Friday, April 28, 2017


  • Saturday, Mar. 4, 2017
Nick Dance Shoots "The Replacement" with Cooke lenses
Nick Dance, BSC, shoots "The Replacement"

Cooke Optics, manufacturer of precision lenses for film and television, announced that The Replacement, the new three part drama that started on BBC 1 on February 28, 2017, was shot with Cooke S4/i lenses by Nick Dance BSC.
Written and directed by Joe Ahearne and starring Morven Christie and Vicky McLure, the unsettling drama follows the story of a woman who falls pregnant just as she lands a big contract at work. Her maternity replacement, Paula, seems ideal at first – enthusiastic, competent and personable – but as Paula shadows Ellen through the last few months of her pregnancy, Ellen begins to worry that Paula has another agenda. 
Dance, who also recently shot the BBC’s Poldark with Cooke glass and ARRI ALEXA cameras, said that Cooke S4/i’s are his "go to" lenses. “The S4/i’s tend to be my first choice, as this range generally covers most requirements,” he said. “I find the Cookes more forgiving than other lenses, especially when shooting digital; the focus roll off is closer to the look when shooting on film. Although the story needed to feel real and naturalistic, we still wanted the female protagonists to look as good as possible but keeping it believable, and these lenses do this.”
Shooting in Glasgow meant that the weather and lighting conditions could change in an instant but, Dance said, a combination of Cooke lenses, ALEXA cameras and the colorist, Sonny Sheridan, made it work. 
“The lenses greatly contributed to this as the contrast holds through all lighting conditions,” Dance said. “We did embrace lens flare, especially in the story when paranoia sets in, and the lenses handle this well - the image remains solid and doesn't blow but has a beautiful subtle flare and bokeh.”
The main set, the architects’ offices, also posed a major lighting challenge as it features almost 360 degree plate glass windows and walls. “As the window was massive, it was not possible to ND, and also we would be shooting throughout the day, so it would be tricky and time consuming to remove ND when the light starts to drop or the weather changes,” added Dance.  “I didn't want to over-light the interior, and using big lamps would cause more reflection issues, so less was definitely more in this instance!  We soon discovered what worked and what didn't, and the lenses helped me greatly with holding contrast with all these challenges. I have to say it was all worth it as the natural reflections gave us extra depth and texture that otherwise we wouldn't have had with flat solid walls.”

  • Friday, Mar. 3, 2017
Blackmagic Design unveils new control panels for DaVinci Resolve
The Davinci Resolve Micro Panel
FREMONT, Calif. -- 

Blackmagic Design announced two new portable hardware control panels for DaVinci Resolve, its professional editing and color correction software. With professional editing becoming extremely popular in DaVinci Resolve, these new control panels are designed to allow color correction workflows to be mixed in with editing workflows, while introducing new levels of quality in affordable hardware control panels.
The new DaVinci Resolve Micro Panel and the DaVinci Resolve Mini Panel are true professional grade hardware control panels that feature three exceptional quality high resolutions trackballs, precision machined control knobs, illuminated buttons and much more. Hardware control panels are critically important for professional color correction because the colorist needs to “hold the image in their hands” as they manipulate multiple parameters at once to create new and highly stylized looks, or even make very subtle natural changes.
The incredibly small USB powered DaVinci Resolve Micro Panel is available now for $995, while the larger but compact and portable DaVinci Resolve Mini Panel with built in LCD screens and dozens in instantly accessible menus is available now for $2,995.
First , there are three workflows that require support. The first workflow is for professional colorists in dedicated color correction suites, the second is for editing systems that change between editing and color, and the third is for editors that need to edit and color at the same time. The first workflow for dedicated color correction suites is already handled by the large DaVinci Resolve Advanced Panel, so the two editing based workflows are the problems the development team needed to solve.
The second issue the design team needed to solve was quality. No customer wants a “cheap” low quality panel because they’re going to spend hours working on it every day. While there are cheap panels on the market, what customers need is an extremely high quality panel that’s smaller in size that they can use on these workflows. Also, smaller panels are easy to move between locations and allow freelance colorists to take their own panel as they move between systems and jobs at different companies. This means that quality and durability are one of the most important aspects for these new DaVinci Resolve control panels.
The smaller DaVinci Resolve Micro Panel is not much larger than a computer keyboard and is powered from the USB connection. It’s perfect for placement next to a computer keyboard so the editor or colorist can easily move between the keyboard and control panel as they edit, allowing simultaneous grading and color correction. The larger DaVinci Resolve Mini Panel includes the same powerful features but also adds LCD screens with dozens of menus allowing fast access to most of the advanced color grading features of DaVinci Resolve. This makes the panel more suitable for workstations that switch between editing and color correction, but it is still portable enough to be easily moved between workstations around a facility. The mini panel has enough features that a colorist will be able to do professional work on any DaVinci workstation that it’s plugged into.
Both the DaVinci Resolve Micro Panel and the DaVinci Resolve Mini Panel provide fluid, hands-on control that allows colorists to be more creative because they can adjust multiple parameters at the same time, allowing them to quickly create looks that are simply impossible with a standard mouse and keyboard.
When it came to developing these new control panels, the two overriding problems the design team had to solve were workflow and quality.
In addition, many clients and DOPs have complained about not being able to achieve “film looks” from digital film cameras. By increasing the access to features in the primary color correction it greatly enhances the subtle creativity that achieving film looks requires. So with the design of these new panels, enhancing the control over the primary color corrector tools was critical.
Both panels include a row of 12 knobs that provide access to the most powerful primary correction features, making it easy to experiment and try new combinations. The primary knobs can be used to control Y Lift, Y Gamma, Y Gain, Contrast, Pivot, Mid-tone Detail, Color Boost, Shadow, Highlight, Saturation, Hue Rotation and Luminance Mix. With direct access to dedicated knobs on the control panel for these primary color correction controls, we hope to inspire a new creative revolution in the look of images for film and television.
In addition, the new panels have a range of transport and grading control buttons on the right side of the panel that put the most important and commonly used commands at the colorist’s fingertips, so they can work faster without having to hunt through menus or palettes to change a setting.
All of the DaVinci Resolve hardware control panels feature a consistent layout that makes it easy for professional colorists to move between the new panels and our traditional DaVinci Resolve Advanced Panel. Many of the controls are in the same position and the trackballs are large and designed with a similar professional feel so any existing DaVinci Resolve colorist should feel completely at home on the new panels.
The new control panels feature an elegant and durable machined aluminum body with professional, high resolution balanced trackballs. The trackballs provide RGB balance adjustments for lift, gamma and gain, each with a master level control set via a movable outer trackball ring. The other control knobs are custom designed and precision machined to provide super fine control over adjustments. They can also be pressed to quickly reset a parameter. Illuminated buttons make it easy to see which controls are active, even in a darkened room. The DaVinci Resolve Mini Panel model adds two high resolution screens that display information and parameter settings for the currently selected tool and additional control buttons for DaVinci Resolve features.
Product Summary
The DaVinci Resolve Micro Panel is a super small hardware control panel that’s well suited for editing workstations and on-location use. It includes 3 high resolution weighted trackballs, 12 control knobs for advanced primary color correction, 18 dedicated navigation and transport keys, and more.
The DaVinci Resolve Mini Panel is a compact hardware control panel that’s ideal for adding color grading to any workstation, and for freelancers that need to take their panel with them when traveling between facilities. The DaVinci Resolve Mini Panel features 3 high resolution weighted trackballs, 12 control knobs dedicated to the powerful primary color correction tools, 18 dedicated navigation and transport keys, and an upper deck with two 5” screens, 8 soft knobs and 8 soft buttons, dedicated keys for switching tools, working with nodes, grabbing stills, navigating the timeline and more.
The DaVinci Resolve Micro and Mini panels both feature USB-C for working with today’s most advanced computers. For computers with conventional USB 3.0 connections, a USB 3 to USB-C cable is included. The DaVinci Resolve Micro Panel is fully powered over USB so it can be run directly from a laptop in the field, making it ideal for on-set grading. The DaVinci Resolve Mini Panel features an AC and broadcast industry compatible 4 pin XLR 12V DC power connections. The mini panel also includes built in ethernet so users can connect it to their DaVinci Resolve workstation using either USB or their network. The ethernet also supports PoE so it can be powered via the network connection from a PoE compatible router. 
“There is a massive, growing number of DaVinci Resolve users working on all different kinds of productions” said Grant Petty, CEO, Blackmagic Design. “These new DaVinci Resolve control panels give editors and colorists a completely new way to add emotion and impact to their images. We designed these exciting new hardware control panels to inspire colorists at every level with stylish design, extremely high quality and features that boost creativity. We believe these new panels will let customers do things creatively that are simply impossible with a mouse and keyboard!”
Availability and Price
The DaVinci Resolve Micro Panel is available for $995 and the DaVinci Resolve Mini Panel is available for $2,995. Both panels are available now from Blackmagic Design resellers worldwide.

  • Wednesday, Mar. 1, 2017
Facebook's Oculus cuts price for Rift's VR headset by $100 
In this Jan. 6, 2016, file photo, Yining Hou uses the Oculus Rift VR headset at the Oculus booth at CES International, in Las Vegas. (AP Photo/John Locher, File)

It has gotten cheaper to explore virtual reality on the Oculus Rift headset.

The device, made by a company owned by Facebook, now sells for $499. That's a 17 percent markdown from its previous price of $599. The Rift's touch controllers are also being reduced by $100 to $99.

Those costs don't include a high-powered computer that needs to be connected to the Rift.

The discounts mark the latest effort to lure more people into trying out virtual reality, the artificial worlds that Facebook CEO Mark Zuckerberg believes will eventually reshape technology and culture. Facebook bought Oculus for about $2 billion as part of Zuckerberg's effort to realize his vision.

The Rift remains more expensive than Sony's Playstation VR headset that sells for $399. HTC's Vive headset costs $799.

  • Tuesday, Feb. 28, 2017
Xsens Indie Program opens up access to mocap
An educational session on Xsens motion capture.
ENSCHEDE, Netherlands -- 

Xsens, an innovator in 3D motion tracking technology, has announced the Xsens Indie Program, a new initiative designed to democratize the use of its Hollywood-grade motion capture solutions.

The Xsens Indie Program has been launched to support inspiring up-and-coming talent. It will provide indies, student teams, young studios and game devs with access to Xsens’ production-grade mocap technology at an entry-level budget.

Those that qualify (one of the requirements being, for example, that a studio generate revenue no greater than $750,000 over the past fiscal year) receive a free Xsens software subscription for one year, and only need to cover the cost of the affordable Xsens mocap hardware, resulting in huge savings across the board.

Over the last 10 years, Xsens has delivered state-of-the-art mocap solutions to the triple-A game development industry and leading VFX studios across the globe. Xsens mocap systems have powered numerous high-end productions, including Independence Day: Resurgence, Kingsglaive: Final Fantasy XV, FIFA, and much anticipated titles LawBreakers and Hellblade. 

Dominika Osak, producer at Badi Badi, commented: “The Xsens Indie Program gives us the luxury of capturing anywhere, without having to rent out a stage or employ a huge team of technical operators. We can accomplish what larger studios are doing with less space, less equipment, and in a shorter time frame. The benefits cannot be overstated.”

Hein Beute, director of product marketing at Xsens, said: “We understand that for small studios and indie developers, cost of entry to high-end mocap solutions can be a barrier to quality creative output. The Xsens Indie Program has been designed to make it easier for smaller studios to access Xsens triple-A quality mocap solutions on a budget, delivering the stories they really want to tell.” 

Xsens’ inertial approach to mocap includes full-body, wearable mocap MVN suits and straps. While conventional mocap systems use marker-based systems, Xsens records the motion data of the performers’ movements. The flexibility of this approach enables actors to better focus on their performance. Xsens’ system is billed as being much better suited to on-location mocap shoots than traditional approaches. It excels in rough, rugged and uneven capture areas, and is incredibly robust, eradicating restrictions when stunts are needed, or if actors want to push their performances to the limit.

For more info and to apply for the program, click here.

  • Tuesday, Feb. 28, 2017
Oscar nominees, winners tap into Avid creative tools
Tom Cross, ACE, cut "La La Land"

Avid® (Nasdaq: AVID) congratulates its award-winning and nominated customers on their achievements at the 89th annual Academy Awards®. Many of the films recognized by the Academy were crafted using Avid’s advanced creative tools and production workflow solutions, powered by the Media Central® Platform. This year, all nominees in the Best Picture category relied on Avid innovations including winner Moonlight

In the Best Film Editing category, all nominated editors—including winner John Gilbert, ACE for Hacksaw Ridge, Joe Walker, ACE for Arrival, Jake Roberts for Hell or High Water, Tom Cross, ACE for La La Land and Nat Sanders and Joi McMillon for Moonlight—cut their films using Avid Media Composer® the industry’s most trusted editing solution.

Tom Cross, ACE, who was nominated for Best Film Editing for La La Land and won the award in 2015 for Whiplash, said, “It was a dream come true to collaborate with director Damien Chazelle again, but to be honored with another Academy Award nomination for La La Land just means so much. Avid Media Composer gave me the creative tools to bring Damien’s vision to life for this romantic, magical, awe-inspiring film I’m so proud to have been a part of.”

Best Sound Editing nominees Sylvain Bellemare for Arrival, Wylie Stateman for Deep Water Horizon, Robert Mackenzie and Andy Wright for Hacksaw Ridge and Tom Ozanich for Sully, and Best Sound Mixing nominees Kevin O’Connell for Hacksaw Ridge, and Stuart Wilson and Christopher Scarabosio for Rogue One: A Star Wars Story all used Avid Pro Tools® digital audio software to bring the sounds of their nominated films to life.

Sound mixer Kevin O’Connell, who won the award for Best Sound Mixing for his work on Hacksaw Ridge, said, “Despite shrinking post-production schedules and budgets, the demand for an Oscar-worthy soundtrack has never been greater. My Avid Pro Tools | S3 control surface and Pro Tools help make that possible.”

All five nominated songs for Best Original Song were created using Pro Tools, including winner "City of Stars" (Justin Hurwitz, Benj Pasek, Justin Paul), "Audition" (Justin Hurwitz, Benj Pasek and Justin Paul), "Can’t Stop the Feeling" (Justin Timberlake, Max Martin Karl, Johan Schuster), "The Empty Chair" (J. Ralph and Sting) and "How Far I’ll Go" (Lin-Manuel Miranda).

Composers who were nominated for Best Original Score and relied on Avid’s music notation software, Sibelius®, include Mika Levi for Jackie, and Dustin O’Halloran and Hauschka for Lion.
“We are thrilled and humbled that our distinguished client and user community, which consists of many of the most celebrated filmmakers across the globe, has embraced Avid’s comprehensive creative tools and production workflow solutions to create the most critically acclaimed films of the year,” said Avid chairman and CEO Louis Hernandez, Jr. “We congratulate all of our customers on their outstanding achievements during this year’s awards season and look forward to our continued close partnership and collaboration.”

  • Monday, Feb. 27, 2017
Framestore deploys PixStor in London, NY, L.A.
A scene from "Fantastic Beasts and Where to Find Them" (image courtesy of Warner Bros. Studios, Heyday Films and Framestore)
SURREY, England -- 

Pixit Media, known for storage solutions built specifically for media workflows, announced that Oscar-, Emmy-, and British Academy Film Award-winning creative studio Framestore has deployed Pixit Media’s PixStor software-defined scale-out storage solution at its Los Angeles, London, and New York sites as central production storage for the advertising part of its business. The deployment gives Framestore guaranteed performance and consistency across all three sites, a cost-effective and simplified approach to disaster recovery and business continuity, and a modular infrastructure that is easy to manage and expand to support multiple workflows.

“We’ve tried many flavors of NAS and SAN offerings, and we were really impressed with Pixit Media’s PixStor. It provides speed and quality of service while giving us the freedom to purchase our own hardware,” said Beren Lewis, Framestore’s global head of integrated advertising technology. “With PixStor, we get exactly the right balance of everything we need — guaranteed performance, the ability to control hardware costs, and the reassurance that we have a partner that really understands our workflow and applications — all in a model that we can easily reproduce globally.”

Renowned for its postproduction and visual effects work on blockbusters such as “Gravity,” “Fantastic Beasts and Where to Find Them,” and movies in the Marvel franchise, Framestore is also behind the advertising campaigns for global brands such as Intel, Stella Artois, BMW, and Samsung. Seeking to push the boundaries of what is possible from available technology, Framestore chose PixStor not only to meet the exhausting demands of its current commercial-production workflow, but to grow and adapt with the business and its ambitious expansion plans. 

In Framestore’s case, the PixStor solution combines Pixit Media’s media expertise and file-system tools with best-of-breed hardware components, such as NetApp E-Series storage arrays and network infrastructure from Mellanox Technologies for the back-end storage network. Each of Framestore’s sites uses multiple NetApp E-Series E5660 storage arrays with a mixture of 10K SAS drives and larger-capacity SATA drives, for a total of about 500 terabytes of usable storage per site. 

Large broadcast production workgroups and boutique 4K facilities, which have zero tolerance for dropped frames, rely on NetApp E-Series. Operations can choose between RAID resiliency schemes, including Dynamic Disk Pools that dramatically reduce disk rebuild time, provide more consistent performance, and eliminate the need for hot or cold spares. Use of flash in hybrid arrays optimizes support for ancillary transcoding and rendering workflows. “Phone-home” features alert NetApp of potential disk failures before a hard disk fails, allowing the vendor or systems integrator to replace the drive without any impact on the production workgroup.

With the PixStor systems now online in three locations, Framestore is next planning to take advantage of the solution’s built-in intelligent sync tools to implement lightning-fast disk-to-disk copy for disaster recovery and business continuity.

“We’ve earned our customers’ trust through our consultative approach, proven technical competence, and added value,” said Ben Leaver, CEO, Pixit Media. “The fact that Framestore is one of those customers is significant because it is one of the largest and most prestigious companies in the industry. This deployment is a real endorsement of what we offer the market.”

Pixit Media will demonstrate the PixStor solution using the NetApp E-Series storage array at BVExpo on Stand J15 in Hall S1-8. Also, at the 2017 NAB Show, ATTO Technology will demonstrate the E-Series storage array in Booth SL9611.

  • Thursday, Feb. 23, 2017
Autodesk scores awards season wins on two high-profile fronts
A scene from "Rogue One: A Star Wars Story" (courtesy of Industrial Light & Magic/Lucasfilm Ltd.)

In the Best Visual Effects category of the Academy Awards, all five nominees--Deepwater Horizon, Doctor Strange, The Jungle Book, Kubo and the Two Strings and Rogue One: A Star Wars Story--were created with help from Autodesk Maya and in some cases, additional Autodesk offerings including: Autodesk 3ds Max, the Autodesk Flame Family, the Arnold renderer and Shotgun Software. Outstanding visuals for all five films were produced by thousands of talented artists working out of visual effects studios across four continents, with work spanning previsualization, visual effects, virtual cinematography, post-production, color grading and more.

Additionally Autodesk recently scored an Motion Picture Academy Scientific and Technical Achievement Award. The honor was presented to Marcos Fajardo, Alan King and Thiago Ize for the Arnold renderer, a modern ray tracer designed to efficiently render the complex geometry in computer-generated imagery (CGI) animation and visual effects films. The technology was awarded for its highly optimized geometry engine and novel ray-tracing algorithms, which unify the rendering of curves, surfaces, volumetrics and subsurface scattering, and marks the 10th Sci-Tech Award presented to scientists, designers and technologies from Autodesk.

“The amazing display of artistry in the Oscar-nominated work each year consistently raises the bar, and we’re proud to have lent a hand in providing the technology for artists to bring amazing stories and visuals to audiences worldwide,” said Autodesk SVP Chris Bradshaw. “Autodesk congratulates all of this year’s nominees and appreciates the many studios that used Autodesk offerings to contribute to this year’s Academy Award-nominated films. And to see Arnold, our newest addition to Autodesk Media & Entertainment, earn a Sci-Tech is icing on the cake.”

  • Thursday, Feb. 23, 2017
Bruce Anderson named CEO of Dejero
Dejero founder/CTO Bogdan Frusina (l) and CEO Bruce Anderson
WATERLOO, Ontario -- 

Dejero, known for cloud-managed solutions that simplify the transport of live video and real-time data across remote or mobile IP networks, has named Bruce Anderson as its new CEO, taking over from Brian Cram who has headed the company for the last five years.

Hailing from Zimbabwe, Anderson is a veteran senior executive with a 20-year record of managing international businesses for multinational corporations, most recently for the global commodity producer and trader firm Glencore. 

“Joining Dejero at a time of accelerated growth for the company and huge change that is taking place across the entire media and entertainment sector is hugely exciting,” said Anderson. “I look forward to taking the business forward as we expand Dejero’s portfolio and increase our presence across the globe. I particularly look forward to meeting Dejero’s existing customers and partners and to working with the in-house team to drive the next phase of our growth.” 

“We are delighted to welcome Bruce Anderson to the team, as he brings in-depth global experience and expertise to our company at a time when Dejero is poised to sustainably grow not only geographically, but also into new market verticals,” said Bogdan Frusina, founder and CTO of Dejero. 

Anderson’s priorities as he hits the ground will be to drive the launch of new connectivity solutions later in the year, that provide fast, reliable and secure access to the public Internet and private networks. The new Dejero products and services will enable news companies and production teams to access media assets at a broadcast centre or studio, and quickly transfer very large files from their vehicle while on location or in transit, saving valuable time.

Other priorities for the new CEO will include further expansion of the Dejero portfolio within the LATAM, EMEA and APAC markets, supported by a recent $14 million growth financing deal that was recently struck with Wellington Financial LP.

Frusina continued, “I would like to warmly thank Brian Cram as he transitions his responsibilities to Bruce having accomplished so much in his time as CEO. Brian had always intended to pass the reigns over, it was just a matter of timing and he has now decided that the time is right. Bruce is the perfect candidate to take over from Brian in that respect.”

Cram remains an investor in Dejero.

  • Wednesday, Feb. 22, 2017
FUJIFILM launches “MK” series of cinema lenses
FUJINON'S MK18-55mm cinema lens

The Optical Devices Division of FUJIFILM has unveiled the MK Series of cinema lenses for E-mount cameras, which boast advanced optical performance, ultra-compact and lightweight design, as well as superb cost performance. The first in this series to be introduced, the FUJINON MK18-55mm T2.9, is a standard zoom with an 18-55mm focal length. It will be available in early March for $3,799. The entire “MK” series is designed with the “emerging” cinematographer in mind, whether shooting a live event, online programming, documentary, corporate video, wedding, independent or short film production.

The next in the series, the FUJINON MK50-135mm T2.9, will be available this summer. With a combined focal length range of 18mm-135mm in the Super 35mm format, together the first two “MK” lenses cover the most frequently used range utilized by emerging cinematographers. The series offers fast lenses with T2.9 speed across the entire zoom range, enabling a shallow depth-of-field.

“The rapid growth in popularity of content produced by emerging cinematographers has expanded the use of cinema and digital photographic cameras,” said Tom Fletcher, director of sales, Optical Devices Division of FUJIFILM.  “And the heightened need for programming has, in turn, boosted demand for high-performance cinema lenses, which are ideal to achieve a shallow depth-of-field and a beautiful bokeh. However, since they are typically large, heavy and expensive, those involved in online and other lower cost productions often opt for interchangeable lenses for digital cameras, which have been more affordable and mobile. The problem is that interchangeable lenses for digital cameras are designed primarily for shooting stills, and therefore prone to focus shift and optical axis shift while zooming.”

The “MK” lenses are designed to maintain consistent color temperature with all FUJINON cinema lenses, which simplifies color grading. The series also inherits the FUJINON cine lenses’ advanced edge-to-edge optical performance and low distortion, while boasting compact and lightweight design as well as outstanding cost/performance. The MK18-55 and MK50-135mm weigh in at a light 980 grams/2.16 lbs with front diameters of 85mm and lengths of 206mm. The MK18-55mm’s minimum object distance (MOD) is .85 meters/2.78 feet, while the MK 50-135mm’s MOD is 1.2m/3.93 feet.

“Many independent shooters use DSLR lenses, which aren’t designed for moving images. Still lenses breathe considerably, and they have no adjustable manual iris,” said Fletcher. “Our MK’s have a seamless manual iris, zero breathing, no ramping or zoom shift, and 200-degree focus rotation. They maintain focus completely throughout the zoom range while covering Super 35mm sensors.”

In addition to their lightweight and compact build, the “MK” lenses are designed from the ground up with the operator in mind. Only one matte box and one filter size are needed between the lenses. Time-saving features include a macro function that allows for a broader range of close-up shooting, and gears for the three rings are positioned in the exact same place, which eliminates the need to re-position accessories when switching lenses.

The lenses each contain a Flange Focal Distance adjustment function to achieve optimal camera and lens matching. The short flange focal distance contributes to the lenses’ compact size and lightweight.  Distances are listed in feet and meters.

The iris supports seamless adjustment that is free of clicking. This enables precise exposure adjustment without any sound from clicking between T-stops.

The lenses also feature three rings for manual and independent adjustment of focus, zoom, and iris (aperture), with the gear pitch of 0.8M (module). The focus ring can rotate fully up to 200 degrees to facilitate precise focusing.

The “MK” lenses are compatible with E-mount cameras with the Super 35mm*/ APS-C sensor.

X Mount versions of the MK lenses (with focal lengths of 18-55mm and 50-135mm) used in the FUJIFILM X Series line of digital cameras (with APS-C sensors) are being developed for launch by the end of this year. Information about the X Mount lenses will be provided as soon as more details are confirmed.

  • Tuesday, Feb. 21, 2017
Bexel to feature Clarity 800 camera at NAB
Clarity 800 camera

As a part of its specialty camera initiative, Bexel announced the launch of Clarity 800, a custom-built camera that’s billed as being the world’s first miniature, high-frame-rate (HFR) point-of view camera for live production. 

Building on Bexel and Camera Corps’ experience of using specialty cameras in live broadcast, the company developed the standard-setting Clarity 800 camera system to meet sports and event producers’ increasing demand for high-quality, real-time HFR video. The Clarity 800 offers HFR processing in HD up to 8x (480 fps) and 1080p for superior quality and can handle all video formats, including 1080i and 720p. The camera delivers complete camera functionality in a form factor that is only 4.7 inches high, 2.56 inches wide, and 1 inch thick. The Clarity 800 easily integrates into a live event ecosystem, operating as a broadcast camera system with real-time processing via fiber optics and integration with industry-standard video servers. Key features include a full-function camera remote control panel for paint control of the camera and a positive-lock lens mount with lens control of focus, iris, and zoom motors.

The camera will be on display in Bexel’s booth (C6025) at the NAB show in Las Vegas April 22-27.