusion for use within the digital-imaging environment. Other color-management solutions include MatchLight IMS, SpaceMan ICC, LightDensity XYZ and Alexicc.

Online Online Exclusive
contact info:  
www.goldcrestpost.co.uk
www.narduzzotoo.com
www.lightillusion.com
Fraunhofer Announces Digital Cinema Developments

The Fraunhofer Digital Cinema Alliance, which has recently been working with high-frame-rate 3-D technology, has launched the A/V Analyzing Toolbox and STAN Stereo Analyzer.

The German research organization comprises Fraunhofer IIS (Institute for Integrated Circuits), Fraunhofer First (Institute for Computer Architecture and Software Technology), Fraunhofer HHI (Institute for Telecommunications, Heinrich-Hertz-Institute) and Fraunhofer IDMT (Institute for Digital Media Technology). It offers R&D in the areas of production (camera and storage), 3-D technologies, audio systems, data compression, post processing, transmission, projection, distribution and digital archiving.

The Department of Moving Picture Technologies at Fraunhofer IIS has begun testing its high-frame-rate technologies in stereoscopic 3-D workflows. Together with Arri and Stereotec, Fraunhofer IIS shot short test clips at 120 fps per eye to simulate content at various frame rates and to create DCPs that play back at 24 fps, 30 fps and 60 fps per eye based on the same footage. (The test was conducted with two Arri Alexas and a midsize rig from Stereotec.) The technique mitigates or eliminates the motion blur and stuttering associated with 24-fps-per-eye capture and playback of 3-D footage.
Fraunhofer IDMT has launched Error Detection within its AV Analyzing Toolbox. The new feature enables users to detect errors and quality problems in A/V content before, during and after the production process. Additionally, Error Detection allows digital-film archives to ensure that only error-free material is ingested. It can also be used for controlling and monitoring broadcasting networks and A/V services such as digital archives or encoding/transcoding services. Error Detection monitors for such video errors as frozen images, black screens, under- and overexposure, blurring, blocking, and ringing, and for several different audio errors.

Fraunhofer HHI has partnered with Silicon Imaging to integrate Fraunhofer’s STAN Stereo Analysis engine into Silicon Imaging’s SI-3D Stereo Monitoring, Analysis, Recording and Transmission system. The SI-3D SMART system captures content from raw and HD-SDI sources and utilizes STAN to generate real-time camera geometry measurements and depth information for use in precision rig alignment and corrected 3-D output. This integration provides stereo visualization, color management, virtual parallax, FIZICS (focus, iris, zoom, interaxial and convergence) controls and recording in a single portable platform, all under wireless control via an Apple iPad. The synchronized recordings of imagery, audio, motion, correction and time code can be used for direct 2K/HD editing and finishing or linked with 4K source material.

contact info:  
www.dcinema.fraunhofer.de
Hot Rod Cameras Expands

Hot Rod Cameras has expanded operations and moved into a new facility in Hollywood. The new facility features a showroom that offers demonstrations of accessories from such respected brands as Arri, Cartoni, Chrosziel, Element Technica, OConnor and Zacuto.

Since introducing its professional solutions for mounting cinema lenses on HDSLR cameras, HRC has grown to become a value-added reseller and a distributor for select equipment manufacturers. As a factory-authorized dealer for Angenieux, Cooke, Fujinon, Schneider Optics and Zeiss, HRC also offers the “HRC Lens Bar” in the new Hollywood facility, where clients can enjoy interactive demonstrations and build and preview various configurations of dozens of in-house lenses, filters, and other specialty optics and optical accessories — all without having to leave their seats.

HRC’s expansion allows the company to take on additional product lines and services, including the Blackmagic Design Cinema Camera, the Axis 1 wireless focus system, handcrafted front boxes, and the Paralinx Arrow uncompressed wireless HD system.

The company’s services include comprehensive DSLR (all brands) body and lens repair, PL mount/flange adjustments and calibrations, custom engineering, modifications to hardware and firmware, custom grip replacements, custom cases, anodizing, and color matching. It also offers evening, weekend and odd-hour shopping, pickup and delivery for clients working on productions.

contact info:

Hot Rod Cameras
1413 Cole Pl.
Los Angeles, CA

 
www.hotrodcameras.com
Congo Films Services Latin America

Congo Films S.A. has announced the addition of the Russian Arm Mark IV to its rental inventory for the Latin American film market. Founded in 1983, Congo Films is a full-service rental facility offering camera, lighting and grip equipment, with offices in Bogota, Colombia, and Santiago, Chile.

The Russian Arm Mark IV joins such products as Milo and Tyler helicopter and stabilized mounts; Fisher, Panther, Moviegrip and Egripment cranes and dollies; Hawk, Cooke, Zeiss, Angenieux and Fujinon lenses; Arri Alexa Studio and Alexa Plus 4:3 cameras; Phantom Flex and Gold cameras; Codex recorders; Luminys, Arri, Mole Richardson, Kino Flo, K 5600 and Dedolight lighting fixtures; and a long list of rigging gear.

Filmmakers in Argentina, Brazil, Uruguay, Peru, Venezuela, Ecuador, Panama and Costa Rica often sublet specialized gear from Congo Films. At press time, the company is servicing Alejandro Jodorowsky’s La Danza de la Realidad, shot by Jean-Marie Dreujou.

contact info:  
www.congofilms.tv
Encore Adds Vancouver Facility

Expanding on a network of post houses that includes facilities in Los Angeles and New York, Encore, a Deluxe Entertainment Services Group company, has announced a new facility in Vancouver, British Columbia.

All of Encore’s facilities employ a common network that allows them to share media seamlessly, maximizing efficiency and capacity.

The company is also expanding its visual-effects services for TV to Vancouver. The Vancouver visual-effects division will be supervised by Ivan Hayden, who brings more than 15 years of experience to the role. Hayden will report to Tom Kendall, vice president of visual effects for television at Deluxe.

Encore’s Vancouver facility is conveniently located in the same complex that houses Deluxe’s post facility and its visual-effects subsidiary Method Studios.

contact info:  
www.bydeluxe.com
Technicolor Vancouver Moves to Bridge Studios

Technicolor Vancouver is moving its primary facility to the Bridge Studios, with additional digital-dailies labs at the North Shore Studios and the Vancouver Film Studios.

Technicolor Vancouver now offers on-location services with a mobile Global Dailies solution at three of the major production studios in the city. The Global Dailies solution is compatible with Technicolor’s DP Lights and is focused on making dailies a smooth process regardless of the camera type or native file.

Supporting workflow development and dailies management, Technicolor Vancouver offerings include project supervisors; 24-hour technical support; color correction with experienced long-form dailies colorists; extensive data storage; a private, secure, high-speed data network; and calibrated screening rooms for both broadcast and feature 2-D and 3-D productions.

Technicolor also offers remote on-set and mobile near-set solutions for productions shooting on location. These systems range from data wrangling to full color management. 

contact info:  
www.technicolor.com
FilmLight Manages Color Pipeline

FilmLight has introduced a number of solutions that combine to make a seamless, end-to-end color-management and manipulation pipeline. 

Flip is a real-time image-processing product that lets the creative production team design looks in prep and apply and refine them on set. Employing a Baselight GPU renderer with Truelight Color Management, Flip can create and store an unlimited number of preset looks and spatial filters, which can then be applied and refined in real time on set; that grade can then be saved and applied to dailies and other downstream processes.

At the next stage of the process, FilmLight has unveiled the Baselight Transfer near-set dailies solution, a fully featured real-time 4K dailies processing system that supports all of the latest digital cinema cameras. The production-proven solution has recently been put through its paces in an F65 4K ACES workflow for M. Night Shyamalan’s After Earth, shot by Peter Suschitzky, ASC. Baselight Transfer also offers automatic color matching between on-set grading data from Flip and raw camera footage, ensuring absolute integrity with the look captured on set.

FilmLight also offers Baselight Editions, which make the color-grading toolset directly available to editors and visual-effects artists, providing tight integration between grading, editorial and visual effects. Baselight for Apple Final Cut Pro 7 already made this possible, and now FilmLight offers Baselight for The Foundry’s Nuke, with Baselight for Avid Media Composer on the horizon.

Baselight 4.3, the latest version of FilmLight’s grading software, marks a significant advance in terms of responsiveness and productivity. The software facilitates real-time, multi-layered color grading in 4K and beyond, as well as seamless exchange of timeline grading data with Baselight Editions.

Finally, the company has previewed Flux, an open, scalable data-management platform. Specifically designed for the requirements of the postproduction industry, Flux offers data wrangling for complex productions with 100:1 shooting ratios and thousands of visual-effects shots.

contact info:  
www.filmlight.ltd.uk
Digital Vision Enhances Nucoda

Digital Vision has unveiled significant enhancements to its Nucoda color-grading platform, providing increased workflow capabilities and additional tools for grading, pre-grading and stereoscopic projects. 

The company has introduced the Nucoda Film Master ACES workflow with full HDR grading capability, including a rich toolset for dealing with color-critical workflows such as HDR capture from Arri and Red cameras. For stereoscopic projects, Auto Color and Align tools allow colorists to automatically match 3-D cameras using advanced geometry technology that provides morphing and color-matching capabilities.

Other new features for Nucoda include support for the latest Red Epic HDRx, Arri Alexa range and Sony F65 CineAlta camera (SRMaster format); a Deformable Shape Tracker; 64-bit application providing increased performance and stability when using large-format digital cameras and image manipulation at 4K; and updated features for the latest Avid and Apple FCP editorial workflows. Additionally, the Precision grading panel is now available in both curved and straight configurations.
Also in the Nucoda family, Digital Vision has launched Nucoda Look, a pre-grade assist station and deliverables platform with LUT export; and enhanced features for Nucoda Fuse, including full base-layer grading, a replace function to quickly change color tools, and LUT creation and export.

Digital Vision has also unveiled Phoenix Video, a powerful, cost-effective image-restoration software solution that allows content stored on videotape to be fully restored and ready for distribution across multiple platforms. The end-to-end Phoenix Video solution includes Digital Vision’s DVO image-manipulation software toolset for highly automated restoration and enhancement of video content stored on various tape formats, such as 1", U-Matic and Betacam SP, or later transferred to digital tape formats. The system handles image defects such as dropouts, severe noise, cross-color artifacting, line-sync problems (shifts/stretching) and more. Additional features include motion-compensated frame-rate conversion and high-quality upscaling as well as full support for common broadcast codecs. These new video-restoration tools have also been added to Digital Vision’s high-end Phoenix Finish restoration offering.

contact info:  
www.imagesystems.se/digital-vision
Signiant, 5th Kind Streamline Asset Management

Signiant, a provider of intelligent file-movement software for media and entertainment, and 5th Kind, an innovator of asset-management and workflow solutions optimized for production environments, have partnered to integrate Signiant’s accelerated file-movement capabilities with 5th Kind’s Core platform, enabling dispersed production teams to ingest and share digital media files quickly and securely.

Deployed on internal networks accessed via the cloud, the scalable Core asset-management system features flexible modules to organize, search, view, track and tag any type of digital file, including footage and visual effects, and a flexible communication module for ongoing team collaboration. By seamlessly integrating with Signiant’s accelerated digital file-transfer capabilities, Core increases user productivity while significantly reducing labor and overhead costs.

“5th Kind’s Core platform is a unique digital production hub that offers clients end-to-end management support for not only media, but the full spectrum of production resources, including dailies, scripts, casting and marketing materials in a single system,” says Matt Thomas, Western Region account director for Signiant. “We are pleased to work together with them to serve the needs of the media and entertainment community with capabilities that simplify and centralize access to media and materials in ways that basic point-to-point file transfer or traditional FTP solutions simply cannot.”

“It’s our goal to deliver the broadest asset management solution — from script to screen — tailored for the entertainment industry,” adds Steve Cronan, CEO of 5th Kind. “Our collaboration with Signiant gives our studio, production and enterprise media customers the levels of centralized control, security, collaboration and ease of use that they require, and is already in use by our largest customer, Marvel Studios, to move time-sensitive [visual effects], audio and 3-D conversions across the supply chain.”

contact info:  
www.signiant.com
www.5thkind.com
Paralinx Launches Arrow

Cinema electronics company Paralinx, LLC, has unveiled the Arrow uncompressed wireless video transmitter. Featuring a latency of less than 2 milliseconds, the Arrow transmits an uncompressed wireless video signal at distances up to 320' line of sight and up to 200' through obstructions.
“Our goal was to make wireless HD more accessible,” says Dan Kanes, co-founder and CTO of Paralinx. “We wanted to keep the Arrow affordable to a wide range of filmmakers, yet still offer features like long range, low latency, small footprint and, most importantly, uncompressed 10-bit video.”

The Arrow boasts an extremely compact size and minimal weight: the transmitter is roughly the size of a pack of gum, the receiver is approximately the size of a deck of cards, and the transmitter and receiver together weigh less than ¼ pound. Additionally, the Arrow is plug and play with any HDMI output from a camera or other device, enabling short connection times without any menus to navigate. All resolutions up to 1080 are supported, as are all frame rates up to 60, with capability for progressive and interlaced scanning as well as progressive segmented frame.
Thanks to automatic Dynamic Frequency Selection, up to six Arrow kits can be used in the same area simultaneously, and 256-bit encryption keeps transmissions safe. Also, the Arrow system is FCC and CE certified.

The Arrow is available for a recommended price of $1,199. 

contact info:  
www.paralinx.net
Boxx Builds Meridian Family

Boxx Communications, the North American headquarters and official reseller for Boxx TV, has unveiled the Meridian Lite and Meridian Tallis systems.

The Meridian Lite is an entry-level RF HD camera system with zero-delay transmission. With its lightweight wireless transmitter, Meridian Lite supports 4:2:2 video, including all formats up to 1080/30p, and delivers uncompressed, artifact-free broadcast video and sound in synch. The system is also upgradable to Boxx TV’s full-featured high-end Meridian wireless RF HD camera system.

The Meridian Tallis is an iris control and tally indicator accessory that complements any brand of broadcast camera on a wireless rig or Steadicam. The Tallis is small enough to mount on any camera, and the control knob gives accurate, high-resolution control to the iris. As Tallis only controls the lens, there is no black level or red/blue gain control, but at a price of around $3,500, it opens up a solution to productions where iris-only control is sufficient.

In addition to the Meridian System, Boxx offers Cobalt, which provides an alternative to COFDM systems with a bi-directional packet acknowledgment protocol that offers extremely robust transmissions, and Cerulean, which delivers the quality and reliability of full-HD uncompressed fiber link in a wireless environment.
Boxx’s Meridian product line has been used on a variety of projects, including the series Modern Family and the upcoming James Bond film Skyfall. 

contact info:  
www.boxxusa.com
K 5600 Illuminates Joker 1600

K 5600 has introduced the Joker 1600, a 1,600-watt daylight fixture that produces an output comparable to a 6,000-watt quartz fixture. It is available in three configurations: Bug-Lite, Beamer and Zoom Beamer.

The Joker 1600 Bug-Lite has no optics. The fixture’s bare-bulb output is optimal for use in light banks and lanterns, providing even distribution, eliminating hot spots and maximizing output. It can even be used pointing straight down.

The Joker 1600 Beamer includes an 8" specular reflector and a set of four traditional Par 64 lenses: Medium, Wide, Super-Wide and a frosted Fresnel. These lenses provide varying light patterns from 5 to 45 degrees and an extremely high output due to the reflector finish.

The lensless, focusable Joker 1600 Zoom Beamer boasts 15 to 65 degrees of even light output. The reflector was specifically engineered around the new 1,600-watt lamp, resulting in the most efficient performance possible.

All of the Joker 1600 units run off of a quiet electronic power supply that is smaller than comparable ballasts. Capable of running on a 15-amp/120-volt circuit, the electronic power supply is dimmable and has selectable frequency options for extreme high-speed shooting.

contact info:  
www.k5600.com
Panasonic Unveils F Series P2 Cards

Panasonic has announced the F Series next-generation P2 solid-state recording media. Available in 64GB, 32GB and 16GB P2 cards, the F Series supports recording of up to AVC-Intra Class 200 in the AVC-Ultra codec family, as well as all currently available codecs from existing P2 cameras and recorders, including AVC-Intra 100/50 and DVCPro HD/50/25.

F Series P2 cards offer fast transfer speeds of up to 1.2 Gbps, and they contain a flash memory error-correction system — equivalent to a RAID system — that greatly strengthens data retention reliability. All P2 cards use high-quality solid-state memory, extremely durable die-cast aluminum construction and impact-proof connectors. Additionally, P2 cards offer dependable performance during recording in all types of environments, as well as instant access and complete data compatibility in all P2 camcorders and workflow tools.

The 64GB (model AJ-P2E065FG), 32GB (AJ-P2E032FG) and 16GB (AJ-P2E016FG) F Series P2 cards are available now for a recommended price of $730, $499 and $399, respectively. 

contact info:  
www.panasonic.com/broadcast
Sound Devices Mounts Pix 260

Sound Devices has introduced the Pix 260 production audio/video recorder and a V.2 firmware update for the Pix 240 portable audio/video recorder. 

Based on the field-proven Pix 220 and Pix 240 recorders, the rack-mounted Pix 260 is a file-based audio/video recorder/player that replaces tape-based video decks in production and postproduction environments. Using Apple ProRes or Avid DNxHD codecs, the Pix 260 records and plays files up to 220 Mbps in high-quality 10-bit 4:2:2 video and 32 tracks of 48 kHz audio. Files from the Pix 260 are ready for direct import into Avid and Final Cut editing environments, eliminating time-consuming transferring and transcoding. Files can also play out of the Pix 260 for real-time applications.
The Pix 260 has a built-in 5" 800x480-pixel video display that allows users to view video and menu selections. It can be controlled by external RS-422 and via Ethernet through the embedded Web server, allowing for machine transport control over Ethernet-based networks. The Pix 260’s ½-rack 2U chassis dimension allows it to be easily integrated into existing environments; the unit is powered by 10-27 VDC through its four-pin XLR connector.

Up to four SATA drives can be connected to the Pix 260 simultaneously; all four drives can be recorded to simultaneously for RAID-1-type redundancy and to eliminate the need for post-record copying when multiple copies are required. Additionally, the Pix 260 includes a built-in Ambient Clockit time-code generator/reader with genlock output for multi-camera and double-system sound applications; time code can be read from the SDI stream, the HDMI stream or from an external source.

Like the Pix 220 and Pix 240, the Pix 260 includes a scaler and frame-rate converter. Regardless of the incoming signal, the Pix recorders can record the signal after up, down or cross-conversion at the same rate or a different rate. Hardware-based 3:2 pull-down removal is included as well.

The firmware update for the Pix 240 recorder enables users to monitor images in varying exposures through Exposure Assist, a feature that includes false-color and zebra-stripes viewing. The update is also equipped with Focus Assist, which includes a peaking filter and 1:1 pixel zoom; monitor brightness, contrast and chroma adjustments; standard-definition recording (NTSC and PAL); and support for using simultaneous analog and SDI/HDMI audio inputs. These new features are available as a free firmware update to all Pix 240 users and can be downloaded through the company’s website.

contact info:  
www.sounddevices.com
DeepX Takes Epic Underwater

Australian inventor and filmmaker Pawel Achtel has unveiled the DeepX underwater camera-housing system. 

The DeepX system combines Red Epic cameras with Nikon Nikonos submersible lenses, which were designed expressly for underwater use, with no extra plastic or glass in front of them, thereby mitigating the image-quality degradation regularly associated with underwater housings and resulting in images that are sharp enough for the biggest cinema screens. The DeepX houses the camera system while keeping the lens exposed to the water.

“The design is wonderfully simple,” says underwater cinematographer Bob Cranston, who recently tested the DeepX housing off the coast of Catalina Island. “It is very small and easy to travel with … and uses great Nikon optics. It offers the best close-up capabilities I’ve seen so far.”

The DeepX is available in the U.S. and Europe from Band Pro.

contact info:  
www.bandpro.com
www.achtel.com
CineBags Rolls Out CB40

CineBags has released the CB40 High Roller, the company’s first bag to incorporate a retractable telescope arm and wheels. The bag is designed to accommodate the latest camera systems, including the Canon Cinema EOS C300, Red Epic, and all other medium-sized cameras and their accessories, including base plates, monitors, rods, mattebox, batteries and chargers. The bag also features a compartment to accommodate a 15" laptop.

“We are excited to have created a brand-new bag with a laundry list of features to cater to today’s camera professionals,” says Markus Davids, SOC, CineBags’ president and product designer. “Modular camera systems require a bag that protects and organizes … and allows for maximum customization. The new CB40 High Roller is that bag.”
contact info:  
www.cinebags.com
Vinten Unveils Vision Blue5 System

Vinten, part of Vitec Videocom, a Vitec Group company, has unveiled the Vision Blue5 pan-and-tilt head and tripod system. The Vision Blue5 is the latest member of the Vinten Vision Blue family and offers the same quality performance as the original Vision Blue system. The lightweight Vision Blue5 has a carrying capacity range of 12.1-26.5 pounds at a 100mm center of gravity.

The Vision Blue5 offers a cost-effective solution while delivering the quality and performance associated with Vinten’s heads. The infinitely adjustable Perfect Balance and LF drag technology provides smooth control and consistent movement quality.
“The introduction of the Vision Blue5 represents the next generation of Vinten’s pan-and-tilt heads and tripod systems,” says Peter Harman, product manager for Vinten.

“We’ve built on the successful performances of the Pro-10 and Vision 5AS heads and combined it with the accessibility and ease of use of the Vision Blue. It is a winning product that offers uncompromising performance.”

contact info:  
www.vinten.com
Digital Anarchy Opens Beauty Box

Digital Anarchy has introduced Beauty Box Video 2.0 for OpenFX, bringing the skin-retouching plug-in to Assimilate Scratch and Scratch Lab, and Sony Vegas Pro and Movie Studio. Beauty Box now uses OpenCL running on ATI and Nvidia cards to automatically reduce wrinkles and blemishes while preserving important details and the natural skin texture. Fast rendering allows it to fit into any workflow pipeline. Version 2.0 also introduces a new smoothing algorithm that improves automatic masking and adds shine removal for hot spots on skin areas.

contact info:  
www.digitalanarchy.com
CamOne Explores Infinity

CamOneTec has launched the CamOne Infinity micro camera. Measuring 49mm x 42mm x 34mm, the camera records 30 fps in full-HD 1080p or 60 fps in 720p. Additional features include time-lapse and serial-photo functions, an integrated 1.5" screen with intuitive multilingual menu, a 2.0 Mini USB port, and AV and HDMI live outputs. 

The CamOne Infinity’s available accessories include a watertight case that enables clear shooting underwater. Additionally, a Wi-Fi module will soon be available, allowing users to control the camera via a smart phone.

The CamOne Infinity retails for $250. 

contact info:  
www.camonetec.com