MUNICH—Battery manufacturer bebob has expanded its Vmicro lineup with new models featuring USB-C PD3 support, advanced communication protocols and sustainable serviceability.

The new VmicroC batteries are designed to deliver high performance in an ultra-compact and lightweight form factor, making them the well-suited to mobile production environments where space and weight are critical.

With USB-C PD3 support for both input and output, users can charge and power devices without the need for a proprietary charger, ensuring maximum flexibility on set and during travel.

The VmicroC’s advanced auto communication setup enables the batteries to adapt automatically to different camera systems, including Sony, Blackmagic Design, Red, Fuji, Arri and others. SM-Bus communication and a practical five-step LED display give users a clear and reliable indication of both the state of charge and the state of health of the batteries at all times.

The batteries also feature special operational functions, such as an integrated flashlight for quick use in dark environments. Their optimized storage design allows the batteries to be stacked safely and efficiently, making transport and storage more practical for production teams.

The entire product range is fully certified for safety according to international standards. This includes IEC 62133-2 for product safety, UN38.3 for transport safety as well as FCC and CE certifications for electromagnetic compatibility. The batteries also conform to CE, UKCA and other relevant directives, ensuring reliable and secure operation worldwide.

The company developed the new lineup with serviceability and sustainability in mind. Each model is repairable and maintenance-capable, and through a cell pack refreshment process the batteries can be given a second life, reducing waste and extending long-term usability.

The VmicroCs are backed by a two-year unconditional warranty on all components, except for the cells. The cells are covered by a one-year warranty, guaranteeing a minimum of 80% of their original capacity.

The new Vmicro lineup (with manufacturer’s suggested retail prices [MSRP]) includes:

• V45microC: 14.4V / 3.0Ah / 43Wh, $348.
• V98microC: 14.4V / 6.6Ah / 95Wh, $398.
• V150microC: 14.4V / 9.9Ah / 143Wh, $448.
• V200microC: 14.4V / 13.2Ah / 190Wh, $498.
• V240microC: 14.4V / 16.5Ah / 238Wh, $557.

Each is available immediately.

More information is available on the company’s website.

NANJING, China—SWIT has launched the Powercell camera battery series for photographers and videographers who require professional-grade battery reliability from their Sony, Canon, Nikon and Fujifilm camera systems.

The Powercell series offers slot-in compatibility, affordable pricing and charging features that make it easy to always have a charged battery ready.

The new batteries, compatible with the industry’s most prestigious camera brands, mark a significant transition for SWIT, bringing the rigorous engineering standards usually reserved for high-end broadcast environments and scientific space exploration programs to the broader prosumer and professional mirrorless camera market, the company said.

Designed as a direct slot-in replacement, Powercell batteries are 100% compatible with the original camera manufacturer’s specifications for power supply and charging. They allow users to swap batteries in seconds while maintaining the exact shape, form and communication protocols of the original batteries.

The battery series matches the performance of original batteries while extending functionality for today’s shooting needs. The batteries use premium cells from Panasonic. This, together with SWIT’s experience serving the needs of professionals, ensures a steady power output even during high-intensity burst shooting or high-bitrate 4K and 8K video recording.

Integrated USB-C smart charging means users can charge their batteries directly via USB-C for efficient, safe charging from dedicated chargers, power banks, in-vehicle charge adapters or laptops. There’s no need for bulky proprietary chargers.

Real-time power monitoring on the battery body, via instantly visible built-in LED charge indicators, gives users an intuitive sense of the battery’s remaining power, ensuring crews will avoid unexpected downtime during long production sessions.

Safety remains a cornerstone of the Powercell design. Each unit features a reinforced, flame-retardant housing designed to withstand the rigors of field use.

The Powercell battery series has a suggested retail price ranging from $35 to $49, depending upon camera. They are now available worldwide through authorized partners and e-commerce platforms, available on Amazon and open for pre-order on B&H Photo.

More information is available on the company’s website.

CARSON, Calif.—IDX has introduced the IDX CUE-J Series battery/charger kits, including the CUE-J98, CUE-J150 and CUE-J198.

The CUE-J98, CUE-J150 and CUE-J198 use the latest lithium-ion battery technology with increased capacity. Additionally, the IDX CUE-J products fit the IDX VL-2X and VL-4X V-mount chargers, the company said.

The company is combining the cost-effective CUE-J Series batteries and the IDX VL-2X or VL4X battery charger in a full-kit solution for powering cameras, portable production monitors, portable lighting and audio products. CUE-J Series batteries are appropriate for any product requiring power from a V-Mount plate or D-Tap to XLR cable input, it said.

The CUE-J98 has a battery capacity of 95 watt-hours; the CUE-J150 has a 143 Wh capacity; and the CUE-J198 has a 190 Wh capacity. Each CUE-J series battery has a single, built-in D-Tap output capable of taking an 80-watt load and a four-LED power indicator, the company said.

Key features include:

• Cost-effective V-Mount battery.
• 1x D-Tap output.
• Overcharge, overdischarge and overcurrent protection.
• Four-LED power indicator.
• Durable design and casing.

More information is available on the company’s website.

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.

MUNICH—bebob is launching the B480cine, what it terms as “the most powerful B-Mount battery to date.” It features a market-wide unique capacity of 475Wh and a maximum load capacity of 20 amps (continuous current). In addition, like the complete bebob B-Mount portfolio, it also scores with 14.4/28.8V dual-voltage capability and 450W continuous power output. The company is touting the B480cine as an ideal power supply for particularly power-hungry 12V and 24V equipment on set and says it can  replace additional large and clunky on-ground batteries, especially for 24V accessories.

With its 475Wh, the B480cine can power an ARRI 200W Skypanel for two and a half hours, for example. It’s also a good on-board power supply for the high-performance spotlights of the Aputure 600 family: with two B480cine, an Aputure 600D Pro runs with 640W in "full output" and "boost" mode for almost one and a half hours without interruption. 

Like all bebob B-Mount batteries, the B480cine features a unique continuous output of 450W. (bebob B-Mount batteries are currently the only ones that deliver 20A continuous current—not only under 14.4V but also under 28.8V nominal voltage. For a short time (several minutes), the current may even reach 23A, the company said.)   

The B480cine is designed to be repairable and can be fitted with new cells if they no longer deliver the original performance after years. This means most of the components of the batteries can be reused for years, avoiding waste, conserving resources and saving money.

The B480cine comes with the same warranty as all bebob batteries: two years on all mechanical and electronic components as well as on 80% of the original cell capacity.

The advantages of B-Mount batteries, according to bebob, include 24V and dual-voltage capability, smooth mechanics and universal battery communication. Compatible with cameras, lights and accessories from a wide range of manufacturers, the B-Mount interface also allows all equipment on set to be powered by a single battery system—bringing significant logistical benefits for camera operators and rental companies, particularly in terms of handling and storage, according to the company.

The B480cine is now available for $1,132 from all established bebob dealers.

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/. 

Since its inception Core SWX's focus has been to answer a basic question that all video producers have: what's the best way to power their video cameras and production accessories? 

To answer that question, Core SWX has spent countless hours in the past few years designing and creating innovative, technology-focused batteries and power solutions for videographers, photographers, and cinematographers.

In this whitepaper, company founder and CEO Ross Kanarek offers some insights into the mindset and design philosophy of Core SWX's products, takes a deep dive into their latest innovations, most of which were recently unveiled at April's NAB Show, and provides some background on Core SWX's American-based roots.

 The full whitepaper is available here.  

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.

SEATTLE—News crews are always in a hurry, trying to be the first with a liveshot from the latest breaking story. Two critical pieces of gear that facilitate speed of deployment are tripods and battery packs and manufacturers are making pods and power supplies that offer new, innovative tools for news shooters.

“We really had news crews in mind when we designed our Flowtech tripods,” said Tobias Keuthen, global brand market director for Vitec Production Solutions Division. “Those are the ones who are really run-and-gun shooters. Our number one goal was ‘how can we minimize the time you need to set up your camera with tripod and the fluid head?’”

BEST PLACEMENT

The ideal tripod would have one central locking mechanism somewhere on the top of the tripod, to set up all legs at the same time, Keuthen said. ”That’s what we did with Flowtech; we have three levers at the top of the tripod that operate the three legs with three stages. And it’s very convenient because you reduce the amount of time you need to set up the tripod by multiple seconds, 10-20, down to a second or two.”

Development engineers from Vitec brands Sachtler and Vinten worked in concert on Flowtech. “They mixed their brain power and their ideas and developed this together,” Keuthen said. “We had to develop a whole carbon fiber factory because of the profile needed to house the wire system of this mechanical design.”

OConnor, which makes tripods and fluid heads known for more heavy payloads and accuracy than for speedy setup was not thought of as appropriate for Flowtech, even though it is part of Vitec.

“But in the months after launch of Flowtech, we saw in social media that customers of OConnor’s lighter weight 1030 fluid head started to buy the 100mm version of Flowtech,” Keuthen said. “So we produced an OConnor version of the Flowtech, and used that opportunity to refresh the 1030 fluid head itself, the OConnor 1040 system.”

SINGLE MOVEMENT DEPLOYMENT

Design and reliability make a tripod fast to use, according to Elisabetta Cartoni, owner and CEO at Cartoni SpA. “The tripod needs to be easy to deploy in a single movement,” she said. “The Cartoni SDS tripod is an excellent example of how design meets reliability.”

The SDS tripod legs can be released with a single lever, located on the middle of each leg. “We prefer having the lever located on the middle stage so that the upper stage is never out of reach, even in high mode,” Cartoni said. “Placing the release lever on the middle stage also distributes the locking force on the three sets of tubes better.

“Adjusting the spreader and folding the tripod also has to be fast,” Cartoni added. “On the SDS, the spreader will deploy the two telescopic stages with a single button, making very low shots possible. The tripod can be folded by pulling a single ring, which will also automatically retract the spreader so you can quickly move onto the next shot.”

Cartoni added that competitors who have tried to imitate Cartoni’s design often compromise the strength of the tripod.

“For example, tripod legs will and should always be stronger than the fluid head,” she said. “That’s due to the stress and payload the tripod must carry. Our SDS tripod is tested to support 132 pounds and thus, it easily supports our Focus 22 head at full load [49 + 13 pounds]. When you compromise the shape of the tripod, you compromise the strength of those legs and eventually, you will see them begin to slide and put your camera at risk.”

QUICK RELEASE

At the 2019 IBC Show last fall, Shotoku introduced the SX200 and heavier duty SX260 fluid head and tripod system. For rapid deployment, they have a very quick release mechanism on a two stage carbon fiber tripod, according to Graham Ramsey, sales director for manual and VR products, EMEA, the Americas, Shotoku.

“You turn the tripod 90 degrees and the legs deploy instantly,” he said. “And then you can lock them with a 90 degree turn the opposite direction, and then you open the legs and you’re set.”

In terms of the drag system and counterbalance system, those settings often need not be readjusted shot by shot if the payload doesn’t change, Ramsey said. But the new heads employ Shotoku’s Truebalance counterbalance system that will work from plus 90 to minus 90 degrees. It balances the camera perfectly, so the user can operate it anywhere in the tilt range.

”The drag system is a continuous drag setting mechanism called ‘Viscam,’ which we’ve been using for a long time on all our high-end, OB systems, EFP systems,” Ramsey said. “Now we’re putting it into our ENG system as well. It’s basically a multiplate design that works on the basis of increasing the cross sectional overlap area of the plate.”

Shotoku has manufactured the SX series from magnesium die cast rather than aluminum, cutting down on weight, according to Ramsey.

POWER SUPPLIES

Portable power makers have provided a smorgasbord of solutions for news shooters moving fast.

Anton/Bauer’s Product Marketing Manager Rich Mattina detailed a typical news assignment. “They’re waiting for events to happen, let’s say it’s a press announcement, waiting for a politician or somebody to come out and do a press briefing. Sometimes it’s an hour, two hours, three hours. So we’ve put USB ports on our Titon battery packs so that tablets and cell phones can be charged, and the 150W Titon can keep supplying power to the camera during the wait.”

Titon also comes in a 90W model that can be carried aboard a plane, and a 240W model when the pack has to operate for a long time, with accessories such as a portable light plugged in as well. The Titons are all available in Gold Mount and V-mount, and not only have the USB port but also P-Tap for lights and other accessories. With 10Amp draw at 14V, they’re designed for the typical news camcorder.

With the on-board LCD or through the viewfinder, the cameraman can monitor exactly how much runtime remains, down to the minute. Titon smart technology considers and calculates everything being powered, even devices powered by the high-speed USB and P-Tap, leaving the user free to focus on bringing back the story.

What differentiates PAG from other battery pack makers is the ability to link batteries, combining them for longer run life, according to Bob Carr, sales director at PAG America.

“Unlinked PAG power packs can be legally carried aboard airliners, then quickly relinked to provide the advantages of a single larger battery pack,” he said. “Up to eight PAG batteries can be linked at a time. Similarly, up to eight can be charged at the same time on a single charger.” The ability to stack PAG battery packs is built into the packs, requiring no adapter.

PAG battery packs are available in both Gold Mount and V-mount, and can be charged on other companies’ chargers. A new feature on PAG’s MPL50G battery packs is a built-in D-Tap output (12V), and a USB output unit (5V 2A), which can be swapped for other unit types: Hirose, Lemo and D-Tap.

Future PAG batteries will have the ability to be serviced and re-celled by major customers and regional offices, Carr said, which should cut down the amount of time a battery pack is out of service while being repaired. Major customers can keep track of their own repair cycles, and will be given the key, tools and testing equipment, and replacement cells.

Kevin Crawford, vice president of engineering for Frezzi, says many of his customers think bigger is better for power packs.

“Our FLB-240 can run a camera for two days,” Crawford said. “A lot of our local news crews use that because then they don’t have to carry multiples of smaller batteries, which speeds up the shoot. So you combine that, the lightweight draw for the lighting coupled with the high energy density batteries, you have a nice kit where somebody can go out and shoot for two days without having to do a recharge.”

Frezzi power packs are available in both Gold Mount and V-mount, and a fuel gauge. A smaller, FLB-100 is legal for airline transport. Thermal, over-discharge, overload, over-current protection is built in.

Deep in a rain forest in Equatorial Africa, the peaceful Batwa Pygmies were once known as ‘the keepers of the forest.’ But for generations, these people, known for their unusually short height, would fight against their own slavery, rape and now, poverty. Three generations ago, this process culminated in the Uganda government seizing the Batwa Pygmies’ land with no monetary compensation and no place to call home.

The Batwa needed a champion.

Enter Justin Wren.

At six foot two and two hundred-fifty pounds, Wren is a giant of a man who spends his days fighting in the heavyweight division in mixed martial arts. With flowing blonde locks, he’s a mirror of the Marvel superhero Thor. And Wren is just the giant of a man the Batwa need.

After reading about the Pygmies, Wren, who would later be known in MMA as ‘the Big Pygmy,’ made a life-changing decision to head to the Congo. “I was fighting against people, but really I was supposed to be fighting for people,” Wren said in an interview for his book titled, “Fight for the Forgotten.”

The fight for the forgotten is about providing the Batwa with the skills to exist in the modern world and resources such as fresh water wells, and land to farm.

And Wren is not alone in his fight. He has rallied some in the MMA community to the cause, particularly legendary female fighter Cris Cyborg giving her dollars and time. And now, a documentary to chronicle this powerful story is being brought to life.

That’s when Jody Eldred entered the frame. Eldred, an Emmy award-winning and DGA award nominated TV and Filmmaker, trained in Brazilian jiu-jitsu and is well-known to some UFC production professionals deeply affected by what Justin Wren is doing to free the Pygmies in the Congo and Uganda.

The connection was made, and Jody began putting together the gear needed to effectively operate in Uganda. To create the cinematic look D.P. Filipe Bessa and Director Brady Nasfell were looking for, they turned to the new Blackmagic URSA Mini Pro 4.6K G2 and the Pocket Cinema Camera 4K.

“Because of the rough environment we would be shooting in and having to carry gear for great distances, and in tropical heat, we wanted stuff to be as lightweight as possible but still functional,” says Jody. “So I decided that, after trying everything, we could get by with a smaller head and slightly lighter sticks.”

Supporting the Blackmagic URSA Mini Pro 4.6K G2, the crew used a Cartoni Focus 8 head with SDS Tripod. The Cartoni SDS Tripod sets up & folds in an instant, making it a perfect choice for camera operators on the go.

“What I really liked about the Cartoni was how fast it set up,” says Jody. “You flip a single lever on each leg and you are ready to go. The Cartoni performed very well. It’s very well designed and supported the weight of that camera, monitor, etc. without an issue.”

Powering the equipment, including lighting, was going to be challenging. There is no electricity in the rain forest, and the “hotel” where the crew stayed had sporadic power outages. “Sometimes we got up in the morning realizing the generator had gone off during the night. We would run out of gas, run out of electricity, and our batteries weren't charged,” says Jody. Manios Digital supplied us with the Hawk-Woods Mini V-Lok 150 and 98wh batteries and some accessories such a hot-swap plate, charger, and a light spigot. The Hawk-Woods batteries and accessories were great. So we had plenty of power regardless. They are lightweight, small, TSA-approved and didn’t raise eyebrows.”

The Hawk-Woods Mini V-Lok batteries are the smallest and lightest V-Lok batteries in the market. Nearly half the size of a standard V-Lok battery, the Mini V-Lok batteries are travel safe and lightweight, making them a great choice for camera operators on the go. “I literally carried every single one of our batteries, the camera body, and ENG lens in a small carry-on roller case. I could never have done that with full-size bricks.”

Light & Motion Stella Pro lights were used to bring needed punch to lighting interviews in the harsh, overhead equatorial sun, as well as nighttime shots. “We were able to get some incredibly cinematic images at night shooting around a campfire with the Pocket Camera at a high ISO, around 16000,” says Jody. “Without the Stella Pro, it would have been very flat, no texture or depth.”

“We were there for about nine days of filming. It’s the first part of this documentary, and there's going to be a lot of filming going on over the remainder of this year.”

Justin Wren has won a few rounds in his fight for the Pygmies. A wealthy benefactor facilitated a land purchase so one tribe would have an area they could live on and farm. And even more important, low-cost groundwater wells are being drilled and will be maintained. What remained was a negotiation with the Mokala – a tribe to which the Pygmies are literally enslaved. The price of freedom was providing fresh water wells to the Mokala slavers as well, and it’s helping establish a level of goodwill never experienced before.

To follow the progress in the fight for the forgotten, visit fightfortheforgotten.com. Manios Digital is the exclusive US distributor of Cartoni camera supports and Hawk-Woods batteries. 

London, United Kingdom (May 21, 2019) – Hawk-Woods, a global leader in innovative power solutions and accessories for the broadcast, film and pro-video industries, will showcase new products at Cine Gear Expo: Los Angeles 2019 on May 30- June 1, 2019, at booth 153A.

At Cine Gear, Hawk-Woods will showcase the following products:

· Mini V-Lok batteries – the smallest and lightest V-lok batteries in the world.

· MX8 Charger – An all-new 8-channel charger designed for Mini V-Lok batteries at about the same size as a competitor’s dual V-Lok charger. The MX8 simultaneously charges four batteries at any one time, which then moves onto the other four channels.

· Reel Power batteries – These Reel Power Lithium-Ion battery are designed specifically for running high voltage, high-speed film cameras. This includes the widely used Phantom series, Arri Alexa & Mini. It offers camera operators a portable alternative to using heavy floor standing block type batteries.

· 48V-RP Power Station - the new 48V-RP power station is a unique power solution which allows users to power ARRI Skypanels and other 48-volt (V) LED lighting anywhere when main power is not available. It’s one of the first power solutions which enable users to run high voltage LEDs at 100% light output via a DC input.

· X-boxx- The XB1-1000 is the latest release from Hawk-Woods in the X-BOXX range, This battery gives you all the advantages of a conventional battery box, but with considerably less size and weight. Four Lithium-Ion cell packs are fitted into this neat compact design. Designed to be carried over the shoulder, its almost half the weight of a battery box with similar specifications.

Suitable for powering professional cameras, it will also run most types of high capacity lighting, such as Tungsten or HMI lamps. Output socket variations are available, with this standard configuration being 2x XLR 4 pins.

Manios Digital is the exclusive US distributor for Hawk-Woods. For more information, visit us at Cine Gear Expo at booth 153A.

LAS VEGAS—Bigger isn’t always better, and PAGlink will be looking to prove that with its featured product at this year’s NAB Show, the new Mini PAGlink batteries.

Smaller and lighter than previous PAGlink batteries, the Mini PAGlink features 50Wh-Li-Ion battery packs in a compact format that can work with smaller 4K camcorders like the Panasonic EVA1 and Sony FS5. The MPL50 batteries offer 12V and 5V outputs and provide a single power source for the entire camera setup. Also, a fixed D-Tap output and removable 2A USB are built into the battery and can be swapped for a Lemo, Hirose or another D-Tap.

With PAG’s digital linking technology, battery capacities can be accessed in a combination for an increased current draw from 10A individual to 12A when linked. This allows for a battery to be added or easily hot-swapped.

The 50Wh Mini PAGlink batteries measure 4.35x3.35x1-inches and weigh 12 ounces. They are compatible with full-sized battery mounts and existing PAGlink chargers.

The Gold Mount Mini PAGlink system will be available as of mid-2019, with the V-Mount system arriving shortly there after.

Other PAG products that will be on display at the NAB Show include the PAGlink power systems, PowerHubs for camera accessories and compact chargers in Gold Mount and V-Mount formats.

PAG’s booth is C7840.

To register for the NAB Show, visit www.nabshow.com.

For the last seven years, Emmy-award winning Director of Photography Danny Schmidt has established himself as a dynamic presence in the environmental film space – pairing in-depth stories with stunning visuals. From elephant poaching in Myanmar to climate change and changing ice levels, the Montana native has worked with some of the biggest names in the space including the Smithsonian, NASA, Netflix, PBS, National Geographic and many more.

Manios Digital sat down with Danny to find out how he got started and the gear he uses in the field.

Q: You’ve worked on some great videos from the elephant poaching in Myanmar to climate change in the ‘trial of the century,’ how do you approach each of these shoots? Is this more run and gun or do you have shots in mind for the way you tell the story?

DS: I approach every shoot with one thing in mind: what do I need to do to help tell the best and most honest story possible. This informs the type and style of coverage we get, how we approach the characters, the locations, etc. That said, I love verité, hand-held shooting. There's something about the interplay between the subjects and the cinematographer that creates the raw feeling of intimacy and access that the audience feels on the screen. However, I also love the opportunity in slower, more controlled situations to take the time to set up shots, experiment more with composition and lens choice, and create a frame that is meant to be studied by the audience.

Q: Your film, Running Wild, is shot beautifully! Can you talk about your style? Did you plan on using the wide shots, opening timelapse to highlight the isolation and beauty of the mountains?

DS: Thanks! I had a talented team working with me on this, a stunning location, and a unique story. A lot of elements came together! We knew we wanted to merge the exciting cinematography commonly seen in adventure/sports films with the pressing narrative of finding a critically endangered species. We had great, natural subjects in Craig and Sarah who, aside from already being involved in the science project, were badass and passionate runners. Wide shots were the only way to capture a landscape as big as the Uinta Mountains and to show how small people really are in a place that remote and wild. The night time-lapse seemed like a no-brainer to add to our shot list because that is the time when wolverines are out doing their wolverine thing!

Q: Can you talk about this last trip you went on? What projects was it for and can you talk about the different things you did?

DS: I've had a busy fall working on various projects all of which have different styles and aesthetics. From a purely verité doc series on income inequality in America, to a glossy doc about saltwater fly fishing in New York, to a wildlife film exploring conservation on military lands. So, sometimes I am standing behind a tripod in the early morning hours waiting for an animal and other times I am fully loaded with my Easy Rig following people around town.

Q: What is in your kit?

DS: For most doc stuff I use an FS7, a variety of Sigma and Canon primes, EasyRig, MoVI, a couple sets of wireless lavs, Cartoni Focus 22, a bunch of Hawk-Woods Mini V-Lok batteries, a few LED panels, and lots of other grip gear, monitors, and supports. For long lens wildlife stuff, I’m generally shooting on the RED for over cranking and increased resolution. It's a lot of stuff to haul around the airport.

Q: You took the Hawk-Woods Mini V-Lok batteries with you on this last trip. What did you think?

DS: The Hawk-Woods are a game changer. Seriously. I am the envy of my friends and colleagues on set. They are tiny, they last forever, and charge fast. What else could you ask for in a battery? They are the future.

Q: What did you think of the size of the batteries?

DS: The size is deceptive. They are small, but super powerful. I am so glad HW is leading the charge (pun intended) on shrinking the tech into smaller packages. Traditional v-mounts were really big and bulky. With TSA now requiring all batteries to go in your carry-on bags, it is crucial that you take the smallest, most powerful batteries you can find. Your camera will run all day and your back will thank you later.

Manios Digital is the exclusive US distributor Hawk-Woods, Cartoni tripods and Kinotehnik lights.

Join us at NAB 2019! Register for free by using code LV2933.  

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.”

The NAB Show exhibit halls were chockablock full of acquisition tools for studio and location production. A group of new 4K cameras were introduced on the show floor, along with a few 8K models. Matching the work of their camera making brethren, the lens makers have duplicated their HD lenses with higher spec 4K models. Battery and power supply makers rolled out high continuous output battery packs to serve power hungry high resolution cameras. And lighting equipment makers debuted fixtures that can put out both RGB and color temperature agile white light.

CAMERAS

ARRI rolled out its ALEXA LF large format 4K camera, which utilizes a 36.7mm x 25.54mm sensor, slightly larger than full frame sensor. This allows the company to achieve 4.5K resolution using the same pixel size as other ALEXA cameras. Because of that larger sensor size, a different lens mount, LPL, is required. To use existing LP lenses, an LP to LPL adapter is required.

BLACKMAGIC DESIGN debuted its Blackmagic Pocket Cinema Camera 4K, a handheld digital camera with full 4/3 HDR sensor. Its form-factor is an HDSLR, providing 13 stops of dynamic range and dual native ISO up to 25,600. This makes possible good HDR output and deep low light performance. Images are recorded onto standard SD/UHS-II or CFast 2.0 cards in RAW and ProRes at up to 120 frames per second.

CANON showcased its full frame EOS C700 FF digital cinema camera, designed to meet a large range of production needs. It offers ProRes and XF-AVC internal recording up to 4K to CFast cards. With the optional Codex CDX-36150 recorder, the EOS C700 FF can record 5.9K RAW up to 60 frames per second.

GRASS VALLEY introduced the LDX 86N native 4K UHD (3840x2160) and native 3G/HD (1920x1080) camera, using three 4K XensiumHAWK CMOS imagers. Customers have the option of upgrading the camera to LDX 86N Universe functionality with 6X HD and 3X HD/3G high frame rate capture. (The upgrade license is available on a one day, seven day or perpetual basis.)

HITACHI KOKUSAI debuted the CUHD1300F-S1 HDTV camera control unit with 4K, 12G-SDI output. The CU-HD1300F-S1 combines SMPTE fiber transport and multi-format HDTV support with intercom, teleprompter return, and additional signal connectivity in a space-efficient 2RU unit. The company also announced an optional firmware upgrade for its SK-UHD4000 4K Ultra HD camera system to enhance simultaneous HDR and Standard Dynamic Range acquisition. New optional 12Gbps SDI output capabilities for the accompanying CU-HD4000 CCU have also been added to its existing quad-link SDI interface.

IKEGAMI rolled out its UHK-435 2/3-inch 3-CMOS sensor 4K/HD full studio camera, the studio companion of the previously introduced UHK-430 portable 4K camera. Both cameras utilize 4K (3840x2160) CMOS sensors with RGB prism optics, delivering resolution from 24 million pixels (8 million per sensor). The 2/3-inch sensor format permits use of the full range of B4 studio and field box lenses.

JVCKENWOOD demonstrated its GY-HC900 CONNECTED CAM broadcast camcorder, a complete news-over-IP workflow solution in the field. It utilizes three 2/3-inch CMOS image sensors for high sensitivity (F12 @ 60 Hz in extended mode), HDR with hybrid log gamma, with an Industry standard B4 lens mount.

MARSHALL ELECTRONICS debuted the CV502-WP Weatherproof Miniature Camera, which captures video footage in 702p and 1080i and 1080p. The POV camera can be easily affixed to any kind of structure or terrain.

PANASONIC demonstrated its AK-UC4000 4K/HDR/high-speed studio camera with 4.4K native resolution. The UC4000 utilizes Large Single Sensor Internal Expansion Lens (LSSIEL) optics with Panasonic’s new, larger, advanced super 35mm imager, which maintains B4 broadcast lens capability and high-speed 240fps capability. The company also introduced EVA 2.0 free firmware upgrade for the 5.7K AU-EVA1 cinema camera that greatly enhances its recording capabilities with ALL-Intra frame formats and RAW data output. Panasonic also announced the EVA1 and VariCam LT will take full advantage of the new ProRes RAW software for a faster and more efficient RAW workflow, as well as 6.0 CineLive firmware that sets the cinema camera up for live and near live multi-cam use for events, concerts, television shows and corporate productions.

SONY debuted its PXW-Z280, a 4K camcorder featuring three 1/2-type Exmor R CMOS sensors. The camera integrates a 17x optical zoom lens and an electronic variable ND filter. The camera supports XAVC, MPEG HD and DVCAM codecs, which allow use of one camera to shoot 4K, HD or SD video. Recording is to SxS or SD cards, and can simultaneously record 4K and HD. The company also introduced the FS5 II, with a new ergonomic modular frame and Support for four seconds of 120fps in 4K and continuous 240fps in 2K RAW output, when used with a compatible external recorder.

LENSES & FILTERS

ANGENIEUX added the Optimo 42-420 A2S, a second Long Range Anamorphic zoom lens to its lens offerings. It features Interchangeable Rear Optics (IRO) technology. It provides a constant T4.5 across zoom range, with no ramping. With a close focus spec of 4 feet 1 inch, extreme close-up shots are possible. It features precise and ergonomic focus ring with scale rotation of 320 degrees and over 40 focus marks.

CANON introduced a bevy of new lenses, including the CJ45ex9.7B and CJ45ex13.6B 4K lenses, the largest barrel-type B-4 lenses available. For arena sports production, Canon debuted a mid-range UHD-DIGISUPER 66X box lens for 2/3” chip cameras. And for price-sensitive customers moving into 4K production, the company has developed a second tier of UHD portable zoom lenses, and the UHDgc lens line.

FUJIFILM introduced a pair of new 4K UHD lenses, the Premier UA Series of UHD 2/3-inch lenses. The UA46x9.5B has a 46x zoom ratio and a wide angle from 9.5~437mm with an F2.0 aperture. The UA46x13.5B sports a zoom range from 13.5~621mm with an F2.8 aperture. These two new lenses complete an expansion of Fujinon UHD lenses that now mirrors the company’s HD lens lineup.

SCHNEIDER-KREUZNACH demonstrated its True-Net filters. Hollywood directors of photography have long used a nylon stocking stretched over the lens barrel as a diffusion filter. The problem with that technique is that the effect varies with each application. Schneider’s True-Net filters, with the nylon sandwiched between two pieces of water white glass, allow the effect to be repeated exactly.

BATTERIES & POWER SUPPLIES

ANTON BAUER demonstrated its CINE Battery Series, lightweight and long lasting that deliver 12 Amps of continuous power. It is designed for ENG, accessorized digital cinema cameras and camera stabilizer systems. The CINE battery series includes a PowerTap to power auxiliary 14V accessories, and incorporates Fuse Link technology to provide protection to surrounding battery cells.

BHV BROADCAST launched an enhanced next-generation version of its Video Ghost power solution that enhances its data link capacities. The system now provides simultaneous transmission of digital SDI video, DC power and bidirectional data over a single coaxial cable. The data link is compatible with numerous protocols.

FREZZI showed its 150WH Power Packages, designed to provide ample power to run power hungry HD cameras. They connect to any camera with an Anton/Bauer or equivalent mounting bracket, and charge on FREZZI chargers.

IDX showcased its DUO Compact Series batteries, which are lightweight high-capacity V-Mount batteries with multiple power outputs. They feature a gold-plated 8-Pin connector to maximize power output and minimize damage caused by heat. Each battery houses two D-Taps and one USB to power devices such as lights and video transmitters.

PAG rolled out an array of new accessories to complement its PAGlink battery products, including the PAGlink Micro Charger, a small form-factor single-position charging kit that can charge multiple PAG batteries. The PAGlink PowerHub mounts between battery and camera, and eliminates the need to build D-Taps into a battery pack itself.

LIGHTING

AADYNTECH unveiled a panel version of its JAB and PUNCH fixtures. These Quad fixtures are available in both daylight as well as variable white versions. The Quad JAB and Quad PUNCH will be available in both daylight as well as variable white versions, which feature a color temperature range from 2950°K to 5750°K.

BB&S LIGHTING showcased its Force 7, single source LED technology, utilizing an externally mounted 48-volt power supply that provides smooth dimming from 100 to zero percent. The Force 7 provides precise focus, crisp gobo projection and clean straight cuts with shutters. This is achieved by using a high quality condenser optical system in conjunction with a single point LED light source.

CINEO featured its new Standard 410, combining white-light quality with its saturated-color technology. It provides accurate, smooth dimming through the entire range of 100 percent to zero, is flicker free and silent. The color temperature range is 2700K to 6500K, with five presets. The fixtures support wireless control through the onboard LumenRadio bi-directional wireless DMX/RDM.

FLUOTEC demonstrated its StarMaker UDH 80W, 6,000 lumen tuneable panel light that is IP65 water-and dustproofed. It is all-metal construction for ruggedness and its Halodim Technology provides stepless dimming through the entire range. It can be battery operated or run off AC.

LITEPANELS introduced a new, free firmware upgrade for its Gemini 2×1, RGB-WW soft panel, which combines daylight, tungsten, and red-green-blue LEDs. The new firmware enables eleven new customizable cinema effects and other features. And a new battery plate for the Gemini allows powering from either Gold Mount or V-mount battery packs.

TRIPODS/FLUID HEADS/CAMERA RIGS

LIBEC SALES OF AMERICA demonstrated its Hands Free Monopod (HFMP) featuring lock/release foot pedals for quickly deploying and retracting the base. It includes Libec’s TH-X pan-and-tilt video head and bowl clamp, which offers a +90°/-80° tilt angle, a 360° pan angle, a fixed counterbalance and drag mode. Both the pan and tilt movements can each be locked into place.

MILLER rolled out five models in its new Compass X range, three with 75mm ball bases and two with 100mm ball bases. New features include side-loading camera plates, spare screws in the head, eight positions of counterbalance, a revision in control labeling, and a new design of pan handle rosettes that allows them to be easily replaced should they begin to wear.

RED ROCK unveiled DigiBoom, an affordable gimbal-stabilized camera rig that makes it simple for a single camera operator in the field to execute smooth camera moves with controls that make sense to an ENG camera operator.

SACHTLER and VINTEN showed their co-developed Flowtech 75 MS Carbon Fiber Tripod with Mid-Level Spreader, designed based on all-new camera tripod technology. It features new quick-release brakes and easy-adjust levers that enable camera operators to set up and begin using the tripod in seconds. It has a payload capacity of 44 pounds.

TELEPROMPTERS

AUTOSCRIPT showcased its new Intelligent Prompting family featuring the EPIC-IP19XL teleprompter and WinPlus-IP prompting software. The Intelligent Prompting devices offer the flexibility to integrate simply via an IP network, pooling resources anywhere in the world, and implement fail-safe redundancy measures for live broadcast.

CUESCRIPT rolled out a third generation of its CueiT Software, which includes support for an OpenGear card that allows putting up to 10 CueiT softwares into one frame. The new software also enables using widgets that allow multiple messaging to the talent on the prompting screen. CueScript alsoannounced that all scroll controls for its professional teleprompting systems offer a choice of connectivity, including IP.

ROBOTICS

PANASONIC launched the AW-HN38, AWHN40, AW-UN70 and AW-HN130, a new line-up of PTZ cameras with built-in Network Device Interface (NDI|HX) support.

RUSHWORKS demonstrated its three-in-one dual-camera HD-SDI unit combining a 20x or 30x PTZ camera and a wide-angle panoramic camera in the same module. The PTZ camera has full pan, tilt and zoom functions, while the panoramic camera provides a cover shot that cannot be trimmed.

SHOTOKU USA showed its SmartPedVR, the virtual reality (VR)/augmented reality (AR)-enabled version of its SmartPed that combines built-in VR tracking capabilities with its robotic pedestal. Addition of VR tracking provides 3D position information, including orientation, and is provided in remote or local operations with seamless switching between modes.

TELEMETRICS introduced a more fully featured Advanced Control Panel, the RCCP-1A, designed for larger studios. The panel, with optional STS studio software, includes Telemetrics’ reFrame Automatic Shot Correction technology that locks cameras onto the talent and automatically trims the shot, without operator intervention.

VINTEN demonstrated its Robotic Ceiling Track system, designed for productions where floor space is at a premium. The Ceiling Track is fully integrated with the Vinten control system so that it can join the company’s pedestals, heads and elevation units in the same production.

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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SEATTLE—Imagine equipping reporters, athletes, reality show participants and anyone else who has an interesting point-of-view perspective with an ultralight, 1080p HD camera that is battery-free. How would that change the way stations and producers tell certain stories?

A team of researchers from the University of Washington has hit upon an idea that may one day make possible small, lightweight, extremely power-efficient cameras capable of these types of shots. Their paper, “Towards Battery-Free HD Video Streaming,” describes a way to remove power-hungry components, such as analog-to-digital converters and codecs, from a camera assembly and employ an analog video backscatter technique to transmit pixels to a device, such as a cell phone, from which video can be streamed.

[Read: Social Broadcasting Among Ericsson’s Top 2018 Trends]

The approach eliminates the dual problems of overheating and weight that have made wearable cameras, particularly those that use a spectacle form factor, problematic. By dramatically reducing power consumption, the design may enable a new generation of wearable HD cameras.

“Existing approaches optimize the camera and communication modules individually to minimize power consumption. However, designing an efficient video streaming device requires power-consuming hardware components and video codec algorithms that interface to the camera and communications modules,” the paper says.

Optical lens and photo-diode arrays have been designed to use as little as 1.2 µW, and recent backscatter designs lower power consumption to a few microwatts with custom ICs. However, the ADCs and video codecs needed to interface the two “significantly add to power consumption,” it says.

To reduce power requirements, the researchers’ approach feeds “analog pixels from the photo-diodes directly to the backscatter antenna” and eliminates the camera head’s ADCs and codecs that gobble power. The research team evaluated its new design by simulating an ASIC and found it could achieve 720p 60fps with 321 µW and 1080p HD with 806 µW. “This translates to 1000x and 10,000x lower power than is used for existing digital video streaming approaches,” says the paper.

The researchers employed a backscatter design that leverages pulse width modulation (PWM). “Instead of using linear amplifiers to amplify the analog video stream, we use comparators to pulse width modulate the camera sensor’s analog output and convert into [the] digital domain…,” it says.

A smartphone equipped with an RFID reader that plugs into the headphone jack can be used as a backscatter reader. Future designs could see the backscatter readers built directly into smartphones, says the paper.

The research team built a prototype using off-the-shelf components on a custom-designed printed circuit board. The prototype was used to evaluate how the wireless camera performed. The researchers then used the ASIC design of the wireless camera to quantify how much power is consumed for various video resolutions and frame rates. Actually building the ASIC, however, was beyond the budget of the researchers, the paper says.

“Our empirical results also show that we can harvest sufficient energy to enable battery-free 30 fps 1080p video streaming at up to 8 feet,” the paper says. The researchers also demonstrated that with the prototype proof-of-concept camera they were able to backscatter 720p HD at 10 fps up to 16 feet.

The authors of the paper include Saman Naderiparizi, Mehrdad Hessar, Vamsi Talla, Shyamnath Gollakota and Joshua R. Smith.

CAMERAS

The NAB Show exhibit halls will see 4K and a few 8K cameras, as well as an array of specialty cameras.

ARRI will showcase its ALEXA LF 4K camera. Rather than miniaturizing pixels to deliver full 4K resolution from a Super 35 sensor, ARRI has chosen to put its proven “optimal” size pixels on a larger than Super 35 sensor.

BLACKMAGIC DESIGN will demonstrate its URSA Broadcast camera, designed for both studio programming and live production. URSA Broadcast works with existing B4 broadcast HD lenses, supports both HD and Ultra HD production. It features a 4K sensor, extended video dynamic range, traditional external controls and buttons, built-in optical ND filters, dual CFast and dual SD card recorder.

GRASS VALLEY will demonstrate its line of multiformat (HD/3G/4K UHD) and multispeed (1X/3X/6X) cameras that offer outstanding image performance, excellent light sensitivity, and the ability to use standard HD lenses. The newest camera, the LDX 86N Series, delivers native HD, 3G and 4K UHD images for the highest possible resolution and image clarity as well as full support for HDR with up to 15 f-stops.

HITACHI KOKUSAI will showcase a firmware update for its SKUHD4000 Ultra HD Camera, allowing separate video shading adjustments for HDR/SDR outputs. The company will also unveil its CU-HD1300FT-S2 HDTV Camera Control Units with UHD/4K 12Gbps outputs.

IKEGAMI will show the UHK-435, a 2/3-inch 3-CMOS sensor, 4K/HD full studio camera and an updated, more compact and lightweight SHK-810 8K UHDTV camera developed in collaboration with NHK.

JVCKENWOOD will show its 800 Series camera connected directly to JVC’s ProHD Dockable Bridge, a wireless bonded IP uplink.

LUMENS INTEGRATION will introduce its VC-A50PN Full HD PTZ IP camera with support for NewTek NDI, allowing it to provide video, audio, PTZ control, tally and power over a single Ethernet cable.

MARSHALL ELECTRONICS will present its Marshall CV502-U3, a USB-powered, HD POV camera with an ultra-wide 126°-angle field-of-view lens, offering simple plug-and-play connectivity.

PANASONIC will introduce its AKUC4000 4K/HD high-speed studio camera, designed for live sports production and high-end event broadcast with high-speed 240fps. Also on display will be Panasonic’s entire NDI PTZ camera line-up: AW-HN38, AW-HN40, AW-UN70 and AW-HN130 as well as the AU-EVA1 5.7K handheld cinema camera.

RUSHWORKS will premier its 3n1 Multi-Function Video Camera, an HD-SDI PTZ with 20x or 30x lens and the ability to auto-track single targets.

SONY will show its CineAlta VENICE motion picture camera, capable of 6K resolution (6048x4032) in Full Frame mode. It features an industry first—a user-interchangeable sensor that requires removal of just six screws, enabling future upgrades and production flexibility. Sony will also showcase its FDR-AX700, NXCAM HXR-NX80 and XDCAM PXW-Z90 4K HDR Palm Cameras.

LENSES

ARRI, as part of its complete large-format acquisition system, will showcase its Signature Prime large format lenses. The lenses are purpose built to cover the larger-than-Super 35 sensor the camera utilizes.

CANON will showcase its CJ45ex9.7B and CJ45ex13.6B lenses, designed for use with broadcast cameras and featuring 2/3-inch sensors. The CJ45ex9.7B provides a high zoom ratio, while the CJ45ex13.6B provides the same zoom ratio and a long focal length.

COOKE OPTICS will feature its new S7/i Full Frame Plus lenses, the first purpose-built full frame lens set on the market, designed specifically to cover the emergent full frame cinema camera sensors up to the full sensor area (46.31mm image circle) of the RED Weapon 8K.

FUJIFILM will present its Fujinon UA24x7.8 lense, sporting a 24x zoom. At 8.6" (220.5mm) length and 4.4 pounds (1.98kg), it’s the smallest, lightest broadcast lens supporting 4K, according the company. Lenses zoom range is 7.8mm–187mm.

SIGMA CORP. OF AMERICA will showcase its Sigma 14mm T2 FF Cine Prime lens, which provides a fast T2 at this ultra-wide angle focal length for full frame sensors. The lens offers cinematographers the opportunity for robust cinematic expression.

CAMERA SUPPORT

In addition to cameras and lenses, shooters ranging from news photographer to motion picture cameramen need camera support equipment to add usability and utility.

TELEPROMPTERS

AUTOSCRIPT will highlight its all-new Intelligent Prompting family, together with new controllers and additional monitors. The system includes the EPIC-IP17 teleprompter displaying scripts sent over IP from WinPlus-IP prompting software.

CUESCRIPT will present its complete IP-based teleprompting system, future-proofed for an IP workflow, but included as standard are HD-SDI and Composite video connections that many studios still use, and USB or BNC CAN bus connectivity on all scroll controls also. Included in the system is CueiT Software, the CueB connectivity hub, and the CueScript PTZ Prompter and IP CSM Prompter Monitors.

TRIPODS & FLUID HEADS

LIBEC has added the AP-X adapter plate to its TH-X H fluid head and tripod system, providing more convenience and utility. The adapter plate design allows detaching the quick release plate with one hand while holding the camera with the other. The plate is also compatible with select Manfrotto and Sachtler heads.

MILLER CAMERA SUPPORT will show its CompassX series (CX2, CX6, CX8, CX10 and CX18), featuring the company’s CB PLUS technology, delivering 16 positions of counterbalance in all models, providing accurate balance.

SACHTLER and VINTEN will demonstrate their jointly developed flowtech 75 tripod, featuring unique quick release brakes and easy adjust levers that enable camera operators to set up and begin using the tripod in an instant. The two brands will showcase a pair of optional flowtech accessories, a detachable carry handle and a compact and lightweight dolly. The flowtech 75 dolly features an integral carry handle and foot-operated brakes for smooth and easy operation.

CAMERA ROBOTICS

RUSHWORKS will demonstrate its PTX Universal PanTilt Heads, available in two sizes. They allow use of VISCA and DMX controllers to remotely control most cameras from AJA, ARRI, Blackmagic Design, Canon, Datavideo, JVC, Marshall, Panasonic, RED, Sony and others. Also new is the RUSHDOLLY for PTZ & PTX Production, a tiny but powerful self-propelled dolly that is designed to interface with PTZ and PTX cameras.

SHOTOKU USA will show its Enhanced ECI Automation Interface that brings efficiency and responsiveness to its TR-XT robotic camera control system. In addition to quick recall of pre-set camera positions during live broadcasts, enhanced ECI supports full joystick trim control to adjust and restore presets from automation systems or vision switcher panels.

TELEMETRICS will demonstrate its RCCP-1A Remote Camera Control Panel with reFrame Automatic Shot Correction, which intuitively and smoothly tracks the movement of on-air talent at a pace equal to that of a manned camera.

VINTEN will showcase its Vantage lightweight robotic head and and μVRC Controller. Vantage enables customers to choose the camera and lens that meet their requirements, and supports a wide range of pro-video camcorders from a variety of manufacturers. The μVRC is designed to complement the Vantage, giving the camera head even greater versatility and flexibility for enterprise video capture.

LIGHTING

When LED lighting was first introduced it provided energy efficient and high output illumination, but with an undesirable color cast. Today’s LED technology has arrived a near perfection of color rendering.

ARRI returns with its popular line of SkyPanel LED soft lights, including the new S360-C. The many creative features built into SkyPanels will be demonstrated through a lighting show in the ARRI booth at the top of every hour.

BB&S LIGHTING will introduce its Force 7 LED LEKO lighting fixture, which delivers 750W equivalent output while drawing just 165W at maximum, with 97 CRI. BBS will show 3- and 4-foot Pipeline Free lighting fixtures, which deliver 4,000 lumens at 98 TLCI in a rugged aluminum-backed cylindrical pipe.

CINEO will introduce its NBCUniversal LightBlade Series, a versatile production lighting system featuring reference-quality tunable white light combined with a separate Rec.2020 saturated color system.

DOPCHOICE will introduce its RABBIT-EARS, which allow users to gang a pair of Litepanels Astra fixtures to a DoPchoice light softening and shaping tool. The system provides fast mounting of Snapbags and Snapgrids.

FLUOTEC will introduce its Cinelight Studio Long Throw LED Panels, designed for use in high-altitude studios. The line features high >97 CRI-TLCI color rendering indexes and a concentrated 50-degree fixed light beam. Also featured are the Vegalux Auralux Studio LED Fresnels. The Auralux 200 provides a motorized zoom variable beam; the Auralux 100 sports a manual zoom. Both are available in Tungsten 3200K and Daylight 5600K.

FREZZI will feature its LED ProLight and Combo Filter, a bright, light and feature rich camera-top light. It includes a quick release head, articulating extension arm, integrated USB charge port and passthru PT connector for piggy-backing another accessories.

K5600 will demonstrate its Joker2, a newly designed variant of the company’s long established Joker line of lights. Advanced features include wireless dimming, plug-in ignition with tungsten option, improved braking mechanism, and quick swap lamp mount.

LITEPANELS will showcase Gemini, an accurate and versatile 2x1 soft panel lighting fixture. Gemini’s latest firmware upgrade allows for a variety of cinematic features such as emergency lights, Fire TV, and hue bursts that are fully customizeable and can be easily saved to presets. Gemini eliminates the need for color correction by offering full-spectrum white light that’s ideal for lighting talent and rendering exceptional color.

MATTHEWS STUDIO EQUIPMENT will demonstrate the K-Stacker, a soft light solution that turns Kino Flo LED panels and fluorescent fixtures into larger soft light sources.

PHOTON BEARD will introduce its Solo Kit, designed around the company’s PB80 LED redhead. The Solo Kit, with three light heads, supplies convenient lighting accessories including three light stands, a soft box, battery plates and a soft case. Also new is the Edukit, designed to provide a professional quality, affordable lighting kit for basic broadcast use.

BATTERIES AND POWER SUPPLIES

Battery and power supply makers continue to move their art forward with lighter weight, greater capacity batteries and faster chargers.

ANTON/BAUER will showcase its V-Mount Digital Battery Series, designed to power at 40 percent greater efficiency in a sleek, ergonomic design with an easy-to-read LCD display.

BHV BROADCAST, in the CueScript booth, will launch its Video Ghost dx, providing dc power, SDI video (ranging from SD to 4K) and a bidirectional data link over a single coaxial cable. The data link covers VISCA and Pelco protocols to drive PTZ cameras for fit-and-forget operation.

CORE SWX will premier its Nano-VBR98, designed for select Panasonic Camcorders such as the EVA. Also new is the Hypercore SLIM 98, which combines the compact design of the Hypercore SLIM HC8 with a 98Wh capacity and USB power output.

FREZZI will demonstrate its next iteration FLB battery, which features a new, built-in Power Tap connector to power lighting. It also sports an integrated USB charger port for smartphones and USB accessories. The FLB is available in 100Wh and 240Wh capacities, in both V-Mount and Anton-type mount.

PAG AMERICA will introduce its PAGlink PowerHub, which provides all outputs needed for camera accessories. Designed for use between two PAGlink Gold Mount batteries, it maintains continuous power to accessories while hot-swapping batteries. It features five ports for interchangeable D-Tap, Lemo, Hirose or USB output connector units. Also new is the PAGlink Micro Charger, an ultra-compact travel charging kit for PAGlink batteries. Gold Mount and V-Mount models are available.

Battery pack makers have recently faced not only the ongoing challenge of supplying larger and larger capacity powerpacks that weigh less and less, but also tightened up IATA (International Air Transport Association) regulations on lithium ion batteries traveling on airplanes.

Anton Bauer LPD Discharger

ANTON BAUER launched its LPD Discharger in order to handle IATA regulations for shipping lithium ion battery packs. The LPD Discharger can discharge up to four 90 Wh batteries in three hours or less, taking them down to 27 percent then back up to 29 percent of their capacity.

CORE SWX introduced the HC9 Mini, which maintains all the 98Wh capacity and features of the original Hypercore battery, but in a shrunken form factor to better fit smaller cameras. Also new was the HCM9, which can handle a 12A power draw, enough to keep a RED 8K camera going for more than an hour. Core also debuted its Fleet Micro digital series charger, which also handles discharging duties for shipping.

IDX unveiled the DUO-C98 98Wh battery, capable of outputting up to 10A draws and the high-capacity DUO-C198, capable of handling up to 14A draws for power-hungry cameras and lights.

PAG launched the PAGlink PowerHub, which can be used between two PL94 or PL150 PAGlink Gold Mount batteries and provides five output ports that accept interchangeable DTap, Lemo (2-pin), Hirose (4-pin) and USB connectors.

LIGHTING
Lighting equipment was interesting this year, as an eyeball estimate seemed like there were actually fewer lighting equipment makers exhibiting at NAB Show in 2017. Those who were at the show had plenty of new models, almost all of the LED-type.

ARRI introduced 3.0 firmware for its Sky- Panel family of LED soft lights, bringing 10 new features and numerous refinements. The free update allows users to choose and manipulate 12 effects without the need for a lighting console or hours of programming.

BB&S LIGHTING increased its lineup of Pipeline remote phosphor lighting fixtures to include 4-, 8-, 36-, and 48-inch sizes in 3200K, 4300K, and 5600K color temperature options.

CHIMERA, in cooperation with ZYLIGHT, has developed active diffusion panels that can supply variable opacity with dial-in control. The panels are filled with a metallic gel that renders them opaque when no charge is applied to them, and transparent when a full charge is applied.

Cineo Quantum C80

CINEO premiered its MavX color-tunable mid-power soft light, utilizing remote phosphor technology capable of color tuning from 2700K to 6500K, with presets at 3200K, 4300K and 5600K. Also highlighted was its Quantum C80 fixture, capable of producing 50,000 lumens of Cineo’s proprietary color-tunable white light.

DEDOLIGHT unveiled a new version of its DLED focusing dual-lens fixture with higher output. The daylight DLED10-D and bicolor DLED10-BI provide a long zoom range and high color rendering. Also shown was the Turbo Series DLED7 Bi-Color Focusing LED Light Head, which features an adjustable color temperature from 2700K-6500K.

FLUOTEC premiered its VEGALUX 300 12- inch color tunable StudioLED Fresnel fixture providing a color temperature range from 3200K to 5800K, and a focusable beam angle from 15 to 50 degrees. Also new was the Cinelight Studio long-throw LED panels, which are color tunable from 2700K to 6800K, and with new reflector louvers, can concentrate the light to reach more distance.

FREZZI introduced its ProLight, which replaces the company’s Mini-Fill fixture. It features a quick release and low-profile base that stays wired allowing for quick set up and strike. The SunLight fixture has been updated to an HMI 575, almost 1,000 foot candles at 10 feet.

IKAN debuted new Lyra Series soft light fixtures, available in a variety of sizes. Also new was the Stryder Fresnel fixture, with a color range of 2700K to 6500K. The front Fresnel can be removed entirely if desired.

Kino Flo Celeb

K5600 unveiled Kurve, a line of large parabolic reflectors available in 3-, 4.5- and 6-foot diameters. Also new is the Joker-Zoom 800, featuring a faceted open-face reflector capable of focusing from 15-55 degrees.

KINO FLO launched its Select LED 31 and 21 DMX Freestyle lighting systems, with all the features of the existing Select LED 30 and LED 20 DMX lighting system. The company also upgraded its Celeb line of lights with new software to provide a large pallet of colors, including the ability to dial in popular gel settings.

LITEPANELS rolled out new X models of its Astra fixtures, a 3X (which is three times stronger than the original Litepanels LED panels), and the 6X (six times stronger than the original, and three times stronger than the original Astra). Both new X models also draw less power. The same advances are being made in Litepanels’ SOLA Fresnel fixture line, with the SOLA 4+ and SOLA 6+ both putting out more light at less power.

LOWEL debuted a beefier model of its Blender bicolor LED lighting fixture, increasing the LED bulb count from 12 to 24. The company also showcased its Pro Power LED Fresnel, a bi-color lighting solution with focusable, dimmable output. The fixture is flicker-free up to 2350+ fps.

PHOTON BEARD unveiled its Highlight LED range of professional lighting fixtures. The Highlights ape their fluorescent tube predecessors where Photon Beard was a leading provider. Their color rendering and high television lighting consistency indexes is achieved through a proprietary phosphor coating process.

ROSCO showed v2 of its Silk 210 lighting fixture, featuring on-board, DMX and wireless dimming and color-temperature controls for maximum flexibility on location.

Zylight Pro-Cyc Color asymmetric wall washer

VIDESSENCE highlighted a pair of compact and portable 50W fixtures to their line, the Little VID Series LV050 and LV050-F. The LV050 is a fixed focus unit while the LV050-F provides variable focus. Both are available in daylight or tungsten color balance. Either onboard dimming or DMX control are provided.

ZYLIGHT demonstrated the Rayzr 7 series of light fixtures, in 300W and 200W daylight models, 150W tungsten or daylight model, and a 100W tungsten to daylight bicolor model. Also new was the Pro-Cyc Color asymmetric wall washer. The 350W Pro-Cyc Color produces a soft, even field with enough output to cover 25-foot cyc walls. The company also showcased its Pro-Zoom line of LED zoom ellipsoidals and the Pro-Palette color controllable Red/Green/Blue/White LED Cyc lights.

When LED fixtures first hit the motion picture market, buyers had to put up with some color rendering anomalies in order to take advantage of LED features such as low heat generation, low power consumption and long bulb life. In the dozen or so years since then, the color rendering index (CRI) of LED fixtures has gone way up, and continues to improve year-on-year.

BB&S LIGHTING will introduce 4-inch, 3-foot and 4-foot versions of its Pipeline Free Remote Phosphor fixtures with inline driver/dimmers. The Pipeline fixtures draw 10W and deliver 1000 lumens per 1-foot in length.

Core SWX TorchLED Bolt 250

CINEO LIGHTING will unveil the Quantum c80, an easy-to-use tunable soft source with Cineo’s reference quality white light and full-gamut RGB color and featuring Photo-Accurate Dimming with no flicker and completely silent operation.

CORE SWX will present its TorchLED Bolt 250, which leverages a newly patented Refractory Lens Technology that provides a 250W equivalent light output while 40 percent thinner than its predecessor, the Bolt 220R.

FLUOTEC will introduce its 30 Bicolor Tunable DMX Softlight LED Panel, a new High CRI and TLCI powerful pure white SoftLight BiColor tunable DMX 1x1-foot LED panel featuring the Nebula Diffusion chamber technology.

FREZZI ENERGY SYSTEMS will present its next generation Frezzi On-Cam Pro Light, with high output LED-MR16s that can be interchanged for 5600K or 3200K output.

KINO FLO will debut its 360-Degrees of Color system, which allows Kino Flo’s new Diva-Lite LED and Select LED fixtures to come loaded with professional cine swatch book presets, plus full hue and saturation color control.

LITEPANELS will showcase its Astra Soft Bi-Color 1x1 Panel, its soft light alternative to the original Astra 1x1 Bi-Color LED panel. The new fixture mimics the effect of a softbox in a compact, portable design.

MATTHEWS STUDIO EQUIPMENT will introduce VooDoo cloth, a full-density fabric that produces extremely soft diffusion that is suitable for overheads and butterflies as well as 4x4-feet when used with large, single-point light sources such as sunlight or Fresnel fixtures.

Photon Beard 180 Highlight LED

OUTSIGHT CREAMSOURCE will feature its SKY LED Softsource designed to fulfill the need for a studio space sky lighting instrument. Key features are color quality (typically 95 CRI), IP 65 water resistance, runs silent with no fans and has a wide color range of 2200K to 15000K.

PHOTON BEARD will feature its Highlight LED range of professional lighting fixtures. Their color rendering and high television lighting consistency indexes (CRI and TLCI) is achieved through the ingenious application of remote phosphor technology.

PRIMETIME will unveil its MSLED XB2 Studio Light, which boasts a powerful punch and throw, high CRI and can be used in low ceiling applications.

ZYLIGHT will showcase lighting products from Aladdin, with its Bi-FLEX line of lights and NanGuang, which offers an assortment of full-size Fresnels and affordable portable kits

BATTERIES
Earlynews film cameras such as the Bell & Howell Filmo didn’t need batteries: you wound them up and they ran for about 40 seconds. But since the coming of video cameras, power in one form or another is a must in order to take pictures. Battery makers exhibiting at this NAB will continue to push the limits on energy capacity and low weight.

BLOCKBATTERY will expand the range of block solutions with a new 700Wh Lithium Iron Phosphate block. Designed for heavy load cinematic production applications, the LiFE700 is capable of providing two different voltages (24V and 13.8V) simultaneously.

CORE SWX will demonstrate its Fleet D Charger, which features two independent charge bays. The company will also feature its Hypercore SLIM HC8, an 85Wh (14.8V) battery pack developed to provide the best Li-Ion technology for UAV, handheld gimbal and other applications demanding lowprofile batteries.

PAGlink PowerHub

FREZZI will showcase its MAX Li-Ion Power Systems, on-board advanced Li-Ion rechargeable batteries that are supplied with tri-button or V mounting, plus a selection of portable and base station analyzing chargers.

PAG AMERICA will introduce its PAGlink PowerHub, which provides a plethora of power outputs needed for camera accessories. Designed to be used between two PAGlink Gold Mount batteries, it powers the camera and accessories simultaneously, while maintaining hot-swap capability.

Aadyntech Punch Plus VariableSince the first LED professional lights arrived at NAB Show a dozen or so years ago, the number of companies bringing LED fixtures to the show has exploded. In that time, great improvements have been made in their color rendering properties.

AAdyntech updated its Jab and Punch Plus series fixtures to output 30 and 40 percent more light, respectively, without additional power. The company also debuted The Punch Plus Variable, a new fixture that delivers the flexibility of tungsten, daylight or anything in between, without compromising output or quality of the light beam.

ARRI delivered a firmware update for its LED SkyPanel light that yields 10 new features and refinements including the ability of the fixture to replicate colors of the entire gel libraries of Lee and Rosco. It can also ape the color temperature profile during dimming of a legacy tungsten fixture.

BBS Lighting introduced its first remote phosphor light banks, utilizing the cylindrical remote phosphor lamps from its Pipeline System. The banks are available in 3- or 4-foot lengths, in 3200K, 4300K, 5600K and adjustable color models. Control is by on-fixture knobs or via DMX.

Brightline unveiled its L1.2 Series One LED studio fixture, a 108W remote phosphor lighting fixture that utilizes an intensifier to direct the light and increase output. A pair of L1.2 fixtures can be easily joined together to create a wider soft light source. Phosphor panels are available in 3200K and 5600K.

Chimera now provides the ability of its Octaplus to fit more lighting fixtures with two new speed rings. The company also rolled out light shaping products for the ARRI SkyPanel, with a full diffusion front panel, light bank body mounting, and a variety of grid sizes.

Cineo HSXChroma-Q demonstrated its Space Force LED fixtures, an octagonal replacement for existing space lights. It features tune-able color temperature from 2800K to 6300K, and its diffuse nature of output removes the need for silks or skirts.

Cineo introduced Cineo HSX, the latest member of the company’s LED Remote Phosphor line. It is a color-tunable (2700K to 6000K) soft source that provides five color presets, and puts out 25,000 lumens of light.

Dedolight, which utilizes spherical lenses in its lighting fixtures instead of Fresnel lenses, debuted its Turbo series of LED lights. With a new active cooling system, the DLED7 and DLED3 models provide nearly twice the amount of light as the fixtures they replace.

DeSisti introduced its Super LED Vari-White range of LED Fresnels which provide the ability to vary the color temperature range from 2800K to 6600K. The F6 (6-inch lens) draws 120W, and the F10 (10- inch lens) draws 180W. They are both DMX controllable and enable DC dimming for smoothness.

DoPchoice exhibited its Snapbags, Snapgrids and Butterfly grids. These light shaping accessories utilize the company’s Snap Technology to simplify their attachment to lighting fixtures as well as quick dismounting and storage.

Falcon Eyes exhibited its Professional LED Panel LP-DB600CT, a ring light with high power output for use in still or video shooting. It features adjustable color temperature ranges from 3000K to 7000K.

Fluotec launched its Vegalux 300, a powerful 12-inch 300W bicolor motorized zoom DMX dimmable studio LED Fresnel. The company also debuted the CineLight SoftLIGHT Bicolor DMX LED panel system featuring an extensive array of fixtures.

Frezzi introduced the SunLight, a bright 5600K fixture with three LED lamps, with an equivalent output of a 575W HMI while drawing just 70W. Utilizing a proprietary directional focus, the fixture focuses from a 20-degree spot through a wide beam without need for lenses.

Hive Lighting showed the 100 percent flicker-free WASP 1000 Plasma PAR Kit. Combined with a 1,000W plasma bulb is a 12-inch parabolic reflector and four HDP lens set. Plasma lighting yields high CRI color ratings.

iKan showcased three new LED Soft lights, the Rayden, Lyra and Mylo, with various models of each. The Mylo is a 45-degree 800 LED panel, small in size and ideal for news use. The Lyra provides a 110-degree beam angle, and the Rayden has a 50-degree beam angle.

K5600 rolled out new 3200K HMIs in 400W and 800W models. The company also unveiled its new Kurve parabolic umbrella, available in three different sizes. It is lit with K5600’s Joker HMI’s.

KinoFlo exhibited its Select and Diva-Lite LED fixtures, designed to provide the light properties of fluorescent light banks, but from LED tubes. The variable color temperature lights can tune their output from 2700K to 6500K and also include adjustment for Green/Magenta shift.

LightGear showcased its unique and lightweight LED lighting fixture system. The LiteMat provides evenly spaced, color-correct LEDs spread out over a large area, creating soft light without requiring diffusion.

Litepanels debuted its Astra Soft Bi-Color LED panel, a new fixture that provides the same effect as a softbox in a compact design. In addition to the color temperature agile Bi-Color model, it is also available in daylight and tungsten.

Lowel Lighting has redesigned its ViP Pro light, resulting in its just-introduced PRO Power LED. The new light replaces the tungsten bulbing with a daylight LED lamp. Many ViP Pro accessories work on PRO Power fixtures.

Mole Richardson highlighted its 1600W Tener, available in either daylight or tungsten color temperature. The focusable Fresnel fixture has a beam angle range of 10 to 55 degrees, and puts out the equivalent amount of lumens from a 10K tungsten light.

Photon Beard’s Highlight LEDNila Lighting debuted its Arina fixture, featuring a holographic lens. With a power draw of just 800W, it is designed to replace 2500W HMIs and 6000W tungsten fixtures. The fixture is available in both daylight and tungsten.

Photon Beard demonstrated its remote phosphor Highlight LED range of fixtures. Color temperature can be changed by swapping phosphor panels. Its dimming options include local control and DMX. A wide selection of accessories is available.

Rosco expanded its Silk series of LED fixtures with the Silk 110. At just over 12-inches square, it provides 2000 lumens of output. Its color temperature range is 2800K to 6500K, which along with dimming, can be controlled onboard or via DMX.

Softpanels debuted a unique LED panel fixture that has a built-in color meter. This allows the user to accurately measure the color temperature of ambient light falling on a scene so that the fixture can be tuned to match that color temperature.

Videssence now has a full line of LED Fresnels, the VN080, VN150 and VN240, drawing a corresponding 80W, 150W and 240W. They are available in both daylight and tungsten color temperature and feature local touchpad control and DMX.

Visionsmith showed its LED lamps designed to plug into the glass tungsten bulb sockets in legacy lighting fixtures. This enables a facility to re-lamp its fixtures with LEDs instead of replacing the fixtures themselves.

Zylight F8-300 LED Fresnel fixtureVisio Light introduced its B100 system of 5-inch Fresnel fixtures, featuring a diamond diffuser dome. With the Fresnel head in place, the fixtures provide a beam focus of from 28 to 53 degrees. The fixture is available in daylight, tungsten or color-agile models.

Zylight unveiled its F8-300 LED Fresnel fixture, delivering single shadow traditional Fresnel beam shaping and utilizing quantum dot LED technology to deliver excellent light quality. It is available in tungsten or daylight, with adjustable beam spread of 16 to 70 degrees.

BATTERIES
Brute force was a major trend in professional batteries at the 2016 NAB Show, where larger capacity battery packs provide longer run-times of power hungry cameras and lighting equipment.

Anton/Bauer has answered the need for a high-capacity cine battery pack with its Li-Ion-based CINE battery packs which supply 12 amps of constant power. A built-in PowerTap is used to power any other 14V accessory.

BlockBattery introduced the 1500-INV, a powerful battery providing up to 1500W of 120V AC. It delivers pure sine wave power, and its 48V output can power camera as well as lighting equipment.

Hiro Takematsu of Motion Planet Electronic Technology gets a pitch on the IDX Duo-C95 battery from Tomo Nishikawa of IDX.

PAGlink PL150Frezzi debuted its FLB 240 battery packs, touted as the most powerful and lightest weight on-camera professional battery. It can deliver eight hours of runtime with 30W camera load, weighs just 3.1 pounds and connects directly to A/B or V-Lock plates.

IDX showed a pair of high-capacity battery packs, the 7.2V SL-VBD64 (6400mAh/47Wh) and SL-VBD96 (9600mAh/70Wh) batteries, designed to provide estimated runtimes of 130 minutes and 193 minutes, respectively. X-Tap and USB power ports are included.

PAG unveiled its PAGlink PL150 battery packs. When two of the 150Wh batteries are stacked together, it becomes a powerful 300Wh pack. It is capable of handling a 12A draw when two batteries are linked, or 8A when used individually.

Switronix introduced Hypercore Prime, a battery pack design that employs a two-part separable battery pack providing a high-capacity but air-travel-friendly battery solution. Also new is Hypercore SLIM, the first line of slim battery packs capable of handling high-draw loads, making them ideal for UAV, Handheld Gimbal, etc.

NEWARK, N.J.—Now available for download, Panasonic has announced a new firmware upgrade for its AG-DVX200PJ 4K 4/3-inch handheld camcorder.

AG-DVX200PJ

New features for Version 1.25 includes a fast scan mode to the menu options for 4K24p, UHD29.97p, UHD23.98p and UHD25p, as well as color reproduction at higher brightness levels. The upgrade also reduces potential black dot noise in 4K/UHD, corrected the playback image aspect ratio, and improves the ISO gain value display.

Panasonic wasn’t the only company to announce something new for the AG-DVX200. IDX has released two new 7.2V batteries for the AG-DVX200, the SL-VBD64 and SL-VBD96. Both batteries feature a four LED remaining capacity indicator, an X-Tap and a USB power port. Both IDX batteries are now available.

Panasonic is offering the Ver. 1.25 upgrade to AG-DVX200 customers for free. The upgrade can be downloaded here.