April 15, 2016
Eching, Germany (April 15, 2016) – Sachtler, a premier provider of camera supports, accessories, and bags and a Vitec Videocom brand, is upgrading their bestselling fluid head to introduce the Video 18 S2. Thanks to this new model, the Video 18 S2, users will now be able to handle a greater load bearing capacity of up to 20 kg, which is 4 kg more payload than the Video 18 S1. With this improvement, the Video 18 S2 is now the only head in its class that can operate at -40 to +60 degrees centigrade without any impact on its smooth operation.
“The more you can carry on the tripod, the easier it is to function with both the heaviest and the lightest payload. With certain competitors, their tripods can carry a heavier payload, but then the minute you try to adjust your parameters to accommodate a lighter one it feels incredibly stiff and cocky,” commented cinematographer Clinton Harn.
As a cinematographer, filmmaker, producer, and audio recording engineer, Clinton Harn has not only shot for two-time Academy Award winner and director Malcolm Clark, but has also worked as an AC and camera operator for Rodney Charters, ASC who’s known for shows like 24, Dallas, and Shameless.
“This new head just has more control, so while it can accommodate a heavier payload of 20 kg, you can still go down to the minimum drag setting of 2 kg and put a small DSLR camera on there with no issues. And that’s the big difference between Sachtler and a lot of other competitors,” said Harn.
For decades, the sturdy Video 18 fluid head has remained a must-have in camera kits of successful EFP and EB cameramen worldwide. During his three-month stay on a remote island, National Geographic filmmaker and photographer Bertie Gregory commented on the Video 18 S1, “I’ve taken it in little boats and big boats, put it in salt water and sand to get water level shots, had it in rivers and carried it 30 kilometers a day for ten days. In the past, I’ve had tripods where you take it on a windy beach, the whole thing just fills up with sand, and then I have to take it apart to clean it. I don’t know what Sachtler’s done with their gear, but whatever it is, it’s genius because I never have to worry about doing that.”
And while the Video 18 S2 is optimized in every product detail, this tripod system still maintains classic Sachtler features like temperature resistance, the Touch & Go plate, the parking position for spare camera screws, the illuminated spirit level, and the infamous SpeedLevel Clamp that replaces the traditional tie down on a tripod with a simple push and release mechanism.
“The Video 18 S2 is the best of both worlds for news and documentary film crews. Every microscopic feature has been heightened for their tough, day-to-day challenges, so it doesn’t matter if it’s thrown into the back of a news truck every day or burrowed into the mud. We understand that our users work on a range of projects with different equipment, so this upgrade is meant to acclimate to light and heavy rigs without compromising the integrity and quality of the gear.” says Tobias Keuthen, Sachtler’s senior product marketing manager.
Thanks to the excellent drag mechanism, the innovative Speedbalance technology for swift weight compensation, and now the larger load range, the Video 18 S2 is not only comfortable to use, but still highly reliable.
The Video 18 S2 fluid head system with the SpeedLevel Clamp will be showcased at Vitec Videocom’s booth #C6025, alongside Sachtler’s range of Ace Accessories, Ace M tripod system and Sachtler Bags.
While the most commonly discussed subjects around portable power solutions include performance, reliability and cost-effectiveness, when planning productions in remote or exotic locations, it is important to consider travel regulations.
Traveling with certain batteries requires the traveler to take special precautions to comply with safety regulations. As of April 1, 2016, new rules for transportation of Lithium Ion batteries based on ICAO/IATA 56th Edition of IATA DGR go into effect. The latest rules affect how Lithium Ion batteries are carried on board passenger aircraft as well as the way they are classified, labeled and packed when transported by air cargo.
Below, please find some sources with information about traveling with and shipping batteries:
PHMSA - Traveling with Lithium Batteries
FAA - Batteries Carried by Airline Passengers (PDF)
FAA - Pack Safe
FAA - Safety Alert for Operators (PDF)
IATA - Passenger Dangerous Goods Corner
IATA - Lithium Batteries
IATA - Lithium Batteries as Cargo in 2016 (PDF)
For information on transportation of Anton/Bauer batteries, please download and read the detailed technical bulletin.
CLICK HERE TO DOWNLOAD THE TECHNICAL BULLETIN
THELIGHT introduces a new standard: the Half 1×1 panel.
VELVET MINI 1 offers the same robust, silent, powerful and easy to use VELVET quality light under a small, portable housing for videographers.
VELVET MINI 1 is a rainproof super soft panel designed to instantly setup and adjust
QUICK SET UP
Quick access button to instantly go to 3200K and 5600K
Clearly visible digital display and shock resistant buttons
VELVET QUALITY LIGHT
VELVET MINI 1 produce a soft, natural beauty light to get perfect skin tones and real colors, the VELVET touch!
SMART AC & DC POWERED
VELVET MINI 1 is always ready to operate worldwide:
with any Vlock battery mount
with its Smart Vlock AC Adapter 90-264 V
COLOUR TEMPERATURE: adjustable from 2700K to 6500K
LIGHT INTENSITY :dimmable 0 to 100 (smooth and flicker-free)
COLOR RENDERING INDEX: Over 90 CRI
DIMENSIONS: 345x190x90 mm / 13,6×7,5×3,5” (panel)
WEIGHT: 1,9 kgs / 4,2 lbs (panel)
POWER DRAW : 50W / 0,32 Amps at 110 VAC
POWER SUPPLY :12 – 35 VDC through Vock battery mount plate
90-264 VAC 50/60Hz through Smart Vlock PSU
PHOTOMETRICS : 1.200 Lux / 111 fc at 1m / 3 feet
150 Lux / 14 fc at 3m / 10 feet
BEAM ANGLE: 100º
LED RATED LIFE: more than 50.000 hours
COOLING: no-noise, fan-free passive cooling
PROTECTION: IP54 rain and dust proof, indoor or outdoor use
CONSTRUCTION & FINISH: Made of black anodized extruded aluminum and black powder coated sheet aluminum
VELVET LED TECHNOLOGY OSRAM: selected BIN LED + optic diffuser + CPU software control
ACCESSORIES: Smart Vlock AC power supply, foldable Snapgrid, removable barn doors, cordura case, hard case
RIGGING OPTIONS: aluminum yoke with 16 female combined with 28 pin, four sliding threads ¼” for riggings located on panel sides
Joyce Meyer Ministries created a new weekly show called ENJOYING EVERYDAY ANSWERS. The producers wanted a standing set designed as a loft apartment/coffee shop, to be built in a studio space with floor-to-ceiling windows on three walls. Those windows, which have a green tint, determined the amount of light we needed inside.
I hoped to go with LED lights to avoid having to redesign the existing electrical distribution, but I was skeptical about the quality of light most LED fixtures put out. Attending the LDI show in Las Vegas, I had the opportunity to look at ARRI's new line of color-changing LED instruments. They were exactly what I wanted for this project.
We purchased eight L5-C, four L7-C and four L10-C LED Fresnels, as well as four SkyPanel S60-C soft lights. I control these with an ETCnomad Puck 512 (Eos) using a touchscreen monitor.
The first show in our new studio looked great and I enjoyed being able to finesse the lighting from a touchscreen. No more ladder dragging and wire scrim drops in front of a waiting cast and crew. No more burning flesh and hot scrim juggling. No more gelling lights to compensate for color shifts when dimming, only to need more light than the gelled fixture puts out. I am not going to miss these things. Welcome to choosing the exact amount of perfect light. When senior producer/director John Pipes arrived, I had the whole set lit proportionally at about 60%. I could go up or down, in miniscule increments, on any light -- with no color shift.
The ARRI SkyPanel S60-C is a dream come true: a bright, soft, controllable, color-accurate light source in a flat panel.
Lighting director Russell Steen
Now I can adjust the entire set, a group of lights, or any single light from 10,000 K to 2,800 K. More importantly, I can adjust the warm-to-cool ratio of light motivated by a window and lights motivated by a ceiling fixture, practical, fire or anything else. To compensate for the green-tinted windows in our studio I simply added green to the ARRI LEDs. What a nightmare this used to present.
I am not a color temperature purist. I have worked for those who obsessed over color temperature and have added plus green, minus green, ¼ CTO and ¼ CTB gels to hundreds of fixtures over the years. Boy, are those guys going to be happy. The new ARRI LED heads can all be set to exactly 4031K if you are so inclined. That said, I have always hated the unnatural spread forced by the three color temperature choices we were forced to embrace—5600K, 3200K and 2700K. Now I can light the entire set, a group of lights, or any single light from 10,000K to 2700K. This is a long way from how it used to be, when every light was gelled to get that moonlight, sunrise, industrial or street-light look. More importantly, I can now adjust to taste the warm-to-cool ratio of light motivated by a widow and lights motivated by a ceiling fixture, practical, fire or whatever.
How quickly the new tools have been incorporated into my lighting choices. I am a color spectrum purist. Until recently almost all of the LED lights quite simply stunk at reproducing accurate and predictable color. Bright, yes. Right, no. Color, yes. Control, no. There is no control over spectrum that is not there. As mentioned earlier, I am not a live event guy. I am most successful when the lighting I do goes unnoticed by the viewer. The new LED lighting instrument’s ability to produce highly saturated hues did not excite me because I know the cameras we use do not handle that glorious color at all like human eyes do. Not. At. All. In my world the camera-to-edit-to-screen process is all that matters. I already light a show with a bunch of, shall we say, “legacy” LED lights built into the set. I have to use a monitor to adjust them because the color and intensity they appear by eye is not even close to how they end up on screen.
In my view the ARRI tuneable LEDs stand out from the crowd. Not only do the L-Series C-type lights pass the, "Who cares about the specs, how does it look?" test, they rock the specs and nail the color charts. They are also mechanically well-designed: the tilt brake, sliding balance adjustment, zoom/flood range, optics and on-board controls are all nicely done.
The ARRI SkyPanel S60-C is a dream come true: a bright, soft, controllable, color-accurate light source in a flat panel that uses only around 450 W. Combining the SkyPanel with a 60-degree honeycomb grid is particularly useful for us.
The six 20 A circuits available were more than enough for the ARRI L-Series and SkyPanel lights in our studio. The advantages of these fixtures cannot be overstated: minimal power requirement, color accurate-daylight or tungsten light, no additional air conditioning, no waiting for lights to cool, more color options, more control, great design, brilliant optics, and built to last.
Unused space in corporations, churches, or even the spare rooms in homes can become mini studios with lighting control that rivals actual studios. On one end of our facility there is a sound stage with over 200 tungsten fixtures hanging from a 20' grid that require dimmer racks, use a lot of electricity and generate a lot of heat. I'm replacing bulbs and using wire scrims and gels to control the lights. The hot lampheads can't be touched without gloves and occasionally fry their connectors. On the other end of the building there are 20 ARRI C-LED fixtures bright enough to battle sunshine with intensity and color control built in.
I chose the stand mount version of all the lights we purchased, even though they require extra hardware and are a bit more hassle to rig up in a grid. I coil the entire power cable to the side and hang the lights so they can come down easily because it makes them more versatile; being able to add the 20 ARRI LED fixtures to our lighting package when we go out and shoot on location increases their value exponentially. I can also use them on the ads we produce and on our design department's photo shoots.
I work for a non-profit ministry funded by voluntary donors, so spending more than necessary or buying for status is not an option; thankfully, Joyce Meyer Ministries values having the right tools to maintain high production standards.
ARRI PCA for ALEXA Mini
The ARRI Broadcast Plate for ALEXA Mini is an adjustable base plate designed for documentary-style filming. Featuring advanced shoulder pad adjustment, it permits precise balancing on the shoulder without any need to disturb rod-mounted accessories. The plate's compatibility with VCT-style tripod adapters such as the ARRI Quick Release Plate QRP-1 allows swift transitions between shoulder and tripod.
The ARRI Low Bracket for Camera Shoulder Pad CSP-1 is specifically designed for the Mini Adapter Plate MAP-2. When fitted to the CSP-1 shoulder pad, it makes handheld operating easier by lowering the ALEXA Mini on the shoulder by 15 mm.
ARRI PCA for RED DSMC2
Two ARRI PCA base plates are available for the RED Weapon, Scarlet-W and Raven DSMC2 cameras. The ARRI Cine Plate for RED DSMC2 fits over classic studio bridge plates such as the ARRI BP-8 and BP-9, and offers a pair of sturdy rosettes. The documentary-style ARRI Broadcast Plate for RED DSMC2 enables users to adjust the position of the camera on the shoulder without repositioning accessories mounted to the rod system, and is compatible with VCT-style plates such as the ARRI QRP-1.
The ARRI Top Plate for RED DSMC2 is designed for low-mode applications and allows accessories to be mounted via industry-standard threads. It connects to the camera's electronic interface and offers a LEMO connector compatible with the RED LEMO adapter B.
The ARRI Handle for RED DSMC2 features a sturdy, integrated 15 mm LWS rod console for the mounting of accessories such as lens motors or ARRI viewfinder brackets.
The ARRI Monitor Bracket for RED DSMC2 allows the camera monitor to be repositioned on top-mounted 15 mm LWS rods.
ARRI PCA for Sony a7S/R II
The ARRI Base Plate for Sony a7S/R II is a camera-specific support built tightly around the 15 mm LWS rod system. The robust, lightweight base plate is ideal for handheld operating, but is also ready for the heavier setups of classic rental environments that involve studio bridge plates such as the BP-8 or BP-9.
The ARRI Side Brackets for Sony a7S/R II surround the camera. They offer protection to the camera body and provide industry-standard accessory threads and cold shoes, allowing handles and a sturdy third-party viewfinder bracket to be attached. The camera rig can be comfortably operated using the generously-proportioned wooden grip provided.
The ARRI Cable Clamp for Sony a7S/R II spares the camera's Micro HDMI connector from the stresses of repetitive use. An offset, full-size HDMI female connector offers a reliable connection to recorders, viewfinders or monitors.
PCA for Panasonic VariCam LT
The ARRI Plate for VariCam LT is a lightweight, hybrid support that is well-suited to common rental setups using studio bridge plates such as the BP-8 or BP-9, as well as documentary setups using VCT-style base plates like the ARRI QRP-1. It features fore and aft lockable adjustment on the base plate for shoulder balance optimization, as well as a pair of built-in extended rosettes.
The ARRI Top Plate for VariCam LT is a low-mode support, featuring numerous accessory threads and a built-in console for 15 mm LWS rods. It can be fitted with a range of ARRI PCA tools such as the CCH-2 handle, while maintaining compatibility with the original Panasonic viewfinder mount and handle.
RED EPIC-W & new WEAPON cameras
Sachtler Video 18 S2
Anton Bauer - Lithium Ion Transport
New Velvet Mini 1
ARRI LED solutions
Mechanical PCA for any camera and lens
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