Litepanels 1×1 Bi-Color
All In One – Tungsten & Daylight
Finally, ultimate color control right at your fingertips. A soft, high output light that lets you quickly dial up any color – from cool white daylight to warm white tungsten. The new Litepanels 1×1 Bi-Color flood lets you adjust color temperature instantly so you can adapt to different shooting conditions and skin tones on the fly. Like all Litepanels’ 1×1 lights, the Bi-Color has a full-range dimmer, remains cool to the touch, runs on AC or DC power, and produces a great, soft-wrapping light quality.
- Slim, sturdy, lightweight and portable
- Adjust color from daylight to tungsten and anything in between
- Powered by AC adapter or professional batteries via an optional adapter
- Integrated DMX module with RJ45 (Ethernet) connectors for remote dimming and color temperature adjustment using DMX512 protocol
- Litepanels Cool to the Touch™ heat-free LED technology
- Flicker-free at any frame rate or shutter angle
- 100% to 0 dimming with no noticeable color shift
- Comparable light output of 200W HMI
- Long life LEDs
- Modular design for multi-panel configuration
- View-thru holes to see the talent
A Full Post-Production Facility on Wheels. They call it the “Dreadnought“.
Created after years of research and development by Gianluca Bertone of Bertone Visuals, the Dreadnought is the set solution that every production needs.
Simply put, the Dreadnought 4K is a mobile system that allows one to Edit, Grade (Secondary Color Correction/Power Windows) and Execute Raw Footage on LTO-5 supports.
Directors, DPs, Editors and Colorists can work from set, the production office or even back at the hotel!
Powered by CUDA technology, the Dreadnought 4K can reproduce in real time any 3K/4K raw footage, like Arri Raw, Sony Raw or Canon Raw. With additional accessories, the Dreadnought can even project 4K on a big screen (Rec 709 Color Space, Ultra HD and 4K Resolution).
The Dreadnought 4K can read digital magazines from ANY 4K digital cameras (like the Sony F65), and ingests “digital assets” (i.e. footage) with 6G SAS and 10 Gigabit fiber optic technology. Rest assured that your entire feature or multi-camera commercial will be stored safely.
This is a powerful system that can transcode for dailies (Apple Pro Res, Avid DNxHD, h264 codec, etc.), and can even make a ROUGH CUT with Avid Media Composer, Adobe Premiere CS6/CC or DaVinci Resolve 11.
Finally, the entire system is transported via a Nissan Cargo Van HD3500 with hydraulic lift, and comes with a skilled technician.
Many cinematographers love the look of anamorphic lenses. Many others are quite fond of Cooke Optics because of their distinctively warm and creamy aesthetic, lovingly known as the “Cooke Look.” Imagine the delight of cinematographers all over the world when Cooke announced during last year’s NAB that a brand new line of high-end anamorphic cinema lenses was in the works. Pure elation. Now we’ve got some of the first test shots to surface from these world-class anamorphic lenses, and the results are just what you’d expect, optical excellence and pure cinematic beauty.
The following two videos contain anamorphic test footage from two different cinematographers, John De Borman and Patrick Blossier respectively.
Overall, these Cooke anamorphic lenses look to be a fantastic option for discerning cinematographers looking to combine the Cooke and anamorphic aesthetics. Without any doubt, it looks like a match made in heaven. These new lenses should be released within the next few months, most likely at NAB 2014.
They will be arriving at Hollywood Camera as soon as they ship! Reserve them now!
Article reprinted in part from, No Film School, written by Robert Hardy. Read more articles written by him here.
Not long ago we published a quick look into working with the Freefly Systems MoVI M1o. Turns out some of that work has hit the internet as the new Flume music video “Drop the Game” featuring Chet Faker. Take a look here.
Our real interest is in the camera work as it is one of the first non Freefly sourced examples of MoVI work out for the public. As we mentioned in our last blog post, this video was shot entirely by the MoVI. No other type of support was used for the camera. Though we cannot agree that the powers that be used the absolute best footage available, some of the shots sing with the freedom we all wanted with the MoVI.
It’s hard to describe the freedom without seeing it first hand. A production gets paired down to bone, and the camera is free. Free to turn 360*. Free to pull away or push in any distance. Free from the arching movements of a jib. Free from the massive space taken up by a telescoping crane. Instant repositioning of the location, even in the middle of a take. Truly liberating for those stuck in place with standard camera support.
What benefits do you see in the MoVI? We’d like to hear your thoughts.