The Baglite is an octagonal fixture with a configuration of six FCM-HIR 650-watt globes, all independently switched with their own custom-designed reflectors. The Chimera tension poles fit directly into receptacles on the Baglite so there is no need for a speedring. The GT-6 (six-light) Baglite is designed to work with both medium and large Chimera quartz softboxes.

Barger recently released Version 2.0 of the GT-6, and the update features a few minor modifications that improve the fixture greatly. I recently tested the GT-6 V2.0 side by side with its predecessor.

The new fixture is slightly larger all around, but it is nearly twice as deep as the original, with air vents completely surrounding the face of the fixture, behind the globe housings and in front of them. This — in addition to nylon washers that separate touch points from the main body and reduce direct-contact heat transfer, and new aluminum “fins” attached to the lamp sockets to disperse heat — significantly refines the heat efficiency of the unit, making it run much cooler and making it much easier to handle than the original GT-6. There is a lot of light spill coming from the back through all the ventilation holes, but in most applications, I don’t think this would bother the user because the punch coming out the front is so strong.

The old version is a big, hot source. With a medium Chimera attached to the original GT-6, I was reading 118°F after 30 minutes of burn time at the face of the Chimera. If I’d had a raw egg handy, I almost could have cooked breakfast on the Chimera’s front diffuser. The handle in the back of the fixture is made of wood to keep it cool, but the original GT-6’s handle is narrow, and in taking hold of it you’re very likely to make contact with one side of the aluminum mount that attaches it to the fixture’s body. I measured 189°F at these points — no fun to touch with bare skin.

In the new fixture, the heat around the handle has been greatly reduced. Nylon washers separate the aluminum handle mounts from the body to reduce the transfer of heat, and the wood handle has been widened and its position lowered (away from the rising heat). The aluminum sides, which with a wider handle are harder to accidentally hit, were reading a mere 116°F after burning for more than 30 minutes, a full 73°F cooler than the original fixture. At the face of a medium-bank Chimera on the V2.0, I was reading 108°F. With slightly better light output, the temperature was 10° cooler than the original.

At first, I thought the three 15A Edison plugs coming out the back of the fixture were odd. Barger originally designed the fixture to run on low-budget productions, where generator power is rarely an option. Three separate, standard 15A Edison plugs for power is of considerable value, to say the least. If you don’t have a generator, you can easily separate out each 15A circuit and run this fixture on standard household power. That’s pretty smart. It’s also easy to make a 60A Bates-to-three-15A-Edison adapter for standard stage or location use where power isn’t a concern.

I really like the independent switches for each globe. Being able to decide whether I want one or six globes (or anything in between) is a fantastic feature that makes the Baglite GT-6 V2.0 extremely versatile.

One of the outstanding features of the Baglite is that any single globe completely and evenly fills the Chimera face. This was true whether I was using a medium or large Chimera. No more tweaking with spot/flood to maximize the light output; the Baglite is very clean for the optimum light output and softest quality.

The setup is quick. With the Chimera ring permanently attached to the Baglite face, it actually made expanding even a large quartz Chimera easier than struggling with a speedring.
I did miss the ability to spin the Chimera bag horizontally or vertically. With the Baglite’s fixed mounting points, the user is locked into one choice (horizontal or vertical), and if you want to change, you must remove the bag and reattach. This isn’t such an issue if the lamp is cool, but after it’s been burning, this isn’t a practical operation, even with the cooler operation of the new fixture.

At first, I was a little thrown that my photometrics for the large-bank Chimera nearly matched the medium bank, but that merely goes to show how efficient the light output is. Even though the fixture is optimized for the large Chimera, you’re not losing any punch when you cut off some of that light with the medium bank, because the globes are closer to the Chimera’s face. As a result, the fixture is equally efficient with either a medium or large Chimera — nearly identically so, which is very impressive. That means you get the same punch for either softbox, and you can choose the level of softness you want based on the size of the bag attached.

With a large-bank Chimera on, the footprint from back of fixture to Chimera face is 3 feet, 7 inches — not bad. After working with the Barger for a bit, I noted that the position of the Edison pigtails off the back of the fixture can often interfere with tilting, anything more than a few degrees of tilt downward. This may be intentional, as the fixture shouldn’t burn in a serious downward tilt, but it does make setting the fixture a little frustrating at times, especially with a large Chimera, where extra tip down eases the setting of the tension poles in the top of the fixture. Once the fixture is set and running, however, the position of the pigtails was no longer a concern.

Other small details include integrated aluminum notches in the side of the Baglite to accept the Chimera side flaps and keep them tight to the unit, and an aluminum faceplate that protects the lamps during transport. Both of these features are the kinds of details I like to see in fixture design, because they prove the designer is seriously considering the end user.

The Baglite is an extremely efficient fixture that is well designed for its intended purpose, but it appears to have few usage possibilities without the Chimeras. Unlike a Fresnel, however, the Baglite isn’t a fixture you’d use for too many other applications. It packs quite a punch and takes up very little room on the truck; you can easily fit three of these units in the space where a Baby 5K would normally go.

by Jay Holben

Most lens adapters of this type, such as the P+S Technik, use a spinning ground glass. This is required in order to prevent the taking camera from picking up the ground glass as part of the recorded image. Movietube uses a patented microcrystalline technology to create a ground glass so fine that it does not need to spin.

This patented design provides several additional benefits: it produces no mechanical noise or vibration; doesn’t require batteries; is less susceptible to mechanical failure; and has no issues with variable-frame-rate cameras such as Panasonic’s AG-HVX200. High shutter-speed settings are also not an issue, as they can be with spinning configurations. The spin-free ground glass also means the image in the viewfinder is correctly oriented and not upside-down.

With the MT bayonet adapter and the appropriate mount, the Movietube can be fitted to many different film lenses, including Arri PL, Panavision PV and Mitchell BNC-R. Movietube also can be adapted to work with photo lenses such as Nikon, Canon FD, Leica-R, Zeiss-Contax and Olympus OM. These lenses allow the taking camera to achieve 35mm-equivalent depth of field and creative effects. The Movietube can be shifted on its docking sled to achieve special frame and vignette effects, if desired. Care must be taken in low-light situations, however, as the unit reduces the sensitivity of each lens by approximately 1 1/2 stops. This forces you to add a bit more light than you might be accustomed to using with prosumer cameras.

Movietube has been tested with many of the current prosumer cameras: the Sony FX1, HVR-Z1U and PD-150; the Panasonic DVX100 and HVX200; and the JVC HD10U. The manual offers specific guidelines and tips for docking with some of the more popular cameras. When docked, the recording camera rides at an angle. This helps the system maintain a balanced weight and streamlined horizontal profile. The modular system can be fitted with Sony batteries on its shoulder mount in order to better counterbalance the weight of heavier lenses. I found the Movietube reasonably comfortable to operate, and the camera’s angle put the viewfinder at a perfect eye level when handholding. The overall heft of the unit made it more stable when handheld than what I’ve encountered with the DVX100 by itself. Because Movietube couples two separate lenses into a single docking system, extra preparations are recommended for optimal performance. Kinomatik calls these guidelines its “12 Golden Rules.” For example, occasional “gate checking” is essential and involves confirming that the small gap between the fixed camera’s lens and the cine lens is clear of debris. Careful use of a production monitor with an underscan mode is also highly recommended to ensure there is no unintentional vignetting on the edges of the frame. The use of the taking camera’s built-in image stabilization system is not recommended. The frame should also be carefully inspected for grain on a good monitor. Though the ground glass is very fine, appearance of its grain is possible when the film lens is stopped down too far past T3, and/or when there is a bright background in the shot. These situations should therefore be approached with caution, according to Kinomatik. I was unable to see any grain on the monitor during my tests.

Movietube is available in two versions, the Light Tube (LT) and Super Tube (ST). The ST is the top-of-the-line model (retail price: $14,500) and includes an integrated Sony/Panasonic Tripod Plate, WalterGrip handles for low-angle and handheld operation, and an integrated shoulder pad. It also includes video output and power for use with a standard Sony or Panasonic professional viewfinder. This allows the operator to more accurately gauge critical focus. The ST comes equipped with standard Arri connectors to allow for wireless follow focus, wireless image transmitters, focus control monitor, etc.

The LT removes most of the pro accessories and drops the price down to $9,500, allowing the use of film lenses at lower cost. Both the ST and LT feature the docking bridge and standard 15mm rods. The LT provides a good option for a B camera in tandem with an ST A camera.

The LT version can be upgraded to the ST; this process can be accomplished by an operator with Allen wrenches and takes about 10 minutes. The fully loaded ST weighs 11.9 pounds (5.4 kg) and measures 12.4 in. x 6.7 in. x9.8 in. (315mm x 170mm x 250mm). The LT shaves down to 6.4 pounds (2.9 kg) and loses about an inch in length and height. The docked camera adds additional weight and size, but because most prosumer cameras in this arena are small and light, the integrated system remains relatively lightweight and comfortable to use. I used an LT version and felt a monitor was essential for critical focus. Most prosumer cameras just do not have enough resolution in their LCD viewfinders and swing-out screens to gauge focus when you have this little depth of field.

Although the Movietube is new to the U.S. market, it has been used professionally in Europe for a few years on commercials, music videos and features. (Sample footage can be viewed at www.movietube.com.) With only the 35mm Zeiss and the DVX100, I shot footage with very shallow depth of field. Coupled with the camera’s 24p frame rate, I was able to capture highly cinematic material. Movietube is an excellent addition to the cinematographer’s arsenal on DV projects.

Abel CineTech is the exclusive reseller for Movietube in the United States and also rents both the LT and ST models.

by Noah Kadner

The new camera docks directly to Sony’s SRW-1 HDCam SR recorder to form a cable-less system. A range of progressive frame rates is supported, including 1080/23.98p, 24p, 25p, 29.97p, 59.94p and 60p. Interlace frame rates include 1080/50i and 59.94i.

“This new system draws on Sony’s 20-plus years of experience in high-resolution imaging technologies, including the HDW-F900 CineAlta camcorder and the HDC-F950 4:4:4 RGB system,” says Rob Willox, director of marketing for digital acquisition and postproduction at Sony Electronics. “The new system is built specifically with the needs of cinematographers in mind. Our goal is to continue to generate more feedback so we can further refine the new system before it comes to market in 2007.”

The camera features three 2⁄3 inch Power HAD EX CCDs (1920x1080p), and offers 14-bit A/D conversion and advanced DSP for high imaging performance. The system is designed to give cinematographers a familiar “film-style” interface, with top or rear cable-less docking to a VTR, and top and bottom hard points for crane mounting. The camera is compatible with a range of film accessories, and its indicators and control layout follow traditional filmwork-style conventions. Power options include 12- and 24-volt DC accessory outputs. The new CineAlta camera will be available early next year at a suggested list price of $150,000.

This new lineup, which includes two camcorders and two decks, rounds out Sony’s range of HD production tools, filling a niche between entry-level and high-end formats. One of the new camcorders, the PDW-F350, offers a feature of particular interest to cinematographers: true variable-frame-rate recording capabilities, commonly known as overcranking and undercranking or “slow-motion/fast-motion” functionality.

“This is a much-desired and often critical feature for directors of photography who need the flexibility of changing frame rates to create unique looks for their productions or to create special effects,” says Robert Ott, vice president of optical and network systems for Sony Electronics. “For digital cinematographers, shooting at slower or faster frame rates than playback gives them the great motion effects often seen in film cinema.”

The two XDCam HD camcorders – the PDW-F330 and PDW-F350 – both offer true 24p recording in SD or HD, interval recording and slow shutter. The same Professional Disc media used in the standard definition version of the XDCam system is also compatible with the new HD version. Now, professional users can record up to two hours of high-definition content on the versatile optical media, maintaining their workflow continuity by combining HD resolution with the same IT-based benefits made possible by XDCam technology since its initial launch in 2004.

The standard-definition (SD) version of the XDCam system has been adopted by news organizations, videographers and television producers, especially for reality TV shows. But the SD version has also made its way into the world of motion-picture cinematography.

Based on blue-laser technology, the XDCam system’s Professional Disc media offers unique benefits in terms of split-second random access to footage in the field or during the post process, and multi-format flexibility and flexible record times (approximately 120 minutes of HD content at 18Mbps or 85 minutes of SD DVCam at 25Mbps).

The Sony Professional Disc media is reusable up to 1,000 read/write cycles and up to 10,000 read/write cycles in ideal conditions, based on Sony’s own testing. The greater number of repeat recordings possible with the XDCam Professional Disc allows a production crew to reuse it more often than a videotape and without experiencing degradation after multiple uses of the media.

Pricing is as follows: PDW-F350 camcorder, $25,800; PDW-F330 camcorder, $16,800; PDW-F70 deck, $15,990; PDW-F30 deck, $9,500. The PFD-23 Professional Disc media is available for approximately $30 per disc, with a capacity of 23.3GB per disc.

This compact unit incorporates the fixture, striker and ballast all directly within the housing of the light, and the 24-watt Daylight bulb that equips the MiniPar is four times brighter than the output created by a tungsten bulb (80 lumens per watt as opposed to 20 lumens per watt). At a distance of 10 feet, LTM says the MiniPar will provide 44 footcandles of light with a beam diameter of 4.4 feet and a beam height of 4.8 feet.

Functional on AC or DC power, the LTM 24W MiniPar can be used on a stand or hand grip or hung in tight spaces. It can even be mounted as a camera light with a Chimera lightbank, and in a car, two MiniPars can operate off the cigarette lighter or car battery. Lightweight (the head weighs only 1.5 pounds) and compact, the MiniPar also boasts 2.5 hours of run time on a 12-volt/7-amp battery.

The 24W MiniPar is available in a One-Light Kit, a Two-Light Kit or a Complete Demo Kit.

Equipped with remote dimming capability, Litepanels 1x1 runs off a variety of 9-30-volt sources, including a standard camera battery or car battery. The external 90-264-volt adapter supplies power through a 6 foot attached input lead and 6 foot grounded U.S. plug/power cable.

Finally, the 1x1 incorporates a pattern of hundreds of precisely aligned mini-portals into the housing, enabling the operator to view the subject being illuminated from behind the unit. And for additional lighting control, Litepanels offers an optional kit of interchangeable slide-in color-diffusion gel filters for both daylight and tungsten versions.

Because of its aspherical front element, the Ultra Prime 8R has both a high optical quality and substantially reduced size and weight (at 4.4 pounds, it is 2⁄3 the weight of the Ultra Prime 10mm). Additionally, the 8R is Super Color Matched to the rest of the Ultra Prime family, promising seamless cuts between scenes.

Other features of the Ultra Prime 8R include an aperture of T2.8 to T22; close focus of 1 foot; length of 5.1 inches and a front diameter of 5.3 inches (134mm); horizontal field of view of 114° for ANSI Super 35 silent camera aperture, 112° for DIN Super 35 camera aperture, and 107° for Normal 35 Academy camera aperture; and Zeiss’s T* XP anti-reflex lens coating.

The NAB II energy system consists of the power converter, fuel cartridge, and refill station. According to Jadoo, the NAB II power converter attaches seamlessly to most camera interfaces and never needs to be removed, maintaining constant voltage output throughout its life. The N-Stor 900 fuel cartridges connect to the NAB II converter, and two of the cartridges provide up to three times the runtime of a standard brick battery. Weighing only 2 pounds apiece (compared to the average brick that weighs almost 6 pounds), the NAB II fuel cartridges also tout a state-of-fill indicator, providing accurate runtime information and letting the user know when the cartridges need to go back to the Fillpoint refill station. Able to charge up to four N-Stor 900s, Fillpoint can refill the fuel cells in under an hour, and up to three refill stations can be connected without sacrificing refill time.

Able to work with Cineon, DPX, QuickTime, SGI, Targa, and TIFF source images in 4K, 2K, HD, SD, or any resolution in between, the CineColorist offers real-time, color-graded playback with on-the-fly rendering. Monitor and film calibration LUTs come included, and a PrintView preview image shows the user what the film image will look like.

Other features of the CineColorist include Histogram, RGB Parade, Vector Scope, and Luma Video monitoring; split-frame and dual-frame view; unlimited history of changes; Cineon/DPX contrast controls; printer-light controls; black- and white-point controls; gamma controls; color saturation; sharpening; automatic scene detection; scene view with color-graded thumbnails; scene grouping; scene looping; in-scene key frames; reference frames; and cross fades.

The CineColorist Workstation includes a PC and monitor with calibrator. An optional trackball control panel and a secondary CRT or LCD monitor are available as well. Finally, Lasergraphics notes that installation to calibrated film output requires less than eight hours, and the average amount of time needed for training is under four hours. Available at a low cost (according to Lasergraphics, the per-seat cost is less than 10 percent of other grading alternatives), the CineColorist can make in-house digital intermediates both practical and profitable.

Based on one or more Apple G5s, the DPR system takes an HD feed directly from the camera, capturing it to the system’s drives. With the captured footage, DPR can then bring such services to the set as dailies (as either standard-definition or high-definition DVDs), down conversion and metadata harvesting — keeping all of this instantly accessible throughout production to the creative team on set.

“While other people have built systems based on proprietary technologies, we feel that an Apple-based system is better suited for production needs,” comments DiPaola. “Apple’s powerful user interface combined with a quiver of high-definition production tools make them now ready for prime time.”

DiPaola further notes, “DPR empowers all levels of production from the independent filmmaker to the blockbusters. We look forward to attaching ourselves to some of the more aggressive HD productions that want to push the envelope of asset management and creative expression.”

Using the Precision Focus Assist, a selectable area of the image is sampled as the focus point. To select this focus point, the operator utilizes a roller-ball type controller, similar to a computer mouse. Next, the operator can select either manual or automatic focus assist. In the manual mode, there are three colored LEDs to help the operator achieve optimum focus, whereas in the automatic mode, the Precision Focus Assist system takes control to bring about the sharpest image possible. One of the greatest benefits of this system is that it does not require tight zooming, performing even on wide shots. And when panning and tilting, the operator can follow the focus point, using the controller to position it above the object of focus as the camera is moved.

The Precision Focus Assist system is available on Fujinon’s XA101x8.9BESM HD zoom, HA22x7.3BRD HD EFP lens, HA26x6.7ESM HD studio lens, and HA13x4.5BRD-S28K HD wide-angle lens.

Using the single-space, rack-mountable Avid DNxchange system, professionals can encode HD-SDI signals from cameras, switchers, routers, and decks to Avid DNxHD media, which delivers mastering-quality HD media with the bandwidth of SD video files. Once encoded, users can move the HD media over existing SD-SDI infrastructures within their facilities. Furthermore, the DNxchange system can be used to convert Avid DNxHD media into uncompressed HD files and output the media to any device with an HD-SDI interface.

Also emerging from the creative minds at Avid is the Symphony Nitris system, a nonlinear SD and HD finishing system that guarantees real-time editing and effects for multi-stream 10-bit HD and SD media, as well as HD Total Conform with the Avid Media Composer product family.

Bringing together the real-time performance of the Nitris Digital Nonlinear Accelerator (DNA) hardware and the creative and corrective tools and multi-format mastering and versioning capabilities of the Avid Symphony software, the Avid Symphony Nitris system offers users a familiar Avid interface extended across the entire workflow of any film or video production using Avid systems. Other system highlights include expansive video and audio I/O for high-quality formats, universal mastering capabilities, and project collaboration through the Avid Unity MediaNetwork.

The Avid DNxchange board is priced at $10,000 and the Avid Symphony Nitris system—which comprises the Avid Symphony software and the Avid Nitris hardware—is priced at $89,995.

Among the many features of the Ultraclean, the dual-cleaning action ensures the best possible treatment for removing dirt and contaminants. The four buffers — all fully immersed in the perchlorethylene solvent — are assisted by an ultrasonic action to completely remove stubborn dirt, grease, oil, and fingerprints while keeping the film safe.

Additionally, CTM has kept an eye on minimizing emissions, and in this vein, the Ultraclean touts integral and continuous solvent recovery and reprocessing, as well as closed-loop air drying. All of this has the added benefit of minimizing maintenance, but certainly not eliminating it — the need remains to periodically change filters, remove waste products and replace buffers.

Other benefits include the machine’s high-speed operation (CTM notes that the Ultraclean can typically clean 50-100 percent more film per hour than conventional ultrasonic cleaners using the same solvent), efficient recovery system, Plexiglas partition isolating clean and dirty areas, triple-drying system, capstan drive (with no sprockets, making the Ultraclean suitable for archive materials), low solvent consumption and no water contamination from solvents.

Using the same proven servo transport system as the successful DIXI SD Telecine, the Harmony HD also incorporates the Sony HDC-F950 HDTV camera. Based on the exclusive Power HAD technology, the 2/3 inch, 3-CCD camera records 1920x1080, delivering 1000 TV lines of horizontal definition with an S/N ratio of 54dB.

The capstan drive system in the Harmony HD removes the risk of failure that can occur with mechanical sprockets or pins, and the custom-built optical system provides automatic magnification and focus. Furthermore, the illumination system combines three cost-effective halogen lamps, an optical fiber transmission structure and an integrated sphere to diffuse the light, guaranteeing light uniformity. Once installed, the Harmony HD requires no alignment and has practically no cost associated with consumable parts.

Designed to handle negative or positive shrunken material without damaging the perfs, the Harmony HD provides outstanding picture quality and is well suited to HD work as well as the production of standard-definition PAL and NTSC tape or DVD copies. Finally, in addition to accepting 16mm, Super 16mm, Academy 35mm and Super 35mm film formats, 8mm, Super 8mm and 9.5mm formats are available upon request.

Both scanners are designed with capstan-drive- and reel motors, steadily controlled by microprocessors, to transport the film stock (in loads of 150-2,000’) gently and at a constant speed. A slit light source for white light and infrared light is situated opposite to the scanning system, uniformly illuminating the scanning area.

In the sensor board, scanned information is transferred into a digital data stream pixel by pixel at 16 bits per color, without processing. Then, via four optical lines, the scanned data is transmitted losslessly from the scanner to the frame grabber board — a PCB in the workstation or data storage featuring four parallel optical high-speed inputs. Finally, the scanned images are stored on the RAID hard drives, ready for the digital postproduction workflow.

The 4K CineScan scans and stores 35mm film images (16mm optional) up to a width of 24.9mm (Super 35), and the resultant 4K digital images have a resolution of 4096x3112 pixels. To preserve all information including sound tracks and film manufacturer’s coding, the 5K ArchiveScan scans across the film’s entire width in 35mm (again with 16mm available as an option), making 4860x2680 pixel digital images.

Each system includes the scanning unit and basic storage capacity. Additional features of both scanners include a graphical operator interface, manual and automatic calibrating functions, and an optional NIR (near infrared) CCD line sensor to detect artifacts on the film surface such as scratches and dust.

First up, the TopLight is a powerful, high-output, 6K Maxi-brute softlight. Weighing only 28lbs, constructed of extremely lightweight aluminum, and enclosed in an aluminum Nomex shell, the TopLight also features multi-pin connectors to easily daisy-chain multiple units. The basic head sells for $1,895, with accessories and shell priced separately.

Built with rated hardware and an integrated pipe for hanging up to 10 Par64 cans, the TopBox Lightweight is a super-lightweight, fire-resistant diffusion box. Featuring welded aluminum and aluminized Nomex, the TopBox Lightweight is quick to assemble and a safe alternative to Fomecore and wooden-made coffin boxes. The unit sells for $1,690, accessories priced separately.

Finally, the MaxiLight is a fabric-fronted softlight powered by four Par64 globes. Built to accept existing hard and soft grids, the MaxiLight allows users to create extremely soft projected light of a high foot-candle level in a compact unit. The basic head and yoke are priced at $1,895 with accessories and shell sold separately.

Simple yet powerful, the diTTo is a Super 2K and 4K data centric scanning system developed specifically for high quality, efficient film scanning. DiTTo’s versatility makes it well suited for all applications from high-end DI and special effects through to archiving and restoration.

Utilizing a three-color LED light source with a diffusing sphere for dust and scratch reduction and a solid-state low noise detection device, diTTo produces high resolution, repeatable results and incorporates a PC GUI to make the management of the scanning process and the delivery of the image files as straightforward as possible.

DiTTo’s transport system features an angled transport deck with a simple film path that can accommodate over 2000ft per roll, with Super 35 and regular 35mm pin registration. Scanned images are stored as 10-bit calibrated Cineon log DPX files that are accessible via a GigaBit Ethernet interface, a fibre channel interface, or a USB 2.0 interface, with other PC interfaces available upon request.

Lastly, the PC-based control user interface features full transport and scanning control, data format and path controls, clip management, real-time image viewer with zoom and pan controls, and a “pixel picker” analyzer.

Designed to be deployed in facilities where multiple users carry out similar tasks, Toxik software offers collaboration, data management and automation capabilities in addition to creative tools, increasing productivity and efficiency by reducing the time taken to move data between users, set up users, or execute cumbersome tasks. The software is further designed for easy integration into facility production pipelines.

Toxik comes with a host of features, and the simultaneous multi-user access to centralized media and metadata is only the tip of the iceberg. Creative tools abound for film compositors, including Reaction 3D Compositor, 2D Compositor, Garbage Mask, Tracker, and a mélange of others under the groupings of Channel, Color Correction, Compositing, Filtering, Formatting, Image Generation, Keying (including Discreet’s Diamond Keyer), Pixel Selecting, Testing and Time.

Additional highlights include Ultra High-Resolution Interaction with fast display and fluid manipulation of large images; Suave renderer, touting 32-bit HDRI-capable rendering with per pixel shading; a gestural user interface for fast onscreen compositing interaction with the moniker Touch UI; and a flexible, modular software architecture that features comprehensive API and full Python scripting capabilities for easy facility integration and workflow customization.

Consisting of two breakdown frames (that measure 4’x4’ when assembled), one single scrim, one silk diffusion, and one solid flag all in a lightweight case that fits over the shoulder or in any automobile, Road Flags are intended as an alternative to carrying the traditional armada of 4-bys when shooting on location. To further entice prospective users, Matthews also offers a wide range of other light modification fabrics that slip on the Road Flags’ frame, including silver and gold lamé.

Assembling the frames takes only four easy steps. First, pins located on both sides of the frame are inserted into corresponding receivers. Next, the bottom corners of the frame are fitted into pockets of the light modification fabric, and then elastic straps are slipped over the upper corners of the frame. Finally, each side of the fabric is secured with Velcro straps.

Features of NexGuard include watermarking, encryption, controlled access and forensic data solutions that manage and secure the storage, transfer, and viewing of digital content including production dailies, postproduction elements, digital intermediates, feature-film and broadcast digital masters, digital cinema releases and DVD screeners. A content signature identification service is also included to combat the illegal flow of entertainment titles on the Internet.

Shedding some more light on the particular features of NexGuard, Thomson reveals that its watermarking technology embeds an invisible forensic mark in every frame through a data replacement process. In turn, this embedded information is linked to a database that automatically isolates the source of illegal content.

Additionally, the encryption solution included in the NexGuard suite features a key control that limits access to content, permitting trusted viewers to view decrypted materials via a secure token while locating unauthorized usage and delineating the personnel who have accessed the content.

Lastly, Thomson boasts that its content signature identification system employs technologies and computing power to identify entertainment titles circulating illegally on the Internet. Operating automatically and differentiating between pirated material and fake copies bearing the same title, NexGuard locates the source of piracy and produces information that rightful owners can use to implement a graduated response to piracy on the web.

This coming September, Kodak will further the Program’s goals with the inaugural worldwide Kodak Imagecare Program Laboratories Conference in Rochester, New York. Designed exclusively for participating laboratories around the world and organized by Kodak’s Entertainment Imaging Division, the conference program will cover topics as diverse as digital intermediates, the latest in laboratory techniques and digital cinema, and will include a site tour of Kodak’s manufacturing facilities.

According to Bill Tompkins, general manager of the Motion Picture Film Group of Kodak’s Entertainment Imaging Division, “Our goal for this worldwide conference is to provide an opportunity for key laboratory personnel to share their experiences and work together toward a better understanding of issues, both technological and business related. We also view it as another opportunity for Kodak to listen to our customers so that we can continue developing tools for the future.”

Featuring 110 interactive forms and signage on one CD-ROM, Movie Forms Pro – Interactive promises to have whatever piece of paperwork the user’s film, video, digital video, HD, commercial or motion picture production is looking for, from releases to storyboards, from W-4s, W-9s, and I-9s to U.S. Copyright forms.

Using Adobe Reader (included with the disc) or Adobe Acrobat, the user can fill in and print out the forms and signage using either a Mac or a PC. And for users of the original Movie Forms Pro, Interactive features many new and redesigned forms and signage for all stages of production, from prep through post.

Included on the CD-ROM are 110 forms in 300 dpi JPEG files and 72 dpi JPEG, pict, and BMP files. Movie Forms Pro – Interactive also features quick start instructions, a user guide, and an eight-page fold out displaying all of the forms and signage. Movie Forms Pro – Interactive is available now at a suggested retail price of $149.

First up, Astro’s SC-2055 multi-format converter can drive an array of up to eight input/output interface options supporting a resolution up to 2560x1580 (2K) pixels. Additional features of the SC-2055 include: astrosnap (Astro Super Natural motion Picture), an I/P conversion technology that corrects jaggy outlines without sacrificing overall image quality; an Integrated Motion-Compensation Engine that terminates motion artifacts for enhancing and outputting a natural motion picture; and a user friendly Slot-In-Interface Architecture designed for maximum adaptability and flexibility, providing users additional control and application compatibility.

Astro’s HD/SD-supported LCD display monitors are available in 6-, 8-, and 15-inch models, while the wide series comes in 17-, 23-, and 32-inch sizes. Additionally, the HD/SD Waveform monitor (with vectorscope) is available in a 6- or 8-inch format.

In the way of hardware, Quantel has unveiled the three-stage Eiger hardware for both its eQ and iQ systems. The three stages include the Eiger Media Engine, which significantly increases performance; the Integrated Concurrent Processing (ICP) option; and new workspace technology that brings real time 2K 16-bit and real-time 4K working to iQ by combining the Quantel ultra-fast Frame Magic fibre channel disk controller with new high performance Dylan FC disk arrays. For users of existing systems, all three of these developments can be retrofitted.

The new Eiger hardware and software has also benefited from Quantel’s Pay as you Go HD for the eQ system. Adapting the pay as you go concept from the mobile phone industry, Quantel utilizes it to aid the transition from an SD to an HD workflow. An eQ with Pay as you Go HD is a fully equipped system, but ingest and playout is limited to SD until a password (available in weekly and monthly varieties from Quantel) is loaded into the system.

Custom designed for use with the JVC GY-HD100 camcorder, the Chrosziel HDV Mattebox Kit and 4x4 Clamp-on Sunshade System sport an array of features. First, the true 16x9 housing and snap-in 16x9 insert mask offer shading precision and efficiency, and the system has been designed to work with all lens models offered by JVC, including the standard 16x, the 13x wide angle zoom, and the 0.8x wide angle converter. Also included are a full-size French flag, a filter stage for two filter holders, one 4x4 rotating and one 4x4/4x5.650 fixed-combination filter holder, a pivot mechanism (for the use of optional side wings), and a 110:85mm insert ring. Ensuring a secure mount, the system includes a center bracket and lightweight support system with 15mm rods, and the optional Chrosziel DV Studio Rig Follow Focus and Focus Gear Drive are also available.

For compact, lightweight use, the Chrosziel 4x4 Clamp-on Sunshade System attaches directly to the front of the standard 16x lens. The Sunshade shares many of the same features as the mattebox kit, including a full-size French flag and a filter stage for two filter holders (again, one rotating and one fixed combination). The Sunshade also includes a 104:85 step-down ring and an optional center bracket and lightweight support system.

For users of the new Canon XL H1 HDV camcorder, 16x9 also offers the Chrosziel HDV Mattebox Kit for 4x4/4x5.650 filters and the 4x4 Clamp-on Sunshade System engineered specifically for the camera. Sharing many of the features of the JVC HDV Mattebox Kit, Chrosziel’s XL H1 Mattebox sports a true 16x9 housing that covers both 16x9 and 4x3. Also included are a dual filterstage (4x4 rotating and 4x4/4x5.650 fixed), a full-size French flag, a 16x9 insert mask, and a 100-72mm screw-in adapter ring. A center bracket and lightweight support rods are also a part of the kit, and Chrosziel’s DV Follow Focus system is available as an option. The Sunshade system for the XL H1 attaches directly to the front of the camera’s 20x lens.

Other accessories available from 16x9 for the XL H1 are the 16x9 Inc 0.7x Wide Angle Converter, the Noga Hold-It Articulating Arm, and the Zoe-DVL Remote Zoom Control.

The Coco-DVL snaps on in place of the camera’s existing 7.2V NPF battery, which in turn attaches to the converter’s docking plate at a 90-degree angle, freeing up space for the converter’s connectors. The unit then transfers 7.2V of power and Info-Lithium data from the battery directly to the camera while converting 7.2V to 12V for accessories, which attach via a new twist D-Tap connector, allowing cables to plug in from either an upward or downward position. The unit also features a 7.2V 4-pin Hirose connector and an optional wireless receiver mounting plate. The run time of a camcorder (in record mode) and a 10-watt Lux light is approximately 135 minutes.

The compact, low-profile Lux-DV light weighs less than 8.8oz when fully equipped with two barndoors, flip-out 5600°K dichroic filter, and power cord. Lux-DV 20W bulbs feature a built-in mirror and diffuser and employ IRC technology for 30% more efficiency. Other features include integrated Softstart electronics and a built-in bulb ejector to eliminate finger burns.

For those who prefer a shoulder-slung carrying case, Petrol offers the Camporter for use with the same cameras as the Mini Camback. Similarly constructed with heavy-duty Cordura and ballistic nylon, the Camporter features dual-padded wingflaps, a generously-sized main compartment, an anterior chamber for accessories, a removable rigid divider, interior front and rear mesh dividers, exterior side pockets, bottom risers, dual-directional zippers, an adjustable, ergonomic, padded shoulder strap, and an interlock carrying handle. Petrol also offers the PUBP harness for carrying the Camporter backpack style.

Expanding its line of camera U-Bags, the PCUB-HD HDV U-Bag is tailored especially for the JVC GY-HD100, Canon XL H1, and similar size camcorders. Featuring Petrol’s proprietary ultra-wide U opening, the PCUB-HD’s floor, viewfinder, and mic compartments are reinforced with cold-molded laminate panels for additional sheltering, and bottom risers offer protection from below. Additionally, the PCUB-HD features an expandable end compartment to accommodate HDV camcorders of varying lengths, exterior pockets, a removable soft auxiliary pouch, U-Grip ergonomic interlock handle, a padded shoulder strap, and Cordura construction.

Constructed of sturdy 100-percent waterproof nylon, Petrol HDV Raincovers are available in three models: the PRC-XL fits the Canon XL H1/XL-1/XL-2, JVC GY-HD100 and similar size cameras; the PRC-S-HDV is custom tailored for the Sony HR-Z1U, HDR-FX1, and HVR-A1U; and the PRC-PA (DVX)-N is for the Panasonic AG-HVX200 and DVX100/A/B. All of the Raincovers are equipped with extra-large, clear side vinyl windows for easy viewing of camera controls and cassette opening. Also, a special opening for sun guns is equipped with a thermoforming gasket to keep out dampness, and other features include a contoured auxiliary raincover to protect flip-out monitor screens while in the open position.

Lastly in the way of camera accessories, the PMH-A1U Micro Hood is designed especially for the Sony HVR-A1U HDV camcorder. Made of lightweight, rigid material, the Micro Hood fits neatly over the camera’s LCD monitor for comfortable and easy viewing, particularly in bright sunlight.

And finally, Petrol has introduced the Lightporter lightweight, padded, semi-hard carrier for transporting portable lighting equipment and keeping it organized on the job. Covered in durable, water-resistant Cordura, the Lightporter is available in two sizes: the PLPR-4 holds up to three heads and three light stands with a maximum length of 28”, and the PLPR-5 accommodates up to four heads plus four stands no longer than 35”. Features of both bags include dual-directional zippers, detachable dividers, a padded internal zippered compartment for stands, an exterior side accessory pocket, an ergonomic interlock carrying handle, a padded shoulder strap, and side handles. Also, the Lightporter can easily fit on a standard luggage cart for convenient, roll-away toting.