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Hier — 16 août 2019Video PRO

Sharpy Plus et K25 s’invitent à la finale du TOP 14

Par admin

L’alternance de K25 et de Sharpy en bord de pelouse animent l’espace et la pelouse

Tous les yeux étaient rivés sur le terrain du Stade de France, même après la finale du TOP 14 de la Ligue Nationale de Rugby. Le duo de rappeurs Bigflo & Oli a proposé aux supporters un concert de clôture unique, sous un éventail de projecteurs Claypaky qui ont illuminé tout l’espace.

Le TOP 14 est une compétition organisée en France depuis 1982 et qui oppose 14 équipes, d’où son nom. Si les champions de rugby ont choisi les Bigflo & Oli pour enchanter leurs fans lors de la finale, c’est probablement en raison de leurs origines communes : la ville de Toulouse.

Le concepteur lumière de ce concert, Damien Dufaitre, a utilisé les nouveaux projecteurs Claypaky Sharpy Plus, et HY B-Eye K25 ainsi que les incontournables Sharpy et fournis par RégieTek pour la performance des deux frères.

Les Sharpy Plus qui ceinturent la scène et le podium

Il a positionné 19 K25 en bordure de pelouse au sol, au fond de l’axe principal. « La puissance du projecteur m’a permis alternativement de napper la pelouse d’aplats de couleurs, et de jouer leurs puissants faisceaux serrés au lointain pour déboucher les axes cam. », explique Damien. « Même à 40 mètres, ils ont fait le job. »

Les Sharpy, positionnés en alternance au même endroit, ont été choisis pour leurs faisceaux « vifs et précis », selon Damien. « Leurs projections sur la pelouse étaient parfaites. Lorsqu’ils étaient joués en effets de mouvement, ils ressortaient également très bien en fond d’axe cam. » En plaçant 32 Sharpy Plus sur le pourtour de la scène, Damien a pu « apporter d’autres axes et faire flotter la scène sur la pelouse. »

apportant à Damien d’autres possibilités de tirs.

Plus d’infos sur le site Dimatec et sur le site Claypaky

AJA I/O Hardware Helps Brainstorm Deliver Flexible, Real-Time Graphics and Virtual Set Solutions

Par News Feed

Spanish broadcast specialist company Brainstorm is known for creating sophisticated real-time 3D graphics and virtual set solutions used in broadcast, production and proAV environments around the world. The company, which recently celebrated its 25th year in business, services clients from its Madrid and Valencia headquarters as well as offices in the U.S., Mexico, Singapore and ...

Spin Digital 8K HEVC Media Player Leverages AJA KONA 5 and Corvid 88 for Fast, Flexible I/O

Par News Feed

Now that 4K production has taken off in broadcast, live events, sports and beyond, 8K and 16K production loom large on the horizon, prompting a demand for higher resolution video decoding and playback tools. Media solutions provider Spin Digital addresses this growing need with the Spin Digital Media Player – a high-performance 8K HEVC media ...

AJA Gear Greases the Wheels at Janta TV

Par News Feed

New Delhi-based 24/7 news channel Janta TV keeps Hindu-speaking audiences apprised of the latest current events via a satellite feed on networks likes Tatasky, Hathway and DEN. The channel has also recently up leveled its social streaming strategy, growing its subscriber base across YouTube and Facebook Live to a collective 100K subscribers (and counting). To ...

The Camera Game 2019

Par Daniel Brockett

The Panavision Millenium DXL 2 was announced in 2018 but has just come into use on major features and some episodic in 2019.

It’s basically two-thirds of the way through 2019, and I felt it would be clarifying and helpful if I were to sit down and put fingers to keyboard to take a look at what’s happening with 2019 production cameras so far this year. A sort of state of the union for camera technology for video/digital cinema users. What sorts of changes, announcements, game plans and trajectories seem to be falling into place for the tools that we use to do our jobs? Let’s take a look at what we know and perhaps I can coax out a few prognostications about where I see the camera technology business going over the next year or two.

2019 Production Cameras

2019 production cameras so far this year
The Arri Alexa Mini LF is a product that’s the result of Netflix delivery specs and therefore Netflix influence on the entertainment industry.


The big camera news from Arri this year was the March announcement of the Alexa Mini LF. Yes, at first glance, big deal, Arri put a large frame sensor into their smallest camera, the Mini. This announcement is almost more notable for what it means than what the product is. This camera is Arri tacitly saying that the new reality of Hollywood and high-end production is really all about the streaming services, with the implication that up until now, Netflix has been the primary driver since the Alexa Mini LF was almost certainly created as a response to Netflix’s now-famous camera mandate that all commissioned programming must be created with cameras with at least a 4K native sensor.

As you’re probably aware, the various Alexa variants, up until the recent past, featured a native 3.4k imager, not high enough resolution for Netflix evidently. The creation of the Alexa Mini LF shows that Arri can still be nimble and responsive to market requirements, even though Arri has used basically the same imager over the past nine years. This camera’s existence also shows that the OTTs (Over the Tops – Netflix, Amazon and Hulu) have collectively equaled or possibly surpassed the traditional Hollywood studios in importance for most content creators.

2019 production cameras so far this year
The Blackmagic Design Ursa Mini Pro G2 is a mid-level 4.6K camera system with some amazing capabilities and a new sensor for a very low price of $5,995.

Blackmagic Design

While Blackmagic Design is impressively growing the depth and breadth of their offerings to form an end to end production pipeline with cameras, converters, recorders and an editing suite of software with the release of Resolve several years ago, the latest news was the announcement of the Ursa Mini Pro G2 (Generation 2) and just this past week, the new Pocket Cinema Camera 6K. The UMP G2 is significant in the improvements it brings to the existing UMP. They redesigned the electronics and added a new S35 4.6K image sensor with 15 stops of DR as well as the ability to shoot at up to 300 fps.

2019 production cameras so far this year
The Blackmagic Design Pocket Cinema 6K camera offers a whole package of very high-end features and capability for a mere $2,495.

The new Pocket Cinema 6K Camera brings some new updates to the existing PCC 4K. Not only can the new camera record up to 6K resolution, it also features a S35 sensor as well as a new Canon EF lens mount, different than the 4K version’s M43 sensor and lens mount. The 6K features dual native ISO with up to 13 stops of DR, internal Prores recording up to 4K and Blackmagic RAW at up to 6K recording. At only $2,495, the PCC 6K will be a nice companion B camera for UMP G2 users.

2019 production cameras so far this year
The only new sort of digital cinema camera mirrorless FF hybrid Canon introduced in 2019 so far is the EOS RP.


Canon has been conspicuously absent in releasing any new professional digital cinema cameras in 2019. The sole Canon camera announcement was in February for the EOS RP, a lower cost, less featured version of the Full Frame EOS R mirrorless camera, more of a consumer hybrid camera than a pro digital cinema camera. No new C300 MKIII, C500 MKII or any other new surprises this year so far. There are rumors about Canon possibly introducing something new at September’s IBC tradeshow in Amsterdam, but at this point, those are just rumors.

Canon has been one of the top three camera manufacturers in digital cinema over the past few years, so their non-announcements are probably a reliable indicator of the overall growth potential of the digital cinema market. Or they could just be laying low? Canon recently went through a round of layoffs at Canon USA’s Melville, NY US HQ and closed their large service center in Jamesburg, New Jersey. These obviously aren’t indicators of a healthy, growth-focused company division, so take that for what it’s worth.

2019 production cameras so far this year
While not exactly a digital cinema camera, the Fujifilm GFX100 could predict an eventual medium format digital cinema camera in the future.


The main reason I’m including Fujifilm in their analysis is that with the 2018 announcement of the XT-3 mirrorless, IMHO, Fuji has jumped over the wall separating still cameras from digital cinema cameras. The addition of their MKX Cine zooms reinforces this notion. As you probably know, Fuji also makes various lines of high-end digital cinema lenses, as well as B4 mount broadcast lenses, so in my mind, these factors move Fuji into the digital cinema camera realm.

The video/digital cinema-focused XT-3 has been a solid hit for the company, instantly jumping into the mix, representing between 20 and 30 percent of sales for Fujifilm—very impressive for a new product to instantly become almost one-third of the company’s sales. The addition of the medium format GFX 100 with 4K recording at up to 4K 30p, as well as the addition of the X-Processor 4, means that even though this is more of a still than digital cinema camera, I have the feeling Fuji may have a pro digital cinema camera in the pipeline. The company has an interesting philosophy in keeping the XT and XH cameras using a S35 sensor with the GFX lineup using a relatively huge medium format sensor and no cameras in between utilizing an FF imager.


Nikon is a DSLR and mirrorless company, right? Yes and no. The introduction of the video-capable Z6 and Z7 mirrorless cameras wouldn’t be that significant if it wasn’t also for the announcement from Atomos that they partnered with Nikon to figure out a way to record RAW video directly from the HDMI output of the Z series to the Atomos Ninja V. Considering the relatively low cost of the Z6 especially, the idea of pairing a low-cost Atomos recorder with a relatively low-cost mirrorless camera fired the imagination of lots of different users.

Other than the recently announced BMD PCC 6K and the existing PCC 4K, no other mirrorless-style, small cameras are capable of RAW internal video recording or output a RAW stream to external recorders like the Ninja V. Yet.

The problem is the Atomos/Nikon announcement in January 2019 was over eight months ago; it’s August 2019 and there has been no update or release date about when this marriage of the Z cameras and the Ninja V will actually happen. In the meantime, RAW recording in low cost self-contained mirrorless-type cameras is happening elsewhere. Nikon may be too late to the party.

2019 production cameras so far this year
The biggest news from Panasonic was the announcement of the 6K-capable Lumix S1H at Cine Gear 2019.


Over the past couple of years, it’s been an interesting case of Panasonic’s consumer (Lumix) and professional (professional/broadcast) camera divisions sort of taking turns in introducing products that interest pro digital cinema camera users. Of course, the GH5 and subsequent introduction of the GH5S came from the Lumix division. The cameras are very good mirrorless, video-centric designs with a still impressive specification and feature list. The Pro Video division then introduced the EVA 1 professional digital cinema camera at the same time Canon introduced the C200.

The EVA 1 has some amazing features for the price range but has been hamstrung by its lack of a viewfinder, usable LCD and internal RAW recording. It does have a 5.7K sensor and can record in a plethora of codecs. The Lumix division introduced the FF S1 camera last year, but they were a bit more aimed at still shooters than video, although both of the variants are pretty video capable and feature the L lens mount that Panasonic and Leica designed. At Cine Gear 2019, the Lumix division introduced the S1H, a 6K FF video-centric variant that will sell for $4,000 and will be available in the fall of 2019. An interesting factor is that the Lumix S1H is a mirrorless hybrid that very much out specs the more expensive pro video EVA 1, yet sells for $2,000 less.

Video camera design at the house of Panasonic has had a big year. The rest of the lineup, the Varicam series haven’t had any new model variants introduced this year, although Panasonic did give the Varicam LT a huge discount from its selling price, down to $9,995, but to put together a fully usable, functional package, you still need to add an EVF, P2 Express cards, etc. which puts you back up in the $20k to $28K price bracket, depending on the options and amount of P2 media you need.

2019 production cameras so far this year
This is all we get to guess what the RED Komodo actually is. You need a RED Hydrogen phone to work with it?


Let’s just bring it right to the forefront: If you’ve been following what’s been going on over at RED, it’s been an insane 2019 to date. There haven’t been a lot of new camera announcements from RED this year although they’ve just teased something called the Komodo, which it appears is a camera module for the Hydrogen cell phone/camera? Not sure yet, as all they have released are teaser images with a few words. RED also released a rental-only camera package known as the RED RANGERTM. Basically, it’s a camera system that’s all-inclusive and all included. As you may or may not know, when you rent a RED camera system, it’s very much similar to how we used to rent 16mm and 35mm film cameras, meaning that you rent a basic body and then customize your rental with any of several dozen accessories that are configured in various ways to result in a camera package that’s custom configured for your needs whether that’s for handheld, tripod, slider, Steadicam, drone, vehicle mount, etc.

The end result of this is that usually when I’ve rented RED packages, the paperwork is several pages long and I have to keep track of dozens of smalls bits and pieces that combine to make a RED camera functional for my particular use. The Ranger comes preconfigured with a top handle, PL-Mount, rod brackets, 7-inch LCD, power supply, etc. Many of these pieces are integrated into the Ranger body rather than having to be attached via hex screws to the basic RED “shoebox” form factor that their camera brains come from the factory as.

The insane factor has been the entire RED Mini Mag debacle. I don’t have room to recount it here in all of its glory, but let’s just say that a third party has publicly accused RED of some false advertisement and misleading public statements having to do with RED media, the SSDs contained within them and the money that RED charges for their proprietary media. In my opinion, RED’s response to these accusations has been a good example of how NOT to respond to a public accusation, there have been lawsuits and threats of lawsuits flying from both sides and in the end, a lot of RED customers have been, at the least, confused about what RED has said and sold as their proprietary media and at the most, furious with the company.

The entire issue has been a bit of a media circus, just Google “Red camera media” and you’ll see what I mean. It’s difficult to say if this is just a bump in the road for RED or if it may come to mean something more serious for them. Time will tell.

2019 production cameras so far this year
The only new sort of digital cinema camera mirrorless FF hybrid Sony introduced in 2019 so far is the A7R IV.


2019 has been an interesting year for the Sony Pro Video division. In a way, Sony has behaved in a very similar manner to competitor Canon. They haven’t really introduced a new digital cinema camera this year. They did release a V3.0 firmware update for the Venice that adds two new imager modes, 5.7K 16:9 and 6K (full-width) 2.39:1. Later in the year, they released the 4.0 firmware, which added 4K 120 fps and 6k 60 fps.

Sony also just released the A7R IV mirrorless, but all of its innovation was centered on still photography, with its video still hobbled to 2014 standards of 100 Mbps 4:2:0 8-bit internal recording to protect sales of the Sony FS5 MKII and FS7 MKII. There has been a rumor of a new video-centric A7S III for years now, but nobody outside of Sony knows when that camera will drop or if it will be in 2019. So basically, business as usual at Sony.

2019 production cameras so far this year
The Z Cam E2 is an M43 box with an imager, you supply everything else to make it into working camera.

Z Cam

As the new kid on the block, Z cam is the latest Chinese camera manufacturer to try to make inroads into the U.S. market. I’ve never personally shot with a Z Cam camera, so I have no first-hand knowledge of their image quality, responsiveness, features or reliability.

I’m able to glean a little information from their press releases and from one colleague who purchased one of their cameras for professional use, so I can make the following observations about them and their cameras.

They’re aggressively pursuing market share against the established big three camera manufacturers (Canon, Panasonic and Sony). This is apparent from their expanding lineup, their availability at a lot of U.S. dealers and their kind of unusual form factor and robust feature sets at relatively low cost.

Z Cam currently offers two models of M43 imager cameras currently, the E2 and the E2C. The E2 is a $1,999 M43 shoebox camera with impressive specs, meaning that when you buy the camera, you literally just get a box with an imager inside. You must furnish a battery, media, EVF, handles, baseplate, really everything needed to make the “box” into a functional camera for your shooting situation. Apparently, some people like rigging up what are known as Frankenrig cameras, meaning that the end product is going to be festooned with cables dangling and weird ergonomics, depending on how well you understand camera ergonomics and can buy the right accessories to end up with a compact, ergonomically viable rig.

An observation, most people don’t and end up with a weird, Rube Goldberg (Google it) contraption with a camera buried in all of the Gak (Gak is a Hollywood term used to describe various messy cables, batteries, plates and rods that especially DSLR and mirrorless cameras are often rigged up with, but any camera package can have excess Gak). If you’re a do-it-yourselfer and like having to shop for a bunch of disparate accessories and try to make them into a workable pro camera rig, have at it. Personally, I dislike camera rigs that are like this; I find that the ergonomics are mostly terrible and the cables snag on everything you walk past or operate near, which can result in losing footage. Others, like RED operators, seem to like the “shoebox with tons of GAK” model. Your mileage may vary.

My 2019 Camera Trends and Progress Observations

I’d like to offer my observations and predictions about where professional digital cinema camera tech is headed and what to watch for as you navigate the murky waters of production for the rest of this year.


2019 production cameras so far this year
The Sony Venice came out in 2018 but is a perfect example of the FF mania that has taken over high-end digital cinema.

Full Frame

The mania for FF continues unabated, especially in the higher-end cameras. Doesn’t matter if you like it or not. Collectively, the industry and users have decided that if it’s not FF, it’s nor worth buying in 2019. Other than in the low end of the market where cameras like the Z Cam E2, even though it’s M43, continue to sell a lot of units.

2019 production cameras so far this year
Mid-range cameras like the Canon C300 MKII are looking a little long in the tooth as their capabilities are passed up by smaller, lighter and much less expensive cameras with superior specs.

The Death of the Mid-Range

You can’t ignore the facts. Fact: no manufacturer other than BMD has introduced a new mid-range ($5k-$12k) digital cinema in 2019. No FS7 MKIII. No EVA 1 MKII. No C300 MKIII. BMD did introduce the UMP G2, which is really just a slight update to the UMP, not a whole new camera. Interestingly, all of the action is at the high end (Alexa Mini LF, RED RANGER, VENICE Upgrades) and at the low end (Panasonic Lumix S1H, Blackmagic Design Pocket Cinema 6K). What does this mean? I honestly think it could mean that a lot of users who used to buy the mid-range cameras are either stepping up to the high end with rentals and “slumming it” down at the low end, simply because these new low-end cameras offer such tremendous value and sophisticated features for the money. The $4,000 Panasonic S1H has better technical specs than the more expensive EVA 1. The $2,495 Pocket Cinema 6K has better technical specs than the more expensive UMP G2. Notice a trend here?   

I know it has for me. Our A camera is the (used to be) $7,500 Canon C200. When we went to buy a new b-camera/gimbal camera, we didn’t spend another $5,000 on a C200B, we spent $1,399 on a Fujifilm XT-3 simply because the XT-3 is so good for the money and offers so many impressive features and specs for a prosumer mirrorless camera. I personally doubt if I’ll ever buy another mid-range camera. I’d rather rent high-end cameras, and it’s fun for me to see how far I can push a prosumer camera like the XT-3. Sure, the C200 is a better camera, but it should be for five times the cost. The XT-3 can do 85 percent of what the C200 can do, save for RAW, internal NDs, real audio connections and the client impress factor with its appearance. But the Fuji was inexpensive, works pretty well for video and the output is close to that of the C200, even though the C200 RAW is better.       

2019 production cameras so far this year
The Fujinon Premista Cine Zoom can be yours for a mere $39,800.

Lens Insanity

I’ll go ahead and say it, 2019 is the year the number of lenses available, both still and cine, went nuts. Almost every day there’s a press release for a new optic or new optic company waiting for me in my email. I’m not complaining, this is the best time we’ve had for lenses in the history of our business. No matter what your taste is, you can find multiple lines and brands of lenses that can give you whatever look and optical characteristics you seek. 

2019 production cameras so far this year
Just a few short years ago, the only 6K cameras available were $50,000 plus like this RED Epic Dragon. Now, 6K is available for less than $2,500.

6K is the New Standard

It seems as if the bar has raised from 4K with the masses fully convinced that in order to optimize 4K, because of the image loss through De-Bayering, you have to have a 5.7K, 5.9K or 6.0K sensor. Strictly from a techno nerd/imaging engineer standpoint, it makes sense. In the real world, though, my Canon C200 has a 4k imager and I have yet to shoot anything with the camera, especially with Cinema RAW Light, that suffers from any mosaic artifacts, low resolution when viewed on a 5K screen or other optical anomalies. So, like everything in our business, there’s the theoretical, which at times you or your audience may or may not notice, then there’s the reality of what your clients and their audiences may or may not see.

It seems that going forward, I doubt if you’ll see many, if any at all, new digital cinema cameras that aren’t at least 6K native. It’s what is hopefully the end of the resolution wars, but I suspect those will go on at least until 8K and possibly might end at 12K or 16K? Who knows for sure?

I hope you’ve found this blog interesting and perhaps a little fun. In 2019, we’re at a place with professional digital cinema cameras where they’re literally all at least decent and the vast majority are really impressive. We’re definitely spoiled with options—a nice place to be.   

The post The Camera Game 2019 appeared first on HD Video Pro.

  • 15 août 2019 à 19:09

Killer Tracks Partners with Composer Sebastian Robertson to Launch Sonic Beat Records

Par Artisans PR

Initial release includes more than 170 albums of original music SANTA MONICA — — Killer Tracks, a Universal Publishing Production Music company, has partnered with composer and music producer Sebastian Robertson to launch joint production music label Sonic Beat Records.  The initial release includes more than 170 albums covering a vast range of contemporary styles, ...

Alex Martinez Discusses his Role at Univision Noticias and the Future of Audio Mixing

Par D Pagan Communications

Q: Tell us a little bit about who you are and what you do. A: I’m the audio operator for Univision Noticias, the news wing of Univision Network, where I’ve had the privilege of working for roughly seven years. I mostly cover our live network news shows. This includes Primer Impacto, Noticiero Univision, Noticiero Univision ...

Big South Conference Standardizes on JVC ProHD Cameras for ESPN+ Streaming Sports Platform

Par Pipeline Communications

WAYNE, NJ (Aug. 15, 2019) – JVC Professional Video, a division of JVCKENWOOD USA Corporation, today announced the Big South Conference, an NCAA Division 1 collegiate athletic conference, has standardized on ProHD GY-HM850 shoulder-mount camcorders to provide multi-camera coverage of sports for the ESPN+ streaming subscription service. “It’s a really nice piece of equipment, and ...

Marshall Electronics’ Cameras Head to the Rodeo

Par D Pagan Communications

CALGARY, ALBERTA, CA, AUGUST 15, 2019 – Mason Goodchild, owner of Morsando Media, knew he needed a compact POV camera that could outlast the elements to film the Calgary Stampede. For the second year in a row, Marshall Electronics’ cameras captured high-octane footage of the rodeo to complement the broadcast. Marshall Electronics All-weather CV502-WP and ...

New Australian Sci Fi Film Quanta Shot on URSA Mini Pro and Graded with DaVinci Resolve

Par Zazil Media

Fremont, CA – August 15th, 2019 – Blackmagic Design today announced the new sci fi film “Quanta” was shot entirely on an URSA Mini Pro, while grading was done using DaVinci Resolve Studio. The film is one of the first globally distributed films by the new Melbourne based film production company and film collective Raygun, and ...

Telestream Announces the Next Generation of Wirecast Gear

Par High Rez PR

Nevada City, California, August 15th, 2019 –Telestream, a global leader in file-based media workflow orchestration, media streaming and delivery technologies, today announced the latest version of Wirecast Gear, a new generation of the company’s award-winning live video streaming production hardware. Powerful, purpose-built, and easy to use, the fully-configured workstation allows anyone to broadcast professional live ...

Qligent Strengthens Vision Analytics Platform to Measure Return on Engagement

Par Dimension PR

Advanced analytics to improve quality of experience and combat audience churn puts the power back into the service provider’s hands MELBOURNE, Florida, August 15, 2019 — Qligent has updated its industry-first, award-winning Vision Analytics™ innovation for IBC2019 with a fully matured, open platform that harnesses the power of data mining, machine learning, and predictive data ...

How DPs Make the Shift from Commercials to Features and Back Again

Par Rubidium Wu

Can you develop skills shooting commercial work that'll serve you well on feature films, or do you have to start from scratch?

3 Simple Tips for Stabilizing Smartphone Videography

Par Jourdan Aldredge

Let’s take a look at some practical cinematography and editing tips that can help you create smooth, stable, and beautiful smartphone videos.

Insight TV Announces Co-Production with VICE Studios for Streetkings in Jail

Par Jump

Insight TV, the world’s leading 4K UHD HDR broadcaster and producer of native UHD content, is announcing details of its gritty new series Streetkings in Jail, a co-production with VICE Studios, the production company from VICE. Featuring 4 x 44 minute episodes, Streetkings in Jail will launch on Insight TV on September 10th. Football stars ...

Quicklink Remote IP Commentary to be demonstrated at IBC 2019

Par quicklink

Quicklink, one of the leading global providers of software and hardware IP solutions, will be demonstrating their Remote IP Commentary solution at IBC 2019 on stand 3.B61 from the 13th – 17th September. The Remote Commentary solution enables the addition of audio commentary to a production in real-time, incorporating ultra-low latency audio from any location ...

Le centre expert Adam Hall remporte un Iconic Award

Par admin

L’Experience Center du groupe Adam Hall Group a reçu du Conseil allemand du design (German Design Council) le prix de l’architecture innovante, les Iconic Awards étant décernés dans cinq catégories : Architecture, Interior, Product, Communication et Concept.
Ce prix récompense à la fois Adam Hall, l’agence de design responsable du projet, Stilbruch United Designers, et le bureau d’études M&P Architekten.

Les ICONIC AWARDS : Innovative Architecture

Depuis 65 ans, le Conseil allemand du design s’engage en faveur d’une approche globale de la conception et promeut le design comme facteur de réussite pour l’industrie et l’économie internationales. Par l’attribution indépendante des Iconic Awards, le Conseil allemand du design met à l’honneur l’interaction de toutes les disciplines, à savoir les projets de construction exceptionnels, le design d’intérieur et de produits innovant et les prestations de communication convaincantes dans le domaine de l’architecture.

Inauguré en 2018 (lire notre reportage ici), Le centre Expert Adam Hall est un lieu de travail et de rencontre moderne qui abrite, entre autres, un showroom entièrement équipé, un grand auditorium pour les spectacles et les démonstrations de produits, l’Adam Hall Academy, ainsi que diverses salles de mesure, des laboratoires de développement, un espace consacré au prototypage 3D et même un restaurant d’entreprise «Come Together».
Sur une période de douze mois seulement, l’Experience Center s’est déjà vu décerner le très renommé Architecture MasterPrize™ (AMP), le German Design Award 2019 et la récompense de l’Art Directors Club (ADC), et enfin l’Iconic Awards.
« Avec l’“Experience Center”, nous souhaitons donner à un maximum de personnes l’opportunité de mettre en œuvre leurs idées créatives dans un environnement moderne à la pointe de la technologie », explique Alexander Pietschmann, directeur d’Adam Hall Group.
« Depuis son ouverture, l’Experience Center est un lieu d’émotions et de grands moments qui met en relation d’un point de vue global les clients professionnels, les partenaires, les associations et nos collaborateurs. Nous sommes très heureux que le jury des Iconic Awards ait distingué ce concept global par un prix ».

Jury et cérémonie de remise des iconic Awards

L’attribution Iconic Awards 2019 : Innovative Architecture est confiée à un jury indépendant composé de huit membres représentant les domaines de l’architecture, de l’architecture d’intérieur, du design et de la communication des marques.

La remise des Iconic Awards2019 se déroulera le 7 octobre 2019 à la Pinakothek der Moderne à Munich lors d’une cérémonie médiatique axée sur la dimension architecturale.

Plus d’informations sur :


ETC France développe son équipe technique

Par admin

La filiale ETC France, qui quelques mois après sa création enregistre des résultats prometteurs, poursuit le développement de son équipe en recrutant Alexis Vaneberg au poste d’ingénieur service terrain (Field Service Engineer).

D’origine belge, Alexis justifie d’une belle expérience de la prestation à seulement 30 ans. Sa licence de Régisseur de Spectacle en poche, Alexis a d’abord exercé le métier éclairagiste de concerts, d’événements et de conférences pour le compte de sa propre société.

Il pupitrait pour ses designs et pour d’autre éclairagistes essentiellement sur consoles Hog 3 et Hog 4 High End System, tout en sachant opérer sur d’autres marques de consoles.
En 2012, il devient référent programmeur pour Disneyland Paris qui possède un parc de consoles Hog, tout en continuant les prestations pour le compte de sa société bruxelloise.

C’est l’envie d’intervenir au cœur du produit qui a décidé Alexis à postuler chez ETC France. Sa connaissance des consoles et des projecteurs sera un atout précieux pour assurer la maintenance et des démonstrations en support de l’équipe commerciale.

Plus d’infos sur le site ETC France


Hong Kong Firm Spans Virtual Globe

Par bobgold

This creator of digital worlds sees the city as an ideal home base in the real world. Midway through his career in law and investment banking, Devin Ehrig had a hankering to do something more creative. As the son of a Hollywood producer, the United States-born Hong Kong resident had “grown up in the movie ...

Signiant Expands its SDCX SaaS Platform to Dramatically Simplify Fast, Secure Intercompany Content Exchange

Par Denise Williams

At IBC2019, on booth 14.B23, Signiant Inc, a long-time leader in intelligent file transfer, will introduce new capabilities to its SDCX (Software-Defined Content Exchange) SaaS platform to simplify secure content exchange between companies. These capabilities will first appear in the company’s newest product, Signiant JetTM, which makes it easy to automate and accelerate the transfer ...

How to Hire a Film Crew for Your Next Passion Project

Par Tanner Shinnick

Hiring a film crew for your passion project? Here are four tenets to keep in mind to make sure you assemble a successful team.

Interview: “Long Gone By” Director Andrew Morgan and Star Erica Muñoz

Par Paula Goldberg

We had the opportunity to chat with filmmaker Andrew Morgan and star Erica Muñoz about "Long Gone By," a very timely and emotional drama.

À partir d’avant-hierVideo PRO

Make it Count — Ma participation à un jeu de la #ue4jam Summer 2019

Par greg

Hello les amis. Ces derniers jours, a eu lieu la game Jam été d’Epic Games. Ça tombait un peu mal pour moi (mais y‑a t‑il de meilleurs moments au final) car j’avais pas mal de boulot à terminer (et j’en ai toujours autant), alors j’ai accepté de participer, mais en fonction de mes possibilités. Au … Continuer la lecture de Make it Count — Ma participation à un jeu de la #ue4jam Summer 2019

Astera: les tubes de l’été, en tournage et en déco

Par admin

Que de tubes chez Astera ! La version 2 m du Titan Tube n’éclipse pas le nouvel Helios, très maniable et polyvalent en 50 cm, avec sa kyrielle d’accessoires astucieux. Un petit apéritube avant votre demi ?

Le stand Astera Led ne désemplissait pas lors du dernier salon Prolight+Sound. La raison essentielle pour cette marque allemande en plein essor est la montée en gamme de ses produits, sensible à partir du lancement de la gamme AX :
vrai travail sur les sources LED et les optiques, (particulièrement vrai avec les optiques françaises Gaggione sur l’AX5, cocorico !), astuces sur les flight-cases avec points de recharge rapide, et développement du software de gestion et transmission bidirectionnelle Astera-App.

Plus récemment, Astera a fait preuve un intérêt marqué pour le secteur du cinéma. Une version très léchée du tube AX1, nommée Titan Tube, a fait son apparition, et on peut dire que ce nouveau marché a fait bondir les Teutons sans fil (ne pas confondre avec les lapins Duracell, cependant).

Sebastian Bueckle présente fièrement le nouvel Hyperion.

Interview d’un Sebastian Bueckle, (directeur des ventes et du marketing Astera Led) radieux, tenant ferme la barre, ou plutôt le nouvel Hyperion, désormais disponible à l’heure où vous lisez ces lignes.

Soundlightup : Alors Sebastian, tu te mets au saut à la perche ou au lancer de javelot?

Sebastian Bueckle : (Rires). Celui-ci est lumineux, sur batterie, et je peux le piloter en DMX sans fil ! Plus sérieusement, c’est le grand frère et dernier arrivé dans la famille.
Nous l’avons conçu pour un client, et finalement il séduit ceux qui veulent faire de grands matriçages ou de grandes lignes en fond de scène sans être obligés de raccorder à touche-touche des Titan Tube de 1 m, même si nous avons maintenant des plaques de couplage AX-WP qui le permettent.
En fait, la vraie nouveauté ici pour le monde du Live, c’est la version courte du Titan Tube. Il s’appelle l’Helios et mesure 50 cm. Son nom est logique vu ce qu’il envoie comme lumière (sourire).

SLU : Donc, on peut dire que la famille est au complet ?

Sebastian Bueckle : C’est le moins qu’on puisse dire, il était important pour nous de compléter le plus vite possible cette gamme de tubes autonomes avec fort IRC (supérieur à 96, et le TLCI * aussi !), grâce au mix des 5 couleurs RGGBA, et la fonction « Boost » qui multiplie le flux par 2,5.

SLU : Mais c’est au détriment bien sûr de l’autonomie !

Sebastian Bueckle : Bien sûr, mais comme la pause déjeuner permet de le recharger, et à cause des nombreuses interruptions hors phase de tournage réel, c’est jouable pour un jour entier de tournage.
En utilisation Live, les demandes en flux sont différentes. Sur une scène où les tubes (les 3 modèles permettent maintenant de faire des motifs et des zigzags à volonté) peuvent être raccordés au secteur, par exemple en fond de scène, on n’est pas limité par la batterie et on peut pousser le flux à volonté.
Cette nouvelle caractéristique est importante, car quand il y a beaucoup de projecteurs en jeu, les tubes tendaient un peu à perdre de leur impact. En éclairage décoratif (balisage à l’entrée, sur des escaliers, etc.), l’autonomie se gère en automatique par le tube lui-même qui ajuste sa luminosité pour tenir la durée choisie dans le menu de l’Astera-App.

Un exemple courant d’utilisation des tubes Astera matriçables à merci pour du décor de fond de scène, avec désormais 3 longueurs utilisables : 0,50 m, 1 m et 2 m.

L’autre point important, c’est le pilotage Pixel par Pixel en DMX. La limitation du nombre d’univers en CRMX/Lumen Radio sur de grosses installations disparaît désormais puisque le DMX arrive multiplexé sur le câble d’alimentation.
Le bloc chargeur/alimentation, qui accueille 10 tubes simultanément, dispose d’une entrée DMX pour cela, et nous avons référencé différentes longueurs de ces câbles moulés en 2,1 mm. Ca évite de les souder…

SLU : Cette forte présence sur le marché cinéma/TV explique la profusion de nouveaux accessoires sur le stand ?

Valises de transport pour 8 Titan Tube ou 8 Helios, complètes avec accastillage, bloc alim/chargeur démontable (avec interface DMX intégrée) pour l’accrocher dans les ponts, et bien d’autres astuces…

Sebastian Bueckle : Bien sûr, nous avons développé des valises pour l’Helios, à côté bien entendu des valises contenant 8 Titan Tube, avec accastillage, etc, tout inclus.
Mais pour les usages « plateaux de tournage », on a désormais une sacoche bien compacte recevant 4 Helios, et surtout on a passé des accords avec différents fournisseurs d’accessoires spécialisés dans l’éclairage ciné/TV pour pouvoir, par exemple, glisser des Titan Tube ou des Helios dans des boîtes à lumière diffusantes type Chimera ou autres.

SLU : Toutes ces caractéristiques ne concernent que la nouvelle génération de tubes, est-ce que le modèle AX1 « basique », en RGBW avec IRC moindre, se justifie encore ?

Sebastian Bueckle : Déjà, il y a quand même une forte différence de prix entre « l’ancêtre » AX1 / PixelTube (environ 30 %, NDLR), et on continue à le vendre pour des utilisations d’éclairage décoratif, où la qualité du blanc lui-même importe peu, ce sont les effets et la facilité de pilotage qui comptent. Mais c’est vrai que des prestataires qui sont à cheval sur plusieurs marchés ont désormais tendance à investir directement dans le Titan Tube.

Une forme un peu protubérante sur un AX5, mais un mode de fixation astucieux et une diffusion très uniforme sur 180°.

SLU : des nouveautés côtés des projecteurs, disons, « cylindriques » (sourires) ?

Sebastian Bueckle : Surtout des améliorations, des accessoires ou versions pour certaines utilisations. Par exemple, pour éclairer l’intérieur de volumes lumineux, on avait déjà développé pour l’AX3 un dôme très diffusant à 120°, eh bien il existe maintenant pour l’AX5.
La forme de bulle est bizarre de prime abord, mais c’est encore plus efficace, on éclaire de façon uniforme à 180°, sachant que le faisceau du AX5 à l’origine est de 13° !

Une belle ligne d’AX3 sur un rail 3 phases standard type « Erco », un rêve d’installateur !

Toujours dans l’idée d’ouvrir sur de nouveaux marchés, on a sorti le petit AX3 monté sur connecteur pour rail 3 allumages, très utilisé en muséographie, en boutiques, etc. L’alimentation est intégrée, mais bien sûr le pilotage doit se faire sans fil.

Plus d’information sur :

* Allons plus loin que l’IRC : L’indice TLCI cité ci-dessus par Sebastian Bückle est en quelque sorte une extension de l’IRC, en tout cas un complément très utile pour qualifier la qualité de rendu des couleurs sous un éclairage blanc.
Il tient en compte les raies au-delà des 8 premières, qui elles sont la base de calcul de l’IRC. Pour la peau humaine, les costumes, les décors, la neuvième raie, la rouge, est particulièrement importante à observer.

Diagrammes TLCI du Titan Tube Astera en fonction de la température de couleurs choisie.

Et plus d’informations dans l’article SoundLightUp sur IRC et TLCI.


AJA Ships KUMO 3232-12G Compact 32×32 12G-SDI Router

Par News Feed

Grass Valley, CA (August 12, 2019) — AJA Video Systems has started shipping KUMO 3232-12G compact routers, featuring 32x 12G-SDI inputs and 32x 12G-SDI outputs in a portable 2RU profile for flexible and cost-efficient 12G-SDI routing. Designed for use in broadcast, production and ProAV environments, KUMO 3232-12G supports large format resolutions, high frame rates and ...

Julian Fernandez-Campon Named as Tedial’s Chief Technology Officer

Par Desert Moon Communications

Malaga, Spain – August 13, 2019 – Tedial, the leading independent MAM technology solutions specialist, has announced that Julian Fernandez-Campon has been promoted to Chief Technology Officer, effective immediately. In this new role, Fernandez-Campon will be responsible for overseeing R&D, Operations and Customer Support, working closely with the CSO/CMO (Chief Sales & Marketing Officer), and ...

VFX Legion Creates Effects For ‘The Food That Built America,’ History Channel’s New Docudrama Mini-Series

Par SJ Golden

  VFX Legion recently completed a complex mix of visual effects for History Channel’s new docudrama mini-series, ‘The Food that Made America.’ The Burbank-based company worked on every phase of the production, from start to finish. Its team was on-site during locations scouting and on-set during production in New York, all the way through the ...

IBC2019: New Cobalt Digital Solutions Support 4K Workflows for Studio and Mobile Applications

Par Pipeline Communications

CHAMPAIGN, Ill. – Aug. 13, 2019 – Cobalt Digital will showcase its card-based 4K and HDR workflow solutions for openGear® frames next month at IBC2019 in Amsterdam (Stand 10.B44). Product highlights will include its new decoders and encoders, RIST Main Profile, bi-directional SDR/HDR conversion solution for live production, and new multiviewers and distribution amplifiers. Plus, the ...

1606 Studio Marks Six Month Anniversary with Work for BMW, UCSF Heath, Carl’s Jr and More.

Par Artisans PR

Creative studio has four edit suites operating at capacity and plans to grow. SAN FRANCISCO— Six months after its launch, creative post-production boutique 1606 Studio has completed the initial build-out at its space in a century old structure in San Francisco’s North Beach neighborhood. It’s also finished a slew of projects for Bay Area agencies ...