Tuesday, April 21, 2009

Seen & Heard @ NAB

NAB day two wrapped earlier this afternoon and we've seen a few interesting things. There's lots of LED's... All shapes and sizes, but more on that soon. Attendance seems to be a little down from last year, but there's still a lot of people coming through the hall.

The educational sessions by Jim Sippel and John Gates have been pretty packed.

Some of the neat things we've seen thus far include:
The Dedolight DLOBA incorporates a modified double aspheric optical system. The wide focusing range covers a 70degrees angle for even edge-to-edge lighting with the widest zoom lenses, yet allows a narrow beam of 6degrees for far reach (1:11). The DLOBA may be mounted directly to a film or video camera by the screw and shoe mount that is provided. The software driven miniature electronics regulate lamp voltage to 12V DC and may be used with batteries up to 21V DC.

Kino Flo's Desk-Lite 121 boasts a 12” high color rendering T5 lamp (CRI 95) and parabolic reflector for close range or medium zone distances. Because it’s a Kino Flo, the lamp operates coolly, unlike tungsten hot light sources, and only draws about .3 amps (120vac). The trim, lightweight fixture includes on-board electronics, on/off controls, removable focusing louver and a 180 degree center mount system.

New from Spider Support is the Ringo Head is a camera accessory that allows an operator to mount any professional video camera at 90 degrees. New production styles can require images to be captured in a vertical orientation rather than the traditional horizontal mode. This technique is often used in point of sale, fashion, and event display environments.The Ringo Head allows an operator to easily mount their camera at a right angle and operate with existing tripod heads, jibs, and Steadicams . The Ringo Head keeps the camera's center of gravity and lens aligned over the center of a tripod head. The Ringo Head consists of a horizontal plate that attaches to a tripod wedge plate, a fixed vertical support that holds a camera's quick release plate, and an adjustable vertical support that holds the camera handle.

Based on the design principles of the ARRIMAX, ARRI Lighting introduces the new M18. This innovative lamphead works with a new power class of lamp: the 1800W SE HMI. This lamp boasts 750 hours of average life and a Luminous Efficacy of 92 Lumens per Watt (L/W). The Color Rendering Index (Ra) is greater than 90 at 6000K (CCT).

Now the “Brightest HMI you can plug into the wall,”* the M18 is a lensless, open face lighting fixture that combines the desired light distribution from the optics of a PAR and a Fresnel fixture. The unique ARRIMAX reflector design creates

diverging rays to produce a crisp shadow.

With a beam angle (HPA) of 20 to 60 degrees and a wide usable field angle, the M18 is designed to be both intense and efficient. When narrower beam angles are desired, ARRI offers the ARRISUN 18. The AS18 uses common ARRI spread lenses and a PAR reflector in combination with spot, medium and flood focus settings. Conversion kits are available to adapt an M18 to the AS18 (as well as an AS18 to a M18).

The M18 and AS18 are designed to be highly versatile and meet better lighting efficiencies in a new performance class. Intense and efficient, these lights showcase convenient, cost-effective qualities in addition to the known characteristics and high standards of ARRI HMIs. These new units also support a 1200W lamp.

The new ARRI Caster series utilizes a special optical design and a dedicated LED arrangement, presenting an efficient solution for LED broadcast lighting at an attractive price level.

The ARRI LoCaster features an easy to use onboard controller with a choice of six color temperature settings, continuous dimming and an ON/OFF switch. Weighing only 960g (2 lbs), it is an ideal companion for mobile applications. The LoCaster will be available in an attractive lighting kit configuration, with a basic selection of accessories.

The ARRI BroadCaster incorporates a built-in DMX controller and offers versatility when lighting tight spots in small and medium-sized studios.

With color temperature settings adjustable from 2.800K to 6.500K and a CRI (Color Rendering Index) of 90, the ARRI Caster LED fixtures adapt easily to an existing lighting installation or to the variable conditions of a location shoot. They also make use of ARRI True Match LED Technology, guaranteeing natural light characteristics, single shadow rendering, consistent light output and absolute color stability.

A wide range of accessories, including backpack batteries, power adapters, mounting devices, a 2-leaf barndoor and an intensifier, make the Caster LED fixtures suitable for any number of different applications.

Zylight is showing a new series of studio fixtures, starting with the IS3 LED Studio Luminaire. They are fully dimmable with no color shift, have adjustable color temperature and color correction, unlimited color control and integrated ZyLink™ wireless control. All functionality of the Zylight IS3 can be controlled via DMX through industry standard XLR connectors, or remotely via the built-in ZyLink™ wireless link. A USB port is included for field upgradeability, and the fixture has a built-in carrying handle and shock absorption. At 18 inches by 11 inches by 2 inches, the unit can be powered by either AC or rechargeable battery. The pic on the right is the color temp control, it also has a +/- green setting. The panel runs in either white or color modes.

Lowel's BLENDER™ Lights are very simple to use. That's a big reason why they are practical. The whole idea is that in location shooting, especially "run and gun" type shooting, it is not sensible to fuss with technical issues. Your subject should look natural and their lighting should not be out of whack with the environment and the available light. Of course, you need to make sure they are the focus of attention in the frame, which is a big reason why you light in the first place. There are just two simple knobs on the BLENDER Light. One controls the cool white array of high power LEDs, the other controls the warm white array of high power LEDs. You just plug in the light and dial in the white light that looks right. Watch your subject and the monitor, and you will quickly see when the light blends in with the available light.

SeaChanger's Nemo is the first ETC Source Four® compatible color engine with a LIFI® plasma source that delivers 10,000 lumens on a modest 300 watts of power. That's over 2.5 times the efficiency of comparable color engines.

The SeaChanger Nemo uses existing ETC Source Four front-end barrels as well as an assortment of ETC FOV optics. It comes equipped with SeaChanger's own Extreme Green wheel that extends the CMY color gamut to create more dramatic, vibrant colors.

Because of its lamp life, Nemo is the perfect solution for hard-to-reach installations, domes, atria and theme parks. It bridges the gap between incandescent and LED lighting at a price that's within reach.

Below is a quick clip of the Firefly Cable protectors... They are pretty neat because they incorporate animated LED illumination that reduces the tripping hazard, and potential legal liability.

Pelican has a new case that uses LED's coupled with a thermally efficient light engine and a Pelican Protector™ case, the RALS 9470 gives the user the ultimate maintenance-free portable floodlight station to get the job done efficiently, safely and on time. The RALS 9470 houses all four of its light heads and a multi-stage charger for that total self-contained convenience. It is also equipped with a telescopic handle and rugged wheels for ease of transport. They also have cases with two and one LED heads.

We'll keep our eyes peeled and post more interesting things tomorrow.