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Found 5 results

  1. LOS ANGELES (September 8, 2015) - Vitec Videocom's Creative Solutions unit today announced it has opened a showroom in Los Angeles to allow industry professionals hands-on experience with products from Paralinx, SmallHD, and Teradek brands. The focus of this new showroom - dubbed Creative Solutions Los Angeles (CSLA) - will be to outfit, educate, and support customers looking for assistance to configure their rigs and learn more about the ways emerging technology can boost their effectiveness on set. Additionally, the CSLA showroom will feature a wide array of products from the Vitec Group's arsenal of film equipment brands. Trying to configure your camera as a handheld rig providing real-time wireless monitoring while simultaneously streaming to the web? The knowledgeable staff at CSLA is available to show you all the various options and inform you of the best gear for the job. The CSLA showroom is housed in the fully re-designed former Paralinx facility located near the I-5 and 134 freeways, at 5329 West San Fernando Road, Los Angeles, CA 90039. In addition to providing expert advice and support, the CSLA location will host a series of educational workshops focusing on different technical aspects of content creation. "The Paralinx team has always prided itself on being deeply embedded in the LA film production community and this new effort--in coordination with the talented teams at Teradek and SmallHD--affirms our dedication to direct interaction with content creators in the busiest production hub on Earth," said Greg Smokler, Co-Founder of Paralinx and General Manager of CSLA. CSLA will be open 9 a.m. to 5 p.m., from Monday through Friday, and invites all interested industry folk to stop by for a look anytime. All those curious to see which new products are being launched from Paralinx, SmallHD, and Teradek at the IBC trade show in Amsterdam (Sep.11-15) are encouraged to attend a special event at CSLA on September 21st. Contact info@shopcreativesolutions.com for more details.
  2. LONDON (July 8, 2015) - Vitec Videocom, the Broadcast Division of the Vitec Group, has announced a distribution agreement with 1SourceVideo, an American distributor of film production equipment. The arrangement includes world-renowned brands Anton/Bauer, Litepanels, Sachtler, OConnor, and Vinten, market leaders in mobile power systems, LED lighting fixtures, and camera supports. Paul Weiser, VP of Sales-Americas for Vitec Videocom, commented on the partnership, "We're very excited about the increased availability of our products nationally and the complementary advantage they will have with 1SourceVideo's portfolio of popular brands such as Blackmagic Design." The new alignment increases circulation of certain Vitec brand products in the United States and gives smaller resellers access to 1SourceVideo's East and West coast inventory. Ultimately, the arrangement provides faster and better service to all channels, especially order fulfillment. Direct dealers of Vitec brands will also receive increased access to support and services. For more information, please visit: http://1sourcevideo.com/
  3. BURY ST EDMUNDS, UK (April 10, 2015) - Vitec Videocom has made an exclusive sales and distribution agreement with German company FoMa Systems to market and sell their Maxima SMX gimbals to the global broadcast and cinematography markets. The Maxima SMX gimbals add a high-end active stabilization solution to Videocom's existing range of camera supports and the Artemis camera stabilizer systems. The first initial product in the range will be the Maxima SMX30 which is ideal for use with full size digital cine cameras with prime or compact zoom lenses and 2/3" sensor broadcast cameras. Matt Danilowitz, CEO of Vitec Videocom says: "The innovation behind the FoMa product and their diverse professional expertise is outstanding. We are pleased to be involved in a process of developing new, groundbreaking products that will enable our creative customers to achieve shots that have never been possible before. The SMX30 is an excellent addition to our camera supports product range and we are delighted to have agreed this partnership." Rainer Maertin, CEO of FoMa says: "The distribution agreement with Vitec Videocom provides our unique gimbal technology a global access to the film and broadcast market. It also gives us the opportunity to drive our technology even further, in conjunction with Videocom's R&D efforts. We've already seen the first exciting outcome of this new partnership with the integration of our gimbals and the Artemis stabilizer system." The Maxima SMX30 will be available through Vitec Videocom from the beginning of June 2015, listing at $17,950 / € 15.850.
  4. Company Brings Quality Field Monitors To Vitec Product line-up LONDON (December 11, 2014) - The Vitec Group today announced that it has acquired SmallHD, the North Carolina company known for its high-quality, high-definition, on-camera field monitors used by videographers, cinematographers, camera assistants and other creative professionals across the filmmaking world. SmallHD will be incorporated into the Vitec Group's Videocom division, complementing its existing brands. SmallHD pioneered the design and manufacture of rugged, future-proofed field monitors based on the company's experience in production, collaborations with other filmmakers, and from extensive customer feedback. SmallHD's association with the Vitec Group will enable it to bring a new range of innovative monitors to customers. "With the rapid increase of independent filmmakers and videographers, the need for quality, high-performing, end-to-end solutions has never been stronger," said Vitec Videocom CEO Matt Danilowicz. "There is definite synergy between SmallHD and Vitec Videocom, especially given that their pioneering drive matches our own. The acquisition enables us to offer another set of professional and innovative solutions for the production workflow, and takes us a step closer to fully addressing the needs of this expanding and exciting market." SmallHD was officially founded in 2009 by Wes Phillips and Dale Backus. The pair, along with a group of friends, had been creating spots for local businesses and entered the Doritos-sponsored Crash The Super Bowl contest with a spot entitled Live the Flavor. The resulting notoriety from winning brought national work in for the team. The demand to complete increasingly higher-calibre work made the SmallHD creatives and production crew aware of a need for better tools. Rather than buying off-the-shelf solutions, they were inspired to create them, specifically field monitors. The DP6 field monitor, their first mainstream product, not only met their own high standards but was immediately sought after by other filmmakers. When SmallHD won an unprecedented second Doritos Crash The Super Bowl challenge in 2010, the company used the winnings to develop its product line and expand manufacturing operations. "We are looking forward to joining the Vitec Group of companies," said Wes Phillips, founder and CEO of SmallHD. "It's exciting for SmallHD to be included among the great brands that they represent. We have aspirations to continue to build outstanding monitors, and Vitec not only encourages that entrepreneurial spirit but offers the support and expertise we need to move forward." SmallHD joins the Vitec Videocom line-up of brands that serves its users in broadcast, cinematography and professional content creation. Other Vitec Videocom brands include Anton/Bauer, Autoscript, Autocue, Camera Corps, Bexel, Litepanels, OConnor, Petrol Bags, Sachtler, Teradek, The Camera Store, Vinten and Vinten Radamec.
  5. Hit Series Has Relied on Vitec Videocom Brands for All Seven Seasons LOS ANGELES (December 1, 2014) - As the acclaimed FX series Sons of Anarchy nears its finale, director of photography Paul Maibaum, ASC continues to rely on solutions from Anton/Bauer, Litepanels, and OConnor during the production's stage and location shoots in Southern California. The DP and his crew have trusted the gear to perform throughout all seven seasons of this hit show. (LINK TO VIDEO: http://vimeo.com/112959296). Maibaum has been the show's director of photography since the second episode of the first season. Created by Kurt Sutter, Sons of Anarchy explores the lives of members of an outlaw motorcycle club in California's Central Valley. The drama has been the highest-rated series in the history of FX. "Sons of Anarchy is like a modern-day Western with vistas and composition driving a look that harkens back to the movies of John Ford and Spaghetti Westerns," Maibaum says. "Only on this show the horses are motorcycles, and the code of the west is the code of the club." The challenge of developing the look for the show was to make it "natural, not too slick," he notes. "Handheld gives the narrative a feeling of immediacy that's organic to the story. There are many non-verbal, dramatic elements that are signature shots of the show; it's not rushed, in the sense that we like to get the reactions of the characters." Maibaum is a long-time user of OConnor fluid heads and Litepanels LED lighting fixtures. "I cannot remember a project that I have worked on where there weren't at least two OConnor heads, going back to the days of the OConnor 100, and I have used Litepanels' Ringlite Minis, MiniPlus and 1x1 LED panels almost since they first came on the market," he notes. On Sons of Anarchy, Maibaum has a pair of ARRI ALEXA cameras as his A cameras with one or two Sony F55 CineAlta cameras supplementing the 1st unit or serving as a two-camera package on the 2nd unit. Angenieux Optimo Zoom lenses are deployed to enable operators to switch back and forth from handheld to studio mode and stabilized camera moves with minimal downtime between modes. Maibaum notes that approximately 60% of the show is shot handheld, splitting the rest of the scenes evenly between dollies and camera stabilization systems. Location and studio production are evenly split during the seven- to eight-day shooting schedule, with the studio housed in a converted warehouse in North Hollywood and locations throughout Los Angeles. OConnor 2575 fluid heads, the flagship of OConnor's Ultimate range of fluid heads, have been part of Maibaum's camera package since the outset of production. "It is the fluid head of choice for every operator who has been on the show," he reports, citing the variable counterbalance and drag as the fluid head's most outstanding features. "The OConnor head is easy to use, and resetting the sinusoidal counterbalance is a simple step. It's easy to add more or less drag and tension so the operator can easily adjust to his or her needs," Maibaum explains. "The ALEXAs and F55s weigh approximately the same, but the lenses change and they can weigh more than the camera. OConnor makes it easy to adjust with a change of lens and to go from shoulder to dolly to camera stabilization systems. It makes it easy to point your camera where you need it. The show's signature shots include large masters, high angles and close ups. OConnor makes this possible." Litepanels fixtures are prominent on the show with Ringlite Minis and the MiniPlus - popularly called "bricks" - as well as 1x1s playing key roles in the lighting package. "They're invaluable," Maibaum declares. "They work alongside all of our other lighting instruments, whether tungsten or HMI, on stage and on location. They're lightweight, and the ability to run on battery power, along with their dimming capabilities, makes them essential tools in our lighting package." He recently tested the new Litepanels ASTRA 1x1 Bi-Color panel on the show. "This light is a marked improvement over the current 1x1s, and that's saying a lot because they are one of my favorite lighting fixtures," he adds. "The output of the ASTRA is surprising. Recently, I was able to use it as a fill light during some insert car work, filling the actors' faces in broad daylight with the fixture projecting from roughly 8 feet from the subject's faces. It was much brighter than the original light that we planned to use." The DP turns to the Ringlite Minis on the cameras about half the time. On the set, he reports that the 1x1s hang quick and easy - "they're a solid, good-looking light; from flood to spot it's easy to narrow the beam." Litepanel MiniPlus bricks are often used for eye light. "In scenes where lighting is sketchy, I'll tell the team to add a 'ping' - or place a 'brick' to brighten the eyes," says Maibaum. "Litepanels gear is an essential element in my bag of tricks," adds gaffer Tony Anderson. "The freedom of battery-powered lighting has saved me many times. When the DP needs 'one last thing,' the 1x1 is my go-to instrument. I have also worked with the ASTRA and am very impressed with the versatility and output of this head. It has enough output for bounce keylights yet is light enough to rig just about anywhere." Anton/Bauer batteries fill many mobile power needs for Maibaum's crew. They use the award-winning CINE VCLX as the main camera battery for the ALEXAs and F55s when on dollies or cranes. The DIONIC® HC and HCX batteries act as a power supply for the handheld cameras and Litepanels 1x1s, and also power the wireless video assist. "What I like about Anton/Bauer batteries is that they charge quickly, don't lose their charge, and the digital readout tells me how much power is left all the time. They're also lightweight and attach on and off quickly to the camera or light," Maibaum points out. No matter how many surprises Sons of Anarchy has had in store for fans over its seven-season run, behind the scenes Vitec Videocom brands have delivered consistently unsurprising results. "I don't believe we would be able to complete our day's work within the time allotted if we did not have the complement of Vitec equipment that we employ on virtually every set up on an average shooting day on Sons of Anarchy," Maibaum concludes.
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