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  1. By a Nearly Unanimous Margin, IATSE Members in TV and Film Production Vote to Authorize a Nationwide Strike Results show 90 percent of eligible union voters cast ballots, with more than 98 percent of them in support of strike authorization.

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    Members of 36 local unions, representing 60,000 workers from across the country, grant approval for International Alliance of Theatrical Stage Employees (IATSE) International President Matthew Loeb to call the union’s first nationwide strike over quality-of-life issues.

    LOS ANGELES —The International Alliance of Theatrical Stage Employees announced today that 60,000 members who work in television and film production across the country have voted—by a nearly unanimous margin—to grant IATSE International President Matthew Loeb the authority to call a strike. This is the first time in IATSE’s 128-year history that members of the union have authorized a nationwide strike.

    “The members have spoken loud and clear,” said Loeb. “This vote is about the quality of life as well as the health and safety of those who work in the film and television industry. Our people have basic human needs like time for meal breaks, adequate sleep, and a weekend. For those at the bottom of the pay scale, they deserve nothing less than a living wage.”

    Beginning Oct 1 and concluding Oct. 3, at 11:59 p.m. E.S.T., 60,000 IATSE members who work on film and television productions received ballots and voted on whether to empower the international union’s president to call a strike.

    In the 13 West Coast local unions, where members work under the Basic Agreement, it was required that 75 percent of members voting in each local union approve the strike vote for that local union to authorize a strike. The same conditions applied to the 23 locals across the nation located in production hubs including Georgia, Louisiana, Illinois, and New Mexico operating under the Area Standards Agreement. That threshold was exceeded in all 36 local unions with none reporting less than 96 percent voting to authorize a strike.

    Overall voter turnout was 90 percent. Support for strike authorization was more than 98 percent nationwide. Online voting was conducted by election management services company Honest Ballot.

    “I hope that the studios will see and understand the resolve of our members,” Loeb said. “The ball is in their court. If they want to avoid a strike, they will return to the bargaining table and make us a reasonable offer.” Loeb informed the Alliance of Motion Picture and Television Producers (AMPTP) of the election results Monday morning, saying he “emphasized the need for the studios to adequately address the union’s core issues.”

    In an interview in last Thursday’s Los Angeles Times Loeb provided further information on what is required to reach a settlement.

    • Like 3
  2. https://variety.com/2021/film/news/iatse-strike-authorization-vote-1235069694/

    IATSE on Monday called for a strike authorization vote, after the Alliance of Motion Picture and Television Producers declined to respond to the union’s latest contract offer.

    The union’s 13 West Coast locals have been bargaining for several months on a new three-year agreement. The union is seeking to address long hours, with contract provisions that would include more rest breaks and longer “turnaround” times between production days.

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    “Today, the AMPTP informed the IATSE that they do not intend to respond to our comprehensive package proposal presented to them over a week ago,” the union told members. “This failure to continue negotiating can only be interpreted one way. They simply will not address the core issues we have repeatedly advocated for from the beginning. As a result, we will now proceed with a nationwide strike authorization vote to demonstrate our commitment to achieving the change that is long overdue in this industry.”

    In response, the AMPTP said that by pursuing the strike authorization, the union leadership had “walked away from a generous comprehensive package” that included “substantial improvements” in several areas. The full AMPTP statement is posted below.

    The vote, assuming it passes, would strengthen the hand of union negotiators, who are also seeking concessions on issues including pension and health care funding and new media.

    The real sticking point appears to be the “quality of life” issues raised by members who have grown exhausted with 14-hour production days and “Fraturdays” — workdays that begin on Friday and go until early Saturday morning.

    “What we work — it’s insane, it’s absolutely insane,” said Katie Sponseller, a production coordinator who said she has been working 60-hour weeks without a break between jobs to recharge. “I survive on caffeine and craft services.”

    The union expects to send an email to members on Oct. 1, asking them to vote electronically. The result of the vote would be announced on Oct. 4. That time frame allows for the union to educate its members about the vote.

    For each of the 13 locals, 75% of the voting members would have to vote “yes” in order for that union’s delegates to support the authorization. The vote would have to be approved by a majority of delegates across all locals.

    The 13 locals represent 60,000 members, including grips, hair stylists, makeup artists, boom operators, editors, and many other entertainment crafts. Locals 600, 700 and 800 — representing the camera operators, editors and art directors, respectively — are national unions, which means that if they go on strike, their members would walk off the job across the country. The other 10 unions are limited to the Los Angeles area.

    The three-year basic agreement expired on Sept. 10, but production has continued as negotiators continued to talk. An authorization vote does not mean that a strike is definitely in the offing, but the union is taking a more aggressive stance than it has in recent negotiations.

    The full AMPTP response:

    “The AMPTP put forth a deal-closing comprehensive proposal that meaningfully addresses the IATSE’s key bargaining issues. When we began negotiations with the IATSE months ago, we discussed the economic realities and the challenges facing the entertainment industry as we work to recover from the economic fallout from the COVID-19 pandemic. The IATSE came to the bargaining table with several priority initiatives including addressing its pension and health plan deficit, longer rest periods and meal breaks, wage increases and outsized minimum rate increases for specific job categories. The AMPTP listened and addressed many of the IATSE demands, including paying nearly $400 million pension and health plan deficit. The package includes substantial improvements in rest periods, increases in wages and benefits, increases in minimum rates for specific job categories and increases in minimum rates for New Media Productions. While neither party is getting everything it wanted this bargaining cycle, this package recognizes the crucial role IATSE crew members play as we continue to move our industry forward and provide employment for thousands of employees who work on productions.

    “In choosing to leave the bargaining table to seek a strike authorization vote, the IATSE leadership walked away from a generous comprehensive package. Key components include:
    · Economic package for all IATSE members consistent with agreements reached with other unions before the pandemic.
    · Improve minimum rates (on average 18% increase) on certain types of New Media productions.
    · The IATSE Pension and Health Plan is expected to have a deficit of $400 million over the next three years. In this proposal, the employers will cover the projected deficit of nearly $400 million without imposing premium payments for the no-cost single employee health coverage and without increasing the extremely low cost of dependent health coverage, deductibles, co-pays and co-insurance. Without this infusion of contributions, the reserve level in the Active Health Plan is projected to fall from 17.5 months as of the end of 2020 to 3.1 months as of the end of 2024, and the reserve level in the Retiree Health Plan is projected to fall from 14.4 months as of the end of 2020 to 2.1 months as of the end of 2024. Reserves are critical because they enabled the Directors of the Health Plan to continue coverage for thousands of participants during the pandemic without any additional cost.
    · Meaningful improvements in rest periods for those working on first season series television, for post-production personnel assigned to/employed on series television, pilots, feature films and distant location.
    · A considerable increase in minimum rates (increases ranging from 10% to 19%) for Assistant Production Office Coordinators, Art Department Coordinators, Writers’ Room Assistants and Script Coordinators.
    · Addition of Martin Luther King Jr. Day as a paid holiday.
    · Agreement on meaningful proposal to address diversity, equity and inclusion issues.”

    • Thanks 1
  3. Aussie gaffer Andrew Lock demonstrates common uses for nets using the Kupo net kit. This video is a great introduction to nets and flags for amateur filmmakers and even has a few bits of information that professionals might have not known. With today's dimmable LED fixtures you might think nets are a thing of the past, but Andrew shows how nets are still a vital part of controlling light on set.

     

    • Like 2
  4. RED Digital Cinema Launches Next Generation DSMC3 Camera System with New V-RAPTOR 8K VV

    RED DIGITAL CINEMA® unveiled the new V-RAPTORTM  8K VV camera today, launching its first entrant into the next generation DSMC3 platform. Building on RED’s bold dedication to advancing image quality, the camera is RED’s most powerful to date. It features the highest dynamic range, fastest cinema-quality sensor scan time, cleanest shadows, and highest frame rates of any camera in RED’s lineup. It is designed to provide unmatched performance for a variety of shooting scenarios.

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    Priced at $24,500, a white ST version of the camera is available today for purchase via RED.com or from any one of RED’s authorized premium dealers while supplies last. The black version will be available in larger quantities before the end of 2021. RED also announced a forthcoming XL camera body will be released in the first half of 2022. The XL will be ideally suited for studio configurations and high-end productions, based on feedback to the RED RANGER body style.

    V-RAPTOR features a multi-format 8K sensor (40.96mm x 21.60mm) with the ability to shoot 8K large format or 6K Super 35. Joining its predecessor, the MONSTRO 8K VV sensor, this unique in-camera option for impactful visual storytelling allows shooters to leverage any of their large format or S35 lenses with the push of a button and always deliver at over 4K resolution.  

    The V-RAPTOR far exceeds previous sensor capabilities, presenting users with the option to capture 8K full sensor at up to 120 frames per second (150fps at 2.4:1), 6K up to 160 fps (200fps at 2.4:1), and 2K (2.4:1) at an incredible 600 frames per second, while still capturing over 17 stops of dynamic range. 

    “V-RAPTOR is more than just its specs. It is a reflection of the ferocity of our team, who have spent the last two years forced apart. Through everything, we found a way to work together closer and better than ever before, fueled by the incredible passion and support of our community of filmmakers. V-RAPTOR takes an impressive array of silicon, seemingly from the future, and mashes it together with pieces of the heart and soul of every RED camera that has come before it.” — Jarred Land, President, RED Digital Cinema 

    V-RAPTOR, as with the other cameras in RED’s ecosystem, harnesses RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW and leveraging RED’s latest IPP2 workflow and color management tools.  

    This highly anticipated DSMC3 camera is built on a newly integrated and modernized form factor while featuring a robust professional I/O array that includes two 4K 12G-SDI outputs, XLR audio with phantom power capability via adapter, and built-in USB-C interface allowing for remote control, ethernet offload, and more. All features are packaged in a compact, rugged, water, and dust resistant design that measures 6 x 4.25 inches and just over 4 pounds. Other highlights include an RF lens mount with locking mechanism; wireless control and preview via Wi-Fi; phase detection autofocus; and a newly designed and easy-to-navigate integrated display, located on the side of the camera, which allows for comprehensive controls, including in-camera format selection, customized buttons, status updates, and more. 

    As with RED’s most recent camera, the RED KOMODO 6K, V-RAPTOR utilizes the updated and streamlined REDCODE® RAW settings (HQ, MQ, and LQ) to enhance the user experience with simplified format choices optimized for various shooting scenarios and needs.

    Additional features include data rates up to 800 MB/s using RED branded or other qualified CFexpress media cards; integrated micro v-mount battery plate; a 60mm fan for quieter and more stable heat management; and wireless connectivity via the free RED Control app, which is available now for iOS and Android devices.

    “We at RED are truly thrilled to finally show off V-RAPTOR to the filmmaking community around the globe. The fact that we are introducing yet another groundbreaking camera into the market is a testament to the hard work and dedication of all the employees across the board at RED. It is simply a part of our DNA to continue the brand's legacy of disrupting the industry and providing filmmakers with the most advanced tools possible to unleash their wildest creative ideas without ever compromising.” — Jamin Jannard  

    Also announced today from RED is a comprehensive array of first-party and co-designed accessories. The engineering team at RED worked closely with industry-leading partners such as SmallHD, Angelbird, Core SWX, and Creative Solutions to create and produce purpose-built products specifically to work with V-RAPTOR.

    Available accessories include:

    • DSMC3 RED® Touch 7” LCD monitor
    • V-RAPTOR™ Wing Grip
    • RED® PRO CFexpress 660GB and 1.3 TB (available soon) media cards
    • RED® CFexpress Card Reader
    • REDVOLT® MICRO-V Battery Pack
    • RED® Compact Dual V-Lock Charger
       

    RED is also launching a pre-bundled V-RAPTOR Starter Pack option that comes with:

    • DSMC3 RED® Touch 7” LCD
    • RED® PRO CFexpress 660GB Card
    • RED® CFexpress Card Reader
    • 2x REDVOLT® MICRO-V Battery Pack
    • RED® Compact Dual V-Lock Charger
    • 2x V-RAPTOR™ Wing Grips
    • EXT to T/C Cable
       

    Later in 2021, along with the launch of the black V-RAPTOR, an additional pre-bundled Production Pack option will be available. It will come with a robust accessory package that includes the DSMC3 RED Touch 7” LCD monitor, 2x RED Pro CFexpress 660GB Cards, RED CFexpress USB-C Card Reader, 4x RED Mini V-Lock 98Wh Batteries, RED V-Lock Charger, V-RAPTOR Tactical Top Plate with Battery Adapter; V-RAPTOR Expander Module; V-RAPTOR Top Handle; V-RAPTOR Quick Release Platform Pack; RED Production Grips; V-RAPTOR Side Ribs; and a DSMC3 RED® 5-Pin to Dual XLR Adaptor. 

    In addition, a RED® RF-PL Adapter with an electronic ND filter will soon be available via RED.com and authorized dealers.

    For more information on RED V-RAPTOR ST 8K VV, V-RAPTOR ST Starter pack, and available accessories, visit Red.com or  RED Premium Dealers. Customers can also visit any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products. 

    “We are excited to partner with our amazing Premium Dealers to bring this groundbreaking camera technology to market. V-RAPTOR joins KOMODO, RANGER and DSMC2 to create what we feel is the best and most versatile lineup of cinema cameras in the industry. We will continue to work with our Premium Dealers and all of our partners to provide the highest level of service to the global community of RED users.” — Tommy Rios, Executive Vice President, RED Digital Cinema

    More information on the availability of the black version of V-RAPTOR and the accompanying V-RAPTOR Starter and Production Packs, as well as the V-RAPTOR XL, will be available via RED.com soon.  
     

  5. FilmLight recently launched a new event honouring colourists and the art of colour worldwide, with winners due to be celebrated at EnergaCAMERIMAGE 2021 in Poland. The programme has met with spontaneous acclaim. Colourists, renowned cinematographers and directors, and other professionals from the imaging industry across the globe, all support the initiative.


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    The judging and awards are being organised with the co-operation of the ASC (American Society of Cinematographers), Imago (the International Federations of Cinematographers) and CSI (Colorist Society International).

    Roberto Schaefer (ASC AIC, Imago), said, “For years I have believed that as cinematographers we need to acknowledge that there is more to creating the best cinematography. The finished product is the work of many talented and artistic individuals who should be recognised in a wide, cross-departmental way. I hope that this will be a beginning.”

    FilmLight has unveiled the panel of industry luminaries who will evaluate the nominees. Renowned filmmakers and representatives of the film industry from all over the world accepted the invitation to participate. The applications sent by the colourists will be assessed by: Danny Cohen, Peter Doyle, Beatriz Pineda, Anthony Dod Mantle, Nicola Daley, Jet Omoshebi and Simon Astbury.

    Oscar and BAFTA-nominated cinematographer Danny Cohen brings a unique creative perspective. “How a cinematographer and a colourist work together on a film is key,” said Cohen. “There needs to be a sympathetic understanding of the project as so much hangs on the grading. For a colourist to be able to interpret what a DoP wants and then execute the look is vital.”

    Peter Doyle has formed long-term collaborations with DoPs such as Bruno Delbonnel, Seamus McGarvey and Philippe Rousselot, and directors such as Tim Burton, Joe Wright, Guy Ritchie and Peter Jackson. From using custom software to colour grade The Matrix in the ’90s, to commissioning the first of the DI grading packages for The Lord of the Rings in the early 2000s, Peter now works with PostWorks NYC, contributing to the design of a new unified colour ecosystem from rushes through to final deliverables.

    Beatriz Pineda is senior director, non-linear distribution and new technologies for HBO Latin America. She has helped companies such as HBO and Sony to optimise their media distribution pipelines, introducing innovative products in a highly demanding industry.

    The Oscar and BAFTA-winning cinematographer for Slumdog Millionaire, Anthony Dod Mantle, is known for his collaboration with iconic directors such as Danny Boyle, Lars von Trier, Ron Howard, Oliver Stone, Thomas Vinterberg and Kevin MacDonald.


    Nicola Daley is a world-renowned Australian cinematographer who has shot documentaries everywhere from Iraq to North Korea, and who now focuses on drama and commercials.

    Joining the judging as well is multi award-winning senior colourist Jet Omoshebi from Goldcrest Post Production Facilities in London. Collaborating with highly regarded DoPs, directors and agencies, Jet has contributed to acclaimed TV dramas and feature films in recent years, including Fortitude, Rellik, The Night Manager, The Witcher and The Terror.

    The panel also includes Simon Astbury, managing director at Juice in Shanghai. Starting as a rushes colourist for classic films such as Notting Hill and Shakespeare in Love, he has worked with industry legends such as Jack Cardiff and Baz Luhrmann. Astbury commented, “Colourists have long toiled in the gloom, bringing their unique brand of magic to film and TV screens in relative anonymity. I’m hugely looking forward to being a member of the jury for these awards, bringing colourists and their amazing work blinking into the daylight.”

    Zak Tucker, Co-Founder and CEO and President of Harbor, also supports the awards programme. “The individual skills, passion and talent of colourists contribute greatly to the stories we see on our screens today. At Harbor, our colourists are dedicated to finding that something extra to elevate the image to the sublime. For that reason I’ll always support the recognition and celebration of their talent.”

    Wolfgang Lempp, CEO of FilmLight said, “We conceived the idea of the Colour Awards because we wanted to emphasise the creative and collaborative role of the colourist in the whole industry, and this is boosted by the support we are receiving from the three leading professional bodies.

    “I’m sure that having both colourists and cinematographers, artists and technologists on the judging panel will spark some lively debates,” Lempp added. “I look forward to seeing the results of their deliberations, and honouring the best work.”

    While FilmLight is sponsoring and organising the Colour Awards 2021, users of any grading technology are welcome to enter, as are colourists from the largest post facilities to home set-ups. The only criterion for success is that the technology should be used to create visually stimulating and satisfying imagery.

    Colourists or their sponsors still have time to enter the awards at https://filmlight.awardcore.com. Nominations will close on 15 September, with a shortlist announced in October and the winners revealed in November.

  6. Canon's XF605 professional camcorder comes equipped with a 1.0-inch CMOS sensor and the ability to record 4K/60p/4:2:2/10-bit/HDR video to dual on-board SD card slots. Equipped with Canon’s renowned Dual Pixel CMOS AF, the XF605 achieves high-speed and high-accuracy focusing, and is the first XF-series model to include Eye Detection AF, as well as improved face and head detection, enabling more accurate and stable tracking of subjects. The new camcorder also includes new video transmission functionality, making it an ideal tool for broadcast journalists.

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    The XF605 Professional Camcorder is the next-generation XF-series camera providing excellent mobility, connectivity, and superb 4K UHD HDR image quality. Equipped with Canon’s renowned Dual Pixel CMOS AF, the XF605 achieves high-speed and high-accuracy focusing, and is the first XF-series model to include Eye Detection AF, as well as iTR AF X technology for improved face and head detection for more accurate and stable tracking of subjects.

    The XF605 features a 4K L-series 15x Optical Zoom lens with 3-ring manual control. XF605 can shoot 10-bit 4:2:2 4K UHD footage in XF-AVC and MP4 formats to dual SD cards for easy post-production and quick delivery. It features multiple recording modes including Frame, Interval, and Slow and Fast motion up to 120fps in FHD.

    An ideal tool for news gathering, XF605 features a new CTM (Content Transfer Mobile) iPhone application which allows for proxy footage, audio, and metadata to be exchanged between a newsroom server through the phone connection in the field and integrates into newsroom assignment planning software.

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    The XF605 features a Multi-Function Shoe that is compatible with a new XLR microphone adapter (developed by TEAC Corporation) for increasing the total number of XLR inputs to 4, providing a flexible audio recording workflow.

    The camera features built-in Wi-Fi/Ethernet for Browser Remote, CTM (Content Transfer Mobile) app, IP streaming, and FTP transfer. The camera is also the first XF-series camera to feature USB Video Class allowing use as a webcam without the need for a 3rd Party HDMI to USB adapter. 

    $4500 at B&H        Canon.com

     

     

    XF-AVC
    Compression: MPEG-4 AVC/H.264
    Color Sampling: 4:2:2 10-bit
    File Format: MXF
    Recording Modes:
    ■ Resolution: 3840x2160 (YCC422 10-bit)
    260 Mbps Long GOP (59.94P/50.00P)
    410 Mbps Intra-frame (29.97P/25.00P/23.98P)
    160 Mbps Long GOP (29.97P/25.00P/23.98P)
    ■ Resolution: 1920x1080 (YCC422 10-bit)
    310 Mbps Intra-frame (59.94P/50.00P)
    160 Mbps Intra-frame (29.97P/25.00P/23.98P/59.94i/50.00i)
    50 Mbps Long GOP (59.94P/50.00P/29.97P/25.00P/23.98P/59.94i/50.00i)
    ■ Resolution: 1280x720 (YCC422 10-bit)

    MP4
    Compression:
    MP4 (HEVC): H.265/HEVC
    MP4 (H.264): MPEG-4 AVC/H.264
    Color Sampling:
    MP4 (HEVC): YCC422 10-bit/YCC420 10-bit
    MP4 (H.264): YCC420 8-bit
    File Format: MP4
    Recording Modes:
    ■ Resolution: 3840x2160 (YCC422 10-bit)
    225 Mbps (59.94P/50.00P) / 135 Mbps (29.97P/25.00P/23.98P)
    ■ Resolution: 1920x1080 (YCC422 10-bit)
    50 Mbps (59.94P/50.00P/29.97P/25.00P/23.98P)
    ■ Resolution: 1280x720 (YCC422 10-bit)
    12 Mbps (59.94P/50.00P)
    ■ Resolution: 3840x2160 (YCC420 10-bit)
    170 Mbps (59.94P/50.00P) / 100 Mbps (29.97P/25.00P/23.98P)
    ■ Resolution: 1920x1080 (YCC420 10-bit)
    35 Mbps (59.94P/50.00P/29.97P/25.00P/23.98P)
    ■ Resolution: 1280x720 (YCC420 10-bit)
    9 Mbps (59.94P/50.00P)
    (2) MP4 (H.264): (YCC420 8-bit)
    ■ Resolution: 3840x2160
    150 Mbps (59.94P/50.00P/29.97P/25.00P/23.98P)
    ■ Resolution: 1920x1080
    35 Mbps (59.94P/50.00P/29.97P/25.00P/23.98P)
    ■ Resolution: 1280x720
    8 Mbps (59.94P/50.00P)

  7. The LS 600x Pro boasts an expanded bi-color range fo 2700K~6500K while still being able maintain an impressive output. Equipped with its native Hyper-Reflector, the 600x Pro can output 5,610 lux at 3 meters (10 feet). With the F10 Fresnel modifier, the combination can reach an illuminance of 18,5100 lux at 3 meters in 15° spot.

    https://www.aputure.com/products/ls-600x-pro/

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    Similar to the LS 300x, the 600x Pro utilizes Aputure-designed color-blending optics that combines its bi-color chipset into a single cohesive light source, allowing it to be used with optical lens modifiers such as the F10 Fresnel and Spotlight Mount.

    Every aspect of the LS 600x Pro was designed with professionals in mind, with incredible output, a weather-resistant construction, a wide variety of power options, and professional level lighting controls, including Sidus Link, Art-net, and Wireless DMX. This is the LS 600d Pro, and it’s ready to blow away traditional lighting.

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    The LS 600x Pro joins the professional Light Storm series featuring enhanced, stepless dimming, as well as light control in 0.1% increments, ensuring that you get the exact amount of light that you need.

    The LS 600x Pro features two output modes: Max Output and Constant Output mode. In Constant Output mode, the luminance level remains uniform while changing the CCT output. Max Output mode will always maximize the output for the chosen CCT and dimming level.

    In addition to its responsive on-board controls, 2.4G remote, DMX512 5-Pin XLR In and Out, and Sidus Link® app compatibility, the LS 600x Pro is the first-ever Aputure light to simultaneously support sACN, ArtNet, and LumenRadio CRMX compatibility.

    Sidus Mesh integration allows users to control the 600x Pro from nearly any smartphone or tablet with the Sidus Link mobile app up to 400 meters away with the addition of other fixtures, including the Aputure LS C300d II, LS 300x, Accent B7c, MC, and Nova P300c.

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    With exceptional color accuracy measurements of CRI&TLCI≥96, CQS≥95, and SSI scores of (D56): 74, (Tungsten): 85, the 600x Pro provides consistently accurate light quality for all filmmakers, upholding a color temperature standard of 2700K~6500K.

    Like the LS 600d Pro, when plugged into AC power, the LS 600x Pro doubles as a high-intensity bi-color fixture and a supplementary charger for V-Mount & Gold Mount batteries, making it a useful addition to any filmmaker's toolkit.

    The LS 600x Pro can utilize 9 different built-in light effects: "Paparazzi", "Fireworks", "Lightning", "Faulty Bulb", "TV", "Pulsing", "Strobe", "Explosion", & "Fire". The 600x Pro is also compatible with the SidusPro FX ecosystem.

    Continuing Aputure’s philosophy of modular lighting control, the LS 600x Pro’s Bowens Mount makes it compatible with Aputure’s lighting modifiers like the F10 Fresnel, Light Dome II, Spotlight Mount, and Lantern 90, but also third-party accessories from companies like DoPchoice and Chimera Lighting.

    The LS 600x Pro features a detailed LCD screen interface that, including a revamped professional UI that displays important information in an intuitive way, including easy-to-read intensity and color information.

    CCT 2700K~6500K
    Power Consumption ≤720W
    Operating Current 8A
    Operating Voltage (Power Supply) 100V~240V, 50Hz/60Hz
    Operating Voltage (Battery): V-Mount / Gold Mount (Two Batteries) Half Output 12.5V-16.8V (14.4/15A) 22V-33.6V (26V/8.5A, 28.8V/7.5A)
    Operating Voltage (Battery): Voltage V-Mount / Gold Mount (Two Batteries) Full Output 22V-33.6V (26V/18A, 28.8V/16A)
    Operating Voltage (3-Pin XLR [48V DC]) 48V/15A
    Battery Charging (Voltage) 16.8V/29.4V
    Battery Charging (Amperage) 3A
    Control Methods On-board, 2.4GHz, Sidus Link (Sidus MeshTM), 5-Pin DMX512, Art-net, LumenRadio
    Wireless Operating Range (2.4GHz) ≤100m
    Wireless Operating Range (Bluetooth) ≤80m
    Wireless Operating Range (LumenRadio) ≤100m
    Screen Type Adaptive Brightness LCD
    Firmware Upgradeable USB (FAT16/FAT32), Sidus Link OTA
    Cooling Method Active Cooling
    Weatherproofing Dust & Water Resistant
    Cable Type: Max Head Cable Length 7.5m
    Cable Type: Power Cable Neutrik® powerCON TRUE1 TOP AC Power Cable (6m)
    Accessory Mount Bowens Mount
    Mounting 16mm / 28mm | 5/8in (Baby Pin) / 1.125in (Junior Pin)
  8. ARRI has announced the release of its latest innovation—ARRI LightNet. ARRI LightNet is a unique new software platform designed by ARRI’s Solutions Group to offer smart, logical, and at-a-glance centralized monitoring, fault-finding, and management of broadcast studio lighting networks from anywhere.  https://www.arri.com/en/solutions/broadcast/lightnet

    This intelligent and innovative tool enables broadcast facilities to streamline the management of their lighting network in one robust platform. As remote, decentralized, and socially distanced working becomes more popular and established, ARRI LightNet leads the way for essential, comprehensive, user-friendly monitoring of lighting networks and will be offered with all ARRI Solutions Group tenders and projects.

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    Multi-user Interface 

    This trailblazing product observes and shows all elements across a broadcast studio lighting network—luminaires, consoles, network switches, splitters, nodes, etc.—displaying all the relevant data in real-time on a single interface. This allows for users and technicians to work harmoniously in parallel while accessing and managing different aspects of the network.

    Easy Setup & Operation 

    New and ground-breaking in the world of broadcast and installation technology, ARRI LightNet has been developed as a powerful, visually intuitive, and flexible tool to assist the smooth and efficient operation of contemporary studio facilities with both IP-based and DMX-controlled lighting systems. Features include a very straightforward setup with a coherent, easy-to-understand dashboard to help maintain the status, security, and stability of these lighting systems. All devices on the network will be auto detected for speed and accuracy of setup, saving time and hassle. Accessibility is integral to the system architecture design. ARRI LightNet is an essential resource that can be operated and understood by those who are not necessarily lighting specialists.

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    Separate Front/Back Ends 

    As ARRI LightNet is compatible with the hardware of multiple manufacturers and established lighting protocols, it can be retrofitted into existing facilities and lighting eco-systems as easily as it can be specified for new builds. The central/decentral server infrastructure at the core of the product offers separate front and back ends, which enable this great flexibility. The system’s central back end can offer full redundancy and run on any performance machine, including virtual servers, which can be located anywhere and connected to the network. At the same time, the front end is accessed via a range of readily available standard tools like tablets and laptops.

    Attractive Graphical Interface

    Additional front-end features include the attractive graphical interface with a clear and accurate overview of all status monitoring data, plus the quick and easy identification, location, and rectification of faults or glitches. Furthermore, the interface can be questioned to reveal any and all useful information needed for a day-to-day operation like the IP and DMX addressing of fixtures or the modes in which they are set, etc., and devices can be grouped by the rooms to structure them as per individual need. 

    Accessible from Anywhere 

    ARRI LightNet is widely adaptable for all environments. The user interface can be run simultaneously on various client devices (the tablets, laptops mentioned above) which can be based locally in the studio or production control rooms, or much further away, and even in or out of the studio complex via a VPN. This dual local/remote access from anywhere helps maximize the efficiency of technicians working in busy studio environments where time and technology are always critical.

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    Central Monitoring Integration 

    ARRI LightNet can also be integrated into external central monitoring systems such as Zabbix or Prometheus via an external API (application programming interface) which hands over all the collected lighting network data. Seamless workflow integration between systems is therefore practical and achievable.

  9. Meet the Gaffer's Luke Seerveld compares the diffused light quality and output from the ARRI M18, K5600 Joker 800 and a couple of Aputure 600d Pro's using 1/2-grid diffusion through a frame and an Octabank.

    Don't forget to show some love in the YouTube comments.

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  10. Canon's $5500 EOS C70 is in stock at B&H and available with 24-month 0% financing.

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    Incorporating key Cinema EOS video tools in a mirrorless- style body, the Canon EOS C70 Cinema Camera features a Super35 DGO (Dual Gain Output) sensor for capturing nuanced images with up to 16+ stops of high dynamic range. The innovative DGO system combines two separate gain readings for each photodiode on the sensor, emphasizing saturation in bright areas of your image and lowering noise in darker areas. Video resolutions include DCI 4K capture at rates ranging from 23.98 to 60 fps, plus high-speed options up to 120 fps in UHD 4K and 180 fps in cropped 2K.

  11. The Summer 2021 Edition of SOC Magazine is available now online.

    Camera operator Bob Gorelick SOC shares what it was like to shoot Lovecraft Country, an American horror drama television series. Starring Jurnee Smollett and Jonathan Majors, the series is about Atticus Black, who travels across the segregated 1950s United States in search of his missing father, learning of dark secrets plaguing a town on which famous horror writer H. P. Lovecraft supposedly based the location of many of his fictional tales.

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    Read the full story at https://issuu.com/cameraoperators/docs/co-summer-2021-final/12

    Camera Operator magazine, published quarterly by the SOC, features engaging and informative articles written by operators for operators focusing on the art and craft of the camera operator.  It covers behind-the-scenes experiences of top television and feature film camera operators and their relationship to others on the production team, as well as on set etiquette and advice, technical how-tos, profiles of members, and reviews and discussion of tools and technologies relevant to the profession of the operator.

     

     

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