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

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

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

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

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

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

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

See Sachtler at IBC 2026 Stand 13.A05.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

More information is available at www.sachtler.com.

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

LAS VEGAS—Miller Tripods will be showing its new SkyX 8 fluid head at the 2023 NAB Show on Booth C4221. Designed for outdoor broadcast and studio productions, the SkyX 8 is versatile enough to use over a wide array of camera configurations. 

The SkyX 8 replaces the very popular Skyline 70. Delivering 16 positions of stepped counterbalance, with CB Plus and 120mm travel large Euro camera plate, SkyX 8 offers fast, repeatable counterbalance. The 7+0 positions of pan and tilt fluid drag system employs the Miller “right feel” smooth start and soft stop technology while the precise floating pan-tilt caliper locks ensure bounce free on-off performance, the company explained. 

Constructed of lightweight high-strength die-cast alloy and rigid composite polymers the SkyX 8 is extremely durable and robust for rugged outdoor shooting conditions delivering silky smooth pan-tilt fluid actions and symmetrical diagonals to match camera payloads up to 40kg (88Ibs). It employs precision heavy duty ball bearings to ensure long, trouble-free usage.

Equipped with a 150mm claw ball, rugged dual telescopic handles, two-side mounting points for viewfinders and accessories, plus a Mitchel adaptable base, operators will have everything they need for any environment, the company reported.  

Incorporating advanced precision fluid drag and counterbalance controls operated through rear mounted “all in one location” with unique illumination of all controls and bubble level, the SkyX 8 makes it even faster and easier to set up and capture the action.

Each SkyX 8 comes with a full Gold 3-year factory warranty. Shipping will start in July 2023. 

More information about Miller Tripods is available at www.millertripods.com/en/. 

SYDNEY—Miller Camera Support Equipment has announced the launch of the Solo-Q, featuring the company’s new Q-lock technology, the new version of its Solo brand of tripods.

Solo-Q is a professional tripod that can be used either in the studio or on location. The new Q-lock is a patented technology that enables fast unlocking or locking of the tripod. Pressing the Q-lock will drop down all of the tripod legs completely, provided the legs are loosened. When finishing a shot, the Q-lock will automatically latch on the legs when being put away.

The design also features a new leg angle control with a safety lock that Miller says eliminates the need for a spreader. Each leg also has height markings and can be tightened with a quarter turn of the Rapid locks.

Miller’s Solo-Q series will consist of two 75mm bowl tripods (Solo-Q 75 2-STG Tripod CF and Solo-Q 75 -3-STG Tripod CF) and two 100mm bowl tripods (Solo-Q 100 2-STG Tripod CF and Solo-Q 100 3-STG Tripod CF).

Miller is now shipping the Solo-Q tripods. For more information, visit www.millertripods.com.  

Newport Beach, Calif (January 30, 2020) – For nearly twenty years, FilmEd Academy of the Arts for provided state of the art production services and filmmaking training to high schools throughout Orange County. With demand for video production and digital skills on the rise, FilmEd has trusted the same brand that Hollywood studios and broadcasters trust for reliable, smooth performance. That brand is Cartoni and in fact, they’ve been using the same Cartoni tripods for nearly 15 years.

“Well, we were looking around at a lot of different types of tripods that would work for a high school program. At the same time, we wanted to find a tripod system that would be industry standard so that our students would be learning a system just like the cameras we use that would propel our students directly into being able to work side by side with professionals. Cartoni was one of the tripods that was recommended by our vendor. We bought it and it’s ended up working really well for us,” explains FilmEd’s Executive Director, David Junker.

Aside from simply teaching students about video production, FilmEd needed a tripod system that could meet the rugged demands of their broadcasting needs. As part of their program, they provide equipment to secondary schools to produce institutional broadcasts and cover school events. The organization also develops curricula for advanced media students, mentors film school applicants and provides core movie-making instruction in a series of two-week summer workshops for 9-12 grade-level participants. FilmEd is a sponsor for the “for student, by student” Orange County Film Festival, providing a showcase for Academy participants.

For equipment that was easy enough for a beginner as well as rugged enough to handle daily production demands, Film Ed’s top choice was Cartoni.

“We bought twenty Cartoni Focus HD tripods and we’ve been using them since 2006. That’s worked really well for us. We were using a prosumer sized camera by Panasonic but recently upgraded to the VariCam 35,” says Junker.

Despite the daily use, the Cartoni tripods have held up well for FilmEd Academy – even after over a decade.

“We’re still using the Cartoni tripods legs that we bought back in 2006. The Cartoni heads have also been good, even with student use. Obviously, being used by students, the heads are going to take a beating. Sometimes students who are still learning won’t know how to care for the tripod so they may leave the lever out, or a lock on. In that case, Cartoni service, located here in Los Angeles, has been really good at helping us maintain the Cartoni systems over the years. The funny thing is that we are still using the exact same tripods that we purchased almost 15 years ago.”

Equally important to how heavy-duty the Cartoni tripods have proven to be, FilmEd Academy also needed gear that has been easy to use for beginners and extremely versatile to meet the changing demands of the academy education.

“I think that once students understand how to use the tripod such as how to care for the tripod and how to balance the tripod, then they really begin to understand how to make the tripod work for them beyond just getting a stable shot.”

For more information about FilmEd Academy, then contact David Junker at david.junker@cinematicarts.org

Manios Digital is the exclusive US distributor for Cartoni tripods.

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

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

BEST PLACEMENT

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

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

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

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

SINGLE MOVEMENT DEPLOYMENT

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

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

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

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

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

QUICK RELEASE

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

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

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

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

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

POWER SUPPLIES

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

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

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

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

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

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

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

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

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

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

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

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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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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 Kent, United Kingdom (March 19, 2019) - Hawk-Woods, developer of broadcast power solutions, announces new capacity Sony NPF and BP-U batteries, new ultra-small and lightweight additions to its Mini DV (MDV) and BPU battery line at NAB 2019, Booth C9020 (Central Hall). The MDV and BPU battery lines are a popular line of rechargeable batteries used to power everything from cameras, monitors and mixers. To support the growing power needs of camera operators, Hawk-Woods have doubled their range of MDV batteries, and are now offering a new 98Wh BP-U battery with dual output! 

Hawk-woods new Mini DV Range

Hawk-woods new MDV range consists of batteries ranging from 18-74Wh with different size variations tailored to suit your preference on power vs. weight ratio! Whether you are looking to run your camera for longer the 6-cell 74Wh version maybe for you, on the other hand, a monitor may require the medium 4-cell 50Wh version due to weight and less depth to the battery!

The four new additions to the DV range are the: DV-F590 – 25Wh (2-cell), DV-F770 – 38Wh (4-cell), DV-F790 – 50Wh (4-cell) and the DV-F990 -74Wh (6-cell). The largest capacity battery now in the range is the DV-F990 – with an astonishing 74Wh of power and weighing less than 300g (10.5 oz), is an impressive, powerful addition that will provide the user with increased run time.

Hawk-woods tested the new single DV-F990 on Atomos’ popular 4k recorders and achieved 2 hours of runtime from a single battery while 4k recording on 50% brightness.

Hawk-woods Expands BPU Range

In addition to the Hawk-woods current 14.4V BPU range comes the BP-98UX. Hawk-woods has expanded the BPU range due to the popular demand of the 75Wh version which has been used with the Sony FS7 and now the latest FS5 cameras.

The 98Wh version maintains the range’s flight-safe status and comes with two D-TAP outputs. While still offering these key features, Hawk-Woods has managed to upgrade the capacity of the battery, while keeping the physical size of the battery the same as the 75Wh version. With all this, weight gained is a mere 18g (less than a single ounce)!

The new MDV range and the expanded BPU range comes with Hawk-woods standard warranty. To see all of the latest products from Hawk-woods, please join us at NAB 2019 Booth C9020. Use Code LV2933 to register for free.

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

Rome, Italy (March 14, 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 Sports 200 heavy-duty tripod legs at NAB 2019 (Central Hall, Booth C9020). The new Sports 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 Sports 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 Sports 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 Sports 200 can endure severe weather conditions, rain, dust, moisture, and extreme temperatures.

Built with the camera operator in mind, the Sports 200 features a center brace and a telescopic mid-level spreader that is equipped with a truss structure that ensures stability in any environment.

Set up is fast and comfortable. Each leg features positive rotary locking knobs and safety pins while the bubble level is located on the side of the platform for easy use. The Sports 200 also features both a spiked foot for soft terrains and a pivoting rubber pad for flat surfaces. Simply twist the rubber pad to reveal the spiked foot.

The Sports 200 accepts classic Mitchell flat base heads and the four standard bolts. It is seamlessly compatible with all competitor heads, as well as the Cartoni HD Dolly and HD floor spreader.

The new Sports 200 comes with a best-in-class five-year warranty but thanks to Italian engineering, you might never need it! For more information on the new Sports 200, please join us at NAB 2019 Booth C9020. Use Code LV2933 to register for free.

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

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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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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.”

AMSTERDAM—Sachtler and Vinten, part of the Vitec Group, will introduce a new, carbon-fibre tripod range at IBC2018 at the RAI in Amsterdam. The flowtech100 has quick-release brakes at its base that can deploy simultaneously and adjust automatically to the ground's surface. flowtech100 accommodates all major 100 mm fluid heads and supports a payload of up to 30 kg (66 pounds), making it ideal for heavy-duty newsgathering and documentary filming production, according to the company.

Nature and wildlife photographer Thorsten Milse took the flowtech100 on a recent six-week trip to photograph the famed lemurs of Madagascar. Here’s what he had to say about its performance:

"In Madagascar, flexible, fast setup was a critical requirement for capturing the lemurs, which move really quickly in the high treetops. Not only was flowtech100 incredibly fast and easy to set up and adjust, but it allowed us to get to a really low position fast, which is really important for capturing those fleeting ground shots," Milse said. "With the lemurs, sometimes I had only a few seconds to get the shot. But I was able to approach with my camera and lens in one hand and the tripod in the other, open the legs with my foot and adjust the height, snap on the camera, and shoot."

During his trip, Milse also used the flowtech100-FSB 10 setup to shoot video footage using a Canon EOS C200 digital cinema camera. For video, he snapped on the flowtech100's mid-level spreader and enjoyed its stability. "With a 600mm lens, you need really good balance between the lens and the camera. The flowtech100 and FSB 10 were the perfect combination, offering a firm platform for my expensive gear and the stability needed for precision shooting with such a long lens," he said.

Flowtech100’s hinge-lock mechanism enables it to rise to 155 cm for high shots, or to lower to 26 cm to accommodate extremely low, ground-level shots without the need for "baby legs."

"A year ago, we made tripod history with the introduction of flowtech75, the world's fastest-deploying tripod. Based on the reviews and feedback, flowtech75 has transformed the way camera operators work — it's faster, easier, and incredibly lightweight but also rock-solid and a back-saver, just to name a few of the comments," said Barbara Jaumann, product manager — supports. "Now, with flowtech100, we've taken everything that's great about flowtech75 and delivered it in a tripod geared to the professional 100 mm class of users, with the ability to support the demanding payloads of hard-working field news reporters and documentarians."

See flowtech at Vitec Group, Stand 12.E65

BRUNSWICK, OHIO—The BEAT (Brunswick Educational Access Television) is an award-winning program run almost entirely by middle and high school students. Since 2000, more than 500 students grades 6–12 have written news stories, conducted on-camera interviews, edited, shot, and directed more than 2,000 programs that air on Educational Access Channel 22. In 2011, the students began to take over management of the station.

What started out as primarily a video program—with students working solely behind the camera—has become a training ground to learn about every aspect of production. Our students must be proficient behind the camera, be good storytellers and write/produce stories, and be comfortable in front of the camera. In return, they get real-world experience before they leave high school.

Since The BEAT is sponsor-supported and receives no funds from the city or school district, we work hard to build relationships. That’s why our partnership with The Vitec Group and its brands is so special. In fact, Vitec brand Vinten was one of the companies that helped us get started years ago by donating a tripod—and the donations have kept coming. Our entire studio and all on-location gear came from our relationship with Vinten, and to this day we only use Vinten and Sachtler tripods—seven in total.

The Vinten tripods are a perfect fit for our studio cameras—JVC ProHD 750s with On-Q accessories—because they can handle the extra weight. Meanwhile, we use Sachtler tripods with a variety of cameras for multicamera sports production, concerts, single-camera shoots to gather news and footage, you name it. With Sachtler and Vinten tripods, we have gear that’s very flexible in any location. We can easily drop the tripod down, set up very quickly, and start panning, tilting, and zooming to grab quick camera shots. With lesser equipment, we would have to compensate for the pans, tilts, and movements, something I don’t want our students to have to do. Thanks to Sachtler and Vinten, we’re not only training students to shoot good video, but we’re giving them gear that supports them as they learn.

I’m amazed at how durable the Vinten and Sachtler tripods are—they’ve been through years of use with no breaks. The durability and reliability have really paid off in the form of no repair or replacement costs. Furthermore, knowing how to use and care for high-end, industry-standard equipment looks great on students’ resumes.

We’re drawn to The Vitec Group and look to them first before we purchase any gear. They are tomorrow’s video professionals, after all, and the Vitec Group always has their backs.

John Wasylko is video program advisor for Channel 22, Brunswick Educational Access Television (The BEAT). He may be contacted atjwasylko@bcsoh.org.

For more information please visitwww.vitecgroup.com.

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LAS VEGAS—At the 2018 NAB Show, The Vitec Group’s Vinten and Sachtler brands will debut the new flowtech 75 camera tripod technology, designed to transform the way camera operators work. It features two-stage carbon-fiber tripod legs, with an easy-to-remove midlevel spreader, rubber feet and a 44-pound payload.

It also features quick-release brakes at the top of the tripod that enable the legs to be deployed simultaneously and it adjusts automatically to the ground’s surface.

A unique hinge-lock mechanism lets users capture extremely low, ground level shots, without needing to bring a second set of “baby legs” to each shoot. With its torsional stiffness, the tripod will not twist during camera-panning movements, especially in motion picture productions.

Sachtler and Vinten will also feature a detachable carry handle and compact, lightweight dolly—two optional flowtech 75 accessories: The dolly features an integral carry handle and foot-operated brakes, while its foldable design allows it to collapse to a compact, easy-to-transport unit. Weighing just 10 pounds, the dolly supports an 88-pound payload and a build radius of 53 centimeters. With the carry handle, customers carry the flowtech tripod securely in one hand and attach it to one of three flowtech accessory docks.

The 2018 NAB Show takes place in Las Vegas, April 9-12. Vinten and Sachtler will be in booth C6025. For more information, visit www.nabshow.com.

Read up on all of TVT's NAB Show Sneak Peeks and other 2018 NAB Show news here.

One of the benefits of downsizing broadcast and digital cinema cameras is the size and cost of much of the support gear needed to make them fully functional can also be downsized. A prime example of such is Miller’s compact Air head/Solo 75 tripod combo.

Air head pairs with Solo 75 tripod, and includes a carrying bag with padded strap.

FEATURES
At first glance, Miller’s Air Tripod system seems designed more for stills than for video or cine apps due to the Solo 75’s tubular legs. Rated for payloads up to 11 pounds, it can obviously support more than average-sized DSLRs with stock lenses and looks fairly impressive for a tripod system under $1,200. The Air head, with its magnesium alloy housing and precision components, mirrors Millers’ DS fluid head, except with fewer options.

For example, it has only two counterbalance levels and singular pan and tilt levels, which are touted as “constant at all temperatures.” It also supports the same payload range as the DS, from 4.4–11 pounds. The Air head is paired with Miller’s Solo 75 tripod, which features a 75mm bowl, 90 to minus 75 degree tilt range, a base height ranging from 9.5–63 inches, with three leg sections. The upper leg stage has a thick, supple neoprene coating for comfortable, sure gripping, especially when moving the camera and tripod short distances. The hard rubber feet on the lower legs have retractable steel spikes. The Air head includes a quick release camera plate with 60mm of sliding range, one pan handle with a dual pan handle option, a padded carrying strap and a soft bag. It comes in either metal alloy or carbon fiber packages.

IN USE
Initially, I tested the Air Carbon Fiber Tripod with a Canon camcorder/lens package, weighing at the upper end of Air’s payload at 9–10 pounds.

Frankly, I was surprised at how well the Air head handled the 9-plus pound camera at first try. Panning was fluid and smooth, which made following large flying birds like geese, ducks, and gulls easy and efficient at the fairly low default drag level. Faster subjects like flying robins or speeding cars posed a greater challenge, and I often over-panned for lack of sufficient drag.

There was no option to shift to a high drag level, so I improvised to add drag by wrapping one hand around the head while using the other to push the panhandle for a manual drag to compensate for the lack of this option. It was certainly do-able, but not desirable. Fortunately, a workaround wasn’t necessary when counterbalancing the 9-plus pound camera once I pinpointed the center of gravity on the adapter plate. The higher of the two counterbalance options proved sufficient to keep the camera stable at various angles when released.

I was pleasantly surprised to find that I didn’t need to manually add drag when panning—or tilting—with a much lighter camera, weighing 5-plus pounds. The default low drag level provided sufficient braking for fairly slow pans and tilts without manual workarounds. Basically I was able to let the Air head provide all the speed dampening needed versus having to work it in manually.

Counterbalance-wise, the lower, slacker level was sufficient for the lighter camera, although the higher level also worked well with it, but was stiffer. A 4-pound camera had comparable results, but with even slower, smoother pans. This payload was comparable to that of many DSLRs with base lenses.

Tripod-wise, the Solo 75’s three stage telescoping legs locked and unlocked with a twist of the wrist and kept the tripod stable whenever it was firmly locked. They did slip slightly a few times when I didn’t snug them sufficiently. In each case simply relocking them remedied the slippage

With its legs fully extended and locked, Solo 75 topped out at 68–69 inches, which put the viewfinder of most cameras at or close to eye level for me at 6-feet tall.

What really sets it apart from the pack, though, is its ability to virtually flatten into a spider-like footprint by locking its legs in an almost horizontal position, whereby the bottom of the bowl is around 10 inches above ground level. This extreme low angle posture is quite rare among pro-tripods and may be this tripod package’s killer app.

This feature proved invaluable when shooting in roughly 1.5-feet of dense snow as I did several times during the test period. The flattened spider-like position often enabled me to ‘float’ the camera and tripod atop the packed snowpack without having to dig into solid ground with all three tripod feet on every setup. This accelerated the setup time for all shots, particularly low angle ones. Whenever the legs were outstretched to the max, the crest of the airhead was roughly 15 inches above ground level, low enough to facilitate many unique low angle shots.

The rubberized shoulder pad on the carrying strap was a big bongus, sparing lots of pain and irritation, particularly when without a cart or tripod-bearer. The padding was thick enough to protect my collarbone when laying camera and tripod over/on my shoulder. Without the camera I could comfortably hang the tripod on one shoulder, with the legs under my arm, while counterbalancing them with the camera hung on my other shoulder.

Leveling the Air head was fairly fast and efficient, thanks to the long, knobby, fastening pin—for leveling ball—which mostly held tight as long as needed after a quick, but firm, twist of the wrist. The Air head also has a simple bubble level; however, it’s not florescent, so you’ll need some sort of light to use it in the dark.

CONCLUSION
Of the three cameras tested with the Air head, the two at the low end of its payload range yielded the best results, and required virtually no compensatory workarounds when panning, tilting or counterbalancing. In contrast, while I was able to achieve fairly slow and smooth pans with the 9-plus pound camera, pans and tilts required me to add drag manually for consistently good results. This was not true for counterbalancing. where the higher of two levels supported the heavier camera adequately. An additional, stiffer, drag level or two for panning and tilting would greatly improve overall performance at the upper end of its payload range, and would be worth paying a bit more for.

Nevertheless, Miller’s Air Solo carbon fiber system offers a simple, affordable, no frills tripod solution for pros and serious amateurs on a tight budget, particularly when shooting with a camera in the lower of its payload range. It is also fairly lightweight for carrying afield and it can fi t into a duffel bag when traveling. It is hard to beat for extreme low-angle shooting by supporting a camera roughly 15-inches from ground level. It also tops out just under six feet for use in a wide range of pro applications.

Carl Mrozek operates Eagle Eye Media, based in Buffalo, N.Y.. Contact him ateagleeye@localnet.net.

➤ FAST FACTS
APPLICATION
Events, corporate, local news, sports & commercials, documentaries, music videos web videos, indie theatricals

KEY FEATURES
Pan & tilt fluid head with constant drag in all temperatures; dual level counterbalance; three stage carbon fiber legs with retractable spikes & 75mm bowl & sure grip fastener; padded legs & strap; height adjustable; low angle support

PRICE
$1,177

CONTACT
Miller Tripods 973-857-8300 sales@millertripods.us

BUENOS AIRES, ARGENTINA—Torneos y Competencias S.A. and HD Services S.A—also known as Torneos—is an Argentine mobile sports production company headquartered in Buenos Aires that also transmits satellite and CATV signals. As chief of the Technical Department, I coordinate all technical activities, including support, but I also evaluate and recommend the equipment purchases and technologies that have kept Torneos a premiere and quality organization for more than 30 years.

Studio/OB TT-64 tripod

Due to the recent purchase of two 55x lenses, we needed reliable and robust support gear to accommodate the large units as well as their cameras. Our first reaction was to remain with the same brand that we were already using, but after careful consideration we decided to consider alternatives.

We normally purchase equipment through manufacturers’ local representatives and Isikawa Electrónica is one such company that has always been very professional, efficient and provides excellent support. Isikawa Electrónica suggested we evaluate a tripod/head system from Shotoku Broadcast Systems, a well-known manufacturer of camera support equipment. Since we principally produce soccer matches and other sporting events such as tennis, our equipment is constantly travelling from location to location and absolutely must be easily and quickly assembled and disassembled. We found Shotoku’s Studio/OB TT-64 tripod with their TE-12HF pan/tilt head combination to be robust and exceptionally stable.

SINGLE COAXIAL TUBE
Shotoku’s TT-64 is formed with a unique single coaxial tube structure, to create a lightweight yet highly rigid unit with an ergonomically designed and simple-to-use leg extension lock system with a robust built-in mid-level spreader. The tripod pairs ideally with Shotoku’s TE-12 HF pan and tilt head that can support a payload up to 198 pounds (90kg) although it only weighs 26.2 pounds (11.9 kg). The head’s built-in vibration dampening mechanism stabilizes the picture even at high telescopic range and features Shotoku’s continuous variable fluid drag system.

Proper positioning and use is very critical because the camera operators must follow the game as close as possible. Accuracy and stability are also key so that images are captured at precisely the right time and angle. We were so pleased with the combo’s performance and price point that we purchased two systems that are now working in the field. Our camera operators have found the combo extremely easy to use; we didn’t even need training, reading the manual was enough. And the camera assistants are happy because set-up and tear down in the field is so simple.

We have already put the equipment to good use during the Copa Sudamericana final match where the system was positioned on the field behind the goal. In addition we used it at the Boca Juniors vs. River Plate match, one of the most popular soccer events in the world, where the system was situated at the end of the field.

Shotoku and Isikawa did a great job importing the equipment as quickly as possible, even with our complicated customs procedures.

Although this was our first purchase of Shotoku equipment, we will certainly consider its products for our future projects.

Guillermo Romano has been working in the broadcast industry for more than 30 years, the last 15 at Torneos y Competencias S.A. and HD Services S.A as chief engineer in the technical department.

For more information on Shotoku Broadcast Systems, visitwww.shotoku.tv.