3D convergence remote for AG-3DA1

The German accessories maker, Bebob, has developed a new remote controller to control the convergence setting on Panasonic's forthcoming AG-3DA1 integrated 3D camcorder.

The copa-3D is similar to a thumb-operated zoom or focus controller, and can be plugged direct into the camcorder and attached to the tripod panning arm, dolly or crane, up to a distance of 20m. It costs €499.

Related posts: 3Ality check for 3D camcorders and Hands on with the new AG-3DA1

Phantom power + wireless Tally

Brick House Video's new TallyHo! is a wireless on-air indicator that offers camera users reliable remote on-air indication in the field. Its base station has a direct interface to the local vision mixer and a set of camera hot shoe-mounted receiver modules, which give the operator and presenter a visible indication of on-air status.

TallyHo! can be adapted to work with almost any vision mixer, although it has been initially matched to Brick House Video’s Callisto vision mixers and the Sony Anycast system. 

“TallyHo! provides a reasonably-priced alternative to more complex and expensive systems,” explained Brick House MD, Julian Hiorns. “It stands alone in its ability to furnish wireless feedback to cameras; essential information that every operator in the field needs, but couldn’t access economically prior to TallyHo!”

Also new is Video Ghost, a phantom power module for use with both analogue and digital video feeds. It provides a nominal 12-volt auxiliary power for camera accessories using the existing video cable. Under certain conditions it can work up to 200m. For example, the system can be used to power a composite to SDI converter at the camera, thus avoiding the significant signal degradation suffered by composite video over such a length.

“Video Ghost is the video equivalent of phantom power for audio systems,” said Hiorns.  “We developed it to provide a set of affordable phantom power modules for use with both analogue and digital video feeds."

By David Fox

PAG L95e battery gets new mount

PAG has introduced a new version of its lower-cost broadcast battery, the PAG L95e, and a rack-mountable version of its latest high-power, simultaneous Cube charger.

The 95 Watt-hour Li-Ion L95e is a 14.8v 6.5Ah battery with a maximum continuous output current of seven amps. It has been designed as a low-cost replacement for the Anton/Bauer Dionic 90, so can be charged using any Anton/Bauer Li-Ion compatible charger.

PAG claims that the 760g L95e has "a better quality to price ratio than any other battery in this market" and guarantees the battery for 18 months. It features an electronic protection circuit that is itself protected from the results of damage to the cell pack. It has a five-LED capacity indicator display that will also provide an estimate of remaining camera run-time. As its capacity is below 100Whr, there is no restriction on the number of PAG L95e batteries that can be transported by air in hand luggage. The battery is also available in V-Mount and PAGlok formats.

The 1U high, half-width rack version of the Cube will simultaneously fast-charge Li-Ion batteries manufactured by PAG, Sony or IDX, via four V-Mount or PAGlok battery mounts that connect to the charger via its four XLR-4 outputs.

The four-channel charger features PAG’s Intelligent Parallel Charging software, which uses current efficiently for fast, fully automatic charging. The charger can supply approximately 100W (6 amps at 16.8v).

By David Fox

16mm film goes digital - wins award

P+S Technik won the recent Cinec Award for Camera Technology, for its 16Digital SR Mag that converts film cameras to digital.

The magazine is a direct replacement for a film mag, which can transform an Arri 16SR film camera into a new digital cinematography camera. It allows the camera to shoot at up to 60 frames per second in full HD.

It has a 2/3-inch CMOS sensor that outputs 1920x1080 video in 10-bit RAW and 4:2:2 HD, recording the CineForm format, with HD-SDI output. It offers multiple frame rate settings at 23.98, 24, 25, 29.97 and 30fps.

The Mag fits into an Arri SRIII just like a film magazine, making use of any 16mm PL-mount lenses and accessories, including the original optical viewfinder, and records to removable SSD storage.

"The migration from film to digital is an important challenge for our customers”, said Michael Erkelenz, Manager Digital Capture Business Unit, P+S Technik, who was one of those picking up the award. "No other camera model on the market gives you the freedom to shoot and capture Digital Film, High Definition and analogue film."

It effectively combines a traditional film way of working with a fast digital workflow, but because all the changes are non-destructive and completely reversible, users can simply fit a film magazine to switch back to 16mm.

The power supply of the 16Digital SR Magazine comes through the camera, so it doesn't need an external power supply.

It also offers convenient wireless operation via smart phones (such as the iPhone or BlackBerry) or laptops. It comes with PSRushes software that offers a complete workflow for digital dailies processing (quality control, media management and transcoding for RAW and HD workflows), which was jointly developed with Pomfort.

The Cinec Award is presented at the international film technology trade fair in Munich by the Bavarian Society for the Advancement of Film Technology (FGF), and awarded to innovative cine equipment developments.

By David Fox

Grass Valley cameras get connected

Grass Valley is opening up its cameras to external control, simplifying such functions as automating set-up changes and reporting diagnostics.

"The LDK Connect Gateway allows new network-based integration between cameras and switchers," explained Ray Baldock, Grass Valley's CTO (pictured). "It would allow a single control panel to be used with many cameras," which "can be accessed using simple XML scripts."

It works with any existing LDK camera that uses the C2IP control system – which Grass Valley has been using for several years to provide full camera control over Ethernet

The LDK Connect Gateway is powered by GV's new Fusion technology (allowing users to connect their Grass Valley products together, for tighter integration), which provides a portal to external Ethernet networks and the internet. To maintain security of the camera control system, the Gateway is an independent platform that can simultaneously access the C2IP camera control network and a public network.

Because it is XML based, systems integrators or broadcasters can write user-specific camera control applications. Routine interaction is through a remotely accessible GUI, which will make multiple camera set-ups faster and easier. The result is that other Grass Valley products and third-party systems will have secure access to camera control, which it claims will give users more efficient studio automation, increased productivity, and boost return on investment.

It will be available soon for $18,200/€14,000.

By David Fox

Ryder Cup biggest live 3D production

Today is the official start of Sky's 3D channel, which is being  marked by the biggest ever live 3D production - the 2010 Ryder Cup golf (rain in 3D interspersed with some occasional shots of wet golfers). Of course, the World Cup was a bigger event, but each live production was limited to a single stadium and no more than a few hours.

The Ryder Cup production is a collaboration between Sky, Telegenic (which has both of its 3D outside broadcast trucks operating in tandem for the first time), and Sony. Telegenic's T18 OB truck is being used for production, camera engineering, sound and slow motion replays, while the T19 OB truck deals with convergence and 3D engineering.

They are using 20 3D camera rigs at the Celtic Manor course, plus Sony’s new MPE-200 3Dbox converting some of the 2D studio feeds into live 3D, so that Sky can deliver more than 10 hours of 3D golf per day (at least during drier periods).

The rigs are fitted with Sony HDC-1500R cameras, and there are twelve 3ality Digital rigs, four Element Technica rigs, and four specially designed wireless 3D camera rigs from Presteigne Charter.

Because the course is the largest venue used for 3D, needing cabling to cover some 32km, with both fixed and moving cameras, Sony has had to develop additional technology. Specifically for this event it has built HDFA-200 optical fibre transmission adapters/combiners, which enable a pair of 3D cameras to send their signals down a single fibre, reducing the amount of fibre required and making rigging a little easier.

“The Ryder Cup production has created a whole set of new challenges for us, unlike football where the cameras are fixed, a lot more rigs are needed in order to cover vast amounts of ground. The HDFA-200 optical fibre adaptor has been revolutionary as it has enabled us to build a solution of this scale that otherwise would not have been possible," explained Mark Grinyer, 3D Sports Solutions Business Head, Sony Professional.

“All of what could be achieved in a 2D environment is now possible in 3D.  Over the last year 3D technology has been put through its paces and evolved to now deliver an end to end extraordinary experience for viewers, whether at home or in a pub,” added Darren Long, Director of Operations, Sky Sports.

Here's a couple of videos we shot with Sky's chief engineer, Chris Johns, who talked about its plans for 3D and the importance of technical standards for 3D production and the issue of 2D to 3D conversion. It has made its technical specification for PlanoStereocopic (3D) programme content available online at introducingsky3d.sky.com/​a/​bskyb-3d-tech-spec.


BSkyB prepares for its 3D launch from UrbanFox.TV on Vimeo.


Sky 3D - setting the standards from UrbanFox.TV on Vimeo.

Related post: Ryder Cup coverage to a tee

By David Fox.

Rotolight's Stealth approach to lights

Rotolight from UrbanFox.TV on Vimeo.

The Rotolight RL48-A Stealth ringlight started life last year as yet another mic-mounted LED light, although with a few nice touches, such as being rubberised for easier/quieter handling and having a circular filter holder that also protects against rain. It has since been added to, to create a neat little package that can be used on a hot-shoe mount or fixed to a light stand, and the colour adjusted with lots of different filters.

It uses 48 LEDs, is "dimmable" by over 1.5 stops (using included ND filters), can give accurate 6900K, 5600K, 4100K and 3200K light (again using the Lee Lighting filters), works for about three hours on one set of three AA batteries, and is reasonably inexpensive (£85.10 ex VAT / $125.00 / €105).

The addition of the Rotolight Stand (£29.99ex / $44.99 / €36.99) allows it to be mounted on hot shoes or tripods, and there is now a new Rotolight Interview Kit (£249.99ex / $375.00 / €305) that includes two RL48-A lights, two stands, a Colour FX Filter Kit (with ten filters), and a belt pouch to take them all (plus batteries, phone, etc.). We interviewed its MD, Rod Gammons, at IBC (video above), who demonstrated what it can do.

By David Fox

Ryder Cup coverage to a tee

Cablecam guys: Bush and Bradley with the Skytrac HD

When the Ryder Cup players walk from the clubhouse to the first tee as Europe take on America this weekend, they will be followed by a new, custom-designed cablecam system from Bradley Engineering.

The Skytrac HD has been built for Remote Solutions, whose owner, Stuart Bush, had been searching for a suitable cablecam system for years. He bought one, but it didn't work properly and he couldn't find a suitable replacement. "I couldn't buy anything that was fit for purpose," he explained. So, he went to Bradley with the problem. Then, when he won the contract for Sky Sport's Ryder Cup coverage, development had to be pushed ahead faster.

Bush is having three of the £235,000 systems built (two are still being completed), but he intends to sell one on and had several people wanting to buy it at IBC.

Skytrac HD in postion at Celtic Manor for the Ryder Cup coverage

The sleek, "racing car" design looks good in shot, which in the Ryder Cup case is an almost 200m run. "All the others just look functional. This looks nice. It's also waterproof as all the electronics are inside. It's designed for its purpose. It's incredibly strong," he said.

"It is a dual-cable system, which makes it inherently safe for flying over crowds," added its maker, David Bradley. The wheels are bonded to the body and can't come off the cables. The coated Kevlar cables are "incredibly smooth and silent," said Bush, and even if both did break, the 4mm drive cable is even stronger (with a breaking strain of several tonnes). The system weighs only 30kg, although at Celtic Manor the tension wires are tied to a three-ton concrete block at one end – the driver motor is at the other end.

The Skytrac is very good on power. There are two V-lock batteries, which give at least two hours use – it could be three or four hours, but they are changing them every two hours just in case. The driver motor can also be battery powered (48v) if mains isn't available.

It is fitted with Bradley's new Gyro 350 five-axis stabilised gimbal (Bush is only its second buyer – the other, Flycam, Australia, is using it for a similar system). "It had to be a gyro stabilised camera, and there's nothing else light enough that could be used, or nothing as good value," said Bush.

It houses a Panasonic AS-HE870 HD camera with Canon 20x lens. "The camera was the only one at the time with HD component output, and it only cost €10,000, and the lens is short, making the most of the physical space available. And the whole package is easily remotable," added Bradley. For the golf coverage a Link 1500 transmitter, supplied by Broadcast RF, has been installed. The aerials, and a microphone, are the only things on the outside.

By David Fox

Light-mounted wireless camera link

RF Central has unveiled a small, energy efficient wireless camera transmitter using MPEG-4 compression that can be mounted on a light.

The MicroLite HD COFDM transmitter is designed to fit on the back of a Litepanels Micro on-camera LED light (both companies are part of the Vitec group), to take up as little room on the camera as possible, although it can also be used separately.

The transmitter is integrated using a dedicated bracket that allows it and the light to be mounted in a camera hot shoe.  The package has been designed for use with any compact HD-SDI camera, most of which would need an additional bracket to be added to take a normal transmitter.

It takes HD-SDI/SDI or composite input. The MPEG H.264 transmitter uses a DVB-T compliant bit rate and may be used with any compliant receiver, such as RF Central's own MicroLite HD receiver, or other RF Central and Nucomm diversity receivers, when paired with an external MPEG-4 decoder. It uses H.264 main profile, which allows a 30% bit rate reduction over encoders operating at the baseline profile, or higher quality video at the same bit rate. In its standard configuration the delay is 200ms, but a low delay option will be available.

It operates in 6, 7 or 8MHz bandwidth for video and embedded audio, and the efficiency of MPEG-4 compression enables "very high quality HD in a very small transmission space," said a spokesperson.

Typical power consumption should be less than 12 Watts with a 12-volt power source.  The unit’s standard output power is 100mW, although it can also be operated in a 20mW low power mode, or up to 250mW. Range is dependent on terrain and the antenna selected by the customer. The unit is offered for use in 2GHz and 5.8GHz bands (other bands on request). The MicroLite HD should start shipping in October.

By David Fox

Elements combine for HD, 3D + Cine

Fujinon showed a host of new HD and 3D lenses at IBC, plus its range of recently introduced PL-mount digital cinema lenses.

Its HA14x4.5BERM/RD is a new high-end ENG-style wide-angle HD lens for 2/3-inch cameras, boasting the world's first 2.2x extender (taking the focal length from 9.9mm to 138mm). Ordinarily, the lens ranges from 4.5mm to 63mm. Features include: full remote control via RS-232; maximum relative aperture at 1:1.8 from 4.5mm to 41mm and 1:2.8 at 63mm; minimized geometric distortion and improved corner resolution and contrast.

The XA16sx8BRAM 2/3-inch lens is suited to news, corporate, and independent videos. It has a newly designed rear-focusing system that eliminates pumping, while new glass properties minimize colour fringing, and a new EBC optical coating improves transmission.

The new XA20sx8.5BRM 2/3-inch 20x zoom lens is a cost-efficient ENG telephoto aimed at corporate and budget production. It promises high-optical quality and fast, quiet, precise servo zoom and focus.

For 1/3-inch cameras, it has introduced two models: the XT17sx4.5BRM ENG-Style lens; and the XT20sx4.7BRM cost-efficient ENG-Style zoom. Half-inch cameras get the new XS20x6.3BRM.

Its 3D HD broadcast range includes five lenses for 2/3-inch cameras. The HA23x7.6BEZD-T5DD, HA18x7.6BEZD-T5DD, HAs18x7.6BZD-T5DD, HA16x6.3BEZD-T5DD and XA4x7.5BMD-D3L/D3R all work with its new synchronous zoom and focus control box (the HJ-303A-08A). The lenses are claimed to display extremely small centering tolerances in the optical axis over the entire zoom and focus range. The zoom function also works without any mechanical- backlash.

A Fujinon 18-85mm PL-mount lens attracts attention at IBC

Fujinon made its first PL-mount lens in 2006, as a test, but decided the market for prime cine lenses was too crowded. However, it noticed a gap in the market for zoom lenses, and has designed a range with shallow mounts that won't hit the shutter of any digital cameras.

It showed the 18-85mm/T2 (HK4.7x18) model at IBC 2009, and has now added a 14.5-45mm/T2 (HK3.1x14.5), a 24-180mm/T2.6 (HK7.5x24), and a 75-400mm/T2.8-T3.8 (HK5.3x75). They are made to order, and expensive, "but they have, we think, the best quality in the market at the moment," said Andreas Adler, Fujinon Europe''s general manager, optical division.

They are all colour-matched to the Zeiss primes and the Arri Alura lenses – Fujinon make the Alura for Arri, offering an 18-80mm/T2.6 and a 45-250mm/T2.6. Arri has sold more than 200 of the recently introduced Aluras so far.

EastEnders HD goes Fujinon

The BBC has bought Fujinon HD lenses from Pyser-SGI for its top-rated shout fest (soap), EastEnders, which has recently gone HD.

The order for 2/3-inch ENG style lenses was for two HA13x4.5BERD HD ENG wide-angle lenses, two HA22x7.3BERD HD ENG/EFP lenses, and 12 HA23x7.6BERD HD ENG telephoto lenses. The lenses included full servo kits and small, lower cost, shot boxes that have been specially designed by Fujinon for BBC Studios and Post Production. The new shot box is based on an earlier design ENG shot box, and is available to other customers too as the Fujinon ESB-24A-A01.

The ENG style lenses were chosen to allow crews to work in confined spaces and awkward areas, increasing production efficiency and programme flow on the Elstree set.

The HA13x4.5 lens offers a very wide-angle view for close-ups, while the HA23x7.6 combines good telephoto range plus wide angle.

By David Fox

PL-mount Cine-Xenar primes primed

Chrosziel is to sell the new Cine-Xenar lenses from Schneider-Kreuznach worldwide, and has developed a complete set of accessories for them.

It has put together a package that includes: the five prime PL-mount lenses (25mm/T2.2, 35mm/T2.1, and 50, 75 and 95mm T.20 versions), plus its LightWeight Support; MatteBox 456 Academy Double; Bellows with Light Prevention Tube; DSW Direct Swing-Away-System; Studio Rig Cine Single follow focus; and a transport-trolley case.

The package will cost €18,450 (compared to €21,375 for the individual items), and the case will also be able to take the upcoming 18mm T1.9 Cine-Xenar lens. There is also a version for the Canon EOS 7D HD DSLR, costing €18,560 – as it needs extra lens support to relieve pressure on the EF-S mount. Once properly aligned, the MatteBox and Follow Focus remain unchanged when switching lenses.

The Cine-Xenar lenses are claimed to offer "excellent picture quality" and use a telecentric design, which ensures even illumination across the entire sensor.  The lenses have 12, 14 or even 18 iris blades, for a "unique bokeh". All the features are "remarkable for this price,” claimed Chrosziel. Additional sets for Red cameras and the Arri Alexa were shown by Chrosziel at Cinec in Munich. For more information, there is a pdf datasheet to download.

By David Fox

Cartoni swings nodal head towards 3D

The "first specifically designed nodal pan and tilt professional support for 3D rigs" was launched by Cartoni at IBC.

The Lambda Twin 3D Head takes its versatile Lambda Nodal Head concept and applies it to 3D Rigs for stereoscopic parallel and beam splitter shooting styles. It can take full-sized HD cameras like the Alexa, Genesis, Red One, Epic, or F35.

It is essentially a double Lambda face-to-face, connected in the middle, featuring a U-shaped swinging platform suitable for under-slung shots supporting 3D Rigs up to 90kg, where it can allow 3D Rigs to be positioned all the way to the ground. Its design allows the optical plane to coincide with the rotation centre and the centre of gravity and it can both pan and tilt through a full 360°.
 

It has also introduced the new Airfloater (right), which can facilitate moving heavy cameras (up to 150Kg) to give realistic point-of-view style shots without putting the strain on a cameraman's back. It can simulate an active shoulder shot from a tripod or camera mount, and offers considerable freedom of movement as it can pan 360° and tilt 18° in any direction.

It has a variety of base attachments: Chapman/Whitworth bolt; four bore Vinten holes; 300mm Mitchell with castle nut; and has a quick-release base plate. It weighs 15kg and is nearly the same dimensions as a conventional fluid head (at 25cm high and 34cm wide).

By David Fox

On-camera HD WiFi video encoder

The Teradek Cube WiFi camera link is claimed to be "the first of its kind, a camera-mounted HD network video encoder."

It captures live video directly from the camera, encodes it using H.264 and streams it over WiFi or Ethernet (up to 1080 23.98/24/25p or 50/59.94/60i, 720 50/59.94/60p) using IP. Bit rates are selectable between 250Kbps and 10Mbps.

It uses very little power, only 2.5 Watts, and can be powered by any 12v camera battery. It comes in several versions, with or without WiFi, and with HDMI (particularly suitable for use with HD DSLRs, which typically only have HDMI output) or HD-SDI/SDI input, with prices ranging from $1,490 to $2,190.

It can be mounted to the tripod screw under small video cameras for handheld operation, between the base of the camera and the tripod or to a hot shoe or rail system. Control and video monitoring is via a web user interface, viewable on any browser.

It would be useful for remote monitoring on set, where users could see the camera feed on a laptop, mobile phone or iPad, or for wireless recording from remote mounts (including in-vehicle cameras) or Steadicam systems. Or it could be used for live news feeds from anywhere in range of a WiFi connection. However, delay is about one third of a second over WiFi so probably not suitable for interviews.

By David Fox

New heads show Vision + intelligence

Vinten launched three new tripod heads at IBC, including one suitable for lightweight camcorders and HD DSLRs, plus two models for outside broadcasts and live events.

Its new Vision Blue is a budget high-performance tripod head aimed at "the lightest of camcorders and DSLRs equipped for video", and "is designed to deliver all the quality and performance users have come to expect from a Vinten Vision head," incorporating infinitely adjustable, Perfect Balance and LF drag technology. This functionality was previously only available with its more expensive Vision 3AS and above. It can carry payloads between 2.1 - 5kg -we used one at IBC with a Canon XF305, and, as you'd expect with Vinten, it was very nice.

“All professional camera operators want the same things: smooth, perfectly balanced movement, fast set-up and security against unwanted movement; and a reliable product that will provide long service,” said Peter Harman, Vinten product manager. “That is true for all our customers, but up until now there has been a gap in the market for a broadcast quality tripod system that can genuinely balance the smaller, lightly accessorised camcorders that are so common today, without any compromise on creativity."

Its new Vector 750i (pictured) blurs the distinction between Vinten and its sister company, Vinten Radamec, bringing the sort of electronic intelligence associated with VR's studio robotics to the realm of outside broadcasts and live events. The 750i is Vinten's first encoded pantographic head, and was developed with OB customers, such as SportVision in the US and Telegenic in the UK. It has a new Intelligence Module allowing semi automatic set-up, slide plate tracking and kinematic compensation, to ensure stable and precise placement of virtual graphics into a live environment.

The Vector 430 is a compact head with a very wide payload range (from 10kg to 43kg), for productions or rental companies working with multiple camera set-ups who can now use a single head when two may have been required before. It is also available with an encoder output as the Vector 430i, which can have an optional inclinometer to measure any platform movement.

"These two new Vector heads have been developed to meet real user requirements, to give them the operational flexibility they need in the studio or out on the field, and seamlessly integrate virtual reality graphics into live production," said Harman.

By David Fox

Enter the Ninja – ProRes recorder

Atomos Ninja from UrbanFox.TV

A start-up Hong Kong/Australian company, Atomos, has launched a new hard drive based ProRes recorder that undercuts its rivals from AJA Video Systems and Convergent Design and also acts as a monitor.

The Ninja will cost €795, £695 or $995, including two hot-swappable hard drive caddies (you have to supply your own 2.5-inch 9.5mm-high laptop-sized hard drives – disk or solid state). A pack of five caddies for installing extra drives will cost about €25.

It has a dual battery system, using common Sony DV batteries (it comes with two MP570s offering 4.5hours of power). These are hot swappable, so when one depletes, it will switch to the second, and the first can be replaced.

It records 10-bit ProRes HQ at 220Mbps, 422 at 150Mbps or LT at 100Mbps in hardware, and Apple has checked that it is "bit-for-bit accurate" (and gave its approval) said Atomos CEO, Jeromy Young (pictured). It means that you can bypass the camera compression (on those cameras that have non-compressed HDMI outputs).

"We were trying to solve three problems: storage capacity, quality of recording and battery life," he said.

Users can edit off the hard drive, using a docking station that is included with the Ninja – it has FireWire 800, USB 2.0 and 3.0 and eSata connections. The recorder also comes with a carrying case.

It has LANC input/output for control plus a 4.3-inch touch screen. For audio, it has a mini-jack stereo input, or can record up to six channels of digital audio via HDMI (if the camera supports it), and a headphone jack. It has 1/4-inch mounts top and bottom.

It should be available early December, and further models are planned, including one with HD-SDI input.

[UPDATE: See our comprehensive Atomos Ninja Review]

Related posts: IBC update - cameras and recorders, Tiny nano3D recorder starts shipping, HD video recording in a nanoFlash, Ninja ships – disappoints DSLR users + Gemini twins record 4:4:4 and 3D

By David Fox