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.

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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.

From city council meetings to important public safety updates, running one public access channel can be a challenge. But since 1983, Pasadena Media has operated four public, education and government access television channels for the City of Pasadena, its school district and community college. And on top of producing content for four channels, the non-profit also runs the city’s community media training center and television studios.

“We provide training to the public to use our equipment and create their own tv shows. Typically we shoot with two or three crews per day, and we shoot about two episodes with each crew. I think we are shooting about the same as a regular news studio,” explains Chris Miller, Chief Operations Officer for Pasadena Media and the channel manager for Pasadena’s community access channel known as Arroyo.

With such heavy and regular use, when it came time to upgrade their gear, the studio needed professional equipment that was robust and durable.

“At last NAB [2018], I was looking for pedestals and heads to replace our failing 15 to 20-year-old Libecs. The Libecs weren’t build to handle the load we had on them quite frankly. After meeting with a competing brand, I ended up talking with David from Manios Digital who gathered information on my situation like no one else did, and he proposed the best solution. He offered the Cartoni P90 Pedestal which was a better-quality pedestal and head for the price than anyone else could give me so I really couldn’t refuse,” adds Miller.

“On our old system, we had probably over sixty pounds on the pedestal with the teleprompter, but the main problem was the wheels. The wheels were two parts that would tend to fall off, and we had to keep repairing them. Our users aren’t experts. They’re beginners, and since the wheels weren’t smooth and they weren’t reliable, we had to keep the gear stationary. Once we got the Cartonis though, that all changed.”

Pasadena Media added three Cartoni P90 Pedestals, a top of the line two-stage pedestal designed to support even the biggest camera/lens combinations of up to 198 lbs. Compact and portable, the Cartoni P90 Pedestal is equipped with high precision double wheels that allow ultra smooth traveling and steering. They paired the P90 with Cartoni’s Master 30 head. The Master 30 is a broadcast fluid head that can handle payloads of up to 88 lbs when in studio configuration with a low center of gravity – such as with a teleprompter.

“The P90s are great. They are easy to use so even our least-experienced users can perform more skillful maneuvering, get better camera shots and incorporate movement when we are shooting. The people who come through here are ordinary people. They aren’t people from nearby Hollywood; they are people who are trying to learn a new trade or just have their voice heard through the channel. One of the big things for us in moving from the prosumer level pedestal to the real deal is that the feeling in the room has changed. The feeling is that ‘oh, this is real now.’ People seem to give more. They try harder,” says Miller.

As a non-profit, Pasadena Media has to make their dollars count. That meant going with a brand that could offer performance and durability.

“It’s important to us that anything we buy will pass all of the initial tests and withstand the test of time. David [from Manios Digital] was great at helping us not get something that was at the lowest tier like we often do, but we got something that we really needed,” adds Miller.

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

Bedford, England (June 27, 2019) – Polecam, the world leader in lightweight carbon-fiber platforms and remote systems for the broadcast and live event markets, is pleased to announce the appointment of “Manios Digital & Film” as the brand’s exclusive US distributor. This marks Polecam’s official expansion into the US market, following strong sales across the United Kingdom, Europe, and Asia.

“We are excited to work with the Manios Digital team as we expand sales into the US market. As a well-established and respected company in the region, we are confident that Steve and his team have the knowledge and skill to deliver our hero product, the new AutoPod (v2), into a variety of different markets,” explained Steffan Hewitt, Managing Director Polecam.

The Polecam AutoPod (v2) is a remotely operated camera elevation platform, featuring a low-profile for unobtrusive camera shots at close range. Budget-friendly and perfect for mounting single or multiple PTZ camera systems, the AutoPod (v2) has been used by venues around the world for notable performances, including Adele, and Josh Groban. Extremely versatile, the AutoPod (v2) has also been used by Finnish broadcaster YLE, reality show ‘Big Brother’ and EA Sports producers.

“The AutoPod (v2) is an innovative product that can be used in a variety of applications for broadcast studios, live events, and even reality television. We are excited to work with Polecam and begin offering this new and very unique product to dealers and broadcast integrators across the United States,” said Steve Manios, President of Manios Digital & Film.

For product video “in action” and more information: http://www.polecam.com/autopod and for more information on Manios Digital, or to schedule a product demo of the Polecam AutoPod (v2), please contact chris@maniosdigital.com or call 1 (818) 760-8290.

Polecam is Designed to Perform, Engineered to Perfection

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About Polecam:

Polecam Limited was founded in 1998 by Steffan Hewitt, BSc(hons) Metallurgy & Material Science. Polecam is the recognized world leader in lightweight carbon fiber based camera platforms and remote systems for use in the broadcast, film, tv, industrial and medical sectors. Continuing to successfully design and manufacture unique systems from its headquarters based in the United Kingdom and is supported by an extensive network of global partners providing local sales, service, and support.

About Manios Digital & Film:

Manios Digital & Film is a leading source for premium-quality tools used in broadcast production, digital cinematography and by independent camera operators. With a tradition of excellence, the company acts as a bridge between manufacturers of world-class imaging products and professionals who depend on them.

Founded in 1992 by Steve Manios, Jr., Manios Digital provides cinematographers, camera operators, and photographers with the very best production tools backed by informed technical advice and timely support. More than 25 years later, quality, experience, and service remain the company’s core values. Manios provide demonstration equipment, technical support, and advice – with the added benefit of in-house engineering service, support, and repair. Manios Digital is the exclusive US distributor for Cartoni Camera Supports, Hawk-Woods power solutions, and Kinotehnik 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. 

Filmmaker Chris Ray has made a career out of capturing epic shots.

From his beginnings in the skate industry to his work on the viral hit ‘Pipedream’ which saw Robbie Maddison surf waves on a dirt bike in Tahiti and garnered 30 Million views, Ray’s run and gun style of filming has made him successful. But what began with skating has quickly expanded into work with companies like DC Shoes, NFL Films, Ford, GoPro, ESPN and many more.

“I do so much outside of skateboarding now – commercials and so many other things,” explains Ray, who shot his first skate video in eighth grade. “This reminds me of where I came from. I owe a lot to skateboarding.”

Ray returned to his roots to compete in the X Games: Real Street 2019, an all-street skateboarding video contest. His one-minute video and collaboration with skater Chase Webb earned Ray his second gold and the fifth overall medal of his X Games career.

“I’ve always enjoyed doing Real Street because it’s the only contest that really gives the skater and the filmmaker a platform and an opportunity to win a gold medal,” says Ray. “I think that’s pretty rare anywhere. This video took us about six months to shoot. Chase was the underdog of this contest, so to walk away with a Gold feels even better.”

In the winning video, Ray used a long lens to capture ‘next level’ tricks on rails that were kinked, curved, and huge! Or in the words of one commenter, “Someone call Master Splinter... I found a Shredder.” Ray’s cinematography let Webb and the skating speak for itself.

“It’s a 60-second edit, but I try and make it feel as if it’s a full video,” says Ray. “It has a start; it has a finish. I try to work around the skater or the athlete and have my equipment ready to go. Everything needs to be pretty run and gun. I would hate to go on a shoot and say ‘oh wait, hold on guys. I need to get this ready.’ I just want to be ready to go.”

Being ready to respond to events around him has established Ray as a highly sought after filmmaker. While he continues to lead the video strategy for major skate brand, DC Shoes, Ray is now filming with many companies, but one he's idolized for a long time, NFL Films. In his kit, he trusts products he knows will be ready to perform when he needs it. In Ray’s run and gun kit, he includes a RED Epic, Core batteries, and for shots that need a long lens and ultra-stability, he chooses the Cartoni Focus 22.

“The Focus 22 is my go-to tripod,” says Ray. “That’s important to me because a lot of the cameras I’m using these days, like the Red Epic, are not very good for going handheld for skateboarding. When I’m using a long lens, that’s when the Focus 22 comes in. It's perfect. I remember when I switched from a bad tripod to a Cartoni, and it was just like my camera was floating in clouds. That’s what you want. You don’t want something that is fighting your shot or is going jerk mid-trick. Using a tripod that moves seamlessly with my camera has been huge for me. “

Having the right gear helps Ray gets the shot, but he credits his success to doing what he loves and taking chances.

“It’s funny because I always want to say no when I’m approached with a new opportunity because the scariest thing in the world is when you have the opportunity to realize your dream. You have to be brave enough to seize those opportunities and take those chances.

Manios Digitalis the exclusive US distributor of Cartoni.To follow Chris Ray, visit chrisrayfilms.com.

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. 

Before he ever shot video, cinematographer and Sony Artisan Jeff Berlin had already established himself as an in-demand photographer in the worlds of fashion and celebrity portraits. He’s photographed celebrities like Kurt Russell and Patrick Dempsey, and over the years he’s collaborated with top fashion magazines and brands like Vogue Italia and L’Oreal,

Berlin got his start by apprenticing for working photographers.

“I got started in college; I never went to photo school. I began as an assistant, learning everything I could. As an assistant working on set, one learns in a practical setting the things that schools can’t really teach, like how to deal with clients, for one. After shooting for a few magazines early in my career in New York, I moved to Milan and spent six years working there and in Paris,” Berlin explains.

Berlin soon established himself in the fashion world for his keen eye, distinctive style and easy manner. He based himself in Europe and NYC, collaborating with numerous editions of U.S. and International magazines and commercial clients.

“Film was never on my radar but I was burning out a bit on photography,” he said. In photography, you wear different hats – you do it all, light, DP and direct. It was great training for what I’m doing now, but after years shooting in Europe and NYC I was growing tired of fashion and celebrity work.”

To escape and keep fresh, Berlin, also an airplane pilot, began writing about aviation for magazines and shooting the photos for his stories, and he started to shoot rodeo as well. But it wasn’t long before the fashion world came calling again.

“Six years ago, I got a call from a producer friend. He asked, ‘do you want to DP and direct a fashion brand video for Norma Kamali,” Berlin recounts. “Well, I didn’t really even know what a DP did, but I quickly said yes. I remember then calling a friend who was an actual DP to find out what a DP does. A couple days later I got a quick DP 101 over an espresso.”

The film, "KamaliKulture" Empowerment Film, was the first of Berlin’s transition from photo to video.

“One piece of advice my DP friend gave me was to surround myself with the best crew I could find, so for this project, I did exactly that. That was good advice and what I would do when shooting fashion or aviation. I only wanted the best stylists, hair and makeup artists, the best photo ship and formation plots, on my projects. We shot the film on a Sony NEX-FS700, which was the perfect choice then because of its high frame rate capability, but it was also a camera I didn’t really know how to operate. So, on a high-profile project like this, I crewed up, was able to focus on the creative and not get bogged down in the technical. I didn’t really care that I didn’t know how to operate that camera, and it didn’t matter, we had people for that. I did , however, know exactly how I wanted the video to look. I knew what I wanted my frames to look like and how I wanted it lit. I knew exactly how I wanted my models to look, like I always did when shooting stills.”

The film sparked a revelation in Berlin, who began to pour himself into video and the motion picture. As a Sony Artisan of Imagery, Berlin had some access to cameras like the F55 and credits Sony’s Digital Motion Picture Center (DPMC) for helping to facilitate some of his education.

“For anyone starting out with Sony’s CineAlta line of motion picture cameras, Sony’s DPMC is a great resource for filmmakers who want to learn about them and the technology they facilitate,” he adds.

Since then, Berlin has worked on numerous short films and promos for everything from the Professional Bull Riders (PBR) Association, to GT Bicycles, to Sony Electronics. For Berlin, it was all about getting on set and getting as much practical experience as possible.

Berlin’s latest work is a short film, Stormchaser. The film is about a hard-luck woman who is struggling as a door to door salesperson in the Midwest. The character has a revelation about how to increase her sales.

“It’s a great script that became a fun film, now submitting to festivals. It’s a bit like [the 1992 American drama] Glengarry Glen Ross mixed with a love story. We shot the film in Vermont, which played a great Midwest, in July of 2018.”

He adds, “We shot the film in 6K on my full-frame Sony VENICE camera and Sigma full-frame cine lenses. I built up my camera with Wooden Camera support gear and the Cartoni Focus 22 with SDS legs was the perfect set of sticks for the VENICE.”

“I chose the Cartoni Focus 22 because I was familiar with it from past projects, and because I like it. The Focus 22 is easy to work with. It's very solidly built and extremely smooth. This was the perfect camera support for this project.”

The Cartoni Focus 22 is specifically designed to support the wide variety of new digital cinema cameras, handling a broad range of payloads from 3 kg (6.5 lbs) to 22 kg (48.5 lbs). Cartoni’s SDS or Smart Stop tripod legs are built for speed and can set up or fold in an instant. Thanks to a single lever located on each tripod leg, camera operators can deploy all legs simultaneously. Rugged and easy to operate, Berlin put the performance of the Focus 22 to the test during one shot where the tripod was set up for a shot in the back of a moving pick-up truck. Cartoni’s SDS legs are built for speed and can set up and fold in an instant.

“I fell in love with those SDS legs. They’re a smart, robust design and are intuitive and easy to use. A tripod is an indispensable piece of gear so I’m pretty picky when it comes to them.”

Reflecting on his transition from stills to motion, Berlin says, “working in the new, to me, medium of motion pictures has been a lot of fun. To be able to translate into motion the types of images I had been making as a still photographer has also been very interesting, and it’s required that I learn a whole new language, including how and when to move the camera, for example. That’s just not intuitive to a still shooter, especially one with a studio background like me. What’s really helped me with that is really knowing the script and understanding the scene you’re shooting. Understanding the motivation of the character in that scene, and then using camera movement to help move that story forward. Ultimately, for as similar one would think they would be, shooting stills and video, the differences are manifest and I’ve been enjoying learning new ways to realize my creative vision.”

To see the Cartoni Focus 22, visit Cartoni and Manios Digital at NAB 2019, Booth C9020.Manios Digital is the exclusive US distributor for Cartoni.

Burbank, Calif. (March 26, 2019) – Kinotehnik and Manios Digital are pleased to announce that internationally-acclaimed lighting designer, Darran Webb, will join the Manios Digital booth C9020 at NAB 2019 on Monday, April 8 – Tuesday, April 9, 2019, for practical demonstrations of Kinotehnik’s award-winning lighting range.

“Darran Webb has been a leader and pioneer in the lighting industry for many years. We are thrilled to have him lend his expertise to the next generation of lighting designers and users at this year’s NAB Show,” said Steve Manios, President of Manios Digital & Film.

Webb is known for his work on shows including American Idol, The X Factor, America’s Got Talent, Last Comic Standing and Cirque due Soleil. Ever inventive and resourceful, Webb has a reputation for remaining cool under pressure and always ready with solutions to the daunting challenges that arrive in his world on a daily, and even an hourly basis. A big fan of new lighting technology, Webb was among the first to use LEDs for primary lighting in television production. One of his current favorite tools is the Practilite 602 from Kinotehnik, the world’s first bi-color, variable beam, smartphone-controlled LED light.

“One of the biggest challenges a lighting designer will face is determining what the producer actually wants. The lighting designer is typically the last to know, but the first to get looked at when something goes wrong,” explains Webb.

Webb will be on hand to give practical demonstrations to Kinotehnik’s full line of lights including the award-winning Practilite 802. The Practilite 802 is a compact, bi-color LED light that is IP54 rated and provides 50% more light than its popular competitors.

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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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Rome, Italy (March 21, 2019) – Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is proud to announce the launch of the new Master 25 fluid head at NAB 2019 (Central Hall, Booth C9020). 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).

It continues Cartoni’s line-up of premium yet affordable products geared for professionals.

“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.

With a combination of perfect balance and a super-smooth, continuously variable patented fluid drag on pan and tilt modes, the Master 25 enables camera operators to be responsive to the needs of the production.

The lightweight (5 kg – 11 lbs) Master 25 features a tilt range of +/-90° and easy to use rings which allow the camera operator or grip to preselect the fluid drag and counterbalance on a numerical scale from 0 to 10. Both the pan and tilt brake levers are easy to reach, and the head features a convenient horizontal lock for setup.

With a 150 mm bowl, the Master 25 offers a wide and stable base on tripods or hi-hats. The head base includes four bolt threads for direct interface to most of the pedestals. Additionally, the camera platform is equipped with a sliding camera plate, compatible with competitor products such as the Vinten Vision 250, with standard 11 cm plate or 22 cm extra-long plate for balancing off-set camera configurations.

For more information on the Master 25 fluid head, join Cartoni at NAB 2019, Booth C9020 (Central Hall). Register for free by using code LV2933 before March 24, 2019.

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Rome, Italy (March 7, 2019) –Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is proud to celebrate the SDS Tripod, with a global contest inviting users from around the world to share how they use their Cartoni system.

The contest coincides with the start of NAB 2019 on April 8, 2019.

“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,” explains Elisabetta Cartoni, President and CEO of Cartoni.

Designed for camera operators on-the-go, the SDS Tripods are a set of patented tripod legs that allow camera operators to set up and fold their tripod in an instant. Available in 75 and 100mm, the SDS Tripod legs have a payload capacity of up to 60kgs (132 lbs). The patented SDS Tripod is equipped with a single lock that secures all stages and allows all the legs to be deployed simultaneously for extremely fast set up. The SDS Tripod features a patented dual-stage spreader which can be deployed for extremely high or low shots (50 mm-155 mm or 19.7 in.-71 in.) while maintaining torsional rigidity and stability no matter the payload. Using an innovative ring system, camera operators simply pull the ring and both the 3 legs and spreader close in a single motion! The SDS Tripod sets up & folds in an instant! Moving locations is now easy and quick. 

"I found myself using the SDS tripod mainly for wildlife documentaries. In shooting a documentary, I have to work in total silence and the SDS has been an excellent partner. It’s very fast. With one movement, I can lower or raise both stages. It’s extremely silent as all of the parts slide in a perfect fluid movement. The spreader has an amazing extension and there is a very handy cord that you can pull to close the legs for fast, easy transport,” says Italian Cinematographer Paolo Sodi. 

From April 8 – June 8, 2019, Cartoni users are invited to submit in-use pictures or a short video showcasing how Cartoni heads & tripods supports their passion. Judges will select five finalists and feature the photos and videos across social media and invite the public to vote on the top three winners. Winners will receive a SDS Tripod system with FOCUS fluid head and have the opportunity to test and get a first look at upcoming Cartoni product launches.

For full contest terms and conditions, please visit https://inside.cartoni.com/sds-tripod/. For more information on the SDS Tripod, join Cartoni at NAB 2019, Booth C9020 (Central Hall). Register for free by using code LV2933.

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

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

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

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

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

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

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

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

Q: What is in your kit?

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

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

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

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

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

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

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

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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