You need wave power if you are going surfing


Tim Bonython TV-Bay Magazine
Read ezine online
i

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.

To spread the word, Tim began touring Australia's East Coast with a projector in the back of his car. He would show his amazing footage from pro surfing events 'hot off the press' in the pubs and clubs. The Australian Surf Movie Festival concept was born. In just a few short years, Tim grew the festival from its humble beginnings to sell-out crowds at large venues and independent cinemas throughout Australia's East Coast, as well as internationally.

Tim has travelled the world, capturing amazing surfing action, creating award-winning documentaries and making surfing DVDs that are among the all-time best-sellers in Australia.

After having his camera, lenses and batteries stolen on a shoot in big wave destination Nazare Portugal, Tim decided to re-equip with a Red Scarlet Weapon. Getting close to the action when filming surfers means shooting from a jet ski, with the camera in a waterproof housing. When it came to battery power for the set-up, a unique set of challenges became apparent. Tim is often out on the ocean for 8 to 10 hours at a time, reluctant to come back to the shore to swap batteries or media in case he misses the big wave of the day. The camera housing has a limited amount of internal space for batteries, so Tim clearly needed the highest possible energy density to keep weight down and power the camera for as long as possible.

The Red Brick has a capacity of 153Wh and Tim was told that it would power his set-up for 2 hours. Super high-capacity Li-Ion batteries of 200Wh or more are available from various manufacturers, but in every case Tim found these were too large and cumbersome for use inside the camera housing. Li-Ion batteries that have capacities greater than 160Wh are also forbidden from passenger aircraft by IATA regulations. This would prevent Tim from flying with his batteries to the various surfing destinations around the world, which is such an important part of his film making.

That's when Tim discovered the PAGlink system, made by UK-based company PAG, one of the film and TV industry's longest established battery manufacturers. The PAGlink system allows batteries that have individual capacities of 96Wh to be linked in parallel, achieving a combined capacity of 192Wh, or, if you link 3 batteries, 288Wh. The system allows up to 8 batteries in any state of charge, to be linked for discharging as well as charging.

96Wh Li-Ion batteries are not restricted in quantity when you fly, and the PAGlink system was conceived with this in mind. In terms of size, Tim's camera housing accommodates two PAGlink batteries, easily. Two batteries are a total of 85mm wide, 130mm in height, and protrude no more than 100mm from the back of the camera. At only 740g each, they are lighter than other manufacturer's batteries of an equivalent capacity. However, for Tim, a combined capacity of 192Wh falls short of 'all day power'. Tim contacted Frank Nicolaci at Adimex, PAG's Australian distributor, and discovered that a new battery was just about to be introduced that would enable him to stay out on the ocean longer.

PAG was about to launch the PL150 - a 150Wh linking battery - incorporating the latest high-capacity (10Ah) Li-Ion cells in the same case as the PL96. The new battery offers a 50% increase in capacity with no increase in size, and only minimal increase in weight (30g per battery). Two PL150 batteries in the camera housing provide 300Wh, greatly extending the run-time of the camera.

Tim told us, "When I heard about the 150s, it was like... there is no choice! PAG is the only way to go. The size and convenience make it a no brainer. They work so well for me. I now have two PL150s and four PL96 PAGs. Two 150Wh batteries is the maximum I can fly with, but I can take as many 96Wh batteries as I like.

On the jet ski I have a waterproof Peli case to keep the spare batteries dry. With two 150s in the housing I'm getting fantastic run-time. When I need to swap the batteries over I can do it without having to return to the shore.

When you are out in monstrous seas shooting crazy surfing, you need the best batteries money can buy. I couldn't rely on a full day of shooting without PAG batteries".


Tags: iss124 | surfing | red scarlet weapon | red brick | pag | battery | paglink system | 153wh | Tim Bonython
Contributing Author Tim Bonython

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • PAG Batteries at NAB 2014

    PAG Batteries at NAB 2014

  • PAG at IBC2011

    PAG at IBC2011

  • PAG talk about flying with batteries at IBC 2014

    PAG talk about flying with batteries at IBC 2014

  • PAG at IBC 2012

    PAG at IBC 2012

  • KITPLUS rig setup at IBC 2014

    KITPLUS rig setup at IBC 2014

  • Belfast TOUR

    Belfast TOUR

  • Polecam talk accessories on BroadcastShow LIVE 2013

    Polecam talk accessories on BroadcastShow LIVE 2013

  • New IDX Technology IPL V-Mount Battery range at IBC 2017

    New IDX Technology IPL V-Mount Battery range at IBC 2017

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • Hypercore Mini from Core SWX at NAB 2017

    Hypercore Mini from Core SWX at NAB 2017

  • Zylight on BroadcastShow LIVE at IBC 2013

    Zylight on BroadcastShow LIVE at IBC 2013

  • Anton Bauer at NAB 2012

    Anton Bauer at NAB 2012

  • Anton Bauer at IBC2011

    Anton Bauer at IBC2011

  • IDX at IBC2011

    IDX at IBC2011


Related Shows
  • Show 1 - June 20th 2012

    Show 1 - June 20th 2012


Articles
How Providers Can Win Man of the Match With Live Sports OTT
Chris Wood Times are tough for traditional broadcasters and live TV; the rise of on-demand TV and paid subscription services isn’t a secret and a large amount of the population are turning to these alternatives rather than their established counterparts.
Tags: iss138 | spicymango | ott | live sports | cdn | Chris Wood
Contributing Author Chris Wood Click to read or download PDF
Making the Workflow Flow
Bruce Devlin - new The toughest things about being the Standards Vice President (SVP) is that everyone expects standards to be the most important thing. In all the systems that I’ve designed and deployed over the years, I've yet to find any production workflow that is 100% standards based. True, the core technologies may well be standards based, but the overall workflow is made up of many technology pieces from open source code, through de-facto delivery specifications based upon SMPTE or Trade Association Specifications that in turn depend on full, International Standards to work. I can already hear some folks saying "In the good old days, everything used standards", but I beg to disagree.
Tags: iss138 | pye museum | pye-philips | smpte | ietf | ieee | w3c | aes | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read or download PDF
How the Womens World Cup was Boosted by Broadcast
John Griffiths As we write this article, England’s Lionesses have just beaten Norway 3-0 and are smashing viewing figure records, with 6.9 million viewers tuning in to watch them play Cameroon on BBC One. Rewind to the previous World Cup in 2015, and England’s group and early stage knockout games tempted up to 2.5 million viewers for each match. It’s safe to say that women’s football is finally having its moment; what was perhaps once considered a niche sport is finally gaining momentum in the mainstream space with broadcasters giving it the attention it deserves.
Tags: iss138 | wwc | world cup | spicymango | diversity | John Griffiths
Contributing Author John Griffiths Click to read or download PDF
The World of 12G 4K/UHD Processing
Varun Patel Technology moves fast and when it comes to audio and video broadcasting, there is always room for improvements in audio and video quality and ease of production. One of the main goals of broadcasters and content providers today is to create an immersive experience for the viewers, giving them the feeling of being part of the viewed content. The 4K/UHD buzz has been in the consumer world for some time but what does that actually mean for the content producer?
Tags: iss138 | lynx technik | ott | greenmachine | yellobrik | conversion | Varun Patel
Contributing Author Varun Patel Click to read or download PDF
TVFutures. No More Comfort Zone - Get a Placement
Michelle Brown I have often heard that any chance of getting work in the television industry is based quite heavily on who you know, and whilst that might indeed be true, I’ve also come to the realisation that it may also depends on what opportunities you seize and how far out of your comfort zone you might be prepared to push yourself.
Tags: iss138 | portsmouth uni | creative careers | placement | Michelle Brown
Contributing Author Michelle Brown Click to read or download PDF