Wooden Camera announces a full range of accessories compatible with the new Canon EOS C70, adding to their long line of modular parts, and further improving customization to better fit camera operators’ personal requirements.

Operators can expand the C70’s rigging surface with a contoured Top Plate and improve handheld agility with the Mini Top Handle--both of which feature a multitude of ¼”-20, ”-16, and ARRI Standard mounting points for securing additional Wooden Camera or third-party accessories. A compatible Monitor Hinge increases on-camera monitor visibility with a wide, 180-degree tilting angle; this mount arrives with standard locating pins for SmallHD monitors and includes an additional rubber pad for attaching third party monitors. For lens support and convenient on/off quick-release mounting with tripods, the LW 15mm Baseplate provides 15mm rod pass-through brackets and an ARCA Swiss standard dovetail system with safety lock.

Wooden Camera announces a full range of accessories compatible with the new Sony FX6, adding to their long line of modular parts for Sony cinema cameras.

A new Sony FX6 Top Plate contours to the shape of the camera body, wraps around the original top handle, and features rows of 1/4-20 and 3/8-16 mounting points, as well as several ARRI Accessory Mounts. The Unified Baseplate features 15mm rod supports and can be attached to standard tripod plates or ARRI standard bridgeplates; this system features a double quick-release that allows operators to either remove the full camera/rod setup from their tripod, or simply detach the camera on it’s own.

Today, Maxon announced, for the first time ever, two major new suite updates at once: Red Giant Trapcode Suite 16 and Red Giant Magic Bullet Suite 14. Updates to Trapcode Suite - a set of 11 tools for particle simulation and 3D effects for motion graphics and VFX - include new physics models, behaviors and a new type of emitter in Trapcode Particular, plus smaller updates to Trapcode Form and Trapcode Mir. Magic Bullet Suite 14 - a set of seven tools for color correction, finishing and film looks - includes new color workflows and powerful tools in Magic Bullet Looks and Magic Bullet Colorista.

Mo-Sys, a world leader in precision camera tracking solutions for virtual studios and augmented reality, has brought virtual studio production within reach of everyone with StarTracker Studio, the world’s first pre-assembled production package. The system is scalable to any size production, and can support 4K Ultra HD.

Critical for virtual studio and augmented reality production is to track the position of each camera in three-dimensional space across all six axes of movement. StarTracker from Mo-Sys is proven as the most precise and reliable camera tracking package, using dots on the studio ceiling (“stars”) which are placed at random and tracked to plot camera positions with extraordinary accuracy.

Wooden Camera is excited to announce a full range of RED Approved accessories compatible with the much-anticipated RED KOMODO camera. These products are currently available for pre-order with an expected ship date in early August.

The Accessory Kits range from Base, Advanced, and Pro and include all new RED KOMODO specific accessories like the LW 15mm Baseplate (RED KOMODO) and Complete Top Mount Kit (RED KOMODO, ARCA Swiss). The Complete Top Mount Kit features a brand-new Top Mount that provides a center ARCA Swiss style dovetail clamping slot as well as 1/4-20 and 3/8-16 threaded holes for attaching accessories. The kit includes all three top mount ARCA Swiss accessories: Top Handle, Monitor Hinge, and Top Plate.

London, UK, 19 June 2020: Mo-Sys Engineering, a global leader in real time camera tracking and remote systems, has announced a revolutionary approach to bringing the atmosphere back to live sport amid covid-19 restrictions. Providing precision, zero-latency tracking for any camera (including ultra-long box lenses for sport), the Mo-Sys camera tracking kit interfaces directly to the Unreal Engine or any broadcast render engine, allowing production companies to add virtual crowds to stands.

“After so many weeks, sports fans are desperate for any action,” said Michael Geissler, CEO of Mo-Sys. “But the frustration will turn to disappointment if the atmosphere of the game falls flat because of empty stands. We have developed a camera tracking kit which any outside broadcast can implement quickly and simply, capable of filling the stands with a virtual, but enthusiastic, crowd.”

The Mo-Sys camera tracking encoders are quickly mounted onto broadcast standard Vinten Vector heads, with no impact on the camera’s perfect balance and no backlash when panning and tilting. Zoom data is collected either by gear encoders or by a serial data link to digital lenses. The combined tracking data is sent over ethernet to the workstation hosting the augmented reality software.

“We are known for the absolute precision and stability of our camera tracking – that’s why Hollywood relies on our technology,” Geissler added. “In this application, we deliver precise tracking, including compensation for lens distortion, even when a 100:1 lens is zoomed fully.”

Mo-Sys has worked with Epic Games to develop a tight interface to the Unreal Engine, including support for the latest version 4.25 software. The result is that highly photo-realistic augmented reality – such as crowds filling the stands – can be integrated into live production with no limitations and negligible latency. The kit includes the bolt-on encoding kit for Vinten heads and the lens calibration tools.

Users can see the technology in action in a Mo-Sys LiveLab webinar, which will also include contributions from Epic Games and Canon. The webinars are on 30 June, at 10.00 (register at https://bit.ly/2N1Ve44) and repeated at 18.00 (register at https://bit.ly/30GqFZP). Michael Geissler of Mo-Sys will also join a distinguished panel with the RTS Thames Valley Creative Centre’s look at production techniques for audience shows in a time of pandemic on Thursday 25 June at 17.00 (register free at https://rts.org.uk/event/future-studio-audience).

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About Mo-Sys:

Mo-Sys is a world-leading provider of camera tracking and camera robotic systems supplying to broadcasters such as BBC, Sky, Fox, ESPN, CNN Discovery Channel, The Weather Channel and Netflix among many more. With a passion for innovation and design, Mo-Sys is at the forefront of live AR and virtual production technology with their StarTracker camera tracking system now powering more than 100 virtual TV studios around the world. For further information, www.mo-sys.com

Mo-Sys Company Contact:

Adam Smith, Marketing

adam@mo-sys.com

+44 (0) 208 858 3205

Mo-Sys Media Contact:

Jennie Marwick-Evans

jennie@manormarketing.tv

+44 (0) 7748 636 171

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.

As part of a strategy of continuing investment to track with the latest market requirements, Finepoint Broadcast, a leading UK dry hire provider of production and OB equipment to the global marketplace, has announced the further addition of a range of Canon lenses to its hire stock portfolio.

The additions include the standard Canon CJ24, plus the Canon CJ45 and large UJ90 lenses (UHD DIGISUPER).

Finepoint Broadcast Hire Manager Clive Northen said, “Finepoint has not seen the disruptive business peaks and troughs of recent years that have been so prevalent in various broadcast sectors. To the contrary, our growth has been steady and continuous, due in part to our continual evaluation and investment in technologies, such as these Canon lenses, that provide a direct benefit to our customers.”

Finepoint Broadcast Chief Engineer Andrew Mckenzie said, “The Canon CJ24 is an acclaimed telephoto lens with a 24x broadcast zoom and a focal length of 7.5-180mm that offers 4K performance that is ideal for on-the-shoulder newsgathering. The ultra-high zoom CJ45 is packed with innovative, class-leading technology that is perfectly suited to wildlife and live-sport deployments.

And with a 90x zoom, 9-810mm focal length, and image stabilisation that's fully compatible with 2/3" 4K cameras and broadcast environments where HDTV is currently in use, the Canon UHD DIGISUPER 90 lens is perfect for expanding Finepoint Broadcast’s 4K lens range.”

New action comedy, School Fight, uses the Shogun 7 HDR monitor/recorder to give the Sony FS7 a new lease of life

How do you make a full-length feature film, with flawless, cinematic values when your camera budget only stretches to the Sony FS7 cinema cameras already owned by the crew? It’s a conundrum the production team behind new action comedy, School Fight, solved by adding cutting edge recording technology from Atomos and Apple to their arsenal.

School Fight is a low budget, independent feature film, but you’d be forgiven for assuming the investment in the on-screen image was far more high-end. This comes from the crew’s unwavering commitment to achieving the highest possible production values by squeezing everything they could out of the camera equipment they had available and a minimal budget.

The concept for the film was the brainchild of seasoned stunt professional Damien Walters, so it’s no surprise that action sequences, fight scenes and all manner of carefully choreographed carnage is all featured heavily. He joined forces with producer Joby Stephens to bring this vision to life in full cinematic glory.

Imagine Communications has delivered core technology for a major refresh of an outside broadcast truck for NEP Belgium. As well as providing state-of-the-art and future-proofed solutions, a key part of the challenge was the very tight timescale allocated to complete the refurbishment. Imagine Communications was able to deliver on the tough timetable with the support of its Belgian dealer and partner, VP Media Solutions.

“Our Unit 14 still had many kilometres in it, but with a technology platform that was life-expired,” said Geert Thoelen, transitions manager at NEP Belgium. “We wanted a solution that would fit into the existing space, would give us all the functionality we need today, and be ready for the future, including increasing use of IP connectivity. And we could really only take the truck off the road for little more than a month earlier this year, so our partner had to be capable of moving swiftly to install and commission.”

Imagine Communications was able to comfortably meet the requirements. The new infrastructure is built around the Platinum™ IP3 router. In a single 15RU chassis, this router provides very high-density switching of today’s SDI-HD signals. It is also capable of seamlessly integrating uncompressed video over IP, so is ready to form the basis of a migration to IP connectivity — for example, to introduce Ultra HD signals. In Unit 14, the Platinum IP3 router is also fitted with the Platinum SX Pro multiviewer cards, adding functionality while reducing rack occupancy and power consumption.

Imagine’s Magellan™ SDN Orchestrator provides overall system control in the truck. It is specifically designed to provide unified operational interfaces in a hybrid environment, easing the transition between traditional, SDI-connected technology and software-defined, IP-connected architectures.