Tim Bonython's association with surfing films began in 1978, when armed with a Super-8 camera he set off to Hawaii's infamous North Shore, to capture the big waves and their riders. From that moment he fell in love with the sport, and became obsessed with making it the subject of breathtaking and inspiring films.
The desire for longer run-times from smaller and lighter batteries, has always been keenly felt by users of high power consumption digital cinema style cameras. The new generation of cameras is smaller but the power consumption, in most cases, has increased. High-capacity Li-Ion batteries of 150Wh or more provide longer run-time, but with increased capacity comes increased size and weight.
High-quality cameras are getting smaller and lighter all the time, making them suitable for new applications. Nearly every production we see today includes shots acquired by drone and gimbal mounted cameras. The batteries required to power these cameras have to meet new criteria.
Up until recently I always thought that a battery was, well just a battery. After all its just a load of cells
strung together and put in some kind of case right? Well apparently not, it seems that there is a bit more to it than that, and the folks at PAG were keen to prove this by providing me with a set of their PL96e V-Mount Batteries to test.
Steve Emmett talks to us about linked PAGlink batteries. There are many advantages to be had from linking batteries for discharge. It is more useful to have a spare battery that can be linked, combining capacities to extend camera run-time, without interrupting the provision of power.
Reliable, durable and plentiful battery power is essential for broadcast acquisition. The power demands of modern high-definition camera set-ups are now greater than ever. As the number of camera accessories increases so do the demands for battery power.
The majority of modern digital video cameras and D-SLRs are capable of delivering high-quality images provided the lighting conditions are good. Attempting to shoot in low light introduces the risk of noise and limited depth of field. Whatever the claimed camera sensitivity, good lighting is as essential today as ever. The following is a short overview of video lighting products introduced in the past 12 months. It reads a bit like a fast-food menu. If you get bored with all the LED stuff, feel free to skip to the concluding paragraph.
BVE 2011 had much of the buoyancy and buzz of an IBC. The organisers claimed an attendance of over 15,500 visitors and 240 exhibiting companies. Many of the UK-based stalwarts who make the annual pilgrimage to Amsterdam could be seen exploring the show, confirming that BVE is now taken seriously by mainstream broadcasters.
As consumers, we all have experience of being let down by batteries (think rusty Italian cars in the 1970s!). But thankfully the world of batteries has moved on: the global battery industry is today worth $71 billion and is estimated to be growing at nearly 5% a year.
The true portability of modern HD mini-cameras and flash-RAM video recorders is encouraging programme makers to go way beyond reach of tethered power supplies. But are the battery-makers living up to the demands being placed on them?
Somehow I ended up on a growing number of LED Lighting equipment manufacturers e-mail mailing lists. Most of them were from China, some from the States and elsewhere. They must have thought that, as we supply broadcast, film and video lighting, that we would be interested in LED lighting. They were right.
BVE2009 in London, February 17-19 offers UK-based programme-makers a useful opportunity to try out the latest video acquisition and production equipment ahead of NABshow2009 and its loud after-echo, IBC. The following outlines some of the new front-end kit likely to be on display at Earls Court.
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