IBC 2014 live show replay: Aladdin’s bendy and waterproof Flex Lite LED panel lights

By technical editor Matt Allard:

One of our favourite products at IBC this week were the flexible LED panels from Korean maker Aladdin. The Flex Lite panel is 25x25cm in size but unlike a conventional light fixture it is in the form of a thin mat. It is both flexible and waterproof and can be shaped around objects, rolled up or attached to surfaces by Velcro. It is perfectly suited to being hidden in a scene and is light enough that it can be carried almost everywhere.

The Flexlite can be easily rolled up

The Flexlite can be easily rolled up

The panel connects to a separate dimmer and power supply that can be run from either mains or battery power. The lights are available in either tungsten (3000K) or daylight (5600K) colours and have a high CRI of over 90. Each unit weight a mere 150g and there will be an optional soft box available soon that simply fits over the panel.

Our team at IBC liked the concept so much we awarded it Best news gathering innovation and Best lighting product in our Best of show awards.

You can find out more about Aladdin lighting products on their website.

The dimmer unit with the Flex Lite

The dimmer unit with the Flex Lite


Posted on September 19th, 2014 by Matthew Allard | Category: IBC show, LED lights | Permalink | Comments (0)

IBC 2014 live show replay: Tiffen’s Carey Duffy talks about the need for diffusion on modern lenses

By technical editor Matt Allard:

On our Newsshooter/Teradek live show at IBC I had the chance to sit down with Carey Duffy of Tiffen to discuss the benefits of filtering modern lenses. He explained that many cinematographers choose to use diffusion filters to take ‘the edge’ off the look of their super sharp lenses. This can be extremely useful when shooting actors or doing interviews where the extreme detail of modern optics can be unflattering – showing up any imperfections in the skin.

New for this year’s IBC were a range of round screw in diffusion filters that fit mainly to stills lenses. The lower values of these are great for making the image look less ‘digital’, without being too ‘dreamy’.

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Carey talks about a diffusion test done earlier this year with a Sony F55 and various filters. You can watch it below:

As more and more visual effects and filters are added during post production, I asked Carey why filters are still needed. His answer was simple – “The fastest place to render is in camera”. I have to agree and using filters certainly puts a degree of creative control back in the hands of the shooter.

Posted on September 19th, 2014 by Matthew Allard | Category: 4K, Filters, IBC show | Permalink | Comments (0)

IBC live show replay: Robo Op? L’Aigle exoskeleton allows easy carrying of brushless gimbals

By site editor Dan Chung:

One of the stand out innovations at IBC this year was the mechanical exoskeleton from french manufacturer L’Aigle The contraption is essentially two iso-elastic stabilising arms strapped to your body and also your arms. The exoskeleton allows the large weights to be lifted with virtually no strain placed on the biceps. All the weight is transferred to the hips and legs via the vest.

Newsshooter team member Simon Glass tries out the Exoskeleton with a heay case

Newsshooter team member Simon Glass tries out the Exoskeleton to carry a heavy case

The exoskeleton allows operators of brushless gimbals to hold and move with their rigs for long periods without fatiguing. Another advantage is that the exoskeleton stabilises the vertical movement of the gimbal – reducing the effect of footfall on the rig when walking.

The downsides are that the exoskeleton has a limited range of movement (although it covers all the usual ways a gimbal would be held) and also adds width to your body – making it harder to get through doors.

These limitations are a small price to pay though if you are planning to spend long hours shooting with a gimbal. The version we saw is still a prototype and improvements will surely come.

The exoskeleton makes an interesting alternative to options like the Flowcine Serene/Easyrig combination where the rig is suspended from above the operator via a bar attached to a vest. It will be interesting to see which of these becomes the more favoured approach for gimbal operators in the future.

Projected price for the Exoskeleton is a reasonable 2000 Euros.


Posted on September 19th, 2014 by Dan Chung | Category: Brushless gimbals, Camera stabilsation systems, Camera support systems, IBC show | Permalink | Comments (0)

IBC 2014 video: Budget brushless gimbal maker Came-TV shows 8000 model for heavier payloads

By contributor Clinton Harn:

Brushless gimbals just keep getting cheaper and cheaper. At IBC Chinese budget gimbal maker CAME-TV were showing a CAME 8000 which caters for heavier cameras, all the way up to a RED Epic mounted with a PL lens. The design is far more rounded and has fewer trailing cables and rods than their previous models. They were showing it with a BMCC and it appears to have a Lanc trigger on the handgrip.


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They also had the new CAME 7800 system for DSLR-sized cameras up to 2.5kg.

The CAME 8000 wasn’t working at the show but it should be available soon. You can pre-order it now for $1980 US from the Came-TV website.

Posted on September 19th, 2014 by Clinton Harn | Category: Brushless gimbals, IBC show | Permalink | Comments (0)

IBC 2014 video: Robots with Nikon DSLRs give London Live studios a unique cinematic look

By site editor Dan Chung:

Video DSLRs may not be the big thing they were a few years ago, but one of the most interesting gadgets at IBC this year uses them to great effect.

On the Nikon booth they were showing their D4 camera mounted to robotic heads to track a moving object and focus on it at the same time. Several of these robots, made by a firm called Mark Roberts Motion Control, are used with the D4 by UK local station London Live for all their studio shooting.

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I spoke to Bryn Balcombe of London Live and James Banfield of Nikon about the setup. While regular 2/3 studio cameras could have been used, Balcombe chose DSLR for its more cinematic look and flexibility. One surprise is that the D4 can be left on in Live View mode for hours on end without failing – something that some older DSLRs would struggle to do.

Below is a great video showing just what a Mark Roberts robot with a Nikon D810 is capable of:


Posted on September 18th, 2014 by Dan Chung | Category: Journalism, Nikon D4 | Permalink | Comments (0)

IBC 2014 video: Sony Catalyst Browse and Cataylyst prepare. Also new 4K OLED monitor.

By technical editor Matt Allard:

Sony were super busy at IBC this year. Apart from the FS7, 28-135mm lens and other camera accessories, they also showed new software. They have updated and unified their various media browsers for different formats and codecs into two packages: Catalyst Browse and Catalyst Prepare. These essentially compete with the likes of Adobe Prelude and Magic Bullet’s Bulletproof.

Catalyst Browse will allow users to quickly review and download clips from cameras or cards and will offer a common interface across all of Sony’s cameras and formats.

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Catalyst Prepare will use a similar interface to allow basic colour correction, metadata input and construction of simple edits for transmission or export into other editing software.

Also on show were some new 4K OLED production monitors. OLED technology is growing in popularity thanks to its truer colour reproduction, deep blacks and true highlights. Sony’s Bill Drummond spoke to me about the new screen and who it is aimed at.

Posted on September 18th, 2014 by Matthew Allard | Category: Monitors | Permalink | Comments (0)

4K shooting Leica S (Typ 007) Medium Format SLR launched at Photokina – Cinema5D gets the scoop

By site editor Dan Chung:

New Leica S is First Medium Format Camera that Shoots 4K Video from cinema5D on Vimeo.

With IBC in Amsterdam is now over the focus of attention for new cameras moves to the Photokina show in Cologne. Along with the Canon 7DmkII the other major camera launch was a 4K shooting medium format SLR from Leica.

Newsshooter are not at the show as it covers mainly photo products, but our friends from Cinema5D were on hand to get the low down.
Strangely the camera only seems to shoot 4K in a reduced S35 crop mode – but this does enable a pixel to pixel readout of the sensor. To use a medium format frame you need to drop to HD resolution.

Head over to Cinema5D for more.

Price tag is a rather larger $25K.


Posted on September 17th, 2014 by Dan Chung | Category: 4K | Permalink | Comments (0)

IBC 2014 live panel replay: Top cinematographers Geoff Boyle, Bill Bennett and Rodney Charters talk 4K, High Dynamic range and the craft

By site editor Dan Chung:

What happens when you get three of the world’s top DOPs on a stage together? what are the technological developments that concern them? and where do they see their craft going?

One of the best parts for me of our IBC live show were The series of panel discussions we held on the Teradek stage with top industry figures. I was delighted to bring Geoff Boyle, Bill Bennett and Rodney Charters together for a chance to discuss the pressing issues in their trade.

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We talked about high dynamic range shooting, 4K, the craft of lighting and the changes that virtual reality and CG are bringing to the industry. The panel also lamented the lack of training in some elements of the craft,

Of course for factual shooters some of these things are some way off the radar. In a world where many shooters still have their work broadcast or streamed in standard definition it might seem like 4K and high dynamic range TV is a world away. However these things usually come to us all eventually and it was great to hear about all the cutting edge developments.

Posted on September 17th, 2014 by Dan Chung | Category: IBC show | Permalink | Comments (2)

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