SANTA MONICA, CA—Creative directors Danny Yoon and Duy Nguyen, and executive producer Mike Pryor have renamed their boutique visual effects and post production company and moved it into new digs in Santa Monica. Formerly known as 1.1 VFX, the company will now operate as Mr. Wolf and work out of new headquarters located within the offices of commercial production company Bully Pictures. The new space includes a bevy of resources for visual effects, compositing, editorial finishing and digital color correction, as well as room for further expansion.
Press Releases For : April 14, 2014
Press Releases For : April 13, 2014
Press Releases For : April 11, 2014
New FOR-A HVS-390HS Switcher User TNDV Relied on Unit for Production of Events Surrounding ACM Awards
Cypress, CA – Video production company Tennessee Digital Video (TNDV) first used FOR-A’s HVS-390HS video switcher while producing conferences for Atlanta-based Passion City Church. Impressed with the cost efficient switcher, TNDV purchased a 2 M/E HVS-390HS of its own in December 2013. The company relied on its new switcher for events leading up to the Academy of Country Music (ACM) Awards on April 6, including production of a 2-day music festival fundraiser and a red carpet show special.
On April 4-5, ACM hosted a two-day outdoor music fundraiser festival at Caesars LINQ in Las Vegas. Deemed “Party for a Cause,” the festival’s proceeds helped to fight hunger by benefitting Outnumber Hunger, and featured headliners Rascal Flatts and Keith Urban. TNDV handled video production of the festival, using the HVS-390HS to produce IMAG on three video boards, enabling the crowd to see performers up close. TNDV fed video to two different stages during the festival’s events. The production company was also on location in Las Vegas to produce a live red carpet special at the ACM Awards.
“We have a number of HD trucks and flypacks, so we own a variety of switchers,” said Nic Dugger, owner of TNDV. “The HVS-390HS stands out compared to others for the variety of useful features that it offers for such an affordable price. A lot of our productions require a second M/E for broadcast and IMAG switches, so that was a major consideration in us choosing the 2 M/E HVS-390HS. The switcher was a perfect fit for our work surrounding the ACM Awards.”
A longtime user of FOR-A color correction and video conversion products, the HVS-390HS is the first FOR-A switcher that TNDV has purchased. The company has found the unit to be well built, robust, and road worthy – all important considerations that the mobile production company looks for when selecting equipment.
“FOR-A’s HVS-390HS offers features that allow us to highly customize the unit to meet our production needs,” said Dugger. “Its expansion slots, twelve DVE channels, and option to use the larger 28-button panel greatly benefit our operations.”
FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.
ABOUT TNDV: Television
Formed in 2004, TNDV: Television represents the culmination of many years of broadcast and live production for Nic Dugger, owner and president; and his staff of full time engineers. TNDV produces events from small single-camera productions all the way up to multi-million dollar international TV events, and takes pride in building custom solutions for challenging productions of any size, in any situation. Recent productions include the live concert productions at the NCAA Final Four, the 2013 Re/Max Long Drive Challenge on ESPN, and the inaugural season of Sing for Your Supper on PBS. Please call 615-585-6528 or visit http://www.tndv.com for more information.
Multi-Industry experts look at the lifecycle of assets from Production Through Rights Management
(Los Angeles, CA) - AMIA has announced the preliminary lineup for its popular Digital Asset Symposium (DAS). DAS will be held on May 15 & 16, 2014 at the Linwood Dunn Theater in Hollywood, CA.
"Since the beginning, DAS has been the place where projects, problems, and solutions are discussed within a real world framework. This year's event continues that and will engage an even greater diversity of experts and industries. We want the entire community of technical and creative users to share what they are working on, the lessons learned, what challenges they're facing now and what might be around the corner," noted Tom Regal, the DAS program chair.
An early peek at the lineup includes compelling experts and speakers. Additional presenters and case studies are being announced weekly.
Flexibility, Inventiveness and Creativity: A Case Study in Data Centric Storytelling
Jacob Rosenberg (Bandito Bros) and Tom Vice (nextLAB)
This keynote case study will focus on new production strategies in the modern era of gigabytes and terabytes and file based cameras that are empowering to the creative teams and daunting to those that have to track and manage these assets.
Digital Rights: Navigating Copyright in a Digital World
Eric J. Schwartz (partner, Mitchell Silberberg & Knupp)
Schwartz will discuss current U.S. copyright law including a review of recent cases and issues such as asset copying, mass digitization, fair use, and preservation and access of audiovisual materials. Schwartz is one the most highly regarded experts in this field, bringing invaluable insight from more than 25 years of experience as a copyright attorney providing counseling on U.S. and foreign copyright laws - including rights, ownership and enforcement issues - relating to new technology rights, social media, and management matters.
Where Has All the Content Gone?
In partnership with Creative Storage, Entertainment Storage Alliance
The preservation of digital content requires the right digital storage technologies, the right practices and a commitment to a long-term storage objective. Tom Coughlin - noted expert and founder of Creative Storage Conference - will explore trends in content creation and storage, conversion of content, a survey of available and future archiving technologies and their trade-offs and provide guidance on the best way to bring valuable digital and analog content into the future.
Laura Rooney, AMIA managing director, notes, "We believe bringing together a diversity of knowledge leads to new solutions to shared challenges. New media assets are being created at a speed that grows exponentially, in almost every industry, every day. Everyone is dealing with similar challenges and we can learn a lot from each other, but only if we're in the same place. DAS is where those discussions happen - where experts in each stage of the digital life cycle put aside theory and share real world experience."
Registration is now open for DAS. Tickets are available at www.DAS2014.org. The two day event includes all panels, case studies, and two cocktail receptions.
Industry partners include; American Cinema Editors, Creative Storage Alliance, Law Enforcement Video Association, Media & Entertainment Services Alliance, Iron Mountain Entertainment Services, Deluxe, LAC Group, and Reflex Technologies.
For further information, visit www.DAS2014.org.
DAS addresses the full life cycle of the media asset - from content creation to rights management to assuring asset preservation - with speakers and case studies that address what works in the real world. Each part of the life cycle impacts the next and DAS is the only place where everyone is part of the conversation - content creators, post-production, systems designers, archives, asset managers - where commercial meets nonprofit and corporate meets public.
As the world's largest international association of professional media archivists, AMIA is uniquely poised to bring together a broad range of experts. Members represent film studios, corporate and national archives, historical societies, labs, post production, universities, footage libraries and more. Because of this diverse membership, AMIA provides an opportunity to interact with every facet of the field and a single forum to address the best ways to preserve our media assets.
# # #
Chris Purse or Stacey Humphrey
ignite strategic communications
DJ and dubstep producer Excision, the champion of bass music and sensory overload, has begun his 2014 tour of the US and Canada with powerful Clay Paky A.leda B-EYE K20- LED-based moving lights and a cadre of Sharpys.
The Excision tour, featuring Dirtyphonics and ill.Gates, has been called a “virtual apocalypse of twisting and morphing sounds” that encompass a full range of genres. Excision is accompanied by a new 150,000-watt bass system from PK Audio and his Executioner video and light production.
The tour marks the first time that Light Action Productions has supplied B-EYEs, which have quickly become indispensible to lighting and laser designer Dave Hauss of Double Surface Designs LLC. “They’re my go-to light right now,” he says. “When I have to cut down the rig, B-EYE is always there. They are an all around great fixture, and artists love them. I wouldn’t spec anything else.”
Scott Humphrey with Light Action, says, “There’s nothing else like the B-EYE out right now. It’s a multi-event unit and great for electronic music. Some of its macros are great, and it gives a new take on retro effects.”
Hauss says the overall lighting design for the tour “is different every day based on the specifics of all kinds of venues; we play rooms for 1,000 to 10,000 people. It’s very city-to-city, and we have to ramp up and down. The continuing challenges are trim heights, width and weight capacity. I need to go in each day and adapt. That means I’m programming every day of the tour. What’s so great about the Clay Paky fixtures is that I have almost as many designs as venues. This tour is one of the most unique experiences I’ve ever had.”
Hauss deploys eight B-EYEs “for everything from an incredibly bright wash for the openers to effects lights for the show. The entire show is projection mapped, and we needed fixtures that wouldn’t get lost. I use the B-EYEs in their shaper mode: splitting up the beam and dispersing the light is a great way to make it stand out. We can even take out the downstage truss because of the low trim. I like their color temperature a lot, and their field is amazingly even.”
Hauss has 20 Clay Paky Sharpys supplied by Christie Lites, which he calls “critical to the show.” He notes that his biggest challenge is that “this is a video shows with very large set pieces with very bright images – 90 minutes of custom content. You don’t want very wide ambient light. Sharpy is sharp enough to give a great light show without blowing out all the video – it’s the only fixture that won’t impede the visuals yet delivers all kinds of tricks.”
James Castaneda is the lighting tech for the tour and Dillion Butz and Cam McNeil of Beama Visual are the media server programmer and projectionist, respectively. The special effects vendor is Image Engineering. Brett Able is the tour manager.
Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “It’s great to see the B-EYE coming out of the gate on so many interesting applications and this is no exception. Mr. Hauss is a very creative designer and we’re glad to be able to help in his designs.”
A.C.T Lighting is the exclusive North American distributor for Clay Paky.
Press Releases For : April 10, 2014
Old Lyme, CT, April 10, 2014 – Jazz singer-songwriter Madeleine Peyroux is currently on tour throughout Europe, Australia, New Zealand, the Far East and the US to promote her sixth and latest album, The Blue Room. Noted for her trademark smoky vocals and understated image, Peyroux is a genre-blending singer who fuses jazz, blues, country and pop into a style that is undeniably her own, enabling her to revisit and reinvent some of the greatest classics of our time from the likes of Ray Charles, Leonard Cohen and The Beatles.
The Blue Room is Peyroux’s fourth collaboration with distinguished producer and jazz musician Larry Klein (who has also produced Joni Mitchell, Walter Becker, Tracy Chapman and Herbie Hancock amongst others). What started out as a homage to Ray Charles has turned out to be a glorious fusion that also draws in classics from other artists and has become Peyroux’s musical narrative through time and genre, all with her own unique interpretation. Peyroux and the entire band have selected a combination of Sennheiser and Neumann microphones as their systems of choice for this tour, with Peyroux opting for a Neumann KMS 104.
Peyroux’s FoH engineer, Gerard Albo, who was highly instrumental in the artist’s final choice of microphone, explained why he felt that Sennheiser and Neumann would be a good option. “I’m a big fan of Sennheiser and Neumann microphones,” said Albo. “I’ve been working with them since 2006 with artists such as Corinne Bailey Rae, Roisin Murphy, Amy Winehouse, Anastacia and many more. They offer very high quality products with a huge range to choose from covering pretty much any live, studio or broadcast situation with guaranteed results. They also have a massive worldwide network which means I can get access to just about any equipment I need – and support – wherever I am.”
Albo first introduced Peyroux to Neumann microphones last year at the beginning of a tour. After a few tests between the Neumann KMS 104 and KMS 105, they both felt that the KMS 104 cardioid microphone was better suited to bringing out the subtleties of her voice. “Madeleine is a perfectionist,” explained Albo. “Unlike many other artists she knows exactly what she wants and is able to recognize all the frequencies while tuning her monitor. She has extremely good ears and high expectations when it comes to sound. Her performance is very quiet and understated, yet her voice has huge dynamic range so sonic perfection is a must, particularly as every song tells a story and it is essential that the audience understands every word. We went for the cardioid KMS 104 in the end rather than the hypercardioid 105, mainly because Madeleine is very mobile when she sings and often moves away from the microphone. I confess this can be a bit of a challenge for me at times but the 104 is still able to capture all the details in her voice, so we’re both happy! The KMS 104 suits her perfectly, and I honestly can’t think of a better tool to bring out the best of Madeleine’s voice. Finally, it’s solid, road-proof and looks good – what more could you want!”
As far as the rest of the band is concerned, Albo opted for a full complement of Sennheiser microphones, starting with (2) e 614s for snare and hi-hat, 3 x e 908 D for toms, 5 x MK 4 for the Leslie speaker, guitar amp and acoustic bass, an MKH 8040 stereo pair for the grand piano and finally (2) e 935s for backing vocals. “The e 935 is one of my favorite vocal mics,” stated Albo. “It was Amy Winehouse’s mic for the last five years. As for the rest, they are all excellent quality, well-built, reliable microphones. I love the MK 4 on guitar amps, piano lows, cello and overheads, whilst the MKH 8040 is perfect for stereo overhead for the piano – detailed and rich-sounding.”
Albo continues, “I have a great relationship with Pierre [Morant, Head of Global Relations]. He has been an invaluable help for all my projects over the last few years. This close relationship is a massive asset for me as a freelance sound engineer – it enables me to maintain the very highest standards with the artists, and Sennheiser’s level and quality of global support is second to none – it’s enormously reassuring to know that in whichever far-flung corner of the world you happen to find yourself in, Sennheiser support is never far away should you need it.”
Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.
You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.
Madeleine Peyroux relies on a Neumann KMS 104, while her band and backing singers use various Sennheiser models, from the evolution range to MK 4 and MKH 8040
(Photo credit: Andy Sheppard)
(Bury St Edmunds, UK) - As part of an ongoing strategic program to deliver improved service, support and experience to its customers worldwide, along with innovative products, Vitec Videocom, a division of the Vitec Group plc, has reached a conditional agreement to acquire Autocue.
Autocue, established in 1955 and a provider of a broad range of teleprompting hardware and software products, will complement Vitec Videocom's portfolio of products for the broadcast, pro-videography, corporate and public sectors. The acquisition will help to ensure that customers receive a broader range of technologies and solutions that address the entire spectrum of requirements for studio and outside broadcast applications in terms of size and functionality.
About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Camera Corps, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.
Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.
Industry Pros and Indie Filmmakers Offer Courses on Lighting, Creature Design, and VFX for Films; Presentations from Students on Award-Winning Shorts
Sofia, Bulgaria – April 10, 2014 – At FMX 2014, Chaos Group will be highlighting how V-Ray supports VFX students and indie filmmakers across the globe. Through a series of presentations by both student teams and professional artists, attendees will see how new improvements to V-Ray 3.0 for 3ds Max and Maya are used on film and animation projects, as well as how students might get a leg up in an increasingly competitive field.
Students that stop by Chaos Group’s booth will be able to meet with representatives, see V-Ray for Blender in action (every day at 10 a.m.) and try out both versions of V-Ray 3.0 in the FMX marketplace.
Miguel Ortega and Tran Ma, the creators of “Green Ruby Pumpkin” are giving multiple talks on how their team approaches creature design on “The Ningyo.” Currently in production, “The Ningyo” focuses on the world of cryptozoology (the search for mythological creatures). This Kickstarter-funded project is also a collaboration with students from Gnomon School of Visual Effects.
Method Studios’ CG Supervisor, Blake Sweeney will demonstrate the techniques behind the invisible effects his team used on the “mirror room” sequence in “Divergent.” Sweeney will also explain what benefits studios draw from V-Ray’s advanced raytracing capabilities, adding a real world perspective on what makes it an effective production solution for students to learn.
Sweeney, who has worked on “Robocop” and “Iron Man 3,” will return again to provide students with insight into how they can make a great portfolio and successfully approach blockbuster film work during a special lecture session. Students will also be on hand to offer their own case studies/tips as teams from Supinfocom and Filmakademie share the secrets behind their award-winning projects, “The Rise and Fall of Globosome,” “Bet She’an” and “Rugbybugs.”
Chaos Group CEO Peter Mitev is set to describe how GPU-accelerated V-Ray RT 3.0 rendering is establishing a new paradigm for filmmaking. The upcoming CG-animated short film “CONSTRUCT,” rendered entirely on NVIDIA GPUs will be highlighted, as well as a tech preview of V-Ray for MotionBuilder, which was used on the project.
Complete Presentation Schedule
• “‘The Ningyo’: Decrypting Cryptozoology,” by Miguel Ortega, Director at Spy Films and Tran Ma, Production Designer at Spy Films
April 22, 2014, 12:00 p.m. in Room Mannheim
• “Blockbuster VFX: Behind ‘Divergent’’s ‘Mirror Room’,” Blake Sweeney, CG Supervisor at Method Studios
April 22, 2014, 12:00 p.m. in Room Mannheim
• “V-Ray 3.0 Crash Course: Rendering Characters and Environments,” by Konstantin Gaytandziev, V-Ray Master Trainer at Chaos Group
April 22, 2014, 2:00 p.m., 3:00 p.m.
April 23, 2014, 11:00 a.m., 3:00 p.m., 4:00 p.m., 5:00 p.m.
April 25, 2014, 11:00 a.m., 2:00 p.m. in the Chaos Group Booth
• “Creating ‘CONSTRUCT’: How V-Ray RT and GPU Rendering is Defining a New Filmmaking Paradigm,” by Peter Mitev, CEO at Chaos Group and Konstantin Gaytandziev, V-Ray Master Trainer at Chaos Group
April 22, 2014, 4:00 p.m. – 5:00 p.m. in Room Karlsruhe
• “What’s New In V-Ray 3.0,” by Konstantin Gaytandziev, V-Ray Master Trainer at Chaos Group
April 23, 2014, 12:00 p.m. – 1:00 p.m. in Room Karlsruhe
• “A Career in Visual Effects,” by Blake Sweeney, CG Supervisor at Method Studios
April 23, 2014, 11:00 a.m., 3:00 p.m.
April 24, 2014, 1:00 p.m. in the Chaos Group Booth
• “Character Design Crash Course,” by Miguel Ortega, Director at Spy Films
April 23, 2014, 2:00 p.m., 4:00 p.m.
April 24, 2014, 12:00 p.m., 2:00 p.m. in the Chaos Group Booth
• “Award Winning Student Projects,” by Supinfocom and Filmakademie students
April 25, 2014, 12:00 p.m. – 1:00 p.m. in Room Mannheim
For more information on what Chaos Group will be doing at FMX, please visit: fmx2014.chaosgroup.com and watch for updates on Twitter (@ChaosGroup and via #VRay). If you are interested in a meeting with Chaos Group at FMX, please contact: email@example.com.
About Chaos Group
Chaos Group creates physically-based rendering and simulation software for artists and designers. Founded in 1997, Chaos Group has devoted the last 16 years to helping artists advance the speed and quality of one of their most important tools. Today, Chaos Group’s photorealistic rendering software, V-Ray®, has become the rendering engine of choice for many high-profile companies and innovators in the visual effects and design industries. Thanks to the great work of the V-Ray community, V-Ray-created designs have become nearly inescapable for everyone with access to a TV, computer, or movie ticket.
NVIDIA GPU Technology Powers Over 150 Solutions for Broadcasters, VFX Artists and Post-Production Pros and Supports the Most Demanding Real-time 4K Workflows
LAS VEGAS, Nevada — NAB 2014 — Whether HD or 4K, desktop or mobile, workstation or in the cloud, NVIDIA is demonstrating how its GPU technologies are behind almost every type of broadcast and post production workflow in booth SL 6825 at NAB 2014. NVIDIA GPUs power over 150 media and entertainment software applications, plugins and turnkey solutions, accelerating performance and providing advanced stereo capabilities and 4K support for even the most demanding workflows.
Technologies and demonstrations featured in NVIDIA’s booth include:
GPU-Accelerated Workflows for 4K Video and Animation
With NVIDIA’s Quadro K6000 GPU, professionals can do their best work at high resolutions and high frame rates. 12 GB of on-board memory and NVIDIA’s industry-leading Kepler GPU architecture deliver breakthrough power, letting users work at unprecedented scale, complexity and richness. Experience interactive 4K animation workflows in Autodesk Maya or 3ds Max, real-time 4K video editing through Adobe Premiere Pro’s GPU-accelerated Mercury Playback Engine, interactive final frame production rendering in Chaos Group’s VRAY RT, and more. Demos will include:
– GPU-accelerated 4K workflows in Adobe Creative Cloud, powered by NVIDIA’s Quadro K6000 on a Dell Precision T7610 workstation
– Real-time GPU debayering for RED Camera media playback in Adobe Premiere Pro CC on an HP Z820 workstation with NVIDIA Quadro K6000 GPUs
– NVIDIA’s Quadro K6000 powering real-time final-frame rendering via Chaos Group’s V-Ray on a Dell Precision T7610 workstation
– 4K hi-res animation in Autodesk Maya, powered by the NVIDIA Quadro K6000 and HP Z820 workstation
Interactive Photo-Realistic Rendering with NVIDIA Iray VCA
NVIDIA recently unveiled its Iray Visual Computing Appliance (VCA) which dramatically accelerates ray tracing, enabling visual effects artists, animators and modelers to design and render in real time with photorealistic digital models and scenes – accelerating the review and approval process by letting artists work interactively with directors and supervisors. The turnkey appliance combines hardware and software to greatly accelerate NVIDIA Iray, a photorealistic rendering plugin integrated into leading software solutions such as Autodesk Maya. Iray VCA boasts 8 of NVIDIA’s highest-end GPUs, with 12 GB of memory each and a total of 23,040 CUDA cores. NVIDIA’s demo of Iray VCA will feature:
– NVIDIA Iray VCA with the [0x1] plug-in for Autodesk Maya visualized on an HP Z1 workstation
Virtualized GPU-Accelerated Applications for Media Enterprises with NVIDIA GRID
Virtualized and cloud-based workflows continue to become more and more accessible for media and entertainment pros. Industry leaders such as Amazon Web Services, Citrix and VMware have all recently announced new VDI (virtual desktop infrastructure) and on-demand cloud platforms powered by NVIDIA’s GRID technology. These new offerings are transforming broadcast and post-production workflows by delivering, for the first time, graphics-intensive 3D applications in virtualized environments. GRID-powered demonstrations at NAB 2014 include:
– NVIDIA GRID delivering Adobe Creative Cloud via Dell’s PowerEdge R720 rack server remotely to a Dell Precision M3800 mobile workstation
– Amazon Web Services, powered by NVIDIA GRID GPUs, demonstrating OTOY Octane Render, Mainframe2 application serving environment and ZYNC rendering over the cloud to a 27-inch iMac
Scalable GPU-Accelerated Remoting for Small and Medium Businesses
NVIDIA’s GRID Visual Computing Appliance (VCA) offers the benefits of GRID technology in an easy-to-install turnkey solution, for smaller businesses without a dedicated IT staff. GRID VCA delivers high-end GPU-accelerated applications such as those from Adobe and Autodesk over a local company network via Ethernet, to be displayed on any client computer or device. With support for up to eight concurrent users, GRID VCA enables easy scalability as projects ebb and flow, and the same graphics experience that users would expect from a dedicated workstation. See the flexibility of GRID VCA in NVIDIA booth SL 6825 with:
– GRID VCA delivering Autodesk 3ds Max with NVIDIA Iray via LAN to an HP ZBook mobile workstation
“NVIDIA GPUs are the engine for a wide range of broadcast, film and content creation workflows, and nowhere is this more evident than at the NAB Show,” said Greg Estes, GM, Media & Entertainment and VP, Marketing, Pro Visualization at NVIDIA. “Our GPUs are powering innovative solutions from industry-leading partners and we’re excited to be spearheading efforts to make cloud-based and 4K workflows more efficient and viable for our media and entertainment customers.”
NVIDIA’s GPUs and visual computing technology are also featured in numerous partner booths throughout NAB. Dozens of vendors are leveraging GPU acceleration to maximize performance in their solutions. For a complete list of partners and demos, please see NVIDIA’s official show guide: www.nvidia.com/nab2014. More information is available at http://www.nvidia.com .
Since 1993, NVIDIA (NASDAQ: NVDA) has pioneered the art and science of visual computing. The company’s technologies are transforming a world of displays into a world of interactive discovery — for everyone from gamers to scientists, and consumers to enterprise customers. More information at http://nvidianews.nvidia.com and http://blogs.nvidia.com .
HA18x5.5 offers 18x zoom from 5.5mm at the wide angle to 100mm on the telephoto end
Wayne, N.J. – The Optical Devices Division of FUJIFILM North America Corporation introduced its HA18x5.5 HD zoom at the annual NAB 2014 convention, held in Las Vegas this week.
The Premier Series HA18x5.5 offers 18x zoom from 5.5mm at the wide angle to 100mm on the telephoto end to capture images for a versatile range of scenes. It features high-precision large-diameter aspheric elements, designed with Fujifilm’s proprietary cutting-edge optical simulation technology, achieving sharpness at the center as well as all corners to deliver edge-to-edge premium image quality.
“Our customers have been looking for a lens that’s capable of shooting very wide but also at long range,” explained Thom Calabro, director of Marketing and Product Development for the Optical Division of FUJIFILM. “Sports producers looking for a lens that can go wide and still follow the action. It’s also a solid all-around lens that can shoot interviews and other applications typical for a standard telephoto lens.”
With the HA18×5.5, the operator can get as close to the subject as a minimum distance of 40cm. With the use of the built-in 2X extender, the focal length on the telephoto end can be extended to 200mm. These features accommodate a broad range of scenes to dramatically improve usability in a variety of shooting environments including live news, sports and dramatic program production.
The lens also has built-in digital servodrive units for zooming and focusing. Its ergonomic design reduces the weight for camera operators working handheld. Equipped with a 16-bit encoders,which outputs focus and other lens data at high resolution, enables compatibility with various systems such as a virtual studio programs and combining CG with live footage.
The HA18x5.5 will be available in late June of this year.
This year also marks FUJIFILM’s 80th anniversary, and 40 years for the Optical Devices Division, formerly known as FUJINON, in the U.S.
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 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 2012, and in the year ended March 31, 2013, had global revenues of $26.7 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.
* At an exchange rate of 83 yen to the dollar.
All product and company names herein may be trademarks of their registered owners.