ARRI has announced a number of new products at IBC. I’m interested in the news that they have adopted the Lumen Radio standard for controlling their LED panels. With Kino-Flo also building Lumen wireless into their lights, I guess it’s “safe” now to invest in what the industry seems to have chosen as a de facto standard. Check out my two video reports from CineGear on this.
One talks with Lumen Radio about their laptop control software:
The other talks with the company Cinelex, who are making fader/lighting control panels with a Lumen Radio built in:
Source: ARRI Rolls Out New Master Grips, Remote Head, Wireless Lighting System and More
The Vitec group is launching a new tripod that has been three years in development. It is a re-think of how carbon fibre tripods have been made, and it will come out under the Sachtler and Vinten brands. My biggest like from what I’ve seen so far is that all three legs can be height adjusted almost at once from the same area, with locks that you don’t have to bend over to undo. O’Connor is also a member of the Vitec group now (seems like everyone is), and I used to love their “crazy legs”. They were a fast set-up, but tended to not function in the cold very well, and had rigidity problems in my experience. Vitec says they’ve tested this new Flowtech beastie to death, here’s hoping it holds up. Sachtler in particular has made great field tripods, but my main peeve with them has been the cap on their bottom legs. When you undid the brake, gravity would allow the leg to fall with some speed and only stop when it “crash landed” on the end cap. That end cap was only glued on, and repeated use would have it come off, whereupon the entire leg would simply fall out of the brake/support. It was a poor design, and hard to fix. I hope they’ve solved that here. Keeping the legs closed using magnets is an interesting solution, as is the easier snap of the detachable feet. They’ve obviously thought things through.
The Flowtech is being launched in 75mm form. I would have thought a 100mm bowl version would be more suitable for a launch of this magnitude, but I’m sure they have polling and internal numbers to back their decision. I can see no mention in the article of whether they plan a 100mm version or not. At any rate, I’m glad to see a company trying something legitimately new in the tripod space, I wish them luck.
Source: Flowtech – Sachtler and Vinten rethink the tripod – Newsshooter
Nicholas Somera (is he new?) from AbelCine gives a short preview of Angénieux’s latest zoom lens. One of the things I did not realize is that their EZ series of lenses are made in Japan as opposed to the rest of their line which is manufactured in France. We had a look at changing out the back element of one of their EZ zoom lenses at NAB, showing one of the main advantage of these lenses. I wish it had more views as I was surprised they did it on the show floor for me, and it’s really instructive.
I think this marks the first time I’ve linked to Abel Cine’s freshly revamped website. Andy Shipsides mentioned that it was coming at the end of our comprehensive interview and behind the scenes look at AbelCine Tech. I wish it had more views as well! Go check it out, and nice job on the revamp guys.
Source: At the Bench: Angenieux Optimo Style 48-130 | Tutorials & Guides | Blog & Knowledge | AbelCine
So it would appear that Apple and RED have made a deal to exclusively sell the RED RAVEN camera only at Apple stores (I’m assuming only online). A quick look at RED’s store site seems to back that up as it is not listed there.
- As a side note, when you sort the cameras in the store by “Most Popular”, it lists the $50,000 S35 8K Helium first. If “Most Popular” means most bought, Mr. Land’s company seems to be doing well
Interesting. When I talked to Vincent Laforet at CineGear, he predicted that soon you would be able to buy a camera from RED at retailers like Best Buy.
I think he was talking something a little more consumer-ish, but still, surprisingly prescient. When RED launched their cell phone device, I noted that they seemed to be having trouble keeping up with demand on the RAVEN. Has that changed? The Apple Store says “in stock”, and I have to believe that Apple has fairly stringent supply chain requirements in order for something to be listed in their store. Maybe RED has solved their mass manufacturing hiccups? If so, perhaps their cell phone device has a chance to fly. As I said before, time will tell….
Source: Breaking News: RED RAVEN available at Apple.com by Adam Wilt – ProVideo Coalition
UPDATE: Pro Video Coalition has a getting started demo.
If you’re editing a movie with thousands of elements, then AVID is your NLE. If you’re in a multi-user environment networked to huge central storage, than AVID is your editor. But if you’re just looking for something to smash Youtube videos together, FCP X, Premiere Pro or Davinci Resolve is your editor. That means that there are thousands of people who have no idea how to edit in AVID (or are even familiar with what AVID is). And eventually, that means that no one uses AVID, and even though it’s arguably the best NLE out there, AVID fades away. AVID is very aware of of their declining share, and with the release of their free Media Composer First, this is their fight song. I wish them luck. They’ve been an institution since the start of NLEs, and it would be a shame if they went away.
As part of KOAT’s original content series, I stopped into AbelCine in Los Angeles to have a look at their cinema sales and rental operation. The always enthusiastic Andy Shipsides sat down for a talk about surviving in a service industry, and their possible future moves.
Christie projectors don’t come cheap, and I was pretty impressed that they offer their clients a calibrated viewing theatre, both for dailies and training purposes. Abel has an idea about how things should be done, and if that means they have to design their own gear to meet that standard, then that’s what they do. Hope you enjoy!
One of the booth videos I featured at CineGear was from a company called CineFade (no relation 🙂 ) They are using mainly existing technology in a novel new way. Their system allows you to modify depth of field, without changing focus or exposure. Say what? They have synced a FIZ unit to change aperture value (affecting DOF) while counteracting the respective change in exposure by simultaneously adding or subtracting neutral density value. They do this by making a variable ND filter out of two polarizers. The iris and the ND are mapped to each other over the length of the variability so there is no “stepping” or anything to give the change away.
Sony is doing the same thing on their FS5 and FS7ll cameras, but this is the first system I’ve seen that does it for any camera/lens combination and is designed for cinema use. Remember the first time you saw a Dolly Zoom? (There’s actually a pretty good one in Guardians of The Galaxy 2 when Peter realizes -SPOILERS- that Ego killed his Mother). The effect on DOPs that are seeing the process for the first time is pretty profound. Oliver from Cinefade put together a little film of their reactions at CineGear. Fun to watch, and nothing makes you “get it” like watching the effect happen in real time. Fair warning: strong language if that’s not your thing.
Check it out by clicking here.