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ARRI, a German film technology company, will be opening a new subsidiary in France that is dedicated to Camera Systems and Lighting Business Unit. The company will now, for the first time will have an office space in France that is exclusively dedicated to Camera Systems and Lighting Business Units. In the meanwhile, the company continues to offer a special promotional platform for the ALEXA 65 available from ARRI Rental. The move will encourage ARRI’s synergies and cross sales between its various business units.

“Considering that the French film industry is one of the strongest and most prestigious in the world, we are very pleased about expanding our capabilities in this important film market,” comments Dr. Jörg Pohlman, Executive Board Member of the ARRI AG. Under the direction of Natasza Chroscicki, Imageworks had been undertaking the marketing and business development activates for ARRI brand in France for several years. However, the company had to expand owing to growing business. The new subsidiary branch of ARRI will continue to be overseen by Ms. Chroscicki (Managing Director) and supported by Ms. Vlatkovic (Business Development Manager) thereby retaining the local expertise ARRI customers in France have grown accustomed to. “ARRI’s strategy has always been to maintain a close relationship to customers and end users,” explains Ms. Chroscicki.

ARRI CT France will be moving into a spacious new office in central Paris near the Place de la République. The space will feature a boutique style showroom displaying the various products Camera Systems and Lighting have to offer while highlighting the ALEXA 65, available through ARRI Rental. “Having a dedicated space to organize demos and trainings has become a necessity” remarks Ms. Chroscicki. She continues: “The idea is to create a space for networking, exchanging, and listening to customers whether they be direct buyers or industry influencers.” ARRI CT France will also have a “High Dynamic Range (HDR) Room” with a UHD HDR TV where visitors can view footage and test workflows.

ARRI will be adding new services in its portfolio along with this new facility in France. The company has recruited Christian Léonard to support and develop the company its EMEA activities in the broadcast and theatrical lighting market with a special focus on France owing to the growth of its Lighting Business Unit. With the potential of ARRI’s ALEXA 65 for the feature film and commercial market in France rising, ARRI Rental is thankful to have a demo space and a local team of experienced colleagues.

ARRI CT France would be opening its doors later this year in September just in time to celebrate the company’s 100th birthday.

Various products were being recognised at the Cine Gear Expo 2017, held at Los Angeles, California, United States during 1 and 4 June. The annual event that was held at Paramount Studios gathered members of the motion picture, video and new media communities to see the latest industry art, technology and trends.

Around one hundred companies submitted and presented their newest technologies for the Cine Gear Expo 2017 Technical Awards. An esteemed group of judges have recognised and honoured the following diverse recipients.

• Arri’s Lightweight Matte Box LMB 4x5 (Camera Technology Winner)
• Kino Flo Celeb 850 & FreeStyle LED portable lighting system
(Lighting Technology Winner) (Tie)
• Fluotec’s Vegalux 300 LED Spotlight (Lighting Technology Winner) (Tie)
• Cineo’s Quantum c80 (Qc80) & NBCUniversal LightBlade (Lighting Technology Honourable Mention)
• Acromove’s ThunderPack Mini (Post Production Technology Winner)
• Timecode Systems Limited UltraSync ONE (Post Production Technology Honourable Mention)
• Motion Impossible’s Agito Remote Dolly (Support Technology Winner)
• High Sight’s High Sight XL Cable Trolley (Support Technology Honorable Mention)
• Tiffen’s M-1 Volt electronically stabilised gimbal for the M-1 Steadicam (Judges’ Honorary Mention)
• Lindsey Optic’s Brilliant Macro Lens Adapter Series (Judge’s Honorary Mention)

Celebrating 50 years of innovative filter production, Lee Filters received Cine Gear’s 2017 Technical Lifetime Achievement Award for their continuous investment in R&D. The Cine Gear 2017 Legacy Lifetime Award was presented to Director of Photography and Visual Effects Supervisor, Peter Anderson, ASC.

The winning film in the Indy Short category was Limbo directed by Will Blank, produced by Casey Fenton, written by Richard Kaponas, and shot by Alejandro Wilkins. In the Commercial/Music Video category first prize was awarded to Cell Biology by MindMuzic, directed/produced/written and shot by K-BACH. The Fare, produced by Ken Morris, shot by Rasa Partin, and written/directed by Santiago Paladines won the Student Short category. Lastly, the Rising Star Award went to Dawn Fields for directing, producing, and writing Fragile Storm.

Micron has decided to discontinue its Lexar retail brand that produced memory cards. The company said that the entire portfolio under the brand shall be discontinued. This includes USB flash drives, card readers, memory cards and other storage drives.

Lexar had recently announced the 512GB 3500x CFast 2.0 card, priced at $1,700 each. The news has followed this announcement that was made around 5 months ago.

According to the statement published by the company, “The decision was made as part of the company’s ongoing efforts to focus on its increasing opportunities in higher value markets and channels. As difficult as this decision is, the company is making this adjustment in its business to ensure it continues to be well-positioned for the future.”

Micron promised continued customer support during the transition period and claims they are “exploring opportunities to sell all or part of the Lexar business.”

Solotech had used several Fujinon lenses to support large concert tours while the company continued to expand with its new DeKalb, Illinois facility. The company used FUJINON XA99x8.4BESM, HA14x4.5BERM, and HA18x7.6BERM models of lenses to cover the event.

The FUJINON XA99x8.4 lens combines high-performance imaging, a long zoom reach, and an ultra-wide angle. It offers a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m. The lens features FUJINON’s patented image stabilisation technology for rock-steady performance, which is especially critical for long-distance HD shots. High-resolution 16-bit encoders are standard, making it suitable to virtual, robotic, and digital signage, among other applications. The HA14x4.5BERM / BERD lens is a super wide angle ENG/EFP with 2.2x range extender that offers excellent optical performance and digital servo zoom and focus for full servo studio control, robotics, jibs, tower cams and other applications.

FUJINON’s HA18x7.6BERM ENG style lens features a 2X extender and Digi Power servo. Producing visibly sharp and brilliant images from the centre to the corners, the HA23x7.6BERM / BERD Premier telephoto ENG style lens offers focal length starting from 7.6mm at the wide end, and is able to zoom out to 175mm and capture extreme telephoto shots. The excellent optical and mechanical specifications, combined with its compact size, make the HA23x7.6 the perfect companion for concert tours.

Solotech has worked with many major artists on the international stage, including Paul McCartney, The Weeknd, Elton John, the Lumineers and Chance the Rapper. Fujinon lenses have become a much-relied upon staple in support of individual touring concerts. So far, Solotech has built seven packages with Fujinon lenses complementing Grass Valley LDX-86 cameras.

David Lemmink, Director of Engineering, Solotech said, “Fujinon lenses have proven themselves as the premier manufacturer of television lenses. Their reliability, innovation and serviceability allow us to confidently support the biggest acts in show business. With an inventory that moves from show to show on a daily basis, we’ve come to depend on the repeatable performance these lenses offer in the field. The service we get from them is unmatched. And the end product speaks for itself every night, with the enjoyment of millions of fans throughout the world.”

NHL’S Edmonton Oilers use Fujinon Lenses to cover Inaugural Season in Rogers Place Arena

The Rogers Place in Edmonton, Alberta, Canada now houses six Fujinon lenses a HA14x4.5BERM super wide angle and two XA77x9.5BESM telephoto lenses, along with a HA18x5.5BERD and two HA18x7.6BERM HA Premier Series ENG lenses. The NHL’s Edmonton Oilers team would be housed at the Rogers Place, which measures 46 ft. wide, 36 ft. high, and 46 ft. Deep, for the 2016-17 season.

The videoboard at this place is the largest of its kind in the NHL. Working with local systems integrator Matrix Video Communications, a one-of-a-kind suspended camera system was built that includes a Sony HDC-P1 box camera mounted on a dolly track hung from the bottom of the score clock. The camera uses a Fujinon HA18X5.5BERD ENG/EFP HA Premier Series lens, travelling 15 metres along the length of the score clock to produce dynamic, bird’s-eye-view shots of the game. This angle is used for in-arena video presentation and for national broadcasts on Sportsnet.

The Edmonton Oilers’ videoboard show uses three handheld cameras: two wired Sony HSC-100RF cameras equipped with Fujinon HA18x7.6BERM ENG lenses and a Sony PXW-X500 EFP camera with a Fujinon HA14X4.5BERM super wide angle lens configured with an RF transmitter for wireless operation. These handheld cameras shoot hockey action, fans and interviews.

FUJINON lenses were also relied on for two standard ‘hard camera’ positions in the arena, in which Sony HSC-100RF cameras are equipped with FUJINON XA77x9.5BESM telephoto field lenses with FUJINON MS-21D digital semi-servo controller kits.

Keith Hough, Manager, Production Services, Rogers Place, Oilers Entertainment Group said, “The Fujinon lenses have proven to be very robust and delivered superior image quality during the inaugural season of NHL hockey in Edmonton at Rogers Place. In outside broadcast production, the equipment must be very durable as it’s moved, setup, disassembled, and moved again multiple times throughout the season. The lenses withstood this harsh treatment and still produced beautiful pictures at every event.”

For the past two years, Telegenic’s T5 OB Vehicle – commonly known as T-Wiz, and based out of Atlanta Georgia – has been running the Sky Sports PGA Tour broadcast operations.

This year, Telegenic UK Deputy Head of Audio Simon Foster and Telegenic US Operation’s Manager Andrew Wisniewski undertook the re-design and commissioning of a complete overhaul of the T5 technical services. Telegenic chose a Riedel MediorNet de-centralised router to manage comms within the OB truck and the outfield operations, a Calrec Brio broadcast mixing console and RTS Telex intercom, and a SAM Kula Vision Mixer. At the heart of the operation was Lawo’s VSM (Virtual Studio Manager) system.

The aim of the exercise was to update and streamline the US operation, and bring the truck’s technical facilities into line with parent company Telegenic Ltd, based in High Wycombe UK. Lawo VSM is used in five of the seven OB Vans operated by Telegenic’s UK division, and so it was an obvious move for the US truck to follow suit.

The VSM system offers complete flexibility and is able to connect to all devices in the T5 OB truck, enabling Dante and RTS Telex gadget servers and to provide the Telegenic team greater control using just one system than is possible with multiple applications.

Riedel MediorNet connects to the Lawo VSM servers via the Lawo Ember+ Control Protocol, making all gadgets available to the engineers via the VSM platform, such as frame sync on/off, mic gains, etc.

Foster and Wisniewski chose to run most of the configuration via software-based panels, as this gives greater visibility to the operators, keeping the front-end visual and simple, and allows unfamiliar engineers to easily get to grips with the truck features. Operators are able to program their own panels via mimic buttons, and engineers are able to view the signal flow using the Visual Link feature.

For the Sky Sports PGA tour broadcast, Lawo LBP-51 and LBP-17 hardware control panels are used for the outfield positions and EVS operators within the truck.