Mobile TV is alive! - TVBEurope

Growth of
London shows
Continued from page 45
aggregate bandwidth of up to
210MB per second and supports
Sony SxS, Panasonic P2,
Compact Flash, SD(HC) and
SDXC cards. It has two slots for
each format (SD shares with SxS)
and can transfer data from two
cards simultaneously.
It will improve transfer speeds
for camera users who need to
back up on location, as one single
device can import files from up to
six cards at a time.
“Sometimes it takes a practical
device such as Qio to make the
most out of breakthrough technologies.
There’s no doubt that
tapeless recording and file-based
editing are revolutionary, but
there’s an irritating bottleneck —
getting data from the cameras to
the editor quickly and safely. Qio
is a really elegant solution,”
claimed Allan Leonardsen, director
of Holdan, its UK distributor.
The new three-in-one Teranex
Mini compact up/down/cross
converter and SD standards converter
“is an outstandingly high
quality and versatile format and
standards converter,” claimed
James Thomas, director of Engineering
at Preco, its UK distributor.
It can be used for realtime
SD/HD ingest to file-based editing
and playout systems. It provides
full proc-amp controls, handles
eight channels of embedded digital
audio and can be operated and
updated via browser-compatible
software. Features include: smart
4:3/16:9 aspect-ratio conversion;
PixelMotion de-interlaced format
conversion; multi-directional diagonal
filtering; temporal recursive
noise reduction; and per-pixel
video/film detection to ensure
correct output cadence.
Rear-panel connections include:
a BNC 10-bit SD/HD-SDI
1.485Gbps input with embedded
audio; a BNC SD/HD-SDI activeloop
output; and two BNC
SD/HD-SDI 10-bit 1.485Gbps
outputs with embedded audio.
iPad, iPhone and
Android prompters
Datavideo’s new TP-200 prompter
for Apple’s iPad is a rail-mounted
system that can fit a range of cameras.
It includes camera and tripod
support rails, hood and beam
splitter glass, but can also be fitted
under the lens for use with retroreflective
light rings.
It comes with software and a
wired controller for £330, and can be
fitted in both landscape and portrait
modes with mirrored or standard
text alignments. The iPrompt Pro
software can also drive external displays
using standard VGA or
Composite video cables available for
the iPad. The rig can also accommodate
Datavideo’s £375 DN-60
solid-state CF card recorder, which
can capture AVI, .mov or MXF
files, or M2T files for HDV
Light on the pocket: Morphy with
the new Tech Pro Filloni LED panel
camcorders. It currently connects by
FireWire, but there will probably be
an HD-SDI version by IBC.
The new TP-100 Smartphone
Prompter is similar to its old
iPrompter, but can be used with a
wider range of on-lens mounts,
and includes the wired remote. It
currently works with the iPhone,
but an Android app will be
launched at NAB. It costs £275.
Dedolight plays panel game
Tech Pro, the value brand of
Dedolight, launched a new 1x1
LED panel for budget production
at BVE. The 30x30cm Filloni
should sell for less than £450. It is
claimed to be twice as bright as
comparable panels, and will work
with NP or V-lock batteries. The
Colour Rendition Index is said to
be “in the 80s”, which is reasonable
for this type of light, although
Dedolight is working to improve
this in further versions. It will be
offered in daylight initially, with bicolour
and tungsten models later.
The 24-Watt panel will operate
between 5.8 and 16.8v, so it can use
common DV batteries, and includes
a dimmer that can be used remotely.
There will also be a DMX model.
“We’re getting about one-and-ahalf
hours on an F960 [NP] battery,”
said UK distributor David
Morphy, director of Cirro Lite.
“For a battery light, it’s better
colour than what’s out there. It’s not
going to create beautiful, film-quality
images. It’s for talking heads.”
Also new is the 1kW Dedolight
DLH1000T, which has double
aspheric optics “which makes it
more efficient than a comparable
1,000W light,” he claimed.
It will be available in three
versions: a 1.2kW HMI (the
DLH1200D); the DLH100T; and
an 80v 1,200W tungsten version
(the DLH1280T), which has a
much smaller low-voltage filament,
is more efficient optically, and is “a
nicer bulb to work with — it’s for
the purist.” These should be available
by early summer.
The new Paso from Visio is a
portable 100W LED light that
boasts output equivalent to
1,000W tungsten. Like the recently
introduced Minima, the Paso is
notable for its user-defined colour
temperature control. It has six temperatures
instantly selectable, with
each preset fully RGB adjustable,
which will save the need for filters.
“The Paso is the latest in a really
exciting series of LED lights. The
unit is very flexible — it will be at
home both in the studio and on location.
For any professional needing
bright, cool, reliable lighting, the
Paso is a Godsend. We think it’s
going to be very popular for lighting
interviews or any production that
needs fast but highly controlled illumination,”
said Nick Allen-Miles,
MD of Ianiro UK, its distributor.
The Paso has good colour
fidelity, with a CRI in excess of
90%, and costs £999. It includes
built-in DMX control, and its
power consumption is a modest
0.6 amps, which will apparently
allow it to run off a typical professional
battery pack for days.
www.atomos.com
www.canon-europe.com
www.datavideo.info
www.dedoweigertfilm.de
www.ianirouk.com
www.jvcpro.eu
www.preco.co.uk
www.pro.sony.eu
www.sonnettech.com
www.teranex.com
The globalisation
of post
Continued from page 44
“This is the only business we know
and the only business we understand.
“What we are doing is value
engineering the post business. We
have to find a business model that
works. As long as you have a
brand and can attract the market
share you have a good business.
“But you might not need
10,000 square feet any more,” he
cautions. “Your creatives might
need to adapt the way they work.
The old days of creative stars have
gone: you have to realign business
logic, while still giving them the
tools they need.”
Surely one area where business
logic fails is the location of post
houses in expensive real estate in
the centres of cities. In London
and the other European centres of
post production this is compounded
by the historical buildings
into which modern facilities
have to be fitted.
“We can talk about this as
much as we want, but there is a
certain method in the madness,”
he responds. “Soho is where
TVBEU RO PE NEWS & ANALYSIS
Electric dolly for fume-free filming
Off track: The new Flyka Electric Dolly in use in Manchester
By David Fox
The new Flyka Electric Dolly is
the first product from a new
company, and was developed
by photographer/cameraman
Tony Holker, who broke his leg
in 2008 and used a disabled
buggy for filming.
“The smooth ride from a disabled
buggy was a great platform
to film from. I researched
and researched to see what else
was out there, but there seemed
to be nothing, so I set about
developing a prototype. Five
prototypes later, I now have
number four and five developed
into working, conceptual vehicles
for filming and the reaction
from the industry has been
superb,” explained Holker.
The Flyka should save
many hours by making it simpler
to set up shots, while no
time will be wasted laying
track. Users will also be able
to record sound during filming,
despite using a motorised
Dolly. Hire costs are £500 per
day (£200 for the first day new
clients) or £1,800 per week, and
future models are being developed,
including lighter vehicles,
jib cranes, all terrain capabilities,
and remote control.
Other benefits include:
being able to do forward or
backwards tracking shots without
track coming into shot;
doing long shots without having
grips getting tired pushing
a dolly back and forth; no
down time needed while a
Steadicam operator recovers;
the ability to create very slow
moving Steadicam shots without
footstep jerks; plus variable
speed and constant speed from
0 to 8mph.
www.flyka.tv
people want to work: this is the
established place. I really do not
see that changing soon.”
He reinforces the point by
talking about a new film effects
house they are constructing — in
central London. It is the companion
to a new visual effects house
in New York, on Hudson Street in
the heart of Manhattan. While
Prime Focus has had a dramatic
impact on the post industry —
and is continuing to look towards
expanding the geographies it
serves — clearly taking the clientfacing
suites out of the traditional
locations would be seen as a step
too far.
www.tvbeurope.com MARCH 2011 47