BURY ST. EDMUNDS, U.K.—Videndum will highlight the latest developments from its broad range of product brands, such as Anton/Bauer’s EDEN clean-energy alternative to traditional batteries and generator setups, during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

The Anton/Bauer EDEN solution is designed for high-performance production environments and integrates seamlessly with existing workflows, offering quiet, emissions-free operation. Well-suited for on-location and studio shoots, EDEN is available in multiple configurations, including standalone units and rack-mounted solutions.

Other Videndum brand developments include:

• Autocue Pioneer, presenting the Pioneer Series of customizable prompting solutions built around speed, simplicity and sustainability. Pioneer Series features an adjustable mounting kit for faster, easier setup and balancing, and high-brightness monitors that remain visible in any lighting.
• Autoscript will feature Autoscript Voice, an advanced voice automation feature for WinPlus-IP. Integrating intelligent speech recognition, it enables hands-free prompting control in studios and control rooms.
• Litepanels will highlight the Astra IP LED panel that combines the signature output quality of the Astra series with IP65-rated durability. Weather-resistant and ruggedized, the Astra IP LED panel is well-suited to exterior shoots and wet locations. Litpanels will also highlight its Gemini 2x1 lightweight RGBWW hard panel and Studio X LED Fresnels.
• Manfrotto will feature the Manfrotto 500X compact, versatile fluid video head designed for smooth, professional camera movement in a lightweight form factor. Manfrotto will also showcase the ONE Hybrid tripod for creators who need to capture both photos and cinematic video on their mirrorless cameras without carrying two tripods.
• OConnor will showcase the 2575E Platinum Edition fluid head with refinements, including a stainless-steel center lock, lightweight carbon fiber cover and redesigned platform release mechanism, and the Ultimate 1040 paired with the Flowtech100 tripod.
• Rycote will showcase the Cyclone microphone windshield and shock mount combining advanced wind-noise reduction with shock isolation; the Modular Windshield Kit, including a Modular Suspension, Windshield, and Windjammer, designed for professionals requiring customizable wind and shock isolation; and Nano Shield Kit in a superior wind and shock isolation in a compact form.
• Sachtler will feature the Ace Mk II, its latest evolution of its lightweight Ace fluid head systems. Available in Ace M Mk II and Ace XL Mk II versions, the range provides smooth drag and reliable counterbalance in a compact package. The Ace M Mk II is suited to cameras up to 8.8 pounds (4 kg), while the Ace XL Mk II supports rigs up to 17.6 pounds (8 kg).
• Vinten will showcase VEGA, its next-generation robotic control system engineered for precision, intelligence and creative flexibility. VEGA combines exceptional on-air motion quality with AI-driven talent tracking and automatic shot reframing as well as integrated speech recognition, which allows presenters and operators to control robotic cameras.

See Videndum brands at IBC2025 Stand 13.A05.

More information is available on the Anton/Bauer, Autocue, Autoscript, Litepanels, Manfrotto, OConnor, Rycote, Sachtler and Vinten.

Anton/Bauer has launched its VCLX LI 1600, the latest evolution in its VCLX range of block battery systems. The new battery delivers more power than ever from a lightweight and IP65-rated weatherproof unit, the company said.

The VCLX LI is a 1600Wh capacity battery, more than double the power of the VCLX NM2 launched last year, while being lighter at just 25.5 lbs. It provides multi-voltage output (14.4V, 28V, and 48V) through two XLR4 outputs and one XLR3, offering seamless power to cameras, monitors, and lighting equipment.

This ensures optimal performance for high-current demand devices, according to the company. For example, an ARRI ALEXA 35 rig could require about 300W at 28V DC—135W for the camera and another 165W for the monitor, wireless transmitter, wireless focus lens motors and receiver, focus assist, and lens light—the VCLX LI will power that package for 5.3 hours, Anton/Bauer said.

SHELTON, Conn.—Anton/Bauer, a leading provider of mobile power systems for the film and television industry, has announced the launch of its 'Preservation Power' campaign. This initiative supports Rainforest Trust's mission to conserve and protect the world's most threatened tropical forests and endangered wildlife.

For the duration of the campaign, every Anton/Bauer battery purchased will contribute to Rainforest Trust's Brazilian Amazon Fund. 

This fund aims to preserve up to 20 million acres of rainforest—an area roughly the size of South Carolina—over the next four years. These forests store up to 6 billion metric tons of carbon, playing a crucial role in combating climate change.

"Filmmakers are at the forefront of raising awareness about environmental issues through compelling visual storytelling," says Andrew Hutton, head of products at Anton/Bauer. "Anton/Bauer batteries power many of these impactful films and now, with the 'Preservation Power' campaign, each battery purchase will directly aid in safeguarding the Brazilian rainforest, empowering filmmakers to both inspire and support conservation efforts worldwide."

The 'Preservation Power' campaign builds on Anton/Bauer's commitment to environmental stewardship. The company uses premium components for longer product lifespans, adopts sustainable manufacturing processes to minimize waste and environmental impact, and leads the industry with innovative, sustainable power solutions like the sodium-powered Salt-E Dog, the company reported. 

Wildlife filmmaker Chris Schmid is part of the campaign. "My role is to highlight conservation issues while minimizing my carbon footprint,” he said. “We can all make a significant impact: Buy better, buy greener, save endangered species, and protect their habitats."

Anton/Bauer also stressed that its commitment extends beyond product innovation. As part of Videndum Production Solutions, the company supports Rainforest Trust through its 'Action4Good' Wellness Challenge. Over the past two years, through various activities, employees have raised enough to preserve over 3,250 acres of the Amazon rainforest.

"As sustainability becomes more critical in the entertainment industry, Anton/Bauer is leading with products designed to minimize environmental impact," says Videndum Production Solutions' CEO, Nicola Dal Toso. "By pioneering new technologies such as the Salt-E Dog sodium battery, Anton/Bauer is providing safer and greener alternatives for film and television production, significantly reducing greenhouse gas emissions."

For more information on the 'Preservation Power' and the Anton/Bauer range of batteries, visit www.antonbauer.com/preservationpower. 

IPSWICH, U.K.—As a freelance broadcast camera operator, I find myself covering all sorts of events and scenarios across the country, mainly sports. It has been commonly said that the U.K. can experience all four seasons in a day, which means my kit needs to easily withstand all of them. 

Before I made the switch to Anton/Bauer, my least favorite season was winter. This is because batteries—all batteries—hate the cold. However, some deal with this issue better than others. 

One of the mainstays of my work is EFL football, the majority of which is covered by four camera remote broadcasts using owner operators linking to a director and replay op based at IMG in London. The bulk of U.K. football is played in the colder months which can wreak havoc on power solutions.

Powerful Problems
Until I switched to Anton/Bauer Titon batteries, power was always a problem. I used to do FACS checks on one battery, warmups on another, first half on yet another and then a final battery change at halftime because I just could not trust my old batteries. In addition to how rapidly they would decline, the power indicators were completely arbitrary, looking almost full for most of the time, then suddenly dropping. 

Since making the switch, this problem has become a thing of the past. I ended up getting two Titon 150’s and two Titon 240’s and I can do all of the above on one Titon 240 battery with no changes. And if I do start to worry, all I need to do is check the accurate time remaining display on the side of the battery to see exactly how much time I have left. 

Most camera positions in a stadium do not have power unless they are on the main gantry; even then, the power can be unreliable, so a good set of batteries is essential. I used to carry upwards of 10 batteries on some shoots, now I just carry four.

I also do a lot of work using the OB company’s kit, and some of these regular jobs use RF cameras. 

Often the batteries provided are not particularly high quality and I can end up doing a battery change every half hour to an hour, which can frustrate and prevent me from fully focusing on the job. Not only that, but weight becomes a huge issue when shouldering an RF camera, and batteries can be very heavy. 

Less Stress
Therefore, I started bringing my Titons to these jobs just to make my life easier, and it’s been a game changer. The Titon 150 and 240 batteries are both considerably lighter than other batteries I have used and more powerful. I can run an RF link, camera, my Litepanels Brick (powered by the D-tap on the battery) and various other bits for over 2-3 hours on a 150 and almost five hours with a 240, making work far less stressful. 

The Titon batteries have another added benefit for me, a USB A connector that allows me to charge USB devices while simultaneously powering my kit, which is so convenient. This is particularly useful as I use an action camera to record behind-the-scenes content for Instagram and other social media, and my action camera has a tiny battery. This extends to other handy things like being able to charge my phone, which has been especially useful when comms go down and my phone is the only link to the director. 

More information is available at www.antonbauer.com.

SHELTON, Conn.—Anton/Bauer has launched Salt-E Dog, a sodium-based 9kWh mobile power source designed for motion picture and television production.

The new power source delivers consistent, reliable energy and addresses the carbon emissions associated with traditional fossil fuel or lithium generators, the company said.

Dubbing Salt-E Dog a “major milestone” for sustainable power for the M&E industry, the company is positioning the new power source as a solution for location shoots and productions demanding emission-free and noiseless power.

The use of sodium-based power means the battery creates a healthier and more pleasant environment for production crews and talent. Unlike gas generators, the Salt-E Dog produces no harmful CO2 or NOx emissions, the company said.

Nearly silent operation and a compact size allow Salt-E Dog to be placed closer to where a production needs power. It also offsets greenhouse gas emissions, allowing productions to offset 2.6 kg of CO2 and associated NOx per liter of fuel saved, it said.

"Until now, productions have relied on gas generators, designed for heavy industries with less sensitive equipment or lithium-based power supplies," said Andrew Hutton, product manager at Anton/Bauer. "We are using a more sustainable and readily available option: sodium. Compared to lithium, sodium cells offer a safer, more efficient and longer-lasting power solution. This makes Salt-E Dog the smart and sustainable choice for powering cine equipment."

Not only is the sodium cell 100% recyclable, but it also has a lower Global Warming Potential (GWP) rating compared to lithium-ion batteries. Using sodium cells, rather than lithium, productions can safely place the unit near lighting, catering, craft and even on-screen talent without the risk of thermal runaway or fire, it said.

The Salt-E Dog offers a range of power output options. AC power is provided through four 20A 120V outlets or a 50A 125V Stage Pin connector. DC power comes through four 16A 28V XLR3, four 16A 48V, as well as two 5~20V, 100W USB-C ports. With these power capabilities, the Salt-E Dog can provide up to 6000W of pure sine wave power, allowing for extended off-the-grid usage to run production equipment for hours. Users can recharge the unit from AC outlets, solar PV, and CCS Level 2 (J1772) electric vehicle charge points, it said.

Features and benefits include:

• 9kWh sodium battery for consistent and reliable power.
• 7-inch color touchscreen display for real-time monitoring.
• IP55 weatherproof rating for durability in all conditions.
• Multiple AC and DC outputs for including XLR3, USB and Stage Pin for versatile power distribution.
• AC grid power, PowerCon True1, solar PV, and CCS Level 2 (J1772) electric vehicle charger inputs for convenient recharging.

 More information is available on the company’s website. 

MANCHESTER, England—My day-to-day workload as a freelancer can be extremely varied and also quite hectic. This includes fast setups out in the field where mains power is not an option during the live hits I do for major news broadcasters such as ITV, CNBC and the BBC in remote locations.

Some of these can be from really challenging scenarios. I’ve covered most of the worst-hit flood areas in the U.K. over the past few years, where we’ve had to travel by boat or wade waist deep for coverage with enough room to carry only one or two batteries. Endurance and reliability are absolutely key when it comes to these situations.

On top of all this I also use a variety of power-hungry accessories such as my on-camera 7-inch monitor and my location lighting (a set of Litepanel Astra 6x 1x1’s), which often need to be operating at full power through soft boxes in a range of locations, oftentimes in the middle of nowhere when endurance and reliability is crucial. 

Powering an Upgrade
Taking all of these ingredients into account, when it came time for an upgrade, I opted for the Anton Bauer Titon 150’s. The first thing I noticed was the absolutely biblical run-time they offered—I didn’t need to swap out for the entire day if I was just powering the camera alone on run and gun setups, I genuinely couldn’t believe it.

Even with the monitor added into the mix I would still get seriously improved run-time—I’m talking many hours here. My lights are never an issue on location now.

One feature I really love is the digital screen on the side that shows percentage. Having an astonishingly accurate actual “time remaining” display allows me to monitor how much time I have left in a high-pressure scenario. We’ve all been in that situation—nervously holding our collective breath and second guessing when our cameras are going to die mid-take.

I chose to go with the V-mount option as my light panels all have the V-mount plate. Plus the majority of cameras and accessories I use on all broadcast jobs always seem to be V mount too. Considering how many times I get last minute curveball requests thrown at me by clients, it gives me the confidence that all bases will be covered.

Never Miss the Moment
Outside of live hits, I also regularly self-shoot for high-profile feature packages and docs. Very recently I was working on a Netflix crime series with a contributor on location that was giving an extremely sensitive interview to do with a murder—not the kind you can stop mid-take to change dead batteries, which could force them to re-deliver something that took all of their heart and soul to build up to doing that one time. I had two cameras set up, both powered on a Titon150. This setup gave me peace of mind knowing they’ll go the distance at crucial times.

Since making this switch, I often get asked on shoots what batteries I’m using as I never really seem to be seen swapping them out. I also get a lot of attention regarding the charger I use (Quad V-mount charger) as it is insanely quick at recharging dead batteries.

I love having the confidence to not worry about finding power during shoots anywhere. Being able to concentrate on the content rather than worrying about anything else, especially a blinking battery light, is the way it should be.  

More information is available at www.antonbauer.com/en

SHELTON, Conn.—Anton/Bauer has expanded its Dionic 26V series of cinema batteries by working with ARRI to develop a new range of B-Mount batteries, chargers and camera plates for cinematographers, rental houses, and content creators using such cameras as the recently launched ARRI Alexa 35. 

Just like Anton/Bauer’s existing 26V Gold-Mount Plus solution, the native 26V B-Mount Li-ion batteries offer up to 240 watt-hours of reliable, safe, and efficient power, the company said. 

The Dionic native 26V range now includes 98-watt-hour and 240-watt-hour batteries and quad chargers in B-Mount or Gold-Mount Plus options, plus a range of mounting plates for connecting to industry-leading cameras and LED lighting fixtures.

“The new B-Mount additions to our highly popular Dionic 26V range expand Anton/Bauer’s outstanding reputation for delivering reliable and versatile mobile power for demanding cinematic productions”. said Andrew Hutton, Anton/Bauer product manager. “Our rental partners can now provide a complete native 26V solution for customers to power their entire shoot, including power-intensive LED lights and high-end cine cameras. The Dionic 26V series is a perfect example of Anton/Bauer’s continued commitment to engineer and deliver effective solutions to meet the workflow requirements of cinematographers.”

The Dionic 26V B-Mount series has been designed to drive high-power cine cameras such as the ARRI Alexa 35. With their lighter weight and more compact form factor, the Dionic 26V batteries offer greater mobility for high power camera operators than tethered power sources such as AC or block-style batteries. Dionic 26V batteries can also be used as a hot-swappable backup power solution for gear running from large power sources, such as VCLX block-style batteries, eliminating the need to power down a camera to change the main power source, the company reported. 

The Dionic 26V B-Mount Charger offers rapid charging for B-Mount 26V batteries — charging the 98Wh battery in around 1.5 hours and the 240Wh battery in around 3.5 hours — a sharp contrast to competing dual-voltage or ‘regulated’ 26V batteries that take up to three times longer to charge.

Like the other batteries in the Anton/Bauer Dionic range, Dionic 26V B-Mount batteries feature an ultra-high-strength polycarbonate blend construction, the company said. 

This protects the premium battery cells to ensure peak performance even in the most demanding conditions — including extreme heat, humidity, and cold. 

“There are two methods to achieve 26 volts from a battery - ‘regulated’ and ‘native’. We chose native, and for a good reason.” Said David Pasko, engineering manager – Anton/Bauer. “The native 26V configuration balances cell usage and requires fewer circuit boards packed on top of the cells which significantly reduces heat. As a result, Anton/Bauer ‘native’ 26V batteries have many more charge cycles in their lifetime than ‘regulated’ or dual-voltage batteries for superior return on investment”.

 More information about Anton/Bauer is available at http://www.antonbauer.com/. 

NEW YORK—I began my career as a DP in 1981 at a small start-up in the snowy Northeast, called the “Entertainment and Sports Programming Network,” or ESPN.

As I gained more experience under my belt, I became more involved with equipment purchases for ESPN’s camera department. We traveled with the smallest crews imaginable to the largest sporting events in the world—to call them “skeleton crews” would be an understatement. We had a cameraman, audio tech, and gaffer all rolled into one position. 

What we carried was carefully thought out—it had to be compact, simple, and reliable because in live sports coverage, there are no second takes. The last thing we wanted to worry about was power.

Early on, our Ikegami HL79 cameras and separate VTRs were powered by a company that powered film cameras. As the airlines began restricting what types of batteries were allowed onboard, newer solutions became available. We needed to reconsider what we traveled with, and Anton/Bauer was gaining traction in the industry. They paid a visit to show us their innovative products, and from that moment forward, ESPN has exclusively relied on Anton/Bauer.

Powering a New Company
In 1997, I left ESPN to form TaylorVision Productions. I had many decisions to make when considering what equipment I should buy—Sony or Ikegami, Sennheiser or Lectrosonics, OConnor or Sachtler, ARRI or Mole Richardson, but the one no-brainer was Anton/Bauer batteries.

I remember while covering an NFL game in New England, we were informed that a fire had started after a small explosion in a studio near the media center during halftime. When the fire was extinguished, and we were allowed back in, we discovered two things: An off-brand battery blew up on its charger, and our cameras were covered in firefighting foam. 

This could have been catastrophic, and the incident prompted an immediate investigation that led to a temporary ban on charging all camera batteries indoors at the stadium. Eventually Anton/Bauer batteries were given the all-clear and were allowed inside again.

One Constant
Equipment manufacturers come and go, but the one constant in my 41-year career has been Anton/Bauer. The camera that I’m using the most these days is my Sony VENICE, and anyone that has shot with one knows how power-hungry they are. 

Besides powering the camera, I’m often running wireless follow-focus and iris motors, a Teradek wireless video transmitter, and a SmallHD on-board monitor, all off the same Titon 150 battery. I put that load on in confidence, knowing exactly how long the battery will last, to the minute.

My clients now include most broadcast and cable networks, including Fox Sports, NFL Network, Disney and ESPN. Lately we’ve been shooting some very high-profile shows, including documentary films, the 50th anniversary of Walt Disney World, and branded content for advertisers such as Smirnoff, Coors, Ram trucks, Papa John, Coca-Cola and Snickers.

 We rely heavily on Anton/Bauer to power a multitude of equipment on set and in the field. The Titon 150s aren’t a one-trick pony either; I often use them to power my Litepanels Astra and Gemini lighting, and our producers and directors have even used them to charge their cellphones directly from the battery via the USB port.

In short, Anton/Bauer is constantly on the cutting edge of new technology. Their batteries have long been the industry standard. They charge quickly, are rugged, safe, reliable and IATA travel-certified. I don’t know what more you can ask for in a battery. I’m a lifelong user, and a big-time fan. 

After working at ESPN for many years, Bruce Taylor started his own company TaylorVision Productions in 1997. More information is available at TaylorVisionHD.com; he can be reached at TaylorVision@cox.net or at 203-671-5500.

More information on Anton/Bauer batteries is available at www.antonbauer.com.

LIVERPOOL, U.K.—As the 10-second warning siren sounded that the power station cooling towers were about to be imploded, the battery warning light on my Betacam started flashing. Within the next few seconds, the battery died, the towers had fallen and the moment was missed. As the dust settled and I was trying to explain to the producer why there was no footage, it dawned on me that I really should probably invest in some decent camera batteries. That’s when my 30-year relationship with Anton/Bauer began. 

I’m a lighting cameraman based in the northwest of England and I have shot many hours of television for some of the world’s biggest broadcasters. Being trained by the BBC meant that I was able to learn from some of the greatest operators in the industry and gain valuable experience using many different types of equipment and programs. One of my favorite genres was always news and current affairs, as you never actually knew what the day would throw at you. This is still the case today, whether I’m shooting a police raid for “BBC North West Tonight,” A-level results for “Granada Reports” or wildfires for “Channel Four News.”

TEST OF TIME

As camera technology has developed over the last three decades, (the first camera I used had plumbicon tubes), so has the number of peripherals we attach that our batteries need to power: toplights, monitors, radio mics, vision links, etc. The choice of battery is just as important as the choice of codec. 

I’ve recently upgraded my trusty, bullet-proof Anton/Bauer Hytron 140 NiMh system to the new Anton/Bauer Titon range. There was never any doubt that I wouldn’t stick with Anton/ Bauer as they have never let me down and I already knew the Gold-Mount system was more secure than anything else on the market. I liked the timer display on the Hytron, so to have an even more accurate display on the Titon was fantastic. 

I wondered just how accurate it was, so I decided to test it in the real world. With all my gear attached and powered up, the real-time display showed that there was three hours and 20 minutes of power. The show I was providing live location camera for, “BBC Breakfast,” was on air for just over three hours— that one battery saw me through the whole program with time to spare. That’s how accurate it is. And that’s how much confidence I have in Anton/Bauer. 

KEEPING THE LIGHTS ON

I use Titons to power my camera, but I also use them to power my Litepanels Astra 6X lighting fixtures. I can run the Astra 6X fixtures at full power using the Titons for prolonged periods without flicker, color shift or reduction of intensity—something that is a great asset now with the current COVID restrictions, as you can keep socially distanced from your subject without compromising lighting power. 

The Titons are built with the usual Anton/Bauer solidness—something you need for run-and-gun news when you’re constantly throwing gear in and out of your van. As a freelancer, you can’t afford to have batteries taken out of service because of damage and breakages—the build quality needs to be just as solid as the internal chemistry that powers the cells. That build quality is what makes buying cheaper batteries a false economy—at the very least you lose a news moment and annoy a producer. The very worst, you cause a devastating Li-ion fire. 

For the three-minute news report on flooding for the BBC “Six O’clock News” or the access to a COVID ITU ward for ITV’s “Good Morning Britain,” my batteries have probably been powering cameras and lights for many hours. I might be away from or unable to get to the kit van for hours at a time. I need to have a power system I can totally depend on, that’s lightweight but powerful enough to capture every moment I point the camera at. That’s exactly what the Anton/Bauer Titon series delivers, all the time, every time.  

Keith Jacobsen is a freelance lighting camera operator with more than 30 years of experience in the broadcast industry working with national and international networks including BBC, ITV and Al Jazeera. He can be contacted through his website, www.limegrovestudios.co.uk. 

For more information, visit www.antonbauer.com 

SEATTLE—When a news photographer jumps out of a vehicle to cover a breaking news story, the last thing they need is a science project when putting together the video gear. Makers of camera support, portable lighting and battery packs go to great lengths to make their gear on the go quick and easy to deploy.

CAMERA SUPPORT

Tripods have always been important for steadying the camera shot, but they’re even more important now to support the camera while the video journalist also reports the liveshot.

Miller Camera Support addressed the need for one-handed tripod deployment with its Sprinter tripod. “We have a dual, independent locking system with two levers that are side-by-side at the top,” said Miller Regional Manager Gus Harilaou. “That allows opening the tripod with one flip of the lever, and it deploys both the bottom and the top stages of the tripod. The tripod is opened in a few seconds.”

The Sprinter tripod is paired with Miller’s Compass X18 fluid head. “This is basically for any newsgathering where guys have little cameras, whether that would be handheld or full-blown shoulder-mount cameras,” Harilaou said. “CX18 has a capacity range to take any payload from zero to 35 pounds.”

Vitec brands Vinten and Sachtler co-developed the flowtech tripod family designed for fast moving news coverage. “What makes it so appealing to the news folks is the speed of deployment, which can determine whether you get a shot or not on a breaking news story,” said Tobias Keuthen, director of global product marketing management.

Keuthen noted that the flowtech’s unique clamping mechanism was placed on top of the tripod where the head fits, helping news photogs deploy more quickly. “You don’t have to bend over; you can open the braking clamps for all three legs from the top of the tripod and extend the legs easily,” he said. “You can close the clamps also without bending over, and you can adjust the legs for working on stairs or uneven ground.” The company just added a 100mm bowl version of the flowtech for larger payloads.

Several years ago, Libec launched its Hands Free Monopod (HFMP) designed for free stand operation, according to Jose Larios, manager of sales and marketing for the company. “Our monopod is different by the fact that the base is wide, and it allows the user to put it into a vertical position just by simply stepping on the base,” he said.

The HFMP can stand on its own on the wide base to allow a oneman- band photojournalist to securely position the monopod then step in front of the camera for a liveshot standup. Libec conducted some focus groups to determine what users wanted from a monopod, Larios said. “And when we found out what were the best features, applications and benefits that are going to our product, we put that into place when designing the Hands Free Monopod.” This included placing a fluid head on the top.

Shotoku found that stringers and news departments at smaller stations were turning to lower cost camcorders and even DSLRs to capture video, which opened its market to lower cost, simpler tripod systems. “Our tripods for these customers vary from the SD 20 with really basic level features like fixed drag and counterbalance,” said Graham Ramsey sales director, manual and robotic products for Shotoku.

Two slightly higher level versions—SD 80 and SD 150—can handle higher payloads of 8 kilos and 15 kilos, respectively, and feature a step counterbalance system, and step drag system. To keep things simple for working faster, “with the SD 20 you can leave the balance and drag settings exactly where they are,” Ramsey added. “You don’t have to change anything, take off tensions or lower drag settings, or anything like that.”

LIGHTING

Lighting equipment has come a long way since the introduction of LED fixtures, with time-saving features like dimming without color shifts and the ability to dial in a desired color temperature.

Video journalists are not necessarily lighting experts, according to Kevin Crawford, vice president of engineering at Frezzi in Hawthorne, N.J. “A lot of these people don’t really know about how to light up a scene, so our Skylight product provides a wide, flat, optical field,” he said. “This thing is brain-dead simple to use, and throws a lot of light.”

For working fast in the field, the Skylight can be powered by a broadcast brick battery pack or off AC. It provides high CRI single source 5600K daylight light without pixelation or color fringing.

Fluotec’s StarMaker color-tunable panel fixture has found a home in ENG vans for a number of years, and the company’s upgrade to the StarMaker HP model will make it even more desirable to news crews said Fluotec Chief Marketing Officer Jose Maria Noriega.

“The StarMaker HP now has the same technology as our Cine Light, so it has a much better CRI of 97.7, and it now delivers an output of 37 percent more light than the previous version,” he said. “Incorporating our NEBULA Diffusion Chamber Technology makes a 70 degree throw and softer light than when it’s used without this attachment. And this allows you to use barn doors. Although most panel manufacturers put the barn doors on the light, but they throw a multi-shadow on the background. Our diffusor attachment behaves as a single source point of light, which is very controllable by barn doors.”

With the built-in battery attachment, there’s no need to run cables.

Litepanel’s most popular ENG light is its Astra Bi-Color, according to Byron Brown, program product manager for parent company Vitec Videocom. “It can be easily hand held or put on a stand, it can be installed with a battery adapter, you slip the battery on it and you’re ready to go.”

The color agility of the Astra Bi-Color is another feature that allows for working fast, Brown added. “What we find oftentimes is that guys out in the field will start off with the light dialed in to daylight, and then warm it up to taste,” he said. “The color temperature dial on the Astra also has color temperature readings, so if you know your favorite reading is 4500K, you just dial it to that number and you’re there.”

For situations where a photographer needs a longer throw of light, Litepanels also has the Astra Bi-Focus, with lenses to narrow and intensify the light.

Tama Berkeljon, managing director at Outsight in Australia, said its most popular light for ENG shooters is the bicolor Creamsource Micro. “It’s punchier, and you’ve got more options for diffusing it or softening it back,” he said. “It’s extremely flexible and can be deployed in seconds with a battery attached.”

Accessories include diffusion and lensing, Berkeljon added. “Dropping in lenses changes the beam angle from 30 to 60 to 100 degrees,” he said. “Unlike most bi-color fixtures, the Micro maintains constant power output across the whole CCT range, so users always get the unit’s full potential. There is no reason to have to choose between a bi-color or daylight system. And because of the Micro’s wide 10-32V operating voltage, users can power the fixture from a single 90WH battery, or directly from a car.”

Zylight spotlights its F8 200 LED Fresnel as its most popular with ENG camera crews for its durability and outdoor IP protection. Charlie Collias, director of fixture sales for the Cypress, Calif.-based company.

It’s also very quick to deploy when breaking news is happening. “Its 5 inches thick and packs into a milk crate, pelican case or in padded travel cases we sell,” Collias said. “In other words, the F8 200 is easy to find space for in a van to bring it along, and doesn’t take up much room. The camera person can pull it right out of the bag, place it on a stand and throw a camera battery on the rear and it’s good to go.”

BB&S Lighting recommends a pair of fixtures for speedy ENG work, one for closer work and a second when some throw is needed. “Our Reflect 1-foot or 2-foot wedge-shaped LED fixtures feature an internal reflector system that spreads a 160 degree beam angle,” said Toby Sali, partner in BB&S. “They can be used singly or ganged up in banks. They give you instant and soft lighting.”

Where the subject is some distance away, he points to their Compact Beam Light. “the front is 6 inches, and it’s 5 inches across. It is a 40W draw, like the other one, and it is a 7 degree, 11 degree, 14 degree or 17 degree beam light. So it isn’t a hard light. It doesn’t give you a ridge like a LEKO ellipsoidal profile light. It’s got 15 percent roll-off on the edges.”

During the fluorescent lighting era, Kino Flo sold a lot of its Diva lighting fixtures to news shooters who liked the soft modeling light it produced. “As LEDs took over, we developed a fixture called the Diva Light 21, which is the latest version of our LED Diva Light,” said Scott Stueckle, who handles sales and public relations for the Burbank, Calif.-based company. “It’s lighter weight from any other Diva Light we’ve had. It still has all the functionality. You can pull it out of the case and you can run full daylight and tungsten.”

One high-end feature of the latest firmware for the Diva 21 is the ability to color match the light to a particular camera. “Cameras have different sensors, different spectral curves that they use to see light—they don’t all see light the same way,” Stueckle said. “We’ve pulled out all those spectral sensitivity curves of those cameras, and we’ve downloaded them onto our software profiles. You can also go in and pull up a Panavision or Panasonic or Sony or Canon camera, and lock those color profiles in.” If a news shooter has to change cameras, it’s easy to change the Kino Flo fixture’s color properties to match, Stueckle added.

POWER SUPPLIES

A news shooter can have everything else going fine, and when the power runs out the shoot rudely and quickly comes to an end. Battery makers have gone to great lengths to provide high-capacity battery packs that are also feature rich.

Anton/Bauer unveiled its Dionic XT battery family last year and it’s found a quick market for news photographers, according to Chris Gaughan, product manager for Vitec Videocom’s Anton/ Bauer brand, who said Dionic battery packs are designed to live on the back of a camcorder “and you’re ready to go at a moment’s notice. You pick up your camera, push a button, and it’s running.”

Another feature that assures the shooter isn’t chasing a news story with a nearly empty battery pack is a fuel gauge display. “When the battery’s not under load it tells you how much battery is left, gives you a percentage,” Gaughan said. “When the camera’s running, it gives you the run time you have left, based on the load. And by touching the back of the battery you can cycle through and see what kind of current you’re drawing and temperature of the cell pack.”

Jet-hopping news crews were the focus of IDX System Technology when it designed its Dual C 98 battery packs. “Because it’s at 98W—under 100W—you could carry 15, 20, 25 on the plane,” said Jun lshizekai, associate manager of marketing & regional west sales. “It features two D-taps and one for USB, so it has enough accessory ports to fill all of a camera guy’s needs.”

Dual Cs have a five LED fuel gauge on the side, and because the individual LED is either fully lit, blinking or dark, it actually indicates battery power remaining in 10 percent increments, lshizekai added. “There’s also an LED on the Vmount side, and if you’re in total dark and it’s hard to see to change batteries, you can turn this LED on. It stays on for 30 seconds to let you maneuver around when remounting a battery pack on the camera.”

PAG’s PAGlink batteries provide the ability to gang several battery packs together on the back of a camcorder, creating a number of advantages, according to John O’Keefe, marketing consultant for PAG. “Unlike the conventional Gold Mount batteries, a single battery with a single capacity, PAG makes 90Wh and 150Wh battery packs that can be linked together,” he said. “For most guys who are shooting news, they would probably want just two, and that would let them shoot for eight hours without having to change batteries.”

PAG’s Power Hub sandwiches between two battery packs, and will let the shooter power a light, wireless microphone, small monitor and similar accessories off the camera when both batteries are linked. “The battery closest to the camera acts as your hot swap and the camera drains from the rear battery,” O’Keefe added. “That power hub is in the middle, and you can remove the rear battery without interrupting power to the camera and accessories.”

Frezzi’s FLD 100 battery packs are 100 Wh capacity, the company’s largest legally transportable battery. “It’s got a push to test fuel gauge, so it doesn’t drain the battery when it’s not being used,” said Crawford.

“It’s weatherproof, fully sealed. It can be charged with our existing desktop chargers; and it has a small port that’s used with a portable power supply to charge it, like a small desktop charger, a single channel. So if you have a little go bag and you don’t want to bring a desktop charger, like a four position station, you could use this little power supply to charge it that way.”

WASHINGTON--The Vitec Group has announced its product lineup for the Government Video Expo, Nov. 27-29 at the Walter E. Washington Convention Center in Washington, D.C.

Highlighting the company’s booth will be the Vinten/Sachtler flowtech100 Carbon-Fiber Tripod, the newest addition to the company’s flowtech carbon-fiber tripod range. Compatible with all major 100mm fluid heads, flowtech100 supports a payload of up to 30 kilograms (66 pounds), making it the ideal tripod for electronic newsgathering, field production, and a wide range of commercial, educational, and documentary productions.

Like its predecessor, flowtech75, flowtech100 is based on an exclusive carbon-fiber technology that includes the world's fastest-deploying tripod legs, according to Vitec. With unique quick-release brakes conveniently located at the top of the tripod, the flowtech100 legs can be deployed simultaneously and adjust automatically to the ground's surface—saving operators from having to bend over and manually adjust multiple brakes on each leg. The exceptional torsional stiffness of flowtech100 ensures that the tripod will not twist during camera-panning movements.

For power solutions, attendees can check out the Anton/Bauer Dionic XT Battery Series, available in both V-Mount and Gold Mount. The high-performing and compact Dionic XT is a 14V Li-ion battery that delivers up to 12A of continuous power. It’s available in two models — the Dionic XT90 and the Dionic XT150 — and features ultra-high-strength ABS and rubber construction that cushions and protects the battery and ensures industry-standard performance. Dionic XT batteries work with Anton/Bauer's complete line of battery charging systems and are also cross-compatible with competing brands' charging systems and offer superior performance for powering accessories such as portable LED lighting.

For lighting, the company will highlight its Litepanels Gemini 2x1 Soft Panel, that allows for quick setup to produce true, flicker-free, full-spectrum white light for any frame rate, shutter angle, or intensity, making it ideal for live broadcasts.

Gemini enables lighting professionals to "go bold" by lighting with any color in the 360-degree color spectrum. The light's most recent firmware update includes new special effects, new gel modes, and advanced fan operation. An all-new lighting effects mode offers dynamic effects ranging from emergency lights, lightning, and fire to pulsing, square, and strobe. Gemini eliminates the need for color correction by offering full-spectrum white light that's perfect for lighting public speakers and on-air talent. The versatile Gemini's lightweight design allows the light to be rigged virtually anywhere, requiring less cabling because the power supply is built in.

Also from LitePanels is the Astra LED Panel, the company’s next gen version of its original 1x1 panel. The Astra 3X and 6X models feature a 50 percent increase in output, making them three and six times brighter than the original Astra. The Astra Soft Bi-Color provides flattering, diffused lighting for a soft, wraparound light quality.

The Astra Bi-Focus Daylight is the newest addition to the popular Astra family, giving users the ability to adjust from a 48-degree flood to a 15-degree concentration of light with the turn of a dial. Astra's high-performance LEDs and optics provide professional lighting designers with accurate color temperatures, high CRI/TLCI color rendering, and beautiful light quality. The Astra family's modular design features optional DMX and Bluetooth communication modules, along with V-Mount or Gold Mount battery plates for mobile power when AC power is not available.

Attendees can also check out the latest developments in Autoscript’s Intelligent Prompting range. The industry's first teleprompting system designed around an IP-enabled workflow, Intelligent Prompting can also accommodate video workflows. These developments include additional features within Autoscript's premier prompting software, WinPlus-IP, that build even greater redundancy and reliability into Intelligent Prompting deployments.

Also at GV Expo 2018, Autoscript will highlight its IPS range including the all-IP prompting monitor, EVO-IPS, andWinPlus-IPS software, a simple but powerful prompting application for smaller productions. The combination of WinPlus-IPS and EVO-IPS packages the power of Intelligent Prompting into a cost-effective, easy-to-install, and easy-to-use solution that's perfect for smaller IP-based studios, corporate and educational productions, and government-sponsored broadcasts.

“We look forward to showing GV Expo 2018 attendees how all of our lighting, camera support, prompting, and mobile power solutions can help them create and capture the video content they desire while giving them the flexibility and durability they need," said Paul Dudeck, Vice President, Sales, Americas, Vitec Production Solutions.

Vitec Group will be in Booth 691. Click here to register for the 2018 GV Expo. 

SHEFFIELD and LONDON, U.K.—As a director of photography and documentary cameraman, I have been privileged to work on projects in more than 110 countries over the length of my career—and many of those locations could be considered challenging or hostile. At times it feels like I have lived 10,000 lifetimes with what I have witnessed from travelling with my cameras over the years. Already in 2018, I’ve made three trips to Gaza, Palestine; Cox’s Bazar in Bangladesh at the Rohingya refugee camps; and war-ravaged Mediterranean cities in Libya.

One of my most valued collaborators is the British author, adventurer and TV presenter Simon Reeve. Simon and I have traveled the world on scores of projects, including most series of the BBC’s prominent travel documentary program bearing his name. Most recently, we completed shows for the “This World” series on the Caribbean, Ireland, Greece, Turkey, Colombia, and Russia and just this year wrapped “Burma With Simon Reeve,” which aired on BBC Two in May.

POWER DEMANDS

Wherever I roam on the job, my travels tend to take me to far-flung and challenging locations where reliable mobile power is absolutely essential. Going into a remote field shoot requires careful planning. You never want to be in a situation where you’re without adequate power for cameras, radio mics, wireless transmitters for monitors, and any other kit you’ll use, but you don’t also don’t want to be weighed down by excessive and unneeded batteries. It’s a tricky balance, but it’s easily accomplished with the latest mobile power technology from Anton/Bauer.

I’m a longtime user of Anton/Bauer batteries for all of my work. Over the years I’ve learned I can completely rely on them in any type of shooting situation, even in the most rugged and remote locations. I’m also a big fan of Anton/ Bauer’s Gold Mount positive locking system, which in my experience is the most secure mount for camera batteries in the world.

For my most recent project, as part of a shoot in Libya for a new travelogue series on countries of the Mediterranean, I tried out Anton/Bauer’s all-new Dionic XTs. Not only do these new batteries raise the bar on performance and reliability, but they also have a more compact form factor that makes them ideal for constant travel. We were constantly on the go in Libya, covering a multitude of stories in numerous locations for two weeks. We used every mode of transport you can imagine, from planes and cars to trains and boats.

RELIABLE AND RUGGED

One of the things that impressed me the most about the Dionic XTs is their ruggedness. Like all Anton/Bauer batteries, the XTs have been tested to within an inch of their lives for safety. I’ve seen the results of lithium fires from substandard batteries, but I know I can trust Anton/Bauer batteries to stand up to just about any kind of treatment without compromising the integrity of the interior cells. On the Libya trip, the XTs survived drops, being bounced around in the backs of 4WD vehicles, and plenty of other rough treatment, and they still performed flawlessly.

Anton/Bauer has really thought through the way its batteries manage power consumption, which makes my power planning a lot easier and reassures me that the batteries won’t discharge too quickly. With the XTs, for instance, I’m able to plan my critical power requirements for any location shoot almost to the minute using the built-in power gauges on the batteries. If I have to trek into a location for many hours, I know precisely how much battery power I’ll have to pack in.

Like many freelance DPs, I own a large percentage of my gear. My investment spend is critical to my business overheads. I have always tried to invest in the best kit to help my business grow and Anton/Bauer batteries have been my first choice. In my view there is simply nothing else to compare with their reliability, ruggedness, and performance. With the cinematic images I create, I strive to be part of a message of hope even in situations of the most extreme adversity. Equipment such as reliable remote power is critical to that mission.

Jonathan Young is a highly esteemed documentary DP with more than 25 years of experience shooting for all the major U.K. and U.S. broadcasters, as well as independent production companies across the globe. He has been nominated several times for RTS and BAFTA awards. Jonathan can be contacted atJonathanyoung101@gmail.com.

For more information, please visitwww.antonbauer.comor call 203-929-1100.

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SHELTON, CONN. — Anton Bauer has introduced its latest generation Dionic XT battery series for broadcast and 14.4 V cinema applications.

Available in V-Mount and Gold Mount camera mounts, the compact, lightweight Dionic XT 14V Li-ion battery delivers up to 12 amps of continuous power, and better onboard battery management, for applications that demand greater battery performance and reliability.

The Dionic Series, including the Dionic XT90 and Dionic XT150 models, features a durable ABS and rubber construction that cushions and protects the battery and ensures high performance, even in extreme conditions, such as heat, humidity or cold.

And, with its advanced cell technology, the company claims that Dionix XT batteries can be recharged many more times than other batteries for lower management overhead and a faster return on investment.

Certified for air travel, these batteries feature USB (5.0V 2A) and PTAP connectors for powering accessories, such as portable LED lighting, with an easy-to-read LCD display for tracking run time and capacity, and they’re cross-compatible with competing brands’ charging systems.

Anton Bauer will debut the Dionic XT90 and Dionic XT150 product line in Booth 15 at the Cine Gear Expo, taking place June 12, in Los Angeles.

Anton Bauer is a Vitec Group brand providing mobile power systems for broadcast, film/video, healthcare, and other video productions 

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SHELTON, CONN.—In an effort to allow Li-ion battery users to comply with the new IATA regulations for air travel, Anton/Bauer has updated its Performance Quad Charger. The charger now has the ability to discharge a battery to any level, including those specified by IATA regulations.

Users of the Performance Quad Charger can now asses and discharge to a desired preset level, including the 30 percent SoC level required for air travel. This updated capability is available for free as a firmware update by going to http://vitec.ftpstream.com/?lid=2cot2ask#.

All current generation Anton/Bauer Li-ion batteries feature a power gauge. The CINE and Digital series batteries displaying the battery charge percentage while the Dionic HC series shows a single bar of charge to represent less than 30 percent SoC.

SEATTLE—Speed—the faster a news photographer can get shooting, then get on to the next location, the more productive he or she can be. As the sign over Charles Osgood’s radio reporting desk reads: “Quantity is Job One.”

LIGHTING
The lights a news photog carries are a good place to start. Adding attachments to a piece of equipment can be a real time waster, which is why Zylight built an articulating arm into its LED Newz on-camera lighting fixture (see review). When not in use, the arm folds up to the light fixture’s housing and when it’s showtime, the arm quickly attaches to the camera and allows movement of the light into the desired position.

The Newz fixture provides variable color temperature adjustment from daylight to tungsten, along with smooth dimming. It sports a water-resistant IP54 rating for shooting in extreme conditions like hurricanes and blizzards.

Whether in the studio or out in the field, today’s cameras offer high resolution and sharpness that can reveal every flaw and blemish on a reporter or interviewee’s face. The solution is a wide, soft source, like Kino Flo’s Diva 415, a four-bank fluorescent fixture that can be interchangeably lamped for daylight or tungsten.

Diva lights provide on-board ballast dimming and feature builtin barn doors along with a reflector, louvers, Flozier diffuser, lamp case and fixture carrying case. Kits combining Diva 415s and the smaller 201s provide all the fixtures needed for a full-fledged interview setup.

The color rendering properties of metal-halide gas discharge lamps, HMIs, MSRs, etc., are well known. But since many of these lamps require time for cooling before being restruck, the off-again/on-again nature of news shooting made their use for “run-and-gun” shooting problematic.

Videssence Little VID KIT K5600’s Joker 200 News provides an ultra-fast restrike lamp starter that assures quiet and immediate lamp ignition and re-ignition, so the fixture requires virtually no setup time. It can be used without optics to become a Bug-Lite, while it can also evenly fill a Lightbank or Lantern, making it the perfect light for interviews. The company’s Joker News kit operates in 110V and 240V environments as well as from a pair of 14.4V camera batteries or a 30V battery.

Three-point lighting is a staple of modeling a face, and Videssence’ Little VID KITS are designed to deliver just that in a rolling canvas trolley case. The kits are available in daylight or tungsten, with 50W focusing or non-focusing LED Fresnel fixtures.

Each Little VID fixture is powered off 120-230V AC power, with battery power an option. The kits include stands, barn doors and gel frames or gel holders. Each fixture has a 12-foot cord to remote power supply that allows easy programming for dimming or DMX control.

Cineo Maverick The 12 x 12-inch 1x1 LED panel lights have defined soft source lighting for over a decade. Cineo’s Maverick fixture applies its remote phosphor design to that same form factor to take the best of both advantages, with a 160-degree even spread of light and full, on-fixture dimming control. The phosphor panels can quickly be interchanged to change color temperature from 3200 to 5600 or 6500K.

With the rigors of field use in mind, the lightweight Maverick features DC power and waterproof construction and delivers a volume of light equal to a traditional 1K soft source, with a wide array of accessories, power supply and mounting options.

Podcasters and traveling correspondents often deliver their on-camera work from a desktop with a laptop webcam. BBS Lighting took the challenge of image quality from a minimal workspace when it designed its two-light Pipeline Remote Phosphor LED Reporter Kit.

The foot-long cylindrical fixtures come with desktop stands and full range dimming to provide modeled light to match illumination on the correspondent whether in a dimly lit room all the way to filling in sunlight-generated shadows. Using battery power at a paltry 10W per fixture, there’s no need to string power cables.

POWER SUPPLIES
There’s an old news photographer joke that has him looking for a “currant” bush to plug into when his batteries run down. But drained batteries are no joke in the field, and that keeps fueling battery development.

With many newsrooms migrating to one-man-band VJ operations, headcount may be reduced, but the actual number of field-ready camera systems—and their attendant rechargeable batteries—can increase. The more batteries a station has, the more charging wherewithal they need.

PAG found a way to maximize the amount of charging that can be done in the footprint of a single charger by developing its PAGlink system. The four-position PL16+ allows up to four PAGlink batteries to be piggybacked on each of four charging positions to simultaneously charge up to 16 batteries simultaneously. Intelligence built into the system figures out the best and most efficient way of charging each battery pack.

A news shooter carrying a large-enough capacity battery pack to power multiple devices is one thing, but getting at that power can be another.

This led IDX to put a pair of D-taps on its Duo 95 and Duo 150 battery packs, which can power other devices that need a 12V source. And because there are other peripherals like cellphones and tablets that can need a charge during the workday, they’ve even added a USB port to the battery packs.

With all the ways of going live from news stories, it’s important that the photogs be ultra portable and able to move fast and get to the scene first.

Frezzi FLB-100 Frezzi came out with its FLB (Frezzi Lithium Battery) 100 series with enough power and life to provide power to not only the camera but also on-camera light and bonded cellular transmitter, cutting down on the bulk and weight that several batteries would add. The companion charger is the four-position FLC-4.

Anton/Bauer developed its Gold Mount battery pack attachment system that became so synonymous with the company it’s commonly called the A/B mount. But to make the company’s battery technology available to those with the alternative Sony L-Series battery mounts, Anton/Bauer rolled out its L-Series 7.2V battery packs.

The L-Series battery packs come in 4400mAh (30Wh) and 6600mAh (47Wh) models, and sport single and double position chargers. The chargers also include a USB port for charging peripheral devices such as cellphones and tablets.

CAMERA SUPPORT
Tripods were always important when a news crew had a reporter and a photographer, but with a one-man-band the sticks are even more necessary to hold the camera while the video journalist does a liveshot or interview.

Libec RS-250D tripod Shooting run-and-gun style may seem a far cry from using a camera rigged cinestyle, with matte boxes, flags, filter holders and focus assist tools, where the weight and balance changes sometimes shot to shot. But news shooters have their own variety of optional extras, including big or small batteries, on camera lights, wireless mic receivers and video transmitters.

When Miller designed its Compass 23 tripod system, it aimed for a lightweight but robust support for the camera package that can handle a counterbalance range of 8–30 pounds. It also provides a 120mm sliding camera plate with 60mm of travel to reset the camera balance as accessories are added or taken off.

The Compass 23 offers three selectable positions of high-performance pan and tilt drag, plus a zero position.

Most camera crews use a tripod at eye level for interviews and standups. But for shooting steady B-roll material it’s handy to be able to go high and low.

Sachtler FSB8 tripod with Touch & Go plate and SpeedLock system Shotoku addressed this need with its spreader-less TT-66/L/S tripods, featuring extreme low angle shooting or the flexibility to add stability where a floor or midlevel spreader might not be practical. The tripods employ a simple twist lock grip to allow quick, easy and individual adjustment of each leg length.

The speed with which a news shooter can move from setup to setup is dictated by how quickly the camera can be mounted and dismounted, and the tripod deployed and broken down for carrying.

Sachtler’s FSB8 tripod with Touch & Go plate and SpeedLock system addressed just this in a lightweight package. For cameras weighing less than 20 pounds, the three section TT 75/2 CF telescopic tripod quickly erects to a steady camera platform, then collapses to a portable 17 inches.

Most days a news shooter doesn’t have time to use a slider, but Libec designed their tripod heads so if there is a need for a slider, skater, etc., they can quickly mount the fluid head and get shooting.

The RS-250D (for smaller cameras) and the RS-450D (for mid-sized cameras) feature a 75mm ball for quick leveling on a tripod. But the bottom of the ball is cut flat or quick bolting to slider, skater, jib arm or other camera support device.

SHELTON, CONN.—Battery provider Anton/Bauer has unveiled its new CINE battery series for digital cameras, which will become available in September. The CINE series delivers 12 amps of continuous power and incorporates Fuse Link technology, which provides protection to surrounding battery cells. It also features multiple sensors to detect temperature and over-current states.

The CINE batteries feature a durable, industrial design and compliment cameras including the ARRI ALEXA Mini and RED Weapon, as well as functions on all existing Anton/Bauer chargers. A PowerTap is included to power auxiliary accessories such as monitors, lights, wireless receivers and any other 14V accessory.

Additional features for the CINE series include an LCD screen that provides run-time information in hours and minutes. When the battery is detached, the LCD screen displays battery life as a percentage.

The CINE series will be available in 90Wh and 150Wh in both Gold Mount and V-Mount connectors. Anton/Bauer will make a 190Wh option available in 2016.