SmallHD announces a new entry into the reference-grade monitor space: the OLED 22 4K Production Monitor. Setting a new standard for color purists, this stunning 4K color reference monitor boasts many of the advanced features that OLED users demand.

OLED 22’s hardware design is built around the Small4K™ Video Processing Architecture, which provides unparalleled input/output options with eight 12G-SDI and two HDMI 2.0 ports, all of which enable 4K signal processing. Housed in a rugged, unibody, milled-aluminum chassis that includes 36 individual ¼-20” mounting points along the top and sides, the OLED 22 weighs-in at a featherweight total of 9.3-lbs/4.2kg. A removable handle and feet allow for convenient portability.

The OLED 22 display has virtually no image degradation at any viewing angle, providing a real-time image as vivid and pristine as a final output, whether on set or in post. 

Monitor specs check off an impressive list of desired features: 21.6in/55cm screen size, >1,000,000:1 contrast ratio with an absolute black point, 10-bit color depth for nuanced color fidelity, 3840x2160 resolution, 350nit brightness level, and 100% P3 / 135% Rec 709 color gamuts that generate true-to-life color reproduction.

Power options include two hot-swappable power inputs: one 3-pin XLR and a slide-on Dual Battery Plate (Gold Mount & V-Mount options, sold separately), which can be attached via the built-in Smart Rail on the rear side of the monitor. Two 2-pin locking accessory outputs add power flexibility for additional devices.

For complete, untethered freedom, OLED 22 is Teradek Bolt 4K compatible: an ideal combination for cable-free, zero-delay video monitoring in 4K 10-bit HDR.

Coinciding with the release of OLED 22, SmallHD is also introducing its most sophisticated internal toolset yet: PageOS 4. With this new software, users gain easier access to a diverse and customizable array of curated exposure tools and workflows for enhanced production functionality. Beyond a host of improvements for simplicity and speed, PageOS 4 supports a streamlined color-calibration experience with Color Pipe, an intuitive rendering tool that accurately converts log formats into SDR and HDR. PageOS 4 includes significant upgrades in user page presets, 4K HDR (PQ) waveforms, improved false color, and dual/quad viewing options--as well as retaining the same dependable features known to users of previous PageOS-equipped monitors.

For more information visit: www.smallhd.com/4K

SmallHD has purpose-built the new line of Focus Pro monitors to pair with the RED® KOMODO™ camera. Available in both 5” LCD and OLED versions, each maintains SmallHD’s clarity, vivid color detail, and dynamic touchscreen camera control while balancing between durability and lightweight design.

Focus Pro unleashes the full potential of KOMODO with its intuitive touchscreen menu control. Connected via the 5-pin locking USB port, RCP functionality enables unfettered access to camera operations and project settings such as recording format, resolution, frame rate, shutter speed, aperture adjustment, autofocus, output tone map, highlight roll-off, 3D LUTs, Run/Stop and more.

Scale Logic Enterprise Support Services

In these difficult times all of us need to save money on our support contracts, and our partners at Scale Logic have all the answers.

Scale Logic have decades of experience in helping clients extend the life and investment of their servers, storage and networking.

They make it easy for IT managers and CFOs to save time and money!

Scale Logic offer customised SLAs to reduce IT maintenance spending by 50% -70% compared to OEMs and will deploy OEM certified engineers who are often the same engineers used by the OEM manufacturers.

They can increase your savings with other services including buying back equipment you no longer use and by sourcing new and/or factory refurbished equipment to expand your capacity and performance, including legacy products.

disguise, the solution specialist for creative and technical professionals to imagine, create and deliver the world’s most spectacular live experiences— released r17.1, an update to its award-winning software, coinciding with the launch of a six-month free licence for its Designer software.

Built with disguise’s community of artists and technicians at its heart, r17.1 dramatically enhances the augmented reality (AR) workflow so that its community can produce incredible experiences with ease. With the release, disguise also hopes to help creative studios and production houses access the market opportunity presented by AR with the solution for delivering spectacular and immersive visuals.

The significant workflow improvements introduced in r17.1 enhance the ease of use for specialists delivering AR experiences with disguise, making it a more compelling option for use in projects for broadcast, esports and live contexts such as corporate, education, virtual environments and concert touring. As viewing figures surge, it becomes increasingly important to have the right tools available to create AR easily and efficiently and elevate ‘at-home’ viewing with thrilling visuals. 

The Future Group, provider of live photo-realistic virtual production system, Pixotope™, has revealed its key involvement in the stunning production and delivery of the NFL’s ground-breaking Super Bowl LIV, mixed reality pre-game presentation. The complex, seven-minute production combined live action from multiple moving cameras with augmented virtual stages and graphics. The 2020 Super Bowl was watched by an estimated domestic audience of 100 million people, plus international viewers.

The Future Group provided six installations of its virtual production platform, Pixotope, along with essential technical expertise to liaise with all other aspects of the multi-faceted production.

As an opener to the Super Bowl LIV, NFL planned to reveal its “100 All Time Team”. They approached fan experience company– coincidently named, The Famous Group – to design and choreograph the pre-show content. The brief was to celebrate the history of the sport and the contribution of those 100 players and 10 coaches, using graphics, historical film and live shots of attendees. The Famous Group looked to achieve this through extensive use of mixed reality virtual elements, and selected Pixotope, with expertise from The Future Group, as their technological solution.

The complexities of such a project cannot be overstated. Multiple virtual assets such as stages and screens needed to be designed to exactly match the stadium environment to which they would be augmented. Cameras needed to be tracked in real time and have their lenses aligned so that the virtual elements would be generated at precisely the right angle to accurately match real-world positions. Lighting needed to be measured so that it could be simulated in the virtual world to ensure correct shadows and highlights.

In-stadium screens, which would show the augmented content to the crowd, had to be accurately marked out in the virtual scene so that they could be blocked out to avoid visual “feedback”. All this had to take place under precise time control to synchronise with the voice-over and contributing performers in the stadium.

Pixotope product specialist, David Stroud, was part of a team of experienced mixed reality technicians, helping to specify and install the required technology, and bring together all the constituent departments. The Future Group team were involved from the outset, initially collaborating using a shared virtual project to provide technical assistance for The Famous Group creatives. Then later, the team positioned themselves at the Hard Rock Stadium, Miami FL, where the main event would take place 11 days later.

David Stroud recalled, “Although the virtual scene had been set up “offline” from scans and measurements from the stadium, there are inevitably adjustments that can only be done on site. We used our Pixotope virtual production platform to receive images and tracking data from each of the cameras, one of which was a Skycam “wire-camera”, and augment onto those the virtual elements designed by The Famous Group. This allowed everyone to see the results in real time, making adjustments and improvements as we rehearsed the show in the days leading up to the Super Bowl.”

Stroud continued, “We helped the camera operators visualise how the preshow would come together, as understandably, they were more used to following the unscripted action of a football game than reacting to very specific time cues. Pixotope has the capability to continuously output the final result, even while editing the graphics – a great tool for directors following rapid changes and updates because it’s always live.

“We also worked closely with camera tracking specialists SMT, and in fact, we were able to improve our data exchanges to further perfect the virtual camera motion. And we worked with both the broadcaster (Fox) and the companies providing in-stadium displays to ensure the very highest visual quality possible.”

Andrew Isaacson, Executive VP Business Development for creative agency The Famous Group affirms, “Needless to say, the best creative ideas rely on solid technological platforms and expertise to deliver them. This could not be truer for a live event on the scale of The Super Bowl. We needed to know, without any shadow of a doubt, that what we planned would be delivered faultlessly, accurately and to the highest quality. This is why we chose Pixotope as our platform for delivering cutting edge mixed reality for the Super Bowl.

“Having used Pixotope on previous productions, we know that the system, and expertise from The Future Group, allow our creative ideas to be unleashed to the great benefit of our clients like the NFL. We look forward to working on many more productions with Pixotope.”

All hardware was provided by Quince Imaging and camera tracking was completed by SMT. The final mixed reality sequence can be viewed online, here: https://www.youtube.com/watch?v=FqXBKweKQ9U

Following the announcement that Chase Jarvis will headline the 2020 event, The Photography Show and The Video Show has revealed five more inspiring speakers who will take to the Super Stage when it returns to Birmingham’s NEC from 14-17 March. Once again commanding some of the industry’s most influential photographers and filmmakers, the UK’s largest photography and moving image co-located event is also set to welcome Susan Meiselas, Gavin Free, Ross Halfin, Juno Calypso and Brooke Shaden.

Following Chase’s talk on Saturday 14 March is renowned documentary photographer, Susan Meiselas. As a member of the prestigious Magnum Photos since 1976, Susan is best known for her coverage of the insurrection in Nicaragua and her documentation of human rights issues in Latin America. Looking back over four decades as an award-winning documentary photographer, she will share fascinating insights into her most recent projects, her approach and life through photography.

On Sunday 15 March, award-winning cinematographer and the co-creator of The Slow Mo Guys, Gavin Free, will present two sessions at the Super Stage. The popular duo have amassed over 13 million subscribers on YouTube, achieving fame with everything from viral videos of bursting balloons to in-depth explanations of how a high-end slow-motion camera works. In a rare European appearance, Gavin Free will let visitors into his life as an incredibly successful YouTuber, the career steps that he took to get there, and his passion for his subject matter. He will discuss what goes into making and distributing this kind of content, the tech involved, how he keeps the ideas coming, and what it's like to have online video as your career.

Cinegy GmbH, the premier provider of media technology and production solutions, has announced the opening of a new office in Istanbul - Cinegy Medya A - in order to provide faster and higher quality customer services to its business partners, system integrators and customers in the local region.

Cinegy's extensive customer base in Turkey includes the area’s largest media groups, training institutions and corporate customers. In order to respond to the ever-changing and developing workflow and transformational needs of these customers, Cinegy has put together a local team of experienced technical and sales personnel.

Cinegy GmbH Manager Director Daniella Weigner says: "We decided to open a local office in Turkey as it’s always been at the forefront of new technologies, research and practice for us and we’ve helped carry out a number of comprehensive and important projects there. We’re proud to have Murat Küçüksaraç heading up Cinegy Medya A as Chief Operating Officer who is building an innovative and experienced team. We are excited about this new structuring and the opportunities it will bring."

Following the appointment of Matthieu Straub as the company’s technical and operational consultant to France and the Benelux countries in the summer of 2019, FilmLight is delighted to announce that it has now established a permanent presence in Paris. By sharing premises with ARRI France, FilmLight is developing a strong hub for creative and technical knowledge and events.

The hub will host the first of FilmLight’s Colour Day workshops in 2020, on 28 January. One of the advantages of sharing the centre with ARRI is that it underlines the seamless workflows from camera to finish, using the BLG format for render-free viewing and creativity. The BLG grading metadata is stored in the ARRIRAW and QuickTime headers, ensuring the content and its look are permanently linked.

The Paris Colour Day on 28 January, aimed at creatives and technicians in production and post production, will see FilmLight’s workflow specialists, Straub and Thomas Eberschveiler unveil new FilmLight tools. Attendees will also hear from guest colourist Stéphane Azouze about his collaboration with directors Anastasia Mikova and Yann Arthus-Bertrand on the recent award-winning documentary ‘Woman’. Finally, colour scientist Florine Bel will share her image expertise and discuss her work developing film aesthetics, colour spaces and conversions.

The shared space has already hosted successful events, including a workshop day for DITs. Led by Straub, with guest speakers from Netflix and from post house Mikros, the group discussed the latest developments in colour space management and workflows. ARRI’s presence allowed the discussion to include ARRI Looks and how they can be incorporated into FilmLight BLG post production. In the demonstration area, they featured an ARRI ALEXA camera feeding Prelight and Daylight software, allowing the delegates to experiment with look development and make comparisons between standard and high dynamic range colour spaces.

Explaining the importance of bringing together creative artists and technicians, FilmLight’s Matthieu Straub said “My background is as a digital image technician, and I know how directors and cinematographers are increasingly relying on DITs to find technical solutions to their demanding creative requirements. “Our intention is to use our demonstration and meeting space here on the Rue René Boulanger to be a place where we can encourage the sharing of knowledge and experiences, to help the French cinema industry achieve ever greater things.”

CVP, one of the UK’s leading production solutions providers, will be providing hands-on experience with some of the latest kit to reach the UK market at this year’s BSC Expo 2020 (Friday 31st January to Saturday 1st February, Battersea Evolution, London).

Featuring a set inspired as a homage to the BSC’s 70th anniversary, the showcase at BSC Expo will allow customers to compare like-for-like options and to get hands-on with the equipment they are interested in — along with all the necessary accessories — to find out how their creative desires can be best fulfilled.