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

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

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

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

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

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

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

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

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

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

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

More information is available on Vinten’s website.

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

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

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

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

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

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

See Vinten at 2026 NAB Show booth C5816.

More information is available on the company’s website.

BURY ST EDMUNDS, UK—Vinten, a global provider of robotic camera support systems, has launched Vega Lite, a broadcast-ready PTZ control solution designed to deliver professional automation, consistent workflows, and scalable control for studios working with PTZ cameras.

Vega Lite brings advanced PTZ control together with integration for dedicated PTZ supports and higher-payload Vinten robotic heads, allowing broadcasters to adopt PTZ cameras within established broadcast workflows without the investment required for a full robotic system, according to the company.

The system is designed for broadcast environments where PTZ cameras are used alongside traditional production tools, including secondary studios, streaming spaces, and stand-up presentation positions, as well as facilities built around PTZ-centric workflows. Vega Lite supports broadcast PTZ cameras from Sony, Canon, and Panasonic, alongside Vinten robotic heads, giving broadcasters the freedom to deploy PTZ cameras without being tied to a single camera ecosystem.

Designed for live broadcast requirements, Vega Lite incorporates broadcast-style operational features including a shot grid for immediate visibility of preset shots, multi-shots for flexible output, joystick profile editing to suit operator preferences, and instant recall of presets for specific sets and shows. Advanced options include sequences where movement is defined by a series of stored keyframes, playout integration supporting all major automation systems, and AI-driven Presenter Tracking.

“PTZ cameras are now a permanent part of broadcast production, but the control layer has not kept pace,” said Sergio Brighel, EVP Robotics and Prompting Technology, Videndum. “Vega Lite applies the same control philosophy and workflow logic used in full robotic studios to PTZ environments, while integrating with third-party cameras, supports, and automation systems. This gives broadcasters the freedom to design flexible studios today, without being tied to a single vendor, and a clear path to scale from PTZ control to full robotic systems on one consistent platform.”

Vega Lite also provides a clear migration path to the full Vega Control System, enabling facilities to expand into higher-end robotic workflows, redundancy, and additional axes of movement as production requirements evolve, Vinten said.

Vega Lite is shipping now.

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

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

Other Videndum brand developments include:

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

See Videndum brands at IBC2025 Stand 13.A05.

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

IPSWICH, England — As a freelance sports camera operator, I’ve worked on everything from the FA Cup to motorsports, tennis, netball, the Olympics, and horse racing. No two shoots are ever the same, and each brings its own set of challenges. That’s why when I was introduced to the Vinten Versine 360, I was both excited and intrigued. Vinten has long been the leading name in our industry, and when I was invited to test out the Versine 360, I knew it was going to be something special.

One thing that stood out to me immediately was how much thought had gone into the design. Vinten didn’t just release a new tripod head; they made something better. They listened to operators like me—people on the ground who deal with real-world problems daily. The result? A system that not only improves my setup but also enhances my ability to capture the action with precision and ease.

Designed for Users
From the first time I set up a camera on the Versine 360, I noticed the difference. Its adaptability is one of its biggest strengths—working across multiple venues means encountering different gantries, tight spaces, and unique mounting requirements. The ability to quickly change between a 150mm bowl and flat base or even 100mm bowl has made my life so much easier.

The multistandard bowl system eliminates the need for multiple heads and gives me the flexibility to adapt to any shoot, whether it’s a tight football gantry, a horse racing event, or a motorsport setup. There’s no scrambling for adapters or struggling with incompatible gear—it just works.

In live sports, reaction time is everything. Whether it’s a sudden sprint down the pitch in football, a crash in motorsport, or an unexpected fall in horse racing, I need to be able to move quickly and smoothly. With other systems, there’s often a slight delay or a jerk at the start of a pan, but with the Versine 360, it’s like the head anticipates my movement. I can follow a player, horse, or car seamlessly without that initial stiffness or hesitation.

A great example of this happened at Gillingham’s football stadium—a venue with an extremely challenging gantry setup. There, I had to mount my camera on a railing using a Hague clamp system. Without the Versine 360’s ability to adapt to different mounting standards, I wouldn’t have been able to secure my setup properly. That day, it genuinely saved the shoot. The multistandard bowl meant I could make the switch seamlessly, ensuring I could get the shot without delays.

Compact But Strong
I’ve had the opportunity to use the Versine 360 across various sporting events, from EFL football matches to horse racing. No matter what camera setup I throw at it—from OB-style sports cameras with heavy lenses to my Fujinon UA24—it handles everything effortlessly.

The increased payload capacity is another remarkable achievement. Despite being in a smaller, more compact form, it can take on even heavier setups with ease. In an industry where efficiency, precision, and adaptability are paramount, the Versine 360 has set a new benchmark.

Vinten’s commitment to real-world operator feedback is evident in every detail of the Versine 360. They didn’t just design a product—they engineered a solution that improves the daily lives of camera operators like me. Whether it’s the perfect balance, the superior TF drag, or the sheer adaptability, this system allows me to focus on capturing the best possible shots without worrying about my gear holding me back.

It’s rare that a piece of equipment changes the game for sports broadcasting, but the Versine 360 has done exactly that. I can’t imagine going back to anything else.

More information is available at www.vinten.com.

BURY ST EDMUNDS, U.K. —Vinten, a global provider in robotic camera support systems and a Videndum brand, will unveil significant advancements to its VEGA control system at the 2025 NAB Show, April 6-9 in Las Vegas. This latest update (v1.3), delivers enhanced Presenter Tracking, expanded device control capabilities, and a reimagined user interface, all designed to elevate the creative and operational possibilities for broadcasters.

“The latest VEGA enhancements mark an evolution in our commitment to delivering intuitive, powerful robotic control,” said Sergio Brighel, EVP Robotics and Prompting Technology at Videndum Production Solutions. “These updates are a direct result of listening to our users, giving them more precise control and flexibility to meet the evolving demands of live and studio production.”

VEGA now features in-flight trimming for Presenter Tracking, allowing operators to adjust pan, tilt, and zoom during camera movements for smoother, more natural framing. Ad-hoc tracking options have been expanded with deadband-only templates and live video setup, while a new shot trim/track-only triggering capability enables tracking adjustments without triggering broader camera moves.

VEGA’s device control functionality has been upgraded with support for assigning video routing, tally mapping, and automation settings to “Sets”—logical groupings of connected robots that may correspond to a physical studio. This decoupling of control elements provides broadcasters greater flexibility to adapt and reconfigure production setups. Additionally, VEGA now supports third-party broadcast robotics, extending control and Presenter Tracking capabilities to select robotic systems from other manufacturers. Cross-brand compatibility will continue to expand, offering even more versatility for production environments.

The redesigned VEGA interface includes a new edit page layout with a resizable shot grid and repositioned action buttons, making it easier for operators to access key functions. Enhanced navigation improves workflow efficiency, helping broadcasters manage complex productions with speed and ease.

Vinten will demonstrate these new features at the Videndum booth, N2121 in the North Hall of the LVCC during the NAB Show.

BRISTOL, U.K.—I have worked on snooker (billiards) television outside broadcasts as a cameraman since 2003—and in that time, have seen an incredible evolution in television production, a big rise in snooker’s global viewing figures, and a growing interest in the sport.

Cutting-edge technology and craft allow us to analyze every part of the game. For example, high-speed shutter cameras show bouncing balls and kicks that are imperceptible to the naked eye, really bringing a new dimension to the skills of the players.

Filming snooker is challenging and enjoyable for the camera operator, and the length of the day and high production values test the reliability and quality of the equipment to the maximum. Where else would you film an unscripted drama combined with a top sporting event live on network television for such long periods of time?

Nimble Deployment
To shoot snooker, I have found the Vinten Osprey to be an ideal tool; its lightweight design allows nimble repositioning and subtle adjustments in a confined working space. It really does draw on a unique skill set with pedestal operation and the ability to read a snooker table inexorably intertwined.

In snooker, you have to think quickly, as there is only a small window to prepare for the next shot and be in position so that the flow is uninterrupted. There is no other environment where you are literally so close to elite sportsmen—it is almost a choreographed dance between the snooker player, referee, and cameraman.

Thanks to the Vinten Osprey Pedestals, we can maximize our creative output by using everything the Osprey has to offer. For instance, at the beginning of a frame, we might ped down from the maximum to minimum height, tracking around the trophy, enabling us to build the event with foreground and background interest; we are limited only by our own imaginations.

The Crucible Theatre in Sheffield is named aptly for the white-hot tension that the World Championships create. John Virgo, the legendary commentator, describes “being able to play as if it means everything and nothing”—in other words, to be able to bring your practice game to this incredible stage, to be relaxed yet fully focused.

Osprey's Footprint
The Vinten Osprey, cameramen, and players alike have to deliver, and we’ve been very fortunate to work with equipment that is reliable and lets us express our creativity. The other crucial factor is the small footprint of the Osprey—space is at a premium at most venues, and in ergonomics, the compact Vinten design ticks all the boxes.

The smooth column is another great asset; by changing the height, we can add drama to the simplest of shots. For instance, at the end of Mark Selby’s 147 at last year’s World Championships, by using a gentle ped-up as the black is potted, we could then include the crowd and really make the viewer feel as if they were at the venue. For this move, the smoothness of the Osprey was essential.

I also like the fact that I can adjust the legs of the Osprey to narrow its footprint during transport, enabling access through small doorways; this helps with the rig and de-rig, which often take place through crowded backstage rat runs.

To sum up, the Vinten Osprey is an essential part of our camera equipment as our craft has evolved to new levels. Snooker, more than any other television broadcast, pushes the Osprey to its limits, and it delivers. 

More information is available at www.vinten.com.

BURY ST EDMUNDS, U.K.—Vinten, a provider of robotic camera support systems and a Videndum brand, has released v1.1 of its VEGA Control System Software, which now incorporates AI-driven Presenter Tracking in partnership with Seervision.

The VEGA Control System made its debut at the 2023 NAB Show, with v1.0 launching in the summer. This version elevated the control capabilities of the legacy Vinten HD-VRC Control System by introducing a dynamic interface and a modular software architecture. The hardware-agnostic architecture allows for seamless virtual deployment, Vinten said.

With the unveiling of VEGA Software v1.1, broadcasters can now integrate VEGA Presenter Tracking into their workflow. This feature is fully embedded in the VEGA Client Interface and familiar shot selection grid. VEGA Presenter Tracking integrates Vinten’s on-air motion quality and broadcast features with Seervision’s AI-driven talent tracking and reframing technology, creating an optimized system for studio environments.

The software employs robust talent identification to automatically frame each person on-screen and utilizes built-in artificial intelligence to predict future movements based on skeletal kinematics. Through this advanced technology, VEGA Presenter Tracking anticipates the probable next movements of on-air talent, executing smooth adjustments comparable to those made by a camera operator, according to the company.

“VEGA Presenter Tracking has been extensively trialed by leading broadcasters in EMEA and USA,” says Neil Garder, senior product manager, robotics. “The success of the tracking at those sites is leading to VEGA being used in productions that would previously be considered too unpredictable for robotic camera supports,” he continues. “We strongly believe that integrating the flexibility of robust talent tracking can advance the possibilities of production with studio robotics.”

VEGA Presenter Tracking is compatible with existing Vinten hardware. Broadcasters can update their robotic solution in a phased manner and introduce the latest control technology without upgrading all their studio equipment.

SAN FRANCISCO—CNBC’s new Steuart Tower studio in San Francisco may not be the biggest or most expensive studio revamp the network has ever taken on, but what it may lack in scale the 1 Market Studio makes up for in technical innovation, especially when it comes to minimizing latency, and appealing design.

“We launched a show a couple of months ago called ‘Tech Check,’ and being a tech show we felt we really had to have a real, legitimate presence out there [in San Francisco],” says Steve Fastook, senior vice president of operations and engineering at CNBC. 

The business-news cable network chose to expand its existing San Francisco bureau, originally built about a decade ago, transforming a rather simple Flash Studio into an attractive space taking full advantage of its seventh-floor view of the Bay Bridge and an appealing set design by John Casey Production Design. 

Lowering Latency
It’s the exception rather than the rule for a full production crew to run shows from 1 Market Studio. Rather, most of the network’s production assets and production control technology reside in Englewood Cliffs, N.J., at CNBC headquarters, says Fastook. So, reducing latency between the 1 Market Studio location and New Jersey was essential.

CNBC upgraded its bandwidth between the locations from 1Gb/s to 10Gb/s and installed Cisco IP video gateways supporting Hitless Merge and Evertz JPEG 2000 encoders and decoders. “We went from a roundtrip before we did the project of about a second and a half to now a roundtrip of a quarter of a second,” he says.

From a production point of view, the nearly non-existent latency brings a natural feel to the on-camera give and take between contributors. “[With] cross talks, you don’t even know they’re not in the same room. That’s huge for us because it’s natural conversation,” says Fastook. “What we wanted to be able to have was cross talks between anchors in New York, New Jersey and San Francisco.”

However, what happens on screen is only a part of the story. Off camera, the ultra-low latency means operators in Englewood Cliffs can control the three Vinten robotic heads supporting the new 4K-upgradeable Sony box cameras with Canon lenses at 1 Market Studio as if they were in the studio.  

“That’s sort of the theme we’ve been taking. If you’re doing a show and it’s coming from a particular location, you grab the cameras at that location and you can control them like you are there,” he explains. “With the connectivity being so upgraded, that control is fluid.”  

In a similar fashion, the low latency helps to enable CNBC to run audio remotely from Englewood Cliffs. CNBC installed Calrec audio boards and the Calrec RP1 remote-controlled processing engine. 

“If you acquire a microphone in Englewood Cliffs that’s out in the studio, it’s the same as acquiring a microphone in San Francisco. All of the mix-minus and everything else can be assigned and followed,” says Fastook, who notes the approach made it unnecessary to add another audio operator.

“Everything comes back homerun through this RP1. You could look at your board and see four inputs from the studio mics in New Jersey, two from the stock exchange, two from the NASDAQ and three from San Francisco, and it really makes no difference. That really enabled three- and four-party conversations to really be as real as possible.” 

The new studio’s lighting system, like the lighting systems in all CNBC remote locations, is controllable from Englewood Cliffs. Fastook relied on CNBC ENG crew members to design and install the setup, which consists of LED fixtures, including Rosco studio lighting and large Litepanels LED studio lights.

Using LED fixtures was important because Steuart Tower is an office building. “Our ceiling height is a little bit higher than normal office space, but there’s no great height, and the air conditioning is really designed for office space, so the LED lighting was critical,” says Fastook.

While remote operation is integral to the 1 Market Studio workflow, local robotic camera, lighting and audio control are also available when needed, he adds. 

The redesigned space also relies on an electronic shade system on every window. Used throughout the day and prominently featured during “TechCheck,” which premiered in April, the space is subjected to the sun as it traverses the sky. 

“The sun comes up in the corner of the building, and it sets on the other side of the building,” says Fastook, “and we’re on through the whole horizon of the day.” 

Working with Broadcast Blinds, CNBC installed electronic shades on every window—whether they’re fully behind scenery or partially blocked by scenery. As the sun moves, the ND filters used as shades can be dialed in and out depending on the time of day.

COVID And The Studio
Like so many other things in broadcasting and society at large, expanding 1 Market Studio was not immune to the effects of the COVID-19 pandemic. In the case of the studio, however, its impact was both positive and negative. 

Typically renovating the small bureau to a 2,500-square-foot remote studio complete with a custom set would have required Fastook and crew to restrict their work to overnights and long weekends, making sure the space was ready to use when the broadcast schedule resumed every day. That start-and-stop approach would have required two months to complete this studio upgrade. However, COVID changed the equation, he says.

“Because of COVID, the bureau had been closed. We were able to go in and do everything we needed to do, and the whole project was completed in over a little less than three weeks, including the set, which took at least a week,” he says.

However, the new studio was not exempt from supply chain problems—particularly chip shortages—that are plaguing the economy during this stage of the pandemic. While Fastook made his completion deadline for the project, the job was “pushed to the limit,” he says.

“It really was a little bit less about the broadcast equipment, and a little a little bit more about the traditional switch gear—mostly Cisco-type stuff—that really got hit by the chip shortage,” says Fastook, who attributes getting the job done on time to being in the queue for equipment “pretty early in the process,” ensuring a place near the front of the line when the crunch began to ease.

Engineering for the studio renovation, which Fastook estimates cost between $150,000 and $200,000, was done by CNBC engineers, and the actual work was completed by an implementation team from NBCU.

While production from the renovated space supports CNBC’s 1080i HD needs today, the three Sony box cameras selected for the studio are 4K-capable, preparing 1 Market Studio for the future.

“We’re getting to the point where the amortization of those cameras may fall into our 4K transition—although I don’t know what that is, we haven’t really decided,” says Fastook. “It’s really more driven by the desire for it to be 4K than the content. This isn’t sports—that’s a whole different thing.”

But as the rest of world adopts 4K, there will come a point where transitioning to 4K may be unavoidable. When that day comes, 1 Market Studio will be ready.

BURY ST EDMUNDS, U.K.—Vinten today introduced the FHR-155E robotic pan-and-tile head designed to support full-size broadcast cameras and lenses as remote-controlled robotic devices in outdoor locations.

Offering a maximum payload of 200 pounds, the FHR-155E delivers accurate, smooth and quiet camera movement outdoors due to its sophisticated software and mechanical engineering, the company said.

“As the latest addition to our popular FHR range of robotic heads, the FHR-155E shares a pedigree with long line of class-leading robotic pan and tilt heads from Vinten. This solution delivers broadcast quality production values to remote locations outside of a studio with outstanding protection from the environment,” said Neil Gardner, global product manager of robotics and automation. “Whether the environmental challenge is heat, cold, dust or rain, The FHR-155E consistently delivers the smooth camera and lens motion control necessary for high-quality broadcast output.” 

Designed to meet military specification for use in desert conditions, the FHR-155E can operate in temperatures ranging from 39F to 122F. The pan-and-tilt head offers a remote-controlled wiper. An optional jet wash is available, Vinten said.

The camera enclosure is pressurized to prevent dust from being drawn in, and an optional Cooler Module that is independently regulated by an internal thermostatic control to maintain optimum operating temperature is available, the company said.

The FHR-155E offers IP network connectivity for control via the Vinten HD-VRC control system. It has a pan range of 359 degrees and a title range of +/-30 degrees or +/-179 degrees with an extended cradle arm.

The robotic pan-and-tilt head is available today.

More information is available on the company’s website.

MONTREAL—Grass Valley’s certification program, the Grass Valley Technology Alliance, has added five new member companies to its ranks: EcoDigital, Haivision, Mark Roberts Motion Control (MRMC) and Vitec Group’s Vinten and Autoscript.

The GV Technology Alliance launched in April 2019 and has the goal of delivering benefits to customers, such as improved purchasing confidence and access to a wide range of systems that are interoperable with GV platforms and workflow components, according to the company.

The EcoDigital product that is now compatible with GV technology is the DIVA content storage management system and DIVA Software Suite. Haivision is adding its streaming solutions to GV’s live production gear. MRMC’s contributions focus on end-to-end solutions for the sports and broadcast industry. Vinten is offering its HD-VRC control system for robotic cameras to integrate with GV’s Ignite Automation Production Control platform, while Autoscript has teleprompting gear.

“As broadcast media companies strive to deliver the captivating content and high production values that consumers demand, we give our customers access to trusted solutions that are tested and configured to meet the demands of mission-critical production environments,” said Tim Shoulders, president of Grass Valley.

These five companies join previous GV Technology Alliance members ChyronHego, Frankly Media, Net Insight, RT Software and Telemetrics.

For more information, visit Grass Valley’s website. 

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. 

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

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.

LONDON—Robotic camera support system Vinten has announced its new compact robotic head, the Vinten Vantage. Designed for on-air movement, the Vantage enables moving preset shots, manual control and is camera and lens agnostic.

The Vantage is capable of supporting a range of cameras and both full-servo and manual lenses. Continuous variable speed control and full synchronization of any movement, as well as flexible mounting positioning are also key features. In addition, the Vantage currently works with HD-VRC control, with support for CP4 expected next year. Tally indication display and tracking data for VR and AR applications are also available.

Vinten plans to release the Vantage robotic camera head by the end of 2016.

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

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

Vinten is a Vitec Videocom brand.