Archive for November 14th, 2012

Matt Welker Hired as Head of Client Care at Shotgun Software

Los Angeles, CA – Shotgun Software, a leading pipeline tools developer for the visual effects, animation and video game industry, announced today that Matt Welker has joined the company as the Head of Client Care. Welker joins Shotgun from Pixar, where he served for three years as the Director of Technical Artists, and has previously worked at animation studio LAIKA, Tippett Studios and Toronto’s CORE Feature Animation.

Welker will oversee Shotgun Client Care, made up of the front line support team that provides initial training and general product management support to help customers leverage Shotgun’s tools most efficiently. Welker will also continue to drive efforts towards building a more tightly integrated Shotgun client community, leveraging a knowledge base of industry-wide best practices and resources across the Shotgun platform, including Revolver and Tank asset management and review solutions.

“We develop tools that are mission critical to management of productions at our client sites. Our customers are trusting us implicitly by building their essential pipeline tasks and project management on the Shotgun platform — and we in turn earn that trust by aiming to provide the best customer support in the industry,” said Don Parker, CEO of Shotgun Software. “Our user base continues to grow and it’s important that we expand our customer care team accordingly. Matt has a stellar record and reputation in the industry, and is the ideal candidate to take our Client Care to the next level with around-the-clock accessibility.”

“I first worked with the development team behind Shotgun in my days at CORE, so I know firsthand how dedicated and talented they are — they come from production and understand first hand the needs of a fast-moving project,” said Welker. “One thing that’s clear to me is that Shotgun customers are passionate about these tools. So I would love to build a community for our users to interact and share their problem solving tips. If one studio found a great way to leverage Shotgun for a mobile production, maybe they can share that with another studio tackling a similar project. I really want to revolutionize client care and expand it into our worldwide user community. Getting people who do different jobs, at different studios, to connect can really spark some creative problem solving.”

For information about Shotgun Software and its pipeline solutions, please visit http://www.shotgunsoftware.com

About Shotgun Software
Shotgun Software was founded in 2006 by a group of visual effects professionals to build production tracking, review and asset management solutions for modern studio pipelines. The founding members worked together on a major studio animated feature and develop tools to fill the mounting industry need for a commercially viable system for managing complex projects spread across multiple locations. Shotgun is actively developing the system with more than 300 industry studios including Digital Domain, Double Negative, Reliance, Framestore, Pixomondo, Playstation, Blizzard and Zoic Studios. For more information and an online demonstration visit http://www.shotgunsoftware.com

Paper Composed by Audio-Technica Personnel Receives Best Paper Award at AES Convention

Audio-Technica, a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” is proud to announce that the paper “On the Study of Ionic Microphones” and its writers were selected as the recipients of the “AES 133rd peer review paper award, signifying it as the “best paper of the show.” The paper, composed by Hiroshi Akino, Audio-Technica Corp., Japan, with Hirofumi Shimokawa, Kanagawa Institute of Technology, Japan, and Jackie Green and Tadashi Kikutani of Audio-Technica U.S., was presented at a juried paper session at the 133rd AES Convention in San Francisco, California.

Jackie Green stated, “We are honored and delighted to receive this recognition. Audio-Technica has been at the forefront of many technology paradigm shifts, yet historically we have published very little regarding our research. We look forward to taking a more active role in advancing the art and science of audio technology, and sharing this information with our distinguished peers.”

The paper encapsulates the following research: Diaphragm-less ionic loudspeakers using both low-temperature and high-temperature plasma methods have already been studied and developed for practical use. This study examined using similar methods to create a diaphragm-less ionic microphone. The paper reviews the experimental outcome of two ionic methods, and considerations given to resolve issues revealed by the study.

Email This Post Email This Post

Related Topics: News |

Aphex® Expands 500 Series with New Modules

— New Parametric EQ, Optical Compressor and three new Mic Pre units join the acclaimed EX•BB 500™ in the series, forming a comprehensive line of signal processors —

Aphex®, a leader in audio enhancement technology for more than 35 years, has recently debuted its new 500 Series modules. The 500 Series now includes six models: J PRE 500 Mic Pre; EQF 500 Parametric Equalizer; DUAL RPA 500 Mic Pre; A PRE 500 Mic Pre; the COMP 500 Optical Compressor; and the acclaimed, previously unveiled EX•BB 500 Aural Exciter/Big Bottom module. All benefit from the portable and convenient 500 Series format and legendary Aphex sound.

The J PRE 500 mic pre is inspired by the flagship Aphex 1788A remote controlled preamp. They both have the same Jensen JT11K8 nickel input Transformer and Aphex patented Mic Limiter technology. Designed to provide no-compromise audio quality in the convenient 500 series format, the J PRE 500 also features a Jensen JT-11DL nickel output-balancing transformer.

The EQF 500 reissue is a modern take on the classic Aphex EQF-2 500 series three-band equalizer, originally introduced in the 1980s. With a Jensen output balancing transformer and 25Hz to 20kHz operation, the EQF 500 is extremely versatile and will make any program material shine while being punchy and quiet.

The DUAL RPA 500 mic pre is a two-channel solid state/tube hybrid preamp. The solid-state front end provides a fast transient response while the tube back end provides warmth and punch. The DUAL RPA 500 also has the Aphex patented Mic Limiter technology for “no second take” recording.

The A PRE 500 mic pre is inspired by the popular Aphex 188 eight-channel preamp. They both use a custom designed Aphex input Transformer. Like the 188, the A PRE 500 also features a Jensen JT-11DL nickel output balancing transformer. The A PRE 500 is extremely clear sounding yet musical.

The new COMP 500 module is an optical compressor. It features an electronically balanced input and uses a Jensen JT-11DL nickel output balancing transformer. The optocoupler was specified to be as fast as possible and, is produced exclusively for Aphex. The OC-500 features stereo linking, and provides all the transparency of an optical compressor with the flexibility to get aggressive compression when needed.

The EX•BB 500 is a mono, 500 Series module version of the popular Aphex Aural Exciter and Optical Big Bottom processors. Each processor has a dedicated, lighted enable button.

“The expansion of our 500 Series with these five new modules further illustrates Aphex’s commitment to providing a comprehensive range of digital signal processors,” stated Rick McClendon, Aphex’s General Manager. “The addition of three new mic pre’s, a parametric EQ and an optical compressor, which join our highly successful EX•BB 500 Aural Exciter/Big Bottom module, offers audio professionals a wider palette of processing options.”

Aphex CEO David Wiener was excited to add, “Remember that our Aphex technologies and products have been used by major artists, engineers and producers through popular music history, from Paul McCartney and Pink Floyd, to today’s Grammy®s, Oscar®s, and the upcoming Soul Train Awards. Aphex has had a huge impact and now, with our new 500 Series, we’re making these powerful tools available to pros and the new talent coming into the audio and entertainment industry. It’s really exciting to see our tech become small, portable and accessible to everyone.”

Pricing:

J PRE 500 $749 U.S. MSRP
EQF 500 $629 U.S. MSRP
DUAL RPA 500 $999 U.S. MSRP
A PRE 500 $629 U.S. MSRP
COMP 500 $629 U.S. MSRP
EX•BB 500 $299 U.S. MSRP

For more information please visit http://www.aphex.com.

Email This Post Email This Post

Related Topics: News |

Genelec Active Monitors Keep the Sound Reliable in M3’s (Music Mix Mobile’s) Remote Facility Trucks

— The most advanced remote recording facilities for music and live broadcast continue to depend on Genelec Smart Active Monitors —

NATICK, MA, November 13, 2012 — Genelec, the world’s longstanding pioneer in active monitoring, is pleased to have M3 (Music Mix Mobile), a New Jersey/California-based remote facilities company combining the talents of award-winning production professionals and state-of-the-art audio solutions, as a continued loyal user. Aside from the company’s more conventional clients, which include The GRAMMY®s, The Latin GRAMMY®s, The Daily Show with Jon Stewart, The Colbert Report, Late Night with Jimmy Fallon’s live broadcast from the University of North Carolina, and the upcoming 2012 CMA Awards broadcast, among many others, M3 has recently been putting their Genelecs to good use mixing live 5.1 surround sound for broadcast for challenging, high-energy events.

In particular, two recent jobs for AXS.tv – a new brand combining the tools of AEG Live and AXS (formerly HDnet) – allowed M3 to utilize their full Genelec 5.1 systems, which consist of 8200 Series Active Monitors and 7200 Series subwoofer.

On Sunday, September 9, 2012, at the Home Depot Center in Los Angeles, a double bill of Linkin Park and Incubus brought their unique brands of rock to the stage, and M3 was there to capture the performance for broadcast. In M3’s California-based Horizon truck, Broadcast Mixer Jay Vicari was in charge, carefully mixing the audio for a TV special in 5.1. “Linkin Park’s engineer Ethan Mates was with us in the truck during broadcast, and he was very happy. We’ve worked with him before, and he’s always impressed with our work and the Genelec system,” noted M3 Co-Founder and Chief Engineer Joel Singer.

Weeks later, on Tuesday, September 25, 2012, at the Count Basie Theatre in Red Bank, New Jersey, M3 was on site with their East Coast-based Voyager truck to capture and broadcast the 5.1 audio for Joe Jackson and The Bigger Band featuring Regina Carter. John Harris served as Broadcast Music Engineer for this performance.

“The consistency of sound is very important – that is why we standardize our operations and have the same monitors in each of our three trucks and flight pack systems. We rely on Genelecs because they simply provide a world-class monitoring environment, not only for our lead mixers John Harris and Jay Vicari to reference during recording and broadcast, but for the artists, producers and managers that we work with. With Genelecs, ear fatigue is non-existent, and they deliver uncolored, accurate sound, providing us with the security of knowing exactly what we’re hearing on the night of the broadcast.”

The Genelec 8200 Series Bi-Amplified Active Monitors employ the company’s proprietary Smart Active Monitor (SAM) concept, which includes, GLM™ (Genelec Loudspeaker Manager software) and AutoCal™ (Automated Calibration software) technologies, which together create a self-calibrating monitoring solution that both guarantees accurate audio and ensures a steady-paced workflow. These products and technologies reflect Genelec’s recently introduced SAM concept, which allows monitors to be controlled with digital networking to enable the building of highly flexible computer-controlled systems of monitors.

For more information, please visit www.genelecusa.com.

Email This Post Email This Post

Related Topics: News |

RTW TO EXHIBIT PRODUCTS AT THE GROUP ONE BOOTH AT CCW 2012

NEW YORK CITY, NOVEMBER 14, 2012 – RTW, a leading manufacturer and distributor of professional audio metering and control devices, is pleased to announce that during this year’s CCW show, Group One (Booth 1264) will exhibit RTW’s TM3 and TM9 TouchMonitors. The monitors will be fully equipped with the latest software options, including the popular RTA analyzer for the TM9. RTW invites attendees to stop by the Group One booth for demonstrations of the products.

TouchMonitor Series, TM3
The TM3 includes features of the larger TM7 and TM9 TouchMonitor versions and is controlled using a touch-sensitive display. With its budget-friendly base price, 4.3-inch touch screen and stylish exterior allowing for horizontal and vertical placement, the TM3 is a highly appealing, compact solution ideal for editorial offices, edit suites and small control rooms. Featuring PPM and true-peak instruments, the TM3 offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-3/1771, ATSC A/85 and ARIB. Instruments include single-channel and summing bar graphs, an LRA instrument and numerical displays. The basic version handles analog and digital stereo audio, while the 5.1 option adds the support of six-channel digital input.

TouchMonitor Series, TM9
Introduced in 2010, the TouchMonitor series is a new range of products that RTW designed to support all relevant loudness recommendations, such as EBU R128 or ATSC A/85, with true peak metering, flexible I/O options with up to 16/32 input channels, a fully modular software design and more. On display will be the TM9, which combines unprecedented flexibility and modularity with an intuitive, nine-inch GUI touchscreen. RTW recently introduced new firmware, version 1.14, for the TouchMonitor series, which includes various performance and stability optimizations, as well as new function enhancements and improved ergonomics.

Email This Post Email This Post

Related Topics: News |

FxFactory 4.0 Visual Effects Plugin Platform Now Available on Adobe Premiere Pro CS6

The revolutionary visual effects package from Noise Industries adds Adobe Premiere Pro support alongside existing host application support of Apple Final Cut Pro, Apple Motion and Adobe After Effects
 
Boston, MA – November 14, 2012 – Noise Industries, developer of visual effects tools for the post-production and broadcast markets, is pleased to announce FxFactory 4 is now available. The latest update to Noise Industries’ visual effects plugin platform, FxFactory 4 now supports Adobe® Premiere® Pro CS6, in addition to Apple® Final Cut Pro®, Motion, and Adobe After Effects®. Powering hundreds of hardware-accelerated film-quality visual effects, FxFactory 4 is an all-in-one expandable video toolbox with plugins for video stylization and looks, color correction, stills animation, keying, stereoscopic 3D and titling. The newest version also includes updates to many popular products: Photo Montage, Motype 1.3, Callouts 1.3, Cleaner 2.0, Split Animator and FxFactory Pro. Download FxFactory 4.0 for free today.
 
Watch the Introduction to FxFactory 4
Watch FxFactory Plugins in Premiere Pro
 
2012 has been a really great year for Noise Industries, and we’re very happy to continue our success with the release of FxFactory 4,” said Niclas Bahn, co-founder, Noise Industries. “This is a huge release for FxFactory. Adding support for Premiere Pro CS6 opens up the creative possibilities tremendously, and we can’t wait to see what this whole new group of users can do with FxFactory-powered plugins. Furthermore support for Final Cut Pro X has also been improved with the addition of dynamic parameter support.
 
See What’s New in FxFactory 4.0
 
Photo Montage
A powerful photo animator for FCP, Motion, Premiere Pro and After Effects, Photo Montage easily animates photos by simply choosing photos and an animation style. Keyframing is optional, all popular image formats are supported, re-ordering and re-timing is simple to do and motion blur is built in. Photo Montage includes many new presets and is a free update for existing customers.
Photo Montage in Premiere Pro
Photo Montage in Final Cut Pro X
 
Motype 1.3
This revolutionary title generator by Yanobox lets editors create impact titles in minutes. Title generators include random characters, motion mixer, trailing blur, per letter particles, 3D camera and Cyclorama. The new version is a free update for existing customers. Motype 1.3 is compatible with Final Cut Pro, Motion, After Effects and Premiere Pro.
Motype Promo Video
 
Callouts 1.3
The latest version of Ripple Training’s plugin, this update adds two new callouts to its collection – Connect-Direct, which creates a straight animated line between two points, and Callout-Square, which creates an animated rectangle and extending line. Callouts 1.3 is available exclusively for Final Cut Pro X and is a free update for existing customers.
Callouts 1.3 Promo Video
 
PHYX Cleaner 2.0
Whether an editor is using low bit-rate 4:2:0 images from a DSLR, removing video noise or film grain, or repairing the complexion of on-screen talent, PHYX Cleaner is a complete post-production repair kit. Feature highlights include chroma reconstructor, deband, deinterlace, digital makeup kit and fast noise reduction.
PHYX Cleaner Promo Video
 
Split Animator 1.1
The latest version of Tokyo’s plugin adds zoom animation, rotation animation, animation ease controls, border blend modes and anchor point selection to make Split Animator 1.1 the best Split Screen plugin for Final Cut Pro X.
Split Animator Promo Video
 
FxFactory Pro
FxFactory Pro is Noise Industries’ flagship product, offering over 170 visual effects filters, transitions and generators. FxFactory Pro 4 now comes with Premiere Pro support, improved support for Final Cut Pro X, a new Timecode generator and numerous improvements to existing effects. The new version is a free update for existing customers. FxFactory Pro is compatible with Final Cut Pro, Motion, After Effects and Premiere Pro.
 
About Noise Industries, LLC
Established in 2004, Boston, Massachusetts-based Noise Industries is an innovative developer of visual effects tools for the post-production and broadcast community. Their products are integrated with popular non-linear editing and compositing products from Apple and Adobe. For more information please visit the Noise Industries website.
 
Press Contacts
Anya Oskolkova
Zazil Media Group
Anya@zazilmediagroup.com
(p) 617.817.6595
(skype) anya.oskolkova
 
Megan Linebarger
Zazil Media Group
Megan@zazilmediagroup.com
(p) 617.480.3674
(skype) megan.zazil
 
####

Sound Devices Brings Array of Audio and Video Production Solutions to CCW 2012

NEW YORK, NOVEMBER 14, 2012 — Sound Devices, experts in portable audio and video products for field production, showcases its latest audio and video production gear for content creation professionals at this year’s CCW (Booth 946). The company is exhibiting the recently upgraded PIX 240i and PIX 260i Audio/Video Recorders, as well as the 664 Production Mixer.

Sound Devices’ PIX 240i Audio/Video Recorder features a five-inch, IPS-based LCD panel with accurate color rendition and consistent off-axis viewing response. The upgraded display is essential in the field, providing users with immediate confirmation of framing, exposure, focus, audio-metering and setup menu selections. It also offers higher contrast and better off-axis viewing. PIX 240i users can monitor an image’s exposure with Exposure Assist, a feature that depicts either false-color or multilevel zebra stripes. It comes equipped with Focus Assist, which includes a peaking filter and 1:1 pixel zoom. Monitor brightness, contrast and chroma adjustments are also now available. PIX 240i provides standard definition recording (NTSC and PAL) and support for using simultaneous analog and SDI/HDMI audio inputs.

Users can connect the PIX 240i to cameras with HDMI (plus SDI with the PIX 240i) and record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codecs. Use of these codecs enables files recorded in the field to be used directly in post production, making the workflow simple and fast. The audio circuitry on the PIX 240i is based on Sound Devices’ award-winning 7-Series Digital Audio Recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.

Also on display is the Sound Devices PIX 260i Production Audio/Video Recorder. Based on the field-proven PIX 240i recorder, the rack-mounted PIX 260i is a file-based audio/video deck that seamlessly replaces tape-based video decks in production and post-production environments, while offering 32 tracks of audio record/playback. Using the Apple ProRes or Avid DNxHD codecs, the PIX 260i records and plays files at up to 220 Mbps in high-quality, 10-bit 4:2:2 video. It also records 32 tracks of 48-kHz audio. Files from the PIX 260i are ready for direct import into the Avid and Final Cut Pro editing platforms, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260i for real-time applications.

The PIX 260i has a built-in, five-inch 800 x 480-pixel IPS video display that allows users tto view video and setup-menu selections. With its extensive control capabilities, the PIX 260i is a flexible video playback source, compatible with Final Cut Pro 7, Final Cut Pro X and Avid Quicktime files. The PIX 260i can be controlled by both external RS-422 and via Ethernet through its embedded Web server, allowing for machine transport control over Ethernet-based networks.

Up to four SATA drives can be connected to the PIX 260i simultaneously. For RAID-type redundancy and to eliminate the need for post-record copying when multiple copies are required, users can record to all four drives simultaneously.

As with the PIX 240i, the PIX 260i includes a built-in Ambient Clockit time-code generator/reader with genlock output for rock-steady, multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time codes can be read from the SDI stream, the HDMI stream or from an external source.

Sound Devices will also be featuring its 664 Production Mixer at CCW 2012. The 664 was designed to build upon the powerful features of the company’s best-selling line of field and production mixers and offers expanded input/output connectivity and recording capabilities, along with greater flexibility and ease-of-use. The flagship recorder’s six input channels have dedicated controls for trim, fader, pan and PFL. The inputs and four output buses are all recordable, for a total of 10 tracks of recording.

The 664 contains six ultra-low noise, high-dynamic range and transformer-less preamps, which accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs on every channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking.

The 664 can record up to 10 tracks of 16- or 24-bit broadcast WAV files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, enabling the mixer to record all 10 channels of audio. With the 664’s dual card slots, content can be recorded to either or both cards simultaneously, with the added ability to assign different tracks to each memory card.

Sound Devices is also highlighting a companion accessory, the CL-6 Input Expander, for the 664 Production Mixer. It is designed specifically to add six analog line-level inputs to the mixer. With the CL-6 attached, the direct output connectors are available as inputs, controlled by faders located on the CL-6 front panel. The CL-6 also offers additional LED output metering and duplicate-recording transport controls. With the 664 Production Mixer connected to the CL-6 Input Expander, users can now record all 12 input channels and four outputs, for a total of 16 tracks.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Email This Post Email This Post

Related Topics: News, Tradeshow News |

iZotope Releases Insight™: Essential Metering Suite

A collection of innovative and customizable meters for post production and broadcast

Cambridge, MA (November 13, 2012) – iZotope, Inc., a leading innovator in digital audio signal processing, has announced Insight, an essential metering suite for post production and broadcast applications. Insight provides a full suite of audio analysis and metering tools, perfect for visualizing changes made during the mixing process, troubleshooting problematic mixes, and ensuring compliance with broadcast loudness standards. Fully customizable and scalable, Insight allows audio engineers to visually monitor all relevant information from a mix in a convenient floating window, empowering users to look deeper into their audio with intelligent analysis tools and real-time monitoring capabilities.

Insight helps ensure adherence to current broadcast standards using the most advanced metering technology available today, with meters for immediate loudness calculation and True Peak detection, loudness calculation over time, and faster than real-time offline loudness calculation. Advanced visualization and spatialization displays further aid in detecting problems that the ears cannot perceive, like the innovative new Surround Scope and the 3D Spectrogram. Also included are convenient user presets, designed for an array of engineering applications, for quick and easy access to common metering and loudness configurations. Alternatively, users can define new presets with their own preferred customizations, giving Insight unmatched flexibility in the metering space. The perfect tool for post, broadcast, and music engineers, video editors, and sound designers, Insight allows users to keep an eye as well as an ear on the mix at all times.

KEY FEATURES

? Immediately detect potential mix problems through real-time visual monitoring and color-coded alerts.
? Ensure audio is fully compliant with current loudness standards with forward-thinking tools that adhere to standards like BS.1770-1/2/3, then document adherence with an exportable log or graph.
? Perform deep and flexible analysis with zoomable meters and the ability to route audio from any tracks or buses to Insight.
? Design your ideal metering plug-in by choosing the meters you want to view, customizing them, and resizing the Insight window to fit your current workflow.
? Get an extensive suite of metering tools in a single plug-in, including True Peak Meters, Loudness Meters, Loudness History Graph, Stereo Vectorscope, Surround Scope, 2D/3D Spectrogram, and Spectrum Analyzer.

Pricing and Availability

Insight is available for a special price of $399 through November 29, 2012 (Regular MSRP: $499 USD, 399 EURO) or for free to Ozone 5 Advanced Customers . Ozone 5 Standard customers can upgrade to Ozone 5 Advanced for a special price of $399 through November 29, 2012 and receive Insight for free.

Customers who already own Ozone 5 Advanced will be notified via email with details to install Insight for free.

To learn more about Insight, please visit www.izotope.com/insight

About iZotope, Inc.
iZotope is a research-driven audio software company based in Boston, Massachusetts. Its products and audio technology are used by millions of people in over 50 countries, from hobbyist musicians to GRAMMY® Award winners. iZotope focuses on developing innovative audio technology for professional and consumer applications. This core technology is presented to customers in its award-winning product line and through its extensive licensing program.

For more information on iZotope products, visit www.izotope.com.

Email This Post Email This Post

Related Topics: News |

Robert Zimmerman Joins Filmworkers Nashville as Executive Producer

Kenny Barrickman returns as producer; facility launches new growth effort that includes the addition of a “virtual” editing room.

NASHVILLE—Filmworkers, a leading independent provider of post-production services for advertising, film, television and music videos, has appointed Robert Zimmerman as executive producer of its facility in Nashville. Zimmerman has more than 20 years of experience as a producer of commercials, music videos and corporate media. He will oversee all aspects of Filmworkers operations in Nashville and will initially focus on expanding the facility and growing is customer base. more

FUJIFILM Unveils New FUJINON Cabrio PL Mount Zoom and Ultra-Wide HDTV Field Production Lens

Wayne, N.J. – FUJIFILM North America Corporation, Optical Devices Division is introducing two new high-performance FUJINON lenses: the PL 85-300 Cabrio lens (model ZK3.5×85) and the XA99x8.4BESM ultra-wide field production lens. The PL 85-300, a PL Mount zoom lens in the Premier PL digital cinematography family, capitalizes on the popularity and success of its predecessor, the PL19-90mm Cabrio (Model ZK4.7×19). The new XA99x8.4 is a box style HD lens, ideal for producing live sports and entertainment events.

PL 85-300 Cabrio

While the PL 85-300 is similar in size and weight as the PL 19-90, its longer lens makes it ideal for shooting documentaries, nature and wildlife, and car commercials, among other demanding production scenarios. The PL 85-300 offers a focal length of 85-220mm at T2.9 and 300mm at T4.0, with 200-degree focus rotation.

Designed using the latest optical simulation technology, the PL 85-300 Cabrio not only offers exceptional optical performance in the center of the image but in the corners of the frame as well. Like the highly acclaimed PL 19-90 Cabrio, the PL 85-300 is equipped with the same indispensable features including flange focal distance adjustment, a MOD of 1.2m, a macro function for objects as close as 97mm (3.8-inches), and covers a 31.5mm diagonal sensor size

The digital servo’s 16-bit encoding assures operators that all lens data output—such as the position of the zoom, iris, and focus—is extremely accurate and the lens supports Lens Data System (LDS) and /i metadata formats. Like the PL 19-90 Cabrio, the new PL 85-300 features an exclusive detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-style lens. And the PL 85-300 can be controlled using cinema industry standard wireless controllers as well as existing FUJINON wired and wireless units. The other Premier PL Mount Series lenses are available in 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400 mm T2.8-T3.8 ranges.

“We designed the new PL 85-300, and the entire Premier PL zoom lens family, to give professional cinematographers and videographers the utmost in features and versatility. We believe that a wide array of choices help them match the right lens with the unique demands of their high-end productions,” said Thom Calabro, director, Marketing and Product Development, FUJIFILM North America Corporation, Optical Devices Division.

“Versatility means that videographers accustomed to shooting ENG-style will be right at home with a servo attached to the lens, while cinematographers who shoot projects like feature films and commercials can opt to shoot without it,” Calabro explained. “Cinematographers will also like that this lens accepts industry standard cine motors and matte boxes.”

XA99x8.4 Ultra-Wide Lens

The new XA99x8.4 ultra-wide field production lens offers a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m. The XA99x is f1.7 to 341mm and f4.2 at 832mm. Like other lenses in this product line, including the XA77x9.5, XA88x8.8, XA88x12.5 and the XA101x8.9, the XA99x8.4 offers FUJINON’s DIGI POWER digital controls (featuring F number limit), Quick Zoom, two-shot presets, a 2X extender, and other precision digital functions increasing production flexibility.

“The XA99x Ultra Wide is outstanding in its class because it combines high-performance imaging, a long zoom reach, and an ultra-wide angle,” said Calabro. “Since it’s extremely rugged, versatile, and reliable, this telephoto zoom lens is ideal for even the most demanding live sports production.”

The XA99x8.4 features a newly developed patented image stabilization technology for rock-steady performance, which is especially critical for long-distance HD shots. High-resolution 16-bit encoders are standard, making it suitable to virtual, robotic, and digital signage, among other applications. FUJINON’s exclusive GO-Technology improves image resolution and chromatic aberrations at all focal lengths.

This 2/3-inch telephoto field lens employs the latest High Transmittance Electron Beam Coating (HT-EBC) resulting in richer colors and greatly improved blue response and transmittance. HT-EBC coupled with FUJINON’s exclusive Aspheric Technology reduce ghost and flare and increase light transmission. A proprietary anti-fogging design minimizes lens fogging and reduces downtime due to moisture—a critical concern when shooting in all types of weather conditions.

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of five operating divisions and one subsidiary company. The Imaging Division sells consumer and commercial photographic products and services including film, one-time-use cameras, online photo services and fulfillment, digital printing equipment and service. The Electronic Imaging Division markets consumer digital cameras. The Motion Picture Division provides motion picture archival film, and the Graphic Systems Division supplies products and services to the printing industry. The Optical Devices Division provides binoculars, and optical lenses for closed circuit television, videography, cinematography, broadcast and industrial markets. FUJIFILM Canada Inc. markets a range of Fujifilm products and services. For more information, please visit www.fujifilmusa.com/northamerica, or go towww.twitter.com/fujifilmus to follow Fujifilm on Twitter. 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 electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials, and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 10 companies around the world granted U.S. patents in 2011, and in the year ended March 31, 2012, had global revenues of $27.8 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.

* At an exchange rate of 79 yen to the dollar.

All product and company names herein may be trademarks of their registered owners.

FUJIFILM Optical Devices Division, 10 High Point Drive, Wayne, New Jersey 07470. Phone: 973-633-5600. Fax: 973-633-5216. Web site:www.FUJINON.com

About

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.

Calendar

November 2012
M T W T F S S
« Oct   Dec »
 1234
567891011
12131415161718
19202122232425
2627282930  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication