Cinegear announcements?

[rand thompson]

At the Bench: Sony VENICE Firmware Update 4.0




By AbelCine

Follow along as Ian shows each mode and verify its new top-end frame rate. He also goes over some of the other great new features of version 4.0. Read more: https://www.abelcine.com/articles/blo...

 

[rand thompson]

ARRI's Art Adams Talks In Depth On The Signature Prime Lenses at Cine Gear LA 2019




By ProductionHUBTV

An interview from the 2019 Cine Gear Expo at Paramount Studios in Los Angeles with Art Adams of ARRI. With headquarters located in Munich, Germany, ARRI was founded in 1917 and is the world's leading designer, manufacturer and distributor of motion picture camera, digital intermediate (DI) and lighting equipment. The ARRI group comprises a global network of subsidiaries and partners covering every facet of the film industry, including worldwide camera, grip and lighting equipment rental through ARRI Rental; turnkey lighting solutions through the ARRI System Group; and film production, post-production, lab services, visual effects and distribution through ARRI Media.

The newest members of the ARRI lens family are the 16 large-format and the Super 35 ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they have been designed to render organic, emotionally engaging images, gently softening and texturizing the large format with natural skin tones and creamy bokeh. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

The ARRI Signature Prime range is the first cine lens series to feature machined magnesium lens barrels, making the optics incredibly lightweight and robust. They are also the first to incorporate ARRI’s next-generation LDS-2 Lens Data System, with high data rates and absolute encoders for fast initializing. LDS-2 extends the possibilities of lens data and is being licensed to other lens and camera manufacturers.

ARRI Signature Prime lenses are equipped with the LPL (Large Positive Locking) lens mount, a key element of ARRI’s large-format camera system. The wider diameter and shorter flange focal depth allow LPL lenses to be small and lightweight, with a fast T-stop and pleasing bokeh—a combination of features that would not be possible with the old PL lens mount.

ARRI shares LPL specifications openly and free-of-charge across the industry, in order to establish the LPL lens mount as the new standard interface between cameras and lenses. ARRI LPL lens mounts are available for ALEXA 65, ALEXA LF, ALEXA Mini LF, ALEXA Classic/XT/SXT, ALEXA Mini and AMIRA cameras. In addition, third parties already offer LPL lens mounts for cameras, director's viewfinders, and lens testing tools, so ARRI Signature Primes and other LPL lenses can be universally used.

 

[rand thompson]

Panavision’s Camera-to-Finish Imaging Ecosystem Featured at Cine Gear LA 2019




By ProductionHUBTV

An interview from the 2019 Cine Gear Expo at Paramount Studios in Los Angeles with Michael Cioni of Panavision. Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its worldwide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions. In this interview Michael talks with us about LINK HDR, the revolutionary new system from Panavision & Light Iron that empowers creatives to view content in HDR throughout the imaging chain.

Among the breakthroughs displayed at Cine Gear are Panavision and Light Iron’s new LINK HDR system. Creatives are producing for HDR-capable distribution platforms more than ever before as consumers seek premium viewing experiences. LINK HDR was developed to address the challenge of viewing HDR (high dynamic range) images throughout the production and post production process. Offering HDR and SDR viewing options in tandem, LINK HDR provides cinematographers, directors, editors and creative talent throughout the imaging chain the ability to view their image at the same quality delivered to consumers.

The LINK HDR system consists of:

- Panavision LINK HDR On-Set Cart – a modular cart outfitted with various monitoring configurations that offers creatives the ability to view HDR and SDR live from the camera.
- Light Iron LINK HDR Dailies – an NLE process that creates HDR and SDR deliverables simultaneously, which allows editors to cut, toggle between, and export in either format.
- Light Iron LINK HDR Finish – a combination of creative talent, technical expertise, and leading technologies that link the creative decisions made on-set to the HDR mastering process for delivery to various HDR platforms.

“As adoption rates of the HDR format rapidly grow, it is more critical than ever for creatives to view a consistent image from on-set through the finishing suite,” notes Light Iron Supervising Colorist Ian Vertovec. “We want filmmakers to have all the tools they need for this new deliverable. The components of LINK HDR were designed with them in mind.”

 

[rand thompson]

Hypermedia International Showcases Vaxis Storm 3000 Wireless Kit at Cine Gear LA 2019




By ProductionHUBTV

An interview from the 2019 Cine Gear Expo at Paramount Studios in Los Angeles with Frank Wang of Hypermedia International. HMI Group is a California-based professional video and audio equipment distributor aimed to deliver innovative products to help preserving moments of excitement in life through video and audio. Exclusively distributing over 9 world-class brands that are among the best in value ,innovation, and services. In this interview Frank talks with us about the Vaxis Storm 3000 Wireless Transmitter/Receiver.

Range/ Transmission
True line-of-sight range is tested at 3000+ft stable and will pass through flags, timecode and metadata. The STORM 3000 is a real workhorse that targets rental market and high-end shows, features because of its extreme durability and ability to be used with 8+ cameras transmitting wireless feed at the same time. If users wish to optimize their transmission stability, a VAXIS spectrum analyzer can be used to tell channel plans that best suit your location shoot.

Durable Exterior Design
The STORM 3000 is a brand-new design. The recessed ports prevent the most common damage on sets, dropping. I/O ports and switch are on the same side making the unit a lot more accessible and provides better flexibility when rigging. Its low-profile design makes it the best company for Russian arm, jib, crane and Steadicam works.

OLED Info Readout
With the high bright OLED display, users will have access all information that are crucial to making a shoot possible. From battery voltage, video formats, channel, fan speed, transmission mode and transmission strength.

For more information please visit: http://www.HypermediaIntl.com

 

[rand thompson]

LiteGear Brings LiteMat Spectrum LED Fixtures to Cine Gear LA 2019





By ProductionHUBTV

An interview from the 2019 Cine Gear Expo at Paramount Studios in Los Angeles with Sean Goossen of LiteGear. LiteGear, Inc., is a designer and manufacturer of LED lighting products for professionals in the Cinema, TV, and HD Video industries. LiteGear is the pioneer behind the popularization of flexible LED lighting for Motion Picture production and our hero products, LED LiteRibbon®, LiteTile™ and LiteMat™, have transformed sets around the world. In this interview Sean talks with us about their newly announced LiteMat Spectrum LED Lamp.

While previous versions of LiteMat changed the way we light, LiteMat Spectrum changes everything, from pre-production planning to post-production workflow, allowing a filmmaker’s true vision to become a reality…all while maintaining the great features of the over ten thousand LiteMats in use globally.

First and foremost the LiteMat Spectrum is truly a LiteMat at heart. Close to 15,000 units are in use worldwide by users at all levels of experience. It’s the preferred choice for quick setups with its ease of use and vast mounting options. LiteMat Spectrum is build upon these features and adds full-color capabilities, wide-range Kelvin temperature adjustment, +/- Green correction, full spectrum de-saturation of color, REC-709 color-space compliance, and large-format pixel control.

LiteMat Spectrum is the most camera compliant LED light fixture available. It can accurately reproduce any shade of white that the camera considers correct. That can be anywhere between 2,000K and 11,000K with +/- 8 points of tint correction. LiteMat Spectrum can also augment its white light with color accents. Saturated color can be delicately added with 100 shades of depth. LiteMat Spectrum can also improve post-production workflows. It is the first lighting system to be certified color-space compliant. That means taking the guesswork out of color mixing for digital cinema. It’s unique and patent-pending color processing engine also provides wide color gamut desaturation.

The concept of large-format pixel control was born out of the need for an ever growing desire for more granular control of set lighting fixtures on set. LiteMat Spectrum features pixels that are 240mm x 480mm in size allowing you to create compelling lighting effects while remaining simple to operate with just 5 DMX addresses per Spectrum Pixel.

A key feature of the new Spectrum platform is pixel control. A LiteMat Spectrum 4 is empowered with 4 large-format pixels allowing for just-right control of intensity, CCT, color or +/- green correction. Large-format pixel control adds a physical dimension of adjustment allowing you to position a lighting effect without actually moving the fixture. It’s like having 4 individually adjustable lights in one unit.

For more information please visit: http://www.LiteGear.com

 

[rand thompson]

Cubix Showcases WorXtation 4K Workflow at Cine Gear LA 2019






By ProductionHUBTV

An interview from the 2019 Cine Gear Expo at Paramount Studios in Los Angeles with Eric Fiegehen of Cubix. Cubix serves every industry and market with a need for powerful computing, such as media & entertainment, scientific research, oil and gas exploration, medical imaging, government and military, architecture and engineering, finance, energy, and more. The Cubix philosophy is based on constant innovation, creating incredibly high performance hardware on stable and reliable systems, and genuine customer service. In this interview Eric talks with us about their Cubix WorXstations.

Why the big “X”? Does it stand for expandability, high-performance, and reliability? Maybe “X” stands for extra silent operations or the extraordinary number of industry applications it can be used for, or maybe even “X” denotes extra fun with the see-through cases and color scheme. Actually, “X” is for all of the above!

Engineers at Cubix designed WorXstation to meet any and all application requirements in the Media and Entertainment industry, as well as AEC markets, and many AI and HPC applications, maintaining a minimal footprint and silent operations at client’s desk. While Cubix has been well known for years in the M&E sector as a PCIe expansion vendor, and later a Blackmagic Design ® DaVinci Resolve solutions provider, they wanted to bring the same engineering expertise, product performance, and reliability to the rest of industry in an extremely quiet package while being a competitively priced solution. WorXstation is a result of those efforts

Available in a multitude of CPU, graphics, and I/O configurations, Cubix builds WorXstation to your specific project requirements. They don’t try to fit you into a hardware configuration convenient for Cubix – Cubix builds the configuration to your specs and your convenience! You want your OS and applications preloaded? Cubix is happy to help. Want them to custom configure the BIOS specifically for adding an Xpander unit? Not a problem. Need someone to install the solution? Cubix is ready to help!

With CPU options ranging from Intel Core i5 / i7 / i9X, to AMD RIZEN Threadripper, to dual Intel Xeon workstation class CPUs, memory configurations up to 2TB, and I/O options including local RAID, 10/40/100 Gbps Ethernet, and NVMe drive compatibility, Cubix has a WorXstation ready for nearly any M&E industry application. For more detailed information and pricing, please contact your Cubix sales representative, sales@cubix.com, or Cubix dealer today!

For more information please visit: http://www.Cubix.com

 

[rand thompson]

Panavision Expands the 8K DXL2 Ecosystem with DXL-M Modules at Cine Gear LA 2019





By ProductionHUBTV

An interview from the 2019 Cine Gear Expo at Paramount Studios in Los Angeles with Aaron Kroger of Panavision. Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its worldwide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions. In this interview Aaron talks with us about the DXL2 8K camera and the DXL-M Modules.

Panavision’s DXL2 8K camera with the RED Monstro sensor offers 16bits of color across 35 million pixels at up to 60 frames per second. One of the quietest signal-to-noise ratios on the market, Monstro delivers unprecedented dynamic range and color with unmatched sensitivity. DXL2 and Panavision large format lenses offer the optimum system for creating the unmatched aesthetic of large format cinematography. Attributes such as a shallower depth of field, greater magnification and a wider field of view produce a softer, pleasing, more natural image—an aesthetic closely attuned to the way the eye sees.

DXL is the first camera with built-in electronic and interchangeable Flexible Modules that allow you to customize the body shape, design, and function.

DXL2 includes integrated and interchangeable MDR modules for wireless lens control. By partnering with the leading FIZ control companies the DXL2 creates a completely integrated system that delivers all the functionality and control with standard MDR systems in a virtually invisible module.

DXL2 was designed as a modular camera with independent electronic functions. The Comms module compartmentalizes the elements of communication and isolates them from video, power and menu, and uses full-size ports instead of adapters. The SDI module can be configured for different monitoring paths. The monitor matrix page offers easy viewing of configuration choices.

The DXL2 Hot Swap Module offers 2x 24v and 3x 14v and USB. It also contains a secondary power port (an additional power port lives on the camera body) as well as color-coded LED indicators and a battery elevator. In conjunction with the Hot Swap Module, DXL2 offers built-in power negating the need for external power supplies.

DXL2 offers an independently configurable and controlled Dual Menu module. Full camera control can be customized on either side of the camera. Twenty-two unique buttons can be programmed to create shortcuts, enabling fast access.

DXL2 Control is an iOS app that allows DXL2 full menu access including RUN/STOP from a smartphone. A real time visual histogram may be accessed, as well as the ability to remotely program up to eight shortcuts. DXL2 Control can be tethered to a single camera or control multiple cameras from a single device. Available free on the iTunes App Store.

The DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED’s DSMC2 cameras, is now available to filmmakers. In addition to the Primo HDR viewfinder, DXL menu system and LiColor2, the DXL-M now offers 2x2 SDI outputs delivering two independent monitoring paths across 4x HD-SDI outputs. Along with added accessories, battery elevator and control upgrades, these advancements add to the efficiency and flexibility of the kit. The result is a fully-equipped camera that is conveniently adaptable to any shooting scenario, including drone, remote head shots and situations where space is at a premium.

For more information please visit: http://www.Panavision.com

 

[rand thompson]

Marshall Electronics Debuts Their 24" 4K Master Confidence Monitor at Cine Gear LA 2019





By ProductionHUBTV

An interview from the 2019 Cine Gear Expo at Paramount Studios in Los Angeles with Dave Hausman of Marshall Electronics. For over 30 years, Marshall has been a trusted provider of high quality and reliable video, audio, and multimedia technologies for Broadcast Video, Pro A/V, Pro Audio and OEM applications worldwide. Customers using our products include TV stations, TV news and media vans, video production companies, post-production crews, and in-house media departments. In this interview Dave talks with us about the V-R241-4K Master Confidence Monitor.

The Marshall V-R241-4K offers stunning color performance with a wide variety of built-in features for professional video production, broadcast, and Pro AV applications. The V-R241-4K has a beautiful 24-inch UHD panel with wide viewing angle that can display resolution inputs all the way up to 4K.

The V-R241-4K supports SDI inputs up to 12G and HDMI inputs up to HDMI 2.0, all with HDR. It comes with waveform and vectorscope functions along with in-monitor displays (IMD/UMD), tally, text, and timecode. It includes 16-channel audio bars, closed captioning decoding, built-in speakers, and more.

For system integrators, the V-R241-4K has multiple ports for control over Ethernet, RS422/485, RS232, and GPI. The V-R241-4K is also compatible with controllers from Extron, AMX, TSL, Image Video, Evertz and many other common control interfaces, making it a great choice for use in remote production, video village, industrial automation, and many other applications.

For more information please visit: http://www.Marshall-USA.com

 

[rand thompson]

Fluotec Introduces CineLight 120 Quad LED Light Panel at Cine Gear LA 2019





By ProductionHUBTV

An interview from the 2019 Cine Gear Expo at Paramount Studios in Los Angeles with Jose Noriega of Fluotec. Fluotec manufactures Television Studio & Motion Picture LED and FLUO fixtures, specially designed for Broadcast, Film, Digital Cinema & Photography. Their professional high quality white light fixtures are available in BiColor tuneable and daylight or tungsten CCT color temperatures, DMX dimming without color shift, the FLUOTEC lines of studio and production lighting also includes a full range of accessories and light modifiers to achieve professional results. In this interview Jose talks with us about the CineLight 120 Quad LED Panel.

With a square form factor, the CineLight is designed for studio and location usage across a variety of traditional and digital mediums and was recently named a NAB Show Product of the Year Awards finalist.

Color temperature-wise, the light runs between 2700-6600K and offers both remote and local DMX Stepless dimming and CCT color temperature from 0 to 100%. It reportedly emits a pure white light and can be used for both soft and long throwing lighting thanks to its interchangeable diffusion panels. Additionally, the light outputs 5,522 Lumens and claims to run with very high efficiency with white light LEDs controlled by Fluotec’s exclusive software-hardware drivers.

For more information please visit: http://www.Fluotec.com

 

[rand thompson]

IDX Showcases New IPL-98 & IPL-150 PowerLink Batteries at Cine Gear LA 2019





By ProductionHUBTV

An interview from the 2019 Cine Gear Expo at Paramount Studios in Los Angeles with Jun Ishizeki of IDX System Technology. IDX’s mission is to develop products that professionals can use with confidence and convenience. By offering the highest quality of product and world-class service, IDX’s customers are allowed to operate their equipment as expected and concentrate solely on capturing and creating. From IDX’s award winning battery systems to its ground-breaking wireless HD video transmission systems, you can be confident that IDX and its products will continue to meet the ever-changing demands and challenges of the industry.

The IPL-98 and IPL-150 are the newest stackable battery solutions for digital cinema cameras where infinite runtimes are required. With a 96Wh and 143Wh capacity, the IPL-98 & IPL-150 meet the passenger aircraft carry-on limit and can still provide mobile power to cine-style cameras such as the ARRI ALEXA Mini and RED Monstro all day long if needed. Both of these batteries also include two on-battery D-Taps and USB outputs to power accessories such as monitors, lights, wireless receivers, tablets, phones, etc.

The VL-4X is a slim, lightweight, affordable 4-channel charger. Dual Simultaneous/Sequential feature charges up to 4 batteries total with any 2 simultaneously. The included AC adapter doubles as a 90W DC power supply.

With nearly 300Wh of capacity, the CUE-D300 battery contains the most watt hours we’ve ever put into a single battery. Its impressive performance is perfect for use with high-draw lights, power-hungry cameras, and suitable for all types of productions. Like all prior CUE series batteries, the CUE-D300 comes standard with 1x D-Tap output. On this model it is rated at 100W max to power 12V accessories taking a high load.

For more information please visit: http://www.IDXtek.com