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.

FLUSHING, N.Y.—Interface Communications is an ENG & mobile production service provider in the New York metro area and we provide production services for major sporting and corporate events including the NBA Finals, Super Bowl, World Cup Soccer and the Olympics.

One of the key camera power products we use is the Frezzi 300WH High Power Lithium Ion Battery. This battery is capable of powering our camera for hours, which made it ideal for covering the Kansas City Chief vs. the Philadelphia Eagles at Super Bowl LVII. During this marquee event it ran for seven hours. 

Extended Run-Time
The 300WH battery is powerful, compact and lightweight, which makes it easy to transport and use on the go. The extended run time we get means we don’t have to worry about running out of power.  It also has four Power Tap ports and two USB connectors to power our other gear and charge the mobile devices that we use to communicate.  We also use these batteries as a “UPS” system for our Hitachi SK 1800 camera in lockdown configuration, when the battery backs up the camera SHED power in the event of a loss of primary power.

These rugged batteries can handle the abuses of daily use and even the occasional accidental drop.  Knowing that it is fully serviceable by Frezzi should anything happen makes it a great long-term investment, something we seriously rely on as a family-owned and operated business.

We also use the Frezzi SkyLight 200WH HMI equivalent. This powerful lighting solution delivers high-quality light for locker room and sideline interviews, providing a bright and smooth single shadow light, and can run on a single broadcast battery for more than an hour. This is critical as AC is not readily available in such situations, and unlike the Skylight, most DC lights do not have a lot of punch. It’s very compact, weather-proof, easily transported, easy to set up and use.

Hight-Output Lighting
Another part of our kit includes the Frezzi SunLight 600W HMI equivalent that we use for high-output lighting. This powerful 600W HMI equivalent light provides an even, bright light perfect for competing with the sun. It can also be powered by DC, making it great for interviews and other coverage without using AC power. It’s also weather-proof, compact, and very lightweight compared to other high-power LEDs, making it easy to set up. 

Their size and power allowed us to properly light a multicamera morning show for ESPN aboard a moving speedboat in New York harbor last summer—all on battery power. I’m interested to see the next generation SunLight 2 in a smaller case that outputs 800W HMI equivalent.

All Frezzi are ENG-ready and can withstand the rigors of daily use in any weather condition. This allows us to provide high-quality coverage for these prestigious sporting events in any weather and with the confidence that the gear will work. We rely on Frezzi to provide the power and lighting solutions we need to capture every moment.  

For more information about Frezzi visit www.frezzi.com.

NEW YORK—I’m a long-time user of Frezzi batteries and lights and I've worked with them for awhile during my work with Spectrum News, when our Long Form department bought a number of FB-100 batteries to power our Sony FS7-M2 cameras and at least six Frezzi HMI Skylight kits for remote entertainment and Broadway-show interviews.

More recently I bought a number of camera batteries and chargers for our east and west coast operations—four camera batteries and two chargers for each coast. Even though I have no trouble flying the Frezzi FB-100 Lithium Ion batteries, it just makes life easier to not have to wrap them up in plastic and carry them with me on the plane since I fly between Newark and LAX 3-4 times a month.

Small But Powerful
Also, to make traveling and hauling lights easier, I bought two Frezzi 3-light kits, one for each coast. These Frezzi LCL-180 led video lights are small with built-in batteries (Photo 1). They can be placed on the included light stands or mounted onto your camera. They’re dimmable and have variable color temperature and as small as they are, they’re powerful and easy to charge. 

Photo 2 is a freeze frame of an interview with author Allison Pataki, daughter of former New York Governor George Pataki. A lot of outdoor window light hit the left side of her face so we needed to off-set that with enough light, about 4900 K color temperature. It was easy with these LCL-180’s: Having white balanced for 4900 K you’ll notice that the lamp over her right shoulder looked a little amber, probably about 2600 K, just what we were looking for.

The biggest advantage of the LCL-180 3-light kit is that Frezzi has packed a lot of portable power in a small case. Three light stands and 3 LCL-180 lights are so lightweight and easy to carry that we recently climbed Mt. Baldy in Southern California to conduct an interview in a cabin a mile-and-a-half up the mountain.

I had to carry a large camera and a Miller tripod, which were both heavy, especially given the treacherous conditions on the trail with mud, snow and ice. I also threw the Frezzi light kit over my shoulder on top of everything else and I couldn’t believe how light it was. 

The lights were also necessary for the Pataki interview because we had to off-set outdoor light coming through big windows. So we put the windows behind the subject and lit her up so well that the background wasn’t washed out—the trees and snow in the background looked great. The goal is even lighting, and that was easily achieved with these very portable LCL-180 lights.

No Mic Shadows
You’ll also notice in Photo #1 that the camera on the left has the Frezzi Pro Light, which I use for red carpet interviews. It taps right out of the Frezzi camera battery and positions high on the camera, with no camera-mic shadows. It also makes a nice fill light when using the LCL-180’s in a 3-point lighting configuration. I’m looking forward to using the LCL-180 on-board the camera as well—it will be nice to be able to match the color temperature of the bright red carpet lights behind us.

Finally, I really like the 2-port Frezzi FLC-2AP and FLC-2AV chargers—they’re very portable and I try not to go anywhere without them. I always go to the Frezzi factory to buy my equipment and the service is so good and everyone is so friendly that they make me feel like I’m part of the family. 

Robin Sanders is a freelance cameraman/editor/associate producer cameraman. He can be reached at 646-234-8341 and at robin.sanderssr@icloud.com.

For more information, visit www.frezzi.com.

Marc Story. It’s an accurate name for someone who makes a living telling stories on behalf of his company, Firstline Creative & Media and its many clients. Firstline is a full-service broadcast, media relations, video production, and creative services company based in Atlanta.

Over the last ten years, the company has carved out a niche creating content for medical and pharmaceutical companies all over the world. That often means traveling and productions where a “one-man band,” would be the norm.

To help tell his stories, Marc always packs the three light Practilite 602 LED Fresnel kit from Kinotehnik. “Many times these shoots are at a doctor’s office or a patient’s house,” says Marc. “It’s a confined area, and in a medical office setting, you don’t want a light that’s going to generate heat and set off the sprinkler system.”

The Practilite 602 LED Fresnel from Kinotehnik is a small, lightweight light source that offers variable color temperature from 3000 to 6000K and is color-true with a CRI of 96. The LEDs don’t generate heat. Each Practilite 602 weighs approximately two pounds. “One person can easily manage getting all of the equipment off a plane and into a rental car,” says Marc.

“I am a shooter and an editor at, and I’m always on the lookout for things that will upgrade the quality of our productions and keep us on the cutting edge of what we’re doing,” says Marc.

“There are a lot of LEDs on the market, but they were just these flat panel LEDs with a bunch of little LEDs in it but with no way to control where the light goes or how intense it is,” says Marc. Being able to shape the light was something Marc didn’t want to give up, and other Fresnel LEDs were too large and prohibitively expensive.

The search for an LED package led Marc to a trade show in Charlotte, North Carolina where the Practilite 602s were mounted on track lights. “I got to play with them a little bit and began thinking the 602s would be a really good investment for us to make,” says Marc.

The Practilite 602 has a 3.2" borosilicate Fresnel glass lens capable of an impressive spot-to-flood spec of 15-75 degrees for variable field coverage.

So getting to a shoot is now much easier and the lightweight cylindrical construction allows for a quick set-up easily managed by one person. The Practilite 602 is compatible with almost any other modifier a creative shooter might wish to add.

But where the Practilite 602s really shine for a one-man band or two-person crew is the ability to control the lights using a smartphone interface. Except for the spot-to-flood knob, the intensity and color temperature levels of up to six Practilites are smartphone-enabled. That kind of control is absolutely essential in a one-man band situation.

“Really the Bluetooth was just the cherry on top,” says Marc. “It wasn’t something I wasn’t even looking for and when I saw what it could do at the trade show, there was nothing out there that was doing something like that.” Now, it’s a function that Marc uses all the time.

The intensity of the 602s is also up to the task in the kind of personal interview shooting Marc does all the time. “Camera sensors have improved and they don’t require as much light as they used to and for the purposes of the interviews that we do, it works out great,” says Marc.

The Practilite 602 LED Fresnel from Kinotehnik is proving to be an important part of the stories Marc is illuminating for the patients and medical professionals served by Firstline Creative & Media.

Manios Digital is the exclusive US distributor of Kinotehnik Bluetooth-enabled LED lights.

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

The Batwa needed a champion.

Enter Justin Wren.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From filming NFL player Chris Long bringing clean water to east African countries to working with Hollywood’s the Jennifer Lawrence Foundation, Louisville, Kentucky-based film company Nadus Films has built a reputation for “making films that make a difference.” The global film company focuses on stories that make a cultural impact for good. They’ve done everything from shoot feature films, short films, as well as promotional material for mission-driven organizations while telling stories of war, famine, gang violence, and even religious persecution.

“Our goal is to impact those lives of whom we’ve told stories of. We’ve been fortunate enough to see many changes for better within homes of the people who are the focus of our films,” explains Nadus Films founder and director, Coury Deeb. “During production for one of our films we met Leidy, who was an active gangster in Guatemala throughout the production of BBoy for LIFE. We miraculously saw her transformation and have now witnessed her life that is sustained by worthwhile goals rather living an evil life. In the end, we entertain by telling worthy stories and also see lives changed for the better.”

Deeb founded Nadus Films 15 years ago after realizing that in order to tell deeper stories with the chance for a greater impact, he had to learn film. In addition to making films that make a difference, Nadus Films routinely gifts worthy non-profits with free videos. The result of these extremely high-end, cinematic films helps these non-profits grow donations anywhere from 50-100%.

Nadus Films has built an impressive portfolio of films and clients from NFL Films to the Jennifer Lawrence Foundation, whose mission is to bring needed resources to charitable organizations working with children and the arts. Another notable work by Nadus is the Emmy nominated TV Series Us Against the World with Comcast and NBC, which follows racial tensions of a rural town in Kentucky as a black coach turns a losing group of basketball kids into a winning team.

“Working for over 15 years has helped us build a pretty robust portfolio and an impressive Rolodex. Not everyone can do this for a living, and small businesses come and go. We’ve weathered the storm for 15 years, and we’ve built a lot of relationships. I think what people are drawn to is that we tell entertaining stories, use a cinematic approach with professional polish while also maintaining a gritty, risqué filmmaking for our captured content.”

Nadus’ work takes them to changing environments and requires frequent travel – from Africa to Japan. 

Because of that, Nadus Films choose Hawk-WoodsnewMini V-Lok batteries. The Mini V-Lok batteries are the smallest and lightest batteries in the world. About half the size of standard V-Lok batteries, the Mini V-Lok batteries make traveling and shooting both easy and convenient.

“We started to see the Mini V-Loks pop up on the sites that we frequent. We started using V-Loks more with our Sony FS-7 rig, and we were already using V-Loks for our RED camera and our director’s monitors. When you consider all of this gear, and you have to travel across the world to Asia or India, for example, it really takes up a lot of space. We are always trying to pack light, so the idea of Mini V-Lok batteries became appealing, especially because it allows us to pack light and still use the same tools,” said Nadus Films Cinematographer Drew Layman.

Deeb adds, “Especially with airline requirements; we have to pack smarter, more efficient and more light. The technology allowed us to do this.”

Despite only getting the Mini V-Loks a few months ago, the Nadus filmmakers have put the batteries to the test. They’ve already taken the batteries to shoots in Singapore and Malaysia.

“The weight and size of Hawk-Woods are what drew us. We’ve used them quite a bit and plan to add more. We’ve used the 98wH batteries and use the dual battery hot-swap plate when we use our RED Gemini,” says Layman.

He adds, “we try not to let gear get in the way we tell the story. Ultimately, its not the gear it’s the way you use the gear to tell your story. We’ve always been lean in the gear we use and employ a run and gun style in terms of our shooting while still providing as much creativity as we can. In filming this way, we give a lot of authenticity and convey emotion a little more.”

To learn more about Nadus Films, visit nadusfilms.com.

Manios Digital is the exclusive US distributor for Hawk-Woods batteries. 

Kent, United Kingdom (March 25, 2019) – Hawk-woods, developer of power solutions for the broadcast, film and pro-video industries, is pleased to announce the new 48V-RP power station, a unique power solution which allows users to power ARRI Skypanels and other 48 volt (V) LED lighting when mains power is not available. Hawk-woods new 48V-RP is one of the first power solutions which enables users to run high voltage LEDs at 100% light output via a DC input.

“The new 48V-RP power station is an incredible breakthrough that provides ultimate flexibility to content creators. This is one of the first portable power solution that can run high voltage LEDs at 100%. Standard manufacturers 22-36V DC inputs simply cannot do what the new 48V-RP can,” explains Jason Stewart from Hawk-woods.

The 4-way 48V-RP power station uses Hawk-woods Reel Power batteries, 26V batteries designed to power high power draw cameras and regularly used by ARRI Rentals for modern ARRI film cameras.

Why 26V batteries? The choice to use 26V Reel Power batteries over 14.4V batteries was made to increase reliability and prolong the batteries life cycle. 14.4V batteries use a higher current than a 26V battery at twice the voltage (half the current a 14.4V produces). This means that electronics run cooler at 48V, and batteries are under less stress, therefore, prolonging the life cycle of the batteries cells.

While the Reel Power batteries range in capacity from 100wh – 350wh, Hawk-woods recommends the new 48V-RP be used with the RP-200H, RP-250N or the largest RP-350N to provide a maximum of 1400wh to the LED! For example, using the new 48V-RP combined with four Hawk-woods RP-350N’s, a user could power the ARRI SKYPANEL S120-C at 100% light output (430wh) for up to 3 Hours 15 minutes of continuous runtime. Runtime would increase should the user run the light at 50% output.

The 48V-RP is exceptionally versatile and can also power 24v lighting.

Examples of runtime using 100% LED light output powering ARRI SKYPANEL S120-C (430Wh):

4x RP-200H (800WH) = 1 Hour 50 Mins

4x RP-250N (1000WH) = 2 Hour 20 Mins

4x RP-350N (1400WH) = 3 Hour 15 Mins

48V-RP Specifications:

Input = Requires 4x Reel Power Batteries

DC Output 1 = 48V regulated

DC Output 2 = 22v-29v Nominal

For more information on the 48V-RP and Hawk-woods new products, please visit Hawk-Woods at the Manios Digital booth at NAB 2019 (Booth C9020, Central Hall).

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The novelty of energy efficient LEDs as the light-emitting source for professional lighting equipment has been over for years now, but light makers continue to refine their products to increase the quality of light and to add new features and form-factors.

ARRI SkyPanel softlightsLIGHTING
AAdynTech will showcase its JAB V2 Variable, providing a variable color temperature range from 3,000K to 6,000K, without compromising brightness: 2,100 f/c at 10 feet. Also new is the JAB Daylight, providing an output of more than 2,500 f/c at 10 feet while drawing 1.78 amps at full power; AC or battery power capability. Also on their stand, the JAB Hurricane, fully weatherproof and dust-proof (IP65 rating).

ARRI will feature its SkyPanel softlights and L-Series line of Fresnels that offer high-quality LED lighting for every application. They provide Color tuneability for exteriors and interiors, with high output and 2,800K-10,000K with Hue/Saturation control. There is calibrated color across both lines of fixtures.

BBS Pipeline Remote Phosphor Lighting SystemBBS Lighting will introduce its Pipeline Remote Phosphor Lighting System, an expandable array of modular, cylindrical fixtures, customizable to suit specific requirements. These new form-factor 1-inch diameter LED lights are available in lengths of 1-feet, 2-feet, 3-feet and 4-feet. The Area 48 Soft Studio softlight will also be shown, utilizing remote phosphor technology, and K7 LED Display Fixture, round, small and unobtrusive, which attaches via a strong neodymium magnet.

Cineo Lighting will introduce HSX, the latest in its HS studio lighting line. HSX is an integrated 450 W soft source, accurately tunable from 2,700K-6,000K. HSX features the same color accuracy and light quality as Cineo’s other remote phosphor fixtures.

DoPchoice will debut its SNAPBAG, a self-tightening softbox solution without speed rings that quickly installs onto a variety of lighting fixtures. SNAPBAG creates softlight up to 8x8-feet with no spill. Also featured are the SNAPGRID, which quickly installs on a softlight, and the BUTTERFLY GRID, which quickly and tightly installs on industry standard frames. Both are available with 30-, 40- or 50-degree light dispersion.

Frezzi will debut its new SunLight portable lighting fixtures, which join its family of SkyLight and HiLight fixtures. They can be powered by mounted battery packs or by an A/C power supply.

Ikan will release the next generation of its LED light family. The Rayden light provides brighter 45-degree LEDs, and the fixtures come in either bi-color or daylight color temperatures. The Lyra LED softlights have high CRI/TLCI chip LEDs paired with a 1/2 stop soft diffusion panel. And the Veyga LED lights have more than 800 LEDs, with brighter 45-degree angle bulbs.

K5600 Alpha 800K5600 will premier its Alpha 800, which follows the K5600 model of versatility, acting as six lights in one: a Fresnel, an open face, a Spacelight, a softlight, a focusable lensless Par, and a traditional Par with the 3,200K option. Also featured is the Joker 1600 Bug-A-Beam Adapter, also available for 400 and 800 Jokers. The Bug-A-Beam makes the mating of a Source-4 and Bug-Light 1600 quick and easy.

Kino Flo Lighting Systems will demonstrate its Select 30 and Select 20 LED Location Lighting Systems, which feature variable color (2,700K-6,500K), and run wirelessly via Lumen Radio transmitter. Newly added to the Select LED fixtures are tunable green-magenta settings to bring the lights into balance with other lights on the set and to key into the spectral curves of professional digital cameras.

Kinotehnik will debut its Practilite 602, touted as the smallest bi-color, variable beam, smartphone controlled LED light. The remote function is useful for single-person shooters or small crews when a gaffer is not available. Its Fresnel lens design provides greater light range than conventional LED fixtures, enabling wider shot angles and precise light-shaping without losing the LED output power/throw.

Litepanel’s Astra Soft Bi-Color LED panelLitepanels will introduce its Astra Soft Bi-Color LED panel. By employing a new diffused lens, the 1-square-foot Astra Soft Bi-Color provides a softlight alternative to the original Astra 1x1 Bi-Color LED panel and mimics the effect of a softbox in a compact, portable design. The light provides continuously variable color temperature output from daylight to tungsten.

PrimeTime Lighting Systems will debut its 1SLED XB2, boasting twice the output of its softlight predecessor. It is designed for key, fill, side or back light applications. Also new is the company’s GUS 51 LED Fresnel, a bright focusable lighting fixture utilizing PrimeTime’s Therma-draw heat dispersion technology that eliminates the need for a fan for cooling. It features a Micro-Fresnel lens.

Rosco will showcase its Silk lighting range, which uses proprietary, tungsten and daylight-balanced LEDs to produce a high volume of broad-spectrum white light. With TLCI, CRI and R9 metrics in the high 90s, the fixture can produce a high volume of light output at color temperatures ranging from 2,800K - 6,500K.

Zylight F8-200 LED FresnelVidessence will feature its Vidnel VN080 Fresnel, which delivers tungsten performance in a powerful LED package at a high CRI. The 80 W fixture delivers more than 167 footcandles at 12-feet in spot focus, and has touch pad programming. The company will also show its Vidnel VN150 LED Fresnel 150 W fixture, with double the light output of the VN80 LED.

Zylight will demonstrate its F8- 200 LED Fresnel, powered by AC or two standard camera batteries for output brighter than a 400W HMI. It is water-resistant and offers spot and flood operations. The “Flat Fresnel” collapses to less than 5-inches thick for easy transport and storage. Also featured is the ZyLink Remote, for connecting and controlling Zylights from an iPhone. The app is free.

BATTERIES
Muscle power is a trend in battery packs making their first appearance at this year’s NAB Show. News crews feeding live shots to the 24-hour news cycle have been demanding lightweight batteries with long run times.

Anton Bauer’s CINE batteryAnton/Bauer will debut its CINE battery, a durable Li-Ion solution in a compact design for high-power draw, digital cinema style cameras. In addition to featuring a long lasting charge, the CINE battery also has an easy-to-read LCD display that reports run time in hours and minutes when attached to a device or displays percentage of full charge when not attached. It includes a PowerTap for powering accessories.

Frezzi will feature its FLB 240WH battery packs, which provide long running time from a lithium-ion battery weighing 3.1 pounds. The 240s can be charged with Frezzi’s simultaneous FLC-2 dual channel charger with power supply and its FLC-1 compact single channel chargers.

IDX will unveil its DUO Compact batteries, which are both smaller and weigh less than standard batteries of the same energy output. The slim form factor DUO C95 battery pack weighs just 1.3 pounds and provides a 93Wh capacity. For those needing even longer run times, the DUO-C190 weighs just 2.3 pounds with a capacity of 185Wh. A lightweight travel charger will also be introduced.

Switronix will introduce its Hypercore Prime, a 190Wh (14.8V) battery pack that separates into two 95Wh pieces for legal transportation without restrictions under air transport available in V-mount and 3-stud mount options. Also featured will be the Hypercore SLIM lightweight battery for UAV, handheld gimbal and other applications where weight is critical.