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  1. Saban Capital Acquisition Corp. (NASDAQ:SCAC) (“Saban Capital Acquisition Corp.”), a publicly traded special purpose acquisition company, Panavision Inc. ("Panavision"), and Sim Video International Inc. ("Sim") announced today that the companies have entered into a definitive business combination agreement to create a premier global provider of end-to-end production and post-production services to the entertainment industry. The combined company will be well positioned to capitalize on the continued growth of content production spending and enhance the scope of service offerings to its customers. Under the terms of the business combination agreement, Panavision and Sim will become wholly-owned subsidiaries of Saban Capital Acquisition Corp. Immediately following the proposed transactions, Saban Capital Acquisition Corp. intends to change its name to Panavision Holdings Inc. (the “Company”) and is expected to continue to trade on the Nasdaq stock exchange. Headquartered in Woodland Hills, California, Panavision is an iconic designer, manufacturer and provider of high precision optics and camera technology for the entertainment industry and a leading global provider of production-critical equipment and services. Headquartered in Toronto, Canada, Sim is a leading provider of production and post-production solutions with facilities in Los Angeles, Vancouver, Atlanta, New York and Toronto. The transaction reflects a valuation for the combined entity of $622 million (inclusive of debt) or approximately 5.9x fiscal year 2018 estimated Adjusted EBITDA. The cash component of the purchase price to be paid to the equity holders of Panavision and Sim will be funded by Saban Capital Acquisition Corp.’s cash in trust, which is approximately $250 million, a $55 million private placement of common stock at $10.00 per share secured from a mix of premier institutional investors as well as an affiliate of Saban Sponsor LLC and newly raised debt financing. Upon the closing of the proposed transaction, Kim Snyder, President and Chief Executive Officer of Panavision will serve as Chairman and Chief Executive Officer, and Bill Roberts, Chief Financial Officer of Panavision, will serve in that role for the combined company. “We are excited to partner with Kim along with the Panavision and Sim teams to capitalize on the explosive growth in content spending,” commented Haim Saban, Chairman of Saban Capital Acquisition Corp. He continued, “Advancements in technology and the emergence of streaming have fundamentally changed how consumers watch and discover content. This is driving significant growth in the market for production and post-production services. This secular trend creates a tremendous opportunity for Panavision to leverage its leading technology and pursue opportunistic acquisitions to grow in a manner that is agnostic to the content creator and distribution channel.” Adam Chesnoff, President and Chief Executive Officer of Saban Capital Acquisition Corp., commented, “This transaction creates a leading global platform ideally positioned to capitalize on the rapid growth in content production. The combination of these two companies will create the foremost provider of end-to-end production and post-production services. Combining this platform with Saban’s wide-ranging global media relationships, experience in production, and successful track record of creating value for its partners, will position the Company to accelerate growth and pursue complementary acquisitions. We are excited about the potential.” “For nearly 65 years, Panavision has proudly served the entertainment industry providing cutting-edge equipment and exemplary service to support the creative vision of our customers,” says Kim Snyder, Chairman and CEO of the combined company. “This acquisition will leverage the best of Panavision’s and Sim’s resources by providing comprehensive products and services to best address the ever-adapting needs of content creators globally. These complementary companies subscribe to the same strategic vision: to support our customers as the category-defining provider of end-to-end production and post-production services.” “Combining the talent and integrated services of Sim with two of the biggest names in the business, Panavision and Saban, will accelerate our strategic plan,” added James Haggarty, President and CEO of Sim. “The resulting scale of the new combined enterprise will better serve our clients and help shape the content-creation landscape,” continued Haggarty. The respective boards of directors of Saban Capital Acquisition Corp., Panavision and Sim have unanimously approved the proposed transactions. Completion of the proposed transactions are subject to Saban Capital Acquisition Corp. stockholder approval, certain regulatory approvals and other customary closing conditions. The parties expect that the proposed transactions will be completed in the first quarter of 2019. For additional information on the proposed transaction, see Saban Capital Acquisition Corp.’s Current Report on Form 8-K, which will be filed promptly and can be obtained at the website of the U.S. Securities and Exchange Commission (“SEC”) at www.sec.gov. Deutsche Bank Securities Inc. and Goldman Sachs & Co. LLC are serving as financial advisors, capital markets advisors and private placement agents and Skadden, Arps, Slate, Meagher & Flom LLP and Dentons Canada LLP are serving as legal advisors to Saban Capital Acquisition Corp. Houlihan Lokey, Inc. is serving as financial advisor, Citi is serving as Capital Markets Advisor, and Kirkland & Ellis, LLP and Osler, Hoskin & Harcourt LLP are serving as legal advisors to Panavision. Marckenz Group Capital Advisors is serving as financial advisor and Stikeman Elliott LLP is serving as legal advisor to Sim.
  2. Panavision’s Millennium DXL2 8K camera makes its Cine Gear Expo debut on June 1-2 at The Studios at Paramount in Los Angeles. The premier, large-format camera with a new post-centric firmware upgrade will be showcased at the Panavision booth (#S102) in Stage 17, along with four new large-format lens sets, a DXL-inspired accessories kit for RED DSMC2 cameras, and a preview of custom advancements in filter technology. “Millennium DXL2 is the cornerstone of an ever-evolving ecosystem that is designed to improve creative control across every department,” says Michael Cioni, senior vice president of Innovation at Panavision and Light Iron. “By combining the company’s expertise in optics, filters, color science, and post production with strategic partner integrations, we are able to offer filmmakers an entirely fresh image and workflow that is only available within DXL’s ecosystem.” DXL2 incorporates technological advancements based on professional input from acclaimed cinematographers, camera assistants, and post production groups. The camera offers 16 stops of dynamic range with unmatched shadow detail, a native ISO setting of 1600, and 12-bit ProRes XQ up to 120fps. New to the DXL2 is version 1.0 of a directly editable (D2E) workflow. D2E gives DITs wireless LUT and CDL look control and records all color metadata into camera-generated proxy files for instant and render-free dailies. DXL2, which is available to rent worldwide, also incorporates an updated color profile, Light Iron Color 2 (LiColor2). This latest color science provides cinematographers and DITs with a film-inspired tonal look that makes the DXL2 feel more cinematic and less digital. Panavision, renowned for its full line of top-quality optics, will also showcase the company’s large-format spherical and anamorphic lenses. Four new large-format lens sets will be on display, giving Expo attendees the unique opportunity to preview upcoming, innovative glass options: Primo X is the first cinema lens specially designed for use on drones and gimbals. They are fully sealed, weather proof, and counterbalanced to be aerodynamic, and able to easily maintain a proper center of gravity. Primo X lenses come in two primes – 14mm (T3.1) and 24mm (T1.6) – and one 24-70mm zoom (T2.8). Available in 2019. H Series is a traditionally designed spherical lens set with a glamorous, rounded, soft roll-off, giving a pleasing tonal quality to the skin. Created with true vintage glass and coating, these lenses offer slightly elevated blacks for softer contrast. High speeds separate subject and background with a smooth edge transition, allowing subject to appear naturally placed within the depth of the image. Available now. PanaSpeed is a large-format update of the classic Primo look. At T1.4, PanaSpeed will be the fastest large-format lens option available on the market. Available in Q3 2018. Ultra Vista is a series of large-format anamorphic optics. Using a custom 1.6x squeeze, Ultra Vista covers the full height of the 8K sensor in the DXL and presents an ultra-widescreen 2.76:1 aspect ratio along with a classic elliptical bokeh and Panavision horizontal flare. Available in 2019. Panavision will also be unveiling cinema’s first dynamically adjustable liquid crystal neutral density (LCND) filter. LCND instantly adjusts up to six individual stops with a single click or ramp – a significant departure from traditional approaches to front-of-lens filters, which require carrying a set and manually swapping individual NDs based on changing light. LCND starts at 0.3 and goes through 0.6, 0.9, 1.2, 1.5, to 1.8. Available in 2019. Following up on the success of DXL1 and DXL2, Panavision is launching the latest in its cinema line-up by showcasing the newly created DXL-M accessory kit. Designed to work with RED DSMC2 cameras, DXL-M marries the quality and performance of DXL with the smaller size and weight of the DSMC2. DXL-M brings popular features of DXL to RED MONSTRO, GEMINI, and HELIUM sensors, such as the DXL menu system (via an app for the iPhone), LiColor2, motorized lenses, wireless timecode (ACN), and the Primo HDR viewfinder. Available in Q4 2018. Light Iron and LEE Filters can also be found at the Panavision booth.
  3. Hey guys, I haven’t been on here for a while. I’m looking for some advice. Sorry if this is long winded…It’s been in my head for a while. I’m a Scottish DP based in Hong Kong and I’m thinking about relocating back to the UK & trying to get into production work. A bit about me : I have an undergrad in Film from 20 years ago and about 10+ years experience in the camera side of production…everything from AC to Gaffer to DP but mainly on small productions - loadsa of Short films, Indie Music Vids & tons of corporates. (I’ve shot corporates & Indie stuff in about 12 different countries.) I haven’t shot very regularly for a few years after a back injury took me out & I ended up getting a very well paid job in another field. When I recovered I didn’t want to continue shooting corporate jobs but I have been teaching Cinematography at a Film School part time and that’s fired me up again. I’ve always wanted to work in the scripted TV/Film drama genre but there just aren’t many opportunities here in Honkers for non-locals and I feel like there are no options to progress – I really should have left 10 years ago. I’m single, getting on a bit - 40+, female with no strings attached…no debts etc... So my question : How would someone with my years of filming experience but no real 'industry' experience fair in the UK film production scene? I've lived outside the UK for about 17 years so I’m considering taking an MA in Cinematography partly to acclimatize myself back into the country & partly to network for industry contacts plus I do enjoy teaching film and Masters would allow me to teach college classes if things didn’t work out.... BUT I’m not sure if I should go this route? It’s quite a lot of money to put out…OR …would I be better keeping my money to support myself while I just try to network on my own to get contacts & production jobs. In terms of work I have no delusions of turning up & getting DP work and I would have no prob starting at the bottom of a cam dept or even a rental house, I just want to work in the camera dept with good crews but is it realistic for someone in my position and age to try to re-start a career that's been on & off for 2 decades & what route do I take? Thanks for any thoughts or advice...harsh, truthful or difficult...I'd like to hear peoples honest opinions so i can make an informed decision...
  4. Dit, the proffesion | Camaleon Cinema Services Camaleon Rental blog we are going to speak about the role of a DIT. The first question is to define what a DIT is as well as determine if this position belongs to the camera crew or to the postproduction crew. The answer would be that he is kind of a liaison between both department, even though if we have to make a choice we would say that he is part of the camera department since he works on set. The DIT profession (technical image technician), arrives with the appearance of the first high definition cameras and then with the digital cinema cameras. At this point we should remember that when these cameras arrived both directors of photography and assistant cameramen came from working for many years with film cameras. So after the arrival of such new and different gear, it was necessary the inclusion of a new figure to the camera crew in order to advise the DoP on how to squeeze... More info here.
  5. Hey all! Newer to the forums here. I'm shooting a senior thesis project coming up next weekend, and like any student project I'm trying to always up my game to the next level. We're shooting a lot of daylight exteriors, and I plan on setting up a lot of 10x's with diff to just get some more control of the light and to keep it consistently soft on close ups. My understanding of the workflow between G&E is still growing, and I was wondering what the gaffers role would be on a daylight exterior scene? It feels to me more like we would only need a KG on a day that we're just flagging, rather than creating light. Wondering if anyone could elaborate more on this.
  6. hello, i have a used like new sony F65 im planning to sell, along with its accessories, below is the list of items and the price Used-like new Sony Digital Picture F65 Camera:- (Excellent Condition) F-65 Camera Body. SR-R4 Digital Recorder. Dual Battery Adapter V-Mount. \\SRK-CP1 Control Panel. Sony HDVF-C30RW Color Viewfinder. SR-D1 Reader. SR-memory Card (2X512GB-1X256GB). Converter V-mount Cable. Power cable limo 8-pin. Rode (2X12'' - 2X9''). Camera Case. price: range between 40,000 -45,000 USD (negotiable)
  7. New Space is First Comprehensive Production and Post Location for Companies NEW ORLEANS (December 17, 2015) – Panavision, the entertainment industry’s leading designer, manufacturer and rental provider of high-precision optics and camera systems, has announced the opening of an expanded New Orleans location. The new 30,500-square-foot space will also house Light Iron’s first brick-and-mortar facility in Louisiana. The state-of-the-art facility represents the first location occupied by the two companies since Panavision acquired Light Iron, a leader in digital workflow solutions, earlier this year. The New Orleans location leverages the strengths of both companies to offer turnkey technology solutions from pre-production through delivery. “Panavision has been committed to serving filmmakers in Louisiana for more than a decade,” said Kim Snyder, CEO and president of Panavision. “During that time, the infrastructure and crew-base have built up significantly, and the number of projects being shot has grown such that we needed to expand our footprint to support the community’s needs. Incorporating Light Iron into the new facility brings an unprecedented level of service offerings under one roof to the local filmmaking community.” Panavision’s new high-tech space houses a full range of filmmaking equipment, and access to the company’s technicians and optics specialists. The new location also features an expanded prep floor, a private prep room for larger projects, and a 40-by-40 foot room with an 18-foot ceiling, optimized for shooting test footage. Michael Cioni, president of Light Iron, added, “At Light Iron, we’ve always believed in the marrying of camera and post production. Having Light Iron co-located with Panavision in a vibrant shooting destination like Louisiana is a case study of what the future will look like. Providing comprehensive services under one roof is exponentially more valuable when most everyone is on location. When a cinematographer or crew member has questions about workflow, we have the onsite resources available to answer them in real-time.” The Light Iron space houses a DI theater, which can facilitate remote DI sessions with the company’s Los Angeles and New York facilities. The theater can also be used for reviewing camera tests, setting looks, and screening dailies. In addition, the new facility offers offline editorial suite rentals. “We’ve worked on many great projects in Louisiana over the years with our popular OUTPOST division,” noted Cioni. “With the growing needs of customer demand there, as well as Panavision’s footprint in the state, we felt this was the right time to have a physical presence in New Orleans. The Light Iron team is very excited to be collaborating with the local film community.” “Louisiana is an important production hub for the filmmaking community,” concluded Snyder. “We made this investment to support the filmmakers in the region and this move makes it possible for us to provide a full portfolio of innovative, creative solutions, as well as physical resources and experts more expediently.” Paramount’s Jack Reacher: Never Go Back was the first project to utilize the capabilities of the new Panavision location in New Orleans, followed by an additional unit for Fox’s Scream Queens. # About Panavision Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its world-wide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions. For more information, visit www.Panavision.com, or join the company on Instagram (panavisionofficial), Twitter (@Panavision), Facebook, LinkedIn, Vimeo, and YouTube. About Light Iron Light Iron, a Panavision company, specializes in mobile dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras. With additional facilities in Hollywood and New York City, Light Iron serves projects at both the independent and studio level. The company distinguishes itself by providing workflows that minimize time, maximize image fidelity, and increase creative control. Recent credits include features such as Anomalisa, Gone Girl and the upcoming Ride Along 2, commercial campaigns for Gap and Jaguar, and the television series Mom, True Nightmares, and Transparent. Follow the company on Facebook, Twitter, Instagram, Vimeo, or LinkedIn.
  8. LONDON (Nov. 13, 2015) – Panalux, the leading provider of lighting rental equipment for film, television, and media production, will display their latest LED lighting at the 23rd edition of Camerimage, the international festival of the art of cinematography, being held November 14-21, in Bydgoszcz, Poland. Together with Panavision and Lee Filters, Panalux will showcase their popular, proprietary products, including the HiLo, Tektile2, NessLED kit, and a soon-to-be-released spring ball light. Also on display will be the new Panalux LED Flex Light, an extremely versatile light that offers a variety of possibilities and configurations and has proven to be extremely popular with gaffers. Additionally, Panalux will support the Panavision Cinematography Workshop on November 19 by providing various Panalux lighting equipment to Markus Förderer, Eduard Grau, AEC and Ellen Kuras, ASC, who are shooting scenes to compare spherical, anamorphic and larger sensor formats. For more information, visit www.panalux.biz
  9. · F-65 Camera Body. (excellent Condition) · SR-R4 Digital Recorder. · Dual Bettery Adapter V-Mount. · SRK-CP1 Control Panel. · Sony HDVF-C30RW Color Viewfinder. · SR-D1 Reader. · SRmemory Card.(2X512GB-1X256GB). · Conveter V-mount Cable. · power cable limo 8-pin. · Bridge Plate. · Rod(2X12'' - 2X9''). · Camera Case. Price:- 35,000 USD
  10. Greetings People, My first post, had a search and can't find anything specific on the subject (please correct me if I'm wrong) The 'TV Movie Look' I first heard this on an episode of Entourage where a Director fires his cinematographer due to making his film look like a TV Movie. After hearing this I looked into it and you can just tell now when a film, or series have that 'look' So my question really is, what makes it look like that, and how in the hell can you really avoid it lol A great example is anything by 'The Asylum' lol
  11. 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.
  12. IBC 2015, Stand E55, Hall 11 CHATSWORTH, Calif. (Sept. 1, 2015) - Litepanels, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, is excited to announce the launch of their new Brick and Brick One Light Kit. Now more robust, the Brick Bi-Color provides the perfect on-camera solution for on-the-go ENG cameramen, especially for those in wet conditions. Building on the legacy of the revolutionary MiniPlus, the new Brick Bi-Color's high CRI and TLCI surface mount LEDs with custom-designed optics provide superior color reproduction that delivers accurate color temperature adjustability. These tightly binned LEDs also produce a light output that is up to four times brighter than the original MiniPlus, resulting in a longer throw that effectively allows the Brick to illuminate a larger area. By having a comparable luminance output of 100W, it offers up to 1060 LUX (98 Footcandles) at 5ft (1.5M) while only drawing 16.5W. The Brick can also adapt to any situation by providing both daylight and tungsten lighting. And with its ultra-smooth dimming from 0-100%, it is not only flicker free at any frame rate or shutter angle, but the Brick also has no noticeable color shift throughout its entire range. Alan Ipakchian, product marketing manager for Litepanels, commented on the advancements behind Brick, "Incorporating the Brick with the latest in LED technology led to extremely positive preliminary feedback. Just like the MiniPlus, the Brick is designed to be a versatile on-camera LED, so I am eager to see what creative uses cameramen find for this product." With an IP 65 rating, the Litepanels Brick offers an innovative passive cooling system and a dust tight design with water protection, providing excellent durability in harsh weather. For ultimate convenience, Litepanels has also included a 3ft (0.9m) Power Tap cable to connect the Brick to cameras that support D-Tap connections. The Brick One Light Kit consists of a half white diffusion gel, a Manfrotto 244 Micro articulating arm, a 6ft (1.8 m) international power supply, a 60° Honeycomb frame, a soft diffusion frame, and a waterproof hard case with custom foam for safe transportation. Optional accessories for the Brick include an Anton/Bauer QRG-LG plate and an Anton/Bauer Power Tap extension. The Brick Bi-Color and Brick One Light Kit is available at the end of October and will be on display with other Litepanels LED lighting products at IBC, booth 11.E55.
  13. Hello all, So I film on the Blackmagic Pocket Cam, which is infamous for how fast it heats up. Now I've never had a problem with it overheating, I have generally been filming in A/C cooled indoor areas. However, I'm beginning production for an upcoming film, and most of the filming will be done outside... oh, and lest I forget, I happen to live in the great state of Texas where the average Summer temp. is around 96 degrees Fahrenheit. I'm a little worried about it overheating in the outdoor temperatures. So my question is: how do you keep a camera cooled down without damaging it with ice/water?
  14. Hi all. I am shooting my first reality tv show. It is a big break for me. I am really excited for this. It is happening fast and what seems last minute. If you have any experience and wisdom to share, it would be greatly appreciated. I am the main DP and local fixer for this show. Besides myself as A camera op, my team is a B camera op and an audio person. How fast does reality tv shoot? The director mentioned something about bonuses. Does that really happen? Thank you in advance.
  15. Hi All, I am currently writing a business report on media production and distribution specifically focusing on the emergence of technology and online platforms and was wondering if you could answer a few questions relating to this subject area? 1. How significant a role has Alan Horn played in the current shape of tent-pole cinema? 2. How would you evaluate the demise of Blockbuster? 3. How important do you anticipate online funding platforms such as Kickstarter and Indie go-go be in the future of media production and distribution? 4. How significant a role does Netflix have in comparison to other distributors and distribution methods of media content? 5. Will cinema survive the current prominence of consumers being able to downloadable content? 6. Can technological advances work in conjunction with traditional production and distribution methods? 7. Does the employment of single sensor cameras in films mean that tv and movies are now parallel to each other? Thank you for your time.
  16. Next Generation ASTRA 1x1 Series Also Expands with New Models CHATSWORTH, Calif., (April 9, 2015 )--Litepanels® , a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the launch of several new additions to their highly acclaimed ASTRA line of LED panels. The expanded lineup now includes the ASTRA 1x1 EP series, the ASTRA 1x1 E series, and two additional models in the ASTRA 1x1 series, which debuted last year. Building on the legacy of the company's original, trailblazing 1x1 fixture, the ASTRAs set a new standard for the form and function of professional LED panels. ASTRA 1x1 EP Series: Ideally suited for independent and field production, the ASTRA 1x1 EP panels offer a light output that is two times brighter than the company's legacy 1x1 fixture. Featuring the Litepanels tradition of a one square foot form factor, the LED panels offer high CRI (Color Rendering Index). The new ASTRA 1x1 EP series includes both Daylight and tunable Bi-Color models. ASTRA 1x1 E Series: The ASTRA 1x1 E series offers entry-level access to Litepanels' state-of-the-art LED panels. Every design element has been meticulously crafted to deliver the form and function needed for the independent content creator. The new ASTRA 1x1 E series also includes Daylight and tunable Bi-Color models, and offers a light output that is comparable to earlier LED panels. With high CRI and a traditional form factor, the new series provides efficiency and versatility at an affordable price point. ASTRA 1x1 Series: To better complement studio operations, the ASTRA 1x1 series has been expanded to include ASTRA 1x1 Daylight and ASTRA 1x1 Tungsten fixtures. Joining the ASTRA 1x1 Bi-Color panel, these fixtures offer a light output that is four times brighter than Litepanels' original 1x1. For studio installations, a full lineup of accessories is available. In addition to studio use, the intensity levels in these battery-powered fixtures make the ASTRA 1x1s ideal for location shooting, especially in direct sunlight. "The response the filmmaking community had to the launch of the ASTRA 1x1 Bi-Color panel last year exceeded our expectations," said Alan Ipakchian, product marketing manager for Litepanels. "The time, effort, research and development put into the ASTRA has produced a panel that once again revolutionizes the use of LED fixtures for the creation of professional content. We've created expansions to the line that offer a variety of intensity levels and price points, making the ASTRA available to everyone. Whatever your requirement, Litepanels has the perfect fixture to fit your needs and budget. And with the modular approach we've taken, your gear, accessories and lighting style can grow with you." All of the ASTRA panels are designed with select premium quality surface mount LEDs that are paired with custom designed TIR (total internal reflection) optics. Both the new 1x1 EP and 1x1 E series offer a Bi-Color fixture, allowing users to adjust color from daylight to tungsten as needed. An internal microprocessor monitors the temperature and delivers smooth dimming from 100 percent to zero with no noticeable color shift, as well as ensuring a completely flicker-free performance at any frame rate or shutter angle. "At Litepanels, we're always striving to deliver for filmmakers," noted Ipakchian. "With the introduction of the new ASTRAs, Litepanels is bringing the most advanced LED technology available to content creators in all segments of the industry. Once people get their hands on these panels - which are sturdy, high-output fixtures packaged in a lightweight, flexible form factor - they're not going to want to light without them." The new ASTRA series employ a modern, modular design. The manual controls are ergonomically designed to allow for ease of use in the field, ensuring easy identification and manipulation of dimming controls, color controls, and power status. The panels are all produced with aluminum I-beam core construction to provide maximum durability and superior thermal management, and also feature strong, integrated aluminum accessory mounting points and lens/filter rails. All ASTRA fixtures offer an extensive list of features, including a curved yoke design with a wide tilt range, dual integrated cable guides, and a combination yoke mounted power supply with a 3-pin XLR locking power connector and optional Gold Mount® or V-Mount battery plates. The yoke also features a removable TVMP connector and additional 1/4-20 mounting points. The ASTRA 1x1, ASTRA 1x1 EP and ASTRA 1x1 E series have taken the place of Litepanels' original 1x1 panels, introduced almost a decade ago, and are now available worldwide. The ASTRA family of products was specifically crafted to meet the needs and price points of users in every sector of the market. The ASTRA EP series starts at $900 (£558), while the ASTRA 1x1 E Daylight is available at the low list price of $665 (£412). The ASTRA 1x1 Bi-Color panel has a list price of $1,500 (£930). For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.
  17. Lightweight Kit Featuring New LED Fresnels Delivers for Mobile Users CHATSWORTH, Calif. (April 8, 2015) - Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the debut of its new Caliber 3-Light KitTM. Ideal for webcasting, blogging and professional content creation the Caliber 3-Light Kit is designed specifically to provide the portable, out-of-the-box lighting solution that today's professional videographers require. The latest addition to Litepanels' award-winning line of LED Fresnels, the Caliber is a true Fresnel fixture with wide focus range that can be powered via AC or with AA batteries. The daylight-balanced LED offers the controllability and light-shaping properties inherent in a Fresnel light at a fraction of the power draw of conventional fixtures. Flicker-free at any frame rate or shutter angle, the Caliber Fresnel offers ultra-smooth dimming from 100 percent to zero, with no noticeable color shift throughout the entire range. With professional accessories like a color frame, correction filters and a 4-way barndoor, the LED Caliber brings the functionality of large Fresnels into a small size factor. The dimmable light provides a 1/4-20 post for direct mounting using common hardware. The fixture's compact size, high intensity output and portability make the Caliber 3-Light Kit a valuable production tool in the field. Litepanels' compact Caliber 3-Light Kit has been carefully crafted to enable ease of travel and a fast setup. Weighing in at less than 13 pounds (six kilograms), each kit contains three Caliber fixtures and AC Adapters with international plug sets. Also included are three multi-jointed flexible tripods, allowing the lights to be fixed in a number of positions, and a compact stand with stand adapter, offering additional placement options. The Caliber 3-Light Kit's contents are all packaged in a fully customizable soft case, with additional storage space provided for batteries, camera lenses and other items. Cinematographer Lan Bui recently served as a beta tester for the new Caliber Kit. "I'm often stuck in very hard situations with limited power choices, so having a standardized battery power option built right into the lights is a key feature for me," noted Bui. "Being able to set up the lights anywhere without running cables or worrying about location power is an incredible convenience. Using only the AA batteries, I'm able to use the lights to compliment the shot I'm composing." Bui added, "The Caliber lights have a surprisingly bright output for their size and power sources. The quality of light, coupled with the ability to focus the light down and use the provided barndoors, makes these fixtures a 'must have' on any travel or run-and-gun location shoot. I don't see how I'll ever go out on a shoot without the Caliber Kit again. " Caliber 3-Light Kit includes: Three Caliber Fresnels Fixtures (Beam Angle: 15° to 73°) Three Multi-Jointed Flexible Tripods Three Gel Sets and Color Frames Three 4-Way Barndoors One Compact Light Stand One Stand Adapter with Ball Head Three International Power Supplies One Soft Case with Customizable Interior Compartments "The Caliber is a game changer for professional shooters," said Alan Ipakchian, product marketing manager for Litepanels. "Our customers in this space have been requesting a Fresnel kit with high-production value at an affordable price, and the Caliber delivers for them. It's a true Fresnel fixture that produces soft, directional illumination, yet has a very low power draw. Its light weight means that it can run anywhere light is needed. We've also packaged it in a completely functional kit that is designed with an eye to future expandability." The new Litepanels kit delivers a portable, flexible and accessibly priced solution for content creators on the go. The Caliber 3-Light Kit is listed at $995 (£617) and is a great, low-cost investment for any professional looking to work more efficiently. For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.
  18. NAB 2015, Booth #C6025 Advanced Battery Safety Technology and Asset Tracking for the Digital Age Added to Latest Releases of Revolutionary Series SHELTON, CT (March 25, 2015) - Anton/Bauer®, a Vitec Group brand and premier provider of battery, charging and monitoring technologies for the broadcast, film and video industries, will be showcasing important new additions to its Digital Battery and Performance Charger Series at NAB 2015. Anton/Bauer's ground-breaking Digital Battery Series, first introduced at NAB 2014, redefines the power standard for a new generation of cameras and auxiliary equipment, while the Performance Charger Series exceeds the high-efficiency standards required by today's rigorous shooting schedules. Anton/Bauer's latest innovations in battery safety technology and cloud-based asset tracking will be demonstrated at their exhibit (booth #C6025) at NAB 2015 in Las Vegas, which runs April 13-16. With production safety at the forefront of the industry's agenda, Anton/Bauer has updated its Digital Battery Series with Fuse Link technology, a new connection technology that vendors developed as a result of Tesla Motors' research efforts. Fuse Link technology provides an added protection circuit within each cell pack, prohibiting damage to adjoining cells if a single cell is affected for any reason by severe impact, puncture or thermal runaway. "The safety of our users is the top priority at Anton/Bauer," says Neal Laneville, Product Manager of Mobile Power for the company. "Our Lithium-Ion Digital Batteries are the safest on the market, and they've undergone a rigorous process of research, design and testing to achieve it. We felt the developments in Fuse Link technology were significant enough to include in our design. If there's any incident with one of the cells, Fuse Link reacts like a giant fuse, isolating that single cell from the rest of the pack. We constantly strive to incorporate the latest technology into our batteries so our customers can handle them without any concern for their own safety or that of their team." Anton/Bauer will also be previewing their new Asset Management System (AMS) at NAB 2015. Heralding a new era of digital asset tracking, the cloud-based AMS is a game changer in the area of fleet management. "The cumbersome tasks associated with battery fleet management will soon be a thing of the past," notes Laneville. "Rental houses, broadcast studios, and news affiliates will be able to track the status of their batteries right from their computers." With Anton/Bauer's AMS, an asset's essential information, including remaining run-time, temperature, voltage, and present capacity, will be just a click away. When an Anton/Bauer battery is placed on a Wi-Fi enabled Performance Charger, the AMS will automatically upload its information to a secure, cloud-based server. All pertinent data required for tracking and performance analysis will be available with a simple user log-in and password. "We're looking forward to demonstrating the important features we've added to our Digital Battery and Performance Charger series at NAB," concludes Laneville. "Safety is obviously of the utmost concern, and increased efficiencies are vital to our customers. There are huge developments continuing in Lithium-Ion technology, and we're looking forward to delivering all of those benefits to our customers." The Digital Battery Series includes three battery sizes (90 Wh, 150 Wh, and 190 Wh), all with Anton/Bauer's high-quality cells that deliver a long performance life. The Digital Battery and Performance Charger Series are now available in both Anton/Bauer's signature Gold Mount® and in V-Mount. Anton/Bauer's Asset Management System will be available to the marketplace as a tier-based subscription in the third quarter of 2015. For more information, visit www.antonbauer.com or call (800) 422-3473.
  19. The Company's new organization charts the course for the future LONDON - Vitec Videocom, known for its world-class video brands, is evolving its structure: to put the tools and technologies developed for professional broadcasters and cinematographers into the hands of a growing community of independent content creators. The company's push to democratize some of its high-end technology will be supported by a new management team and organizational structure. "Every now and then we take a good hard look at where the video industry is going and how we fit in that picture," said Matt Danilowicz, CEO of Vitec Videocom. "The DSLR video revolution and the explosive growth of live Internet streaming has demonstrated that there is a whole new generation of filmmakers seeking new, affordable technologies that will help them create captivating content for new platforms. Videocom's new management structure helps align us with this new movement so that we can continue to innovate for both the professional video crowd and for this new wave of media producers." Vitec Videocom's latest acquisitions are a testament to its desire to democratize cutting-edge technology. Teradek, SmallHD, and Paralinx, all part of the Division's new Creative Solutions business unit, are well-known as trailblazers, offering high-level technologies at price points that independent content creators can afford. Some of Videocom's other premium brands, such as Litepanels and Anton/Bauer, have also embarked on this path, with the former developing new cost-effective run-and-gun lighting kits and the latter integrating leading-edge battery technology into a new line of affordable broadcast and cinema products. "Vitec Videocom is unique in that it combines legendary brands that have been around for decades with young upstarts that grew out of this new generation of media creators," said Danilowicz. "Like our brands, I have put together a management team that has years of video industry experience, but also the pioneering spirit of entrepreneurs. This new structure will help us continue to equip and inspire videographers far into the future, with the same commitment we bring every day to the world's largest broadcasters, film studios and production companies." The Division's new structure will be split into three core business units, capitalizing on brand synergies: Graham Sharp, a former senior executive at Avid, Grass Valley, and MAC Consulting, will run the Production Equipment unit, representing the company's core product brands such as Anton/Bauer, Autocue, Autoscript, Litepanels, OConnor, Sachtler, Vinten, and Vinten Radamec. Halid Hatic, founder of Curious Software and former executive at Avid and VizRt, will lead Production Services, which includes Bexel, Camera Corps, SIS, The Camera Store, and Autoscript/Autocue Hire. Nicol Verheem, a former GE engineer and founder of Teradek, will head Creative Solutions, which consists of Teradek, SmallHD, and Paralinx. Martin Vann, who recently joined Vitec Videocom, will oversee global sales and marketing for the Division. He brings with him significant sales and marketing leadership experience from such companies as Autodesk and Avid, where he held multiple executive leadership positions. About Vitec Videocom Vitec Videocom, the Broadcast Division of The Vitec Group plc, has some of the most respected, innovative and sought-after brands in the industry: Anton/Bauer, Autocue, Autoscript, Bexel, Camera Corps, Litepanels, OConnor, Sachtler, SmallHD, Teradek, Paralinx, The Camera Store, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business. Vitec is a global provider of premium branded products and services to the Broadcast and Photographic markets. Vitec is based on strong, well-known, premium brands on which its customers worldwide rely. Vitec Videocom - advancing the quality and science of media production. # # # Media Contact: ignite strategic communications +1.818.980.3473 Chris Purse, chris@ignite.bz
  20. 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.
  21. 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.
  22. Hi everyone. I'm going to be starting a short film soon and I'm in the process of getting a quote for short-term production insurance. On the application it asks if there are any pyrotechnics involved. Are they only referring to explosions, fire and the like, or would a fog machine with a water-based solution also fall under that category? Thanks for any help.
  23. HOLLYWOOD - Six of the industry's leading brands - Anton/Bauer, Bexel, Litepanels, OConnor, Sachtler and Teradek, all part of the Vitec Group - will be demonstrating a range of their latest, innovative products at the upcoming Cine Gear Expo on June 6-7 in Los Angeles, at booths #64-66. Cine Gear Expo offers film, video and broadcast media makers an opportunity to discover the latest technology and techniques, get hands-on training, gain knowledge and skills from industry leaders, obtain the newest equipment, hear breaking industry news, and network with peers and industry leaders. In addition to a prize drawing for a new Litepanels product, highlights of the advanced portfolios being shown by these brands include: Anton/Bauer® will officially release its V-Mount Digital Battery™ Series. The company's revolutionary Digital Battery Series is the first battery line designed specifically to power digital production for the cinema and pro-video sectors. The new battery series, also available with Gold Mount® connectors, meets the unique needs of 4K camera set-ups and other digital cameras in use today, while providing top-tier levels of safety, performance and reliability. With the introduction of a V-Mount option to the Digital Battery Series, Anton/Bauer's best of breed batteries will now be available for use with any camera and any accessory, and includes three battery sizes (90 Wh, 150 Wh, and 190 Wh). Litepanels will officially launch its much anticipated next generation LED panel series, in addition to showcasing the recently released Sola 9 (daylight balanced) and Inca 9 (tungsten balanced) LED Fresnels. The new 9-inch fixtures fill a market demand for medium-sized LED Fresnels. Litepanels' industry-leading collection of LED Fresnels now covers the complete range needed to deliver a full LED solution for broadcast studios, episodic television, and feature film production. Also making its Cine Gear premiere is the new Hilio D12 (daylight balanced) and Hilio T12 (tungsten balanced) high light output panels. The innovative panels provide the light quality, versatility and intensity of an open source fixture, while offering all of the benefits of Litepanels' proprietary LED fixture design. OConnor will present a growing line of camera and lens accessories. Engineered to address the needs of today's fast-paced production environments, the line includes the CFF-1 and O-Focus Dual Mini follow focus systems relaunched in Photo and Cine Kits, the award-winning O-Box WM mattebox, innovative O-Grip Handgrip System and the Universal Baseplate. Sachtler will display the Ace Accessories, a new range of premium camera support gear, which includes the Ace Base Plate, Ace Follow Focus and Ace Matte Box. The accessories can be bought individually or as a package. Sachtler also will showcase its redeveloped Ace L fluid head, now compatible with all types of sliders. The Ace L 75mm tripod head can conveniently be converted to a flat base, through the removal of a bottom screw, and mounted on a range of sliders. The Ace L is extremely versatile with a payload range of up to 6 kilograms and can be used with three different carbon fibre tripods - the floor spreader, mid-level spreader or telescopic tripod system. The product also features the seven-step counter balance, patented SAdrag™ and illuminated level indicator to ensure precise and smooth camera operation. artemis, the camera stabilizer system by Sachtler, will also be on display. Whether it's a film, worldwide live-broadcast of a sporting event, or a TV show, artemis camera stabilizer systems are always used when perfectly balanced pictures of moving subjects are required. Bexel and Teradek, also Vitec Group companies, will be exhibiting at Cine Gear Expo. Bexel (booth #98c) provides brilliantly designed and flawlessly executed systems and solutions to producers of some of the biggest and most important televised events in the world. Experts from Bexel will be on hand to discuss their end-to-end solutions, including systems integration, fiber and infrastructure support. Bexel representatives can discuss new and used professional audio, video and fiber equipment solutions, as well as elaborate on their comprehensive broadcast rental equipment and technical services for television productions. Teradek (booth #119) will showcase their brand new Bolt Pro series of zero-delay wireless video products, along with their Serv and Cube Pro encoders, which offer users real-time HD monitoring on iOS and Android smartphones and tablets. The Vitec Group brands are technology leaders in the broadcasting, pro video and cinematography marketplace. They are characterized by innovation, reliability and long-term cost savings, with the highest levels of customer support. For further information visit their booths at Cine Gear Expo.
  24. Crew Chooses Vitec Videocom Brands for Second Season BROOKLYN, NY - The camera crew behind the hit FX TV series The Americans chose Vitec Videocom brands to support the production through its second season. The show's cinematographer Richard Rutkowski, and camera assistants Brendan K. Russell and Rory Hanrahan, rely on Anton/Bauer batteries and chargers, Litepanels LED lights, and OConnor fluid heads and tripods for their reliability and durability during stage and location shoots, which helps keep the show on pace and on budget. The season two finale aired last night, and The Americans returns with all new episodes in 2015. One of television's most critically-acclaimed dramas, The Americans follows the complex marriage of two KGB spies posing as Americans in suburban Washington D.C. shortly after Ronald Reagan was elected President. The arranged marriage of characters Philip and Elizabeth Jennings (played by Matthew Rhys and Keri Russell) grows more genuine by the day but is constantly tested by the escalation of the Cold War and their interactions with the dangerous network of spies and informants they come into contact with. Shot on stages at Eastern Effects Studios in Brooklyn, NY, The Americans also films on location throughout Brooklyn, Queens, Manhattan, Staten Island and Westchester County. Anton/Bauer DIONIC HC® and award-winning CINE VCLX® batteries are used exclusively to power the series, which is shot using two ARRI ALEXAs as the A and B cameras, and two additional ALEXA PLUS cameras. "We've been able to reduce what used to be a headache of cables," says Rutkowski. "We can put the DIONIC battery on the back of our wireless transmitter and sit the transmitter on the back of the Alexa, making us a self-contained shooting unit. The guys hook up to an Anton/Bauer CINE VCLX between takes, then they pull the VCLX battery cable out, and we run off the DIONICs. It gives me the ability to walk around utterly free while broadcasting full HD, and that's pretty remarkable." Brendan Russell, second assistant on the A Camera, adds, "We're able to swap back and forth between the two batteries fairly easily without ever having to power down the camera. That keeps things moving quickly and efficiently, which is vital on set. "And the ability to break away and use the DIONICs alone is really beneficial," he continues. "The Americans features a lot of conversations inside cars, and we often find ourselves strapping a stripped down camera to a car mount - just the lens, the camera, and the DIONIC HC battery. It allows us a lot more versatility and the ability to get into tight spaces and angles." The video village cart can also run entirely off the Anton/Bauer CINE VCLX batteries. "We go off of the power provided by our electrical department when possible, but in order to be quick and on the move, and to get an image up for the director as soon as we can, we'll often go with the VCLX batteries," says Russell. "And if our location restricts us from getting any power from electrics, we can subsist all day off the VCLX batteries. We also wear DIONICs on the back of the two 7-inch monitors that are primarily for the DP and director outside of the video village." Rutkowski also utilizes Litepanels' signature 1x1 LED panel to keep them on the move. "We use a 1x1 panel in cars quite frequently on this show. We'll also sometimes use them on streets or other exteriors where I'm going to have a hard time getting a power source. Since it's an LED, I can snap a battery onto the back of the panel, and it will last quite a long time." The camera department also carries two OConnor 2575 fluid heads at all times, primarily for use on the A and B cameras. "The 2575 has absolutely become the industry standard fluid head," comments Rutkowski. "It's what every operator I work with asks for." During this past season, Russell and First Assistant Cameraman Rory Hanrahan developed an interesting way to use the OConnor 2575's innate flexibility. "You have to figure out how to get certain angles for more interesting shots, and we've often had to get the lens as close as possible to the ground for our show," Russell explains. "We tried a few different ways, but the best technique we found was to under-rig the 2575 to the jib arm. Then, we set up our camera with a low mode bracket that mounts on the top of the camera and attach a quick release plate to that. We mount the camera and the head upside down, allowing us to get an inch off the ground without anything inhibiting our movement." Rutkowski's classic OConnor 100 fluid head frequently gets called into action on set too. "We have Richard's 100 on one of the mounts on our lens cart, and everybody in our camera department knows what to do when Richard calls for it," says Russell. "It's a lower profile head, so if we're on a hi-hat, or boxes or even the dolly, instead of having to wait for different parts, we can throw the 100 on and get clearance of 4 to 6 fewer inches than we could get before. It really helps in getting low angles, and it also comes into play a lot for us when we're working with process trailer rigs, so we can get low over a car hood." All of the Anton/Bauer batteries, the Litepanels fixtures, the OConnor 2575 fluid head, and the two ARRI ALEXA PLUS cameras are furnished to the production through ARRI CSC. The team from ARRI CSC worked closely with Daniel Brosnan, Video Utility for The Americans, and Yusuke Sato, Second Assistant, B Camera, to bring additional functionality to some of the Anton/Bauer batteries used on the show. "They worked with the guys at CSC to create a genius piece for us," notes Russell. "When we needed to get into really tight spaces, we were able to actually mount an Anton/Bauer VCLX battery and our wireless transmitting system, running off of a DIONIC Gold Mount wired with an XLR power cable, onto the back of the dolly. It was great to work with them and come up with new, cool ways to bring us added functionality with this gear out in the field." "Working with Richard closely and listening to his vision helped us identify with the unique shooting conditions they planned," says Matthew Kolze, camera service department manager at ARRI CSC." Anton/Bauer products gave us the ability to match the challenges The Americans crew had while offering the flexibility they needed on set and at location."
  25. Event on April 24 will Feature Video and Audio Production Equipment for Purchase or Lease BURBANK, CA - Bexel's Technical Sales & Solutions (TSS) division will host an Open House this Thursday, April 24, from 2-8 p.m., showcasing its Gold Line of pristine, one-time use broadcast video and audio equipment. Much of the gear, which will be on display in a new showroom at Bexel's Burbank headquarters (2701 North Ontario Street, Burbank, CA 91504), was recently used to cover worldwide sporting events in Sochi, Russia. Available for purchase or lease, Bexel's Gold Line includes a plethora of equipment from camera systems, lenses, accessories and support, to video and audio converters, audio monitoring, speakers, wireless intercom, solid state recorders, microphones, P2 camcorders, and more. Leading product specialists from Bexel, AJA, Lectrosonics, Panasonic, JVC, TSL, Shure, LAWO, Livestream, and more will also be on hand at the Open House to answer questions. The Gold Line of equipment comes with a Bexel Gold 30-day service warranty, plus the remaining manufacturer's warranty.* Each piece of gear has been expertly inspected by Bexel engineers and certified to meet the company's rigorous standards, ensuring every detail of the components has been tested and is in mint, like-new condition. The company will also provide complimentary technical consultation and support or training to the new owners of all Gold Line products. Bexel TSS offers the latest new and pre-owned professional products with top-of-the-line manufacturers, such as Panasonic, Clear-Com, Fujinon, Canon, Litepanels, Sony, Evertz, and many more. The division represents over 200 product lines. Bexel TSS also offers its own line of intercom and audio products made in house under the Bexel ASG brand. To RSVP for the event, which will also include a raffle and refreshments, call 818-565-4300 or email JoyceBente@bexel.com. For more information, visit Bexel TSS at http://www.bexel.com/bexel-tss/. (* Warranties may differ, depending on when equipment was purchased by Bexel.) About Bexel TSS Bexel Technical Sales & Solutions (TSS), a business segment of Bexel Broadcast Services, a Vitec Group Brand, has offered the latest new and pre-owned professional broadcast video and audio products since 1991. Over the years, Bexel TSS has expanded to include exclusive dealerships with top-of-the-line manufacturers, such as Panasonic, Lectrosonics, Clear-Com, Fujinon, Sony, AJA, Evertz, Livestream, and many more. As part of the Vitec Group of companies, Bexel has access to a wide range of industry standard product lines including Anton/Bauer, Vinten, Litepanels, Sachtler and Petrol Bags. Bexel TSS also offers its own line of intercom and audio products made in house under the Bexel ASG brand. Bexel's specialists offer product training and support before and after the sale, as well as in-house equipment maintenance and repair. In an effort to supply the broadcast industry with unequaled service and product solutions at exceptional prices, Bexel TSS represents over 200 product lines. For more information about Bexel, visit www.bexel.com, or follow them on Facebook, Twitter and Instagram. About the Vitec Group Capture the moment™ For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.
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