Cine
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Cine

Aja Colorbox
ColorBox from AJA is a high performance color management device specifically designed to meet the color conversion and color correction needs of broadcast, live events, and on-set applications. Supporting HDR, SDR, and Wide Color Gamut (WCG) signals, it utilizes 12G-SDI for single wire 4K/UltraHD up to 4:2:2 10-bit 60p or 4:4:4 12-bit 30p, with a unique color processing pipeline, and down-conversion. The ColorBox’s ultra-low latency, less than ½ of a video line, makes it ideal for color managed workflows for live productions.
Built around a 33-point 3D LUT processor with tetrahedral interpolation, the AJA Color Pipeline provides additional 4x 1D LUTs and 2x 3x3 matrices that are each individually configurable or can be converted to Proc Amps or RGB Color Correctors. All of the color processing options can be easily managed via the web user interface, which can be accessed directly from a wired Ethernet connection.
ColorBox also includes processing pipelines from Colorfront, NBCU LUTs, and ACES. Additionally, ColorBox offers licensable upgrade options for advanced color managed workflows, including the Colorfront Engine, BBC HLG LUTs, and ORION-CONVERT. ORION-CONVERT’s unique real time floating point math approach to color transformations produces higher precision results to get “access to the colors between the colors.” This enables pixel perfect color transforms and round-tripping where maintaining color fidelity is paramount.
The ACES Pipeline includes support for ACES Metadata File (AMF). Internal AMF processing is built on the OpenColorIO (OCIO) from the Academy Software Foundation and supports configurable input and output transforms. ColorBox is an officially ACES logoed device ensuring end-to-end ACES compliance.
ColorBox can overlay information onto the image, including helpful user definable text fields, user loaded images such as graphic elements and frame lines, and more.
ColorBox also offers a sophisticated 4K test pattern generator and frame store, bringing valuable tools to your workflow, including capturing up to a 4K image as a 16-bit .tiff file for the highest quality reference stills. These captures can be saved locally on ColorBox or onto third party connected computers, which can simultaneously be running applications like Pomfort’s Livegrade Pro/Studio, Assimilate Live Looks, and QTAKE Video Assist software.

FocusBug Cine RT
The FocusBug Original Cine RT System includes ultrasonic components for precise focus pulling. The Ultrasonic Base Sensor is the computational center of the system, acquiring distance data and transmitting it to other components up to 800 away. The system also includes a laser-targetable rangefinder with customizable parameters and the Handset Control Unit for adjusting sensitivity, limits, and viewing modes.
The system also features a High-Bright LED Display for remote data relay, and Bug Transmitters that send ultrasonic pulses to the Base for accurate distance measurements. Bug Transmitters are lightweight and can be easily hidden, operating effectively within a 160-degree field of view. The system allows for quick toggling between multiple active components for seamless focus tracking.

Arri Alexa 35 Live Multicam
The Arri Alexa 35 Live Multicam System brings the cinematic ARRI look, unrivalled HDR, and a new level of creative control to live productions in a dockable multi-camera setup. The system combines the 4K ALEXA 35 Live camera, the Live Production System LPS-1 (comprising a Fiber Camera Adapter and Fiber Base Station), the Live Production Monitor LPM-1, the Skaarhoj RCP, and a slew of bespoke Multicam accessories.
The 35 Live offers the uniquely cinematic ARRI look. Supporting an ongoing trend in live productions, the Super 35-sized 4K sensor enables shallow depth of field. Capturing 17 stops of dynamic range—more than any other camera on the market—it handles extreme lighting situations for the best results in SDR and HDR.
The Fiber Camera Adapter attaches to the camera quickly and simply. Once in place, it harmoniously extends the ALEXA 35 Live body to create a pleasing, unified form factor that is easy to work with.
The Fiber Camera Adapter features a full complement of industry-standard interfaces such as SMPTE 311, 2-channel intercom, 4x RETURN video inputs selectable on two separate controls, GPIO, TRACKER, and comprehensive audio connectivity including LINE or AES outputs and AES, LINE, or MIC level input with selectable +48 V phantom power.
For fast setup and easy configuration, the system is equipped with several carefully considered user interfaces, providing control when and where you need it. A jog wheel and display on both the Fiber Camera Adapter and the Fiber Base Station provide status display and allow on-the-spot adjustments, saving time and hassle. The ARRI Webremote allows full control of the camera, while a Multicam web interface provides full configuration of the Fiber Camera Adapter and Fiber Base Station, including signal routing, diagnostics, and software updates. The Skaarhoj Reactor web interface allows full control, configuration, and updating of the Skaarhoj RCP.

Sony FE 50-150mm F2 GM Lens
The Sony FE 50-150mm f/2 GM Lens offers a constant f2 aperture and 11-blade diaphragm for smooth, spherical bokeh and excellent low-light performance. Its newly designed G Master optics deliver high contrast and resolution across the frame. Four XD Linear Motors ensure fast, reliable autofocus and precise subject tracking—even during high-frame-rate capture up to 4K 120p on Alpha cameras.

Canon CN5x11 IAS Cine Lens
A full frame Cine Servo lens with an expansive wide-angle zoom range, appealing to live action, news, compact studios, to documentary, drama, and virtual productions.
With advanced metadata support, and a new generation e-Xs V digital servo drive unit, and built-in 1.5x extender for both full frame and Super35 support, the CN5x11 IAS T R1/P1 delivers outstanding optical performance and precision for your HDR, 4K and 8K productions.
A faster servo than the previous drive unit allows for a more responsive iris, which, along with the renowned focus and zoom speeds, making the e-Xs V drive optimised for sports broadcasts and live events.

Canon UJ122 x8.3B 4K NOVEL Lens
The UHD-DIGISUPER 122 'Novel Look' is the 'novel look' version of the UJ122, it includes Canon's advanced optical unit that gives images from a traditional 2/3" camera the Super 35 Cine look. Whilst giving the filmic look that is becoming ever so much more popular in Live Events, the fact that the Novel is still a 2/3" lens means it keeps the range that just isn't possible with a Super 35 lens.
Livewhire have Sony's HDC-3500V and HDC-P50AV. These system cameras have a Variable ND Filter allowing large aperture whilst still controlling exposure. These cameras combined with the 'Novel Look' lenses give a shallow depth of field and Bokeh, normally only associated with larger format lenses.

Cyanview RIO
The CyanView RiO (Remote IO) allows users to remotely control compatible cameras through an Ethernet Internet connection or by using a 4G/LTE modem. RiO can also be configured as a normal CI0 camera interface on local networks. Assuming that the LAN has latency, the RiO working mode is configurable on LAN to get any camera protocol to work on any latency. With the built-in camera control protocols, the camera connection remains stable regardless of the conditions of the Wi-Fi network and latency. Once the Internet connection is established, the RCP and RiO are connected. In addition, it is plug and play, thanks to the Cloud Relay. When connected through cell data, some linking video systems provide IP tunnels or Internet access points that can be used to link PCR and RO. It is also possible to add a 4G USB dongle to gain access to the Internet independently.

Cyanview RCP-J
The CyanView Cy-RCP with Joystick (2 cameras) is a universal control panel compatible with any camera. This version incorporates a joystick and can control up to 2 cameras.
IP-based, it's ideal for all types of production (even remote production) and features physical buttons, rather than a web interface. It has a slightly smaller form factor than ordinary remotes, but can be adjusted to fit the standard RCP size, leaving room for accessories such as a mini selection panel or mini joystick.
To operate effectively, the system synchronizes touch (and countdown) between the Cy-RCP and the matrix: selecting a camera in the Cy-RCP also controls the matrix to switch the vision monitor, and selecting another camera in the matrix panel also changes the display on the camera.
Specialized cameras generally lack video processing functionality in various ways, which means that often color correction equipment is added for post-processing and image synchronization. We've integrated these too. So, whatever is available in the camera head is controlled there, and whatever is missing (i.e. black balance, gamma) is done in the post-production phase by controlling the video corrector. The camera interface remains consistent from one camera to the next.

Tentacle Sync E MKII Timecode
The Tentacle SYNC E mkII timecode generator is a compact and lightweight device that allows for easy syncing and setup via phone or tablet using Bluetooth 5.0. With adjustable frame rate and TC output levels, as well as a built-in reference microphone and the ability to generate all SMPTE timecode rates, this device offers high precision and accuracy. Made in Germany, it also comes with a Tentacle Sync Studio software license for convenient synchronization of audio and video footage.
The Standard Set includes two SYNC E mkII devices and the Tentacle Sync Studio Software, making it a complete hardware and software solution for timecode synchronization. This versatile device is suitable for a range of video shooting applications and post-production tasks, making it a valuable tool for any production team.
