PANELLISTS
14
April November 2012 2017
Telemetrics-Vizrt tie-up on integrated AR solution
Telemetrics has collaborated with Vizrt to offer media companies an integrated solution for generating live augmented reality ( AR ) graphics in both field and studio environments . The partnership will see Telemetrics ’ servo-controlled pan / tilt camera heads and other robotic products , such as the EP7 Televator and TG4 Teleglide tracking system , integrated with Vizrt ’ s solutions . Gerhard Lang , chief engineering officer for Vizrt , said : “ While we are seeing the use of both AR and virtual reality ( VR ) graphics increase , the best results come from accurate camera tracking systems . Together with Telemetrics , we have created a tightly integrated solution that is easy to use , and provides the most captivating images each time .”
Anamorphic / i SF lens marks debut in new film
In the motion picture , Mark Felt : The Man Who Brought Down The White House , Adam Kimmel ASC filmed the project using Cooke Optics ’ Anamorphic / i SF lenses . Kimmel paired the lens with ARRI Alexa XTs , and shot the film in ARRIRAW . For the project , he had a set of lenses comprising the 25mm , 32mm , 40mm , 50mm , 65mm MACRO , 75mm , 100mm and 135mm , plus a 2X extender , which he has used alongside the 100mm and 135mm lenses . Kimmel said : “ These newly coated lenses gave me the consistency of a matched set of glass but without being too sharp or overly contrasty , and also gave me more texture and flare that worked great with the type of softer light I was using .”
Next Month @ Creation
Newsroom Automation System
PANELLISTS
Dr Ahmad Zaki Mohd Salleh
Group GM , Engineering Media Prima
Phan Tien Dung
CTO Vietnam Digital Television
Bernard Anthony
CEO Cambodian Broadcasting Services
Basic accessories that support all media productions
Accessories such as camera support systems , power sources and lightings are essential equipment that lay the foundation for every media production , from studio through to on-site environments , as Josephine Tan discovers .
In the movie Blade Runner 2049 , the sequel to Ridley Scott ’ s 1982 film Blade Runner , director Denis Villeneuve brought back Harrison Ford as Rick Deckard , teaming him with Ryan Gosling as a replicant named K , and Jared Leto as the villainous Niander Wallace . For this project , cinematographer Roger Deakins relied on Alexa XT Studio cameras , Master Prime lenses and ARRI lights to craft the film ’ s visuals .
During the shoot in Hungary , the production team had nine weeks of preparation time for a shooting schedule of around 90 days . Deakins ’ gaffer , Bill O ’ Leary , says : “ We often had up to six stages working at Origo Studios and three at Korda Studios , in various stages of rigging , shooting and de-rigging . In total , we had a lighting crew of around 20 .”
In one of the sets that portraits the office of Niander Wallace , the team constructed a movable ring of tungsten lights , comprising a total of 256 ARRI 300W Fresnels in two concentric circles ,
to stimulate the sun and its shadows in the character ’ s room . He elaborates : “ The doors were removed so that each lamphead was literally touching the next . When a slow chase was programmed , it appeared as a soft source of about eight lamps circling the subject . This required quite an elaborate dimmer installation .”
ARRI SkyPanels also lighted another library set , which was a large set with a coffered ceiling containing milk glass panels . O ’ Leary reveals that the team had a construction box in each separate opening to act as a snoot and hung an ARRI S60-C in each box , totalling up to 100 SkyPanels being used for this particular set . As SkyPanels can be easily integrated into a more standard tungsten set-up , he adds , the production team is able to achieve an effect of each row turning on as the characters crossed the set .
As a member of the ARRI SkyPanel family , the S60-C features a light aperture of 645x300mm , and accommodates a variety of applications . The S60-C
ARRI has expanded the SkyPanel family with the introduction of the S360-C , which the company hails as the “ largest and brightest ” SkyPanel to date . is also fully tuneable from 2,800 K to 10,000 K , and is equipped with high colour rendering while consuming 420W of power .
He concludes : “ The overall look of the film is quite naturalistic , in the sense that our approach was to use motivated light sources . It took some imagination on the part of Roger Deakins to take a leap into the future , and decide on what some of those sources would be . Concept art and the script also provided a lot of the references .”
For ARRI , the company has introduced another member to the SkyPanel family — the S360-C . The surface area of the S360-C is over 5.8 times larger than the S60 , and produces soft light in a wide 105 ° beam angle . The light is designed to wrap around large objects , and throws much farther than the smaller SkyPanels .
Calling the S360-C the “ largest and brightest ” SkyPanel to date , ARRI has integrated the S360-C with features such as full colour control , lighting effect on a huge aperture , a carbon fibre yoke , and built-in wireless DMX .
The S360-C is also equipped with a multitude of ways to control the light output — DMX , RDM , Art-Net , sACN , five-pin XLR and Ethernet — alongside another communication method , Wireless DMX by LumenRadio . As the CRMX chip is integrated in every S360-C , users can link the light to a compatible LumenRadio transmitter to establish a DMX or RDM communication .
Another company which has recently released a new LED panel is Litepanels , a division of the Vitec Group . Launched in September this year , the Litepanels Gemini is a 2x1 , RGB-WW soft panel that combines daylight , tungsten and red-green-blue LEDs to deliver