An interview from the 2014 Cine Gear LA Expo at Paramount Studios with Tom Guilmette on behalf of Kessler Crane. Kessler is an industry leading manufacturer of innovative tools for filmmakers including: camera cranes and jibs, camera motion control systems, camera sliders and dollies, tripods and heads and other camera mounting and grip accessories. In this interview Tom talks with us about the Kessler line of jibs & sliders, including the Kessler Parallax, UniDrive, CineDrive and the Pocket Jib.
The Kessler Parallax system provides automatic panning and fixed-point shooting capabilities to the Kessler line of sliders. Previously only capable with motorized panning devices, Kessler Parallax accomplishes inward and outward panning shots, providing users a second axis to their linear movements. The Kessler Parallax’s non-intrusive design allows users to choose between automatic panning or standard linear sliding without removing the Parallax bar.
The Pocket Jib Traveler is Kessler's newest and most compact Pocket Jib designed for shooters that require an ultra-portable jib solution. The Pocket Jib Traveler is 27 inches in length when collapsed and has a circular travel distance of 72 inches when fully extended. It surpasses other ultra-portable jibs through is unique design and light footprint, providing shooters with the perfect travel companion as they trek through extreme environments to capture the perfect shot.
UniDrive is a 3-axis, digital closed loop servo motion control system that provides the precision and accuracy of Kessler’s full-featured multi-axis and multi-keyframe digital motion control system CineDrive at an analog price. Featuring 100% repeatable motion control for live-mode, looping, time-lapse and stop-motion applications.
Kessler CineDrive is a revolutionary multi-axis camera motion control system that puts the emphasis on filmmaker creativity. Never before has any one system provided the power and versatility required to give users multi-axis control that is configurable enough to meet the needs of filmmakers in the studio and in the field as elegantly as CineDrive does.
For more information about Kessler Cranes and all of their products please visit: KesslerCrane.com
An interview from the 2014 Cine Gear LA Expo at Paramount Studios with Tom Howie of Glidecam Industries. Glidecam Industries offers a wide variety of camera stabilizers (camera stabilization systems) for use with motion picture cameras, video cameras, action cameras and cellphones. These hand-held and body-mounted camera stabilizers create super smooth shots, and allow the operator to walk, run, go up and down stairs, shoot from moving vehicles, and travel over uneven terrain without any camera instability or shake. In this interview Tom talks with us about a few Glidecam products including the HD 2000, the X-20 & X-30 Full Body Stabilization Unit, and the VistaTrack 10-48 Slider.
The Glidecam X System works by isolating your body's motion from your camera, while your camera is balanced in a relatively motionless and isolated state. The Support Arm can be boomed up and down, as well as pivoted in and out, and side-to-side. By combining low friction booming and the pivoting action of the Support Arm, which isolates your body’s motions from the camera, you are immediately enabled to create super smooth moving camera footage. These full body mounted units are offered in multiple varieties to support a wide range of camera weight classes.
The Glidecam X-20 is a professional body-mounted camera stabilization system designed for cameras weighing from 10 to 20 pounds. The Glidecam X-20 system incorporates advanced engineering and precision machining, making it the most sophisticated system in it's price range.
The Glidecam X-30 is a highly advanced, professional camera stabilization system designed for film and video cameras weighing from 15 to 30 pounds. The X-30 System incorporates advanced engineering and precision machining, making it the most sophisticated and versatile system in its price range.
The Glidecam HD-2000 features an offset, foam cushioned, Handle Grip which is attached to a free floating, three axis Gimbal. This allows your hand to move up and down, and side-to-side, thereby isolating your hand’s unwanted motions from the camera. This up and down movement alleviates the bouncing, pogo type action often associated with competitor systems because their handle cannot move up and down. This design feature, coupled with the overall higher inertia of the HD-Series systems, produces superior stabilization performance.
The Glidecam VistaTrack 10-48 is a combined, miniature Linear Track and Dolly System. The 10-48 slider can be used with cameras weighing up to 10 pounds when attached to a single tripod or when using it's integrated adjustable legs. Additionally, for added stability it can be configured for use with cameras weighing up to 30 pounds when attached to two tripods. The VistaTrack 10-48 has a 48" long track, and is also available in 24" and 36" lengths. The VistaTrack 10-36 has a 36" long track, and the VistaTrack 10-24 has a 24" long track
An interview from the 2014 Cine Gear LA Expo at Paramount Studios with Jon Miller of Hive Lighting. Hive Lighting manufactures high quality lights engineered to be durable, lightweight and foolproof. They use 50% to 90% less energy than conventional studio fixtures. Their simple, rugged design makes them suitable for all types of production, whether on stages, studios or at remote locations. In this interview Jon talks with us about the latest advancements in technology across their full line, the Hive Daylight Dial. This feature offers fully tunable color temperatures (Kelvin) from 4600K – 7000K without any green/magenta shift. As well as the ability to shift all the way to a deep blue moonlight. The Daylight Dial allows the user to track the natural shift of the Sun over the course of a day and warm or cool a scene creatively without the use of gels.
The Killer Plasma Maxi is a completely unique fixture. It uses Hive’s Wasp Plasma Par optics but combines two lights in one housing, making it the most versatile in Hive’s line. A single Killer can be used as a double Par, giving you 2X more light. It’s as bright as a 1.2K HMI, but only draws 540 watts. Two individual Killer units can be combined using a frame to make 2×2 arrays. Another unique feature is the ability to individually tune each lamps color temperature using the Daylight Dial, giving you maximum flexibility for the most creative of shots.
For more information about Hive Lighting and all of its products please visit: HiveLighting.com
An interview from the 2014 Cine Gear LA Expo at Paramount Studios with Peter Crithary of Sony Electronics. In this interview Peter talks with us about a range of 4K compatible products and their technologies. These products include the FS700 Camcorder paired with Convergent Design's Odyssey 7Q Recorder, the F5 Camcorder, the F55 Camcorder, Professional & Consumer Displays, and the newly announced A7S.
Recently Convergent Design has partnered with Sony to provide a Odyssey7Q with the Sony FS700 Raw Option, which allows you to maximize performance from your FS700. The Odyssey7Q includes compressed HD and uncompressed recording support, so when you add the $795 Sony FS700 Raw Option, you are gaining 4K YCC 10-Bit Compressed up to 60fps, 2K Raw 12-Bit up to 240fps (CinemaDNG), HD YCC 422 10-Bit Compressed up to 60fps & RGB 444 12-Bit Compressed up to 60fps.
The Sony F5 Camcorder, shoots glorious 16-bit 4K and 2K RAW recording using the outboard AXS-R5 recorder and produces super-sampled pictures with noticeably higher contrast, rich color reproduction and greater clarity. The F5 offers robust internal recording modes, all with vibrant 4:2:2 color. Irresistible options include the amazing precision of 16-bit linear RAW 2K/4K recording and high speed 2K RAW at up to 240 fps without cropping.
The Sony F55 Camcorder is Sony's solution for the Cinema & Live Television Broadcasting mixed shooter crowds. It shoots onboard 4K—and also 2K/HD. It has a Super 35mm sensor—and also offers Center Scan mode to shoot with 16mm PL lenses or with 2/3-inch lenses via B4 adaptor, sold separately. Additionally, a powerful new accessory for the F55 is Sony’s shoulder-mount dock, sold separately. Conversion is as easy as just sliding the camera into the dock and suddenly you’ve got the familiar ergonomics of a 2/3-inch camcorder, which puts the controls and connections in the right spots for shoulder mounted shooting. Using the combination of the shoulder-mount dock, the B4 lens adapter and Center Scan Mode, you can replicate the angle of view, depth of field, and operability of a conventional 2/3 camera! The system even supports auto iris and power zoom.
The Sony Alpha a7S Mirrorless Digital Camera features a full-frame 12.2MP Exmor CMOS sensor and BIONZ X image processor to enable notable video and still image quality with an expansive dynamic range, low noise, and extended sensitivity to ISO 409600.Beyond its still image performance, the a7S is also quite adept in regard to recording video. It is able to output uncompressed 4:2:2 UHD 4K video to an optional external recorder over HDMI, as well as record full HD 1080p video in the high-quality XAVC S format at 50 Mbps in multiple frame rates. Extending the video recording capabilities is support for S-Log2 gamma, which helps to expand the effective dynamic range during recording, as well as picture profile options, time code, and zebra marker display aids. Sound can be recorded in the AAC/Linear PCM format via the internal stereo microphone, with a built-in headphone jack for on-board monitoring, or via an external microphone.
An interview from the 2014 Cine Gear Expo in Los Angeles at Paramount Studios with Kendall Eckman. Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries.
In this interview Kendall talks with us about the latest version of Blackmagic Design's color corrector, DaVinci Resolve. DaVinci Resolve 11 combines the world’s most advanced color corrector with professional multi track editing, so now you can edit, color correct, finish and deliver all from one system. Davinci Resolve is also completely scalable and resolution independent so it can be used on set, in a small studio or better yet integrated into the largest Hollywood production pipeline.
One of the biggest advancements for Resolve 11 is that it now includes over 70 new editing features and an intuitive collaborative workflow that lets multiple people work together on the same timeline at the same time. This means it lets an editor and multiple colorists on different workstations share the same timeline and work in tandem as they complete shots. For example, a colorist could be pulling a key or tracking windows while another colorist fine tunes grades that are immediately updated as the editor edits. The all new DaVinci Resolve collaborative workflow lets your creative team break down a large job into parts they can each work on separately.