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FUJINON Lenses Capture U.S. Open Tennis Action During F&F Productions’ GTX-17 Mobile Unit Debut

Mobile production company orders 17 new FUJINON HDTV lenses to meet growing business demands; Total of 29 FUJINON lenses ordered this year

Wayne, N.J. – To deal with recent record-breaking business—including several major sporting events this past month —Clearwater, FL-based F&F Productions pushed its HD mobile fleet to the limit with help from its arsenal of FUJINON lenses from the Optical Devices Division of FUJIFILM North America Corporation. Following up on the company’s order of 12 lenses earlier this year, F&F Productions placed an order for 17 new FUJINON US Open FUJINON Lenseslenses, including nine XA99x8.4 ultra-wide field lenses, four HA18x5.5 ENG wide-angle lenses, and four HA23x7.6 telephoto ENG lenses, bringing the total number of FUJINON lenses it has ordered over the last four months to 29 units.

While the lens order made earlier this year was part of an overall camera/lens purchase for the GTX-15 mobile unit as well as F&F’s pool US Open FUJINON Lensesinventory, the new order was specifically for the company’s new GTX-17 mobile unit. The GTX-17 made its debut at the U.S. Open Tennis Tournament held in Flushing, New York earlier this month.

“The FUJINON 99x’s allow the operator to pull wider than other lenses, while still preserving the desired focal length,” said George Orgera, President/CEO of F&F Productions. “This is of great value to our sports and entertainment clientele. In general, during live TV productions, where failure is not an option, we’ve always counted on FUJINON as our go-to lenses because of their exceptional imaging quality and reliability.”
In addition to the U.S. Open, F&F’s GTX Signature Series Fleet has served as the production US Open FUJINON Lenses-2facilities for CBS’ SEC package and ESPN College Football.

“In our experience, FUJINON lenses have proven to be up to the challenges US Open FUJINON Lenses-2posed by arduous, long-distance road trips between events and the rigors of live broadcast television production in all types of places and weather conditions,” Orgera said. “We couldn’t have met the demands of such a busy month without the flawless performance of our trucks and FUJINON lenses.”

Earlier this year, from April 5-8, 2014, three F&F HD trucks were busy covering the 2014 NCAA Men’s Final Four championship basketball game. At the successful conclusion of that job, the mobile units then drove directly to the Bank United Center, in Miami to work at the 2014 Billboard Latin Music Awards, which aired live on Telemundo on April 24, 2014. Things really heated up when F&F Productions was hired to provide mobile production services for the 2014 IIFA (International Indian Film Academy) Awards festival. Held concurrently with the Billboard Latin Music Awards, the IIFA Awards festival was a star-studded event, from April 24-26, 2014 in Tampa, watched by close to 800 million viewers worldwide.

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of four operating divisions and one subsidiary company. The Imaging Division provides consumer and commercial photographic products and services, including: photographic paper; digital printing equipment, along with service and support; personalized photo products; film; and one-time-use cameras; and also markets motion picture archival film and on-set color management solutions to the motion picture, broadcast and production industries. The Electronic Imaging Division markets consumer digital cameras, and the Graphic Systems Division supplies products and services to the graphic printing industry. The Optical Devices Division provides optical lenses for the broadcast, cinematography, closed circuit television, videography and industrial markets, and also markets binoculars. FUJIFILM Canada Inc. sells and markets a range of Fujifilm products and services in Canada. For more information, please visit www.fujifilmusa.com/northamerica, go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter, or go to www.facebook.com/FujifilmNorthAmerica to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan brings continuous innovation and leading-edge products to a broad spectrum of industries, including: healthcare, with medical systems, pharmaceuticals and cosmetics; graphic systems; highly functional materials, such as flat panel display materials; optical devices, such as broadcast and cinema lenses; digital imaging; and document products. These are based on a vast portfolio of chemical, mechanical, optical, electronic, software and production technologies. In the year ended March 31, 2014, the company had global revenues of $23.9 billion, at an exchange rate of 102 yen to the dollar. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit: www.fujifilmholdings.com.

SSL Live Is the Choice for Legendary Mexican Singer Juan Gabriel’s U.S. Tour


“It sounds exactly how the band is playing”

MEXICO CITY – Mexico’s beloved pop icon Juan Gabriel is touring the U.S. with an SSL Live, the first-ever dedicated live sound console from Solid State Logic. One of Mexico’s most successful vocalists, Gabriel is a Billboard Latin Music Hall of Fame inductee and six-time GRAMMY nominee who has sold over 30 million albums and performed throughout the world. When his Volver 2014 tour prepared for its U.S. leg, front-of-house engineer Rodrigo López was excited to mix on SSL’s latest innovation.

Rodrigo López with SSL Live copy“As soon as it was available, I wanted to use it,” López says of Live. “Just by reading ‘SSL,’ you know it’s a quality console. An engineer friend of mine who used Live for another U.S. tour provided the only training I needed. It’s very user-friendly. Sound check was my rehearsal with the console. It just sounded correct, it was really great. Everything was there, the way I wanted it to be.”

Live features the world-famous SSL SuperAnalogue™ preamplifiers that set the standard for sonic excellence and López says the benefits were instantly audible. “It just sounds perfect,” he says of mixing with Live. “It’s really clear and sounded exactly how the band was playing.”

SSL Live’s sonic quality was particularly noticeable on violins, López says. “We have seven violins for the mariachi. Sometimes it’s hard to hear because it’s loud on the stage. The first time I truly heard violins sound in the place I wanted them was when I mixed with SSL Live. What’s more, we’re running the mariachi musicians through a really small wireless microphone. It’s hard to have power on those instruments, but that just came naturally with the SSL.”

A 25-year veteran in the industry who also mixes FOH for Los Ángeles Azules and was previously with Marco Antonio Solís, López appreciates Live’s versatility, which allows engineers to work exactly the way they want. “The console accommodates to the way you’re mixing,” he says, “not the other way around.”

López added that musicians recognize SSL from thousands of recording studios around the world, and Gabriel’s band members were particularly amazed to see one on tour with them. “An SSL at front of house is really impressive,” he says. “Everyone wants to take a look at it.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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DPA Microphones d:fine™ 66 and 88 Miniature Headset Mics Make WFX Debut

Company’s d:fine Trade-Up Promotion Currently Underway

DALLAS, SEPTEMBER 29, 2014DPA Microphones presents its new d:fine™ 66 and d:fine 88 Miniature Headset Microphones for the first time at WFX 2014 (Booth 1016). Ideal for house of worship leaders needing to move freely about the pulpit without obstructions from a handheld mic or mic stand, the d:fine 66 and d:fine 88 have joined the company’s d:fine Headset Microphone family, which will also be on display throughout the show.

DPA Microphones_dfine on Male PerformerThe company’s d:fine Headset Microphones Trade-Up rebate program is still underway, as the promotion ends October 3, 2014. Participants will receive a $100 mail-in rebate for every purchase of select d:fine Headset Microphones, from an authorized U.S. dealer, provided they additionally trade-in a competitor headset mic. This special program is available to all U.S.-based microphone customers. In order to receive a rebate for each headset mic, customers must trade-in an equal number of competitor headset microphones.

DPA Microphones d:fine Headset Microphones were designed to meet a specific market demand, which in turn created a new niche of DPA headset users that did not affect the popularity of the original 4066 and 4088s. The new DPA d:fine 66 Omnidirectional and d:fine 88 Directional Headset Microphones come as a result of a growing need for durable body worn microphone solutions with excellent sound reproduction and sturdy casing for stringent use in live environments. With several options available in the line, the d:fine Headset Microphone Series now address every variety of sound handling and size options, depending on the intended application.

DPA Microphones_dfine Headset MicrophoneThe new DPA d:fine 66 and d:fine 88, which are recognized by their rounded capsules, are intended for users who require optimal sound and grid cleaning/changing options. With a contemporary look and classic sound, the d:fine 66 and d:fine 88 combines the 4066 Omni and 4088 Cardioid microphone capsules with features of the modern d:fine headsets, such as an advanced mount and flexible ear hooks.

Featuring a total of four capsules – two omnis and two cardioids – as both single- and dual-ear mounts, the complete d:fine Headset Microphones Series raises the bar for head-worn microphone solutions. Offering industry-leading sound quality, the mics are ideal for singers, public speakers, actors, musicians, house of worship leaders and broadcast professionals who insist on superior voice reproduction, comfort, ease of setup and a discreet look. They are also available in black, brown and beige with a variety of boom lengths and adapters for every professional wireless system.

ABOUT DPA:

DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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3G Productions Supports Juan Gabriel With Martin Audio MLA

Photo: Robert Hacman

Photo: Robert Hacman

When Mexican singer/songwriter Juan Gabriel had to interrupt his U.S. “Volver 2014” tour for two weeks due to illness, his engineering staff prevailed upon 3G Productions to switch over to a Martin Audio MLA system for the remaining arena dates.

As 3G’s System Engineer Manny Perez describes the changeover, “The other system was working just fine, but Juan’s FOH Engineer Rodrigo Lopez had attended an MLA demo in Mexico and was really interested to see how it would perform.”

Gabriel, an internationally acclaimed Latin American musician who’s sold over 100 million albums, resumed the second leg of his sold-out tour at Miami’s American Airlines Arena, which presented some challenges of its own.

According to Perez, “As soon as I walked into the arena, their staff expressed concerns that they’d been having trouble covering the top rows of the nosebleed section for the last few shows and had to provide refunds. We assured them that we had it covered and the show would sound great everywhere. Then we put the MLA system up and tuned it really quickly even though it was a big rig designed to provide 270-degree coverage. Rodrigo, the band’s music consultant and I all walked the room from top to bottom and front to back, and there were absolutely no problems in terms of coverage and balanced sound.”

The 270-degree system for American Airlines Arena consisted of a main hang with 32 MLA and 4 MLD; side hangs with 36 MLA Compacts; a third hang with 24 MLA Compacts; 10 ground-stacked MLX subs, and 4 DD12s on the front of the stage for front-fill to the first six rows.

Photo: Robert Hacman

Photo: Robert Hacman

Describing the system in greater detail Manny points out, “The ratio of MLX to the rest of the system seems a bit light, but Rodrigo didn’t want a bass-heavy mix for the show because of all the acoustic instruments and high end frequencies. Also, we were using the new two-way DD12 powered speakers from Martin Audio for the first time and they’re really good. I would usually have to do a lot of cleaning up with EQ because they’re positioned so close to the subs, but they didn’t need a thing. The DD12s throw further than we needed them to and were more than perfect for what they had to do.”

The rest of the system consists of SSL and Avid Profile consoles for FOH and monitors, LM44 Lake processing, Smaart 7 software, Shure UFH-RD wireless and DPA microphones.

Asked about mixing on MLA, Rodrigo Lopez responds, “For me, it’s definitely the best speaker out there with more control of the sound and how it projects to the audience. The system provides the same amount of sound pressure and coverage from the front seat to the back with correct phasing throughout the arena.

“It’s been perfect for the tour,” Lopez continues. “The audience hears exactly what I’m getting out of the console. It’s challenging with Juan Gabriel because he’s playing with a lot of Mariachi and there are a lot of acoustic instruments that don’t have as much power. But with MLA, the audience can hear all of those instruments clearly, as if the musicians are playing right in front of them.”

Photo: Robert Hacman

Photo: Robert Hacman

Summing up, Perez adds, “I like the MLA’s clarity and imaging which is amazing when you pan the percussion and keyboards left to right. The speakers sound 30 feet wide where the sound moves across the space. The high end and high mids for vocals and snares are so clear; you can really hear the sizzle of the snare bottoms and high hats.

“A lot of people keep telling me how MLA is a really smooth, natural-sounding system that’s very satisfying to the ear. The staff and production crew, Juan’s musicians and his music consultant are stoked. Everybody really likes it which has been a real plus for the tour.”

Photo credit: Robert Hacman www.roberthacman.com

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

IsoAcoustics Introduces Arista Isolation Stands for Studio Monitors and Speakers

Arista Sep18 2014

Los Angeles, CA (Sept 23, 2014) —At this year’s AES Show in Los Angeles, IsoAcoustics (booth #1651) is pleased to introduce Arista, a stylish and sleek new aluminum acoustic isolation stand for medium-sized professional studio monitors and bookshelf speakers for Home Entertainment and hi-fi applications.

The new Arista stands provide an aesthetically pleasing and cost-effective means to markedly enhance the sound clarity of speakers, using the patented “floating design” that this award-winning company has become known for.

The new IsoAcoustics Arista stands feature a unique integrated tilt adjustment that enables the user to dial-in the optimum tilt angle. With an overall size of 6”(w) x 7.5”(d), the Arista stands are designed for medium size studio monitors and speakers weighing up to 35 lbs.

“IsoAcoustics is very pleased to introduce the Arista stand, which offers a handsome and cost-effective isolation solution for the pro studio and hi-fi market,” says Dave Morrison, CEO of IsoAcoustics.
The Arista stand will be available in black and aluminum in December 2014.

See the new Arista and IsoAcoustics entire line of award-winning acoustic isolation stands at booth 1651 the AES Show at the Los Angeles Convention Center, October 10-12, 2014.

About IsoAcoustics Inc.
IsoAcoustics stands provide superior acoustic isolation and enhance the sound clarity of virtually all speakers and amplification systems, including monitors for the professional studio and sound reinforcement, home theatre systems, musical instrument amplifiers, subwoofers and large monitors. AlI IsoAcoustics stands are built with a unique, patented isolation technology that allows speakers to float in free space, resulting in authentic, clear uncolored sound.

For more information, visit www.isoacoustics.com.

Yamaha Audioversity – Applications Edition Headed to ChiTown

audioversity_logo

Buena Park, Calif.—Yamaha Commercial Audio Systems, Inc. is heading to Chicago with an Applications Edition for Sound Reinforcement/Live Sound of the ever-popular Audioversity, November 3-5, 2014. The company has reformatted the learning experience for a limited time held over three days and consisting of three tracks, with each day focusing on a specific subject. Day 1 will focus on Digital Mixing Consoles for Sound, Day 2 – Digital Audio Networking, and Day 3 – Speaker Systems. Attendees will be eligible to receive CTS credits for each of the three-day sessions.

The Mixing Consoles track on Day 1 will focus on the latest in the Yamaha digital console family – CL and QL Series. Subjects will feature the essentials of the two series, mixing techniques, tips and tricks, and a mixing lab offering attendees hands-on time with assistance from our specialists. You may choose the CL or QL Series track depending on preference Learning material will be consistent in both tracks. A unique course for system techs covering Dante™ networking, Soundcheck Best Practices, Guest/User Management, and much more. For more information and to register, visit https://www.yamaha.com/ycas/training/registration.html?classdate_id=794&course_id=151.

Day 2 focuses on building networking skills applicable for audio engineers. The day will start with fundamentals in the context of a common home network, and expand into features required for full scale Dante™ network provisioning and configurations. Participants will learn by doing with live demonstrations and interactive labs. Popular and thought provoking topics include: Integrating Audio Networks with Existing IT Networks (Including WiFi points and Internet Access), Adding Dante™ to Existing Audio Networks (CobraNet®/EtherSound™), employing Dante™ as a clear, low-latency conferencing solution, using Dante™ for distributed audio or connecting overflow rooms, choosing network switches, WAPs, and other hardware for audio networks. For more information and to register, visit https://www.yamaha.com/ycas/training/registration.html?classdate_id=795&course_id=152.

Day 3 will feature speakers and systems including product listening demos, applications, and the latest in design software. New NEXO products – the GEO M6 Compact Sound Reinforcement System and the versatile STM M28 loudspeaker will be highlighted along with various STM ground-stack configurations. For more information and to register, visit https://www.yamaha.com/ycas/training/registration.html?classdate_id=796&course_id=153.

“Since its inception in 2010, the Audioversity Expo has provided complimentary education to thousands of audio professionals,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “This one-of-a-kind event is truly a unique offering unlike any other.”

Audioversity – Applications Edition is free-of-charge and open to members of the audio community. Attendance is limited and seats will be filled quickly so register for the tracks at the links above.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Lightware USA Introduces UMX-TPS Family of Extension Systems for Resolutions Up to 4K and UHD

UMX-TPS-TX140_frontLightware Visual Engineering has introduced the UMX-TPS range of extension systems designed to transmit multiple video formats at resolutions up to 4K and UHD. With these transmitters video, audio and control signals can be sent up to 170 meters at full HD over a single CAT5 cable. The UMX-TPS-TX120, UMX-TPS-TX130 and UMX-TPS-TX140 transmitters are ideal solutions for small meeting rooms, classrooms, control rooms and home cinema applications. Lightware USA is the US regional office and point of sale and support of Budapest-based Lightware Visual Engineering products.

The core concept of the Lightware UMX series transmitters is to offer multiple input types such as VGA, HDMI, DVI and Display port on the transmitter signal extender over Fiber and HDBaseT. The UMX-TPS series are the HDBaseT series universal transmitting signal extenders.

All of the transmitters offer an impressive feature set and provide 3D and 4K support. Analog audio and video signals are converted to a digital format and can be transmitted separately from each other. Using the factory, custom or transparent EDID emulation the user can fix and lock EDID data on each input connector. Advanced EDID Management forces the required resolution from any video source and fixes the output format conforming to the system requirements. EDID can be managed independently on each input connector and each connector may have a different resolution and EDID.

The units have bi-directional and transparent IR, RS-232 and 10/100 Ethernet transmission. The RS-232 connection supports command injection allowing it to send any RS-232 control command directly through the LAN connection from an external control system.

All of transmitters are HDCP compliant, CEC and EDID transparent and feature local audio embedding. Remote powering is available through the single CAT cable, but a local power supply can also be used. They can be mounted on a rack shelf or used stand alone. They are compatible with any of the currently available TPS receiver products and can be incorporated into larger routing switchers using the TPS input boards for the Lightware MX series of modular matrix switchers up to 80×80.

Each transmitter offers a different range of video and audio signal extension. The UMX-TPS-TX120 is designed for digital and analog video and audio signals, including VGA, YPrPb and HDMI 1.4 with analog stereo audio from local input or embedded 7.1 HBR audio and HDCP encryption. It offers HDMI, VGA and stereo jack connectors.

The UMX-TPS-TX130 offers the same features as the TX120 and adds DVI signal support and a GPIO control port.

The UMX-TPS-TX140 builds on the TX130 features with an additional DisplayPort video input and a DVI-I connector offering the maximum in flexible support.

The UMX-TPS family of transmitters is available to order now and will be shipping in larger quantities starting mid-September.

About Lightware USA

Lightware USA is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. With the flexibility of the Lightware product line, the Lightware USA team is able to assist with the design for some of the highest performance systems in the world. Router sizes ranging from the robust UMX4x4-Pro up to the impressive 160×160 25G Hybrid give Lightware USA the edge over the competition when it comes to routing multiple video sources to the ever changing variety of displays in the industry. Their array of solutions for extending the highest resolution video formats including 4K and 3D over Cat or Fiber put Lightware USA on the forefront of cutting edge technology.

For more information on these products, visit www.LightwareUSA.com.

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Vinten and Vizrt Bring Ryder Cup to Life

Bury St Edmunds, UKVinten®, part of Vitec Videocom, a Vitec Group company, has supplied a Vinten encoded pan and tilt head to Sky Sports for use in studio during the upcoming Ryder Cup.

The Vinten Vision 250E features a box that can supply positional and lens data for the virtual reality (VR) processing software and will be used in studio by presenters to showcase the golfers and statistics in a virtual environment during the tournament.

Ryder Cup Insitu Visual Option 3The VR graphics element is provided by Vizrt - an expert in the supply of real-time 3D graphics, studio automation, sports analysis and asset management tools for the broadcast industry - with the data from the VR processing box streamed to the 3D rendering engines.

"Sky Sports has already proved its skill in using our virtual reality software for its IBC award-winning Monday Night Football program," says Rex Jenkins, MD for Vizrt UK. "Sky Sports is now going a step further by taking VR and AR on the road for a flagship OB event. Vinten VR tracking heads have shown themselves to be solid and reliable for many indoor and outdoor sports events, and integrate well with Vizrt's graphics system."

"The Vision 250E is ideal for use in virtual applications as it provides the performance and accuracy required of a manually operated pan and tilt head combined with optical encoders to provide precise real-time digital electronic positioning of pan and tilt," says Mark Osborn, director of business development, EMEA and Asia, Vinten. "Combined with the VR processing box, the encoded head provides a greater level of versatility and functionality to any studio environment."

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Rally Racing Film Lights Challenging Forest Track with Zylight F8 LED Fresnel

LOS ANGELES– For his graduation film, cinematographer student Sverre Sørdal, who is training at the National Film and Television School (NFTS) in Beaconsfield, U.K., did not take the easy road. Instead, he shot a film about rally racing on a track in the middle of the forest with a very tight shooting schedule and very unpredictable lighting.

Directed by Nick Rowland, Group B is named for the rallying era of the 1980s. The narrative follows Shane, who is returning to the track after aRally Racing-1 major accident, and explores his fears of getting back into racing while trying to find trust in his newly assigned navigator. Rowland and Sørdal previously collaborated on Slap, which received the Virgin Atlantic Little RedRally Racing-1 Award for Best Short Film at the Edinburgh International Film Festival in June.

Principal photography on Group B was five days on a rally track in the Welsh forest, with an additional day of shooting at Beaconsfield Studios. The production crew rented two daylight (5600K) balanced Zylight F8 LED Fresnels from Greenkit, a London-based film lighting rental company. “They are a great lamp to have in my rental stock, as they look great, perform really well and are very portable,” said Pat McEnallay, founder.

The forest location provided plenty of shooting challenges. “Trying to keep consistency was my main worry,” Sørdal recalled. “Our crew and budget were very limited. We split up scenes across multiple days, so we had to move quickly and try to be ready when the sun was. We had a little 6K generator for emergencies, but we did not use it much because we had the Zylights powered with batteries.”

Originally, the plan was to shoot on 35mm film, but the creative team eventually settled on the ARRI ALEXA for most of the shoot. “Luckily, we were helped by Tiffen getting some Black Satin filters that helped us achieve something a bit different,” Sørdal said. Most moving in-car footage was shot with an Iconix HD-RH1 mini-HD camera and RED EPIC, with some aerial footage captured with the Blackmagic Cinema Camera.

“At times when the light was changing at the end of the shooting days, I always brought out the Zylights to keep the consistency and to give some definition,” said Sørdal. “I also found the quality of light to be very good. Mixing it with daylight worked very well.”

Sørdal appreciated the convenience of the battery-powered F8s when compared to lights Rally Racing-2that needed to be connected to the generator, which would then have to be positioned far away so it would not Rally Racing-2interfere with audio for the scene. “We used the F8s handheld on some moving shots – and not having to worry about cabling was very convenient,” he added. “They were light enough to hand-hold over a long period of time, but still had enough weight so you felt you had control, which actually is quite important.”

For one complicated shot, Sørdal wanted to have Shane reflected in the wing mirror as the dust engulfed the image. “We had very little space and time to get the shot, as the light was going quickly,” he said. “While I was trying to figure out how to get the right exposure, our lead gaffer had placed two Zylights just out of shot. There was no real space on the right side of the car where the light had to be placed, but with the very slim profile of the F8s, he managed to get away with it. We had no generator ready on this location, so without them, I’m not sure how we would have managed to get the shot.”

The F8s were also a “blessing” during a night shot while sitting in the back of a van with a Steadicam. “At one point, we had to get out of the car and follow our lead actor further. My spark was sitting in the van with one of the Zylights rigged with handles to give some ambient light, so we could see him running through the forest road,” Sørdal said. “There was no way we could have achieved the same result without a light rigged on batteries.”

Group B is scheduled to premiere at the British Film Institute in February 2015, and Rowland and Sørdal plan to submit the film to film festivals later in the year. “For this project, the F8s were absolutely perfect,” Sørdal noted. ”I will always try to keep a few Zylights up my sleeve because they proved to be excellent.”

ABOUT ZYLIGHT LLC
Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

SMPTE 2014 to Feature In-Depth Sessions on Networked Media, File-Based Workflow, the Cloud, and Asset Management

Multiple-Part Sessions Will Provide Multidimensional Perspectives on How Key Technical Advances Are Shaping the Motion-Imaging Industries more

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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