CMOS - Visual Imaging News

VIsUAl ImAgINg NEws
for professional filmmakers
IN
FEATURED
1ALEXA Goes Underwater
with Captain America
Page 8
2The World’s First
Underwater 3D Camera
System Shooting in 5K
Resolution.
Page 34
3The new Glidecam iGlide
transforms ‘Smartphone’
Video into Hypnotically
Smooth, Professional
Footage.
PAGE 36

From The
Publisher’s Desk
Sometimes, I repeat myself. One statement I constantly
repeat is the simple fact that “ I love my work and I love
this industry”. The reason I love this industry is it is packed
with the most creative, fun-filled and energetic thinkers that
I have ever had the privilige to learn from, and grow with.
So now, it is with great excitement that I come to this new
chapter in my career. After being a” jill of all trades” for a
few short years in production, many of you know that I went
onto have a long and fruitful career at Lowel-Light - (dare
I date myself...) beginning in 1979 and ending in 1993.
From there, some different venues all within this industry
- including creating and producing “The New York Cine
Equipment Show” in 2005, with “The Miami Cine and Digital
Show” shortly thereafter. As the story goes, things happen
and I moved on to the magazine world and “learned that
poem” regarding publishing. Big Wheels keep on turnin’,
I am now as committed as I was 1979 to seeing that we
make this incredible idea a reality.
Being a part of Visual Imaging News will not only give you
broad exposure, but it will help you increase sales and market share. It will generate leads for you as we create an
educated user base. New product releases will be presented monthly along with press releases.” How to articles” will
educate as well as sophisticate. We will constantly work on building alliances. With the myriad of people in this industry
stepping up to support technology and it’s growth, I once again encourage everyone to take a look at Visual Imaging
News and it’s own efforts in building this industry, in supporting it’s creative entrepreneurs and industry influencers, be
they crew, manufacturers, independents, studios, or retailers.
I once again say, “that positioning is the sweet spot of our market and allows smart companies to connect with smart
consumers”.
Remember, every face, every voice, every new concept is as important as the one that came before, and the one’s that
will follow.
Rollin’ on the River...................
Amy M. Carter
Amy M. Carter
Publisher
2 Visual imaging news
publisher
Amy M. Carter
amy@visualimagingnews.com
executive editor
Marla Sternfeld
marla@visualimagingnews.com
ad sales
April Debears
april@visualimagingnews.com
creative director
John Carmichael
john@visualimagingnews.com
accounting
Florence Tropp
florence@visualimagingnews.com
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Table
oF conTenTs
Page 08
UNDERWATER WITH ALEXA: CAPTAIN AMERICA
Page 09
ALEXA SOFTWARE UPDATE 4.0
ALEXA IS THE ASTON MARTIN OF DIGITAL CAMERAS
Page 12
PIVOTAL POST EMPLOYS CODEX DIGITAL TECHNOLOGY
FOR NEW “MOBILE LAB” SERVICE
SMOOTHEE USED TO WIN TOP FILM PRIzE
Page 14
MIAMI RENTAL HOUSE MAR MEDIA COUNTS ON
OCONNOR 2575
DA-LITE SCREEN COMPANY RECEIVES RAVE BEST OF
INFOCOMM AWARD 2011
Page 15
FIRST EVER 3D MUSIC FESTIVAL COUNTS ON THE
SKqUATTRO
IMG’S NEW STUDIO RELIES ON SUPPORT FROM VINTEN
Page 16
ONSIGHT IS NOMINATED FOR AN IBC2011 AWARD
Page 18
AJA FS2 DUAL CHANNEL UNIVERSAL FRAME
SYNCHRONIzER/FORMAT CONVERTER IS NOW AVAILABLE
FULL MOTION PRODUCTIONS TAPS AJA KI PRO AND
FS1 FOR THE 2011 NEW ORLEANS JAzz AND HERITAGE
FESTIVAL
Page 20
TELESTREAM EXPANDS LIVE WEBCASTING INPUT
CHOICES WITH WIRECAST 4.1 RELEASE
Page 21
TELESTREAM BRINGS NEW VANTAGE PRODUCTS TO
MARKET
Page 24
FROM THE CLASSROOM TO THE FIELD, ANTON/BAUER
ENSURES RELIABILITY FOR PHOTOGRAPHER LEE WHITE
SELF ENCLOSED SUPER HIGH DYNAMIC RANGE
CHARTS
Page 25
TECHNICOLOR EXPANDS ITS POST PRODUCTION
CAPACITIES ON WEST COAST WITH THE ACqUISITION OF
LASERPACIFIC
TECHNICOLOR TO DELIVER TELEPRESENCE SOLU-
TION FOR FUTURE COMCAST HD VIDEO CONFERENCING
OFFERING
LECTROSONICS RELEASES 64-BIT COMPATIBLE
FIRMWARE FOR DM SERIES AND VENUE
Page 26
FARGO TV STATION INSTALLS LITEPANELS IN THEIR
NEWS STUDIO
NEWTEK TRICASTER TO PRODUCE AND STREAM
THE 2011 MISS TEEN USA® PAGEANT PRESENTED
EXCLUSIVELY ONLINE
Page 29
BLACKMAGIC DESIGN RELEASES PUBLIC BETA OF
DAVINCI RESOLVE 8.0.1
LONDON’S DELUXE 142 IS POWERING UP WITH
DAVINCI RESOLVE GRADING SYSTEM ON LINUX
aDVerTiser’s inDex
aJa
PAGE 19
arri
PAGE 10-11, 13
angenieux
PAGE 17
auToDesk
PAGE 35
blackmagic Design
PAGE 39
eFilm
PAGE 5
FleTcher camera & lenses
FRONT COVER, 40-43
FoTokem
PAGE 27
gliDecam
PAGE 5
JVc
BACK COVER
4 Visual imaging news
MENAGE A TROIS: PS-FREESTYLE RIG AND ALEXAS
PS-FREESTYLE MAGIC SUPPORT
Page 30
ASSIMILATE SHIPS SCRATCH LAB DIGITAL LAB APPLI-
CATION ON MAC OS X AND WINDOWS
Page 32
PHOTOGENIC PROFESSIONAL LIGHTING LAUNCHES
NEW LIGHTING KITS DESIGNED TO MEET THE NEEDS OF
TODAY’S PHOTOGRAPHER
Page 34
DEEP ATOM: THE WORLD’S FIRST UNDERWATER 3D
CAMERA SYSTEM SHOOTING IN 5K RESOLUTION
AUTODESK ACqUIRES PIXLR
Page 36
MATTHEWS STUDIO EqUIPMENT EXPANDS EXPANDS
DISTRIBUTOR OF DC-SLIDER FOR ASIAN FILM AND VIDEO
PRODUCTION COMMUNITIES
GLIDECAM INDUSTRIES, INC. INTRODUCES THE
GLIDECAM IGLIDE SMARTPHONE MOUNT
Page 36
CHIEF EARNS AWARDS FOR BEST NEW AV SOLUTIONS
Page 38
ANTON/BAUER KEEPS DOC AJAY JOHNSON FILM AND
VIDEO IN ACTION
FOTOKEM’S KEEP ME POSTED ADDS THIRD NUCODA
FILM MASTER TO ITS LINEUP
Page 39 - 42
DIGITAL CAMERA COMPARISON CHART
newTek
PAGE 22-23
Panasonic
PAGE 6-7
sony
PAGE 31

new ProDucTs
camera suPPorT underwater
8 Visual imaging news
with alexa:
captain america
CAPTAIN AMERICA: THE FIRST AVENGER opened over the
weekend in the U.S., making the action-packed release the
biggest box office earner for a super hero film this year.
Directed by Joe Johnston and shot by Shelly Johnson, ASC,
CAPTAIN AMERICA was mainly shot on Panavision Genesis
cameras, however production was also able to attain one of
the first ALEXA models available for the underwater scene.
During a chase sequence where the newly enhanced super
soldier Steve Rogers (played by Chris Evans) pursues
a man underwater, the crew was tasked with using the
new camera system. The A-camera, first assistant on the
main unit was Julian Bucknall, while Ryan Taggert served
as digital transfer technician. Here, they tell ARRI in their
own words about this exciting portion of the shoot.
“Our reason for shooting on ALEXA for the underwater portion
of CAPTAIN AMERICA was the availability of the underwater
housing. Hydroflex had just completed their new housing
for the ALEXA. As no housing was available for the Genesis,
our DP Shelly Johnson, ASC decided to use the ALEXA.
For many of our crew this was the first time working
with the camera. At short notice, MovieTech Camera
Rental House supplied the ALEXA. Kevin Allen, from
Panavision joined us to supervise the underwater housing,
as Panavision were servicing the job. Russell Kennedy
was our ‘in water’ camera technician to assist our A
camera focus puller Julian Bucknall, who controlled the
camera from the surface. With only a day to prep the shoot
because of availability of equipment, we were pleased
to find it easy to adapt to. Our main concern was heat.
Spending more than an hour at a time within the housing
underwater on a hydro head, we were concerned
that the temperature within the housing would build
quickly and were pleased to find this was not the case.
Being underwater the images coming from the camera
were unique within the movie so it’s hard to compare with
the bulk of the material shot on the Panavision Genesis with
Primo lenses. The only change we had to accommodate
was that the movie was shot using Panavision SSR (solid
state recorders) and DPX frames were created on set from
the uncompressed video. Ryan Taggart, our ‘digital’ 2nd AC
was managing this process on CAPTAIN AMERICA. No 4:4:4
dual link out being available from the camera through the
housing to allow us to feed our recorders, meant we chose
to record on board to the camera’s SxS cards in ProRes
4444 codec. Ryan delivered these ProRes 4444 files to

new ProDucTs camera suPPorT
editing where they were introduced into the workflow.
The production not only mixed Panavision Genesis as the
main camera with ALEXA, but additional bodies included
the ARRIFLEX 435 and 235 to capture the many explosions
on celluloid. Captain America will return in next summer’s
blockbuster THE AVENGERS, currently in production
on ALEXAs and shooting ARRIRAW for director Joss Whedon
and DP Seamus McGarvey BSC, ASC. You can catch the
AVENGERS teaser following the credit roll of CAPTAIN
AMERICA, in theaters now.
For more information, visit: www.arridigital.com
alexa software update 4.0
The ALEXA Software Update Packet (SUP) 4.0 provides a
number of new features and improvements for both the
ALEXA and ALEXA Plus models, based on our own R&D
as well as feedback from film and television professionals
working with ALEXA in the field. Epitomizing ARRI’s ongoing
commitment to future-proofing the system platform
and delivering lasting value to our customers, SUP 4.0
further enhances ALEXA’s already impressive versatility
and usefulness.
New Features Overview:
Custom looks through ARRI Look Files
Audio playback from SxS PRO cards
Auto white balance
Anamorphic de-squeeze in EVF-1 and on MON OUT
Peaking focus check in EVF-1 and MON OUT
False color exposure check for Log C images
EVF zOOM target position
Compare stored image from SD card with live image
RETURN IN video
Operating time counter
SD card formatting in camera
EVF zOOM and EXP buttons are now latching
SxS recording can be turned off
More silent operation at higher ambient
temperatures
‘Rec Low’ fan mode for silent operation in
extremely hot environments
V-mount battery adapter update
For more information, visit: www.arridigital.com
the alexa is the aston
martin of digital cameras.
Renowned digital guru Philip Bloom represents a new
breed of cinematographers. By continually testing and
embracing new digital technologies while maintaining a
hugely informative web presence and hosting workshops
all over the world, he has become a highly influential figure
in the world of digital filmmaking. An expert in all types of
digital cameras, from small form factor models and DSLRs
to high end cinema cameras, Bloom is uniquely attuned to
the needs of real world users and capable of identifying
the strengths and weaknesses of digital equipment very
rapidly. In recognition of this, ARRI in the UK recently lent
him an ALEXA for a weekend. Here below is his feedback...
The plan was grand. High concept; great location;
great actor; but as seems to happen a lot
these days, things went pear-shaped the day before.
ARRI were kind enough to let me borrow their wonderful
ALEXA camera for a weekend and I had lined up
a superb project to shoot on it, but as I mentioned
- it was not to be. Well, I wasn’t going to waste my first
time with the camera, so I decided to simply shoot
something on my own. Low concept; no actors; just
me - but a chance to get used to the ALEXA; I opted
to shoot a mix of indoor lit scenes at my home and
high contrast outdoor scenes at Dungeness in Kent.
The ALEXA is a cinema camera; that’s what it is designed
for and what it excels at. It produces 14 stops of latitude,
which is just exceptional for a video camera. Most cinema
cameras need a team to operate them - not the
ALEXA. It’s actually a really beautifully easy camera to
use, incredibly intuitive with one of the simplest and
most accessible camera menus I have ever seen. I shot
most of this project on my own; all the stuff inside my
house was just me. The dolly moves were done with a
Kessler CineSlider programmed with an Oracle controller.
I placed the CineSlider on my kitchen table and mounted
the ALEXA to the caddy. Ideally you would use a High Hat,
but I wanted the camera to be as close to the table as possible
so I mounted the camera plate to the caddy. Plugging
in the Oracle, I simply performed a real time slider move
using the joystick and programmed the Oracle to remember
it, leaving enough time for me to get in position before
it started! I did the same thing on the beach in Dungeness.
I shot everything at ProRes Hq using SxS cards; I also
shot it Log C, a super flat image that looks awful when
recording but you can monitor on the EVF and external
monitor in REC 709 mode without affecting the recording,
which makes it look much nicer. Don’t try and
shoot with Log C in your viewfinder - it’s horrible, but
the information you can pull out of it is simply amazing!
The little film isn’t much - just me getting used to the
camera. The challenge was to create a sense of misery
and finality through the images and sound design. If I can’t
tell a story through images then I’m not doing my job! This
piece shows you just how easy it is to use an ALEXA, and
it was my first time with the camera. There was no crew
apart from down on the beach; in the shot of me smoking
the cigar, I even pulled focus with my spare hand!
For more information, visit: www.arridigital.com or www.
philipbloom.com
9

WIDELY ACC EASYAND WORKFLOWS

ESSIBLE
Tapeless, effortless and efficient
No other broadcast or motion picture
camera bridges the gap between pro-
duction and postproduction as simply
and elegantly as ALEXA. By utili-
zing the Apple ProRes codecs, which
are the same high quality codecs
used natively by Apple’s Final Cut Pro
editing software, ALEXA offers the
most streamlined and cost effective
workflow possible.

new ProDucTs camera suPPorT
pivotal post employs codex
digital technology for new
“mobile lab” service
Codex Digital is currently providing digital laboratory and
related workflow technology to Los Angeles-headquartered
Pivotal Post to support its new Digital Mobile Lab service.
Pivotal Post, which supplies state-of-the-art editorial systems
to film and television productions worldwide, is using
Codex’s Digital Lab system as the hub of a new mobile
workflow for backing up digital camera media, processing
dailies and preparing deliverables for editorial and other
post production processes. The service, which is designed
to support the many film productions currently using
Codex recording technology, allows film and television
productions to perform on-set or on-location much of
the digital laboratory work that formerly required a post
production facility.
To oversee the new service, Pivotal Post has hired digital
workflow specialists Craig Mumma and Toby Gallo, both of
whom are former Codex employees.
“Digital workflows have made editorial a central part of
production, often in a near-set environment,” said Sarah
Priestnall, Codex Digital Vice President for Market
Development. “As a result, it is natural that Pivotal Post
should seek to extend the support it provides to its Avid
rental customers by supplying them with Codex equipment
and workflow expertise. We are excited to be a key part of
this new business initiative.”
Pivotal Post CEO Kevin Hyman said that the new service will
save productions money and allow editorial and other post
work to get started sooner—potentially within minutes of
completing a shot. “It is an ideal
solution for preparing dailies and delivering them to editorial,”
Hyman said.
“It’s a perfect hand-off—and Codex makes the best
technology for doing so. We couldn’t be happier with this
relationship.”
Pivotal Post has already used Codex Digital Lab systems
for on-set dailies processing for several productions,
including The Wettest County in the World. The company
expects to have six or more Digital Mobile Labs in operation
by fall.
Pivotal Post Partner and Chief Sales & Marketing Officer
Jeff Buchignani said
that he expects demand for mobile laboratory services to
grow quickly as more film and television productions move
to digital acquisition. “We are excited to be working with
Codex Digital as we seek to become the industry’s premier
digital lab service provider,” Buchignani said.
For more information, visit: www.codexdigital.com
12 Visual imaging news
smoothee used to win top
film prize
“We shot the film using a very ‘documentary’ style
process, which means we travelled around the cities
capturing anything that was suitable for the film. The
STEADICAM Smoothee was perfect because it allowed
us to get very smooth shots but was also lightweight
and small enough for us to carry anywhere”.
So says James W Griffiths, a highly talented director
and editor of short films, documentaries, music
videos and commercials, who has just won the
Nokia Shorts Competition 2011. Eight short-listed
filmmakers were given a budget of $5,000 to produce
a film and James’ film entitled “Splitscreen”,
based on two people in love, wowed the audience
at the Edinburgh International Film Festival.
The eight filmmakers came from the UK, Finland, Australia
and North America and had been short-listed from thousands
of applications, but the Nokia Shorts jury was
unanimous in selecting James’ thought-provoking film
as the winning entry and to win the $10,000 top prize.
This amazing production is a perfect example of how
the STEADICAM Smoothee can be used to smooth out
the shakes which would otherwise accompany such
shots on mobile devices. For many years professional
cameramen have used the market‚-leading $60,000
STEADICAM camera stabilizing devices for their handheld
shots and now this technology is available to
video enthusiasts. Each STEADICAM Smoothee comes
with a specific mount – choose from Apple iPhone4,
iPhone3GS, iPodTouch, or soon-to-be-released
GoPro HD HERO. The STEADICAM Smoothee has
been designed to work “out of the box” with minimal
setup by the user – just attach the camera mount to
your device and you’re ready to go! It is so easy to use.
The Smoothee lets you “fly” wherever the scene
takes you – up and down steps, indoors and outside,
through crowds – almost anywhere, with precise,
elegant control and ease. Each of the quick release
removable camera mounts can also serve as a tabletop
stand or can be mounted to any tripod with a
standard ¼” camera mount.
For more information, visit: www.tiffen.com

ARRI is proud to acknowledge innovative filmmakers worldwide
who have positioned ALEXA at the highest level of cinematic capture...
...and our best is yet to come
www.arridigital.com
Truly Truly cinematic cinematic
Roger Deakins, BSC, ASC
“Having worked with the ALEXA for the past four
months, I can say that the camera is a revelation!“
Rob Legato
“Not only is it the best digital camera on
the market, it is now the best motion picture
camera in the world.“
Vilmos Zsigmond, ASC
“ALEXA simplifies digital cinematography
at the highest level. It‘s light, fast, dependable
and it saves time in postproduction.“
Claudio Miranda, ASC
“I love this camera” - shooting Life of Pi
in 3D now.
Robert Richardson, ASC
“The depth and quality of image far exceeded
my expectations - an invaluable tool in the
arsenal of filmmaking.”
Darius Khondji, AFC, ASC
“I like the ALEXA very much; I feel closer
to this camera than I have to any other digital camera.”
Michael Ballhaus, BVK, ASC
“The ALEXA has some special gifts that other
cameras don’t have, especially when you shoot
under very low light conditions.”

new ProDucTs camera suPPorT
miami rental house mar
media counts on oconnor
2575
Miami Rental House Mar Media Counts on OConnor 2575
Florida rental house owner Mario Deas doesn’t cut corners,
even when it comes to support. “When someone
comes into Mar Media for their camera package and I hear
‘I need a fluid head’ – it goes without saying they are asking
for OConnor,” says Deas. “It is the industry standard.”
Deas should know. He spent 12 years in the field, traveling
and shooting. When HD came into its own and became a
viable alternative to film, he bought some gear and started
renting to friends. Recognizing a solid business opportunity,
he quickly built up his rental inventory, expanded his
client base and transitioned his company, Mar Media, into
a full-service digital cinema rental house.
“We’re a specialty shop in Miami with a good reputation
and loyal clientele,” he says. “We do everything from
high-profile music videos and commercials to independent
films. We’re gearing up for TNT’s NBA playoff promos at
the moment. And, of course, the most requested support
is OConnor.”
Deas can testify to the worth of OConnor heads from two
perspectives: operator and rental house owner. “As an
operator, it’s the way the OConnor 2575 feels,” he says.
“You know just how the drag works, you can push it just
hard enough to make the transition smooth. Other heads
have a very different feel. With OConnor heads, operating
just feels natural.
“From a rental house standpoint, it is OConnor’s longevity
and toughness that are key factors,” he continues. “Even
though those heads take a lot of wear and tear while out
in the field, they still perform and are an excellent return
on investment.
Deas finds another interesting factor about the OConnor
2575. Even though it was built to handle heavier cameras
like the Alexa and others, cinematographers and operators
are still requesting it when they are shooing with the new
five to ten-pound cameras. “You’d think they’d want to go
with a lighter head,” he says. “But often times they don’t.
If you pair other heavier heads with a small camera, it feels
like a spring in your hand. But, with OConnor, because
they counterbalance down to zero, you just dial back the
counterbalance and it works. There simply is no alternative
to the OConnor 2575 for me or for my clients.”
The OConnor 2575 is just one of the many products in the
OConnor range of fluid heads. It features stepless, ultrasmooth
pan and tilt fluid drag specifically designed to give
the user ultimate control and stability while shooting. The
head features OConnor’s patented sinusoidal counterbalance
system for true, accurate balance at any point in the
tilt range.
For more information, visit: www.ocon.com
14 Visual imaging news
da-lite screen company
receives rave best of
infocomm award 2011
Da-Lite Screen Company, the leading projection screen
manufacturer, was honored with an award from the
rAVe Best of InfoComm Awards 2011. Da-Lite is the
recipient of the Best New Screen Product award for its
DA-50 WA rear projection optical coating.
“With the tremendous growth in short-throw lens
projectors, this new coating from Da-Lite is going to
make a lot of people happy in solving a decade’s
old problem of hot-spotting and blooming - kudos
to Da-Lite!,” commented Gary Kayye, CTS, founder of
Kayye Consulting and publisher of rAVe.
At InfoComm 2011, Da-Lite Screen Company introduced
an expansion of its Polacoat line of rear projection
optical coatings with the addition of DA-50 WA.
Specifically designed for applications using high lumen
projectors in conjunction with short throw lenses, this
optical coating provides wider half-gain angles than
traditional coatings, reducing the incidence of hot
spotting.
The DA-50 WA coating is unique in its ability to offer a
high contrast tint to the projected image while maintaining
wide viewing angles. This coating offers a 0.5
gain and a generous 60-degree half angle. It is available
on the entire range of Da-Plex screens and with
Da-Lite’s full range of factory framing options.
For more information, visit: www.da-lite.com

new ProDucTs camera suPPorT
first ever 3d music festival
counts on the skQuattro
The Isle of Wight festival was the first UK music festival to
be broadcast live in 3D. The three day event took place
on 10-12 June with headline performances from Kings of
Leon, Foo Fighters and Kasabian. Critical to getting great
3D pictures was a new concept in tracking pedestals, the
Skquattro.
The Skquattro was initially developed by rental specialist
The Camera Store (TCS), Vinten’s sister company within the
Vitec Group. The original requirement came from the Royal
National Theatre, which called for the flexibility of a Vinten
quattro pedestal with the ability to move smoothly across
the floor of the theatre. TCS took the elevator section of
the quattro pedestal and mounted it in a specially-built
tracking skid which allowed the bottom of the column to sit
between the tracks. The result was a pedestal retaining the
unique one metre height elevation of the quattro, which
could move smoothly along tracks.
The coverage of the Isle of Wight festival was shot by
outside broadcast company Telegenic on behalf of Sky 3D.
Telegenic’s Eamonn Curtin takes up the story: “A 3D mirror
rig is much heavier than a conventional 2D camera so we
needed to find a way to take the weight. But it also had to
be familiar to the operator who was used to tracking shots
with a pedestal.
“The Skquattro is quick to put together and easy and
familiar to use,” Curtin added. “It gave the director the
shot, and was much more cost-effective than using filmstyle
grips.”
For the Isle of Wight festival the Telegenic coverage
used five Skquattro pedestals. Two were on a 30m track
immediately in front of the main stage, with a third on a
platform 35m back into the audience, on a 10m track. For
the second stage there were two cameras on Skquattro
pedestals, on a 15m track.
Tim Highmoor, general manager of TCS explained: “Most
multi-camera operators are familiar with the quattro
column so having the option to use the Skquattro on track
gives them another mounting that they instinctively feel
happy with. Working alongside grips, moving a large payload
pedestal on track, gives camera operators a new tool
in the locker to call on for OB’s and studio shows.’
The Skquattro for its next 3D job has already been booked
for the upcoming Harry Potter film premiere in Trafalgar
Square. Other bookings include the brand new ITV game
show, Jeremy Kyle’s High Stakes; Channel 4’s Style the
Nation; and the National Theatre Live’s production of The
Cherry Orchard.
For more information, visit: www.vinten.com
img’s new studio relies on
support from vinten
IMG Media, a division of global sports, fashion and media
company IMG Worldwide, has selected Vinten products for
use in its new London-based high-definition studio. The
latest IMG Media facility, which was created to serve a key
sports contract, is broadcasting live for up to six hours
a day and uses Vinten pedestals, tripods and heads for
smooth and flawless performance.
The studio was built to fulfil a commitment with Premier
League Productions, which broadcasts top-flight English
football to rights-holders worldwide. The service is offered
to broadcasters 24 hours a day and includes a mix of
studio-based output, including wraps around up to six
live football matches a week, regular news shows and
additional magazine programming.
The studio equipment includes three cameras mounted
on Vinten Osprey Elite pedestals, and a fourth on a Vinten
tripod, all using Vinten Vision 250 pan and tilt heads. The
Osprey Elite is a versatile studio pedestal, with a two-stage
elevation for on-shot movement of 770mm. With full crab
and steer facilities the pedestal moves freely around the
studio floor. The companion Vision 250 head combines
Vinten unique Perfect Balance with its innovative TF drag
system, allowing operators to set precisely the characteristics
with which they feel comfortable.
When Ben Tompsett, sales manager, Broadcast &
Production Services (BPS), was approached by IMG for
camera support, he instantly knew that Vinten was the
answer: “We’ve had a lot of experience with Vinten in the
past and we were confident that they could meet the brief
and deliver the reliable and accurate equipment needed
for this project”.
“As one of the world’s largest independent producers and
distributors of sports programming, our knowledge of
broadcast equipment is extensive and all of our studios
use Vinten tripods, heads and pedestals,” said Richard
Allingham, production manager, IMG Media. “With BPS’s
recommendation and our previous experience, I never
considered anything else for the new facility – they were
the natural choice.”
Peter Harman, product manager at Vinten, added: “When
a studio is in constant use, over long periods of time,
Vinten’s Perfect Balance is more important than ever.
Operators can line up a shot and leave it, confident the
camera will remain completely motionless in every dimension.
For a studio using modern lightweight digital HD
cameras and compact lenses, the Osprey and Vision 250
is a perfect combination: light, simple to set up and use,
cost-effective and 100% reliable.”
For more information, visit: www.vinten.com
15

new ProDucTs camera suPPorT
onsight is nominated for
an ibc2011 innovation
award
SGO is thrilled to announce that Onsight has been nominated
for the prestigious IBC2011 Innovation Awards for
the Stereo 3D post production of Flying Monsters 3D with
David Attenborough using Mistika. Produced by Atlantic
Productions for Sky 3D TV and IMAX, the project was
selected as one of the four finalists, in the Content Creation
category. The breath-taking programme also made BAFTA
history this year, being the first ever stereoscopic 3D
factual documentary winner.
“This really is an outstanding year for the IBC Innovation
Awards, with a very strong short-list,” said Michael Lumley,
chair of the judging panel. “We have flying monsters and
business graphics, news production and transmission networks,
motorbikes and online delivery. All show a real partnership
to identify the real issues and create an innovative,
practical and effective solution. The judges had a hard job
separating them,” he added. “The tension at the awards
ceremony, on Sunday 11 September, will be electric.”
CEO of Onsight, Simon Craddock, has been working at the
leading edge of technology for his entire career states: “I
feel proud for the Onsight team that we have been nominated
for this prestigious award. SGO’s Mistika has allowed
us to provide the best stereo 3D workflow solution in the
UK, and has revolutionised the way Onsight post produces
Stereo 3D, which is opening opportunities for film-makers
to create future exciting content.”
CEO of SGO, Miguel Angel Doncel, who has been applying
his expertise and knowledge in the industry for some time
now, by delivering innovative technology and solutions
for over 20 years, affirms: “As the entrant and Onsight’s
technology partner of the awards, we are honoured to
be a part of this well-respected accolade. This is a great
achievement in its own right, and SGO is very proud to
have played a key role in the Stereo 3D post production
at Onsight.” Miguel continues: “The close relationship
between our two companies means that we will continue
to meet the evolving needs of Stereo 3D throughout the
entire production process. SGO and Mistika will continue
to support Onsight in meeting the growing and complex
demands that Stereo 3D productions involve.”
With the team at SGO, Geoff Mills, Director of SGO
Global Sales & Operations, has successfully raised worldwide
awareness of Mistika’s ground-breaking real-time
Stereoscopic 3D capabilities and workflow to such a level
that Mistika has deservedly become a system of choice.
Geoff adds: “I am absolutely delighted that this momentous
project has received this recognition, which reinforces
the fact that Mistika is revolutionary and an award-winning
investment for creative and ambitious companies such as
Onsight. The SGO technology combined with its team, are
helping companies reap the rewards of their enterprising
and aspiring work by bringing efficiency, high quality,
advanced toolsets and reliability. With 3D rapidly gaining
momentum it is apparent that Onsight is well placed to
turn to for advice, products and solutions for the latest
sought-after format.”
As Onsight’s Chief Operating Officer, Andy Shelley concludes:
“I’m so pleased Flying Monsters has been nominated for
IBC’s Innovation Award, it is an acknowledgement of the
hard work that went into this ground-breaking project.”
This hugely ambitious project required the latest in technology
and resolution to bring to life a prehistoric world
with cutting-edge Stereoscopic live action and CGI images.
Atlantic Productions, Sir David and the team considered
Stereo 3D as a brilliant creative tool to transport the
viewer to a visually stunning prehistoric existence. The
complicated shoot and post production process boasted
a number of firsts with a bespoke workflow, designed by
Onsight, to deliver this multilayered project on time and to
budget. Filming began back in March 2010, and visited a
number of locations around the globe before returning to
London for post production.
At the heart of the post process was Onsight’s digital
lab and post facility. Credited with the most advanced
stereoscopic toolset, Mistika continues to define and lead
in Stereo 3D technology and was chosen by Onsight for
all the Stereo post production work in this landmark film.
Onsight networked two SGO Mistika systems together
to meet Sky and 3D IMAX demands with multiple-format
deliveries. Mistika’s flexibility, powerful capabilities and
management of RAW data file formats, improved workflow
efficiency delivering quality results within tight time-frames,
ensuring seamless, time-saving adjustments in real-time.
For more ifnromation, visit: www.misti-k.com
16 Visual imaging news
cine gear expo exhibitors
trust anvil!
Anvil walked the Cine Gear Expo on the Paramount
studio lot in Hollywood. While there we captured some
of the film and TV industries’ biggest players such as
Mole-Richardson, PRG and ARRI trusting their newest
and most expensive equipment with Anvil Cases.
For more information, visit: www.anvilcases.com

new ProDucTs camera suPPorT
aJa fs2 dual channel
universal frame
synchronizer/format
converter is now available
AJA Video Systems is now shipping FS2, its new universal
frame synchronizer and format converter with two completely
independent channels that support virtually any
input or output. FS2 can be used as two separate frame
synchronizers/converters, or channels can be combined in
a variety of ways -- all within a single, compact 1RU form
factor -- to support a wide range of workflows.
FS2 builds on the success of AJA’s FS1 by adding dual
channel features in a streamlined 1RU design at an
unprecedented price point. Each FS2 video channel supports
analog component or composite, 3G/HD/SD-SDI,
Dual-Link and HDMI I/O, as well as Optical Fiber I/O options,
and each channel has its own still-store, keyer, and video
proc amp/color corrector. With support for all broadcast
video formats in a single converter box, FS2 makes it easy
to match up disparate video and audio systems and is ide-
full motion productions
taps aJa ki pro and fs1 for
the 2011 new orleans Jazz
and heritage festival
Products from AJA Video Systems featured prominently
in the video infrastructure of the 2011 New Orleans Jazz
and Heritage Festival, held in April and May. Louisianabased
Full Motion Productions handled tapeless recording
of performances using AJA Ki Pro digital recorders for
archiving and streaming, and put multiple AJA FS1 HD/SD
ally suited for broadcast facilities, production trucks and
other multi-format production environments.
Jon Maudlin is director of operations and technology at
Fotokem Non-Linear, a global, family-owned, full service
post-production facility based in Los Angeles. He said,
“AJA’s FS1 has been a go-to device for us in post for a
long time. For more complex installs we add AJA products
for fiber conversion, HDMI and other tasks. We’re really
excited about FS2 because it brings all of that functionality
together into one rack unit that can handle pretty much
everything -- from audio delays to conversions to proc
amp, signal generation and more.”
FS2 can be used for a variety of video and audio signal
conversion, adaptation, timing and processing applications,
including:
Dual-channel 10-bit up/down/cross convert between
various SD and HD formats including 1080p50/60
General purpose dual HD/SD frame synchronization
Analog-to-digital and digital-to-analog audio/video
the past four years.
audio and video converters
to work supporting on-site
big-screen projection of live
performances on the main
stages.
The New Orleans Jazz and
Heritage Festival presented
by Shell is one of the worlds
largest outdoor music festivals,
featuring over 500
musical acts on 12 stages
and drawing an estimated
400,000-plus visitors. Full
Motion Productions has
been supporting the events
festival productions team for
“All of the main stages depend on AJA in some way,” said
Full Motion Productions co-founder Nate Page. “Last
year some of the stages recorded to tape and some to
Ki Pro. Because of how well that went, this year we went
completely digital with Ki Pro. We also use FS1s on all
stages to transcode signals and build a cable network to
feed the IMAG (LED walls), monitors and streaming feeds.
18 Visual imaging news
conversion
Mux or demux of two separate HD signals from one
3G SDI signal
Convert 3G/HD/SD video over fiber to/from SDI
(BNC)
Built-in video processing amplifiers to adjust and/
or color correct
Synchronize the timing of key and fill signals by
putting both through the parallel FS2 video channels
and adjusting their timing independently. Then key
them using one of the two FS2 keyers or an external
keyer.
Dolby(R) E encoding and decoding with full channel
mapping (available as an option)
FS2 is available through AJA’s reseller channel at an MSRP
of $4995 US. Also available are dual fiber options for $295
US and single fiber options for $195 US. Optional features
that will also be available for FS2 at a later date include
Dolby E encoding for $3895 US and Dolby E decoding
$2995 US.
For more information, visit: www.aja.com
We also use FS1s to down convert signals to SD where
needed, when we are we are working with one of our HD
systems.”
Highlights from Jazz Fest performances were streamed
on RollingStone.com via AEG Network Live. In addition to
delivering live streams, editors on site were able to take Ki
Pro drives and begin editing directly, without digitizing, to
cut pieces and promos that were streamed in a nearly-live
timeframe.
“The Ki Pro workflow is so much easier than recording
to tape,” said Page. “You get very high quality with Apple
ProRes, and you do not have to digitize. At the end of
the day it is easy to transfer the media to a consumer
hard drive and hand it off to the client. It is a much faster
process.”
He added, “FS1 is pretty much an industry standard at
this level of production. It is an amazing box that makes
our truck much more flexible and allows us to manipulate
signals, audio -- and do just about anything.”
For more information, visit: www.aja.com

new ProDucTs camera suPPorT
telestream expands live
webcasting input choices
with wirecast 4.1 release
Telestream®, the leading provider of digital media tools
and workflow solutions, today announced the release
of Wirecast® 4.1 live video production and streaming
software. Wirecast 4.1 adds key partner integrations and
new features that provide more choices for getting content
into Wirecast, including remote, multi-channel, and wireless
IP transmission. Additionally, Wirecast 4.1 is Mac OS
X Lion compatible. Wirecast and Wirecast Pro webcasting
software provide live switching, production, and streaming
capabilities that enable Mac and Windows users to easily
and cost-effectively create real-time and on-demand video
broadcasts for the Web.
“We are pleased to expand Wirecast to include support
for more input devices and new capabilities which means
more choices for our users,” said Barbara DeHart, vice
president of marketing at Telestream. “Wirecast offers
high-quality live video production at an affordable price for
users in a broad range of businesses.”
New audio support for Wirecast Desktop Presenter allows
users to integrate Skype or any video chat client into their
webcasts. Desktop Presenter is a Wirecast feature that
broadcasts the desktop of any computer connected to the
network, making it particularly useful for video training and
product demonstrations. When combined with Wirecast’s
ability to display multiple camera feeds on a single screen,
this allows users to see and hear multiple speakers for
news or video talk show programs.
“Webcasting is becoming very popular in the enterprise
because it enables executives to convey rich, engaging
messages to far-flung audiences,” said Steven Vonder
Haar, research director of Interactive Media Strategies.
“With a platform that now integrates audio and video from
presenters in multiple locations, Wirecast adds a unique
blend of flexibility and communications power that sets the
stage for executives to create even more dynamic ways
to convey messages to employees, customers, prospects
and partners.”
Wirecast integration with the LiveU bonded 4G/3G video
transmission backpack provides a portable solution that is
ideal for live news, sports, entertainment, and enterprise
video. The solution allows users to either:
transmit live video from a roaming LiveU backpack
to a remote Wirecast Windows computer for editing and
distribution from the main location, or
feed a fully-produced live show from a Mac or
Windows Wirecast computer to a LiveU backpack at any
location for high-quality transmission.
LiveU provides a more robust and resilient uplink than
using a single aircard or a WiFi connection in the field, and
it offers a more affordable and flexible alternative than
satellite uplink or ethernet. LiveU integration is especially
useful when combined with Wirecast Pro’s advanced live
video production features.
“LiveU integration with Wirecast 4.1 is superb,” said
Stephen Heywood, owner/host of The Tech Buzz. “I
couldn’t believe the minimal one-second delay between
the studio in California and the show floor at NAB 2011
in Las Vegas. The quality was excellent and reliable. No
other software can compare. Telestream plus LiveU equals
success for online broadcasters.”
Wirecast 4.1 integration with Teradek Cube adds wireless
IP camera support for Wirecast Pro. Users simply plug
any HD-SDI or HDMI camera into the Cube to encode
and submit camera feeds directly over WiFi to Wirecast
Pro.
New Wirecast integration with Matrox Multi-Ingest capture
card enables four simultaneous live HD-SDI inputs
into Wirecast or Wirecast Pro for Mac. This is useful for
20 Visual imaging news
journalists and videographers capturing and producing
live broadcasts from the field using multiple cameras. It
also solves the common challenge of how to efficiently
add more camera sources to Wirecast software running
on standard computers. The Matrox/Telestream solution
combines improved capture and resource utilization with
the best in live production.
“Streaming multi-camera live events can be a challenge.
With Wirecast 4.1 and Matrox Multi-Ingest compatibility
many of my problems have vanished,” said Dave Basulto,
editor, streamer, and filmmaker at FilmmakingCentral.com.
“Connecting the Multi-Ingest to my Mac Pro allows me to
set up a 3-camera live shoot in minutes using Wirecast 4.1,
which makes my life easier.”
Wirecast and Wirecast Pro 4.1 for Windows now provide
integrated support for Viewcast Osprey 240e, 450e
and 700e video capture cards. Support for Axis P1344
and M1104 network cameras is also now available for
Wirecast Pro.
Wirecast is a live video production and streaming tool that
can be installed on a standard laptop or desktop computer
to broadcast live events and create professional webcasts
from any location. Users can stream multiple live cameras
while dynamically mixing in other media such as prerecorded
video, images and sounds. Advanced production
capabilities include 3D graphics, transitions and built-in
titles which merge seamlessly with Wirecast’s layering
system, allowing users to easily create live and on-demand
broadcasts for the web. When ready to go live, broadcasts
can be streamed directly to live broadcasting websites
using Flash, quickTime or Windows Media.
Wirecast 4.1 is now available as a free upgrade for existing
customers. Wirecast is priced at $449 and Wirecast
Pro is $995.
For more information, visit: www.telestream.net

new ProDucTs camera suPPorT
telestream brings new
vantage products to
market
Three new products now available: Vantage Enterprise
Control and Vantage Master Control offer a high level of
visibility and deep level of control for large-scale video
workflows; new Vantage Team Management enables creation
of user accounts and web-based job status views.
Telestream®, the leading provider of video transcoding
and workflow solutions, today announced the release of
three major new enterprise-class system management
products in the Vantage® video workflow family: Vantage
Enterprise Control, Vantage Master Control, and Vantage
Team Management.
Telestream also announced the release of Vantage 3.0
which adds support for a number of new video and audio
formats, wrappers and systems, and new video workflow
design and automation features.
Vantage server-based software products automate content
ingest, transcoding, video file interoperability, video
production workflows, and multi-channel distribution for
content owners, creators, broadcast, cable and new media
companies.
“The new Vantage products expand our capabilities in video
transcoding and workflow automation with the proven largescale
media production and system management expertise
gained from our Agility group,” said Barbara DeHart, vice
president of marketing at Telestream. “Vantage products
now provide solutions from single-server transcoding to
very large and highly-complex systems.”
“At UNC Charlotte, we require files for broadcast automation,
iTunes, YouTube, Flash, video-on-demand, and
archive, along with metadata to support the ever-increasing
requirements of media distribution,” said Craig Berlin,
director of broadcast communications at the University
of North Carolina, Charlotte. “We chose Vantage because
of the exceptional opportunities its innovative schematic
workflow provides. Vantage has streamlined our transcode
process; the Workflow Portal tool has made the entry of
metadata easier and clearer for our operators; and the
addition of the new job status tools in Team Management
promise to solve many of the challenges of workflow
design.”
New Vantage Enterprise System Management products,
Vantage Enterprise Control and Vantage Master Control,
provide scalability, predictability, and resiliency for largescale
and mission-critical file-based video workflow environments.
Vantage Enterprise Control maximizes workflow capacity,
resiliency, throughput and reliability. With automated
response to fluctuations in processing or media loads,
customizable task scheduling, and tools for analyzing
workflow, system bottlenecks and throughput, Vantage
Enterprise Control also saves money, power and cooling by
improving hardware efficiency.
Vantage Master Control adds full dashboard views and
historical reporting to provide complete visibility of the
workflow and underlying systems involved. This removes
the complexity of managing large-scale systems with a
single, unified view. Vantage Master Control also integrates
Telestream Agility 2G directly into Vantage. This
enables Agility 2G transcoding services to be embedded
within Vantage workflows, providing Agility 2G users with
access to the full power of Vantage, including dashboards,
automated qC, input and output analysis, and automated
decision making.
In addition, Vantage Team Management allows the creation
of user accounts and custom web-based job status views
for any Vantage installation. With multiple operators,
administrators and departments performing transcoding
and video workflow automation tasks, Vantage Team
Management provides the ability to manage user permissions
and visibility which allows for broader access and
improved system protection across the enterprise.
“WJCT is looking forward to the new functionality in Vantage
3.0,” said Duane Smith, director of technology at WJCT.
“The new web-based dashboard features in Master Control
will allow us to monitor our system from a central control
GUI. The optimization features in Enterprise Control will
allow us to more closely analyze and understand all of our
workflows, while helping to minimize capital expense for
processing power.
Team Management will allow for well-defined responsibilities
based on users; this functionality will be key for a
project we are working on for a combined master control
facility.”
Vantage 3.0 also includes support for a number of new
formats, wrappers and systems; third-party connectivity
features; video workflow automation features; and general
improvements to the user interface and SDK.
For more information, visit: www.telestream.net
21

new ProDucTs camera suPPorT
from the classroom to
the field, anton/bauer
ensures reliability for
photographer lee white
With more than 35 years of experience in the industry, Lee
White, owner of Lee White Photography, appreciates the
confidence reliable equipment instils as he works on-set
for his various projects. To power his cameras, whether
on-location or during educational workshops, White’s
go-to batteries are exclusively those from Anton/Bauer®,
a brand of The Vitec Group, and the world’s premier
provider of batteries, chargers, lighting and other mobile
power systems for the professional broadcast, video and
film industries.
In addition to shooting advertising, corporate and editorial
photography and short-form video for major advertising
agencies, Fortune 500 corporations and magazines, White
is a photography educator, teaching video production
courses at Santa Monica College and leading the “Secrets
of Video Production for Photographers” workshops around
the country. During these full-day workshops, White shows
how photographers can create video and photography in
tandem, to help meet the increasing demands on today’s
photographer.
“I use the same equipment in my productions as I do
instructing and during my workshops,” says White. “The
explosion of interest in video both by clients and photographers
has opened new creative avenues for professional
photographers, and when you think about it, everything
digital needs power, all of which can be achieved using
Anton/Bauer. As an educator, I am happy to share my best
practices with my photography students, from my proven
methods right down to the equipment I use and trust.”
Today, White’s collection of trusted Anton/Bauer products
includes the DIONIC® 90battery, Tandem 70 charger/
power supply, qR-VBG adapter to connect a Panasonic
HMC40 camcorder, qR-DSLR to connect a Canon EOS
7D Digital SLR camera and PowerTap® 9 XLR cable to
connect his AJA Ki Pro Mini. “Typically I record using the
AJA Ki Pro Mini in ProRes 422 and shoot with a Panasonic
HMC40 in AVCHD, which also records. This gives me two
recordings— both being powered by the DIONIC 90,”
says White.
According to White, thanks to the dependability of the
DIONIC 90, he only requires one battery while out in the
field. “The Anton/Bauer DIONIC 90 lasts more than four
hours when powering my AJA Ki Pro Mini and the Panasonic
HMC cameras,” he explains. Anton/Bauer designed the
DIONIC 90 to deliver consistently reliable performance
even in the most challenging shooting environments on
Earth. Weighing just 1.7 lbs., the DIONIC 90 can handle
a maximum load of 90 watts, offering runtimes ranging
from six hours at 15 watts to 1.75 hours at 50 watts. It
also offers a RealTime® display that continually updates
the operator on how much run-time remains and on the
state of the current charge. “The RealTime display gives
me confidence on how much battery life is remaining—an
important feature for photography veterans and students
alike.”
“The last thing I need to worry about is my batteries going
dead in the middle of a production,” says White. “From the
very first time I stepped onto a set, the only batteries I saw
being used were Anton/Bauer—why would I take a chance
in my own productions trying to use any other battery?”
For more information, visit: www.leewhitephotography.com
24 Visual imaging news
self enclosed super high
dynamic range charts
Dynamic range is an important factor in selecting the
best camera for the job. Ensure your cameras dynamic
range is setup accurately with DSC Labs latest high
dynamic range test system - the Xyla.
Designed to produce the highest level of accuracy
when dealing with finite quantities of light, the Xyla
features a unique xylophone shape, specialized isolating
shutter panels and a built in light source. Why all
of these features? Because combined they have been
shown to effectively minimize errors caused by light
leakage, flare and other forms of light contamination
that have heavily reduced the accuracy of previous
test systems.
Available with up 20 f-stops of dynamic range (only
1:1,000,000 of the light passes through on step 21),
the Xyla presents more than a challenge for even the
most advanced camera systems. There are currently
two Xyla models available - the Xyla-15, provides a
spread of 14 f-stops and the Xyla-21, an amazing
20 f-stops.
Xyla-15
14 f-stops of dynamic range (15 steps)
Fully enclosed voltage regulated light source
Light tight design
Shutter system allows users to isolate and
evaluate individual steps
Stepped xylophone shape minimizes flare interference
from brighter steps

new ProDucTs camera suPPorT
Xyla-21
20 f-stops of dynamic range (21 steps)
Fully enclosed voltage regulated light source
Light tight design
Shutter system allows users to isolate and evaluate
individual steps
Stepped xylophone shape minimizes flare interference
from brighter steps
The Xyla is designed to be used in a dark room where
ambient light and other “noise” cannot interfere with the
results.
For more information, visit: www.dsclabs.com
technicolor expands its
post production capacities
on west coast with the
acQuisition of laserpacific
Technicolor (Euronext Paris: TCH) today announces the
acquisition of LaserPacific’s postproduction assets as part
of its plans to grow its television (broadcast) and theatrical
digital post production market position. As part of the
transaction, key LaserPacific creative talent and personnel
from its Hollywood-based operations will be transferred,
reflecting Technicolor’s commitment to the recruitment
of creative talent to deliver the highest quality services
to its clients.
Frederic Rose, CEO of Technicolor, commented; “The
acquisition of LaserPacific’s assets is in line with our
commitment to support the transition of our customers
to digital technologies. It reinforces our key position in
broadcast digital post production and extends our worldclass
creative talent pool, while further strengthening our
long-standing relations with filmmakers and studios.”
The agreement reinforces Technicolor’s presence in
broadcast post production with an increase of 40% in the
number of total television series serviced; and will further
enhance the company’s presence in theatrical, marketing
(trailers) and library mastering. The transaction will also
extend Technicolor’s reach and engagement with filmmakers
through a first-class digital intermediate facility located
in West Los Angeles.
Subject to the satisfaction of certain closing conditions, the
transaction is expected to close at the end of August 2011.
Financial terms of the transaction are not disclosed.
For more information, visit: www.technicolor.com
technicolor to deliver
telepresence solution for
future comcast hd video
conferencing offering
Technicolor (Euronext Paris: TCH) today announces it
will deliver a custom-developed telepresence adapter to
Comcast designed to deliver high-definition video conferencing
(calling) through TV sets.
Technicolor’s telepresence solution is designed to enable
Comcast to deliver an interactive video calling experience
to their subscribers using existing set top boxes and TV
sets as well as wireless LAN networks.
“As we were planning to create an HD video conferencing
service offering for our subscribers, we engaged
Technicolor to design and develop the adapter based on
their successful track record delivering custom-built solutions,
and their ability to develop innovative products in a
cost-effective, timely and seamless manner,” said Steve
Reynolds, senior vice president of home networking for
Comcast.
Barbara Bessolo, Senior vice president of Technicolor’s
set top box division, said, “We are pleased to have been
chosen by Comcast to custom build this new telepresence
device, We are focused on designing and delivering innovative
and cutting edge products to meet our customer’s
precise requirements.”
Mark Samuel, General manager of the set top box business
unit at Trident Microsystems, Inc., who provides the
product’s semiconductor solution, added, “Trident’s semiconductor
solutions deliver the web-based technologies,
video processing, 3D graphics and superior picture quality
that Comcast and Technicolor required for the next generation
devices. The emergence of high-definition video
conferencing from the home television set is a major step
towards a truly connected home and we are excited to be
at the forefront of this consumer electronics innovation.”
Technicolor’s telepresence adapter includes an HDMI
input and output, Gigabit Ethernet, WiFi, RF4CE control,
external USB and SD card slot, and an integrated external
camera and microphone. Comcast first demonstrated the
telepresence offering at The Cable Show 2011 in Chicago
in June, and has announced it plans to conduct market
trials later this year.
For more information, visit: www.technicolor.com
lectrosonics releases
64-bit compatible firmware
for dm series and venue
Lectrosonics, recognized the world over as a leading
manufacturer of wireless microphone systems and audio
processing products, is pleased to announce the availability
of new, 64-bit compatible software distribution for
the company’s DM Series processors and Venue receivers.
This includes a new USB driver package which supports
both 32-bit and 64-bit versions of Windows Vista and
Windows 7, as well as 32-bit Windows XP. Also included
is the LecNet2 Driver Installer program which pre-installs
the USB driver package on a PC prior to use. This new tool
greatly simplifies driver installation. The updated USB drivers
bring a new level of robust, stable performance when
integrating the aforementioned Lectrosonics hardware with
the company’s LecNet2 software suite on Windows PCs.
Designed to simplify and expand the setup and configuration
of sound systems, LecNet2 provides a suite of tools
designed to increase one’s setup and control options. The
programs communicate with either the USB or the RS-232
compatible interface built into LecNet2 components.
The LecNet2 control panel programs remain unchanged
but the application “Help” USB driver installation topics
have been updated to reflect the improved installation
procedure. The LecNet2 programs contained in the new
distribution are backward compatible with the old 32-bit
driver package, so it can be used to update older Windows
XP PCs running outdated LecNet2 software versions. In
this case it is not necessary to re-install the USB drivers.
Gordon Moore, Vice President of Sales for Lectrosonics,
commented on the new update. “We are very pleased
to announce this update,” says Moore. “With the new
drivers, both our DM processors and our Venue series
receivers gain the ability to work seamlessly with the latest
Windows software while improving the performance of
these systems when used with earlier Windows versions.
I’m confident contractors, theater, house of worship and
touring sound professionals alike will appreciate the ease
of operation this brings to the setup and configuration
process.”
For more information, visit: www.lectrosonics.com
25

new ProDucTs camera suPPorT
fargo tv station installs
litepanels in their news
studio
The energy-saving features of the LED broadcast and
motion picture lighting equipment from Litepanels, a
Vitec Group brand, are well known. But Hoak Media’s
Fargo, North Dakota television station KVLY, found that
changing their studio lighting to Litepanels not only paid
big energy savings dividends, but also brought a host of
other benefits.
One of them is dependability every time the lights are
turned on. “With our old tungsten lights, every time
we turned them on it was an adventure,” said station
Operations Manager Jeff Petrik. “It would be five minutes
before the newscast, one of our camera operators would
turn on studio lighting and we would have bulbs that
needed replacing.”
Not only did it mean replacing bulbs at the last minute in
this time-is-money world, it also distracted the crew from
final preparations for their challenging newscast production.
Sometimes Petrik would get a call from the newsroom
wondering why an anchor was not sitting in her normal
position on the set. The answer was usually that a light
blew and they didn’t have time to fix it.
Litepanels LED lighting fixtures can be expected to last well
over 10 years in normal operation, the ultimate in dependability.
“Since we got Litepanels, we’ve had no problems,”
said Petrik, “when you turn the lights on, they’re there.”
Steve Mulkey of Redwood Media Group, the lighting
designer/integrator for installation of Litepanels at KVLY,
amplified that thought. “It’s hard to put a dollar value on it,
but broadcast operations people know what that costs, just
in aggravation and distraction. With conventional lights,
it’s not just the high maintenance cost of repetitive lamp
changes— but the cost could be a heck-of-a-lot more
than that if somebody’s distracted and misses one of the
other tasks that they should be doing at the station. After
all, many times they’re running television news shows with
just four people.”
Petrik describes the station’s pre-Litepanels lighting equipment
as strictly old school. “Before, we had tungsten lighting
with no dimming whatsoever, and, in addition to wasting
a lot of energy and generating a lot of heat, we had to
position them 2½ to 3 feet closer to our talent than what
we have now.” Petrik’s crew previously had no choice but
to run the lights at full power, reducing light intensity when
26 Visual imaging news
necessary by adding scrims and diffusion, which limited
where the lights could be placed.
Using Litepanels 1×1 fixtures, which feature an array
of LED bulbs on a one foot by one foot (30cm x 30cm)
square panel, the fixtures could be positioned further
back and higher, out of the way, dimmed to exactly the
intensity required for great modeled lighting on the talent.
In particular, none of the Spot or SuperSpot Litepanels
fixtures used as backlights are run at more than 50
percent intensity.
The ability to set the lighting and rely on it to be prefect
day to day has become more important to stations like
Petrik’s. “A lot of local stations in smaller markets are losing
expertise, so I want a system where we turn the lights
on and they make great pictures.”
In addition to the considerable annual budget savings
for energy to light the studios and reduced air conditioning
needs because their new fixtures generate no heat,
Litepanels has provided a complete lighting solution to
streamline Fargo’s KVLY studio newscast production.
For more information, visit: www.litepanels.com

new ProDucTs camera suPPorT
newtek ships
revolutionary 3play
820 10-channel hd slow
motion replay system
NewTek, worldwide leader in portable live production and
3D animation systems, today announced the shipment
of 3Play 820, a 10-channel (eight-in, two-out), slow
motion system that supports the simultaneous display,
recording, and instant replay of up to eight video streams,
each with up to quad channel audio.
“Running replay with the NewTek 3Play 820 has raised our
production to new levels, while bringing down the stress
level for our tape operators,” said John Powell, NewTek
beta tester and event producer for Turner Sports. “The
system gives us the ability to recall an event, instantly;
run multiple replays at a time, with dissolves in between
each angle; and never miss a single frame of video,
from any input. It’s great for even the most intense live
production.”
3Play 820 gives sports broadcasters, leagues, teams and
schools an affordable option to deliver instant replay and
slow motion for broadcast, webcast, arena scoreboard displays,
and more. Utilizing proprietary NewTek IsoCorder
technology, the eight-input, two-output 3Play 820 offers
revolutionary price-performance value, and retails at a
fraction of the price of current four-input, two-output
devices on the market. The system includes an intuitive
control surface, giving replay operators hands-on control
of every input. In addition, the ability to connect to any
switcher provides ultimate flexibility for all production
environments.
Benefits of NewTek 3Play 820 include:
10-channel slow motion instant replay server sup
ports simultaneous, continuous recording from up
to eight sources, with two fully independent playout
channels
World-class, interpolated slow motion delivers
smooth playback, and ensures still frames are free
of ghosting or blurring
Full support for a vast range of video formats and
frame rates
A second display may be used as an ISO monitor
bridge, including Heads Up Display (HUD)
Easy import and export of a wide variety of popular
media file types
Multiple playlists, including transitions, sound tracks,
and more
Linear timecode (LTC) support for synchronized
capture of live action and efficient post production
Capture content from live video inputs to the
destination drives of choice, with support for writing
a single channel to two simultaneous drives for fail
safety, when required
Compact 4U rack mount design includes an always
on-air, multi-tiered fail-safe system and redundant
hardware
Premium hardware control surface
For more information, visit: www.newtek.com
28 Visual imaging news
newtek tricaster to
produce and stream
the 2011 miss teen usa®
pageant presented
exclusively online
NewTek, worldwide leader in portable live production
and 3D animation systems, is partnering with the Miss
Universe Organization (MUO) to produce and stream
the 2011 MISS TEEN USA® pageant to be presented
worldwide, via the Internet. MUO officials expect this
historic Web stream event, which will be produced with
the NewTek TriCaster portable live production system,
to be instrumental in reaching an Internet-savvy
audience. Pageant fans will be able to access the live
stream from the Atlantis, Paradise Island Resort in the
Bahamas, via www.missteenusa.com on Saturday, July
16, beginning at 8:00 p.m. ET.
“Thanks to NewTek TriCaster, we are able to provide
our fans of the Miss Teen USA Pageant with high quality
streaming and unprecedented access due to this
incredible piece of technology,” said Colin Hornett,
Director of Digital Multimedia for the Miss Universe
Organization. “We offer behind-the-scenes coverage,
exclusive content and never-before-seen moments
because of the ease, sophistication and mobility that
TriCaster offers. We are delighted to partner with
NewTek since our very first webcast and hope we
continue together for many more.”
With TriCaster, anyone can simultaneously produce,
live stream, broadcast, project and record high definition
(HD) and standard definition (SD) network-style
productions. A single operator or small team can
switch between multiple cameras, virtual inputs and
live virtual sets, while inserting clips, titles and motion
graphics with multi-channel effects. In addition to the
MISS TEEN USA® Pageant, TriCaster is used by webcasters,
broadcasters, sports organizations, schools,
houses of worship, government agencies and others
to provide a new level of extended programming and
content to their audiences.
“This is a very exciting year for Miss Teen USA, and our
migration to presenting the pageant exclusively on the
Web is a big part of our enthusiasm,” adds Hornett.
“With TriCaster, we have successfully gained a viewing
audience of more than 1.3 million since we started this
partnership. By showing the pageant in its entirety, as
well as extra features, we expect a substantial increase
in online viewership in future events.”
For more information, visit: www.newtek.com

new ProDucTs camera suPPorT
blackmagic design
releases public beta of
davinci resolve 8.0.1
Blackmagic Design today announced the release of a
public beta of DaVinci Resolve 8.0.1 with support for Mac
OS X Lion and with a new 3 way color corrector.
Included in DaVinci Resolve 8.0.1 is support for the new
Mac OS X 10.7 Lion operating system, as well as a new 3
way color corrector. This new 3 way color corrector works
in parallel with Resolve’s primary color corrector, and
features a much simpler color wheel user interface! This
3 way color corrector accommodates all the creativity of
YRGB grading, while looking very similar to the basic color
correction tools found in non linear editing software.
“The 3 way color corrector makes it much easier to
get started using Resolve as a new user, and will allow
thousands of video editors to use Resolve for their color
correction using the same workflow they are familiar with.
However when combined with the high quality algorithms
and the creativity of YRGB, these new Resolve users will
get much better results,” said Grant Petty, CEO, Blackmagic
Design.
For more information, visit: www.blackmagic-design.com
For more information, visit: www.schneideroptics.com
london’s deluxe 142 is
powering up with davinci
resolve grading system on
linux
Blackmagic Design today announced that Deluxe 142 has
installed a DaVinci Resolve Linux License and multiple
DaVinci Resolve Software licenses in their London facility.
Deluxe 142 has expanded their Linux suite to a stereoscopic
3D capable 4 GPU system, which is the first of its
kind in the UK, while also installing three Mac based assist
stations with DaVinci Resolve Software.
As a world renowned facility that has played an integral
role in the post production of Hollywood blockbusters like
‘quantum of Solace’, ‘Chronicles of Narnia’ and ‘Scott
Pilgrim vs. the World’, Deluxe 142 has invested in the
highest quality technology to stay at the cutting edge of
post production.
Laurent Treherne, Technical Director of Digital Film at
Deluxe 142, said, “We met with Jigsaw Systems, a DaVinci
Reseller, to plan the upgrade of our two DaVinci Resolve
grading platforms and to discuss their plans for the support
of those systems. Between Blackmagic Design and
Jigsaw engineers, we had all the support we needed to
expedite the upgrade, and the process was completed with
minimal disruption to the department.”
Laurent continues,”We have been very happy with the
Resolve systems installed. They have been a fantastic
investment for us, and the quality and real time performance
is incredible.”
For more information, visit: www.blackmagic-design.com
menage a trois:
ps-freestyle rig and alexas
Whether on a tripod or crane, on steadicam or on the
shoulder, ALEXAs work excellent on the PS-Freestyle. P+S
TECHNIK created various mounting options for ALEXAs to
ensure a compact and stable setup:
The Evolution upgrade in combination with special
ALEXA camera plates available for short prime and
long zoom lenses has already proved to be an
excellent setup in order to shoot various major
productions.
Designed for constant equilibration on steadycam systems,
the PS-Freestyle Rig always keeps camera weights in
perfect balance when wireless adjusting the interaxial.
Integrated motors for interaxial and convergence adjustment
optimize weight and are compatible with all common
wireless remote control systems. A wide range of
professional lenses and cameras up to a 9 kg per camera
setup can be carried by the PS-Freestyle Rig. A range of
ergonomic mounting accessories prepare this rig also for
shoulder, crane, tripod and dolly use.
For more information, visit: www.pstechnik.de
ps-freestyle magic support
The highly stable PS-Freestyle Magic Support solution
expands the field of use of the PS-Freestyle Rig and makes
it even more versatile: The crane, tripod and lambda head
usability is significantly improved with the Magic Support
which can be adjusted by degree. It can be mounted
almost everywhere and features a quick lock mechanism.
Attaching the PS-Freestyle Rig takes only a few seconds.
With the PS-Freestyle Magic Support the PS-Freestyle
Rig can be mounted on a crane or lambda head 100%
balanced. Additionally, it works as an adjustable riser on
tripods in the 90°-position. Thus a PS-Freestyle Rig setup
using the PS-Freestyle Magic Support can be easily tilted
down on tripods.
The new Magic Support accessory for the PS-Freestyle Rig
ensures improved balance and usability on crane, lambdahead
and tripod setups.
Adjustable angle for maximum flexibility and perfect
balance on lambda heads and cranes
Enhanced tripod usability: Better balance and more
freedom to tilt
Works also as an adjustable riser on tripods
Eliminates the need of counterweight and high
friction
quick setup and adjustment thanks to tool free
quick lock mechanisms
For more information, visit: www.pstechnik.de
29

new ProDucTs camera suPPorT
assimilate ships scratch
lab digital lab application
on mac os x and windows
ASSIMILATE, the leading provider of powerful post-production
tools for digital workflows, today announced the
release of SCRATCH Lab, the industry’s first digital lab
tool for on-location workflows and VFX dailies pipelines.
Released simultaneously on Mac OS® X and Windows 7,
and aggressively priced at $4,995 USD, SCRATCH Lab is a
comprehensive end-to-end digital system for the review,
versioning, color correction, conform and deliverables
of dailies created during production, or the VFX process.
SCRATCH Lab’s flexible design and intuitive and customizable
UI, mean it can be easily deployed across a broad
range of tasks on 2D and 3D stereo projects up to 5K
resolution and beyond.
SCRATCH Lab is paired with SCRATCH® Six, also released
today on Mac and Windows, ASSIMILATE’s high-performance,
digital cinema and broadcast finishing tool for RED
and high-end digital workflows.
When used on-location for a digital shoot, SCRATCH Lab
replaces the photochemical lab. Its speed and realtime
capabilities deliver significant time savings for DITs, data
wranglers, colorists, VFX teams, DPs, directors and producers.
SCRATCH Lab can organize the digital negative by
day, unit, camera, scene, shot or take, and allows an unlimited
number of versions in a single view, without import or
rendering. It supports all popular RAW camera formats,
and carries scene, take, audio and 3D stereo convergence
metadata through the entire project. To aid clear communication
between the set and other departments, SCRATCH
Lab also offers the most creative review and comments
tools in the industry, such as remote review via HTML, and
“Sticky Notes” that allow comments from any reviewer to
be viewed throughout the project.
In VFX dailies pipelines, SCRATCH Lab is optimized for DPX,
OpenEXR, RAW, plus all other popular review/deliverable
formats, and can playback resolutions of up to 5K in
realtime. This enables users to load and playback media in
any combination of format, resolution and colorspace on
the same view. Furthermore, SCRATCH Lab can be easily
automated to perform difficult or repetitive tasks, such
as selecting aspect ratios or correcting frame offsets,
delivering significant time savings. Meanwhile, XML support
facilitates smooth integration with the even most complex
media databases, to load thousands of media clips per
day, regardless of format, codec or resolution.
Jody Neckles, feature film and commercials DIT, said:
“For on-set dailies work, SCRATCH Lab packages all the
tools I need to support all camera formats into one product.
It has powerful real-time review capabilities, and can
generate dailies in all the different formats required by a
production – for editorial, iPads and the web. Crucially,
with its advanced color management tools, I can apply
LUTs non-destructively to the digital files, and manage
different looks through the duration of a shoot. In short,
it’s great!”
Danielle Costa – production manager for VFX at Marvel
Entertainment said: “The best thing about SCRATCH
Lab is that it can playback, in real-time, any media that
you throw at it - all in the same view - such as RED
RAW, ARRIRAW, DPX, EXR files, qTs and JPEGs. Plus, it’s
straightforward to integrate with an existing database, so
it flawlessly managed the thousands of 2D and 3D stereo
shots and versions during post production on Thor (Marvel
30 Visual imaging news
Entertainment/ Paramount Pictures). SCRATCH Lab solves
a big challenge in motion picture review playback by
bringing different media together at your fingertips, and
instantly showing them in the best possible quality.”
Michael Wrightson, director of operations UK, at Prime
Focus in London, said:
“With the launch of SCRATCH Lab, ASSIMILATE is keeping
pace with the evolving needs of the production and post
production industries. As a busy VFX vendor on commercials
and features, we are always looking for new and better
ways to streamline our 2D and 3D stereo VFX pipelines.
The well-designed and comprehensive toolset delivered by
SCRATCH Lab fits the bill.”
Gary Curran, head of DI at Screen Scene, Dublin, Ireland,
said: “SCRATCH Lab addresses the way the industry has
changed with new cameras, codecs and file formats to
deal with. As the data hub of our pipeline, we can ingest,
manage and prepare pretty much any format in SCRATCH
Lab and give our other departments – grading, editorial,
VFX – the media they need in the format they want. Having
such power and flexibility all in one machine is very handy,
especially on the Mac platform as you can write to ProRes,
as well as DNxHD.”
SCRATCH Lab’s comprehensive toolset and functionality
includes:
Broad range of input/output formats for 2D/3D
stereo, native RED RAW.R3D, ARRI RAW, Phantom,
Panasonic P2, DSLRs, plus DNxHD MXF, AVCHD, DPX,
and qT inc ProRes* (*Mac OS version only)
Real-time playback at up to 5K and beyond, with
audio sync
Powerful, interactive Primary Grading toolset
including curves
Unlimited, non-destructive versioning
Full 1D, 3D LUT and CDL support
Fast, accurate and flexible conform with Dual-View,
Half-Mix and Side-by-Side comparisons, plus quick
Keys for moving through timelines and edit tools for
shot manipulation
Support for Avid’s Artist Color and Tangent Wave
and CP 200 panels
Powerful, integrated 3D stereo tools
Process automation and integration with other
applications via XML
Remote review and comment via HTML
Automated HTML deliverable templates to
simultaneous outputs based on format, metadata,
and
LUTs/grades
For more information, visit: www.assimilateinc.com

Within budget.
Beyond imagination.
Introducing the PMW-F3 Super 35mm camera.
A breakthrough in cost performance, the Sony PMW-F3 starts at $16,000 MSRP. Here’s a true Super 35mm image
sensor designed from the ground up for moving pictures. So you’ll get gorgeous images without gotchas
like aliasing and moiré. The PL mount works directly with the 35mm cinema lenses you love. The on-board
XDCAM EX recording takes advantage of Sony’s well-established post workflow. Even RGB output is an
option (later in 2011). With all the facilities of a true camcorder, the F3 is everything you expect. And beyond.
Visit sony.com/F3 for sample clips and authorized reseller locations.
© 2011 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features, prices, and specifi cations are subject to change without notice.
Sony, the Sony logo, the Sony make.believe logo, Exmor, and XDCAM EX are trademarks of Sony.

new ProDucTs camera suPPorT
photogenic professional
lighting launches new
lighting kits designed to
meet the needs of today’s
photographer
Photogenic Professional Lighting, a leading manufacturer
of photographic lighting equipment and accessories,
announces a full line of new lighting kits designed
to meet all the shooting needs of today’s photographer.
These latest kits were also designed with the goal of
simplifying choices for both dealers and consumers.
The kits will be available this month and reinvent the
company’s previous offerings.
“The popularity of DSLRs has brought lighting accessories
back to the forefront again and there is an emerging
market for a new generation of photographers
which is creating a big opportunity for camera dealers,”
says Bob Higgins, sales and marketing manager of
Promark International, manufacturer of Photogenic
products. “These new kits will give them an incredible
line up from a product and an inventory standpoint.”
The Photogenic kits include the Solair, PowerLight®,
and StudioMax® III series. Each kit is strategically
designed to meet current photographer’s lighting
needs in any specific shooting situation whether it’s
indoors or out. There are a number of travel kits which
are ideal for the photographer on the go. Each kit also
offers a Photogenic soft box which is becoming widely
used by more photographers today.
“Two of the major additions to our new kit offerings
are the inclusion of our softboxes and our famously
popular Eclipse umbrellas in each multi-light kit providing
a significant value to the end user. As a powerful
lighting modifier, a soft box allows large amounts of
light to be cast but with very few resulting shadows.
More photographers are utilizing the soft box as an
alternative to diffuse lighting in specific lighting situations
and these latest kits allow for the perfect blend of
both,” said Higgins.
Solair Kits
There are six kits in the Solair series. Solair monolights
employ “constant color” technology that prevents
the flash color temperature from visibly shifting no matter
what power setting is used. “These units are controlled
for constant Kelvin color temperatures within 14° per stop
over an amazing 8 f-stop range of power settings. There’s
no warm cast at lower power levels. That’s very important
when utilizing a multi-light setup,” said Higgins.
The Solair Kits include:
32 Visual imaging news
PL2615K Solair Digital Travel Kit offers two
PL500DRC 500Ws Solair Monolights, one
Photogenic 24”x 32” soft box, and one 45” Eclipse
White Panel Umbrella.
PL2615KPW Solair Digital Travel Kit with
PocketWizard Built-In offers two PLR500DRC
500Ws Solair Monolights , two built-in
PocketWizard receivers, one Photogenic 24”x
32” soft box, and one Photogenic 45” Eclipse White
Panel Umbrella.
PL2715K Solair Studio Power Kit features two
PL1000DRC 1000Ws Solair Monolights , one
Photogenic 24”x 32” soft box, and one Photogenic
45” Eclipse White Panel Umbrella.
PL2715KPW Solair Studio Power Kit with
PocketWizard Built-In offers two PLR1000DRC
1000Ws Solair Monolights, two built-in
PocketWizard receivers, one Photogenic 24”x
32” soft box, and one Photogenic 45” Eclipse White
Panel Umbrella.
PL2815K Solair 3-Light Studio Kit features
three PL500DRC 500WS Solair Monolights ,
one Photogenic 24”x 32” soft box, one Photogenic
12”x36” soft box, and one 45” Eclipse White Panel
Umbrella.
PL2815KPW Solair 3-Light Studio Kit with
PocketWizard Built-In contains three
PLR500DRC 500Ws Solair Monolights, three
built-in PocketWizard receivers, one Photogenic
24”x 32” soft box, one Photogenic 12”x 36” soft
box, and one 45” Eclipse White Panel Umbrella.
PowerLight® Kits

new ProDucTs camera suPPorT
There are eight kits in the PowerLight® series. “PowerLight®
monolights are built to meet the demanding everyday needs
of the professional photographer. They are perfect for providing
exact and repeatable results thus reducing your post
production time and expense,”said Higgins.
The PowerLight® Kits include:
PL2515K PowerLight® 4-Light Studio Kit offers
two PL1250DRC 500Ws PowerLight® Monolights ,
two PL625DRC 250Ws PowerLight® Monolights ,
one Photogenic 24”x 32” soft box, one Photogenic
12”x 36” soft box, and one 45” Eclipse White Panel
Umbrella.
PL2515KPW PowerLight® 4-Light Studio Kit with
PocketWizard Built-In offers two PLR1250DRC
500Ws PowerLight® Monolights , two built-in
PocketWizard receivers, two PLR625DRC
250Ws PowerLight® Monolights, two built-in
PocketWizard receivers, one Photogenic 24”x
32” soft box, one Photogenic 12”x36” soft box, and
one Photogenic 45” Eclipse White Panel Umbrella.
PL2215K PowerLight® Digital Travel Kit offers two
PL625DRC 250Ws PowerLight® Monolights , one
Photogenic 24”x 32” Soft Box, and one Photogenic
45” Eclipse White Panel Umbrella.
PL2215KPW PowerLight® Digital Travel Kit with
PocketWizard Built-In features two PLR625DRC
250Ws PowerLight® Monolights , two built-in
PocketWizard receivers, one Photogenic 24”x
32” soft box, and one Photogenic 45” Eclipse White
Panel Umbrella.
PL2315K PowerLight® Digital Travel Kit offers two
PL1250DRC 500Ws PowerLight® Monolights, one
Photogenic 24”x 32” soft box, and one Photogenic
45” Eclipse White Panel Umbrella.
PL2315KPW PowerLight® Digital Travel Kit with
PocketWizard Built-In features two PLR1250DRC
500Ws PowerLight® Monolights , two built-in
PocketWizard receivers, one Photogenic 24”x
32” soft box, and one Photogenic 45” Eclipse White
Panel Umbrella.
PL2415K PowerLight® Mobile Power Kit offers two
PL2500DRC 1000Ws PowerLight® Monolights, one
Photogenic 24”x 32” soft box, and one Photogenic
45” Eclipse White Panel Umbrella.
PL2415KPW PowerLight® Mobile Power Kit with
PocketWizard Built-In features two PLR2500DRC
1000Ws PowerLight® Monolights , two built-in
PocketWizard receivers, one Photogenic 24”x
32” soft box, and one Photogenic 45” Eclipse
White Panel Umbrella.
PL2115K PowerLight® Travel Kit offers two
PL1250C 500Ws PowerLight® Monolight, one
Photogenic 24”x 32” soft box, and one Photogenic
45” Eclipse White Panel Umbrella.
StudioMax® III Kits
The StudioMax® III Series consists of ten new kits.
“StudioMax® III lights also employ constant color technology
which prevents the color temperature from visibly
shifting, regardless of flash power level,” Higgins said.
The StudioMax® III Kits include:
AKC50BK AC/DC Travel Soft Box Kit w/ Battery
Pack offers one AKC320B (320Ws) StudioMax® III
Strobe light that runs AC or DC power operation,
one Photogenic AKB-1 DC battery pack w/charger,
and one Photogenic R4162 stand adapter (for battery
pack).
AKC50BRK AC/DC Travel Soft Box Kit w/ Battery
Pack & Radio features one AKC320BR (320Ws)
StudioMax® III Strobe light, one RTR built-in
radio receiver with AC or DC power operation, one
Photogenic AKB-1 DC battery pack w/charger, one
Photogenic R4162 stand adapter (for battery pack),
and one Photogenic 24”x 32” soft box.
AKC325K Basic Studio 2-Light Soft Box Kit offers
two StudioMax® III AKC160 Strobe lights, one
Photogenic 24”x 32” soft box, one Photogenic 45”
Eclipse White Panel Umbrella, and two Photogenic
Air-Cushioned 8-foot Stands.
AKC645BK AC/DC Mobile Studio 2-Light Soft Box Kit
includes two AKC320B (320Ws) StudioMax® III
Strobe lights that offer AC or DC power operation,
and one Photogenic 24”x 32” soft box.
AKC645BRK AC/DC Mobile Studio two Light Soft
Box Kit w/Radio offers two AKC320BR (320Ws)
StudioMax® III Strobe lights, with built-in radio
receivers that operate on AC or DC power operation,
one Photogenic 24”x 32” soft box, and one
Photogenic 45” Eclipse White Panel Umbrella.
AKC645K Mobile Studio 2-Light Soft Box Kit also
includes two AKC320 StudioMax® III Strobe lights
as well as one Photogenic 24”x 32” soft box, one
Photogenic 45” Eclipse White Panel Umbrella, and
two Photogenic Air-Cushioned 8-foot Stands.
AKC645RK Mobile Studio 2-Light Soft Box Kit w/
Radio offers two AKC320R (320Ws) StudioMax®
III Strobe lights, with built-in radio receivers, one
Photogenic 24”x 32” soft box, and one Photogenic
45” Eclipse White Panel Umbrella.
AKC850K Portrait Studio 3-Light Soft Box Kit
features two AKC320 strobes and one AKC160
strobe, as well as one Photogenic 24”x 32” soft
box, and one Photogenic 45” Eclipse White Panel
Umbrella.
AKC990BK AC/DC Portrait Studio 3-Light Soft Box
Kit offers the three AKC320B Strobe lights that
provide the freedom of AC or DC operation, one
Photogenic 24”x 32” soft box, and one Photogenic
45” Eclipse White Panel Umbrella.
AKC990BRK AC/DC Portrait Studio 3-Light Soft
Box Kit w/Radio include three AKC320BR (320Ws)
StudioMax® III Strobe lights, with built-in radio
receivers that operate on AC or DC power operation,
one Photogenic 24”x 32” soft box, and one
Photogenic 45” Eclipse White Panel Umbrella.
Additional Features to the kits Include:
All Solair and PowerLight® kits include
Photogenic Heavy Duty Air-Cushioned Stands. Most
competitive brands don’t offer this option.
All Photogenic Kits with two or more lights include
the patented High quality Photogenic Eclipse
Umbrellas.
All Photogenic kits include Photogenic PL7R
reflectors. Other brands do not include this accessory
with their monolights.
All new Solair and Digital PowerLight® kits offer
a PocketWizard Kit version with the radio receiver
built-in to the monolight housing.
All Kits with two or more lights include a Photogenic
soft case w/wheels for ultimate portability or safe
storage.
All new Photogenic kits include a color-corrected UV
flashtube.
Four AKC Kits offer a radio version with a built-in
4-channel radio receiver in the monolight housing.
For more information, visit: www.photogenic.com
33

new ProDucTs camera suPPorT
deep atom: the world’s
first underwater 3d
camera system shooting in
5k resolution
OCEAN PLANET 3D is proud to announce the end-of-theyear
availability of DEEP ATOM—the world’s first underwater
3D camera system shooting in 5K resolution.
OCEAN PLANET 3D’s facility will be a one stop shop for
producers who are shooting 3D productions both topside
and underwater. The system is capable of shooting any
production from 3D television, big screen features as well
as full blow IMAX films.
DEEP ATOM will include in the core system, 2 RED Epic
cameras attached to a state of the art Element Technica
Atom, beam splitter camera platform in a Gates deep water
underwater housing. DEEP ATOM will be supported by a
post production computer array to carry out all digital
work flows required to deliver 3D images to their clients.
The ultra-high resolution 5K underwater 3D camera unit
will be able to shoot in adverse environmental situations
such as in damp locations, snow, surf, rain and underwater
to depths down to 60 meters plus.
DEEP ATOM is also ideal for use in a studio location with
an experienced underwater DP available for a wet stage
situation. The entire camera system can be taken out of
the underwater housing and used as a normal dry-land 3D
camera system.
OCEAN PLANET 3D has world class stereographers and
a fully trained 3D camera crew ready for any project with
deep diving technology to support DEEP ATOM down to
the ocean’s depths. They are also planning to shoot 5K
3D background plates for CGI FX and will be maintaining a
library of plates available to 3D CGI producers.
In parallel with this initiative, OCEAN PLANET 3D is also
developing a number of blue chip 3D documentaries for
the burgeoning 3D market. These will be high adventure
films pushing the limits of underwater film making in the
new medium of ultra high definition 3D. The files are science
based and may be character drive and explore some
new and exciting locations and subjects in the marine
world.
For more information, visit: www.oceanplanet3d.com
34 Visual imaging news
autodesk acQuires pixlr
Autodesk, Inc. a leader in 3D design, engineering and
entertainment software, announced today that it has
completed the acquisition of Pixlr, a popular free*
online and social image creating, collecting, editing
and sharing service. Terms of the transaction were
not disclosed.
“Lots of people–not just creative professionals—want
to express themselves visually”
The Pixlr service was started in Sweden in August
2008 and provides accessible tools for non-professionals
to create, edit, and share images online and
socially via platforms like Facebook. The acquisition
enhances Autodesk’s ability to provide image editing
for its consumer products, such as the SketchBook
product line. As a result of the acquisition, SketchBook
Pro desktop users will gain the ability to read and write
image file formats such as PXD and to easily exchange
files while maintaining deep data such as layers.
Current Pixlr users will immediately be able to add
more freehand sketching to their projects through file
compatibility with Autodesk SketchBook Pro desktop
application.
“Lots of people–not just creative professionals—want
to express themselves visually,” said Samir Hanna,
vice president of Consumer Products at Autodesk.
“Combining image editing capabilities with sketching
capabilities provides new avenues for rich visual
expression. We also intend to marry the Pixlr team’s
web development experience with our expertise in
mobile app development to help people everywhere
be creative on the devices of their choice.”
Pixlr’s founders are now part of Autodesk.
For more information, visit: www.autodesk.com

Modernize your post-production pipeline with Smoke
Clients come to you to help them realize their creative concepts.
By delivering results that consistently exceed expectations you set
yourself apart in a crowded market.
Autodesk ® Smoke ® for Mac OS ® X software provides the all-in-one
tools you need for complex visual effects and editorial finishing.
With a familiar timeline-based workflow, tight integration with
nonlinear editing applications and unmatched creative tools,
Smoke helps you confidently deliver your best work.
See Smoke in action and download the trial* at
autodesk.com/smokeformac
*Trial products are subject to the terms and conditions of the end-user license agreement that accompanies the software.
Autodesk and Smoke are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. Mac OS is a trademark of Apple Inc., registered in the US and other countries. All other brand
names, product names, or trademarks belong to their respective holders. Autodesk reserves the right to alter product and services offerings, and specifications and pricing at anytime without notice, and is not responsible for typographical or graphical
errors that may appear in this document. © 2011 Autodesk, Inc. All rights reserved.

new ProDucTs camera suPPorT
matthews studio
eQuipment expands
expands distributor of
dc-slider for asian film
and video production
communities
Matthews Studio Equipment Inc. announces that they have
expanded their distribution of the multi-award winning
DC-Slider into the Asian film and video production communities.
DC-Slider is a unique, precision counter balanced,
multi-function, multi-angled camera platform that has been
creating far more than smooth multi-angled camera movement
for users throughout the world. It is also a mini-jib as
well as a six-foot tower.
Mount the DC-Slider on a single tripod or placed it level or
on uneven surfaces. The constant counter balance feature
will always maintain a uniform pressure for smooth camera
movement throughout the full tracking length of 63-inches
(160cm).
Combine the slider with the mini-jib function and the
DC-Slider now captures a wide range of vertical images.
No matter how acute the angle, the counter balance system
will keep the camera steady and stable. The positive
locking adjustment allows for camera placement at exact
vertical or off-axis positioning.
Remove and reposition two handles and DC-Slider will
become a tower allowing for an exact vertical camera
move through the full range of the 63-inches (160cm).
The counter balance system maintains a steady resistance
to camera moves allowing for unprecedented smoothness
from start to finish.
DC-Slider can also become a Mini-Jib. In this mode it allows
for a horizontal working diameter of 63-inches (160cm).
Locking the counter balance ensures unvarying movements
through the full range of the jib arm’s capabilities.
An easy adjustment of the parallelogram bar will allow the
camera to stay locked on a subject through the range of
vertical travel.
DC-Slider will accommodate a wide range of camera styles
up to the maximum weight of 22-pounds (10Kg). The
maximum and minimum of operating heights depends on
the height of the tripod chosen. A new heavy-duty (HD)
version of the DC-Slider will be introduced in September
and will have a capacity of 30Kg (65 lbs).
MSE grip equipment already has a strong presence in
the Asian market, available in Japan, Korea, The People’s
Republic of China, Singapore, Thailand, Malaysia and the
Philippines through dealers such as Cine Equipment, Green
Trading, Kenko, Mq and others. As DC-Slider becomes
available in various countries, MSE is committed to expanding
the their presence in resources for the local video
production and filmmaking communities.
For more information, visit: www.msegrip.com
36 Visual imaging news
glidecam industries, inc.
introduces the glidecam
iglide smartphone mount
The lightweight and state-of-the-art Glidecam iGlide
Smartphone Mount allows Smartphones to be attached
directly to the HD-1000 Hand-Held Camera Stabilizers
and will transform ‘Smartphone’ video into hypnotically
smooth, professional footage, for publishing directly to
the Worldwide Web.
With the Glidecam iGlide and HD-1000 hand-held
Stabilizer your Smartphone seems to float, always balanced,
isolated from your hands undesirable motions.
Now you are free to move - panning, tilting, booming
or running without any instability or shake.
The Glidecam iGlide and HD-1000 work so well that
they allow you to shoot incredibly smooth and graceful
shots even while going to extremes like running up and
down stairs or traveling over rugged terrain. And when
it comes walking or moving slowly around someone,
the results are equally magical.
Glidecam Industries, now becoming the choice of a
generation. Glidecam makes your decisions concerning
camera stability and movement, simple and easy.
When you wish for your camera to glide smoothly along
your chosen path, simply rely, as so many have and still
do, on using a Glidecam Camera Stabilizer. Glidecam
Industries, Inc., now in its eighteenth year, offers a
wide range of camera stabilizers each optimized for
various camera weights and shooting conditions.
Glidecam iGlide MSRP: $49.00
For more information, visit: www.glidecam.com

new ProDucTs camera suPPorT
For more information, visit: www.schneideroptics.com
chief earns awards for
best new av solutions
Chief, an industry leader in professional AV solutions, is
pleased to announce that it is the winner of two awards
recognizing the most innovative new products in the AV
industry.
Publications System Contractor News (SCN) and Rental &
Staging Systems each honored Chief with product awards,
as determined by votes from their readers. The accolades
were announced at InfoComm 2011 in Orlando.
Focused on news and trends in the systems integration
industry, SCN conducts its annual SCN/InfoComm
Installation Product Awards in recognition of the top new
solutions for systems integrators and consultants. The
award for “Most Innovative Mounting Solution” was given
to Chief’s TS525T Ultra-Thin Swing Arm Wall Mount.
The TS525T Swing Arm Wall Mount is a lightweight, fullmotion
wall mount for TVs 37-58”. Featuring a sleek
design and an ultra-low profile of 1.5” (38 mm), the
TS525T extends up to 25” (635 mm) for maximum viewing
potential. Features like effortless fingertip tilt and postinstallation
lateral shift make installation easy.
Rental & Staging Systems addresses the technology
and business/planning issues related to meetings, trade
show exhibits and staged events of all sizes. Through its
InfoComm/Rental & Staging New Product Awards contest,
the publication determines the best solutions for end-users
of audio, video, networking, mounting and screen prod-
ucts. Chief’s MSMVPU FUSION Portrait Pull-Out Mount is
the winner of the “Best Digital Signage Product–Mounts,
Carts and Stands” category.
Developed as an alternative to traditional landscape
mounts, the MSMVPU FUSION Portrait Pull-Out Mount
allows installers to hang displays in a vertical orientation.
This solution is perfect for digital menu boards, recessed
walls, advertising displays and video wall applications, with
features that include Controlzone Leveling, Centerless
Shift, ClickConnect and fingertip tilt.
SCN and Rental & Staging Systems are both published by
NewBay Media. Centered on five vertical markets – Pro
Audio, Broadcast and Video, Musical Instruments, AV/
Consumer Electronics and K-12 Education – NewBay publishes
and produces more than 40 publications and show
dailies, 50 websites, 30 daily and weekly E-Newsletters, 3
expos and over 50 custom publishing efforts annually. It
reaches more than 3 million readers in print and 1 million
online and in person, across the world in 100 countries.
For more information, visit: www.chiefmfg.com
For more information, visit: www.schneideroptics.com
chief earns awards for
best new av solutions
Chief, the industry leader in professional AV mounting
solutions, announces that its new Interactive Short Throw
Mount is now available.
This revolutionary new solution integrates Chief’s awardwinning
Short Throw Projector Mount Line with eBeam
Technology from Luidia, Inc., the global award-winning
developer of interactive solutions. Existing whiteboards
and writing surfaces are transformed into interactive platforms,
with projection that can be scaled anywhere from
48”–94” diagonally, depending on your needs.
This is the latest solution in Chief’s extensive Short Throw
Projector Mount series, an award-winning product line
that was introduced in August 2009. The premiere option
in the series, the new Interactive Short Throw Projector
Mount features:
Fast Installation
quick-connect system, variable extension and innovative
features make mount installation and registration
quick and easy.
Easy Integration
Simply install the eBeam interactive business or
education software for Mac or PC, connect computer
and projector, and you’re ready to go.
Future-Proof
Chief’s award-winning short throw projector mount
provides universal projector compatibility, and an
easy upgrade path to better technology.
Interactive Stylus
Lightweight, ergonomic stylus provides exceptional,
real-time rendering capabilities. Includes optional
wrist strap.
Interactive Receiver
Interactive receiver powered by eBeam Technology
adds interactive functionality to any projection-ready
surface.
This new solution makes it easy for users to present,
annotate and interact with projected content while capturing
the results, which can be shared over the Internet for
remote meetings. Powerful features, including a dynamic
virtual whiteboard, desktop and web navigation, office
productivity apps, and more, put the power of your PC at
your command.
Existing Chief Short Throw Projector Mounts and installations
can be upgraded to include this interactivity by
purchasing a WM2I Interactive Kit.
“We’re excited to be able to combine Luidia’s innovative
interactive technology with our award-winning Chief
short-throw projector mounts,” said Scott Gill, Milestone
AV Technologies Chief Executive Officer. “By combining
our easy-to-install short-throw mount solution with any
compatible projector, we can make interactivity simpler
and more affordable for educational and corporate applications.”
The new Chief Interactive Mounts will work with standard
projectors and both Windows® and Mac® computers and
integrates seamlessly with existing applications.
For more information, visit: www.chiefmfg.com
37

new ProDucTs camera suPPorT
anton/bauer keeps doc
aJay Johnson film and
video in action
Whether working with media moguls like Donald Trump or
shooting a meet-and-greet with NBA Hall of Famer Magic
Johnson, Doc Ajay Johnson Film and Video is a turnkey production
company that understands the value of having a reliable
power source on-hand for the company’s varied projects.
In order to keep his productions moving, Ajay Johnson,
CEO and production manager of Doc Ajay Johnson Film
and Video, depends on Anton/Bauer®, a brand of The
Vitec Group, and the world’s premier provider of batteries,
chargers, lighting and other mobile power systems for
the professional broadcast, video and film industries and
the company’s DIONIC® 90 batteries and qR-EX1 undercamera
Gold Mount®.
According to Johnson, an industry pro with more than
30 years of extensive hands-on experience in directing,
editing, writing, shooting, producing, special effects and
animation and expertise in marketing, sales and media
buying, “Just as we are serious about our clients and
productions, Anton/Bauer is serious about being the best.
The company listens to users to find out what we want
from batteries—not only are the batteries light weight,
but they last forever.”
In all scenarios and especially in today’s economy, Johnson
chooses his production tools carefully, ensuring they help
make his job easier and require fewer people in his crew.
During the 2011 Response Expo, for instance, Johnson was
onsite to film keynote speaker Magic Johnson. Following
his speech, Johnson had to quickly move his gear to the
Presidential Suite for a meet and greet that included shooting
photos and video of several attendees with the NBA Hall
of Famer. It’s just these types of scenarios where it’s vital to
have equipment that’s both portable and dependable.
To ensure a reliable performance, Johnson uses the
qR-EX1 under-camera Gold Mount for the company’s
Sony qR-EX1 camera and three Anton/Bauer DIONIC
90 batteries regularly as the exclusive power source for
both the camera and the Litepanels 1x1. In addition, the
team typically uses Petrol Bags Cambio tripods, Manfrotto
heads, Litepanels Ringlite Mini, Sony PMW-EX3 camcorders,
Panasonic Lumix DMC-GH1 digital cameras, RED ONE
cameras and zeiss DigiPrime lens for productions.
“The dual Litepanels 1x1s powered by Anton/Bauer’s
DIONIC 90 batteries made for a quick and easy set-up for
the shoot—ensuring we didn’t keep our VIP waiting,” says
Johnson. “The Anton/Bauer batteries have a long life and
are very small and lightweight, thus making the 1x1s easy to
move around and help me do the shoot without an assistant.
I could have never pulled it off without this gear.”
Weighing just 1.7 lbs., the DIONIC 90 battery is portable
and rugged and features the RealTime® display which
continually updates the operator on how much run-time
remains and on the state of the current charge. The
DIONIC 90 can also endure a maximum load of six amps
and provides 95 watts, offering run-times ranging from six
hours at 15 watts to 1.75 hours at 50 watts. It can also
be transported without restriction under the IATA and DOT
safety regulations—a requisite for Johnson who has used
his production gear all over the world in more than 3,000
professional shoots.
“Using a compilation of dependable equipment is crucial,
whether we’re shooting Brooke Burke, Stanley Clarke or a
commercial for Celebrity Helicopter. Our clients appreciate
the cost savings that strong talent, experience and superior
equipment provide,” says Johnson.
For more information, visit: www.litepanelstories.com
38 Visual imaging news
fotokem’s keep me posted
adds third nucoda film
master to its lineup
Image Systems, formerly Digital Vision, has
announced that Keep Me Posted (KMP), a
FotoKem company, has expanded its commitment
to the Nucoda Film Master in the facility, with
the purchase of a third system. The need for an
additional system is in response to growth in the
television and promo business at KMP.
Based in Burbank, KMP is a post production facility
specializing in finishing for episodic television,
commercials, promos and trailers. The company
has fully integrated the Nucoda Film Master, creating
an end-to-end, file-based, Avid-centric TV
pipeline. KMP’s most recent purchase of the
Nucoda Film Master includes the eagerly anticipated
Precision panel control surface.
KMP purchased its first Nucoda Film Master in
mid-2010, adding a second shor tly thereafter.
This summer, KMP put the third system in place to
bolster color grading capabilities on the majority
of their TV shows.
“We have had a very positive experience working
with the Nucoda Film Master and the team from
Image Systems. Keep Me Posted works with leading
producers, directors, and companies creating
programming for networks, studios and agencies;
that means there is significant demand on schedules,
budgets and creativity.
In the midst of a very busy pilot and television
season, the tools of the Film Master supported
the demands of dozens of shows. Its ability to
fit into an Avid-based workflow so beautifully was
a critical factor, and an important aspect to its
success in our television business,” says Hawk
Hamilton, KMP’s VP of Sales.
Jim Garrow of KMP notes, “As a colorist, it’s critical
that there is a technical infrastructure that suppor
ts the work, but it is the color tools that are
of predominant importance to me. The Nucoda
Film Master provides the technical flexibility and
pipeline integration; it is a superlative color grading
system. Its outstanding grading capabilities
have enabled us to give our customers what their
images deserve.”
For more information, visit: www.imagesystems.tv

New DeckLink HD Extreme has Dual Link 4:4:4/4:2:2
SDI, HDMI and analog connections in SD, HD and 2K!
The new DeckLink HD Extreme is the world’s
most advanced capture card! With a huge
range of video and audio connections plus
a hardware down converter, and Dual Link
4:4:4/4:2:2 3 Gb/s SDI, advanced editing
systems for Microsoft Windows and Apple Mac OS X are
now even more affordable!
Connect to any Deck, Camera or Monitor
DeckLink HD Extreme is the only capture card that features
Dual Link 3 Gb/s SDI, HDMI, component analog, NTSC, PAL
and S-Video for capture and playback in SD, HD or 2K. Also
included is 2 ch XLR AES/EBU audio and 2 ch balanced XLR
analog audio. Connect to HDCAM SR, HDCAM, Digital
Betacam, Betacam SP, HDV cameras, big-screen TVs and more.
Hardware Down Conversion
If you’ve ever wanted to monitor in both HD and SD while
you work, then you’ll love the built in high quality down
converter. Use the Dual Link SDI outputs as a simultaneous
HD and SD output, or you can switch back to Dual Link 4:4:4
when working in the highest quality RGB workfl ows. Select
between letterbox, anamorphic 16:9 and even center cut 4:3
down conversion styles!
Advanced 3 Gb/s SDI Technology
With exciting new 3 Gb/s SDI connections,
DeckLink HD Extreme allows twice the SDI data
rate of normal HD-SDI, while also connecting
to all your HD-SDI and SD-SDI equipment.
Use 3 Gb/s SDI for 2K and edit your latest feature fi lm using
real time 2048 x 1556 2K resolution capture and playback!
Microsoft Windows or Apple Mac OS X DeckLink HD Extreme is fully compatible with Apple Final Cut
Pro , Adobe Premiere Pro , Adobe After Effects , Adobe
Photoshop , Fusion and any DirectShow or QuickTime based software. DeckLink HD Extreme instantly switches
between feature fi lm resolution 2K, 1080HD, 720HD, NTSC
and PAL for worldwide compatibility.
DeckLink HD Extreme
$995
Learn more today at www.blackmagic-design.com

FLETCHER CAMERA and LENSES Chicago - Detroit 2011 DIGITAL CAMERA
Arri Alexa Plus
Sony F35
Red Epic
Red One MX
Sony F3
Panasonic AF-100
Canon 5D & 7D
Imager
(Actual Size)
CMOS
27.2mm Ø
23.8× 13.4mm
CCD
27.1mm Ø
23.6x 13.3mm
CMOS
31.4mm Ø
27.7× 14.6mm
CMOS
27.9mm Ø
24.4 × 13.7mm
CMOS
27.1mmc
23.6 x 13.3mm
MOS
20.3mm Ø
17.8 x 13mm
CMOS
7D
26.8mm Ø
22.3x14.9mm
5D
43 Ø
35 x
24mm
Lens
Mount
Camera Must Be Available For Sale Copyright Fletch
Base
ISO
PL 800
PL 320
PL
PV
Nikon
Canon
PL
Nikon
Canon
Sony F3
PL
Micro
4/3"
(MFT)
PL
PL
Canon
800
800
800
320
100
Still
160
Video
Latitude Frame Rates
14
Stops
12
Stops
12+
Stops
16-18
Stops
with
HDRx
12
Stops
11
Stops
10
Stops
9
Stops
.75-60 fps @
1920x1080
120 fps Coming Fall
.75-30 fps @
ARRIRAW
1-50 fps
@
1920x1080
1-120 fps @5K
1-150 fps @4K
1-200 fps @3K
1-300fps @2K
1-30p fps @4K
1-60 fps @3K
1-120fps @2K
1080
1-30fps
720
1-60 fps @ 29.97
24, 25, 30 @
1920 x 1080
24, 25, 30, 60 @
1280 x 720
12-60fps
24, 25, & 30 @
1920 x 1080
60p (7D Only)
1280x720
Digital Sampli
Recorded M
1920 x 10
2880 x 162
ARRIRAW
Codex
1920 x 108
5K
4.5K
4K
3K
2K
1920 x 108
2K
3K
4K
4.5K
1920 x 108
1920 x 108
1280 x 72
1920 x 108

ng on
edia
80
0
0
0
0
0
0
0
COMPARISON CHART
Recorded Bit Depth
Format & Time
10 Bit 12 bit
ProRes 4:2:2 ProRes 4:4:4
40 min 28 mins
(2) 32GB SxS Cards
12 Bit
Uncompressed - ARRIRAW
10 Bit
HDCAM SR
Tape 50 Min
10 Bit Uncompressed
12 Bit - Coming w/SRMemory
12 Bit
R3D File (5K @5:1)
64GB SSD 15 min
128GB SSD 30 min
256GB SSD 60 min
12 Bit
R3D File (4K)
16GB Card 9 mins
120 GB RAM 60 min
320GB Drive 120 min
8 Bit
XDCAM -EX on SXS Cards
(2) SxS 100 min
10 Bit
S-Log
8 Bit
AVCHD (H.264)
(2) 32GB SDXC Cards
180 minutes
8 Bit
H.264
(1) 16GB Card 49 mins
Weight
(Body Only)
13.8
lbs.
24 lbs.
w/ SRW1
5
lbs.
10 lbs.
Camera
Only
5.3 lbs
5.5 lbs
w/o Lens
1.8 lbs
CHICAGO 312-932-2700 - DETROIT 248-478-3479
Highlighted Positives
Low Light Performance
Wide Latitude
Cost Effective Workflow
Bright EVF w/ Overscan
Great Color Separation
4:4:4 Recording
14 bit A/ D
Established HDCAM SR
Workflow
Small - Ideal for 3D
HDRx High Dynamic Range
Touchscreen LCD
Established R3D workflow
EVF with overscan
12-14bit REDCODE
Low Light Performance
Cost vs. Performance
Established .R3D Workflow on
virtually all platforms
Small Size
Ideal for 3D
Low Light Performance
Low Power Consumption
Cost-Effective
Large Imager for Depth of Field
Uncompressed Audio
Highly Accepted Workflow on
virtually all platforms
Cost vs Performance
Compact Size
Low Light Performance
Popular for Commercials,
Music Video & webisodes
Notable
Credits
"Anonymous"
"Law & Order LA"
"Now"
"The Chicago Code"
"The Invention of
Hugo Cabaret"
"Tron Legacy"
"Red Tails"
"Law & Order:
Criminal Intent"
"Spiderman 4"
"Hobbit"
"Jack the Giant
Killer"
"Prometheus"
(Alien Prequel)
"The Social
Network"
"Pirates of the
Caribbean 4"
"Winter's Bone"
New Camera
Check Back Later
for an Updated
List of Credits
New Camera
Check Back Later
for Updated List of
Credits
Numerous Regional
& National Spots
Numerous Credits as
a "C" & "D" camera
for Television &
Feature Films
AVERAGE
NATIONAL
Daily Rental
$1900 Plus
$1500 EV
with
(2) 32GB
SXS Cards
$3250
with
SRW-1
& SRPC-1
$1750
with
(2) 128GB SSD
$1200
with
16 GB Cards &
RAM Drive
$450
with
(2) 16 GB
Cards
$350
(2) 32GB SDXC
Cards
5D $350
7D $250
w/
(2) 16GB Cards
er Camera 2011 Please notify us of any mistakes tom@fletch.com Updates will be posted at www.fletch.com

FLETCHER CAMERA and LENSES Chicago - Detroit 2011 DIGITAL CAMERA
Sony F23
Panasonic
HPX-3000/3700
Sony PDW-F800
Panasonic
HPX-2000/2700
Sony PMW-EX3
Sony PMW-EX1
Imager
(Actual Size)
2/3" 2/3" 2/3"
CCD
11 Ø
8.8 x 6.6mm
2/3" 2/3" 2/3"
CCD
11 Ø
8.8 x 6.6mm
2/3" 2/3" 2/3"
CCD
11 Ø
8.8 x 6.6mm
2/3" 2/3" 2/3"
CCD
11 Ø
8.8 x 6.6mm
1/2" 1/2" 1/2"
CMOS
8 Ø
6.4x 4.8mm
1/2" 1/2"
CMOS
8 Ø
1/2
6.4 x 4.8mm
Full Aperture
31.1mm Ø
24.9x18.1mm
for comparsion
ARRICAM ST Kodak/Fujifilm
Lens
Mount
Camera Must Be Available For Sale Copyright Fletch
Base
ISO
B4 320
B4 400
B4 500
B4 640
EX
Mount
B4
400
FIXED 400
PL 500
Latitude Frame Rates
11
Stops
10
Stops
10
Stops
10
Stops
7
Stops
7
Stops
15-16
Stops
1-60 fps
@
1920x1080
HPX-3000
24, 25p, 30p
HPX-3700
1- 30 fps
1080
1-30fps
720
1-48 fps @ 23.98
1-60 fps @ 29.97
2000
24, 25 30p, 50p,
60P
2700
1-60fps
1-30fps @1080p
1-60fps @ 720p
1-30 fps @ 1080p
1-60 fps @ 720p
1-60fps
Digital Sampli
Recorded M
1920 x 10
1920 x 10
1920x108
1280x72
1280x72
1920 x 10
1920 x 10
1920x108
2K
4K
6K
Uncompres
(via Scann

ng on
edia
80
80
0
0
0
80
80
0
sed
er)
COMPARISON CHART
Recorded Bit Depth
Format & Time
10 Bit
HDCAM SR
Tape 50 Min
10 Bit
AVC-Intra 100
(5) - 32GB P2 Cards
200 min
8 Bit
XDCAM Optical Disks
95 Min
10 Bit
AVC-Intra 100
(5) - 32GB P2 Cards
200 min
8 Bit
XDCam
(2) - 32GB SxS Cards
200 min
8 Bit
2 - 32GB SxS Cards
200 min
16 bit (Linear)
10 bit (log)
3 Perforation
14m48s 1000'
4 Perforation
11m 06s 1000'
Weight Highlighted Positives
24 lbs.
w/SRW-1
10.5
lbs
9 1/2
lbs.
10
lbs.
7.9
lbs.
6.2
lbs.
25 lbs.
400' Load
28 lbs.
1000'
Load
CHICAGO 312-932-2700 - DETROIT 248-478-3479
4:4:4 Recording
Established Workflow
Popular for Greenscreen
"HD D5" Quality
Cost vs. Performance
3700 Offers 4:4:4 Out
Combines the best of a tape
and tapeless world.
Low Cost Media
Native support by
Major NLE
HD D-5 quality @ Relatively
low data & Rental rates
Also Record 1080i
Cost vs. Performance
Size
Flexibility to mount
Professional 2/3" Lenses
Cost
1/2" Imager
Full 1920x 1080
imager and recording
4:4:4 Color Sampling
Established Workflow
Widest Available Latitude
Proven Archival Value
Notable
Credits
"Speed Racer"
"Public Enemies"
Numerous
National &
Regional Spots
"Doll House"
"Detroit 187"
Numerous
National &
Regional Spots
"Parks &
Recreation"
Mark Burnett
Productions
Numerous
Regional Spots
Numerous
Regional Spots
Numerous
Regional Spots
"The Black
Dahlia"
"Chicago"
"King's Speech"
"Quantum
of Solace"
Average
NATIONAL
Daily Rental
$2500
with
SRW-1
& SRPC-1
$1100
with 2 16GB
Cards
$1,000
$800
w/ five 16GB
Cards
$500
w/ two
16GB Cards
$375
w/ two
16GB cards
$1,400
w/Mags
er Camera 2011 Please notify us of any mistakes tom@fletch.com Updates will be posted at www.fletch.com

JVC’s new GY-HM750.
Incredible images. Faster workflow.
Remarkable value.
Interchangeable lenses
Fujinon and Canon offer a wide range of professional
HD lenses and adapters to choose from, including
models with built-in 2X extenders. In addition, JVC
offers a PL mount lens adapter specifically designed
for 16mm film lenses.
Dual media recording on hot
swappable SDHC memory cards
SDHC is the world's most economical
and widely available solid state media.
With dual slots, you can alternately
swap cards for continuous recording,
or record on both cards simultaneously
for redundancy.
At JVC, we never stop refining our ProHD cameras and the new GY-HM750 is a perfect example. We've upgraded its
digital processing engine to deliver the very best images in HD, and now SD. We took the world's fastest workflow
and made it even more convenient by adding the ability to create masters on two SDHC cards simultaneously. Our
comfortable, compact-shoulder form factor hasn't changed, but we've given you the ability to expand with optional
direct-docking modules. And best of all, we've priced the GY-HM750 for today's economy. Whether you're shooting news, commercials,
documentaries or music videos, this is the camera for you. JVC's GY-HM750. The ProHD revolution continues.
Talk to the Pros at JVC and check out the new ProHD GY-HM750 camera. Call 1-800-582-5825 or visit pro.jvc.com
©2011 JVC. All trademarks and brand names are the property of their respective proprietors.
1.2 Megapixel viewfinder
Equipped with JVC's patented Focus Assist
function, critical focusing has never been
easier. A large, convenient 4.3-inch flip out
LCD monitor is also provided.
High-end HD/SD image quality
JVC's progressive 3-CCD design captures HD images at up
to 1920 x 1080 with no scaling. A third-generation MPEG2
codec provides recording with selectable data rates up to
35Mbps. SD output and recording is also possible.
Camera is expandable
Built-in chassis connector designed
for expansion modules such as ASI
output or SxS recorder.
World's fastest workflow
Native File Recording technology
stores video in the XDCAM EX
.MP4 and .MOV ready-to-edit file
formats used by the most popular
professional editing systems.