BURY ST. EDMUNDS, U.K.—Sachtler will feature its akti8T fluid head and flowtech75 tripod in addition to its latest range of camera support products at IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The flowtech75 tripod is well-suited for compact, high-performance cameras like the Sony PXW-Z300 and FX6.

The company will also show its aktiv16T and aktiv18T plus FSB 16T Mk II and FSB 18T Mk II fluid heads. Designed for heavy payloads, these fluid heads support larger camera systems used by ENG and documentary professionals while retaining the company’s renowned precision, balance and speed of operation.

Sachtler’s lightweight flowtech tripod systems is designed for cameras used across ENG, field production and documentaries. These systems are engineered to provide the optimal balance of portability and stability.

The company will also showcase products designed to meet the diverse needs of broadcast, including a PTZ tripod and Sony FR7 pairing for those looking to add support to their PTZ productions.

“We’re focused on enabling creators to work efficiently in every production environment,” said Barbara Jaumann, product manager at Sachtler, “and IBC is a fantastic opportunity to connect with our users and help them solve their production needs.”

“Our latest products are designed to meet the ever-changing demands of production. From high-payload fluid heads for ENG and documentary work to PTZ support and lightweight systems for compact cameras, we’re excited for customers to experience them in person and see the benefits our systems can bring to their next production.”

See Sachtler at IBC 2026 Stand 13.A05.

More information is available on the company’s website.

MILWAUKEE—WMVS and WMVT, Milwaukee PBS’s two high-definition television stations, are licensed to the Milwaukee Area Technical College (MATC), with their studios and offices located in the downtown campus, where students in the associate of applied science degree program in television and video production receive training.

At our MATC and Milwaukee PBS studios, television instructors have two priorities: ensuring our broadcast training labs and productions run smoothly and students receive the most practical, professional hands-on experience possible.

Supporting New Cameras
We constantly upgrade our student studio to mirror the on-air facilities of Channels 10 (WMVS) and 36 (WMVT) to stimulate student growth from training all the way to MPBS broadcasts and, finally, to the area TV stations we serve. When we recently discovered that the old heads on our Vinten Osprey pedestals could not support new Sony HDC3100 cameras, prompters and monitors, we began looking for a cost-effective solution that would ensure a truly professional student experience.

After entertaining several vendors and products and finding difficulty in satisfying all of our requirements, we contacted Vinten, who loaned us their latest offering, the Versine 360 pan and tilt heads, for a test drive. What we found was a sturdy, responsive and cost-effective solution that allows us to keep our older peds, add newer cameras and accessories and upgrade our training and production workflow with confidence.

Our studio operations were instantly upgraded when instructor Dan Brown installed the Versine 360 heads on our Ospreys. He and his fellow lab instructors, David McCoy and Traci Koller, found that the combination of precision, quality and versatility made these heads ideal for preparing our students at the fundamental stage of broadcast learning. Utilizing those skills later as crew members at Milwaukee PBS, they seamlessly supported our schedule of local productions.

Versine 360 heads are built for demanding studio environments, which is key when using them in training for hours on end. Their robust construction handles repeated, intensive use, essential in a live, multicam environment with students of different skill levels.

In live production—especially in a high-volume training lab—camera support is not just about mounting a camera; it’s about precision, repeatability and operator confidence. Dan found that the Versine heads provide excellent counterbalance, holding the camera steady with only rare needs for adjustment, which is important for longer productions with multiple rotating operators. Their adjustable fluid drag ensures pans and tilts are smooth and consistent, giving operators confidence as they learn to focus on framing and storytelling.

One of the most rewarding parts of my job is integrating the latest professional equipment into our tech college programs—the only TV program in the state and one of only a handful housed within a PBS station. Students seek out MATC to learn in our Milwaukee PBS studios, gaining hands-on experience in broadcast production. This practical training is invaluable, providing students the skills and confidence to step into broadcast roles immediately after graduation.

Training the Next Generation
The majority of broadcast and video professionals in our market, from TV stations to the Milwaukee Brewers and Bucks, to networks and production companies throughout the Midwest, include staff trained here at MATC/MPBS. They know the combination of training, skills, gear and professional experiences afforded by an MATC education is second to none when it comes to transitioning into the professional world.

Investing in the Versine 360 heads was not just about upgrading equipment; it was about maintaining an environment where our broadcasts and our students benefit from high standards of performance and reliability. Their precision, robustness and versatility allows us to run complex productions confidently while serving as a real-world classroom for future industry professionals.

The Vinten Versine 360 heads are now an integral part of our educational experience, giving our programs polish and students a foundation that will serve them throughout their careers in Southeastern Wisconsin’s broadcast industry and beyond.

More information is available on Vinten’s website.

LOS ANGELES—I’m the founder of Rowdy Skeleton, a consulting and content agency based in Los Angeles, as well as a host and former tech journalist who has spent more than 15 years refining and updating my AV setup.

Over the years, I’ve covered all kinds of events across games, pop culture and tech, including one of the world’s biggest consumer-electronics shows, CES. When I attended CES 2020 just before the pandemic, my field kit was massive: full-frame camera, three-plus lenses of every focal length, small LED lights and a wired mic to avoid wireless interference and noise.

Covering products and stories at CES took ages to set up, especially if I didn’t have a dedicated camera operator on any given day. After a few booths’ worth of setup, recording and striking, I’d decamp to our press room to unload footage and rest before heading back to the show floor. It was truly exhausting, running from appointment to appointment carrying a heavy backpack while making sure I was still camera-ready and delivering as much enthusiasm as I could muster.

Downsizing With DJI
These days, I’m on the content creator/influencer side of things, and last December, a client booked my company for a last-minute content engagement at CES 2026. I’d been working to downsize my kit, and the DJI Osmo Pocket 3 has served me really well. It’s lightweight, extremely portable and its versatility made shooting field packages a breeze.

However, I hadn’t found a lighting solution that matched the Osmo Pocket 3’s usefulness. Mass-produced lights I had tried were small and inexpensive, but they didn’t throw enough light to make a difference when I was more than an arm’s length away from the Pocket 3’s lens. And I didn’t want to invest in a full-cage system, since they add so much weight and bulk to a shooting solution that’s meant to be extremely light and compact.

After some research, I discovered Frezzi’s PocketLight LED kit for DJI Osmo Pocket 3, a light kit designed specifically for Osmo, and convinced them to let me try it out as I covered CES 2026.

Setting it up was easy—I slid the Osmo Pocket 3’s extended battery into the minimalist-but-sturdy metal case, attached the LED’s long arm and snapped the light onto the strong magnet at the top. Heading out on the show floor, I felt well-equipped and confident, even without a more complex and heavier traditional camera setup. Moving through the crowds was so much easier, and using a magnetic LED mount meant taking a hands-free shot was as simple as snapping the entire system to it and framing my shot in the Osmo Pocket 3’s selfie modem with DJI’s Mic Mini attached to my jacket.

Frezzi’s light is an incredibly well-designed piece of equipment that makes the most of its form factor, and it rounded out my kit exactly as I hoped it would. The range of its brightness meant I was able to have exactly the right amount of light for every shot, no matter if the booth was extra dark, extra bright or backlit.

Versatile and Portable
Many times, I was shooting in areas featuring a product under absolutely beautiful light, but attempting to record in front of those displays would result in a harsh case of backlighting. The Frezzi LED completely neutralized those issues, and using it at less than 50% brightness (which is still really bright) resulted in a massive battery-life boost that was a sincerely pleasant surprise.

Because the light isn’t fixed to a cold shoe (it uses a magnetic mount instead), I can swing it around in any direction regardless of what I’m recording. I’m not exaggerating when I say that this setup has been an absolute game-changer for me as a content creator, and I’m excited Frezzi created a lighting solution that matches the capability, portability and versatility of the DJI Osmo Pocket 3 perfectly.

More information is available on Frezzi’s website.

BURY ST. EDMUNDS, U.K.—Vinten will feature its latest manual and robotic cameras support solutions, showing how broadcasters can achieve precise, repeatable, creative camera movement, during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

The company will make its first NAB Show showing of the Versine 240 fluid head along with its Versine 350. Designed for live production and outside broadcast, the Versine 240 supports payloads of up to 55 pounds (25 kg), delivering the precision balance and control required for long-lens operation within a lightweight chassis suitable for roaming OB setups, live events and ENG positions.

Vinten will also demonstrate VEGA Lite at the show for the first time. The system underscores company’s focus on enabling efficient, repeatable camera movement in automated and hybrid production workflows, by offering a broadcast-ready PTZ control solution that delivers professional automation, consistent workflows and scalable control.

With adoption of PTZ cameras continuing to grow, Vinten will present a range of dedicated support options. These include cost-effective manual solutions. such as the Osprey Lite pedestal adapted for direct PTZ camera fixing, alongside dedicated robotic systems supported by VEGA Lite, including the Tecnopoint Starter Ceiling Track for smooth, space-saving overhead PTZ camera movement.

Vinten will also highlight the advanced studio floor navigation capabilities of its FP-188+ full XY robotic pedestal controlled by the VEGA Control System. Designed for dynamic studio environments, the system incorporates intelligent geofencing to define safe operating zones, alongside enhanced on-board sensing that supports confident operation around the studio floor.

“NAB is a key platform for us to demonstrate the breadth of our solutions,” said Ginny Grove, product marketing director. “From the debut of Versine 240 and VEGA Lite to our expanding PTZ ecosystem, we’re focused on giving customers the flexibility to choose how they work, whether manual, robotic or a combination of both.”

See Vinten at 2026 NAB Show booth C5816.

More information is available on the company’s website.

MUNICH—Sachtler will feature recently introduced additions to the aktiv and FSB Mk II fluid head range of products as well as other camera support solutions during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

The aktiv16T and aktiv18T, plus the FSB 16T Mk II and FSB 18T Mk II are designed for heavy payload camera systems used by ENG and documentary professionals, delivering high payload capacity, precision, balance and speed of operation.

Sachtler will also showcase its growing support for PTZ productions. As demand increases for multi-camera, remotely operated setups in broadcast, corporate and live event environments, Sachtler will demonstrate cost-effective tripod systems as well as adaptors for its pedestal solutions, which are designed to deliver stability, flexibility and ease of integration.

The company will also highlight its range of lightweight flowtech tripod systems designed for today’s compact, high-performance cameras, including models such as the Sony PXW-Z300. These systems are engineered to provide the optimal balance of portability and stability, enabling operators to move quickly while maintaining precise control and smooth camera movement in the field.

“From high-payload fluid heads for ENG and documentary use, to PTZ support and lightweight systems for compact cameras, we’re focused on enabling creators to work efficiently in any production scenario. With some of these products introduced over the past year, NAB provides an important opportunity for many customers to experience them in person for the first time,” said Sachtler product manager Barbara Jaumann.

See Sachtler at 2026 NAB Show booth C5816.

More information is available on the company’s website.

Cartoni will unveil its Master 30 OB, MIXO 21, standard and twin version of its Lifto HP, the encoded E-Jibo, and the new Ragno Pod during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

The company’s new universal control unit for the Lifto HP motorized elevation system, available in both standard and twin configurations, is designed to integrate seamlessly with leading PTZ controllers, including those from Sony, Panasonic, Canon and Skaarhoj.

The control unit enables full compatibility with the latest console and joystick solutions. It can be powered either through V-Mount batteries or directly from mains power. With PoE+ capability, it delivers power not only to the Lifto motors but also to the PTZ camera itself.

Additional features include direct connection for foot-operated control pedals; easy integration into studio local area networks, with assigned IP addresses visible on the device display; and storage of up to 100 preset positions with adjustable recall speed via the onboard display menu.

Designed specifically for sports and outside broadcast (OB) production, the Master 30 OB introduces a dedicated slide system compatible with the V-shaped wedge plates commonly used in broadcast camera setups. Key features include large V-shaped camera plate for fast camera mounting, ±90-degree tilt range, flat Mitchell base with optional 150 mm bowl adapter and Cartoni’s continuous fluid drag system.

Master 30 OG offers continuous counterbalance for perfect balance at any tilt angle as well as ergonomic brake levers, precision control knobs and digital readouts for rapid setup and accurate operation.

The new MIXO 21 fluid head combines Cartoni’s continuous counterbalance system, trusted across the Focus and Master product lines, with a newly developed seven-step fluid drag mechanism that delivers precise tactile feedback and smooth motion control.

Supporting payloads from a balanced smartphone configuration (such as an iPhone setup) up to a 46.3-pound (21 kg), fully equipped ENG camera, the MIXO 21 offers exceptional versatility for modern production workflows. With a ±90-degree tilt range, it is available with a 100 mm bowl.

The Cartoni Ragno Pod reimagines the traditional camera riser as a robust, portable tripod elevation platform. Raising camera setups by more than 2 feet (629 mm), the system enables operators to capture unobstructed views above crowds and obstacles. Designed for live events, houses of worship, newsgathering, sports coverage and stage performances, the Ragno Pod delivers stability and rapid deployment.

Key specifications include: a maximum payload of 220.4 pounds (100 kg); separate foldable anti-slip operator platform supporting up to 330.7 pounds (150 kg); quick setup within minutes in virtually any environment; and a compact transport padded carrying bag.

The company’s encoded E-Jibo offers advanced motion tracking capabilities via integrated encoders that precisely measure boom and pan movements, delivering ultra-accurate positional data for virtual production workflows. With 4.1 million counts per turn (22-bit) angular resolution, the E-Jibo is well-suited to AR and VR applications.

The system interfaces with tracking PTZ cameras or Cartoni E-Heads, including E-Sensor, E-Master 30, and E-Lambda 25 via dedicated brackets. The E-Jibo supports payloads up to 44.1 pounds (20 kg) and transmits tracking data via the Cartoni VR Box 2.0 or Miraxyz RigFX system.

See Cartoni at 2026 NAB Show booth C6540.

More information is available on the company’s website.

BINGEN AM RHEIN, Germany—Broadcast Solutions, one of Europe’s largest media system integration groups, has acquired Dutch camera support specialist Egripment BV, and its rental subsidiary Egripment Deutschland GmbH. Both will retain their well-established names and market identities while expanding the portfolio available from Broadcast Solutions.

For almost 50 years, Egripment has developed and manufactured high-end camera support systems, including cranes, dollies, remote heads, and any other tailormade solutions for television, film, and live events. The company combines in-house design and manufacturing capabilities to deliver tailor-made solutions for any production need. This approach will continue under the ownership of Broadcast Solutions, with Philippe Tresfon staying as managing director of Egripment and guiding future progress, the company said.

With this acquisition, Broadcast Solutions says it has strengthened its position as a global provider of complete production solutions. Egripment will now be represented through Broadcast Solutions’ offices worldwide, providing customer support across Europe and the Middle East.

Egripment HQ and Egripment Deutschland, based near Amsterdam and Cologne, operates an international rental division that services major events worldwide. Its extensive inventory includes cranes, stabilized remote heads, and specialist grip equipment for the most demanding productions.

As part of this acquisition, Egripment Deutschland will manage Birds Camera Solutions, a Broadcast Solutions company specializing in advanced camera systems, creating a comprehensive, full-service rental portfolio under the Egripment brand. The Egripment brand will be led by Philippe Tresfon (CEO) and the subsidiary in Germany by Philip von Senden (COO) and Martin Dreesbach (CTO). In addition to his role as CTO of Egripment Deutschland, Martin Dreesbach will also continue his responsibilities as Senior R&D Product Manager within the Egripment | Broadcast Solutions Group.

“We are very excited by this acquisition and the new opportunities it offers,” says Maximilian Breder, managing director and COO of Broadcast Solutions Group. “Egripment is a perfect fit for us: it brings unique manufacturing capabilities, world-class reputation, and a global rental offering that perfectly complements our existing services. Under the Egripment brand, we will integrate the solutions of Birds Camera Solutions, enabling us to offer a complete range of camera movement systems – from standard setups to fully customised solutions, available worldwide.”

“By widening our portfolio we have the opportunity to create even greater customer impact, providing a single focus for the whole range of technological requirements in today’s media world,” Breder said. “Growing the rental business is particularly important to us, because it brings us into direct contact with the creative users of the technology, the directors and operators. That brings us really valuable knowledge and understanding, which will be reflected across all we do as a group.”

Philippe Tresfon, CEO of Egripment, who will continue to lead the company within the Broadcast Solutions Group, adds: “Our customers and partners can be assured that the Egripment name will remain synonymous with quality, innovation, and service. As part of Broadcast Solutions, we can operate faster, reach further, and continue to develop the groundbreaking solutions that set us apart in the market.”

The commercial terms of the acquisition are not being disclosed. Visitors to IBC 2025 can find Egripment in its traditional location, 12.F20. Broadcast Solutions is in the outside exhibits area, on stand O.A23.

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

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

Other Videndum brand developments include:

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

See Videndum brands at IBC2025 Stand 13.A05.

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

Matthews Studio Equipment has launched the MICROGrip Master Rigging Kit, an ultra-compact, precision-engineered system, designed for mounting lights, cameras, and a wide range of accessories. Built for versatility and easy use, this comprehensive selection of rigging tools makes mounting, rigging, and hanging straightforward and efficient for smaller equipment.

Included in a smartly configured Craftsman case are two styles of rigging plates to expand mounting options. The Standard MICROGrip Plate features multiple evenly spaced nail and screw holes, making it ideal for mounting into wood or building tabletop, podcast, or small-scale camera, light, or microphone rigs. The MICROGrip Nail-On Plate includes a unique T-cutout that fits between the plates of the MICROGrip Head—adding articulation and positioning flexibility.

The Kit also provides a new-style MICROGrip Head with dual 3/8” holes for rod mounting and a low-profile knob, offering a secure grip in tighter spaces. Also included is the new Micro Pin. This 3/8” pin provides an undercut for added safety, tapped with a 1/4”-20 thread to integrate seamlessly with industry-standard gear.

To assure accessory compatibility the 148-piece also Kit includes: MiniMatthellinis, Drop Ceiling Scissor Mounts, 3/8” rods, Micro Magnets, Baby Pins, D-rings, BM1 Bulb Mounts, hanging safety cables and a generous variety of bolts and nuts.

For a limited time, each MICROGrip Master Rigging Kit includes a complimentary Craftsman case. MICROGrip Master Rigging Kit is now available from Matthews dealers around the world. For the complete list of components and to get more information visit: https://www.msegrip.com/collections/microgrip-kits-accessories

BURBANK, Calif.—OConnor will unveil its 2575E Platinum fluid head publicly for the first time at Cinegear Expo, June 7-9, at Warner Bros. Studios. 

The new 2575E, which is now available, supports a payload of 0 to 105 pounds at 6-inch center-of-gravity height above the platform. It incorporates OConnor’s sinusoidal counterbalance system for accurate balance throughout the tilt range and stepless, smooth pan-and-tilt fluid drag with infinite drag adjustment for rapid whip pans and smooth long lens framing, the company said.

The new fluid head offers a stainless-steel center lock, which remains secure in both the on and off positions, a lightweight carbon fiber cover over the balance mechanism, a new platform release mechanism that enables single-handed operation and an operator-friendly design with intuitive controls that are easy to access, the company said.

OConnor is releasing the new fluid head on its 75th anniversary. Chadwell O’Connor founded the company in 1949 after designing the first fluid-damped camera head to achieve smoother camera movements when filming steam trains. Walt Disney, a fellow steam train enthusiast, learned of the development, ultimately leading to a collaboration and establishment of the company’s reputation, it said.

"As we mark OConnor's 75th anniversary, the launch of the 2575E Platinum edition reflects both OConnor's heritage and its ongoing contributions to the field of cinematography," said Steve Turner, head of product management at OConnor. "This new edition of the industry favorite builds on seven decades of engineering experience to provide cinematographers with the most reliable and precise camera support for ultra-smooth camera movements and high-quality shots."

More information is available on the company’s website.

LONDON—This year is my 20th anniversary working with the most intrepid explorer on modern TV today, Simon Reeve. Over the time we have worked together, we have crossed Arctic tundra, crisscrossed countless mountains, spent time in hostile environments with military and police units, and spent countless hours traveling in all manner of transport. From canoes to cargo ships, light planes to 3km long trains and more 4x4’s than I ever thought conceivable. And filming all the way whilst doing it. 

For as long as I have had an active choice, since the 1990s, I have made Sachtler tripods the only choice for supporting all my cameras. I recently undertook my latest adventure with Simon Reeve for the BBC 2 series “Wilderness,” where we traveled into the dense jungles at the heart of the Congo Basin. 

Tripods for the Wilderness
Previous jungle experience had taught me this was going to be a tough trip so we prepared hard and left nothing to chance. This calculation included the weight of tripods and batteries to be carried. Every piece had to be carried by hand to the forward research base deep in the jungle. From the camp, we set out each day in the search of the elusive Bonobo monkey. We carried our filming equipment through dense undergrowth and I often found myself waist deep in rivers and stuck in muddy peat bogs. 

Not once did my trusty Sachtler aktiv tripod disappoint. Light enough to be carried through the vines and thick foliage, it never got stuck in mud when I had to deploy it quickly when we first heard the sound of the Bonobos. We were using long zooms—well over 200mm—so I had to be sure when I finally did see our “TV treasure,” the shot would be steady. The beautifully compact and lightweight aktiv tripod head and flowtech legs performed as well as many heavier tripods I have owned.

Sachtler’s aktiv is faster, and in documentary television production, seconds matter. In the past, I’ve lost shots because I was still leveling or something moved and I had to rebuild the tripod. aktiv’s setup is seconds faster and sometimes those seconds can make all the difference between getting the shot or not.

The Trust Factor
I’m often asked by colleagues, “why do you use Sachtler tripods? They  cost more.” In today’s cost-conscious production environments, many look towards alternatives. I understand why, but it’s an argument I will counter: It’s very simple, you can’t buy trust. Trust must be earned. Trust takes years to build and seconds to evaporate and disappear.

Having used most manufacturers’ equipment at some point over the years and having pushed that equipment to the edge, I found my camera work journey circling back to the same products, time and time again. It’s no accident that Videndum is the owner of most of the camera kit accessories I use on a daily basis—mainly Sachtler tripods, Anton/Bauer batteries and Small HD monitors. Every time I click an Anton/Bauer on my camera or lock my camera onto my Sachtler tripods, I know that these parts of my kit do the exacting job I require.

The trips in the heart of the Congo Basin are right at the top of my lists of filming experiences. It’s a life-affirming moment to come face to face with some of our closest relatives in the animal kingdom. The results on screen for these chance moments were made more possible by choosing the best tools for the shoot and a good dose of luck from the filming gods. 

More information is available at www.sachtler.com.

MUNICH—Sachtler has launched its new range of Cine Series fluid heads designed for cinematographers.

Fusing the company’s cinematic heritage with its core values of quality, speed and practicality, the new fluid heads meet the needs of cinematographers who work solo as well as those who are members of a larger production crew, the company said. 

"Sachtler's cinematic legacy dates back to 1958 when Wendelin Sachtler, a cameraman and actor introduced the first gyro-system-dampened head," said Barbara Jaumann, senior product manager at Sachtler. "Since then, Sachtler Cine heads have become an inseparable partner for filmmakers everywhere from the grandeur of Academy Award winning productions to the intimate drama of everyday storytelling."

Three models, Cine 20, Cine 30 and Cine 50, make up the Cine fluid head series. Combining innovative features, reliability and flexibility, the heads offer controlled, smooth camera movement through variable drag settings and fine counterbalance, it said.

The compact Cine 20 offers a payload range of 4-48 pounds (2-22 kg). It features 16 steps of SpeedBalance technology counterbalance and seven steps of pan and tile drag. With a 100 mm bowl, the head can be combined with a range of Sachtler carbon fiber tripods, including the flowtech100, it said.

The Cine 30 offers a payload range of 7-71 pounds (3-32 kg), 18 steps of counterbalance, nine steps of pan and tilt drag, a 150 mm bowl, an ARRI compatible camera plate and front box mounting points, it said.

The Cine 50 offers 18 steps of counterbalance, nine steps of pan and tilt drag, a 150 mm bowl, an ARRI compatible camera plate, front box mounting points anda payload range of 22-110 pounds (10-50 kg), it said.

Shared features across the series include a secure sideload mechanism that simplifies mounting and balancing of highly accessorized cameras for fast adaptation to dynamic shooting challenges. A rosette allows for the use of a front pan bar, providing extra control, it said.

The Cine fluid heads are now available—either alone are as part of a complete system including tripod and spreader—from Sachtler resellers.

More information is available on the company’s website.

LLANSANNAN, Wales—As a cameraperson with more than 20 years in the industry, I’ve used a fair amount of kit in my career. You become loyal to certain brands that never let you down—Sachtler is definitely one of these for me. 

From the beginning of my career in cameras working for a facilities and rental house based at Shepperton studios, Sachtler tripods were the go-to sticks for any given situation. Back then in the early 2000’s I was mainly an assistant, and the ever-trusty legs were usually the Sachtler V20 head and 2 stage legs. It’s nice typing something out that I’m fairly confident that nearly every person that reads it will empathize with. I mean, what camera crew hasn’t used a Sachtler V20 a million times? 

Lightweight But Rugged
Throughout my career I’ve used Sachtler and until recently, as a news cameraperson, I’d been using a DV12 SB as an ever-reliable but lighter weight head with carbon-fibre legs. Then, just over a year ago I switched to using the new Aktiv 12T head with flowtech legs. Wow, talk about an upgrade. 

The Aktiv 12T is lighter than my previous head but just outperforms it in every way possible. Combined with the carbon fiber flow tech legs it’s so comfortable to carry (in no small measure helped by the convenient carry handle on the legs) due to its lightweight design. But lightweight doesn’t mean reduced payload—quite the opposite in fact. The 12T head takes everything I could ever want to throw on it easily.

While working with ABC news on their coverage of the death of Queen Elizabeth II, I found myself on a rooftop in Edinburgh providing lives for their flagship GMA show. The Aktiv 12T easily handled my Sony PXW X-500 camera with toplight, Anton Bauer Dionic XT150 batteries, zoom demand and large Autocue hood with counterweights. Quite the payload but performance did not suffer one bit. Pan and tilt functions were as smooth as ever and balancing the head was a breeze, as usual.

Bubbling Up the Head
When it comes to balancing the head, it’s so simple. Leveling (or bubbling) up the head has been completely re-innovated by the Aktiv range. The speed leveling system whereby you simply pull the lever at the front of the head and use the illuminated prism bubble to level the camera is a real plus.

Due to the ever-changing demands in a busy newsroom, I’m often deployed last minute to a story with no time to waste. Being able to get to that press conference seconds before the speaker takes the stage or that court just as the accused is arriving for the hearing and being able to level up the tripod head in a split second can make the difference between getting the perfect shot and getting an acceptable shot because you simply didn’t have the time to bubble up. 

I do a lot of work for BBC Breakfast, which often means setting up in the dark. The illuminated prism bubble—which lights up/switches off with a simple touch—makes leveling the head super simple in all situations.

Not having to loosen and tighten a nut underneath the head saves valuable seconds in an industry when literally every second counts. Also, it means that when combined with the Sachtler Flowtech legs you can get the camera right to the floor without the need for a set of baby legs or a high hat—it gets lower than these would anyway. I’ve said it before and I’ll say it again, the Sachtler Aktiv 12T head is a game changer.  

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

NORTH HOLLYWOOD, Calif.—Cartoni will be showing its entire line of premium camera support products, including tripods, fluid heads and pedestals used worldwide in broadcast, cinema and live event production, at the 2023 NAB Show.  

Cartoni also announced that during the show it will be debuting Lifto 25, an all-new motorized support for PTZ (pan-tilt-zoom) cameras with a unique remote-control elevation unit. Cartoni will also demonstrate E-Maxima 5.0 and E-Maxima 30, encoded versions of two of its most popular fluid heads. Additionally, Cartoni will highlight P40, a versatile, lightweight pedestal available at an attractive price.

“Media production continues to evolve and reinvent itself,” said Elisabetta Cartoni, president and CEO. “We are responding to our customers’ needs with support systems for the newest cameras, camera accessories and modes of production, including VFX. We look forward to sharing our latest innovations with cinematographers, camera operators, rentals, producers and other professionals at NAB in Las Vegas.

Lifto 25 is Cartoni’s response to the increasing use of PTZ cameras by smaller studios in news, talk, educational and religious programming. The head adds height control as a natural complement to the cameras’ point, tilt and zoom capabilities. Camera height can be adjusted remotely via wire or radio.

Extremely versatile, Lifto 25 offers a height range from 70 cm (2.3 ft) to 250 cm (8.2 ft). The motorized column performs a two stage, 70 cm stroke at 25 kg/50 lbs capacity. Its special SDS (Smart-Stop double stage) tripod structure ensures stability and torsional rigidity. Lifto 25 comes with a built-in spreader and rubber feet. It can also be mounted on a lightweight Cartoni dolly.

E-Maxima 5.0 and E-Maxima 30 are the latest results of Cartoni’s ongoing initiative to apply encoding to manually operated heads for visual effects, virtual production and similar applications, the company said. 

“The advent of VR and AR have made it imperative to accurately track movements and match them with the virtual backgrounds and characters,” observed Cartoni. “Virtual composition is now used in all segments of the industry, from studio cinema productions, to sports and newsgathering.”

Cartoni E-series heads incorporate high resolution encoders with 4 million counts on both axes, directly fixed on the rotation shafts for infinitely accurate readings of angles. Data is supplied in binary code to conform to the most widely-used virtual engines, including Real-Time VFX, Unreal Engine and FreeD Engine, or streamed to virtual boxes alongside other camera and lens metadata, the company explained. 

As the only company that designs and manufactures camera support products in Europe, Cartoni, offers support for all types of cameras from tiny DSLRs to the field cameras with boxed lenses, from sophisticated cine-style infinitely defined cameras to PTZ cameras. It also offers several specialty items including Lambda nodal and encoded heads.

For more information visit www.cartoni.com. 

NORTH HOLLYWOOD, Calif.—Camera support manufacturer Cartoni has acquired STE-Man/Manios Digital & Film, a supplier of camera equipment to the film and broadcast industry that has represented Cartoni in the U.S. since 1989. Terms of the deal were not disclosed.

“In acquiring our U.S. distributor, we will be more directly involved with our No. 1 market and improve our response to the industry’s evolving needs,” said Elisabetta Cartoni, president and CEO of the support manufacturer. “The close cooperation we’ve had with Steve Manios and his great team will continue for many more years. This merger will also allow us to further expand and better serve the rest of the Americas with a dedicated warehouse and service center.” 

Manios will continue with the North Hollywood operation and serve as vice president of sales and marketing. 

“This is the natural step in a wonderful relationship spanning more than three decades,” said Manios. “I’m looking forward to working closely with the Cartoni team in Italy and growing markets for their unique products.”

Other senior members of the Manios Digital & Film staff will continue in their current roles, including western regional sales manager David Butler, eastern regional sales manager Gus Harilaou, inside sales manager Chris Lobos and accounting director Selma Top.

More information is available on the Cartoni website.

WOODCLIFF LAKE, NJ—Shotoku USA, Shotoku Broadcast Systems’ North American operation, will mark the worldwide debut of its new TR-XT3 studio control system at the 2023 NAB Show, April 15-19 in Las Vegas. 

Also, the company will demo Shotoku’s TI-11X elevator pedestal paired with its advanced TG-18i pan/tilt head for the first time at a major North American industry event, the company said. Other show highlights will include the recently introduced TG-47 pan/tilt head, and the latest Orchestra CMS control system designed to address the growing demands of today’s televised legislature proceedings. Shotoku, an international manufacturer of high-quality, easy-to-use, robust and reliable robotic and manual camera support systems, will also have its SmartPed fully robotic pedestal front and center along with its extended family of pan/tilt heads and control panels. 

Shotoku says the TR-XT3 incorporates all the proven capabilities of Shotoku’s flagship TR-XT control system with a fresh user interface and several new capabilities, including built-in functionality that simplifies the design and configuration of SmartPed studio environment maps.  TR-XT3 is compatible with all new and existing Shotoku systems making upgrades and migrations easily managed.

The TI-11X elevator pedestal will be shown paired with the TG-18i pan/tilt head to offer a highly capable robotic camera channel that includes elevation, according to the company. The TI-11X is based on Shotoku’s new X-Height elevator column and offers a longer range of travel and increased speed over the TI-11 i-height pedestal. Like the TI-11 the TI-11X is aimed at studios where full manual override is not a priority. The new design of the pedestal’s base makes cable management simpler too with the self-contained power and network connectivity within the unit, Shotoku said. Although ideally suited for the TG-18i PT head, the TI-11X is also available for use with TG-27 and TG-47 heads when lighter payloads are required, according to the company.

Shotoku will also showcase the TG-47 compact, mid-level payload pan/tilt head, which combines the size of Shotoku’s TG-27 with the capabilities of the TG-18 and is aimed at mid-sized payloads of up to 45 pounds, which can easily support a typical box camera/ENG lens with mid-sized teleprompter.

Shotoku’s latest version of its Orchestra CMS control system software will be available for hands-on demonstrations. Ideally suited for use in legislative, conference and corporate facilities of any size and type, Orchestra CMS features an enhanced user interface that makes operation simpler and more intuitive, the company said. Fully automated and with live video touch-screen operation, Orchestra CMS can rapidly position multiple cameras to precisely defined positions in response to either an operator command or an external automated trigger. Advanced setup features increase operational flexibility and include a live video spotter camera, floor plan graphic, and/or automated microphone selection triggers.

Shotoku will be in Booth C5320 of the Central Hall at the LVCC.

HAUPPAUGE, N.Y.—Tiffen this week announced its third-generation Steadimate-RS camera solution that’s designed to improve the functionality and user experience of using the Ronin RS2, RS3 and RS3 Pro motorized gimbal stabilizers.

The new system, designed by the same Burbank, California-based engineering team behind the Steadicam M-Series stabilizers and Volt technology, enhances the capabilities of the DJI handheld motorized gimbal, Tiffen said.

The new solution refines camera stabilization and improves operator comfort to make possible fluid movement reminiscent of a traditional Steadicam sled.

Steadimate-RS attaches a new mechanical gimbal and pan bearing along with a weighted gimbal post extension with fine tune balance adjustment to the ¼-inch-20 mounting holes of the Ronin Series Accessory NATO ports, thereby converting the handheld motorized gimbal into a full body-worn stabilizer, it said.

The system offers a choice of a spring arm and vest combinations, available with 15-pound or 30-pound load capacity, the company said.

The new ball-bearing design of the mechanical gimbal yoke delivers full pan capability while providing assisted X- and Y-axis stabilization. Adding the Steadicam arm and vest reduces vertical bounce by providing Z-axis stabilization. Doing so also transfers the payload across the torso and hips, thus reducing the fatigue of operators and enabling longer shot durations. This three-axis manual stabilization and weight redistribution greatly expands the ability of the Ronin to improve the fluidity of camera movement, it said.

The system also enhances the vertical range of motion by offering Low Mode capability. Operators can quickly and easily invert the motorized gimbal for a low angle perspective without any hardware reconfiguration. This allows the camera to transition from ground to eye-level and back again seamlessly, Tiffen said.

The Steadimate-RS gimbal collar/yoke and weighted base (SDMRS-GIM) is available separately for use with an operator's existing ½-inch post Steadicam for $395.

Kits are also available with an arm and vest. For weight loads up to 15-pound, the SDMRS-A15VK pairs Steadimate-RS with the A15 Arm and Aero vest ($1,395 MSRP). For 30-pound capacity, the SDMRS-A30VK includes an A30 Arm and Zephyr vest ($2,995 MSRP). 

More information is available on the company’s website.

CEDAR GROVE, NJ—Miller Camera Support Equipment has hired Bob Van Bodegon as its new President, the Americas. For over 20 years Bob was the Territory Sales Manager for Fujifilm Corporation, managing 14 eastern states. His decision to join Miller is most welcome, the company said. 

“Equipped with technical background, years of experience in sales and sales management, and his strong industry relationships I am confident Bob will serve our customers extremely well,” said Charles Montesin, Global Sales and Marketing Director.  “Bob will be managing the Miller U.S. subsidiary in New Jersey and will have full support of head office and factory in Sydney Australia together will his team in New Jersey. 

Prior to his role as Territory Manager, Bob worked for Fuji as Field Technician on high precision optical devices for 33 years. “I worked closely and interacted with many of the Miller Camera Support employees and the families of Miller for more than half of my life, and I was delighted when this opportunity became available…it felt right,”  he  said. “Miller – The Right Feel.”

Bob has a diploma in Computer Technologies and attended several business training courses. On personal level Bob is very much a family man and loves fishing, cooking and his pets, according to the company. Bob will be touring the regions and attending industry shows to meet up with colleagues to further grow the brand and continue to build better customer support.

ROME—Cartoni Camera Supports has announced it will showcase newly introduced encoding for its lineup of professional fluid heads, including the Maxima, Master and Magnum, during IBC2022, Sept. 9-12, at the RAI Amsterdam Convention Centre.

The addition gives the company’s range of heads the ability to track position and provide precise camera information for VFX production applications.

"We were pioneers when we made our first encoded-ready heads and are now pioneers in creating the new position-encoded e-series," said Elisabetta Cartoni, company president and CEO. 

The e-Maxima, e-Master and e-Magnum encoded heads are the company’s latest response to the needs of visual effects creators. The e-series fluid head includes all of the features of Cartoni's premium heads for digital cinematography, the company said.

In addition, the e-series features extremely high-resolution direct sensing encoders in both the pan and tilt axis. The encoders render absolute positioning without re-calibrating at start-up, it said.

"We designed the e-Sensor head to track virtual environments more than 10 years ago. The e-Sensor was followed by the encoded Master Series and Magnum, which are mainly utilized in virtual production and sports,” said Cartoni. “Now that the evolution of VFX technology faces the growing need for motion-picture-precise data, we have expanded our encoding technology with the latest absolute encoders available on the market. These encoders have a reduced size and high resolution at 4 million counts per turn.”

Compatible with most 3D packages for real-time camera and scene movement in virtual sets and pre-visualization, the e-series is well-suited to insertion of 3D graphics in sports productions, it said.

Data is transmitted directly from connectors on the heads, or it can be processed and gathered with other metadata via a VR box programmed using major VFX industry protocols, it said.

The addition of encoding ability complements the premium line of Maxima fluid heads. The e-Maxima fluid heads are designed for digital cinematography. In contrast, the e-Master and e-Magnum fluid heads are custom-built for broadcast and OB production needs, the company said.

See Cartoni Camera Supports at IBC 2022 Stand 12.F31.

More information is available on the company’s website.

ATLANTA—Centergy Studios is a full-service video production facility with the Centergy Group project management consulting firm. We started shooting TV and feature films in Atlanta in 2006 and opened our studio in Key West, Fla. about a year ago. 

I founded Centergy Group in 2000 and today serve as president and executive project manager. I’m proud that we’ve earned the reputation for “putting it all together” and have turned our clients’ most complex and critical initiatives into successful realities through our no-nonsense and pragmatic approach to planning and implementation.

Our many and varied menu of services includes pre-production, video capture, post-production, and platform delivery, and our projects run the gamut from live broadcasts to large conference productions, corporate events, live content, on-demand implementations, festivals and concerts, training scenarios—you name it, we’ll film it. 

Our client list includes top tier news and sports broadcasters, financial institutions, telecommunications companies, government environmental regulatory organizations, and many more.

The SX260 Head System
We recently needed to add a pan and tilt head/tripod combination to our studio operations. We’re happy to say that Shotoku Broadcast Systems was recommended to us and we couldn’t be happier with the results. Shotoku provided an SX260 head system, one of the company’s latest models, which sits on a TTM1002C 2-stage carbon fiber tripod.

The SX260 incorporates best-in-class features and performance, and even though it is one of the lightest on the market at this level of payload (up to a maximum of 55 lbs.), it’s robust, reliable, and the performance is flawless. 

The Shotoku Truebalance system delivers perfect counterbalance and is remarkably easy to adjust from one end of the range to the other with an intuitive display to indicate the current setting within the balance range. The drag system uses Shotoku’s Viscam system but combines the ease and speed of selection of the best-known stepped systems with the fine-tuning and on-shot adjustment of a continuously variable design.

The TTM1002C Tripod
We partnered the SX260 system with Shotoku’s TTM1002C carbon fiber tripod. It’s lightweight and rigid, and features fiber tube construction. We’re using it in our studios but are confident that its exceptional performance would stand up in the field when needed there. The tripod is outfitted with one-click leg clamps for quick setup and teardown. We also took advantage of Shotoku’s floor and mid-spreader options and a second pan bar.

Setup was a breeze. The gear came with clearly defined instructions and there was no training necessary—we could assemble it and jump right into operations without any assistance. The configuration is very stable, well balanced, and holds the camera and teleprompter system very well. This allows us to concentrate on our work because we never have to worry about the equipment’s performance. 

We’re a growing company and look forward to further expansion in the future. When we have a need for another pan/tilt tripod, Shotoku will be our first choice. l

David Mook, MBA, PMP, founded Centergy Group in 2000 and serves as president & executive director of project management. He can be reached at  dmook@centergygroup.com

For more information on the Shotoku SX 260 head system, Shotoku TTM1002C 2-Stage Carbon Fiber tripod and other products, visit www.shotoku.co.uk.

LAS VEGAS—As the last two years have shown, camera technology moves forward despite the restrictions imposed by a pandemic. With more powerful and flexible features available for an expanding array of production demands, media professionals will find an abundance of new image acquisition tools on the exhibit floor.

Cameras
Sony will showcase an expansive lineup of powerful camera technology, including the Super 35mm HDC-F5500, which provides cinematic bokeh in a system camera form. Also featured, the highly sensitive PXW-Z750 4K HDR shoulder-mount camcorder, which shares Sony’s 2/3-inch global shutter technology.

Also debuting is the new VENICE 2, Sony’s flagship digital cinema camera, which features a new sensor with 16 stops of dynamic range, extreme low light sensitivity and natural skin tones.

Hitachi Kokusai will unveil the SK-UHD7000, its second-generation 4K Ultra HD broadcast and live production camera system. The SK-UHD7000 features three 2/3-inch, global shutter CMOS image sensors with native 4K resolution; a new prism design with expanded spectral range; dual 4K and HDTV workflow with separate controls for HDR and SDR; and support for standard B4 lenses without requiring an adapter.

Blackmagic Design’s new URSA Broadcast G2 is a next generation professional broadcast camera with a 6K digital film sensor that brings digital film quality to traditional and online broadcasters. The advanced 6144 x 3456 digital film sensor provides exceptional low light performance with dual gain ISO of up to +36dB and 13 stops of dynamic range. It includes H.265 and Blackmagic RAW file formats, Blackmagic Generation 5 Color Science, a USB-C expansion port and more.

The new EOS R5 C Full-Frame Mirrorless Camera, a hybrid, RF-mount 8K camera, will highlight Canon’s booth. The new camera showcases video formats and features from the company’s Cinema EOS line, alongside select still capabilities that have made the EOS R5 camera a popular choice among professionals and enthusiasts alike. The EOS R5 C records non-stop, uninterrupted 8K/60Pii thanks to an active cooling system. 8K video delivers outstanding definition and realism with four times the resolution of 4K video.

Ikegami will give a first look at its UHK-X700 4K UHD camera, designed for broadcast-quality video production and online streaming. The UHK-X700 allows full 4K UHD production in hybrid log-gamma HDR or in standard dynamic range, plus the freedom to choose between BT.2020 and BT.709 color spaces.

Image acquisition is via three newly developed 2/3-inch CMOS 4K sensors with global shutters to eliminate rolling shutter distortion and flash-banding artifacts. High frame-rate shooting at up to 2x speed in UHD or up to 8x speed in HD via the base station is possible as an option.

New in PTZ & Robotics
PTZ will be a big focus at the JVC booth. The JVC KY-PZ400N 4K and KY-PZ200N HD PTZ cameras are integrated with NDI|HX technology and offer high-quality and low-latency IP video transmission, ideal for streaming in an ever-evolving media landscape for sports, concerts and other live broadcasts. The cameras provide optimal image quality and performance for remote production over the internet, and are equipped with SRT technology, H.265/H.264/MJPEG encoding and VITC multicamera synchronization. A third option, the KY-PZ200, provides an economical HD solution, sans the NDI|HX interface.

Marshall Electronics will launch its CV730-BHN 4K High-Bandwidth NDI PTZ Robotic Camera It contains traditional outputs including two simultaneous SDI (BNC) outputs with genlockable 12GSDI and 3GSDI, as well as HDMI and USB3.0 options at the ready. The CV730-BHN also features the ultra-fast and lossless High Bandwidth NDI streaming ability commonly known as Full-NDI, while offering the newly released NDI|HX3 that can deliver similar low-latency and superior quality video performance in slightly less bandwidth network infrastructure. The CV730-BHN features a Sony 1/1.8” 4K sensor with 9 million pixels and square pixel array packed behind a long 30x optical zoom range (6.5~ 202mm).

Panasonic will add new members of its Professional PTZ Lineup, featuring a proprietary Direct Drive System that delivers precise, accurate pan/tilt moves with quiet operation. They feature stunning visuals, and capture the entire scene with a 74.1-degree viewing angle and 24X optical zoom. Outputs include 3G-SDI, HDMI and IP for added flexibility to integrate with a variety of workflows. In addition to RTMP and RTMPS streaming, they also support NDI|HX2 and SRT to assure stable and secure video streaming.

Telemetrics will debut updates to the OmniGlide Robotic Roving Platform. Also new are streamlined workflow features and expanded capability for the company’s AI-assisted reFrame Talent Tracking and Automatic Shot Correction software (built-into the RCCP-2A STS Control System). The company will also highlight updates to its popular RoboEye 4K Pan/Tilt Camera system, including a new multifunction PS-RM2-48 power supply that can be controlled remotely over Ethernet, and a new extended range (descending) addition to the Televator product line.

Shotoku USA will showcase features that boost functionality in production environments controlled either remotely or on-site. The company, which specializes in manual and robotic camera support and virtual reality tracking, will demonstrate its flagship SmartPed fully robotic XY pedestal with Orbit and LiveView features integrated into the TR-XT control panel, and its Orchestra CMS control system enhanced to enable quick and easy set-up in legislative or house of worship settings. Shotoku USA will also highlight its TG-18i Integrated Pan/Tilt Head and its Ti-11 elevator pedestal.

The Vitec booth will feature products from its extensive line of camera support gear, including Autoscript Voice for WinPlus-IP, which uses advanced speech recognition technology to free productions from their prompting scroll control devices. Presenters are empowered with accurate real-time control of their prompted script simply by speaking the words. Monitoring the production audio feed, Voice automatically advances the script as the words are spoken, even pausing for adlibs, and resumes scrolling when the presenter is back on script. Fully IP and Virtual Machine compliant, Voice delivers resource efficiency and added agility to productions.

SEATTLE—While citizens have had to spend much of the past year in place, broadcasters haven’t had that luxury. As a particularly news-filled 2020 gives way to an even busier 2021, well-equipped news production crews are on the constant hunt for gear that will help them cover the news while staying safe. 

LIGHTING

Strict observation of social distancing has had a particular effect on lighting for interviews according to Art Adams, cinema lens specialist at ARRI, who added that the company's new Orbiter is just the ticket for socially distanced interviews.

“Orbiter has the best color, and also gives you the best specs and flexibility,” he said. “It’s kind of a ‘Swiss Army Knife.’ You can use them for quick interviews, or for theatrical and motion picture effects, or for chasing the color of the sun.”

Because the Orbiter is a hard light, it’s necessary to soften its output. “Typically I might try to use Orbiter with a four-foot medium Chimera, even a six foot octagon, which is probably bigger than most people would carry,” Adams said. “You want to create a big, soft source. The smaller the light source is, the more the shadow matters. But the bigger the light is, the more forgiving it tends to be.”

Adams noted that sometimes shooting interviews is a volume business, where there’s no time to tweak lighting between sessions. “People come in, sit down, and 10 minutes later they leave, you don’t have any time in between,” he said. “So the softer the light source is, the better.”

Reporting during the pandemic is forcing ENG crews to spread further apart, according to Litepanels product manager Michael Herbert. “It’s making guys doing these interviews and doing the lighting setups for them, having an increasingly large need for adaptability,” he said. “You’ve got people sitting six or eight feet, or even more in other circumstances. It varies by state, by studio and by building almost.

“When redesigning a lot of our products with the output in mind, you want to have more than you need,” Herbert continued. “That way, if necessary, if you have to move your lights, if you have to move everything further apart, you can always crank the light up to compensate for that.

Litepanels had this in mind when developing the Astra, which looks like a typical panel light except for its Total Internal Reflection (TIR) lens system. TIR puts a lens on each individual LED.

“The lens grabs all the light coming off each LED and pushes it all forward within a 44-degree beam-angle,” Herbert said. "This means that from a relatively low power fixture, you get a really punchy light source.”

CAMERA SUPPORT

Keeping reporters and their subjects apart via social distancing has re-emphasized the importance of tripods when reporting in the field.

The pandemic has also accelerated the trend of the one-man-band reporter, according to David Sheppard, international sales, distribution and channel manager for Shotoku. “[Reporting] has been streamlined down to where one person has gone out with all the equipment, set it up and even done the interview as presenter,” he said. “And with Covid it’s kind of accelerated that trend.”

In response, Shotoku introduced two new lightweight tripods and fluid heads, the SX200 and SX260. “We’re the lightest in class with carbon fiber legs,” Sheppard said. “And it ships in its bag all assembled, so all you’ve got to do really is pop it out of the bag, put the camera on it, adjust the legs and you’re ready to go.”

The heads feature “Viscam drag” (the company’s continuously adjustable fluid drag system) on a stepped system for effortless and speedy drag selection, Sheppard added.

“We’ve engineered that feeling in these heads into the drag system that’s actually continuously adjustable,” he said. “It’s the same as our studio quality heads. There is no ‘1, 2, 3’... it’s infinitely adjustable. It’s got this nuanced control that people like.”

Jose Larios, sales manager for Libec Sales of America, said there’s been a lot of demand for quick deploying tripods, which led the company to redesign their T650 to the 650EX.

“It has a [sic] other features, including the sliding plate range,” Larios said. “You’re able to use the slide plate just like more professional video heads that allow you to counterbalance the weight by moving the camera back and forth.”

It’s also very quick to set up, Larios added. “You literally take it out of the bag; the pan handle is already attached to the head. When you deploy the tripod and head out of the carrying case, the head is already attached and a knob adjusts the pan handle into the position you want before using.”

Libec recently redesigned another of its quick deploying camera support system, yielding the TH-M monopod. “One upgrade is that the quick release can be attached and detached from the side,” Larios said. “And the new model allows the pole to be locked in not only a vertical position, but also on an angle.”

Kyle Dann, product manager at Vitec Production Solutions, part of Vitec Group plc, provided yet another reason to have a camera support system that’s easy to deploy. “Deployment speed is very important because it gives confidence if you’re quick and efficient in setting up the interview,” he said. “And saving time in setting up is important because it gives you more time to work on your lighting and get the interview done as quickly and efficiently as possible, while maintaining distance.”

Among Vitec's rapid deployment solutions is the Flowtec tripod and Sachtler aktiv head. “The SpeedSwap system delivers the fastest way to switch between tripod and slider and other support systems in seconds," Dann said.

POWER SUPPLIES

With fewer places to gather (particularly indoors) between live reports, news crews have also faced increasing challenges in maintaining charged power supplies.

“When Covid hit, we had an onrush of broadcast customers reaching out because they had to adapt to a relatively new workflow from an ENG standpoint,” said Steve Turner, product manager and senior manager of strategic relationships, Vitec Group plc. “What that meant was a lot of refreshing of old kits and ‘How can I make my life easier when I’m stuck in a news vehicle all day, without being able to go back to the station?’”

The company responded with the Anton Bauer Titon 240 battery, its highest capacity onboard battery, at 240Wh.

“Just for a ballpark estimate if your camera runs 25W—which is typical these days, even less—that’s about eight hours per battery,” Turner calculated. “So if you’re able to outfit a photographer with four batteries and a charger, then they are more than set for the day.

"All Titon lines now incorporate a smart USB, so it’s fully compatible with charging of cellphones, as well as the industry standard power tap for Anton/Bauer,” Turner added.

PAG takes a different path toward capacity through its PAGLINK technology, according to Bob Carr, sales director for PAG America. “Because of PAG’s linking technology, we can link up to eight 150Wh battery packs. So you’re talking about up to 1,200Wh of power.”

PAG battery packs are available in three sizes: 50, 99 and 150Wh. The first battery pack clips to the back of the camera, and one after another of the packs clip piggyback on to the one before it.

“You don’t have to put anything between batteries you want to link, just plug two or more batteries together,” Carr said. “The camera draws off the battery with the greatest charge. You always have the ability to hotswap as you shoot, so there’s no need to ever stop shooting.

“You could put a power hub in between any of the linked battery packs, which will allow you to have five more connection points,” Carr added. “They’re switchable so you can have five USBs, five V-taps, five LEMO two pins.”

New PAG batteries going forward will have the ability to be serviced and re-celled by major customers and regional offices.

Many reporters are now doing more of their planning and reporting from home or anywhere than at the station, forcing better preparation, according to Kevin Crawford, vice president for engineering at Frezzi.

To help news crews prep for longer workdays, Frezzi redesigned and retooled its FB240 240Wh battery pack.

“It’s designed to run all day without recharging, and has a power tap and an integrated USB tap to charge cellphones and other USB charged devices,” Crawford said. “They’re pulling other peripherals off of that FB240. It’s good to have that big bucket, because everybody’s going with LiveU's now, and all kinds of extra devices, so it’s good to have that big bucket.”

The new FB series of battery packs has a ruggedized case, which is serviceable and resistant to drops up to four feet, Crawford added. “That means if there ever is a problem, we could swap out the case. That’s a big thing. I think we’re the only ones in the industry to do that.”

ROME—Cartoni is using its experience designing camera support systems to develop products specifically for use with PTZ cameras, which the company says are increasingly being used because of the remote and social distance production needs stemming from the COVID-19 pandemic.

Rather than have PTZ cameras installed on ceilings, walls or camera support meant for larger cameras, Cartoni has designed a tripod/dolly, stand and pedestal designed for PTZs.

The PTZ tripod/dolly pairs a lightweight Cartoni tripod with a half-ball camera attachment. The entire setup rests on a lightweight dolly and comes with a mid-level spreader.

Cartoni’s PTZ stand features a telescopic three-stage stand with a PTZ ball joint to mount the PTZ camera. It also is equipped with a quick-release sliding plate and rubber feet that can be used alone or with the dolly.

Then there is the P20 pedestal, which now features a PTZ attachment. With this, PTZ cameras can be used in super high setups, while also having a vertical gliding movement of 40 cm. The pedestal’s 3/8, 1/4-inch camera attachment enables PTZ cameras to be assisted by a teleprompter, Cartoni says.

For more information, visit inside.cartoni.com.  

Located in northern California, Thunder Valley Casino is a AAA Four Diamond award-winning Casino Resort. As one of the region’s premier entertainment destinations, the casino recently decided to revamp its camera and support package to prepare for another season of concerts.

“Our concerts take place in two different areas. During the winter months, we have a 900-seat auditorium, and in the summer, we erect a custom 5,000-seat outdoor amphitheater. When I took over managing the AV department back in 2015, and after years of heavy use, we began to notice considerable breakdown on our aging video package,” explains Darren Scott, the Audio Video Manager at Thunder Valley Casino Resort.

Already equipped with state-of-the-art sound and lighting system and two large video screens flanking the main stage, Darren worked with integrator, VMI, to make upgrades to Thunder Valley Casino’s entertainment and production venue. To round out the venue’s system, Darren decided to upgrade and increase the camera lens size to the Fujinon Digipower 55 box lens. The improved zoom lens would create better quality video for the screens and an excellent display for audience members at any place in the amphitheater. The move to a larger lens meant that other areas of the production would also be impacted.

“Before we upgraded to the Fujinon lenses, we were using two smaller Sachtler tripods for our two Hitachi Z-HD5000 cameras. Last year, after I received the approval to increase our lens size, and I knew we would need to upgrade our tripod to support the larger lens. I contacted Dennis [Dunrud] at VMI,” says Darren.

Founded in 1973 and headquartered in Sunnyvale, California, VMI specializes in systems integration and installation. To support Thunder Valley Casino’s larger lens package, VMI recommended the Cartoni Master 65. Designed to support heavy-duty camera packages from 44 lb to 143 lbs, the Master 65 is ideal for outdoor Broadcast with bulky boxed lenses.

“Darren contacted me about improving the video production quality at Thunder Valley Casino’s entertainment venue, particularly in their large, outdoor Concert Stage. After visiting the venue, I evaluated their existing production system. Some of the products they had originally purchased were showing signs of heavy wear. Particularly their cameras and tripods,” says Dennis Dunrud, a sales manager at VMI.

Working through Cartoni’s US distributor, Manios Digital, VMI would bring Thunder Valley demo gear to ensure that the new supports met their needs.

“As I would make recommendations, we would bring in demo gear for Darren and his team at Thunder Valley Casino to try,” says Dunrud. “We were able to demo Cartoni tripod systems, including the Master 65 and a smaller system, the Cartoni Focus 22, which we recommended for use with their existing lighter camera packages and spider pods. They were quite pleased with the results. The broad selection in the Cartoni product line and the ability to use and test the products allowed Thunder Valley Casino to purchase with confidence. We were able to place their tripod systems in all of the customer’s other applications. Since then, they have been very pleased with the stability, durability, and overall performance of the Cartoni products. Darren has chosen to standardize all of their production tripods to Cartoni.”

For the entertainment team’s lighter packages, VMI helped Thunder valley choose the Cartoni Focus 22. As one of the most versatile products in the Cartoni tripod range, the Focus 22 can support small studio packages or ENG cameras, with a payload capacity of 6.5 pounds up to 48.5 pounds. In all, Darren would work with VMI to install two Cartoni Master 65 and two Focus 22 tripods to upgrade the entire production experience.

And going into their second season with Cartoni, the video team at Thunder Valley Casino Resort couldn’t be happier.

“The amount of control, stability, and overall function of the Cartoni tripods allows my film crew to function more effectively. They can focus on the performance rather than focusing on the mechanical issues that may arise with a subpar tripod,” says Darren.

He adds, “I would recommend Cartoni to any major film production. The product stands out amongst the rest.”

Manios Digital is the exclusive US distributor for Cartoni Camera Supports, Hawk-Woods batteries and accessories, and Kinotehnik Bluetooth-enabled LEDs. 

Frank Lozano is on a mission.

“I’ve filmed orphanages in Haiti, AIDs clinics in Nigeria, I have documented digging water wells in Burkina Faso, Africa, and told the heartbreaking story of two married Holocaust survivors that met in a concentration camp,” says Lozano. The imagery he creates is inspiring. Visual storytelling may be the only way to accurately convey what the first drop of clean, accessible drinking water can mean to a people who have never known one.

Frank’s corporate clients include a resort in Cambodia, and his photographs have had gallery showings. The documentary filmmaker and veteran photographer has a professional background as diverse as the places he has traveled. Based out of Los Angeles, his projects have taken him all over the world.

“Since most of the organizations don’t have budgets, I use the gear that I own and have a very small footprint. I am currently shooting with the Sony A7III and carry my older Canon 5DMKIII as a backup,” says Frank. For sticks, Frank uses the Cartoni Focus 8, a lightweight tripod with the stability to create his precise time-lapse sequences and provide camera movement that is smooth and natural. The Cartoni Focus 8 can handle payloads of up to 17.7 pounds and thanks to the SDS Tripod legs, it sets up & folds in an instant.

Frank’s own career arc is as unscripted as the many projects he works on. “I used to be “on-air” at Power 106 FM as ‘Lozano on the Loose’ from 1989-2001,” says Frank. “Even though I was a disc jockey, I always had my camera and took pics of the artists that came into the studio, and I have some good ones - Eminem, Mariah, Lionel Ritchie, Carrie Underwood - many of these photos have never been shared publicly.”

But Frank’s love of photography and the moving image began long before he picked up a mic. “I guess you would say I have been shooting since I was in middle school and I have my mom to thank or blame for that,” says Frank. “She always had a 35mm film camera and a Super 8 movie camera around the house, and I started telling stories with those tools editing footage with blade and tape.” Recently, a high school classmate posted a photo of Frank back in the day with his 35mm in hand.

And it turns out Frank has a history with Cartoni. “Fifteen years ago when I was giving my time as the media director for a local church, they had two Cartoni tripods, and I used them whenever I could,” says Frank. “Back then, I didn’t have the budget to invest in a Cartoni, so I purchased a ton of other tripods and, like most shooters, I have a stack of them in my garage.”

A couple of years ago, Frank finally got a Cartoni from Band Pro in Burbank, and after using it the first day, he was sold on it. “With all the money I spent on inferior tripods, I could have purchased several Cartonis,” he says.

Frank’s background in both radio and film has allowed him the opportunity to serve not only his community but people around the world. He has his own nonprofit - GlobalPointMinistries.org. “The projects I am drawn to are varied,” says Frank. “I run my own sound using my Sound Device MixPre6 with four wireless lavs and am looking to convert to all Sony glass and get another Sony camera as the budget warrants.”

The Cartoni will be with him. “If I had just invested sooner, I would have saved myself tons of frustration with shots I didn’t like or could not use because the sticks were cheap,” says Frank. “It is so nice to shoot with a tripod that is solid, steady, and reliable.”

“I love giving back,” says Frank and if you look at his amazing body of professional and nonprofit work, you will quickly see that is not a cliché. Check out his website, lozanoproductions.com and on social media at @franklozano. Frank jokingly says, “I have helped out so many non-profits, I’m the only one who is not profiting.” Frank laughs and continues by saying “But it’s that same spirit that has taken me to some pretty cool locations to tell stories that needed to be told. That’s my mission”.

Manios Digital is the exclusive US distributor of Cartoni Camera Supports.

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Rome, Italy (August 22, 2019) – Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is pleased to announce a new array of products which will debut at IBC 2019 (booth 12.E30).

RED LOCK lightweight tripod

The newest release in the Cartoni Tripod range is the RED LOCK.

Designed for camera operators on the go, the RED LOCK tripod is a lightweight and extremely robust two-stage aluminum tripod capable of achieving extremely high and extremely low shots, reducing the need for baby leg tripods. Surprisingly affordable, the RED LOCK tripod was designed with speed and ease of use in mind for camera operators who know that every second counts! The RED LOCK tripod can also accommodate 75mm and 100mm set-ups by simply changing the inner composite ring.

Rubber feet have a new design for maximum stability, and the Smart Spreader allows you to set up & fold the tripod in an instant.

RED LOCK Tripod Specifications:

MAXIMA 5.0

The new MAXIMA 5.0 is the ultimate answer for digital cinematography with heavy-duty packages.

Featuring Cartoni’s patented counterbalance, the MAXIMA 5.0 handles payloads from zero to 50 kg, with “perfect balance” throughout the 180° tilt range. The patented continuous fluid drag system allows almost freewheeling to extremely consistent drag for maximum versatility and perfect diagonal shots.

The MAXIMA 5.0 knobs and levers are ergonomically placed to ensure camera operators complete ease-of-use in any situation, whether in the studio, location, or during outside shooting. The large sliding camera plate is compatible with ARRI, Sony, and O’Connor. The head comes with a telescopic pan bar and a short front pan bar. Optional 150mm bowl base can be easily applied.

Maxima 5.0 Specifications:

S200

Making its IBC debut will be the Sport 200 (S200). The new Sport 200 are a revolutionary set of tripod legs, designed specifically to meet the rigorous demands of sports and outside broadcast (OB) production. It continues Cartoni’s legacy of delivering cutting-edge solutions for content creators.

“The new Sport 200 is a game-changer. It features an extremely innovative aluminum profile and angular structure, which gives camera operators a sturdiness you simply cannot get from standard tripod tubes. The rigidity allows camera operators to be extremely precise in their movements – from whip pans to tracking players or objects,” explains Elisabetta Cartoni, President and CEO of Cartoni.

The new Sport 200 is built with duralumin as used in the aircraft industry and offers outstanding torsional rigidity with camera packages, up to 200 kg (441 pounds), in all possible large camera/lens configuration. Its innovative profile is angled and shaped to ensure maximum strength while weighing only 10.5 kg (23 lbs). Designed to withstand even the harshest weather conditions, the Sport 200 can endure severe weather conditions, rain, dust, moisture, and extreme temperatures.

MASTER 25

The Master 25 is a robust, yet lightweight fluid head designed to support the latest cameras complete with long lens, viewfinders, prompters and pan bar controls for new studio production as well as OB/ENG/EFP applications, with a payload capacity of up to 30 kg (66 lbs).

“The new Master 25 is the ultimate do-it-all head for ENG/EFP, studios and OB” explains Elisabetta Cartoni, President and CEO of Cartoni Professional Camera Supports. “Not only is the Master 25 completely compatible with competitor legs and even camera plates, but it is also perfectly suited for the camera operators needs. That means the head can precisely track slow-moving objects and whip pan in an instant. The new Master 25 will be displayed in the classy Black & Gold design of the famed Cartoni C20/C40 heads of yesteryear and is also available in grey anodized aluminum.

For more information on these products, join Cartoni at IBC 2019, Booth 12.E30. 

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Rome, Italy (August 16, 2019) –Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is proud to celebrate winners of the ‘Win an SDS Tripod’ contest. The contest drew entries from the United States, Europe, Africa, and the Middle East.

“On behalf of everyone at Cartoni, we want to thank everyone for participating,” explains Elisabetta Cartoni, President and CEO of Cartoni. “We are thrilled to see the incredible photos and how people are using our gear! With so many great submissions, we decided to expand the awards to the top seven submissions. We are thrilled to see that camera operators all over the world have fallen in love with our patented SDS Tripod technology, which gives them the speed they need to capture incredible shots.”

Designed for camera operators on-the-go, the SDS Tripod is a set of patented tripod legs that allow camera operators to set up and fold their tripod in an instant. Three SDS Tripods will be awarded to the first four prize winners, and four runners-up will be awarded a Cartoni Monopod.

A Cartoni Focus 12 SDS Tripod System will be awarded to veteran cinematographer Eduardo Ramirez (California) who has worked on 13 feature films, more than 300 commercials and music videos and Season One of Narcos Episodes 4-7. 

“Cartoni was my first love, as a Second Camera assistant I began working with Cartoni back in 2006, and from the beginning, I discover how solid, effective, and efficient a Cartoni system is. The C20/C30 are amazing heads. And now I’ve been using the Maxima, which is an incredible head. Now as Dp and owner of a rental house, my first call was Cartoni heads,” says Ramirez.

A Focus 8 SDS System will be awarded to Kent Anderson (South Florida).

“I typically shoot documentary travel-based content and love being outdoors, capturing landscapes, wildlife, and foreign culture. My favorite gear is built tough, works every time, and is versatile. I like hybrid DSLR’s that capture both photo and video really well. Recently I’ve enjoyed using the Lumix GH5 and typically have it rigged with a Smallrig cage and SmallHD monitor for video work, but can quickly strip it down for just photo. I’ve had my Cartoni Focus tripod for almost ten years, and it’s the only piece of gear I still bring on every single shoot,” says Anderson.

An additional Focus 8 SDS System will be awarded to former radio DJ turned corporate filmmaker Frank Lozano (Los Angeles, California).

“I just love what I do. I get to travel and see new places and help people along the way. But most importantly, I like to “share” those experience with others. I think that’s why I love my cameras so much. When I’m a long way from home, I need to have gear that I can trust. That’s why I love Cartoni tripods. I’ve been using them since 2004 and it’s always been the set-up I prefer. Some of these places, I may never get a chance to come back. That’s why it’s got to be right the first time,” says Lozano.

A set of SDS Tripod legs will be awarded to Dubai-based Focus 18 videographer Issam Saadane (Dubai, UAE).

“During a shoot, one of my colleagues was using a Cartoni Tripod, and I fell in love with the quality and the finish of it. Three days later, I got my first Cartoni tripod. Plus, I love the wide range of rigs from the brand,” says Saadane.

A Cartoni Monopod will be awarded to Keaton Bowlby (California), Bryan Roy (Canada) and Mathieu Cowan (Canada).

For more information on the SDS Tripod, join Cartoni at IBC 2019, Booth 12.E30. Register for free by using code 4582.

##

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.”

NORTH HOLLYWOOD, Calif. — In anticipation for the launch of the Atlantic Coast Conference linear television network in 2019, Seminole Productions has purchased three Cartoni Magnum fluid head systems from Manios Digital & Film. The crew produces video for Florida State University and needed the sturdy Cartoni Magnum head for its rigorous upcoming production schedule, which last year included “more than 100 video board shows, 81 digital ACC Network Extra broadcasts and 17 linear broadcasts for ESPN,” according to a statement from Manios.

The Cartoni Magnum head provides payload capacity of 55 to 210 pounds (25 to 95 kilograms) and can support both studio and outdoor cameras that have “long boxed lenses and other bulky accessories.” The compact Cartoni Magnum head features an advanced fluid dampening module and patented counterbalance system.

“The Cartoni heads are more robust than the support systems we’ve been using and, comparing them component by component, we felt they would hold up better,” said Kirby Kander, senior director of live events at Seminole Productions in the statement. “We are in the process of adding more cameras and box lenses and look forward to using them on the Cartoni heads and tripods.

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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.

Ronkonkoma, NY – June 7, 2018 –Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced its participation in Adorama INSPIRE, a brand new, weeklong event filled with designed-to-share experiences for visual storytellers. Offering education, inspiration, a networking platform and hands-on gear testing, Adorama INSPIRE will take place June 25 through July 1 in and around New York City and features prominent industry creatives including Sigma Pros and many more.

INSPIRE: Capturing Adventure in the Great Outdoors with Sigma Pro Liam Doran

Kicking off the Adorama INSPIRE event is renowned adventure photographer Liam Doran’s session on Outdoor Sports and Travel Photography. A Sigma Pro veteran, Liam will share his secrets to capturing his most iconic images and commercial covers including the gear used, lens choices for each image, camera settings and timing.

When: June 25 from 10:00am-12:00pm

Where: Union Square Ballroom (27 Union Square West, New York, NY 10003)

Cost: FREE

An outdoor sports and adventure travel photographer based in Colorado, Liam’s work covers all aspects of outdoor mountain life including skiing, biking, trail running and fly-fishing as well as travel and lifestyle. His images appear regularly in commercial advertising and in today’s top magazines including Powder, Outside, Ski, Skiing, Trail Runner, Mountain Magazine and more. For more information, visit his website at www.liamdoranphotography.com or follow him on Instagram at @liamdoranphotography.

Register here: https://bit.ly/2LpZUOp.

INSPIRE: Central Park Zoo Shoot with Sigma Pro David FitzSimmons

Adorama INSPIRE attendees are invited to come to the Central Park Zoo where Sigma Pro and noted animal photographer David FitzSimmons will be leading a photo shoot. David will share his tips and tricks for photographing animals in a zoo setting. As part of the Sigma sponsored workshop, attendees will have the opportunity to borrow Sigma lenses for the shoot and get feedback from a Sigma Pro (please bring photo ID, camera and memory card).

When: June 28 from 10:00am-1:00pm

Where: Central Park Zoo (E 64th St & 5th Ave New York, NY 10021)

Cost: $20

David FitzSimmons is an award-winning photographer and writer. He has photographed and written for various magazines, including Outdoor Photographer, Popular Photography, Professional Photographer and Shutterbug. David’s most recent publications include Animals of Ohio’s Ponds and Vernal Pools, Curious Critters, Curious Critter Volume Two and Curious Critters Marine, which have won multiple national book awards and sold over 100,000 copies. For more information, visit his website at http://www.fitzsimmonsphotography.com/.

Register here: https://bit.ly/2JbRr4G.

Get Hands-On with the Latest Sigma Global Vision Lenses at the Adorama INSPIRE Expo

Come to the Sigma booth and check out the full line of Sigma Global Vision Art and Contemporary lenses. Sigma technical representative Marc Farb will be available to answer your questions and highlight features and benefits of the latest Sigma glass. Sigma will also be offering a special promo on select lenses during the expo.

When: Friday, June 29th from 10am-5pm & Sunday, July 1st from 10am-5pm*

Where: Metropolitan Pavilion (125 W 18th St New York, NY 10011)

Cost: FREE

*The Adorama INSPIRE Expo will be closed Saturday, June 30th.

Register to attend on Friday, June 29: https://bit.ly/2Jkk8sl.

Register to attend on Sunday, July 1: https://bit.ly/2IOFdxY.

Adorama INSPIRE Event Schedule: https://www.adorama.com/g/inspire-2018-schedule.

ADORAMA: More Than a Camera Store
Adorama is more than a camera store – it’s one of the world’s largest photography, video, audio and computer retailers. Serving customers for more than 40 years, Adorama has grown from its flagship NYC store to include the leading online destination for imaging and consumer electronics. Adorama’s vast product offerings encompass professional video and audio, connected home, musical instruments and more, while its services include an in-house photo lab, AdoramaPix; resources and gear for photographers, filmmakers, production studios, broadcasting and post houses, and recording artists through Adorama Business Solutions; professional equipment rental at Adorama Rental Company; and the award-winning Adorama Learning Center, which offers free creative education via online channels such as the popular AdoramaTV on YouTube. Visit Adorama at www.adorama.com.

About Sigma Corporation

Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted to the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning cine and camera lenses, DSLR and mirrorless cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last.

Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.

For information about Sigma, please visit www.sigmaphoto.com or follow the company on Sigma Blog, Twitter, Instagram and Facebook.

####

Press Contact

Anya Nelson

Zazil Media Group for Sigma Corporation of America

(p) 617-817-6559

(e) anya@zazilmediagroup.com

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.

360 Designs Flying EYE VR

Where the past couple of NABs have seen all sorts of drone camera platforms, some little more than toys, the 2017 exhibit floor saw fewer but more targeted unmanned aerial vehicles.

DRONES
360 DESIGNS demonstrated its Flying EYE VR drone, designed to fly the company’s MiniEYE 3 and other three-camera VR rigs. Its ground station provides stitched 4K SDI, 6K NDI, and 6K H.265 (HEVC) outputs. The maximum distance for receiving live video from the flying drone is three to six miles.

DJI RONIN 2

DJI’S new flagship RONIN 2 camera drone represents a major reworking of almost everything seen in its previous version. A handy carbon fiber ring on the drone allows the operator to easily set the drone down. Payload has been increased to 30 pounds, and telescoping arms allow for much larger cameras and zoom lenses than previously possible.

DRONE VOLT showed the tethered drone Hoverfly system. Where an untethered unmanned aerial vehicle may provide more freedom in terms of where the aircraft goes, flight time is limited to what the system’s batteries will handle.

FREEFLY SYSTEMS unveiled the Pilot System, a modular version of the MoVI Controller. The system allows users to configure in a variety of setups based on their specific needs. Modules are available for a single axis lens controller as well as a handle module for complete control of focus, iris, zoom and MoVI settings.

POWER VISION showcased its Power Ray, an underwater tethered drone. It can operate and image to a 64 GB SD card for four hours on a battery, and dive to a 100-foot depth. It can stream HD video to the surface, while recording 4K on the drone in the depths. Tethering cables for control are available in 150 and 210 foot lengths.

CAMERA STABILIZERS
FREEFLY SYSTEMS rolled out its MoVI Pro, providing a number of improvements over the original MoVI family, including hot swappable batteries. Also new is an integrated stand to allow quick parking and retrieving the MoVI. Also featured are stronger motors, integrated RED camera control and a built-in LCD screen allowing for auto-tuning and further adjustments.

GLIDECAM launched its Tru-Horizon stabilizer, which facilitates a move from low mode to high mode, and back again, in one single fluid shot while the camera automatically remains level and horizontal at all times.

STEADICAM premiered its Volt stabilizer, designed to stabilize GoPro and smartphones. It uses internalized gyro technology to allow the user’s hand to be the driving mass to stabilize the shot, while the unit does all the leveling.

Cartoni Master 65 fluid head

TRIPODS/MONOPODS
CARTONI introduced the Master 65 fluid head, designed to support heavy camera packages with large zoom lenses. It uses a new drag system, has a payload range of 44–143 pounds, and includes Cartoni’s Magnum counterbalance system, which provides perfect balance throughout the full +/- 90 degree tilt range with no dead spots.

LIBEC USA presented its HFMP (Hands-Free Monopod), specially designed for free-stand operations. The free-stand base located at the bottom of the monopod allows users to instantly switch the monopod’s function from shooting mode to a locked vertical position in a single step.

MILLER CAMERA SUPPORT introduced the arrowFX 3, arrowFX 5 and arrowFX 7 fluid heads that feature integrated robust, high-resolution magnetic encoders, allowing precise monitoring and communication, in real time, of the exact position of the fluid head with zero latency. Miller also featured its Skyline 90 Fluid Head, a heavyduty head designed for outside broadcasting with counterbalance control ranging from zero to 165 pounds, and 300mm of sliding range.

ROBOTICS
GEARHOUSE BROADCAST, in conjunction with its partners TELESCOPIC LLC and Big Shot Camera Cranes, introduced the SkyTechno Inverted Telescoping Camera Crane. Targeting AR/VR production requirements, the 24-foot crane employs the latest encoding technology to ensure that 3D graphics are inserted into the live camera feed exactly where and when needed.

Ross Furio SE rail-based dolly system

ROSS VIDEO introduced the Furio SE rail-based dolly system, the next generation of its Furio robotic camera system. The new system incorporates more than 40 new features, enhancements, or performance improvements, and includes a number of new technologies. The carbon-fiber lift is more than 20 percent.

Also new is the Furio SE BlackBird, a smooth-rolling, ultra-stable base for the Furio SE lift and VR100/VR600 heads.

RUSHWORKS demonstrated its LOCKED ON object tracking solution that controls one or more PTZ or PTX fixtures, allowing them to follow on-air talent with no operators required. The technology utilizes predictive motion and acceleration/deceleration data to emulate the camera work of skilled and well-trained camera operators.

SHOTOKU partnered with jib-arm maker CamMate to develop the Graphica series of VR/AR tracked camera cranes. Graphica calculates positional data output from embedded physical rotary encoders designed specifically for VR. Also new is the Free-d2 Absolute Tracking System, which uses advanced video processing algorithms and ceiling markers to precisely determine the exact position and orientation of the studio camera.

TELEMETRICS launched its PTHP-55 Robotic Pan/Tilt Head, a lower-cost addition to the company’s robotic camera support equipment. The head can accommodate a 40-pound camera and lens payload, and is fully 4K-ready with embedded fiber as standard. The company also debuted its Televator EP7 Series, available in three sizes to accommodate virtually any camera and height position.

VINTEN’S Vantage compact robotic head has been added to the VitecEV all-new Creative Studio, a fully integrated video capture and streaming solution designed for use in an enterprise setting. Vinten also debuted its micro VRC controller, designed to be paired with Vantage to provide a complete robotic camera solution.

PROMPTING
AUTOSCRIPT unveiled Intelligent Prompting, its completely IP-enabled teleprompting solution. The system avoids the use of video-over-IP and ensures that much less data is sent over the IP network. The intelligence needed to generate the script has been incorporated inside every Intelligent Prompting monitor, enabling the monitor to produce the video output directly.

Cuescript PTZ Prompter System

CUESCRIPT debuted its PTZ Prompter System, in which the PTZ camera mounts upside down in the top of a specially designed prompter hood, providing greater movement for the camera and eliminating the need for expensive tripods. The company also demonstrated CueiT, a complete IP-based prompting solution, along with the CueB engine that provides connection via Ethernet or USB, allowing nearly limitless scroll controllers that can also be connected over IP.

MIRROR IMAGE demonstrated its IP10 iPad teleprompter, which features the same wide-angle mirror, heavy-duty lens hood and fully adjustable camera mount as the company’s high-end teleprompters.

MISCELLANEOUS
MATTHEWS STUDIO EQUIPMENT unveiled the Elevator, designed to allow productions to create vertical camera moves on a budget. It features a counterbalanced elevation tower that provides 25.5 inches of smooth vertical movement with simultaneous 360-degree panning. Also on display at MSE was the My Way Rigging System, a two-part interchangeable rigging system designed to speed setups.

Camera support providers continue to roll out innovative new equipment for motion picture photographers ranging from news shooters to directors of photography.

Autoscript EPIC 17 Teleprompting System

PROMPTERS
AUTOSCRIPT will showcase its EPIC 17 Teleprompting System, a unique, fully integrated prompting and on-air system that offers the brightest, lightest and most power-efficient professional system for its size. It combines the brightest 17-inch LED prompting screen with an integrated 17-inch full HD-SDI on-air monitor.

CUESCRIPT will introduce two new products designed to simplify and enhance the way prompting is used in today’s studios and on location. They developed a unique mounting system whereby the PTZ camera mounts upside down in the top of a specially designed prompter hood. Mounting the system this way eliminates the need for expensive tripods and makes using a lighting stand possible.

Libec HFMP KIT

Miller Camera Support arrowFx Fluid Head

TRIPODS/MONOPODS
LIBEC SALES OF AMERICA will introduce its HFMP KIT, a hands-free monopod with a free-stand ability that provides hands-free functionalities on video and photo shoots. HFMP KIT includes a dual base video head with a 4kg./9-pound capacity.

FLUID HEADS
MILLER CAMERA SUPPORT will introduce its arrowFx Fluid Heads, designed to be employed in HD broadcasts where augmented reality effects are inserted into the picture during live broadcasts. The arrowFx also delivers high-precision pan and tilt positioning information via magnetic encoders for cinema-quality visual effects productions in feature films and commercials. Miller will also feature its Skyline 90 heavy-duty fluid head, engineered for large OB and studio cameras. The Skyline 90 supports payloads up to 165 ponds at 12 inches above the heas pivotal center.

Sachtler FSB 10 fluid head

SACHTLER will feature its FSB 10, a new, entry-level 100 mm fluid head that offers rugged durability and buttery smooth panning and tilting movements for consistently high-quality images. It supports payloads up to 26.5 pounds and is designed to accomodate digital cinema-style cameras such as the Sony FS7, Canon C500 and Blackmagic Ursa Mini.

MATTHEWS STUDIO EQUIPMENT will demonstrate the Elevator, a counterbalanced elevation tower designed to give the budget-conscious compelling camera moves with 25.5 inches of vertical movement as well as a complete 360-degrees of rotation. Elevator is designed to work with a variety of camera platforms, including heavy-duty sliders, tripods, high hats, bazookas or any other platform or adapter that uses an elemac-mounting base.

Shotoku Graphica 390

TRACKING SYSTEMS
RUSHWORKS will demonstrate its LOCKED ON object tracking solution that controls one or more PTZ or PTX fixtures, enabling video cameras to follow the talent with no operators required. The technology utilizes predictive motion and acceleration/deceleration data to emulate the camera work of skilled and well-trained camera operators.

SHOTOKU BROADCAST SYSTEMS will put forward Graphica, a range of manual virtual/augmented reality (VR/AR) tracked camera cranes. Combining Shotoku’s advanced tracking technologies with Cammate’s leading crane technology allows delivery of the ultimate in accuracy and performance.

PAN/TILT HEADS
RUSHWORKS will show its PTX Universal PanTilt, which provides a new dimension of production functionality and versatility. When used as the base for your favorite camera or camcorder, PTX provides control of pan, tilt and camera/lens by VISCA devices, including the ubiquitous Sony RM-BR300.

TELEMETRICS will demonstrate its HP Servo Pan/Tilt Head, the PT-HP-S5, designed specifically to answer the growing demand and trend towards digital studios. The company will also unveil its Modular Robotics Camera Control Panel, RCCP-M, which offers the most intuitive and easy-to-use controller for the production environment. The cost-effective control panel features a full-color touchscreen interface easy-to-find camera functions, pan, tilt and zoom speed control knobs, illuminated push buttons for easy camera selection with a large focus knob for fine control.

VINTEN will demonstrate its Vantage compact robotic head. The Vantage offers all of the capabilities of the company’s high-end studio solutions at the same price point of a traditional PTZ. Also new from Vinten is Hexagon Tracks.

Yi Erida drone

DRONES
YI will debut its Erida carbon fiber, three-rotor drone, featuring 4K video and reaching top speeds of 75mph with up to 40 minutes of flying time. The drone is controlled with a smartphone by an intuitive and easy-to-use mobile app, making flying a seamless activity, in both operation and auto modes. The Erida takes off automatically and performs a self-check. It incorporates a motorized gimbal to stabilize the included high-resolution YI 4K camera for the smoothest shooting possible.

CARRYING CASES
PELICAN PRODUCTS will introduce the iM2275 Pelican Storm Case, which offers more than 1,700 cubic inches of possible storage space, perfect for protecting a wide range of mid-sized equipment (drones and grip equipment) without the need for a longer, bulkier case.

Camera support equipment at the NAB Show was dominated by drone companies of all sizes. Where last year there was one large, netted enclosure the unmanned aircraft vendors had to share for their demos, this year most drone exhibitors had their own, smallish enclosures to demo their wares. One multi-rotor craft was witnessed tangling with its enclosure, beating itself to death before falling and smashing itself to pieces. The buzz is that this wasn’t a singular happening.

3DR SoloDRONES
3DR showed three flight modes for Solo. In one, the pilot completely controls the drone. In a second mode, the pilot preplans the flight parameters and then lets the drone fly it by itself. In the third mode, the drone flies a preplanned path, but the camera operator controls pan, tilt, zoom and framing. The operator can override the aircraft in the second or third mode at any time. The company also debuted augmented reality in which a software app overlays visuals in real time on a user’s mobile screen.

Autel showed off its X-Star Premium, a quad-copter designed for aerial imagery. The 4K camera and removable 3-axis gimbal allows users to shoot UHD or 12MP photos with HD Live View from up to 1.2 miles away. It boasts an intelligent flight control system, dual GPS and GLONASS satellite navigation aided by the Starpoint Positioning System.

DJI Matrice 600DJI premiered its Matrice 600 drone, a new flying platform designed for professional aerial photography and industrial applications. It is built to closely integrate with DJI technologies, including the A3 flight controller, Lightbridge 2 transmission system, Intelligent Batteries and Battery Management system.

Freefly Systems debuted ALTA 8, derived from the company’s ALTA 6 drone. It is designed for the most demanding customers who want to carry the largest cinema payloads. It easily unpacks and can be ready to shoot in under five minutes. Payloads weighing up to 20 pounds can be carried.

GDU showcased its Byrd drone, designed for portability. The arms, propellers and landing gear all collapse into an iPad-sized package. Its universal platform allows endless combinations, providing a way to quickly swap out the gimbal and camera. Safety features keep the aircraft close by.

Yuneec flew its Typhoon H aerial photography and videography platform, with flight durations of up to 25 minutes. It utilizes a CGC3+ 4K UHD camera, and has an Android-powered ST16 Ground Station that features a 7-inch touchscreen that displays live footage of the flight in 720p.

TRIPODS & FLUID HEADS
Cartoni introduced four new fluid heads, the FOCUS 8, FOCUS 12, FOCUS 18 and FOCUS 22, designed to accommodate camera packages from zero to 48.50 pounds. They incorporate Cartoni’s counterbalance system for superb performance.

Davis & Sanford added to its Provista video family of tripods with the ProvistaGRi, a tripod and head designed for quick setup and breakdown. The three-section single aluminum tripod features quick release leg locks that are easy to use even in cold weather.

Libec introduced a pair of new fluid heads in its ALLEX line, the RH25D Dual Head (13 pound payload), and the RH45D Dual Head (26.5 pound payload). Both heads come equipped with a 75mm and flat base adapter. A major feature on the RH25D and RH45D is a continuous counter balance.

Sachtler Video 18 S2 Fluid HeadMiller introduced a new counterbalancing system in its arrowxSeries fluid heads. The 16 CB PLUS sequential counterbalance provides eight large counterbalance steps, then a finer half-step adjustment, allowing the operator to quickly make a rough setting of counterbalance, then finely tune it for optimum setup.

Sachtler has beefed up its Video 18 tripod system, adding over 8 pounds to the payload of the new Video 18 S2. It can handle a fullsize ENG camera up to 44.1 pounds and provides a smooth drag adjustment via a stepped mechanism that is repeatable and fast.

Matthews Dutti DollyDOLLIES & SLIDERS
Camera Goat demonstrated its affordable dolly track system, designed to handle a range of cameras from GoPros to REDs and Alexas. It can be quickly set up by a single shooter, and is solidly built from aluminum. The track is easily adjustable over even the most uneven ground.

Matthews unveiled its Dutti Dolly, a lowprofile dolly that rides a 3/16-angle aluminum rail as well as round track. Machined out of a single piece of metal, it features a built-in Mitchell mount and several other accessory threads.

Red Rock Micro demonstrated its One Man Crew Director motorized parabolic slider, designed to transform static shots with cinematic motion without a dedicated operator. One Man Crew Director is useful for animating B-roll, inserts and reveals to replace static shots.

CAMERA RIGS AND STABILIZERS
Chrosziel demonstrated its LWS 401-FS7 Light Weight Support for Shoulder Mounting Sony FS7 Cameras, which provides optimum balance for the camera when shoulder mounted. The new baseplate features a slim design with a sturdy and ergonomic shoulder pad.

Cool-Lux demonstrated its range of four camera rigs. Each rig includes the Cool-Lux SHIFT Baseplate, which features a flip-out tripod mount that acts as a chest pad in shoulder rig mode. The baseplate is fully adjustable to work with any camera.

Freefly Systems’ news on its MoVI line of stabilizers was a new Akira 5.0 firmware update. Features include HiPer, which improves stabilization up to 50-percent, opening up opportunities to use longer focal lengths without sacrificing stability. Also notable was the all-new Timelapse Mode, that allows for completely programmable camera moves.

Glidecam XR-Pro StabilizerGlidecam debuted its XR-Pro stabilizer, designed to handle camera payloads of up to 10 pounds. To provide important mass to help stabilize lightweight cameras, it incorporates four steel weight plates. The XR-Pro is engineered for fast setup and deployment.

Steadicam rolled out its A Series of stabilizers, a replacement for their Pilot stabilization system. There are models to handle three different capacities. Also in the booth was the Steadicam M-1, with a modular design to allow user-configuration without tools.

ROBOTIC CAMERA SYSTEMS
RUSHWORKS introduced its PTX Universal PanTilt head, designed to work with the Blackmagic Design Micro Studio Camera 4K and other standalone cameras and camcorders from Sony, Canon, Panasonic and JVC that support LANC control.

Shotoku Free-d2 for VR/ARShotoku unveiled the Free-d2 VR/AR a new-generation tracking system that does not require physical encoder devices attached to the camera support’s moving axes. The system uses advanced video processing algorithms and simple ceiling markers to precisely determine the exact position and orientation.

Telemetrics realized its workhorse remote pan and tilt head was “getting long in the tooth,” and engineered its replacement, the IP-controlled PT-LP-55, featuring remote diagnostics and the ability to interface with digital lens controls.

Vinten demonstrated its new Hexagon track system which features a unique hexagon rail shape and robust dolly design for demanding environments. Track can be laid for a distance of over 150 feet, and the system has an integral cable management system.

TELEPROMPTERS
Autoscript introduced a range of prompting solutions for the Apple iPad Pro, including options for the 9.7- and 12.9-inch versions. It includes Mac and PC QStart software, allowing the iPad Pro to be used in a traditional teleprompter workflow.

CueScript premiered the CSF10, a lightweight yet fully featured prompting system designed for use with jibs and cranes. It can be used with a collapsible hood and prompter glass or as a straight reading system and features a 2000-nit screen that is easy to read in sunlight. The company also debuted CueiT prompting software which includes Ribbon menu style, Quick commands and features that can be accessed from multiple locations, markers to enable operators to create their own sub-run order and pinpoint positions to instantly navigate within the script, either on their edit screen and/or the prompt output and no separate configuration menu.

Mirror Image showcased its LC-120, a 12-inch LCD prompter that accepts HDMI, SDI, VGA and Composite inputs. It provides 1000 nits of brightness for daylight use, something they point out an iPad cannot do.

ProPrompter demonstrated its PRO3 studio kit, featuring a universal tray for iPad Pro and other tablets. It fits DSLR, consumer and ENG cameras, and employs an extra-wide 6-/40 studio quality beam splitter glass. Its foldable design provides for portability and easy storage.

Telescript exhibited its Robotic Prompting Systems, designed specifically for mounting on robotic cameras. The two-piece system makes it easier to achieve balance by moving the electronics module behind the camera. The Robotic Prompter and all Telescript monitors accept SDI, HDMI, VGA, component, and NTSC and PAL composite input.

MUNICH—Designed specifically for Sony’s PXW-FS5 cameras, German-based Chrosziel has debuted its new Light Weight Support 401-FS5 shoulder mount.

401-FS5

The slim design features a shoulder pad that can slide into different positions for balance. The shoulder mount also features 205mm long 15mm rods with a threaded insert for extension rods. An integrated Hirth rosettes provides mounting points for accessories. The unit also offers an integrated V-mount to fix cameras to quick-lock plates.

The LWS can mount to the camera at several points and can be combined with the Chrosziel 19mm DigiCine Bridgeplate 401-F235 for support of large zoom lenses. Chrosziel also has the 401-FS7 for Sony’s PXW-FS7 cameras.

The LWS 401-FS5 is now shipping through Chrosziel’s U.S. distributor, Schneider Optics.

LAS VEGAS—Robotic camera support systems manufacturer Vinten has announced its latest product, the Hexagon system. The new support system integrates the Vinten Control System (VRC) with Technopoint for an advanced robotic dolly system on tracks.

The Hexagon dolly features a motorized column and robotic head that interfaces with the Vinten control protocol, allowing it to be managed through the VRC. The track design has a height of 1.18-inches from the ground and features four traction wheels with dual synchronized motors. It also comes with an optional positioning belt for virtual and augmented reality. The track can be configured either straight or curved, can hold up to two dollies on one track with the option for either high-speed/low payload or low-speed/high payload.

Vinten is a Vitec Videocom brand.

LAS VEGAS—Shotoku Broadcast Systems will use the 2016 NAB Show stage to launch an expansion to its line of virtual reality and augmented reality tracking systems. One of the products that the company will have on display is its new Free-d2, a tracking system that does not require physical encoder devices attached to the camera support’s moving axes.

The Free-d2 uses video processing algorithms and ceiling markers to determine the position and orientation of the studio camera, which as a result offers accurate position tracking. The device features no home or reference point.

Able to be attached to the broadcast camera, the Free-d2 does not interfere with normal operations and constantly views the lighting grid area where markers are positioned, per Shotoku. By being attached directly, the company says any type of camera support can be used.

Markers for the Free-d2 are made of reflective material and can be placed within the studio lighting grid or ceiling area. According to Shotoku, collaboration is only needed once and lights or other ceiling equipment offer no obstruction.

Shotoku will display the Free-d2 system at its booth, C8008, at the 2016 NAB Show, which will take place from April 16-21 in Las Vegas.

Reliable robotic camera solutions for newscast production used to be expensive propositions that took years to deliver a return on investment. There is now a vast array of robotic systems tailored for a range of budgets.

TRACKING SYSTEMS
Ross Video will demonstrate SolidTrack, a Universal Tracking system that can be used anywhere, anytime and on anything. This includes environments such as small or large studios, indoors or outdoors. It is quick to set up and calibrate to save time, and is designed to work on any place a camera is mounted.

Telemetrics will demonstrate its Advanced Presenter Tracking System (APTS), a scalable, configurable tracking method using magnetic field position sensing. This technology allows simultaneous multicamera, multipresenter tracking within almost any scenario, independent of stage illumination. It does not require a presenter line-of-sight allowing flexible non-obtrusive camera and sensor location.

RUSHWORKS PTX Universal PanTilt HeadPAN/TILT HEADS
RUSHWORKS will debut its PTX Universal PanTilt Head, the successor to the company’s PT-MINI. It provides significant improvements in payload handling and speed, and supports the Blackmagic Micro Studio 4K camera as well as LANC-equipped cameras from Sony, Canon, Panasonic and JVC. DMX daisy-chain control protocol is also supported.

Shotoku SmartPedShotoku Broadcast Systems will introduce its SmartPed, a robotic XY pedestal offering cost-efficiency and high-end performance to professionals in live news, sports or current affairs studio productions. Also in the Shotoku booth will be the Free-d2 VR/AR tracking system, designed for VR/ AR, news, sports and current affair applications. It uses advanced video processing algorithms and simple ceiling markers to precisely determine pedestal position.

TRIPODS/MONOPODS
Cartoni will debut its FOCUS line of fluid heads, including the FOCUS 12, designed for cameras weighing from zero to 26 pounds; the FOCUS 18, for cameras weighing from 13.2–40 pounds; and the FOCUS 22, for cameras weighing from 6.5–48.5 pounds. FOCUS heads are compact and lightweight, and feature a continuously variable fluid damping system on both pan and tilt movements.

Libec will feature new RS-250D/DM and RS- 450D/DM Professional Tripod Systems with RH25D and RH45D dual-base design fluid heads with maximum payload capacities of 13 pounds and 26.5 pounds, respectively. Thanks to a new dual-base design, heads are compatible with Libec ALLEX sliders and other sliders with a 3/8-inch screw—great for video and DSLR applications. Heads are compatible with other brand photo flat-base tripods and 75mm bowl video tripods.

Polecam AutopodMiller Camera Support will feature its Compass 23 Fluid Head, an affordable entry into the 100mm ball leveling range. It is designed for medium-size, large sensor cameras and handles a range of payloads from 8.8–30.8 pounds. Also in the Miller booth will be its Cineline 2090, which features an HD Mitchell Base 1-Stage Alloy Tripod, HD Alloy Ground Spreader and Cineline 70 Fluid Head.

Polecam will introduce Autopod, a remotely operated programmable elevation unit for rigs, remote heads and cameras.

Sachtler Video 18 fluid head

Autocue iPad Prompter ProSachtler has upgraded its longtime favorite Video 18 fluid head, now with more load-bearing capacity. It maintains the Video 18’s damping mechanism, Speedbalance technology for swift weight compensation, and large load range. The head comes with Sachtler features such as temperature resistance, Touch & Go plate and illuminated spirit level.

TELEPROMPTERS
Autocue will introduce the iPad Pro teleprompter, aimed at broadcast professionals wanting to prompt on-location. At 13 inches and increased brightness, the iPad Pro steps up the readability of the prompter to 15 feet and beyond. It offers support for full-sized ENG broadcast and cine cameras, touted as the most flexible and capable iPad Pro solution available.

CueScript Ltd. will introduce its CSM Prompters, utilizing LED high-brightness screens with input for HD-SDI video. They incorporate the CueLock feature for swift, secure setup and integrated mounting for a talent monitor and/or time display. Also on display from CueScript will be its EMC prompters, designed for educational, middle market and corporate use. They also have CueLock for ease of setup and excellent scroll image.

Ikan PT-Elite v2

Mirror Image SF Studio SeriesIkan will present v2 of its PT-Elite, the newest upgrade to the company’s bestselling iPad teleprompter. It features an adjustable glass frame, quick release base plate and an overall lighter design for portability. Also shown will be the PT-ELITE-PRO, designed for larger tablets. This universal tablet teleprompter is designed to be even faster and easier.

Mirror Image will lift the curtain on upgrades to its SF Studio Series teleprompters, including doubling the screen brightness to 1,000 nits and adding SDI and HDMI input connections along with the standard VGA and composite (BNC) inputs. Also upgraded are the iPad and tablet teleprompters, with a larger tray for the tablet as well as removable sun shields.

CAMERA ACCESSORIES
ARRI will demonstrate its Pro Camera Accessories, designed to offer support for the latest digital cameras from Canon, Red, Blackmagic, Digital Bolex and Sony. These accessories render the cameras suitable for the rigors of professional filmmaking by making them compatible with ARRI support and all industry-standard matte boxes and follow focus systems.

Matthews Studio Equipment Infinity ArmMatthews Studio Equipment (MSE) will unveil its Infinity Arm, capable of mounting a payload as small as a GoPro and as large as an accessorized motion picture camera. It’s manufactured in the U.S. out of CNC’d tool steel and aircraft aluminum, and plated with military-grade anodize and electroless nickel phosphorus. The central pivot arm ensures strength and adjustability. The tips of the arm accept a variety of clamps (1/4-, 3/8-, and 5/8-inch, with more to come.)

Wooden Camera’s Alexa Mini Quick CageWooden Camera will unveil its Alexa Mini Quick Cage, a form-fitting cage plus 15mm lightweight baseplate for the ARRI Alexa Mini. It attaches by four M4 screws on top and four M4 screws on the bottom, making it extremely secure. The same M4 hole pattern found on the camera body is present on the cage top plate, allowing for attachment of ARRI brand handles and accessories.

STABILIZERS
Autel Robotics will demonstrate its Maverick handheld gimbal technology.

Ikan will debut the FLY-X3-GO (three-Axis GoPro Gimbal Stabilizer), designed to stabilize a GoPro camera in situations such as mounting on a monopod, boom pole or roll bar mount. It comes with an included extension cable that controls the yaw, pitch and roll, and is pre-programmed to use straight out of the box.

Amimon CONNEX MiniDRONES
Amimon’s CONNEX Mini is a small zero-latency HD wireless video link that provides plug-and-fly HD video transmission at distances up to 1,600 feet. Its 5 GHz transmitter has automatic channel selection for connectivity that is free from interference from unmanned aerial vehicle controls and 2.4 GHz radio links. A multicasting feature supports four screens simultaneously.

Aerialtronics will showcase its Altura Zenith, which can carry a Blackmagic Design Micro Cinema Super 16 sensor camera mounted aboard. The aircraft can carry a payload of up to 6 pounds and provides a flight time of up to 45 minutes. Users can program GPS-assisted flights into memory, or the aircraft can be controlled via a tablet along with an RF joystick.

Autel Robotics X-Star

DJI OsmoAutel Robotics will showcase its X-Star series of quad-copter drones. Its top two models, X-Star Premium and X-Star, come integrated with a 4K camera (4K30, 2.7K60, 1080p120, 720p240) and quick-release three-axis gimbal stabilizer. Also featured is the Kestrel, the first-ever fixed-wing, vertical takeoff and landing UAV.

DJI will showcase its Osmo, an integrated 4K camera and handheld three-axis stabilizer that connects to Apple’s iPhone for even greater control and capabilities. The device comes with a standard 4K, 12-megapixel camera with a 1/2.3-inch sensor and a 94-degree field-of-view lens.

FLOWER MOUND, TEXAS—RUSHWORKS has announced the release of a new camera tally system that supports both Lumens and 1Beyond PTZ cameras.

The new system supports up to eight small LED tally indicators, with the illuminated tally representing the selected program input on RUSHWORKS’ VDESK and REMO integrated PTZ multi-camera TV production systems. An eight-point tally distribution box connects to VDESK and REMO via a USB, and uses CAT5 cables for each of the camera tallies.

The eight channel kits are now available at a starting price of $299.

DALLAS & HOLLYWOOD, CALIF.—Redrock Micro has introduced its new Mini Rigs, camera support for shooting on mirrorless cameras. Based of cinema-style rigs, Mini Rigs are compact versions designed for smaller, lighter cameras and shooting styles.

Mini Rigs feature three configurations for common shooting styles: the Mini Handheld Rig; the Mini Shoulder Rig; and the Mini Studio Rig. The Mini Handheld Rig offers three points of contact to keep shots steady. The Mini Should Rig has a self-leveling shoulderpad with FieldTech. The Mini Studio Rig offers a classic shooting style using a tripod or dolly.

Other features of Redrock’s Mini Rigs include support options to attach camera-top accessories, and the ability to build a customizable rig that fits different needs.

Redrock Mini Rigs are now available at a starting price of $299.

NORTH HOLLYWOOD, CALIF.—Ithaca College is already stocking up for next semester, as the Roy H. Park School of Communications recently acquired Cartoni camera support products for its studio production facilities. The school purchased a total of six Cartoni P90 studio pedestals and Omega fluid heads. It is part of an all-new camera package that includes 10 HD Ikegami cameras, six CueScript teleprompters, and four Gamma fluid heads for the mobile production unit.

Ithaca students utilize Cartoni camera support products

The Cartoni pedestals and fluid heads are durable and provide flexibility for varying production demands. The P90s can support payloads up to 90 kg, as well as the Ikegami cameras and CueScript teleprompters.

Ithaca acquired the Cartoni products from Manios Digital & Film.

UPPER SADDLE RIVER, N.J.—Headquartered in Italy, the photo, video and lighting support product manufacturer Manfrotto has released of its new sliders.

MVS060A

Available in two versions—24-inch and 39-inch—the sliders feature eight high-precision steel ball bearings and a quality machined surfaced. The coupling between the rails and carriage are easily adjustable. Also, the sliders’ wheels are made of high performance polymer for fluidity and silence. The sliders also feature a wider track and Friction System to allow for versatility. Numerous attachments are also compatible with the sliders.

In addition to being offered as standalone products, Manfrotto is offering the sliders as a kit with flat base video heads with fluid cartridges on both tilt and pan movements.

The sliders are now available. The 24-inch version (MVS060A) is priced at $449.99, while the 39-inch version (MVS100A) goes for $499.99. The Slider 60 kit with 500 head starts at $569.99, while the Slider 100 kit with 502 head starts at $679.99.

Manfrotto’s U.S. location is based in Upper Saddle River, N.J.

LOS ANGELES—IDX has announced the release of its AT-E2CMKII, an ENDURA V-Mount battery adaptor plate that works with the new C300 Mark II 4K camera from Canon. Using the adaptor plate, IDX’s ENDURA V-Mount batteries are compatible with the C300.

The adaptor plate comes with a Lemo connector for direct connection to the camera and offers two D-Tap outputs, each able to handle 50W for powering additional gear, like lights, monitors or recorders. The V-Plate design features three industry standard screw-hole patterns to adapt to a variety of camera support rod mounting accessories.

IDX will release the AT-E2CMKII worldwide in October.

MONS, BELGIUM—I-MOVIX and Polecam have collaborated on a new product for the X10 ultra slow motion range. Combining a lightweight configuration of the I-MOVIX X10 with Polecam cranes, the system is currently being utilized at Spanish soccer matches.

The system is made up on the I-MOVIX X10 Spine with the compact Vision Research Phantom Miro 320S high-speed camera, attached to a Polecam crane. It operates at 1,500 fps in 1920x1080 resolution—it can operate up to 3,000 fps in 1280x720 resolution—for instant replay.

The camera system has already been used in a number of matches, including one between Real Madrid and FC Barcelona.

The Beligan-based I-MOVIX is a provider of extreme slow motion technology for sports broadcasts. Polecam is a provider of camera jibs, minicams, lenses and remote control systems located in Bedford, England.

ROME—In its 80th year, camera support provider Cartoni has announced that it will premiere four new Focus Fluid heads designed for today’s smaller, lighter cameras at the 2015 IBC Show. The new Focus 8, 12, 18 and 22 can accommodate a variety of cameras, lenses and accessory packages from zero to 48.5 pounds, and each consisting of Cartoni’s counterbalance system.

Focus 12

The Focus fluid heads are made with lightweight magnesium alloy and feature 90 degrees of adjustment. The Focus 8 uses a sliding plate compatible with Sachtler Ace and Manfrotto standard plates, while the Focus 12, 18 and 22 come with a Euro plate compatible with most tripods. Focus 12, 18 and 22 also come with a switchable, illuminated level bubble, and offer 100mm ball base fitting; Focus 8 has a 75 mm ball base fitting.

All new Focus fluid heads will be on display at booth 11.E30.

IBC 2015 will take place from Sept. 11-15 in Amsterdam.

OSLO, NORWAY—Camera support manufacturer Shotoku Broadcast Systems recently installed its SmartTrack rail system and a nationwide remote camera system to NRK, Norway’s national public broadcaster.

SmartTrack rail system in NRK studio

The SmartTrack systems are able to support both rapid camera moves and slow on-air crawls. Four SmartTrack systems were installed in multiple NRK studios, all of which are now using Shotoku’s TR-XT touchscreen control system. Each TR-XT can access any of the studio’s cameras to define camera movements in advance. TR-XT can also control cameras in other studios over WAN connection or third-party integrated PTZ cameras.

Shotoku also installed a nationwide camera system to NRK’s 11 regional studios with PT&H systems. Cameras at all 11 studios can be controlled either locally with the TR-HP Hot-Panel, with the Viz Mosart automation system, or the TR-XT systems at the Olso headquarters.

Shotoku Broadcast Systems is a provider of camera support products. The company is based out of Japan.

NEWARK, N.J. – Panasonic has announced that a new, free firmware upgrade for VariCam 35 4K and VariCam HS camera/recorders is now available. Upgrade Version 4.0 expands recording options and enables a variety of post-production workflows.

VariCam 35

Elements of the firmware upgrade include the addition of Codex V-RAW recorder, which adds uncompressed RAW capture to the VariCam 35 platform by enabling the recording of 4K RAW up to 120fps and can connect directly to the VariCam 35. In addition, support for HD recordings in Apple ProRes 4444 is also part of the upgrade, enhancing workflow options and premium HD image capture. Anamorphic lens support for 1.33:1 and 2.0:1 lenses offers simultaneous recordings of squeezed and de-squeezed images, as well as on set monitoring with de-squeezed images in the viewfinder and HD monitors.

Version 4.0 of VariCam 35 4K and VariCam HS firmware upgrade can be downloaded here.

Ncam PTZ camera tracking system

LONDON – Ncam will use IBC 2015 as the launching pad for its new entry-level camera tracking product. This PTZ system is designed for broadcasters who want to use virtual graphics and augmented reality but only need pan, tilt and zoom functionality.

The new PTZ product provides similar functionality as Ncam’s Live 7D, which uses a lightweight sensor bar attached to the camera to track natural markers in the environment. The difference is the PTZ product only works on fixed position cameras. It works on any camera, tripod or pedestal and it can also use encoded lenses to add focus and zoom to the Ncam data stream. This new Ncam camera tracking system also is able to detect movements of the camera itself, not just the camera head.

Ncam will have its PTZ product on display, along with other broadcast and film products, at booth 11.E55 during IBC 2015, which runs from Sept. 11-15 in Amsterdam.