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VOLUME 3

Issue 02

IN
FEATURED

1 2 3
Anna Karenina, Les Miserables, Life of Pi, Lincoln and Skyfall Earn ASCs Award Nominations PAGE 12 Telemetrics Pan/Tilt Fiber System Adds to Production Efficiency PAGE 32

OConnor Camera and Lens Accessories Ideal for Blackmagic Cinema Camera PAGE 45

TRULY CINEMATIC
Proven ALEXA Image Quality Optical Viewnder and Mirror Reex Shutter The Only Digital Camera System with True Anamorphic Capability

www.arridigital.com

FROM THE PUBLISHERS DESK


Oh, how I love Awards Season.. On the heels of the Golden Globe Awards, Awards season is in full swing and all the stars shined brightly for the always fun SAG Awards. Each year, the SAG Awards honor the best actors in film and television, and the 2013 Screen Actors Guild Awards ceremony was no different. From pregnancy rumors and red carpet blunders to wardrobe malfunctions, good Hollywood chatter and onstage laughs, we celebrated the SAG Awards Sunday evening and I enjoyed it - as well as all the praise for Ben Afflecks Argo. Next weekends Directors Guild of America Awards and Saturday nights Producers Guild of America Awards whose top honor went to Argo typically, help to establish clear favorites for the Oscars. The Screen Actors Guild honors usually establish solid front-runners for the stars at the Oscars. All four of the guilds individual acting winners often go on to receive the same prizes at the Academy Awards. The upcoming American Society of Cinematographers awards, as well as the Society of Camera Operators awards and the Oscars Technical Achievement awards are just a few more of our important ceremonies this month. This year, Oscar night on Feb. 24 looks a bit more uncertain after some top directing prospects, including Ben Affleck for Argo and Kathryn Bigelow for Zero Dark Thirty, missed out on nominations. Both films were nominated for best picture, but a movie rarely wins the top Oscar if its director is not also in the running. Steven Spielbergs Lincoln would seem the Oscar favorite with 12 nominations. Yet Argo and Affleck were surprise best-drama and director winners at the Golden Globes, and then theres Saturdays Producers Guild win for Argo, leaving the Oscar race looking like anybodys guess. As we continue to celebrate our actors and producers, lets think of the fantastic behind the camera silent majority who do what we like best. Once again, our hats are off to the Directors, Cinematographers, Camera Operators, Production Designers, Studio and Broadcast Execs, Animators and VFX Artists, Screenwriters, Gaffers, Grips, Audio folks, Props, Make-up, etc., and well, all the Crew that bring their vision to life, and our viewing pleasure a reality. Thank you again faithful readers of Visual Imaging News, for opening our emails, reaching out to us with ideas, and following along with us on our perfectly imperfect journey. Tally-ho! PUBLISHER Amy Carter-Trerotoli amyt@visualimagingnews.com EXECUTIVE EDITOR Marla Sternfeld marla@visualimagingnews.com VP OF SALES & MARKETING Mike Trerotoli miket@visualimagingnews.com SENIOR SALES STRATEIGST Ellen Parker ellen@visualimagingnews.com CREATIVE DIRECTOR John Carmichael john@visualimagingnews.com ACCOUNTING Florence Tropp florence@visualimagingnews.com SUBmITTING NEWS RELEASES All press releases must be in English. This service is offered by Visual Imaging News - no fees are applicable to the companies or the PR agencies submitting news or press releases. Please submit your press releases in Text or Word format only (.txt or .doc). We can also accept PDF files but prefer the above two formats. If you want to attach an image, please ensure that it is in JPG, EPS or TIFF format (.jpg/.eps/.tif) and that the file size does not exceed 1MB. Please send all press releases by email to: news@visualimagingnews.com Press releases not relevant to Visual Imaging News will not be posted. We maintain the right not to publish stories regardless of relevance, should we find them unfit for the general Visual Imaging News audience. The information contained in this eMagazine is for general information purposes only. The information is provided by Trerotoli & Associates, Inc./Visual Imaging News and while we endeavor to keep the information up to date and correct, we make no representations or warranties of any kind, express or implied, about the completeness, accuracy, reliability, suitability or availability with respect to the information, products, services, or related graphics contained on the eMagazine for any purpose. Any reliance you place on such information is therefore strictly at your own risk.
VISUAL IMAGING NEWS

Amy Carter - Trerotoli


Amy Carter-Trerotoli Publisher

pAGE 6 Exposing ARGO

TABLE Of CONtENtS
Cinema Prime Lenses, Expanding the Cinema EOS Prime Lens Product Line to Five Models ARRI Cameras & Lighting ARRI PRO CAMERA ACCESSORIES FOR SONY F5/F55 CAMERAS pAGE 18 Pastuhov Keeps Pictorvision Eclipse Flying Panasonic Partners with Aframe to Sell Cloud Video Production Solutions to Content Creators pAGE 19 Bexels Custom RF and Fiber Solutions Help Viewers Around the World Ring in the New Year Live from Times SQuare pAGE 20 FujiFilm Delivers 10 Fujinon PL 19-90 Cabrio Lenses to TCS pAGE 22 Hitachi HDTV cameras chosen to capture French National Assembly parliamentary sessions FujiFilm Optical Devices Delivers First Orders of PL Cabrio 19-90 Lens pAGE 24 Litepanels Croma LEDs Shine Light on Human Trafficking Doc Life is Love Film Lens Manufacturer Angnieux Receives Prestigious French Living Heritage Award pAGE 25 Chinas Hunan TV goes S3D with Quantel Anton/Bauer Honored with Academy Award for Scientific and Technical Achievement

pAGE 26 Unitecnic Selects Vizrt Media Asset Management System for beIN SPORT pAGE 28 Integrated Microwave Technologies, LLC Announces Peruvian Distribution Partnership with Integration Digital Omega SAC (Omega Systems) Digital Visions Phoenix Automates and Refines Restoration Workflow Software Powers Efforts of High Hat Post and Periscope Film pAGE 29 Integrated Microwave Technologies, LLC (IMT) Soars to New Heights on Yves Jetman Rossys Jet Pack at the New Zealand International Air Show pAGE 30 Carolina Panthers Wrap Up Consecutive Season Powered by Anton/Bauer pAGE 32 Telemetrics Pan/Tilt Fiber System Adds to Production Efficiency Shutterstock Adds Footage Clips to Footage.net pAGE 34 Faith Assembly of God Installs FOR-As HVS-350HS Video Switcher as Central Video Production Hub of New Campus pAGE 35 Metro Cable Upgrades with FOR-A HD Switchers pAGE 38 Panasonic Introduces AG-AF100A Micro Four Thirds Camcorder Featuring 24PsF 10 Bit 4:2:2 Camera

Output, Full-HD Progressive Recording Qube Cinema Delivers HFR 3D Technology for World Premieres of The Hobbit: An Unexpected Journey pAGE 40 Broadway Systems Aces Ad Sales, Traffic for Tennis Channel Chiefs Fusion Series Ceiling Mounted Video Walls Now Available pAGE 41 New Rain Cover for Panasonic AG-HPX250 The Cove Church Upgrades to HD Production with Broadcast Pix Granite 5000 Video Control Center pAGE 42 Wiki Co-founder Chooses Shutterstock Footage for ReadingBear.org Shutterstock Footage Powers the Success of What You Can Do pAGE 44 Nickelodeon Latin Americas 11 11, En Mi Cuadra Nada Cuadra, Shot in Miami with Litepanels pAGE 45 Listec Promptware Teleprompters Adds 58mm Support OConnor Camera and Lens Accessories Ideal for Blackmagic Cinema Camera pAGE 46 Light Iron Opens New York Office Broadcast Pix Welcomes Steve Ellis as New CEO

pAGE 8 ARRI Cameras and Lighting Flourish in Oscar-Nominated Productions

pAGE 10 Blackmagic Design Announces New Low Price for Compact Videohub Teranex 2D Processor Used for Up Conversion of Documentary VANISHING POINT pAGE 12 Anna Karenina, Les Miserables, Life of Pi, Lincoln and Skyfall Earn American Society of Cinematographers Award Nominations pAGE 13 American Society of Cinematographers Names Television Nominees Sachtler FSB 6 Fluid Head is Ideally Suited for Black Magic Designs Cinema Camera pAGE 14 Sound Devices Pix 240 is the Winning Ingredient for Hit Reality Television Show Masterchef China pAGE 15 Bexel Supports Major Broadcasters for 2013 Presidential Inauguration Sound Devices Unveils New 4:4:4 Feature For Pix 240 and 240i pAGE 16 Canon U.S.A. Introduces Two New

AdvERtISERS INdEX
16X9 INC. 27 ARRI Page Front Cover, 9 BLACKMAGIC DESIGN Page 11 CANON Page 17 CINEMA-vISION Page 3
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COdEX Page 31 DELUXE PAGE Back Cover DOLBY Page 47 GLIdECAM Page 5 HItACHI Page 23
VISUAL IMAGING NEWS

KINO FLO Page 21 NEWtEK Page 36-37 NvIdIA Page 43 PANASONIC Page 39 TELEMEtRICS Page 33

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EXpOSING ARGO
As a director of photography, I like working differently from one movie to the next instead of just using one par ticular style, Rodrigo Prieto, ASC, AMC explains while discussing his work on the highly-acclaimed ARGO, which is nominated for seven Oscars including Best Picture. I like to find a different visual approach from movie to movie. With ARGO, I was able to find three styles within one movie! The Ben Affleck-directed thriller, set during the 1979 Iran hostage crisis, takes audiences through the perilous true story of CIA agent Tony Mendez (Affleck) and his ingenious rescue of six Americans stuck in post-revolution Iran after avoiding capture when the mobs infamously stormed the American embassy. Mendezs plan, to pose as a producer of a low-budget sci-fi film and sneak the Americans out of Iran as crewmembers, takes him from CIA headquar ters at Langley to Hollywood to set up the front production company and finally to Tehran. From the visual standpoint, it was very impor tant for all of these locations to possess a subtly different look to help orient the audience through the fast paced narrative. When we cut to Tehran, Prieto explains, you know where you are immediately by the look of it. Same with Hollywood and Washington, DC. The film star ts out in Tehran as the ominous crowds star t to build up around the embassy. We wanted this to have a kind of documentary feel, reminiscent of the way we saw the news footage of that era. Prieto explains. The idea was to shoot the Tehran scenes handheld and for it to feel a little bit grainy. So initially I tested 16mm but we found it was just a little too soft. ARGO is a widescreen film so I used the 35mm ARRICAM in 2-perf mode. Since the rest of the movie is shot in 35mm anamorphic [also with ARRICAMs], and really low-grain and clean, these Tehran sections looked a little grittier and harsher. I also shot those sections with Kodaks older, Vision 2 5260 stock thats a little bit grainer than the newer Vision 3 500-speed emulsions. It had just been discontinued. We managed to get the last of it. I also pushed the negative one stop in develop6 VISUAL IMAGING NEWS

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ing to add even more contrast and grain. The por tions set in Hollywood revolve around two motion picture veterans (Alan Arkin and John Goodman) who travel in the world of low-budget genre filmmaking that was still quite active in the late 1970s. Affleck and Prieto looked at movies from the time and, We felt they often had this higher color saturation and we wanted to emulate that, the cinematographer recounts. We tested Kodaks Ektachrome 5285 100D reversal stock and felt it looked similar to films we saw of the late 70s, but I knew it would be challenging to use, Prieto explains. It was only 100 ASA and it was daylight balanced, which made our interiors and night exteriors very complicated to shoot. So we decided instead to shoot negative -- 5219 [500T] and 5207 [250D]--and we made a lookup table (LUT) with high contrast and high saturation to apply for the dailies and later at the DI at EFILM with the colorist Yvan Lucas. Prieto describes the process of creating this look with EFILMs imaging scientists. Based on our tests, EFILM designed a LUT that would let us see how the colors would all track with this reversal look, Prieto elaborates, noting that EFILMs Cinemascan technology combined 2K scans [done with ARRISCAN technology] of the original negative with the color metadata to generate dailies that reflected his chosen look. Subsequently the negative would be rescanned [with ARRISCAN] 4K for the final DI with Lucas. The reversal look was a bit too extreme at first so I had them scale it down, Prieto notes. But because we werent baking anything in, we could applying the reversal look 100% or scale it back to 70%. We could change it shot to shot. It let us bring the qualities we liked about the reversal film to all the Hollywood scenes but with so much more control than wed have really shooting with it. While Prieto used a handheld, newsgathering style of operating on the Tehran scenes, he and Affleck screened a lot of 1970s films and let the camerawork of those features inspire the way the Hollywood por tions of ARGO would be covered. We watched science fiction movies like Logans Run, the cinematographer says, and plenty of others too. We both really like John Cassavettess THE KILLING OF A CHINESE BOOKIE. We looked at

CAMERA SUppORt

the way the camera moves... or sometimes doesnt move. Theres a lot of coverage where the camera stays on just one angle and goes in tighter and tighter with the zoom lens. In his third consecutive collaboration with gaffer Randy Woodside, the team chose Illumination Dynamics to provide the extensive lighting packages. The camera equipment, which included ARRICAM LT, ARRIFLEX 435 and 235 in 2-, 3- and 4-perf configurations along with ALEXA, was provided by Clairmont. For the por tions going on within CIA headquar ters that happen prior to and concurrent with Mendezs work in Iran, Prieto went with a clean, anamorphic approach that feels the most contemporary in terms of approach. We were more mobile, he says. We used a lot of Steadicam for clean moves rather than handheld moves. Finally, the filmmakers employed a four th style for a few scenes set in Istanbul, where Mendez goes in search of documents necessary for him to gain access to Iran and execute his plan. For this, he shot using the same anamorphic lenses but mounted to ARRI ALEXA digital cameras.

It could be easy for audiences to think theyre in Tehran for these scenes, he says, so I used the ALEXA and gave it a different look from all the other locations in the movie. Prieto was also able to benefit from the ALEXAs high exposure index that let him shoot in the very dimly-lit Hagia Sophia museum. The space was very dim, he says. The center area of the Hagia Sophia was lit by huge chandeliers with compact fluorescent lighting inside that gave everything this green-cyan hue, which made it pretty ugly for an otherwise beautiful place. We changed out 4000 of these to sevenwatt incandescent bulbs. It was still very dim but now had a look more like warm candlelight. I also bounced some [ARRIMAX] 18K HMIs off the walls of the structure to enhance the daylight from the windows under the dome. It still wasnt that much light in the huge space but I was able to shoot with the ALEXA at [EI] 800. Prieto concludes: It came out nicely and looked just different enough from the other par ts of the film that the audience could stay oriented without losing the momentum of the story. For more information, visit: www.arri.com
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ARRI CAmERAS AND LIGHTING ARRI PRO CAMERA ACCESSORIES FOR SONY F5 / F55 CAMERAS
Continuing its trend of swiftly bringing to market high quality Pro Camera Accessories for the latest DSLRs and digital cameras, ARRI has released accessories for Sonys new F5 and F55 cameras, making them fully compatible with ARRI suppor t and all industry-standard matte box and follow focus systems.

ARRI CAmERAS AND LIGHTING FLOURISH IN OSCAR-NOmINATED PRODUCTIONS


Out of nine Best Picture nominees for the Academy Awards this year, seven were shot using ARRI cameras: Amour, Life of Pi and Zero Dark Thir ty were captured digitally with ARRI ALEXA; Les Misrables and Silver Linings Playbook on 35 mm with ARRICAM; Argo utilized a combination of both ALEXA and ARRICAM while Beasts of the Southern Wild chose Super 16 with the ARRIFLEX 416 and SR3. Additionally, many of these productions relied on lighting equipment from ARRI. Four out of five films nominated for Best Director were shot with ARRI: Amour (director Michael Haneke), Beasts of the Southern Wild (Benh Zeitlin), Life of Pi (Ang Lee) and Silver Linings Playbook (David O. Russell). Life of Pi also received a Best Cinematography nomination for Claudio Miranda, ASC, competing with Skyfall, shot by Roger Deakins ASC, BSC on ALEXA Studio, Plus and M cameras. As the only digitally captured productions in the category, these nominees demonstrate ALEXAs ability to render striking images in the hands of master cinematographers.

In the category of Visual Effects, two of the five nominated films (Life of Pi and Marvels The Avengers) were made with ALEXA cameras, proving that the quality and detail of ALEXA excels under the most demanding VFX requirements on the biggest films. Under Best Foreign Film, four out of five films used ARRI cameras: Amour, Kon-Tiki, A Royal Affair and War Witch. All of these features utilized ALEXA except for A Royal Affair, which relied on ARRICAM. Life of Pi received 11 total nominations. Les Misrables, Silver Linings Playbook, Argo, Skyfall, Zero Dark Thir ty and Beasts of the Southern Wild additionally received multiple nods. These films are also recognized for their ar tistry in other competitions including the BAFTAs, Directors Guild of America, Producers Guild of America and American Society of Cinematographers Awards. Beasts of the Southern Wild was the first recipient of the ARRI Sundance Grant. From Super 16 to 35 mm and digital capture, these features demonstrate the wide variety of options used to tell a cinematic story. ARRI is proud to provide these tools and congratulates all of the nominees. For more information, visit: www.arri.com

ARRI Base Plate Designed specifically for the Sony F5 and F55, this ARRI base plate makes the cameras compatible with lightweight suppor t standards and includes a built-in Touch and Go 35 plate. With this, the camera can be mounted to a head or anything else with a standard quick release plate, allowing it to be quickly and safely secured for example in between takes when shooting handheld. Two ARRI rosettes extend out to the sides of the base plate in order to attach handgrip systems and extensions. For studio configuration, the base plate accepts studio bridge plates such as ARRIs BP-8 or BP-9. ARRI Top Plate The ARRI top plate for Sony F5 and F55 cameras is designed to offer multiple mounting interfaces for accessories. An ARRI handle can be attached at three different positions to optimize balance, although the original Sony handle remains compatible. With its multiple centered interfaces, the top plate can also be used as a low mode plate for Steadicam shots. An optional 15 mm lightweight suppor t rod adapter can be attached to the front of the plate, optically centered to the camera. ARRI Viewfinder Adapter The Viewfinder Adapter VFA-1 allows the mounting of Sony viewfinders to all ARRI 3/8-16 interfaces. ARRI Shoulder Pad This shoulder pad mounts to the bottom of Sony F5 and F55 cameras via a hand screw and can be used independently of a base plate. When used alongside the ARRI base plate, the shoulder pad can remain in place even when the camera is secured to a head via the base plates built-in Touch and Go quick release system.
For more information, visit: www.arri.com

TRULY CINEMATIC
Proven ALEXA Image Quality Optical Viewnder and Mirror Reex Shutter The Only Digital Camera System with True Anamorphic Capability

VISUAL IMAGING NEWS

www.arridigital.com

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TERANEX 2D PROCESSOR USED FOR Up CONVERSION OF DOCUmENTARy VANISHING POINT
Blackmagic Design announced that the Teranex 2D Processor was used for up conversion and frame rate conversion of the documentary VANISHING POINT. VANISHING POINT is a documentary about the iconic Japanese rock/rockabilly band Blankey Jet City. Directed by Yutaka Onaga, a photographer and video ar tist, the film follows the bands last tour in 2000 through 12 cities and 17 concer ts. Though the film was initially not released, more than 50 hours of footage was finally edited and completed recently, and the film hit theaters in January, 2013, with dramatically improved video and audio. The job of up conver ting footage to be able to be shown in HD was given to Kanagawa, Japan based E-head Production. Provided with original footage all shot in SD and 60i, E-head was required to quickly up conver t all footage to HD and 24p in time for a January 26th premier. E-head used Blackmagic Designs Teranex 2D Processor for all conversions on the film. Yasuo Egashira from E-head Production, who owns the Teranex 2D Processor, said: When I had heard about VANISHING POINT from Mr. Onaga, I had just purchased the Teranex 2D Processor so suggested that he use it to complete all of the conversions. It worked out great for this film. It is very user friendly. I did not even read the user manual but could figure out how to use it. It was great on both functionality and usability. In par ticular, I really liked that frame rate conversion created a more filmic look, rather than a video. Also, the audiences faces in the up conver ted version looked clearer than that of the original SD version, which makes the scene more alive, said Onaga. I am very happy that I could re experience what I saw and felt 13 years ago, in a movie theater with fans who jump around in the scene once again. For more information, visit: www.blackmagicdesign.com

NOW WITH

FREE UPDATE

BLACKmAGIC DESIGN ANNOUNCES NEW LOW PRICE FOR COmpACT VIDEOHUB


Blackmagic Design announced a new lower price on its popular Compact Videohub to $2,995. Compact Videohub features 3 Gb/s SDI, ASI, auto switching SD, HD and 3 Gb/s SDI formats, full SDI re-clocking, USB, redundant power inputs, ethernet and serial router control for only $2,995. Compact Videohub is only two rack units and less than an inch deep. It includes advanced features such as 3 Gb/s SDI, ASI, auto switching SD, HD and 3 Gb/s SDI, as well as full SDI re-clocking at an affordable price. Compact Videohub is perfect for customers who need an incredibly tiny router that also meets tough broadcast technical requirements for performance as well as reliability. Compact Videohub includes more control interfaces such as easy to use USB, as well as direct ethernet and RS-422 serial interfaces. Direct ethernet router control allows direct connection to a computer network for control. Ethernet control is fully compatible with Blackmagic Designs wide and growing range of software control panels, Videohub Smart Control and Videohub Master Control hardware control panels and the exciting software based Videohub Control for Apple iPad. We designed the Compact Videohub to be the worlds largest 3 Gb/s SDI router thats possible to fit into a impossibly small 2 rack unit size, while still being affordable for everyone, said Grant Petty, CEO, Blackmagic Design, Now, with this new affordable price, Compact
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Videohub is now available to smaller studios on the tightest budgets. Unlike other low cost solutions, with Compact Videohub customers get all the professional features they need without any limitations! Compact Videohub Key Features 40 SDI inputs, supports SD, HD, ASI and 3 Gb/s SDI. 40 SDI outputs, supports SD, HD, ASI and 3 Gb/s SDI. Ethernet direct network connection for control. Serial port for router control, supports Leitch protocol. 12 volt universal power supply included. Main and Redundant power connections for on-air 24/7 reliability. Reference input compatible with black burst and tri-sync. Includes full SDI re-clocking. Allows simultaneous SD, HD and 3 Gb/s SDI formats on the router at the same time. Includes free software control panels for Mac and Windows. Supports Blackmagic Videohub Smart Control and Videohub Master Control hardware control panels. Software control panel for Compact Videohub available free for Apple iPad. Availability and Price Compact Videohub is available now for US$2,995 from Blackmagic Design resellers worldwide. For more information, visit: www.blackmagic-design.com

Introducing HyperDeck Shuttle, the perfect uncompressed SSD recorder for SDI and HDMI
Now you can get incredible quality uncompressed SDI and HDMI video capture and playback using removable solid state disks! HyperDeck Shuttle is the perfect quality broadcast deck you can hold in your hand. HyperDeck Shuttle lets you bypass camera compression for the highest quality on set recording, and is perfect for digital signage or instant replay and program recording with live production switchers. Video is recorded to QuickTime les, so you can mount and edit directly from the SSD eliminating time wasting le copying! Absolute Perfect Quality HyperDeck Shuttle lets you bypass all video camera compression for perfect uncompressed 10-bit SD/HD video. Get deep color dynamic range for color correction and perfectly clean keying. Only uncompressed gives you a mathematically perfect clone recording between capture and playback. Only uncompressed lets you trust your recording and there is absolutely no higher quality possible! Record and Play Back Anywhere! HyperDeck Shuttle is machined out of a solid block of aircraft-grade aluminum for incredible strength! Take your HyperDeck Shuttle into the eld, on set and to live events. With an internal battery, just recharge and go! Only HyperDeck Shuttle gives you recording and playback in a compact solution that ts in your hand! Solid State Disk (SSD) Recording Simply plug in a fast 2.5 solid state disk into HyperDeck Shuttle and start recording! SSDs are used in desktop and laptop computers so prices are constantly falling while sizes are getting bigger! Plug the SSD into your computer and the disk will mount right on your computers desktop! Files are stored in standard QuickTime 10 bit format so you can use the media in Mac and Windows video software! Use Cameras, Switchers and Monitors With SDI and HDMI inputs and outputs, HyperDeck Shuttle works with virtually every camera, switcher or monitor! Plug into televisions or video projectors for instant on set preview or get exciting live action replay with ATEM production switchers. Even use it for digital signage. Just press play twice for loop playback! Imagine using pristine uncompressed recording on your next live event!

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ANNA KARENINA, LES MISERABLES, LIFE OF PI, LINCOLN AND SKyFALL EARN AmERICAN SOCIETy OF CINEmATOGRApHERS AWARD NOmINATIONS
Seamus McGarvey, ASC, BSC (Anna Karenina), Danny Cohen, BSC (Les Miserables), Claudio Miranda, ASC (Life of Pi), Janusz Kaminski (Lincoln) and Roger Deakins, ASC, BSC (Skyfall) have been nominated in the feature film category of the 27th Annual American Society of Cinematographers (ASC) Awards for Outstanding Achievement. The winner will be announced at the ASC Awards celebration on February 10 at the Hollywood & Highland Grand Ballroom. The films our members have nominated are visually distinctive, and very diverse: a theatrical epic, a grand musical, an imaginative 3-D fable, a sweeping biographical drama, and a stylish spy thriller, notes ASC President Stephen Lighthill. What they all have in common is that each projects cinematographer contributed captivating visuals that enhanced and elevated the storytelling. This years nod brings Deakins total to 11. He won ASC Awards for The Shawshank Redemption (1995) and The Man Who Wasnt There (2002). His other nominations were for Fargo (1997), Kundun (1998), O Brother, Where Ar t Thou? (2001), No Country for Old Men (2008), The Assassination of Jesse James by the Coward Rober t Ford (2008), Revolutionary Road (2009), The Reader (2009) and True Grit (2011). He was also the recipient of the organizations Lifetime Achievement Award in 2011. This is Kaminskis fifth nomination. His prior nominations were for Schindlers List (1994), Amistad (1998), Saving Private Ryan (1999) and The Diving Bell and the Butterfly (2008). Cohen, McGarvey and Miranda have all been recognized once previously Cohen for The Kings Speech (2011); McGarvey for Atonement (2008); and Miranda for The Curious Case of Benjamin Button (2009). For more information, visit: www.theasc.com

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AmERICAN SOCIETy OF CINEmATOGRApHERS NAmES TELEVISION NOmINEES
The American Society of Cinematographers (ASC) has selected its television nominees for the organizations 27th Awards for Outstanding Achievement in Cinematography. The winners will be announced on February 10, 2013, at the Hollywood & Highland Grand Ballroom. Nominees in the one-hour Episodic Television Series Category are: Balazs Bolygo, HSC for Cinemaxs Hunted (Mort) Chris Manley, ASC for AMCs Mad Men (The Phantom) Kramer Morgenthau, ASC for HBOs Game of Thrones (The North Remembers) David Moxness, CSC FOXs Fringe (Letters of Transit) Mike Spragg for Cinemaxs Strike Back (Episode 11) David Stockton, ASC for FOXs Alcatraz (Pilot) The finalists in the Television Movie/Miniseries category are: Michael Goi, ASC for FXs American Horror Story: Asylum (I am Anne Frank: Part 2) Florian Hoffmeister for the PBS Masterpiece presentation of Great Expectations Arthur Reinhart for History Channels Hatfields & McCoys Rogier Stoffers, ASC for HBOs Hemingway & Gellhorn Rounding out the third category are nominees for a half-hour Episodic Series, including: Ken Glassing for FOXs Ben and Kate (Guitar Face) Michael Goi, ASC for NBCs The New Normal (Pilot) Peter Levy, ASC

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for Showtimes House of Lies (Gods of Dangerous Financial Instruments)
Bradford Lipson for FXs Wilfred (Truth) Michael Price for ABCs Happy Endings (Four Weddings and a Funeral (Minus Three Weddings and One Funeral) Creating the mood, composing the lighting, and constructing camera angles on a television production schedule to elicit just the right emotions for a scene presents many challenges, says ASC President Stephen Lighthill. These artists have shown imaginative creativity in crafting the appropriate visuals on a broadcast timeline. Moxness and Stockton have previously won ASC Awards. Moxness took home the award for Smallville (2007), and earned an additional nomination for The Kennedys (2012). Stockton earned his ASC trophy for Eleventh Hour (2009), as well as nominations for Nikita (2011) and Chase (2012). Gois double recognition makes these his third and fourth nominations. He was previously acknowledged for The Fixer (1999) and Judas (2005). These are the fourth ASC nominations for both Manley and Morgenthau. Manley earned kudos for Threat Matrix (2004), CSI: NY (2005) and Mad Men (2011). Morgenthau received nominations for The Five People You Meet in Heaven (2005), Life on Mars (2009) and Boardwalk Empire, Family Limitations (2011). Levy has two prior nominations for photographing 24 (2002) and The Life and Death of Peter Sellers (2005). Price was a nominee for Ugly Betty (2010). Bolygo, Spragg, Hoffmeister, Reinhart, Stoffers, Glassing and Lipson are all first time nominees. FOX programs led the pack with three nominations, followed by FX, HBO and Cinemax with two. Showtime, AMC, ABC, NBC, PBS and History Channel are also represented. There is an incredible amount of outstanding work being done for television, which is seeing a resurgence in compelling storytelling thanks to a wider landscape for distribution, adds Lighthill. Its exciting to see whats being done in the field. Audiences have a plethora of options now and these cinematographers have demonstrated superior skills in visual entertainment. For more information, visit: www.theasc.com
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SACHTLER FSB 6 FLUID HEAD IS IDEALLy SUITED FOR BLACK MAGIC DESIGNS CINEmA CAmERA
Black Magic Design created a huge buzz in the filmmaking industr y with the introduction of its amazing Cinema Camera, providing a tr ue feature film look and amazing dynamic range for beautiful images, delivered at an affordable price. But the new cameras unique for m factor requires a ver satile fluid head system. A perfect match for the Cinema Camera is the Sachtler FSB 6 Fluid Head, which provides Sachtlers well- known operational feel and familiar dependability for precise panning and tilting, with specifications to let the Black Magic cameras user get the most out of his Cinema Camera. Introduction of Black Magic Designs Cinema Camera has spawned a large assor tment of film-style camera and lens accessories. Camera user s mounting a variety of lenses and accessories find themselves dealing with a wide payload range, from the bare-bones camera weight of 3.75 lbs (1.7kg) to over triple that. The FSB 6s 2 - 13 lbs (1 to 6kg) payload range more than cover s that span. With its 5 inch built-in monitor on the back of the cameras housing, many of the Cinema Cameras user s choose to operate using that screen in place of an exter nal viewfinder. With little weight behind the cameras tripod mounting tap, the FSB 6s 4.7 inch (120mm) sliding plate range is essential to placing the camera, lens and accessor y package squarely over the fluid head. The FSB 6s 10 steps of counterbalance lets the user position the exact center of gravity over the head to keep the camera in place at any angle of tilt through the heads entire +90/-75 tilt range. The FSB 6 also features three ver tical and three horizontal grades of drag (+0), which provides Sachtlers familiar pan and tilt feel and dependability. For more infor mation, visit: www.sachtler.com

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VISUAL IMAGING NEWS

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Shanghai on Season 2 of The Amazing Race: China Rush, which was recently awarded the Best Adaptation of an Existing Format award from the Asian Television Awards held this past December. Sound Devices PIX 240 is the perfect companion to a wide range of professional cameras used for feature films, such as ARRI and RED, as well as small-format HD cameras from Sony and Canon. Sound Devices latest update for PIX offers Apple ProRes 4444 recording from video sources over 3G-SDI (4:4:4 RGB or YCbCr). Users can connect PIX 240 and 240i to cameras with HD-SDI, 3G-SDI, or HDMI and record directly to QuickTime using a range of different Apple ProRes or Avid DNxHD codecs, including Apple ProRes 4444. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making for simpler, faster workflows. The PIX 240is high-performance five-inch, IPS-based LCD display is an accurate field monitor, providing users with immediate confirmation of framing, exposure, focus, audio metering, and setup menu selections. It offers excellent color accuracy and contrast, great off-axis visibility, and accurate motion tracking. PIX 240 and 240i users now have the ability to record into Apple ProRes 4444, which offers impressive quality with 4:4:4 sources and workflows involving alpha channel transparency. With its 12-bit, 4:4:4 capability, the PIX 240 and 240i can record 330-Mbps Apple ProRes 4444 files that are perceptually indistinguishable from the original source material. Popular cameras with 4:4:4 capable outputs include the ARRI ALEXA, Canon C500 and Sony F3. Additional features available in this latest v3.0 firmware update include time-code and recording status displays on the SDI and HDMI outputs, up to 500 ms of audio delay to compensate for multi-device picture delay, and selectable 4:4:4 or 4:2:2 video output independent from the source material. The built-in hardware scaler and frame rate converter allows PIX to output and record material at different resolutions and frame rates than supported by the camera. Conversion between HD and SD, with and without anamorphic conversion, is available. The audio circuitry of the PIX recorders is based on Sound Devices award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power. For more information, visit: www.sounddevices.com

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BEXEL SUppORTS MAJOR BROADCASTERS FOR 2013 PRESIDENTIAL INAUGURATION
As the second inauguration of Barack Obama as the 44th president of the United States took place in Washington, Bexel was on site supporting several major broadcast networks. From equipment rental packages to engineering services, Bexels support spanned key locations, including the parade and presidential walk, as well as ongoing coverage from the historic Newseum, for the 57th inaugural ceremonies. The week of inaugural festivities kicked off with the presidential swearing-in ceremony, inaugural address and inaugural parade. To support network broadcast coverage of these events, Bexel provided numerous clients with microphone packages, cameras, lenses and racks, along with wireless intercoms, IFBs and headsets. Following the conclusion of the swearing-in ceremony and inaugural luncheon, President Obama and Vice President Joe Biden made their way down Pennsylvania Avenue to the White House. Bexel provided Sennheiser MKH 416 and MKH 418 shotgun microphone packages to capture audio as the procession made its way from the Capitol. The company also lent Sony HDC-1500R camera chains, AJA frame syncs and a 50-input Evertz DA rack with 280 outputs as part of a temporary control room set up at The Newseum to support broadcasts related to the inauguration. The Newseum, a 250,000-square-foot museum of news and journalism that chronicles five centuries of news history, was the central location for media covering the inauguration. Conveniently located between the White House and the Capitol, it hosted many major television news networks along with radio broadcasters, print reporters and photographers from a wide array of organizations. Several of Bexels broadcast clients used the Newseums facility as a home base for their ongoing coverage, says Marcos Nieves, senior account executive of technical sales and business development, Bexel. Whether covering the parade live or hosting panels of experts and guests throughout the week, Bexel provided wireless audio equipment, 42x Fujinon HA42x9.7BERD F/S lenses and several RF wireless mic systems for use at the facility. This was all in addition to the facility-wide wireless intercoms and IFBs that were in use, which were installed by Bexel when the facility opened. We were at an advantage at this site, as we installed a Bexel Managed Antenna System there back in 2007, which allowed production personnel to roam freely throughout the facility. Throughout the 2013 inaugural events, Bexels Senior RF Engineer was on site at the Newseum, supporting the networks and handling all RF coordination for the broadcasts. For more information, visit: www.bexel.com

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SOUND DEVICES PIX 240 IS THE WINNING INGREDIENT FOR HIT REALITy TELEVISION SHOW MASTERCHEF CHINA
Production Video Recorder Provides Incredible Image Quality and Smooth Workflow When the reality, cooking competition show, MasterChef China tasked Boxtop Studio Films Director/Producer Chad Grochowski with overseeing the design and construction of the set, contracting production equipment and international crew, and handling the post-production process for its inaugural season, he turned to Sound Devices, experts in portable audio and video products for field production, and its PIX 240 Production Video Recorder. The PIX 240 helped Grochowski ensure the highest image quality possible for the program, a collaboration between Dragon TV, Shine UK and the International Channel of Shanghai. Known around the world, MasterChef is a massively successful reality TV franchise, with productions in more than 40 countries. Having seen many of these versions and noting that the production quality was not always consistent, Grochowski wanted to achieve the best-looking show possible. This required capturing the highest image quality, given the productions budget and local availability of HD cameras and lenses. In addition, Grochowski was looking for a solution that would minimize the time needed for ingest and transcoding of the recorded material. In order to accomplish this, Grochowski utilized eight to 10 Sony HDW-F900R CineAlta HD cameras, each equipped with Sound Devices PIX 240, to record in Apple ProRes 422 (1920x1080i 50). As the show was being edited
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in Final Cut Pro HD, this was especially appealing to the producers. In addition, bypassing the HDCAM compression to tape and recording the pure HD-SDI output stream with the PIX 240, enabled significant workflow and imagequality advantages. The ingest process using Sound Devices 240 Gb SSD drives and its PIX-CADDY couldnt have been easier, says Grochowski. By using this recording media instead of HDCAM tape, we saved on tape purchase and deck rental costs during the two-and-a-half-month filming period. The PIX 240 also allowed for instantaneous dailies and provided great imagery and smooth workflow. Time-code synching was also a beneficial feature on set, as all PIX recorders were synched, including up to 32 tracks of wireless microphone feeds, which were routed into a MADI-interfaced PC running Nuendo 7. With eight to 10 cameras rolling simultaneously, plus recording 12 to 32 tracks of audio, running time-of-day timecode ensured that all media were synched. In addition, the audio team utilized Sound Devices 788T with its CL-8 Mixing Control Surface to capture and mix audio during off-site filming situations. The post production team was able to handle the Ingest and Media Management using just two PCs and an iMac. Materials were ingested directly from each PIX-CADDY via USB 3.0 and/or FW800. By using one PIX-CADDY per SSD drive, they were able to minimize wear and tear on the drive contacts, further ensuring reliable performance for the entire production. Several key members of the MasterChef China crew also worked with Grochowski and the International Channel of
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SOUND DEVICES UNVEILS NEW 4:4:4 FEATURE FOR PIX 240 AND 240I
Video Recorders Can Now Record 12-Bit, 4:4:4 Content to Apple ProRes 4444 Sound Devices, announced its latest major upgrade to the PIX 240 and PIX 240i Production Video Recorders. This new update, available for all PIX customers free of charge, offers Apple ProRes 4444 recording from video sources over 3G-SDI (4:4:4 RGB or YCbCr). Recording 4:4:4 offers productions superior color precision for applications in chroma-keying, color-grading and multi-generational editing. PIX 240 and 240i users now have the ability to record into Apple ProRes 4444, which offers impressive quality with 4:4:4 sources and workflows involving alpha channel transparency. With its 12-bit, 4:4:4 capability, the PIX 240 and 240i can record 330-Mbps Apple ProRes 4444 files that are perceptually indistinguishable from the original source material. Popular cameras with 4:4:4 capable outputs include the ARRI ALEXA, Canon C500 and Sony F3. Sound Devices is pleased to announce this latest firmware update, which brings Apple ProRes 4444 recording over 3G-SDI to the PIX 240 and 240i, says Paul Isaacs, Technical Development Manager, Sound Devices. The additional color accuracy available in a 4:4:4 environment reinforces that the PIX recorder is a master-grade production recorder suitable for the most demanding production applications. Additional features available in this latest v3.0 firmware update include time-code and recording status displays on the SDI and HDMI outputs, up to 500 ms of audio delay to compensate for multi-device picture delay, and selectable 4:4:4

or 4:2:2 video output independent from the source material. Users can connect PIX 240 and 240i to cameras with HD-SDI, 3G-SDI, or HDMI and record directly to QuickTime using a range of different Apple ProRes or Avid DNxHD codecs, including Apple ProRes 4444. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making for simpler, faster workflows. The PIX 240is high-performance five-inch, IPS-based LCD display is an accurate field monitor, providing users with immediate confirmation of framing, exposure, focus, audio metering, and setup menu selections. It offers excellent color accuracy and contrast, great off-axis visibility, and accurate motion tracking. The built-in hardware scaler and frame rate converter allows PIX to output and record material at different resolutions and frame rates than supported by the camera. Conversion between HD and SD, with and without anamorphic conversion, is available. The audio circuitry of the PIX recorders is based on Sound Devices award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power. The HDMI-only PIX 220 and PIX 220i video recorders also gain new features available in the new version 3.0 update, including Apple ProRes 4444 recording, time-code and recording status displays on HDMI outputs, and up to 500 ms of audio delay to compensate for multi-device picture delay. For more information, visit: www.sounddevices.com
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CANON U.S.A. INTRODUCES TWO NEW CINEmA PRImE LENSES, EXpANDING THE CINEmA EOS PRImE LENS PRODUCT LINE TO FIVE MODELS
Designed for Film-Style Operation, Canon Cinema Prime Lenses Deliver Exceptional 4K Performance
Canon U.S.A., Inc., a leader in digital imaging solutions, announces the new CN-E14mm T3.1 L F and CN-E135mm T2.2 L F single-focal-length lenses for large- format single-sensor cameras employing Super 35mm or full frame 35mm imagers. These two new lenses join with Canons CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F primes to provide a broad line of five precision-matched, competitively priced EF-mount Cinema prime lenses that provide high optical performance levels and a choice of versatile focal lengths for a wide range of creative shooting choices. All five Canon Cinema prime lenses are part of the Canon Cinema EOS System of professional digital cinematography products, which include the EOS C500 4K/2K Digital Cinema Camera, EOS C300 Digital Cinema Camera, EOS C100 Digital Video Camera and EOS-1D C 4K DSLR Cinema Camera, and four Canon Cinema zoom lenses. Since our introduction to the film and television production industry back in November 2011, we have brought to market five Cinema prime lenses, two top-end Cinema zoom lenses, two compact Cinema zoom lenses, and four professional digital cinematography cameras all within 18 months, stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. This is a testament to the Companys dedication to the needs of the growing and diverse universe of professionals creating 4K, 2K, and HD moving-image content for theatrical, television, and other high- resolution digital production markets. We look forward to continuing to serve these professionals with Canon Cinema EOS products designed to help them achieve their creative imperatives and commercial aspirations.
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All Canon Cinema EOS lenses integrate advanced materials and coatings to meet high optical performance levels, including 4K (4096 x 2160) production standards. Each Canon Cinema lens is equipped with an odd-numbered 11-blade aperture diaphragm, which is ideally suited to achieve creative depth-of-field manipulation and pleasing bokeh effects of cinematographic quality. The Canon line of five Cinema prime lenses is precision-matched for consistent and solid optical performance that minimizes focus-induced changes in the angle of view. All feature a full-frame image circle in a lightweight, compact design, and they incorporate proven Canon lens elements designed to fulfill contemporary 4K production standards. All five primes also deliver color tone and balance that matches Canons top-end Cinema zooms and compact Cinema zooms. Canon Cinema prime lenses are also water-resistant for severe shooting conditions and deliver the operation and reliability required in professional film-style shooting environments. All five Canon Cinema primes feature mechanical attributes specifically designed for motion-picture production, as opposed to still photography. These strategically integrated film-style characteristics include 300 degree rotation on the focus ring for precision focus control as well as large, highly visible engraved focus scales for convenient operation. These markings appear on the angled surfaces on both sides of the barrel, making them easy to both read and to adjust the stepless focus and/or aperture settings of the lenses from behind or from either side of the camera. Focus markings can be switched from standard labeling to metric, and control rings are engineered to maintain the proper amount of resistance with consistent operating torque and familiar tactile feedback for satisfying manual control. All Canon Cinema prime lenses also share the same uniform gear positions, diameters, and rotation angles, as well as front-lens diameters, making them compatible with matte boxes, follow focus gear, marking disks, and other third-party film-industry-standard accessories. Film crews
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can quickly change lenses without the need for accessory gear-position adjustments or other changes to the rig setup. The new Canon CN-E14mm T3.1 and CN-E135mm T2.2 Cinema prime lenses as well as the Canon CN-E24mm T1.5, CN-E50mm T1.3, and CN-E85mm T1.3 primes are fully compatible with the Canon EOS C500, EOS C300, EOS C100 and EOS-1D C digital cinema cameras. The EF-mount design of all five Canon Cinema prime lenses provides communication with these cameras for such handy features as display of the f number in the electronic viewfinder, recording of focus/zoom position and f number, and Peripheral Light Compensation for more pleasing effects shots. The versatility of image-capture options using Canon EOS digital cinema cameras can be further extended with Canons Super35mm top-end Cinema zoom lenses (the CN-E14.5-60mm T2.6 wide-angle and the CN- E30-300mm T2.95-3.7 telephoto) and compact Cinema zooms (the CN-E15.5-47mm T2.8 wide-angle and CN-E30-105mm T2.8 telephoto). All four are available in both EF- and PL-mount versions, as are the EOS C500 and EOS C300 cameras. Almost all of Canons EF Series photographic lenses can also be used with these Cinema EOS cameras, including Image Stabilized zooms, tilt-shift models, and macro lenses. All of these products are designed to contribute to the continued advancement of tools for visual storytelling and all express Canons continuing commitment to cinematic culture.

Pricing and Availability The CN-E14mm T3.1 L F single-focal-length lens is expected to be available in April 2013 for an estimated retail price of $5,500. The CN-E135mm T2.2 L F single-focal-length lens is expected to be available in May 2013 for an estimated retail price of $5,200.
For more information, visit: www.canonbroadcast.com

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PANASONIC PARTNERS WITH AFRAmE TO SELL CLOUD VIDEO PRODUCTION SOLUTIONS TO CONTENT CREATORS
Panasonic U.S. to Sell Aframe Solutions to Video Professionals: Bringing Greater Speed, Security, Efficiency to Global-Scale Productions Panasonic and Aframe announced a par tnership whereby Panasonic will sell Aframe licenses in the United States through its networ k of Panasonic pro video reseller s.
Fur thering a relationship established last year, this par tner ship makes it easier for video professionals to har ness Aframes acclaimed cloud video production platfor m to streamline P2, AVCCAM and all file-based wor kflows for added efficiency and creative freedom. Aframe also provides an ideal platfor m to utilize smaller file sizes available as P2 expands to AVCUltra, specifically AVC LongG and AVC Proxy. Effective Januar y 28, Panasonic began selling Aframe through its authorized professional video reseller s. Annual accounts star t at $1200 (suggested list price) for the fir st two seat licenses. Additional seats can be added two at a time for the full year, or in blocks of four to suppor t three-month projects. Qualified customer s should contact their authorized Panasonic pro video reseller or sales representative to discuss how best to suppor t their organizational wor kflow and configure a trial account to star t utilizing Aframe software. More infor mation is available at www.panasonic.com/broadcast. Based in London with U.S. headquar ter s in Boston, Aframes cloud video production solutions have been providing ser vices to the BBC, MTV, film and TV production fir ms, corporate video depar tments and ad agencies in Europe and the U.S. since 2009. A cloud video production platfor m, Aframe saves professionals time, stress and money all the way through a production wor kflow. User s can share, search and collaborate without on-site equipment or full-time staff, and only require an inter net connection. Aframe expedites media movement, allows more accessibility from todays devices for improved produc-

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tivity and one-stop collaboration. It allows for any original, large broadcast-quality video for mat in any length to be uploaded, including uncompressed raw footage. The highly secure private cloud-based platfor m eliminates many of the issues associated with global video production, and its user interface makes it as easy to use as Facebook. Our par tner ship with Aframe deliver s a further improvement to Panasonics well-established, popular file-based wor kflows, and provides our customer s with an attractive value proposition: a complete P2 wor kflow solution without requiring IT hardware, said Michael Bergeron, Senior Business Development Manager, Panasonic System Communications Company of Nor th America (PSCNA). Mor eover, our technology par tner ship enables an evolving and improving wor kflow that is par ticular ly conducive to Panasonics latest AVC codecs for P2: AVC-LongG and AVC-Proxy were imagined with platfor ms like Aframe in mind. Video professionals want to get content out of their cameras and media asset management systems and into the cloud where they can back it up, share it with team member s around the wor ld and organize it into breakthrough creative even faster, said Mar k Overington, president of Aframe Nor th America Were honored to par tner with Panasonic in helping video producer s to streamline their entire production wor kflow by making smar t use of cloud computing. Since launching Nor th American operations, Aframe has established a networ k of over a dozen Aframe Upload Center Par tner s in the U.S. with high-speed ingest onto the companys private cloud video production networ k. Locations include New Yor k City, Los Angeles, Chicago, San Francisco, Atlanta, Miami, Boston and Dallas. For more infor mation, visit: www.panasonic.com/broadcast

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PASTUHOV KEEpS PICTORVISION ECLIpSE FLyING


Aerial cinematographer Phil Pastuhov is one of the busiest shooters in the business. Hes always charged with interesting jobs and usually halfway around the world. It is, after all, a global production community these days. And, wherever he goes its usually Pictorvisions Eclipse aerial camera stabilizing system that takes him through the challenges with ease. One of my most interesting jobs this year was a final shot for a major feature shot in the Philippines, Pastuhov says. You cant tell it is an aerial until we pull away. At the star t, you think its a dolly shot, then maybe a crane, then you realize it is a full blown aerial. Its an incredibly nuanced shot. The most critical par t was getting the boat heading in the exact direction we needed so that the wind blew the helicopter downwash out of the shot. Once we had the boat sor ted out, the Eclipse allowed us to do this with absolute stability and incredible subtlety. It really sold the sequence with its rock solid performance. Both the director and first unit DP came up to me later and praised the shot. Another challenge took place on location here in the United States. The big thing was capturing plates in both IMAX and with the Sony F-65. The open architecture of the Eclipse really helped me here, says Pastuhov. It was the only system that could suppor t our needs. We only had a couple of days to get the footage so the change over from IMAX to the F-65 had to be quick and I needed to know positively that each camera system and my lens options would not be limited by the aerial mount.

We ended up making the change over more than once and each time it was quick and went without a hitch. We had a big zoom and primes on the F-65 and used primes for the IMAX shots. I was very happy that the F-65 worked with the Eclipse, with a full array of lenses, and that the time spent changing lenses did not endanger our shooting time. Pastuhov also had a challenging ARRI Alexa shot with an Optimo 12-1 lens. It seems like this is becoming the standard on a lot of shoots, he says. This set up gives reliable performance and the maximum flexibility of Eclipses open architecture can handle anything. Three films, four different cameras, multiple lenses so many options in camera all easily handled by Eclipse. It simply allows me to give production a variety of options for the best way to accomplish the directors vision. It isnt just the equipment that keeps Pastuhov coming back to Eclipse. Its also the people. Its their can do attitude, he says. If they dont know what to do to help us, they will find out. If they havent tried a system combination, theyll check it out and make sure it is 100% right before it leaves the shop. They are very conscious and committed to getting and keeping your business. In the past several years aerial DP Phil Pastuhov has shot aerials for Bourne Legacy, This Means War, Extremely Loud and Incredibly Close and the upcoming films The Internship, Star Trek into Darkness, GI Joe Retaliation and Jobs. For more information, visit: www.pictorvision.com

BEXELS CUSTOm RF AND FIBER SOLUTIONS HELp VIEWERS AROUND THE WORLD RING IN THE NEW YEAR LIVE FROm TImES SQUARE
Bexel, a unit of the Vitec Groups Services Division and a leading worldwide provider of broadcast services and solutions, was once again on-site supporting live coverage of the iconic New Years Eve celebration in Times Square as it was broadcasted around the world. Bexels team of expert engineers coordinated the complex wireless operations and established a fiber infrastructure for all feeds going to and from the production truck handling the coverage. For over a decade, Bexel has provided equipment and services to support national and international broadcasts of the Times Square celebration. As 2012s event entailed five zones of RF coveragefour outdoor locations, spanning from the main outside stage at 43rd Street up to 46th Street at the Nivea Stage, as well as inside Times Square Studios, including the green rooms and production hallwaysBexel deployed its RF Over Fiber Antenna System. Designed to enhance the shows wireless capabilities, the system is scalable to any size building or location and offers a single point of interface for wireless equipment to the production truck. Comprehensive coverage requirements for the host network extended from 47th Street and Broadway to 43rd Street and Broadway. Full duplex, Bexels RF Over Fiber System offers the capabilities of both transmit and receive carriers over RF fiberaccommodating wireless microphones, IFB and wireless intercoms in one system. It also consolidates the required RF equipment, which can save on the use of very limited and coveted RF spectrum. In addition to Bexel-ASGs RF Over Fiber Antenna System, other RF equipment provided by Bexel included 12 channels of wireless PL using six Telex

BTR800s, 24 belt packs, four Lectrosonics IFB transmitters and six wireless microphones. Bexel also staffed the event with six on-site engineers for audio and wireless setup and support. Seamless coverage of all zones through the RF Over Fiber System is a tremendous challenge due to the sheer quantity of wireless devices in use, the shrinking UHF spectrum and the density of people at the event, says Jim Dugan, senior project engineer, Bexel. Fortunately our expertise and solutions allowed us to provide another memorable New Years Eve to those watching on television. Bexel also provided the fiber infrastructure for all feeds going to and from the production truck in Times Square. Installed during overnights by local union workers prior to the event, there are about three miles of fiber set up around Times Square. These fiber solutions are the backbone of the show, says Perry Sanderson, technical sales specialist/fiber, Bexel. Bexel fiber essentially touches all feeds that are broadcast around the world. Bexel provided a custom rack built with fiber optic systems to accommodate signal transport to various locations around Times Square, including Duffy Square and Nivea Stage, to name a few. This infrastructure then carried these signals from surrounding events and the classic ball drop and distributed to domestic and international broadcasters. Thanks to the relationships cultivated over a decade with the Times Square Alliance, Bexel is uniquely positioned to provide fiber optic infrastructure support, says Sanderson. Our portfolio of rental equipment and technical expertise allow us to create a fiber network that ultimately provides the opportunity for everyone around the globe to experience the most iconic New Years celebration in the world. For more information, visit: www.bexel.com
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Jay-Z: Made in America, a documentary currently in production was among the first TCS customers to rent and use the new FUJINON PL 19-90 Cabrio lenses. This documentary, which is being directed by Ron Howard who co-produced the film with legendary Rapper Jay-Z, features footage from the Budweiser Made in America music festival, held in September this year in Philadelphia. The two-day festival featured four large stages for performances by many music icons, including Jay-Z, Kanye West, and Pearl Jam. Our digital cinema and broadcast production customers keep coming back for these lenses, said Erik Schietinger. We have our sights set on buying several of the latest Cabrio lenses - the new 85-300mm. With a focal length of 85-220mm at T2.9 and 300mm at T4.0, and a 200-degree focus rotation, the new PL Mount zoom lens (model ZK3.5x85) is ideal for shooting documentaries, nature and wildlife, car commercials, among other demanding types of production. According to Thom Calabro, Director, Marketing and Product Development, FUJIFILM North America Corporation, Optical Devices Division, Cinematographers like that these lenses accept industry-standard cine motors and matte boxes, while videographers appreciate the ENG style servo drive, Calabro said. All camera operators appreciate a digital cinema quality lens thats lightweight and ergonomic enough to be used in a dynamic, handheld modea breakthrough that will revolutionize high-end productions. The PL 19-90 covers 31.5mm sensor diagonal size on a digital cinema style camera. While sensors on standard broadcast cameras are all the same size, sensors on digital cine cameras vary greatly. This ensures the image captured will cover the latest large sensors for optimal, fullframe resolution. A nine-blade iris part of the design as well, creating the most natural-looking imagery possible. The lens has all the lens data output that appeals to a Cine-style shooter. LDS and /i metadata compatibility is very useful when you want to record the position information of zoom, iris and focus for computer animation and other uses. The digital servo on the PL 19-90 has 16-bit encoding, so operators can be assured that all lens data output is extremely accurate. The data is available at the Hot Shoe mount, or a connector located on the servo. The other Premier PL Mount Series lenses for 4K+ cameras are available in 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400 mmT2.8-T3.8. For more information, visit: www.fujinon.com

FUJIFILm DELIVERS 10 FUJINON PL 19-90 CABRIO LENSES TO TCS


Top New York Camera Rental House Finds Strong Demand for InnovativeZoom FUJIFILM North America Corporation, Optical Devices Division is announcing that TCSa leading camera rental house in New York Citytook delivery of 10 new FUJINON PL19-90 Cabrio (ZK4.7x19) PL mount zoom lenses soon after they became available. Established in 1978, TCS rents digital and film camera equipment and lenses to customers shooting motion pictures, scripted television series, documentaries, reality shows, commercials, and other high-profile projects. Introduced at the 2012 NAB Show, the PL 19-90 is one of the newest members of the FUJINON PREMIER PL digital cinematography family. With a 19-90mm focal range and
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weight of only 2.7kg with servo, this lens has the longest focal range available in a lightweight zoom. It features an exclusive detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-style lens. The PL 19-90 can be controlled using cinema industry standard wireless controllers, as well as existing Fujinon wired and wireless units. Whether you are from a film background or a video one, the Premier PL 19-90 offers uncompromising quality and unprecedented flexibility. When we first saw this lens at NAB, we were extremely impressed with its focal length, size, and T-stopall in a lightweight, compact form factor, said Erik Schietinger, president of TCS who co-owns the company with his brother, TCS VP and Chief Operating Officer, Oliver Schietinger. Theres no other lens on the market like it. As soon as the Cabrio lenses came in the door, they went right out on a variety of production projects, including documentaries, reality TV shows, and commercials.
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The Industrys BEST KEPT SECRET


Hundreds of HITACHI customers have already found out about todays best value in HDTV Studio and Field production cameras...

Heres your turn!

HITACHI HDTV CAmERAS CHOSEN TO CApTURE FRENCH NATIONAL ASSEmBLy pARLIAmENTARy SESSIONS
Hitachi DK-H100 HDTV box cameras selected for compact size and high-level technical spec, as the Assembly upgraded its equipment to HD Hitachi Kokusai Electric Europe has announced a significant win in the French market, with the recent deployment of its DK-H100 HDTV box cameras by the French National Assembly as par t of a HD upgrade. The new cameras are being used to record the Assemblys daily sessions at the Palais Bourbon in Paris. All footage is subsequently transmitted over a fiber optic connection to the master control room, located 350m away, for redistribution. Following a call for tender, the French National Assembly purchased eight Hitachi Kokusai Electric Europe DK-H100 broadcast cameras through local systems integrator, Preview GM System. The Hitachi cameras, by replacing existing SDI equipment, become par t of the first HD broadcast deployment within the bounds of the parliamentary hemicycle. Christian Castelli, audiovisual system engineer at the French National Assembly, explained that the team star ted using the new cameras in September 2012. Having examined cameras from various providers, we chose the DK-H100 model from Hitachi because of its size and the value for money it provided us, he said. The cameras are small and discreet and we are par ticularly happy with the outstanding picture quality they provide as well as their handy fibre optic connection.
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With 577 deputies and over 1000 hours of yearly debates, The French National Assembly is at the hear t of the countrys parliamentary democracy, with recorded daily sittings which can often run into the night. The HD recordings from the Hitachi cameras on-site are immediately made available to the LCP-AN parliamentary channel and to the media. France 3, for example, offers live coverage of delegates questions to the government in a public ser vice program called Questions au gouvernement on Wednesday afternoons. This was a significant integration project in a prestigious location and a very historic building: its a project we are very proud of, said Mikal Graignic, French commercial director at Preview GM System. We believe the DK-H100 Hitachi cameras offered the French National Assembly a different and compelling option during the tender, one which impressed the technical team at the Assembly because of the combined size and technical performance of the cameras. The DK-H100 is a multi-purpose HDTV box type POV camera that is ideal for applications such as graphics stand, point of view and remote obser vation. With a small light-weight head, the camera provides outstanding performance with its new 2.3 million pixels native 1080i 3-CCD. It offers sharper and cleaner HD images due to its 14-bit A/D conver ters and Hitachis latest digital processing technology. The camera achieves outstanding high sensitivity and low ver tical smear specifications. For more information, visit: www.hitachi-keu.com

FUJIFILm OpTICAL DEVICES DELIVERS FIRST ORDERS OF PL CABRIO 19-90 LENS


SIM Digital and AbelCine Take Delivery, Rent Lenses Immediately FUJIFILM North America Corporation, Optical Devices Division announces the first deliveries of its PL 19-90 Cabrio ZK4.7x19 lens to video rental companies SIM Digital and AbelCine. The Cabrio lens was first introduced at NAB 2012 and is part of the companys PREMIER PL Mount Zoom family. The lightweight and compact ZK4.7x19 features a first for cine-style lenses - an exclusive detachable servo drive unit that makes it suitable for use as a standard Cine PL lens or as an ENG-Style lens. Toronto-based SIM Digital ordered 14 Cabrio lenses post-NAB, and received their first shipment in August. A long time FUJINON lens user, SIM Digital has been acquiring lenses from the company for 30 years and owns hundreds of them. One of the features we love about the Cabrio 19-90 lens is the flexibility it offers, said Rob Sim, Founder & President of SIM Digital. The focal length of the lens and the ability to use it in an ENG scenario is ideal for shooting episodic television, feature films, and other multiple camera environments. It offers great speed for a zoom lens. Weve received eight Cabrio lenses so far, which were immediately rented and have been continually used without any issues. Theres been a lot of interest in the lenses, and we anticipate them to be utilized for many upcoming projects.
For more information, visit: www.fujinon.com

Unmatched Virtues
Multi-format HD/ SD-SDI, 50/ 59.94Hz Superb 1080i, 720p, 480i images. Patented Fully Digital Triax or SMPTE Fiber cable operation. 2/3-in format grants access to wide variety of modern HDT V lenses. Independent prompter & talent monitor power and video feeds. Choice of 4 operation control panels and 3 Studio viewfinders. 2 separate AUX returns HD or SD. 2 separate Intercoms with 2 channels & 2 IFBs each. Arsenal of video enhancement tools. This list goes on... Find out for how long with your local HITACHI sales representative.

Hitachi Kokusai Electric Inc.


VISUAL IMAGING NEWS

Akihabara UDX Bld. 11th Flr. 4-14-1 Soto-Kanda Chiyoda-Ku, Tokyo 101-8980 Japan Tel (81)3 6734 9432 Fax (81)3 5209-5942 URL: http://www.hitachi-kokusai.co.jp

Hitachi Kokusai Electric America, Ltd.

150 Crossways Park Drive, Woodbury New York 11797 USA Tel. (516) 921-7200, Fax (516) 682-4464 General Information Email: info@hitachikokusai.us URL: http://www.hitachikokusai.us

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FILm LENS MANUFACTURER ANGNIEUX RECEIVES PRESTIGIOUS FRENCH LIVING HERITAGE AWARD
Thales Angnieux has been honored with recognition under the French gover nments Entreprise du Patrimoine Vivant (Living Heritage Company) progr am, established to identify French companies with a legacy and tradition of excellence and innovation. The award was announced by Fleur Pellerin, Minister of Small and Mid-sized Companies, Innovation and the Digital Economy at the French Ministr y for Productive Renewal, and Sylvia Pinel, Minister of Commerce, Crafts and Tourism. We are proud that the company has been recognized for its contribution to the quality and brand value of French products around the wor ld, said Pier re Andurand, Chair man, Thales Angnieux. The distinction is an endor sement of the exceptional talent of our people and their proven ability to design zoom lenses to the highest specifications for some of the wor lds biggest movie productions. A rapidly expanding company, Thales Angnieux has consistently achieved inter national acclaim from cinema professionals for the quality of its zoom lenses since its establishment in 1935 by Pier re Angnieux. With a wor kforce of about 400 people, Thales Angnieux designs, manufactures and assembles its lenses on site for its three core businesses optical components, precision mechanics and electronics. Created in 2005, theEntreprise du Patrimoine Vivantlabel is a mar k of recognition of the Frenchgover nment, created to honor French fir ms for the excellence of their traditional and industrial skills. Awarded for a period of five year s, the label identifies provider s who are outstandingly committed to the quality of their products and their business operations. For more information, visit: www.angenieux.com

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CHINAS HUNAN TV GOES S3D WITH QUANTEL


Top broadcaster chooses Enterprise sQ for quality, speed and Stereo3D Hunan TV, Chinas premier entertainment television channel, has purchased a third Quantel Enterprise sQ fastturnaround production system for its Stereo3D program production. Hunan TV, a division of the giant Hunan Broadcasting Group, has been a Quantel customer since 2008 when the broadcaster chose two Quantel Enterprise sQ systems for the production of entertainment programming. Hunan TV later upgraded to a full HD workflow in 2010. The new Enterprise sQ system handles ingest, editing and output of S3D media within a totally integrated S3D workflow. The fast-turnaround production system will be used in Hunan TVs new studio to produce 3D content in line with new regulations for Chinas top broadcasters. Director of Hunan TV, Mr Gong Rulin, said, The broadcast industry in China is very competitive, so we needed a high quality and reliable broadcast system to deliver excellent results to our wide audience. We chose Quantel Enterprise sQ because its video quality is much better than other systems. The Enterprise sQ workflow is much quicker, with an excellent time--to-air. EnterprisesQ collaborative workflows enable us to produce a lot of 3D content in a very short space of time. It allows a number of editors to work simultaneously on different sections of a program, making our turnaround time much faster. Quantel Sales Director, Martin Mulligan, said, Hunan TV delivers high quality entertainment programs to an audience of over 880 million. We are delighted that Hunan TV has again chosen Quantel to deliver stunning content to this huge audience. For more information, visit: www.quantel.com

LITEpANELS CROmA LEDS SHINE LIGHT ON HUmAN TRAFFICKING DOC LIFE IS LOVE
When Cinequest Picture the Possibilities line-producer Marcela Villegas Castanon was putting the support package together for the companys Life Is Love documentary, she chose LitepanelsR CromaT LEDs as their main lighting. The project, which is an inspirational documentary on young women who have been freed from the world of human trafficking and have been transformed through the work of Somaly Mam, in Cambodia, takes the audience through their past and present, to show the possibilities of their future. Our DPs have used Litepanels LEDs before and they told me these lights would be what we needed as we entered dim and small areas (brothels, small houses) for specific interviews, says Castanon. So we chose four on-camera LED Croma Litepanels, one for each of our DPs Canon C300 cameras, because they are portable (no outside power), and powerful, they wouldnt take much room, and took little time to set up. Their durability and adjustable color temperature was also a plus as we were shooting both inside and outside. Throughout the documentary there were three distinct situations where Litepanels provided the perfect lighting support. We had two difficult scenes inside brothels, where we interviewed clients who partake in the industry and another with the women who work within the brothels, she explains. The rooms were small, dimly lit and bland in color. The Cromas allowed for some depth and color for the interviews and for the rooms themselves. And when we were filming the clients outside, they were the perfect fill light to eliminate shadows on the mens faces.

The second situation where Litepanels Cromas were a plus was when the small company filmed at a health clinic. We were shadowing one of the survivors who now volunteers her services in assisting women with medical advice, Castanon explains. We had very limited time for set up, hence the oncamera Litepanels were easily accessible and quick to attach onto the camera. They provided just the right amount of light for the dim and small clinic room. The camera team often used the Litepanels as backlight or fill light during sit-down interviews. The locations, at times, were too compact to insert c-stands and larger lights, she explains. So, these Cromas were very convenient to place behind the subjects, acting as backlight. We also conducted interviews outside, in which many cases there were trees that cast shadows. The Cromas were perfect to brighten and fill the interviews. Life is Love is slated for completion February 2013, in time to premiere at the Cannes Film Festival. The project will also be submitted to Toronto, Sundance, and be showcased at the companys own Cinequest Film Festival in 2014. The company has also struck a worldwide distribution deal for various other festivals, in an effort to raise awareness of this issue. The film will also be used by the Somaly Mam Foundation to boost their fundraising. Cinequest Picture the Possibilities is set do to another awareness project, involving a youth empowerment program the company conducted in Mexico City and New York late in 2012. They will also use Litepanels Croma LEDs as their main source on this project. For more information, visit: www.litepanels.com
VISUAL IMAGING NEWS

ANTON/BAUER HONORED WITH ACADEmy AWARD FOR SCIENTIFIC AND TECHNICAL ACHIEVEmENT
Cine VCLX Portable Power System Recognized for Contributing Significant Value to the Making of Motion Pictures
Anton/Bauer, part of Vitec Videocom, a Vitec Group company, and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, is pleased to announce that its CINE VCLX Portable Power System has been honored with a Scientific and Engineering Award (Academy Plaque) from the Academy of Motion Picture Arts and Sciences (A.M.P.A.S). Representatives from the company will accept this prestigious award at the annual A.M.P.A.S Scientific and Technical Awards presentation, taking place on Saturday, February 9, 2013. Anton/ Bauer engineers Joe Murtha, William Frederick and Jim Markland have been recognized for their design and creation of the CINE VCLX. A.M.P.A.S Scientific and Technical Awards honor those technologies and solutions that have demonstrated a proven record of contributing significant value to the process of making motion pictures. Understanding the unique needs of film and digital cinema production, Anton/Bauer designed the CINE VCLX power system to provide ultimate power performance, extended run times and flexibility. Solving a common production dilemma, the CINE VCLX series allows users to not only power cameras, but also the supplementary equipment,

such as lighting, required for production. Thanks to the safety and high-power-draw performance of the Nickel Metal Hydride (Ni-MH) cell chemistry technology found in the CINE VCLX series, this one solution can handle the specific needs of 24V film, 14V video and 28V digital cinema equipment, plus all accessories. Anton/ Bauer CINE batteries also feature a RealTime LCD that accurately displays remaining run time and a visual LED warning indicator, which is activated when 15 minutes of run time remain. We could not be more pleased to have received such a distinguished honor for the CINE VCLX Portable Power System, says Dan Fitzpatrick, general manager, Anton/ Bauer. Our engineering team consistently strives to create solutions that are specific to the needs of our end users. The CINE VCLX has become an industry standard, powerful enough to safely and reliably run cameras such as the ARRI ALEXA for more than four hours, while also powering 200W HMI lights, LED panels and portable microwave units. Theres no greater stamp of approval than recognition from The Academy. Portions of the Scientific and Technical Awards presentation will be included in the telecast of the Academy Awards for outstanding film achievements of 2012 on Sunday, February 24, 2013, at the Dolby Theatre at Hollywood & Highland Center, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide. For more information, visit: www.antonbauer.com
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PARADIGM SHIFT: COMBINING


QUALITY WITH AFFORDABILITY

UNITECNIC SELECTS VIZRT MEDIA ASSET MANAGEmENT SySTEm FOR BEIN SPORT
beIN SPORT, a global network of sports channels operated by Al Jazeera, launched a Viz Media Engine based workflow for archiving and overall media asset management of its extensive programming content. The system is being used for the launch of two new U.S. channels under the umbrella of beIN SPORT USA beIN Sport HD, in English and beIN , in Spanish, both having SAP capabilities. beIN SPORT USA is a Miami-based 24-hour provider of international sports coverage, currently being carried by Time Warner Cable, Bright House Networks, Dish, Comcast, Liberty Cablevision and Direct TV. The Viz Media Engine selection was made by Unitecnic, a Barcelona-based broadcast and multimedia engineering firm, for beIN SPORT. Unitecnic chose Viz Media Engine based upon the specific technical requirements of beIN SPORT and worked closely with the broadcaster throughout the installation and initial implementation of the system. Unitecnic worked with the Miami-based Imagina U.S., a production and broadcast services provider company, who provided the full operational service for beIN SPORTs new channels in his own facility.
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The Viz Media Engine is integrated with beINs Avid Media Composer editing system and its Grass Valley K2 video servers for both import and export. The Viz Media Engine provides access to all media. Using the K2 servers, it manages all of the channels playout tasks. WTVisions Channelmaker playout automation system interfaces with the Viz Media Engine, monitoring playout and triggering transfer request between the Viz Media Engine and K2 servers as needed. beIN went live with the Viz Media Engine MAM/archiving system at the end of October 2012. The hardware and software installation was completed in just four weeks, making the overall project duration from start to launch just two months. The rapid launch was a critical requirement for beIN SPORT. Thanks to the Viz Media Engine integration, two new archiving workflows are possible: 1) From the Avid editing system, content can be manually imported into the Viz Media Engine and then exported (either manually or via an automated request) to the K2 playout server for review before on-air delivery. 2) From the K2 server, files can be manually transferred to the Viz Media Engine after broadcast. These files can originate as a direct ingest into the K2 or as a transferred file from Avid.
VISUAL IMAGING NEWS

WTVision, a provider of real-time graphics and channel automation solutions, used the Viz Media Engine APIs, that are REST-based, to integrate the Viz Media Engine with beINs traffic and billing software from Broadway Systems. Critical to beINs selection of the Viz Media Engine was the systems support of Sonys XDCAM HD422 and how it handles partial restores. Viz Media Engine include advanced and proven technology to work with partial restore throughout the complete workflow from archiving to restoring media from the LTO tape library. The storage capacity of the archive system is designed to last beIN well into the future, but the network is already looking into extending the size of the system and adding more groups to the MAM set up. The Viz Media Engine had everything we were looking for in a MAM and archive system to launch these important new channels in the U.S. market, said Marc Andreu, Media Manager, beIN SPORT. The ease of integration with the other manufacturers, ease of use for our operators and ability to restore XDCAM files were all musthaves to make our facility function as we envisioned. We are so excited to share this way with Vizrt. For more information, visit: www.beinsport.tv

The Perfect Ratio of Experience & Innovation


TEL: 661.295.3313 TOLL FREE: 866.800.1699

16x9 Inc. now offers the Movcam line-up of Matteboxes, Follow Focus Systems, Shoulder Supports and more combining the highest quality at an affordable price. Buy Direct Online! www.16x9inc.cOm

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surf film library. A sampling of titles include The Sunshine Sea, Five Summer Stories, Cool Wave of Color, and Free and Easy. Periscope Film has amassed over 1,000 military films, mostly government training shor ts, educational material, or propaganda pieces. The companys Operation Archive library houses some of the most obscure, historic footage long thought lost. Since launching Periscope, owners and preservationists Doug Weiner and Nick Spark have restored over 40 titles, available on DVD or iTunes. Titles restored on Phoenix include the John Ford documentary Memphis Belle, and Secret Life of Adolf Hitler, which was given an A rating by iTunes. Periscope also licenses their collection as stock footage. Phoenix Refine offers the whole package a good price for superb automated cleanup of dust and scratches, says Weiner. Fur thermore, its ability to degrain while preserving just enough grain for aesthetics remains unmatched. Weiner says they will render entire films, usually ranging in length from 10 to 30 minutes, for scratches and dir t. Its our go-to solution across the board. We pride ourselves on unmatched quality, and Phoenix delivers. We ask the software to do the impossible and it does it automatically. We dont have the manpower to paint out everything in these archival elements. Phoenix does the job and is uniquely qualified because of its capability for doing multiple layers on one pass in a mechanized setup thats repeatable! Weiner adds that having Digital Vision in Los Angeles was vital to their decision. It made training easy and local suppor t was impor tant to us, he says. We explored other options, but Phoenix Refine answered our need of addressing different, challenging workflows for our unique collection. Digital Visions Phoenix range of products, with awarding-winning DVO image processing, provides automated, semi-automated and manual file-based restoration capabilities. Phoenix includes tools for film restoration and repair, and a custom range of tools for restoring images from video sources. For more information, visit: www.digitalvision.se

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DIGITAL VISIONS PHOENIX AUTOmATES AND REFINES RESTORATION WORKFLOW SOFTWARE POWERS EFFORTS OF HIGH HAT POST AND PERISCOpE FILm
submarine, Digital Visions Phoenix Refine restoration software is helping to power the effor ts of High Hat Post and Periscope Film. Currently, Phoenix is a crucial tool at High Hat Post in the restoration of a collection of vintage 16 mm surfing movies, as well as current productions. Periscope Film is using Phoenix to automate the restoration of the companys acquired military footage. Both High Hat Post and Periscope Film attribute the success of their workflows to the unmatched features that Phoenix offers, including its ability to automatically remove dir t, dust, scratches and grain. From riding the surf to diving to the oceans depths in a Craig Rogers, founder of High Hat Post, worked at IMAX for 11 years making images perfect. When he launched his boutique facility a year ago, his previous experience with Phoenix on IMAX footage influenced his choice of tools. Since installing Phoenix in August, High Hat Post has been relying upon the software for a number of titles, including restoring renowned documentary film director/cinematographer Greg MacGillivrays vintage surfing movies, originally shot on 16mm. I chose Phoenix Refine because it is resolution independent, has superior flicker removal, and after really looking at our options, found nothing on the market that came close to its ability to manage grain and keep image detail, says Rogers. To do the heavy lifting of scratches, dir t and grain, High Hat Post uses Phoenix Refine not just for old restoration projects but for todays video productions too. Rogers also turns to Phoenix for current productions, including the clean up of video noise in low light scenes for an indie film shor t. Rogers adds, I tried all of the competing software packages. With its combination of ease of use, the DVO Clarity tool, and customer suppor t, Phoenix Refine stood apar t. It will be an essential tool in restoring the MacGillivray-Freeman

INTEGRATED MICROWAVE TECHNOLOGIES, LLC (IMT) ANNOUNCES PERUVIAN DISTRIBUTION PARTNERSHIp WITH INTEGRATION DIGITAL OmEGA SAC (OmEGA SySTEmS)
Full Broadcast Catalog and Training Support Now Available Throughout Peru Integrated Microwave Technologies, LLC (IMT), a Business Unit within the Vitec Groups Videocom Division, and a leader in advanced digital microwave systems serving the Broadcast, Sports & Entertainment and MAG (Military, Aerospace & Government) markets, announced the formation of a major non-exclusive distribution partnership with Integracion Digital Omega SAC (Omega Systems) throughout the country of Peru. We are very happy to announce this distribution agreement with Omega Systems, which is IMTs first official venture into Peru and the Andean region, says Integrated Microwave Technologies Divisional Chief Executive Stephen Shpock.
As a company focused on supplying new digital technologies to its customers, Omega Systems will be a vital asset in bringing IMTs wireless gear to the Andean broadcast market. Under the agreement, IMT will make its full broadcast catalog available to Omega Systems. In addition, IMT will work closely with Omega to train its sales staff on
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the full catalog of equipment and help Omega pursue digital microwave opportunties in the region. We are thrilled to partner with IMT in order to bring its products to the Peruvian marketplace, says Omega Systems General Manager Walter E. Gil. By distributing IMTs state-of-the-art equipment and technology, we are able to provide Peruvian broadcast clients with high-quality, extremely reliable digital microwave solutions. We have an aggressive plan of product expansion for our clients in Peru and we are confident with IMTs proven professional commitment, support and superb technology, to make our plans happen. Omega Systems first purchase under the agreement consisted of two of IMTs tried and true ChannelMaster 7 systems for Peruvian broadcaster, Frecuencia Latina, who was looking for a reliable portable microwave solution. ChannelMaster 7s portable parabolic antennas with quick connect allow for a very fast deploy solution for the station. Frecuencia Latina is the first broadcaster in Peru to be using digital microwave and our hope is that their satisfaction with the equipment will lead other stations in Peru to make the switch from analog to digital, adds Shpock. The stations switch to digital transmission will allow them to use less bandwidth and have a more robust signal that can go greater distances. For more information, visit: www.imt-broadcast.com

INTEGRATED MICROWAVE TECHNOLOGIES, LLC (IMT) SOARS TO NEW HEIGHTS ON YVES JETmAN ROSSyS JET PACK AT THE NEW ZEALAND INTERNATIONAL AIR SHOW
Integrated Microwave Technologies, LLC (IMT), a Business Unit within the Vitec Groups Videocom Division, and a leader in advanced digital microwave systems serving the Broadcast and Sports & Entertainment markets, teams up with Quinto Communications, a prime distributor and systems integrator throughout Australia and New Zealand, to support daredevil Yves Jetman Rossy as he performs his breathtaking flying acts to open the New Zealand International Air Show on January 26th. IMTs RF Central microLite HD digital transmitter will be on board Jetmans jet-engine powered wing to help the aviation trailblazer transmit high-quality live HD video of his flight to receive sites below and for live broadcast feed to New Zealand Channel 3 News. This will enable tens of thousands of fans to view his flight up close and personal on displays positioned on the ground. The New Zealand International Air Show, which will take place at North Shore Airfield, marks the first time Rossy will be flying in New Zealand. Known as the only man to fly with a jet-propelled wing, the 53-year-olds perilous flight will begin as he is dropped from a plane with only his wing, comprised of carbon fiber and four jet engines, keeping him in the air. Reaching speeds of up to 300km/h Rossy will steer using his body movements. According to him, this allows him to fly as free as a bird. Thanks to IMTs microLite video transmission capabilities,

those attending the air show will be able to view his flight, which will be captured by two GoPro cameras mounted on the jet packs wing tips. Weve been working with IMT for several years due to the quality and reliability of its products, says Tom Pavicic, chief executive officer atQuinto Communications. IMTs cutting edge technology is what attracts our customers to the company again and again, and we are happy to be the provider of choice in the region. The microLite transmitter provides high-quality, full-HD video directly to ground-based receive equipment. The RF Central microLite HD is an ultra-compact MPEG-4 COFDM digital transmitter designed for the next-generation of compact cameras featuring full HD/SDI capabilities. Its ease of use and ultra-low electrical power requirements gave Rossy everything he was looking for when selecting the video transmission equipment for his flight. The antenna on his wing is a blade antenna from Haigh Farr, recently acquired by the Vitec Group. Haigh Farr represents some of the finest antenna engineering in the world. Offering a truly hemispherical pattern, its blade antenna helps ensure that the signal is transmitted to the ground. We are excited that Yves Rossy continues to use IMTs technology to transmit live HD video to his spectators on the ground, as it is a testament to the engineering and quality of our products, says Integrated Microwave Technologies Divisional Chief Executive Stephen Shpock. The ease of use of the RF Central microLite transmitter enables Rossy and his team to set up an RF video solution with confidence. For more information, visit: www.imt-broadcast.com
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Another feature that is especially impor tant to the Panther s production team is Anton/Bauers patented RealTime display, which shows up to nine hour s of remaining r un time. Having the visual display on the side of the batter y allows us to know, with just a glance, how much time is left. Its a huge benefit, notes Dickens. During downtime, Dickens and his team utilize the four-position QUAD 2702 PowerCharger. As one of the most advanced power systems available, it can sequentially fast charge any combination of Anton/Bauer Logic Series batteries by using the advanced charging techniques of the Anton/Bauer InterActive system in a package roughly the size of a notebook computer. The charger offer s a quick charge and instant readout. We can see the status of the batter y instantly, but also know the charger s help extend the life of our batteries, says Dickens. To offer user s increased functionality for the DIONIC 160, Anton/Bauer recently introduced its DIONIC HD batter y. Also delivering up to 10 amps of power, the DIONIC HD is a 183Wh batter y featuring special-application Li-Ion cell technology. It incorporates the companys latest software architecture and improved LCD for superior safety and reliability in the most extreme environmental conditions. Weighing 40 percent less than a NiCad or NiMH batter y, the DIONIC HD has 25 percent more capacity and will r un a 30-watt camera, monitor s and multiple accessories for more than six hour s. The new DIONIC HD also includes the companys new enhanced RealTime display. Simple and easy to under stand, the RealTime display indicates both fuel gauge and remaining r un-time data simultaneously. The display incorporates readouts of hour s, minutes and remaining capacity, making batter y change decisions quick and easy. Whats more, its motion-detection feature incorporates a sleep mode setting that reduces batter y self-discharge, allowing for extended periods of storage with minimal capacity loss. The batter y can be awakened by the built-in motion sensor. These patented features offer confidence for the camera operator. For more infor mation, visit: www.antonbauer.com

CAROLINA PANTHERS WRAp Up CONSECUTIVE SEASON POWERED By ANTON/ BAUER


This year, Anton/Bauer batteries and charger s have been a tr usted par t of the Carolina Panther s broadcasting team once again, supplying power throughout the seasons games and countless practices. Whether powering cameras capturing live game coverage on the sidelines, in the stands or the locker room, DIONIC 160 batteries and QUAD 2702 interactive charger s from Anton/ Bauer, par t of Vitec Videocom, a Vitec Group company, and a premier global provider of batteries, charger s, lighting and other mobile power systems for the professional broadcast, video and film industries, have continued to prove themselves as essential to the Panther s broadcast production teams star ting lineup. I per sonally have been using Anton/Bauer batteries for as long as Ive been in the business, says Ber kley Dickens, broadcast engineer, PantherVision/Panther s Broadcasting. And the same goes for the Panther s organizationtheyve been using the batteries and charger s for as long as theyve been producing videos. Weve all been in the broadcast industr y for a long time, so we just know its the only batter y brand we think about using.
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On game days, Anton/Bauer DIONIC 160s can be found onboard Sony PDW-F800 XDCAMs. We typically employ two cameras for sideline recording of live game action, says Dickens. The batteries not only power the cameras, but also supplemental equipment, such as on-camera lighting or Nucomm CP2 camera-mounted transmitter s, to capture fan interactions, giveaways and other related events in the stands. During the week, the batteries are also utilized with the cameras capturing postgame inter views as well as recording practices and follow-up inter views in the locker rooms. On game days, the dependability really comes into play for the wireless camera operator s wor king in the stands, says Dickens. We interact in all different areas of the stadium, so its impor tant that our production crew member s dont have to wor r y about car r ying a lot of spare batteries. And its really the same thing with the sideline crewthey dont have to car r y a lot of equipment while tr ying to keep up with the live action. They know they have the flexibility to move around as needed. Delivering up to 10 amps of power, the DIONIC 160s configuration is constr ucted of specialized lithium-Ion (Li-Ion) cells originally designed for high-rate militar y operations. Weighing 40 percent less than a NiCad or NiMH batter y, the DIONIC 160 has 25 percent more capacity and will r un a 30watt camera for more than six hour s.
VISUAL IMAGING NEWS

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the Telemetrics PT-RM-1 pan/tilt head and fiber adapters for the Telemetrics PT-CP-S4, PT-HP-S4 and PT-LP-S4 pan/ tilt heads. The base station can house four fiber modules with each fiber module providing connectivity to one pan/tilt head, allowing the base station to serve up to four pan/tilt heads. The Pan/Tilt Fiber System also permits the connection of duplex single-mode fiber optic cable, using standard optical LC-duplex connectors, with the opticalCON patch panel and low voltage hybrid cable from Neutrik, to suppor t Ethernet control, HD/SD SDI video and genlock functions. In addition to the flexibility and cost effectiveness of the opticalCON low voltage hybrid cable, it also delivers up to 290W of power to the pan/tilt head. *opticalCON is a trademark of Neutrik AG. All trademarks proper ty of their respective owners. For more information, visit: www.telemetricsinc.com

Were Turning Camera Robotics

Upside Down!

TELEmETRICS PAN/TILT FIBER SySTEm ADDS TO PRODUCTION EFFICIENCy


iPad Controlled Turnkey System Designed and Built by Controlled Entropy
Cost Effective Transmission System Delivers Video, Power and Control The Pan/Tilt Fiber System from Telemetrics, provides video transmission, genlock and remote control capability for robotic P/T heads including the PT-RM1, PT-CP-S4, PT-HP-S4 and PT-LP-S4 at distances of up to 10 kilometers. The system suppor ts a variety of transmission formats including Ethernet control, HD/SD SDI video,

and genlock via duplex single-mode fiber optic cable with LC connectors. Single cable connectivity is also available using an opticalCon low voltage hybrid cable which additionally simplifies installation and increases reliability.* Our Pan/Tilt Fiber System is designed to address a wider range of camera robotics production needs with efficiency and simplicity, said Anthony Cuomo, Vice President and General Manager, Telemetrics Inc. Its flexibility and combination of features make it a robust, easy to install and use packaged solution for studio and field applications. The system is designed with a rack-mountable base station and P/T head plug-in fiber modules/adapters a single plug-in fiber module for

SHUTTERSTOCK ADDS FOOTAGE CLIpS TO FOOTAGE. NET


Over 800,000 World Class Stock Footage Clips from Stock Image Leader Shutterstock Now Accessible for Screening on Footage.net. New York January 30, 2013 Footage.net, the stock, archival and news footage search engine announced today that over 800,000 preview clips from Shutterstock, a leading global marketplace for digital imagery, are now available for viewing through Footage.nets stock footage search and screening platform. Through this alliance, Footage.net users will be able to screen preview clips from Shutterstocks stock footage collection, and Shutterstock will reach a new and growing user base worldwide for its stock footage licensing business. Were working with some of the best cinematographers in the world to build out our stock foot32

age collection, said Ben Pfeifer, VP New Business for Shutter stock. Over the last two year s, weve doubled the size of our footage collection while maintaining the highest standards of quality. Our par tnership with Footage.net helps us showcase our world-class footage to the widest possible audience of filmmakers, agency producers and creative professionals around the globe. We are thrilled to have Shutterstock on the Footage. net search and screening platform, said David Seevers, Footage.nets Chief Marketing Officer. Shutterstock is a true leader in the royalty-free image licensing business. Theyve leveraged cuttingedge technology and innovative business models to make high-quality images and footage available at affordable prices, and we think that Footage.net users will be as excited as we are to find their clips on our site. Sourcing content from over 35,000 approved image contributors in more than 100 countries, Shutterstock
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provides a licensable digital content library of more than 20 million images and 800,000 video clips, one of the largest libraries of its kind. All clips have been vetted by a member of Shutterstocks review team for standards of quality and relevance, and are offered on a royalty-free basis at affordable rates. Shutterstock recently launched a new version of its footage homepage, bringing new life to the experience. New features include easy access to Recent Searches and Recently Viewed clips, quick links to customer Account Details and Billing and Download Histories, and timely curated galleries from Shutterstocks content team. Footage.net has grown rapidly over the last several years to become one of the worlds largest and most comprehensive online stock footage databases. Shutterstocks clips will be available for screening through Footage.net alongside motion content from some of the worlds most prestigious footage companies. For more information, visit: www.shutterstock.com

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production equipment from one venue to the next is par ticularly handy as we move forward with our next phase of construction in different areas of the complex. The 2,700-seat auditorium in the main sanctuary features a multi-screen configuration, including a 60-foot wide main center screen and DPI Quad Projectors. Faith Assembly selected Hitachi HD cameras, which they felt offered excellent high definition quality with a reasonable price tag. The cameras are equipped with Angenieux lenses and are set in the sound booth in the back of the auditorium. The church is also equipped with Turbo Sound speakers. In all of the design criterion within the new Faith Assembly campus, there is a strict attention to detail. For example, to streamline the process of checking people into the church for various activities, an automated system was installed to quickly sign family members into different venues. A 9x16 LED jumbo screen video wall was purchased from the Orlando Magic NBA team to provide digital signage in the churchs bookstore. Three of the venues have robotic camera systems, including the wedding chapel, which was custom built to switch wedding ceremonies live, then quickly render a DVD for viewing during the reception. The church looked for ways to cut costs in the long term, in addition to selecting cost-effective equipment. Faith Assembly purchased LED light fixtures for use on the main floor of their sanctuary, which cut their electrical use down by 75 percent. With this lighting, the church continually saves money on both electricity and air conditioning, since the lighting fixtures use only a fraction of the heat as typical lighting solutions. So much time and effor t was put into this project and in working with Encore, we were able to put together a very open infrastructure with a lot of flexibility, said Hawks. Were extremely pleased with the level of sophistication weve been able to achieve technically and within our budget. Using FOR-As video switcher has greatly contributed to our success, and Faith Assembly is confident that our efficient video production setup will help us thrive as an organization. For more information, visit: www.for-a.com

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METRO CABLE UpGRADES WITH FOR-A HD SWITCHERS
FOR-A Corporation of America announced that its HVS350HS HD/SD 1.5 M/E digital video switchers and HVS300HS HD/SD portable video switcher are currently in use at five of the nine sites run by the Sacramento Metropolitan Cable Television Commission of Sacramento, CA. Working with Metro Cable throughout the selection and installation process was local FOR-A dealer, VMI, Inc., based in Sunnyvale, CA and primarily covering the Western U.S. VMI has regional offices in Sacramento, Garden Grove, Portland, Seattle and Spokane. Sacramento Metro Cable is a production operation that broadcasts local government municipal meetings for about 23 agencies on Metro Cable 14, a cable television channel in Sacramento County. Metro Cable selected FOR-A switchers because of their price and feature-rich design. Multi-view is a feature we didnt have previously, said Bill Piper, Technical Director at Metro Cable. Its very nice to be able to make use of that. As soon as they get new cameras, Metro Cable will be HD. At the moment, they are all standard definition. Were SD throughout our system, however, the County board will be HD in the building, said Piper. The FOR-A switchers allow us the flexibility to go HD or SD. Metro Cable has a feed through the County that streams on the Internet; all recording is done through the FOR-A switchers. We ordered the extra video out card, and it was great to have the extra output, said Piper. Additional functionality that Piper appreciates is the ease of use of the picture-in-picture mode, and he finds it easier to retrieve logos. The layout of the control panel and the setting up of the switcher is very straightforward and intuitive, said Piper. Were enthusiastic that we can now offer municipal facilities the ability to stay at the forefront of technology within such cost-effective and easy-to-use packages, said Pedro Silvestre, sales director for FOR-A Corporation of America. Both switchers are portable, powerful, very easy to use, and ideal in the studio or on a location shoot. The HVS-300HS has a built-in multi-viewer, so external monitors are not necessary. Setup on location is further simplified by the frame sync capability found on every input. The HVS-350HS HD/SD 1.5 M/E digital video switcher is a big brother to the popular and cost-effective HVS-300HS. The HVS-350HS adds 1.5 M/E functionality, more inputs, and more standard features without dramatically increasing the size of the switcher or control panel. For more information, visit: www.for-a.com

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FAITH ASSEmBLy OF GOD INSTALLS FOR-AS HVS350HS VIDEO SWITCHER AS CENTRAL VIDEO PRODUCTION HUB OF NEW CAmpUS
When Faith Assembly Church moved from their main campus in Orlando, Florida to a nearby significantly larger 300,000 square foot space, the organization had big plans of making their megachurch technically savvy on a tight budget. After two and a half years of construction, the first phase of the process is finished, and the church recently opened its doors for ser vices. Included in the list of new equipment installed and key to the churchs video production is a FOR-A HVS-350HS HD/SD 1.5 M/E Video Switcher, which is set in the video control room of the complex. The Encore Broadcast Solutions team, led by Jeff Cameron of the companys Winter Springs, FL, office, provided systems integration ser vices on this large-scale project. Encore was tasked with design, sales, and installation of all audio, video, and lighting systems in the entire complex. We put a lot of time and effor t into determining the products that would best fit the churchs needs, said Gadiel Marquez, Encores systems design engineer. We chose FOR-As switcher because of the flexibility it offers. The HVS-350HS brings powerful production value, and has the ability to easily accommodate all of Faith Assemblys video produc34

tion needs. Our experience with FOR-A equipment is that their products are extremely reliable and long lasting. We believe that with the HVS-350HS switcher, weve prepped Faith Assembly for a long future of dependable video production. Faith Assembly utilizes video in a variety of ways, including live streaming of church ser vices to reach its audience in multiple continents, streaming of baptisms, concer t production, and production of wedding ceremonies. The main campus includes six main venues, each with full audio, video, and lighting capabilities. They are: the main sanctuary, the wedding chapel, two theaters for children, an atrium and a dining hall. The entire complex is completely integrated, with HD/SDI capability from one location to the next and a common intercom channel that runs throughout the entire campus. To simplify the learning cur ve for the churchs mix of paid employees and volunteer staff, all buildings on the proper ty have the exact same video package. We did this to allow our personnel to familiarize themselves with the technology in one control room, then walk into another venue and have the exact same setup to deal with, said Robb Hawks, Faith Assemblys Executive Pastor. Weve made video production easier in other ways too. All of the equipment in our dining hall is on rolling racks, so that we can easily transpor t the gear to another room if needed. The ability to quickly move
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CATHEDRAL OF FAITH UpGRADES TO FULL HD BROADCAST CApABILITy WITH FOR-A VIDEO SWITCHER
FOR-A Corporation of Americ announced that San Jose, California-based Cathedral of Faith has implemented a FOR-A HVS-350HS video switcher as part of their HD overhaul. The churchs system was recently converted to HD in two phases and integrated by the Texas-based company Spectaveris. Besides their main location in San Jose, Cathedral of Faith has seven remote locations around the San Francisco Bay area. Each week, the main churchs Saturday service is recorded, duplicated onto hard drives, and sent by car to each remote church. The sermon is then shown at each remote campus church using ProPresenter technology. Cathedral of Faith also broadcasts its services online at http://live.cathedraloffaith. org/ and has live HD feeds to the churchs outdoor pavilion every Sunday morning. All church services, which include five on the weekend, one midweek service, and a Spanish service on Sunday, are recorded. DVDs of the services are also available to the congregation for purchase. Broadcasting since 1965, Cathedral of Faith first worked with Spectaveris to upgrade their system to standard definition six years ago. When called upon this year to convert the church to HD production, Spectaveris discovered some initial design challenges. First, they had to work around the churchs weekly broadcast schedule. The integrator also needed to consider that the vast majority of the churchs production staff were volunteers, so keeping a user-friendly workflow was crucial. There was also the usual challenge of delivering high-quality technology while keeping within the churchs budget.

Spectaveris began equipment selection for the church in April at the NAB 2012 show. Company representatives met with several vendors to choose the switcher that best fit Cathedral of Faiths needs. After considerable competitive evaluation, Spectaveris found that FOR-As HVS-350HS solution met their criteria better than any other switcher on the market. Because they were able to implement the HVS-350HS with two control panels and two multiviewers, one FOR-A switcher replaced the two switchers that the church had been using. FOR-As HVS-350HS solution is the only switcher out there that offers such a high-quality, cost-effective product with flexible control panels and remote capability control, said Dean Stone, President, Spectaveris. Our installations frequently include FOR-A switchers. We continually find that our customers are extremely pleased with the performance of their switcher, and are confident that FOR-A will keep bringing high-quality, reliable solutions to the market. The FOR-A switcher was installed this past September during the first phase of the churchs upgrade. The second phase, which involved integrating and testing new cameras and reducing rack size, was executed a few months later. Other equipment installed includes: a Sony OLED picture monitor, Mutec video and digital audio sync master clock generator and a Dell UltraSharp LCD monitor. The project was completed midNovember, and Cathedral of Faith now has full HD broadcast capability. To view a video regarding the churchs upgrade with Spectaveris, please visit the following link: http://vimeo. com/57464828 For more information, visit: www.for-a.com

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QUBE CINEmA DELIVERS HFR 3D TECHNOLOGy FOR WORLD PREmIERES OF THE HOBBIT: AN UNEXpECTED JOURNEy
Qube XP-I Server and Xi Integrated Media Blocks Used at Wellington and London Premieres
Qube Cinema provided the High Frame Rate (HFR) server technology for the world premiere of The Hobbit: An Unexpected Journey, a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), on the Titan XC screen at the Reading Courtenay theater in Wellington, NZ on Nov. 28. The Qube equipment was also used for the London premiere at the Empire Leicester Square on Dec. 12. The Qube XP-I server was chosen to stream a high bit rate DCP at 48 fps stereoscopic 3D to two Qube Xi Integrated Media Blocks (IMBs). The Hobbit: An Unexpected Journey is the first film to be distributed at this new higher frame rate, among all of the standard formats.

PANASONIC INTRODUCES AG-AF100A MICRO FOUR THIRDS CAmCORDER FEATURING 24PSF 10 BIT 4:2:2 CAmERA OUTpUT, FULL-HD PROGRESSIVE RECORDING
Panasonic has released the new AG-AF100A large imager HD cinema camcorder, offering significant improvements and costefficiencies over its predecessor, the companys groundbreaking AG-AF100. Foremost, the newly-revised AF100A features 10 bit (enhanced 8 bit) 4:2:2 quality output for better gradation of tonal areas when recording onto external devices, such as a P2 HD recorder. The HD-SDI signal also carries a sync signal for the Rec Start/Stop with the AF100A trigger. Additionally, the AF100A is equipped with the popular expanded focus assist function, which enlarges the center of the displayed image for greater ease in focusing; and a 2.39:1 (cinema scope size) safety zone marker. In addition to the high quality PH recording mode (average approx. 21Mbps, maximum 24Mbps), the AF100A complies with the AVCHD ver. 2.0 (AVCHD Progressive) standard with its new PS mode (average approx. 25Mbps, maximum 28Mbps) for recording, playing and outputting (via HDMI only) Full-HD progressive (1080/59.94p, 1080/50p) images. The PS/PH modes support uncompressed 16 bit LPCM 2-channel audio recording. The AF100A also features two-channel XLR audio input terminals for full uncompressed audio recording, and many other functions to meet professional needs. The AF100A builds on the legacy of the AF100, which has been prized by the film and video production communities for its film-like shallow depth of field and the wider field of view of a
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large imager, with the flexibility and cost advantages of an expansive line of professional quality, industry-standard micro 4/3-inch lenses, filters, and adapters. The AF100 redefined large sensor professional acquisition with its superior video handling, native 1080/24p recording, variable frame rates, and sophisticated audio capabilities. Like the AF100, the AF100A incorporates a large 4/3-inch, 16:9 MOS imager (with an imaging area just slightly smaller than 35mm cinema film) that minimizes skew with fast imager scanning, and an optical low pass filter for elimination of aliasing and moir. Weighing only 3.5 pounds (without lens or battery), the AF100A is packed with high-end features including Dynamic Range Stretch in all modes and frame rates; six built-in, customizable scene files that are exchangeable for quick and easy matching between multiple cameras; seven built-in gamma curves with four selectable color matrices; a built-in optical ND filter; adjustable shutter speed and Synchro-scan function; and a high-resolution, variable angle color LCD monitor and tiltable viewfinder. Additional standard professional interfaces include uncompressed HDMI out and USB 2.0. The AF100A records SMPTE timecode and is able to perform timecode synchronizing via the video output seeing timecode in, and has an internal downconverter facilitating output of SD (480/576) signals The AG-AF100A is available at a suggested list price of $4595.00.The camcorder is packaged with a copy of the highlyregarded AF100 Book by Barry Green. Panasonic supports the AF100A with a three-year limited warranty (one year plus two extra years upon registration) upon registration of the camera with the PASS customer support program. For more information, visit: www.panasonic.com/broadcast
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HFR 3D exhibition is now a reality and audiences around the world will be able to enjoy the stunning digital imagery of Peter Jacksons The Hobbit: An Unexpected Journey for themselves. Qube Cinema was tapped to provide technology for the premiere screenings thanks to the industryleading HFR and high bit rate capabilities of the Qube XP-I server and Qube Xi IMB. The system streamed a single DCP of the film at 48 fps with a bit rate of 450 Mbps to dual synchronized Qube Xi IMBs in two Barco DP2K-32B projectors, along with 7.1 audio channels (in Wellington) and Dolby Atmos sound (in London). We are thrilled to be partnering with Warner Bros. Pictures, MGM and New Line Cinema in this groundbreaking work on The Hobbit films, said Rajesh Ramachandran, president and CTO of Qube Cinema. Cinema just made the next big leap into the future, at a high frame rate. Qube first demonstrated its HFR 3D, multi-IMB synch technology at CinemaCon in Las Vegas last May. The Qube XP-I server is capable of streaming a single DCP at up to 1,000 Mbps to two synchronized Qube 4K Xi IMBs in two projectors. This means that a single XP-I server can be used to exhibit 3D content at up to 60 fps per projector. This HFR 3D system offers a simplified experience for projectionists because all the data is ingested once and then fed to the two synchronized IMBs. The Hobbit: An Unexpected Journey opened in North American theatres on Dec. 14, 2012. For more information, visit: www.qubecinema.com

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CHIEFS FUSION SERIES CEILING MOUNTED VIDEO WALLS NOW AVAILABLE


New video wall ceiling mounts incorporate favorite FUSION features
Chief, an industry leader in mounts, racks and interactive solutions, is now shipping FUSION Video Wall Ceiling Mounts. Great for digital signage installations, the new mounts offer perfect TV positioning and flexible adjustments. Features of the ceiling video wall mounts include independent knobs for precise height and plumb micro-adjustments, no tools required; micro-height and leveling adjustment at all column intersection points; and infinite screen positioning. The solid construction will support displays up to 55 ranging from 85 to 125 lbs. (38.5-56.7 kg) per screen. This new mount incorporates many of the suggestions and feedback we receive from installers and integrators, said Luke Westin, Associate Product Manager. We think they will be pleased with the ease of installation. The ceiling mounted video wall is compatible with traditional 1.5 NPT and Chiefs new CPA pin connection ceiling plates and column system. The LCM video wall mounts are the second in a series of FUSION ceiling mounts and accessories that are rolling out in early 2013. The single display mounts began shipping in early January, and the ceiling mounted menu board solutions will begin shipping soon. For more information, visit: www.chiefmfg.com For more information, visit: www.portabrace.com

NEW RAIN COVER FOR PANASONIC AG-HPX250


The RS-HPX250 is the newest custom-fit Rain Slicker from Porta-Brace. Designed specifically for the Panasonic AG-HPX250, its constructed using Taslan Nylon, which is both waterproof and breathable. The waterproof Taslan protects the camera from rain with a 1500MM waterproof rating. It also reduces the chances of the camera overheating by allowing hot air to vent. Theres a clear-vinyl side-panel for visibility when adjusting menu, audio input select level, and other controls. A Velcro-sealed rain flap lifts and adjusts to protect a shotgun mic. A protective waterproof sleeve with clear-vinyl window covers and protects the fold-out LCD screen in all positions. RS-HPX250 Features: Custom-fit design for RS-HPX250 Waterproof Taslan Nylon (1500MM waterproof rating) Protects shotgun microphones Clear vinyl windows for viewing controls Tight-gripping Neoprene around lens Use on tripod or hand-held Made in the USA

BROADWAy SySTEmS ACES AD SALES, TRAFFIC FOR TENNIS CHANNEL


Br oad w ay Systems, the leading pr ovider of adver tising mana gement softw ar e for ca ble networ ks, announced that Tennis Channel is now using Br oad w ays end-to-end softw ar e platfor m to manage ad sales, tr af fic, and pr ogr amming at its headquar ter s in Santa Monica, Calif., for Tennis Channel and Mnet America, a U.S.-based networ k that featur es Asian pop cultur e enter tainment. Tennis Channel is using Br oad w ays Tr af fic and Finance, Sales Planning and Pr oposal, and Pr o gr am Mana gement softw ar e modules. Dean Hadaegh, senior vice pr esident of tec hnical oper ations and c hief tec hnolog y of ficer of Tennis Channel, said the staf f has embr aced the ne w system. Inter de par tmental wor kf low is eased as the modules ar e fully inte gr ated, he explained. Hadae gh has been pleased with Br oad w ays
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up-to-date tec hnology, as well as its fully integr ated module for cr eating and mana ging ad sales pr oposals. It is the most complete end-to-end br oadcast mana gement system integr ating ad sales deal mana gement, tr af fic, master contr ol interf ace, automatic lo g r econciliation, and ad sales invoicing and A/R, Hadaegh added. B r o a d w ay s i n t e g r a t e d , m o d ul a r a p p r o a c h helps Tennis Channel and other cable networ ks impr ove the management of day-to-day acti vities between de par tments, said John Sor ensen, pr esident of Br oad w ay Systems. Our platfor m w as engineer ed to manage all adver tising business, fr om sales to collection, with a single data base for mor e ef ficient perfor mance. For more information, visit: www.broadwaysystems.com

THE COVE CHURCH UpGRADES TO HD PRODUCTION WITH BROADCAST PIX GRANITE 5000 VIDEO CONTROL CENTER
Broadcast Pix announced that The Cove Church in Mooresville, N.C., is using a Granite 5000 2 M/E Video Control Center to produce image magnification (I-MAG) for its congregation during services, as well as simultaneously stream its services live on the Web and share the live video feed with three campuses across the state. The church began using its new system in mid-October. Attendance at the main campus in Mooresville, a suburb of Charlotte, averages 3,800 over its four weekend services, with another 900 attendees spread across its North Carolina campuses in Newton, Statesville, and Cornelius. When the churchs aging SD video system needed to be replaced, church officials decided to transition to a full HD production workflow. We wanted to give our campuses the absolute best quality image, said Greg Antisdel, director of production. The Cove Church purchased its Granite 5000 from ClarkPowell in Charlotte, N.C., but designed and installed its own HD infrastructure. The upgraded control room is housed backstage in a room large enough to accommodate up to eight volunteer production team members. Antisdel

said the video production team gives people the opportunity to serve the church and help share its message. Using Granites 2 M/E capabilities, the church produces two very different productions. The I-MAG production is designed for the local audience, while the Web/satellite campus version resembles a broadcast production, complete with an announcer, wider shots of the service, and shots from a camera on a jib. Our goal is not to be a TV production, Antisdel explained, but to help you feel the venue and feel like youre part of whats going on. The Fluent Clip Store is used for a countdown video before services and a message intro, as well as life story videos that are sometimes integrated into services. Antisdel said Fluent Macros were designed for some tasks, so a volunteer TD who operates the system maybe once a month does not need to be particularly skilled at switching to get professional results. Fluent-View, the built-in, customizable multiviewer, populates all sources on two Sharp 70-inch LEDs in the control room. The built-in Fluent workflow tools, as well as its overall cost effectiveness, made Granite the ideal choice for the Cove Church. I looked at other switchers, and I still kept coming back to Broadcast Pix. I like the platform, Antisdel said. For more information, visit: www.broadcastpix.com
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viewer is introduced to many words, one or more related phonics rules and many video illustrations of the words. Sanger credits Shutterstocks extensive image and footage library and their smart search technology with bringing the words to life for the student. I was able to quickly access a variety of imagery to illustrate all the words in Reading Bears vocabulary, says Sanger. Their wide selection is a major advantage. For projects such as this, we needed a tremendous amount of footage. With Shutterstocks low cost, gathering multiple selections is not a problem. At Shutterstock, were all about providing our clients with the ability to open up the visual elements of a project, whether its an independent film that for budgetary considerations cant go on location, or a project such as Reading Bear that relies on visuals to suppor t their lessons, says Ben Pfeifer, Vice President of New Business at Shutterstock. To fulfill that promise, we are always adding a variety of new and dynamic clips to our extensive library. It is the variety that sold Sanger on Shutterstock. In illustrating bat for example, we needed images to suppor t the two meanings of the word, Sanger explains. I found many videos, including one of an animal flying around at night, where I could clearly see that it was a bat. It gave an accurate notion of what bats look like. In addition, I also found a perfect video of a boy swinging a baseball bat. When Sanger began searching for footage to illustrate a gorilla, his quest was to locate footage that would put the image in a non-threatening context. It didnt surprise him that one of the clips he found not only showed the gorilla in his jungle habitat, but also gave the viewer a sense of body size and configuration that would not frighten a young viewer. With this Shutterstock footage, the student will get a sense of the word gorilla, including what gorillas look like and where they live, Sanger explains. For more information, visit: www.shutterstock.com

WIKI CO-FOUNDER CHOOSES SHUTTERSTOCK FOOTAGE FOR READINGBEAR.ORG


Shutterstock, Inc., a leading provider of high-quality stock footage, recently supplied ReadingBear.org with 1,400 stock footage clips for an exciting new website that teaches children phonics and vocabulary for free. The website, a project of WatchKnowLearn.org, was created by Wikipedia co-founder Dr. Larry Sanger. Utilizing their innovative method, ReadingBear.org pairs words with pictures and videos. In each presentation, the

best available hands down. The range of images are key to our use, she adds. In the beginning, I would tag team with my sister. We would have an idea that we wanted to tackle wildlife so, we would go to www.shutterstock.com and look for, say, gorilla footage or find great ocean footage of turtles and sharks. We would then gear our writing to these images.

When in need of images of people in a busy city, Shutterstocks footage from London fits their needs. The time-lapse selection we used denotes a crowd, and is often used to show people coming together to solve a problem. The Arinellas mission is to present their material in a positive and non- threatening manner, even when talking about delicate issues. Sometimes we run into problems with certain topics or content, Alicia says. It becomes a problem when someone is in the shot. When we talk about breast cancer, for example, we dont want the person to appear to have breast cancer. In situations like this, well often use something like people gathered around a microscope, working to find a cure. Sometimes we do go for the dramatic, she adds. When we want to make a statement, we find that Shutterstock has some pretty dramatic editorial-based and intense footage - from urban poverty to the slums of Brazil - and everything else. The images are always impactful. On the Leesh Productions even uses Shutterstock footage of a spinning globe to introduce every video in What You Can Do. It is our opening, our closing, and in our promos, Alicia Arinella says. Were so glad that we found Shutterstock, when we started doing this series. From now on, their footage will appear whenever we need stock to enhance any project we do. For more information, visit: footage.shutterstock.com

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SHUTTERSTOCK FOOTAGE POWERS THE SUCCESS OF WHAT YOU CAN DO


Sisters Jessica (Creator/Producer/Writer) and Alicia (Executive Producer/Director/Editor) Arinella have set out to prove that you can change the world in one minute with their highly successful series What You Can Do. To date, through their company, On the Leesh Productions, they have created over 300 episodes of compelling stories of people and organizations making a difference. Each episode is supported with unique Shutterstock footage. When we began the series, we knew stock footage would be crucial to support our range of stories, says Alicia Arinella. When I discovered Shutterstock, I immediately wished Id known about it for other projects. They simply have the best selection. The cost, customer service and terms of use are the
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Eventually, the team became confident that Shutterstock would have everything they needed, and putting together each story was easy. There are so many examples of how Shutterstock has really come through for us, Alicia says. One day we needed a clip of a lion and a cub, she recalls. For us, it was important that the shot not be in a zoo. We found footage of a lion on a hill, where a cub nudges him with his head. It was not only a great protect-the-wildlife shot, but it has also become a sort of money shot for us. It does a variety of things, including introducing our promos. When searching for elements to support their segment on energy, the team easily found a low-angle of moving clouds with energy generating windmills. Now, anytime we talk about green power, something that is coming soon, or to highlight alternative modes, Shutterstock images are prominent.

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LISTEC PROmpTWARE TELEpROmpTERS ADDS 58mm SUppORT
The Tiffen Company, a leading manufacturer and distributor of award-winning accessories for the still imaging, video, motion picture, and broadcast markets, announced that its Listec Promptware PW-04 Teleprompter product line now supports lens sizes up to 58mm. The Listec Promptware PW-04 turns any iPhone, iPod Touch or Android Phone into a professional prompter. Fast and simple to use, the PW-04 is a perfect match for todays popular small video cameras, compact HDRLS and Mirrorless cameras. Ideal for corporate training, small productions, presentations, interviews, blogging and YouTube videos, the PW-04 is complete with case and Bluetooth remote control. The lightweight Teleprompter quickly attaches to the camera lens.

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NICKELODEON LATIN AmERICAS 11 11, EN MI CUADRA NADA CUADRA, SHOT IN MIAmI WITH LITEpANELS
When the independent SOMOS Productions was signed on to produce Nickelodeon Latin Americas original teen novella 11 11, En Mi Cuadra Nada Cuadra it outfitted one of its Miami area studios entirely with the new Litepanels tungsten balanced LED lighting fixtures. That studio has six standing sets, all completely lit with Litepanels LED tungsten fixtures, said John Tar ver, director of photography and lighting designer for the Nickelodeon project. Were using a combination of the Inca 6 and Inca 4 Fresnels, and the 1x1 panels. All the fixtures are on DMX control. On an adjacent studio, which is predominantly lit with tungsten halogen fixtures, Tar ver uses Litepanels tungsten 1x1s as problem solver s. Because of their small size and ability to fit into small spaces, the 1x1s come in handy on that set. Weve been using them quite successfully mixed with the normal tungsten units. Tar ver said there is a big difference between the two studios when it comes to cooling them. Cer tainly in Miami, with the heat and humidity here, its much easier to keep the all-Litepanels studio cool with the air conditioning because the LED fixtures dont generate any heat at all.

Though the studios are lit to a tungsten color balance, Tar ver has found himself incorporating some daylight fixtures for cer tain effects. One is the Litepanels 1x1 Bi-Color, a flood fixture capable of varying color balance from daylight to tungsten. The Bi-Colors have been great, especially because we use them a lot to do the day to night transition. Their ability to shift from tungsten into blue allows them to give us a nighttime look. And then we use them to illuminate someones face to look as though the light on them is projected by a computer screen. We also use Litepanels Croma, a small, battery operated, color-agile light, for a lot of our computer screen effects. When Somos placed its Litepanels order, they included two of the companys high-output Hilio fixtures. Theyre amazing, amazing lights, said Tar ver. In some ways theyre the most revolutionary of all the lights that weve been using because they add a tremendous amount of pure daylight for units that are lightweight, dimmable, very easy to handle, and use almost no power. In fact, we recently had an interesting use of the Hilio. We needed an effect for a lightning storm. Because the Hilios are very bright in daylight, and also because they have a very quick response time, by just flashing them on and off weve been able to use them almost like a small lightning strike strobe. Were getting a very convincing lightning effect. One
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par t of the story has a hurricane approaching, and then theres a power outage so all of our lights go out. We placed two Hilios with the light coming through the windows on the otherwise dark set. Then we flash them so the lightning strike comes through the windows. Though 11 11 is predominantly shot in the studios there are scenes that are shot outdoors on location. Tar ver sings the praises of the Hilio in outdoors use as well. In one of our first episodes, we shot on a luxury yacht here in Miami harbor. It was a very high-end boat, and the Hilios were invaluable because we were able to use them on the interior without having to worry about burning the expensive upholstery of the boat. They gave us enough light to balance out against the bright Miami light on the exterior. The yacht scene took place with the boat tied to the dock, where abundant shore power was available. But Tar ver pointed out that the energy frugal 115W draw of the Hilios could easily have been handled at sea by the yachts electrical system, or by battery packs. With the ambitious first year shooting schedule required to finish 70 one-hour episodes of 11 11, En Mi Cuadra Nada Cuadra, Litepanels tungsten and daylight balanced LED fixtures have pulled their weight for Somos Production. For more information, visit: www.litepanels.com

Listec Promptware PW-04 Feature Highlights Easily readable up to 10 feet Easy to assemble no tools required Lightweight andcompact Weight 0.6lbs (0.27kg) Full script speed control with Bluetooth QWERTY keyboard wireless remote Fits cameras with 58mm, 55mm, 52mm, 49mm, 46mm, 43mm, 40.5mm, 37mm or 30.5mm threaded lens Folds flat for easy transport Adjustable cradle holder: Max. length: 4.9 (126.9mm) Max. width: 3.2 (81.3mm) Min. width: 1.9 (49.8mm) 60/40 Trapezoidal mirror with glass removal tool Complete package includes compact ABS hard case 1 Year warranty: register online for 2 Years (excludes mirror) The Listec Promptware PW-04 supports the following popular video cameras: Consumer: Sony HDR-CX700V, HDR-CX560V, DCR SX45, HDR-CX130, HDR-CX160/B; Panasonic HDC-TM900K, HC-V700M, Canon VIXIA HF M50, VIXIA HF M52, VIXIA HF M500 Professional: Sony Professional HVR-A1U, HDR-FX7, HVR-HD1000U, HVRA1U, HXR-NX70U, HXR-MC50L; JVC GYHM150U, Panasonic AG-HMC40, AG-HMC80 3MOS. For more information, visit: www.tiffen.com

OCONNOR CAmERA AND LENS ACCESSORIES IDEAL FOR BLACKmAGIC CINEmA CAmERA
OConnor, par t of Vitec Videocom, a Vitec Group company announced that its family of lens controls and camera accessories are perfectly compatible with the Blackmagic Cinema Camera. A key to the OConnor accessory family lies in its universality. Each of the OConnor accessories from the Universal Camera Baseplate, O-Focus Dual Mini Follow Focus, O-Box WM Mattebox to the O-Grips handgrips, works right out of the box, to line up and interface seamlessly with the Blackmagic camera. The Universal Camera Baseplate adapts small to medium size digital cine cameras including the Blackmagic, to standard professional accessories. It provides a sturdy camera platform that allows optical axis centering of the lens to the correct rod measurement. In addition to providing a platform for OConnor accessories, the Universal Baseplate solves the issue of tripod baseplate shift caused by the cameras single -20 threaded tripod mount tap because it provides the option of raising the 15mm rods upward for two additional points of contact, resulting in a more solid camera base. Also a perfect fit for the Blackmagic is the O-Focus Dual Mini, a compact, double-sided, direct drive follow focus unit optimized for both still and cine-style camera lenses. The Blackmagic Design camera is available with either an EF or Passive Micro Four Thirds (MFT)

lens mount for still lenses. While cine lenses generally provide 300-degree rotation of the focus ring, still lenses are often limited to about 60 degrees. However, OConnors O-Focus M Photo Set provides a 1:0.75 transmission ratio, for more precise lens control. Additionally, OConnors hard-stop mechanism, allows the user to create the desired hard stops. For light control and filtering, OConnors O-Box WM provides a two-stage mattebox designed around the 16:9 format full-size sensor. The wide-angle system accommodates lenses up to 18mm (or in some cases wider). The O-Box WM can hold a pair of 4 x 4 or 4 x 4.65 glass filters, one of which can rotate, and a bellows ring for a 138mm round. Finally, for handholding the Blackmagic Camera, OConnor provides two choices. The OConnor O-Grip package incorporates a Rod Bridge, which fits all three common rod systems: Studio 15mm, 19mm and Studio LWS 15mm. Alternatively, the O-Box Mattebox WM has integrated handgrip interfaces on which O-Grips can be conveniently attached. In either configuration, O-Grip handle modules can be stacked and even clamped in a full hemisphere. Due to their universality, OConnors accessories offer a versatile system, ready to work with Blackmagic or the next new camera innovation. For more information, visit: www.ocon.com

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NEW PROdUCtS
LIGHT IRON OpENS NEW YORK OFFICE
Visionary L.A. Company Acquires OFFHOLLYWOODs Post Production Operations Light Iron a post production leader specializing in on-site dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras has expanded into the New York market, acquiring all post-production facilities and resources ofOFFHOLLYWOOD, located in the Soho district of Manhattan. Terms of the transaction remain confidential. OFFHOLLYWOOD is known in New York in the same way that Light Iron is known in Los Angeles as a leader in emerging technologies and expert workflows that are changingeverything about motion pictures, saysLight Iron CEO Michael Cioni. Its founders Mark Pederson and Aldey Sanchez have built an impressive company that fully comprehends and embraces file-based workflow across production and post. As Light Iron absorbs OFFHOLLYWOODs post production operations, we will push capabilities even further by bringing new talent and new technologies that the New York television, feature, and fashion markets havent yet experienced. With the acquisition of OFFHOLLYWOODs facility located on the eighth floor of 580 Broadway,Light Iron NYis open for

CAMERA SUppORt
business immediately, featuring a premier DI grading theater, DI grading suites, a digital lab, and archive center. Cioni is relocating to New York to oversee the new operations. OFFHOLLYWOOD will continue as a production service company, expanding its camera rental and support operations on the fourth floor of the same building. In addition, OFFHOLLYWOOD will be the New York regions exclusive provider of Light Irons award-winning OUTPOST Mobile Systems. Light Iron is perfectly positioned to make a serious impact on the New York market - they have built a formidable West Coast presence and have continued to innovate and lead while many post companies have downsized, saysOFFHOLLYWOODs CEO Mark Pederson. We have reached a new era in production, where no camera package is complete without a tested post workflow. With this transaction, OFFHOLLYWOOD has access to both Light Irons Mobile Systems and their expert team, so we can equip our clients with the most advanced technologies and resources available anywhere. Light Iron and OFFHOLLYWOOD have intersected numerous times, as the principals of both companies were among the earliest adopters of file-based workflows when many in the post industry were highly critical of tapeless acquisition. Most recently, both companiessupported the featureTexas Chainsaw 3D, which led the weekend box office upon its release on January 4, 2013. OFFHOLLYWOOD provided cameras and stereoscopic 3D acquisition equipment and support, while Light Iron provided on-set data management, digital intermediate, and digital cinema mastering. Even though Light Iron is only three years old, high profile projects have contributed to strong and rapidgrowth. The company just opened a second Hollywood facility in September 2012 that is dedicated to its popular on-set OUTPOST services. Expanding to New York was an inevitable next step for Light Iron. Adds Cioni, I personally look forward to relocating to New York and bringing with me Light Irons unique blend of creativity and technology. Our mission is to enhance the creative process for the television, feature, and fashion markets by continuing to be the leading architect of modern production and post production strategies. As the director ofSaturday Night Lives Film Unit, client Rhys Thomasis looking forward to Light Irons move to his city. Ive traveled to Light Iron LA to pick their brain and experienced the talent they have to offer. Having the resources and ideas of Light Iron at home is going to be very exciting for the New York market. For more information, visit: www.lightiron.com

Creative confidence.

PEOpLE

ON THE MOvE
BROADCAST PIX WELCOmES STEVE ELLIS AS NEW CEO
Broadcast Pix announced it has hired industry veteran Steve Ellis as its president and CEO, effective Feb. 11. He will also be a member of the companys Board of Directors. Broadcast Pix co-founder and CEO, Ken Swanton, will remain actively involved with the company and on the Board of Directors. Ive experienced what it takes to succeed in this industry highly innovative products, happy customers, and strong sales and marketing, said Ellis. Broadcast Pix invented the professional integrated video production system and has thousands of happy customers all over the world. We will now increase our sales and marketing efforts, as well as build the partnerships necessary to bring this technology to even more video professionals. Since 2008 Ellis has served as vice president of Telestream, where he significantly contributed to the companys rapid growth, as vice president of sales and as vice president of emerging markets. He began his video career in the Air Force, Merrill Lynch and AT&T. In 1988, he became vice president and general manager of Editel Boston, a graphics house for broadcast and commercial film. In 1992, he co-founded SNNY, which sold video production equipment to high-end customers in the Northeast and was the top reseller for Pinnacle Systems. In 1999, he was hired by Pinnacle as its director of sales for the Americas, and was a key member of the team that directed the companys rapid growth and eventual acquisition by Avid. He then joined Vizrt as vice president of sales for North American operations. Broadcast Pix technology moves live production workflows into the future, with the highest level of end-to-end integration, Ellis added. We will dramatically extend this technology with some very significant announcements at NAB. Over the past decade, weve developed some great technology and built a very loyal and enthusiastic customer base, said Swanton. I am delighted to hand the baton to Steve, who is perfect for the next chapter of our growth. I am committed to helping him any way I can. For more information, visit: www.broadcastpix.com
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