ARRI WRS - Updated version now available.

ARRI has recently release an update to its Wireless Remote System (WRS), this includes a newly engineered wireless network software, improved transmission robustness, as well as smoother motor control in adverse conditions. These updates are identified by a yellow ring at the base of the any of WRS units' antenaes.

ARRI's WRS System has, in the last few years, evolved into the most robust, and customizable wireless systems available in the industry. The newest components of the WRS system comprise the 3rd generation of the this wireless system (ie. WMU-3, URM-3, ZMC-3, WFU-3, WRC-3, etc.) Last year ARRI published a complete system guide offering the myriad of features and capabilities of the WRS system, in a concise, easy to follow reference document. We can thank both Walter Trauninger, Head of Business Unit Camera for ARRI, as well as Marc Shipman-Mueller, Product Manager Camera for ARRI for their diligence and thoroughness in compiling such an inteligent, 32-page document.

Worth mentioning is the NAB 2007 Edition of Film and Digital Times, which among other things, compares the current wireless remote control systems on the market. These include ARRI's WRS, Preston Cinemas Systems FI+Z, and cMotion's system. Its quite impressive to know that this year both Walter Trauninger of ARRI and Howard Preston of Preston Cinema Systems were awarded by the Academy of Motion Picture Arts and Sciences Sci-Tech Committee and the Society of Operating Cameramen for there designs and engineering efforts in their appropriate wireless remote systems.

RED ONE™ Flash Drive.

RED ONE™ Digital Cinema & Co. has demonstrated the ability to shoot compressed RED CODE™ 4K RAW footage to various CompactFlash type, solid state memory cards. This is a huge step in helping people appreciate what a wavelet-based compression scheme, like RED CODE™ 4K RAW, can offer. 4-plus minutes of 4K resolution footage on an 8GB SanDisk Extreme IV CompactFlash card. Jim Jannard was quoted as referring to this new development as "...a bit of a paradigm shift".

This kind of technical development, along with the multiple camera and accessory design configurations posted on REDuser.net, shows RED's always surprising ability to keep this industry guessing.

RED ONE™ at NAB 2007

As expected, RED ONE™ Digital Cinema had a much anticipated presence at this years NAB. RED has made some significant progress since last year, and its showed. With working prototypes in their booth, along with 4K RED CODE™ footage from Peter Jackson's "Crossing the Line", Jim Jannard and the rest of the the RED team had quite a bit to be excited about.

Among the working prototypes, named "Boris" and "Natasha", there were also examples / mock-ups of various accessories, which seem to keep up the theme if innovation and overall ingenuity. These include refined RED CAGES, handles, on-board LCDs, various hand-grips, zoom motor controllers, and viewfinder. It is worth pointing out, that the RED-EVF has been designed and engineered David Macintosh of AccuScene™ Corp. Known to the rest of the world as the best 1080/720 HD viewfinder available for on-camera viewing. Just ask Panavision and Thompson Grass Valley.

As expected, the "Crossing the Line" footage looked phenomenal, and showed tremendous improvement from the footage shown last year. Also to be expected, were the minor issues with some of the footage. However rarely visible, can be associated to fact that all the footage was shot on alpha test-bed units.

As usual, RED ONE™ Digital Cinema & Co. is still on the fast track to blowing the minds of everyone in the industry. Jim Jannard referring to new product developments as "...a bit of a paradigm shift", is a pretty good indication of what their future plans will entail.

Sony F23 at NAB 2007 - Real System. Right Now.

After the initial excitement from its announcement earlier this year, Sony's CineAlta™ F23 camera was in full force at this year's NAB. With BandPro have having noticeable involvement throughout the development of this camera, this camera is truly the pinnacle of Sony's CineAlta™ lineup.

At NAB, both Sony and BandPro had the F23 camera displayed at their respective booths. It was truely exciting to see a product like this, with every facet of its design being (re)engineered for digital cinema application. I don't believe the industry has seen such a purpose-built camera system outside the realm of motion picture film cameras (ie. ARRI, Panavision, Aaton, etc.)

The CineAlta™ F23 has a number of cine-like design features, as well as improved image quality, signal processing, and media handling over previous CineAlta™ products. A quick look at the CineAlta™ F23 Digital Cinema brochure will point out the rather extensive list of digital cinema specific features and capabilities. These features include a film-style flexible component design, ruggedized B4 lens mount to compliment Zeiss DigiPrime lenses, film camera accessory compatibility (ie. bridge plates, follow focus units, matte boxes, lens control systems), "Assistant Panel" camera and VTR controller, multiple accessory output support, twin viewfinder capability, new viewfinder dessign, as well as a host of other features.

Sony, who is touting slogans such as "HD for All" and "Real Systems. Right Now.", has good reason to make such claims. The current line-up of Sony's HD products, from HDV through HDCAM-SR has matured into a rather impressive set of tools for most professional applications. Sony, having already received numerous "important orders" for the F23, can count RentCam in for sure!

Feel free to contact us regarding updates and availability of the Sony CineAlta™ F23 in the coming months.

Labels: NAB 2007, News Update. Camera

ARRI Product Update at NAB 2007

Among the numerous HD-centric products at NAB 2007, ARRI made several key announcements. Among these included new MasterPrime lenses in 14mm and 150mm focal lengths, new 75 fps speed capabilities for the 235, an upgraded wireless remote system (WRS), and several other camera-specific products.

Several video/HD camera accessories were also announced, including a new wide-angle module for the MB-20, a newly designed lightweight matte box LMB-15, and a v-lock compatible quick release bridge baseplate. Finally some easily configured, ARRI quality accessories for the myriad of HD cameras on the market.

We expect a good majority of these new products to make their way into our rental inventory over the next few months. It is this level of detail that helps to set RentCam's equipment apart from rest, and keeps our equipment ready for any application.

Refer to ARRI.com for more details.

Hasselblad H3D-31/39 have arrived.

After much anticipation and testing, RentCam has finally taken delivery of Hasselblad's new H3D-series cameras. They come in the form of the H3D-39 and H3D-31.

Both are considered "full frame" systems, in that there viewing system compliments the (slightly) smaller sensor size of these 30+ megapixel backs. No more masks in the viewfinder, these cameras now show 98.5% of the recorded image in the viewfinder. Never mind that these cameras look and function as a truly integrated digital system.

The H3D-39, with a 39 megapixel sensor, is fast becoming the gold standard for high-end digital acquisition. The existing H-series system of lenses, along with a Mac Pro busting 39 megapixels, makes for a tremendous camera system for our advertising and commercial clientèle. Digital techs, eat your heart out!

The H3D-31 has entered the market to open up the perceived application for these medium format digital systems. This camera has ISO capability up to 800/1200, along with additional frame rate capabilities at over 45 framer per minute. Additional sensor technology, in the form of a micro-lens array, have helped bump the camera ISO, while improving wide angle lens performance.

You can find additional information at Hasselblad's website, including technical literature, Hasselblad' Star Quality, and also Hasselblad's Stategy for the evolution of its H-Series digital system.

Please contact us for details, and don't hesitate to reserve an H3D for your next shoot.