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

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

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

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

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

See Sachtler at 2026 NAB Show booth C5816.

More information is available on the company’s website.

No matter how good your current gear is, there’s always new equipment that’s better, lighter and easier to use in the field. Today’s gear for news production is lighter and more compact yet more powerful than ever, thanks to an improved form factor and faster processing.

Better Livestreaming via 5G
The quest to improve video transmissions from the field is never-ending and Teradek, a Videndum plc brand, has taken a step forward with its new Prism Mobile 5G cellular bonding unit, the lightest 5G-enabled camera-back video encoder on the market, according to Derek Nickell, Teradek’s technical product manager.

“The system is designed to provide the best possible cellular connectivity for live video streaming without compromising on size and weight, allowing field operators to stay agile for longer while live streaming over public and private networks,” he says.

Nickell says Prism Mobile enables camera operators to stream HD and 4K video over cellular networks and Starlink with latency rates as low as 250 milliseconds. It also allows them to securely share encrypted, color-
accurate live video feeds and recordings with stakeholders globally and expedite postproduction with several natively integrated camera-to-cloud platforms such as Frame.io and Sony C3 Portal.

This last capability lets editors access camera proxies as soon as they’re captured, and allows marketing teams to post highlights and playbacks in near-real time.

Lightweight, Versatile Camera Head and Tripod
As anyone who’s ever shot video knows, a lightweight yet solid camera head and tripod is your best friend on the field. The Sachtler Ace XL Mk II fluid head and flowtech tripod combination is worth inviting into the friend zone. Designed to handle payloads weighing up to 17.6 pounds, the 3.75-pound Ace XL Mk II head adds minimal weight to a tripod, yet can handle most of today’s video cameras. (The Ace XL Flowtech 1016MS tripod weighs 11.7 pounds.)

According to Sachtler Senior Product Manager Barbara Jaumann, the Ace XL Mk II head/flowtech tripod combination was designed in collaboration with TV crews to meet their demands for robust, lightweight, and quick-to-deploy equipment.

“One of its standout features is the placement of brake levers at the top of the tripod,” she says. “This design allows for exceptionally fast setup—just flip the levers and lift the tripod in a single motion. This top-mounted lever system also makes height adjustments quick and easy, even when working solo, such as adapting to different interview subjects on the fly.”

Another key focus in the Ace XK Mk II’s development was ergonomic portability, Jaumann adds. “The tripod is not only quick to deploy but also simple to fold down, with integrated magnets that keep it securely closed during transport,” she says.

Weatherproof Lighting for Tough Environments
Lighting can be a real challenge in field video shoots, which is why Litepanels has introduced the Astra IP line of weatherproof portable LED light panels. The lineup includes the Astra IP Half, 1x1 and 2x1 units, all with an IP65 rating that ensures protection against rain, dust, snow and humidity.

These bicolor LED panels offer a color temperature range of 2,700 to 6,500 kelvin and feature high color accuracy, with CRI/TLCI ratings around 95. They deliver a focused 30-degree beam angle, provide flicker-free dimming and support both Bluetooth and optional DMX control, with an onboard LCD for easy adjustments.

“The standout feature of the Astra IP is its IP65-rated weather resistance, making it ideal for use in challenging outdoor environments where crews often face unpredictable weather such as rain, dust, or snow,” Michael Herbert, head of product management at Litepanels, says. “In terms of performance, the lights are exceptionally bright. The 1x1 model delivers around 3,000 lux, while the 2x1 reaches up to 5,500 lux at 3 meters, ensuring strong illumination in any setting.”

Designed with portability in mind, each Astra IP unit is lightweight—ranging from 6.8-15 pounds, making them easy to carry and set up on the go. Each unit comes with an integrated power supply, and users can choose from optional battery plates including Gold Mount, V-Mount, and BP-U for greater flexibility. Available in Duo and Trio configurations, Astra IP Travel Kits pack multiple Litepanels, battery brackets and support stands into durable Pelican cases for convenient transport and rapid on-set setup.

Compact Tripod for Mirrorless Cameras
These days, many camera operators are using SLR-styled mirrorless digital cameras to shoot stills and video content in the field. Manfrotto is addressing their need for a single compact support solution with the new ONE Hybrid Tripod.

Weighing from 6.9 pounds, “the ONE Hybrid tripod includes XTEND, a patented mechanism that allows all leg sections to be deployed simultaneously in a single action for fast setup and quick adjustment on the fly with no downtime,” says Sofia Braccio, Manfrotto’s senior product manager, video. “It features a modular sliding center column with a removable lower section for ground-level shots and an integrated leveling mechanism for quick framing. The column also features a Q90 mechanism that allows shifts from vertical to horizontal instantly enhancing the variety of shots possible.”

The ONE Hybrid Tripod also comes with XCHANGE, Manfrotto’s new quick-release system that allows users to swap heads, sliders and accessories in seconds. “When paired with the new XCHANGE-ready 500X Fluid Video Head, the ONE Tripod becomes a professional system ready for modern content requirements,” Braccio said. “It includes a Fluid Drag System (FDS) on both pan and tilt, a selectable Counterbalance System optimized at 5.3 pounds and a hinged camera plate, making it easy to switch between horizontal and vertical orientations when supporting social content is required.”

Remote Camera Operations
Shotoku Broadcast Systems has recently combined its TG-27 pan and tilt head with the company’s TR-HP Hot Panel control panel into a powerful package.

“Together, they offer a lightweight and flexible system that’s ideal for mobile production environments such as news, sports or events,” James Eddershaw, the company’s managing director, says. “The TG-27’s compact design and high payload capacity make it suitable for a variety of camera types—including ENG models and small teleprompters—while the TR-HP enables intuitive, direct control without the need for a full-size panel.

This combination delivers Shotoku’s trademark precision and reliability in
a footprint that suits fast-moving news teams, pop-up studio setups and remote
production workflows.”

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

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

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

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

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

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

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

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

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

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

SEATTLE—As the tourist locomotive in Seaside, Ore. blew its whistle and brought its steam engine to life, I was using the Sachtler aktiv14T head for the first time, documenting Oregon coast life for ABC News and a series on “Good Morning America” called “Rise and Shine.” We were on the first day of the shoot, with two crews tasked with profiling fun and interesting things to do in Oregon.

The train pulled away from the station and my hand instinctively reached underneath my tripod head to loosen the knob and level my Sony z750 XDCAM, but I wasn’t using my older Sachtler 18. I had the new aktiv14T, which meant that with one quick release of the aktiv series SpeedLevel, I was “bubbled up” in no time, capturing some great sequences of the Oregon Coast Scenic Railroad locomotive leaving the station. 

Then I spent the rest of the day on the beautiful Oregon coast shooting b-roll with my aktiv14T and flowtech100 tripod. The ease of use and speed of the Aktiv series leveling system was really fun, especially in a setting where finding great shots was easy.

Simplified Leveling
Our shoot soon moved inland and the next morning required a three-camera setup at a winery, interviewing the local NBA celebrities that invested and brought the label to some prominence. My main camera for this was my Sony FX9 with a 70-200mm lens. I was also running a 7-inch SmallHD monitor and an Anton/Bauer Titon 240 battery. 

The aktiv handled the weight with ease and finding the right amount of drag for the movement I needed between iso shots of three guests was easy. Even in the blazing mid-day June sun, the illuminated prism bubble was easy to read as we leveled up our cameras, doing final checks before we rolled. One simple push of the prism bubble and it lit up with a pleasing blue color that was visible from the top and side, depending on how high the camera was positioned. 

Throughout the long day—and profiling a second winery that also included some “run and gun” interviews—I was really impressed with the weight of the aktiv14T, especially when paired with my flowtech100. Moving around quickly was so much easier with a lightweight system that was quick to set up. By this time, on the second day, my tripod instincts were reconditioned, and I was really enjoying how fast the 14T was leveling up for different scenarios.

Going Live
Our third and final day meant live shots for GMA, fronting the stories we’d shot. We set up along a lookout point with the Columbia River Gorge in the background, and with the rising sun making a perfect entrance as our segment, went live on ABC. I was again using my Sony Z750, Fujinon 23x HD lens, SmallHD monitor, and Anton/Bauer Titon 240 battery, a fairly heavy setup that the aktiv14T handled without an issue. We wrapped our live hits after a couple hours and the production moved on to Alaska and elsewhere.

My experience with the aktiv14T went beyond what I expected. My favorite feature is SpeedLevel—which will change the way you work as a camera operator—and I was impressed with the weight capacity of the 14T as it handled all the camera setups and accessories I could throw at it.

I think the three fast-paced days we spent with ABC and GMA were the perfect “trial by fire” for what I was used to in terms of tripod systems and the new aktiv14T. For someone who’s been using Sachtler support for 24 years, the aktiv series was a fun and efficient way to usher in a new way of shooting and new era of tripod head technology. 

Geoff Nelson is a lighting cameraman at Full Nelson Video, Inc. and has won many awards including Emmys and NPPA Photographer of the Year titles. He can be reached at seattletvcrew@comcast.net.

For more information on Sachtler camera support systems, visit www.sachtler.com.

MUNICH—Sachtler today expanded its aktiv fluid head product lineup with the addition of the aktiv10T, aktiv12T and aktiv14T 100mm fluid heads, bringing the speed and control benefits of this fluid head portfolio to operators working with payloads up to 35.25 pounds.

The aktiv fluid heads offer SpeedLevel and Speed Swap technology, which enables camera operators to mount, level and lock the heads in seconds, making it possible to switch from tripod, slider or handheld shots in an instant, Sachtler said.

“With the addition of these three new fluid heads, together with our flowtech tripod range, the world’s fastest camera support systems are now available to a wider range of camera operators than ever before.” said Vitec Production Solutions product manager Barbara Jaumann. (Vitec purchased Sachtler in 1995.)

“Camera operators with heavier payloads can now set-up faster and be more flexible. The aktiv12T and aktiv14T heads have a greater payload range and more counterbalance steps than the DV12 and Video15 heads that they will replace in the Sachtler range. More flexibility and control means that operators gain more time to capture the perfect shot,” she said.

The new fluid heads are compatible with all Sachtler 100mm tripods except for the HotPod. Each features Sachtler’s Touch & Go camera plate to make quick work of attaching and releasing a camera. 

All models support payloads starting at 0 pounds. The aktiv10T, aktiv12T and aktiv14T can support payloads up to 26.5 pounds, nearly 31 pounds and 35.25 pounds, respectively. All aktiv fluid heads feature 15 steps of counterbalance and seven steps of drag, the company said.

Like the existing 75mm aktiv fluid heads, the 100mm aktiv heads feature Sachtler’s SpeedLevel technology which replaces time-consuming bowl clamps. With no bowl clamps needed, aktiv heads combined with flowtech tripods can go flat to the ground. An illuminated PrismBubble that’s visible from the top and side makes levelling easy, the company said.

The 100mm Sachtler aktiv fluid head range is priced from $2,929 and can now be pre-ordered from Sachtler resellers as a head only or as part of a flowtech system.

More information is available on the company’s website.

MUNICH—Camera support manufacturer Sachtler is launching the Aktiv fluid head, which the company says brings a new level of speed to camera operators.

The Aktiv fluid head features SpeedLevel and SpeedSwap technology that enables camera operators to mount, level and lock the head in seconds and to switch quickly from tripod, slider or hand-held shots, per Sachtler.

The SpeedLevel technology paired with the Aktiv fluid head replaces bowl clamps and allows operators to release, level and lock the head by lifting a lever. With no bowl clamp, the fluid head can go flat on the ground. There is also an illuminated PrismBubble visible from above and the side to confirm the camera is level.

Sachtler is offering Aktiv in four models. The Aktiv6 and Aktiv8 are compatible with 75mm tripods; Aktiv8 has side load and touch-and-go camera plate options. Aktiv10, meanwhile, is a 100mm bowl head with side load camera plate. Aktiv6 can support up to 8kg and Aktiv8 and Aktiv10 can support up to 12 kg.

The Sacthler Aktiv fluid head is available for $1,525. For more information, visit www.sachtler.com.  

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CAMERA SUPPORT

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

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

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

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

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

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

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

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

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

LIGHTING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

POWER SUPPLIES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LONDON—Vitec Group company Sachtler has a couple of Aces up its sleeve with the introduction of two new aluminum tripod systems from its family of Ace XL products. The newly available Ace XL GS AL and Ace XL MS AL tripods each are equipped with the Ace XL 75mm fluid head.

Ace XL GS AL

The Ace XL GS AL tripod features a ground spreader, while the Ace XL MS AL features a mid-level spreader; each can be used with DLSR and cine-style cameras. The 75mm fluid head supports an extended payload range of 2 to 8 kilograms. Both tripod systems offer eight counterbalance steps for camera balancing and come with Ace XL’s SA drag damping for panning and tilting. Each model features a 4.1-inch sliding range and counterbalance settings that provide a tilt range of 90-degrees to -75-degrees.

The new tripods weigh in at 9.9 pounds for the Ace XL MS Al and 9 pounds for the Ace XL GS AL. The Ace XL GS AL has a height range of 22 to 68 inches, while the Ace XL MS AL has a height range 31 to 67 inches. Both systems include Sachtler rubber feet and come with a padded bag with practical grips and a carrying strap.

The new Ace XL tripods are now available.

LONDON—Vitec Group brands Sachtler and Vinten have teamed up to develop a new camera tripod system, the flowtech. The flowtech system features quick release brakes and adjustable levers for istant setup.

Sachtler and Vinten designed flowtech with a set of two-stage carbon-fiber tripod legs that come with a removable midlevel spreader, rubber feet and a payload capacity of 44 pounds. The tripod’s quick-release brakes are located at the top of the tripod to enable all the legs to be deployed simultaneously and adjust automatically to a surface.

The flowtech offers a height range of 10 inches to 60 inches without the detachable spreader, and between 25 inches and 62 inches with the spreader. A hinge-lock mechanism assists with extremely low shots. There is also torsional stiffness to help prevent twisting during camera panning. In addition, the flowtech 75 model tripod is compatible with all major 75mm fluid heads.

Sachtler and Vinten are offering the flowtech tripod system for $1,050. The companies will also showcase it at the upcoming IBC Show.

MUNICH—Sachtler, a Vitec Group brand, has unveiled an update to its Ace L fluid head with the release of the Ace XL 75 mm model.

The Ace XL features an increase in payload capacity from the Ace L, now offering a maximum payload of 17.6 pounds. It features eight counter-balance steps and the Synchronized Actuated Drag for panning and tilting, with a tilt range of 90 to -75 degrees. It also features a sliding range of 4.1 inches.

Sachtler is offering the Ace XL in three different configurations using the company’s carbon-fiber tripods. The choices are to have the Ace XL mounted on the Ace 75/2 CF with either a midlevel spreader or a grounded spreader, or paired with the TT 75/2 telescopic tripod. All three tripod systems come with a padded bag.

The Ace XL is now available in all three models.

Bigger is better. Yes, there are qualifications for that, but when you have a big job to do, the biggest, sturdiest tools will help you complete it the fastest and with the best results.

So it is with the Sachtler Video 18 S2 pan/tilt head and its matching carbon fiber tripod: It’s big, but powerful.

My lightweight camera gear looks a little out of place on this tripod, but using it was not a problem.FEATURES
The Sachtler Video 18 S2 pan/tilt head comes with a sturdy SpeedLevel CF carbon fiber tripod with mid-level spreader and the SpeedLevel Clamp accessory. Also included is a carrying bag that is so strong that it’s probably grenade-resistant.

The combination of tripod and head weighs nearly 19 pounds, and add another four pounds for the well-padded and reinforced carrying bag. The system comes with both a typical screw-on leveling knob and Sachtler’s SpeedLevel Clamp accessory, which can shave a few seconds off the time it takes to level the pan/tilt head once you set up the tripod.

The combination of tripod and pan/tilt head can support about 44 pounds of gear, fully balanced and with proper fluid damping for pan and tilt. There are knobs to adjust pan and tilt drag, as well as spring tension for balancing. The mounting plate also slides 120mm to quickly get a perfect balance. All the knobs and levers are big enough to operate while wearing gloves.

The pan/tilt head comes with an extendable pan arm that can be moved to either side and a small bubble level on the head’s base lights up when you press on it. The pan/tilt head itself weighs about nine pounds and it has a 100mm ball mount so that it can be quickly installed on other standard camera support gear.

The pan/tilt head has big and easy-to-read knobs for all adjustments. The SpeedLevel CF carbon fiber tripod is a three-stage system with a clever single-lever design to extend the legs. In other words, each leg has a single lever that is used to extend the two movable leg sections—this is the first time I’ve seen such a thing on a tripod, and it definitely speeds up deployment.

Wide rubber feet at the bottom of the tripod pivot to conform to a wide range of sloping surfaces, and they can be quickly removed to reveal metal spikes for soft surfaces. The mid-level spreader can be extended and disconnected to allow for a variety of angles for the tripod’s legs. This is useful to get a camera really low to the ground or placed in an odd multilevel location.

With the legs fully extended and the pan/tilt head atop tripod, the camera plate is at the height of my nose: 62 inches. All this precision engineering and strong construction doesn’t come cheaply: The Sachtler Video 18 S2 pan/tilt head and SpeedLevel CF carbon fiber tripod package has a list price of $8,900.

IN USE
I work small: small cameras, small accessories and small tripod. My “big” tripod weighs less than seven pounds, or about one-third of what the Sachtler Video head and tripod package weighs.

However, if I were to step up to the world of mid-level to high-end production, this Sachtler rig is the one I’d want.

Although Sachtler promotes the package for ENG work, it feels too big and heavy for most news crews today. However, if you’re shooting news features (think “60 Minutes”) where you have gear that needs the capacity of this setup, this is the best of the best.

The carrying bag is tough and well-padded, with an over-the-shoulder strap. I see this pan/tilt head and tripod targeted at field production for sports, TV series and films, and it is perfect for those. This rig will hold a high-end camera with a massive lens, external video recorder, large monitor and multiple batteries, fiber transmitter and intercom unit, and have capacity left over for a matte box and remote focus servo system.

Another application for this camera support system would be for sports production with a 80x lens. There’s plenty of capacity to handle that, balance it perfectly and still have a deft fluid-soft touch for pans and tilts.

For my use, I loaded my mirrorless Micro Four Thirds camera, LED light and external monitor, and I swear the pan/tilt head turned to look at me and said, “When are you going to load me up?”

I shot some activity on a local soccer field and confirmed that the balance was perfect, the pan/tilt drag was exactly right for the situation and that the overall platform was rock steady. It was everything that a pan/tilt and tripod system could be.

Considering its weight, I wouldn’t want to lug the Sachtler Video 18 S2 pan/tilt head and SpeedLevel CF carbon fiber tripod package more than a half-mile into the bush. However, if you can drive to a location and set up the tripod next to your Land Rover, this is the tripod you want with you.

The SpeedLevel clamp works exactly as advertised, reducing the leveling process to a couple of seconds. The single flip levers to release all stages of the tripod’s legs are a NASA-worthy bit of design and engineering— it’s entertaining just to see it work.

SUMMARY
The Sachtler Video 18 S2 pan/tilt head and SpeedLevel CF carbon fiber tripod package is a gorgeous and sturdy camera support system that permits the most delicate moves with precision. It is well engineered, with thoughtful touches and features that enable quick setup and break down, and it comes with a carrying bag that could double as cover during a gun fight... it’s that invulnerable.

All that strength and engineering comes with enough weight to make this Sachtler system something you’d want to set up once and keep in place as long as possible before breaking it down and moving on. It’s not the first system I would think of for a lightfooted ENG shooter, but it’s perfect for field and stadium production.

FAST FACTS

APPLICATION
Field and stadium production for sports broadcasts, TV series and films.

KEY FEATURES
SpeedLevel CF carbon fiber tripod with mid-level spreader and the SpeedLevel Clamp accessory, carrying bag, screw-on leveling knob.

SUGGESTED RETAIL PRICE
$8,900

CONTACT
Sachtler
www.sachtler.com

Bob Kovacs is the former Technology Editor for TV Technology.