Broadcast And Cinematic Solutions

Broadcast And Cinematic Solutions








Y cover_C1_R5b.pdf 1 05/06/2013 12:26 PM

View the World of Lenses

With your one-stop digital solution provider

Jebsen Industrial

Supporting a Strong and Vibrant Film &

TV Sector

As a leading supplier in the film and broadcast industry in Hong

Kong and China for more than five decades, Jebsen Industrial takes a one-stop solution-based approach that encompasses the entire movie-making workflow from pre- and post-production technologies, cutting-edge equipment to peripheral products and applications. Our professional team strives to provide the best technical consultancy and maintenance services to help the film and TV industry shine on the global stage.


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Jebsen Industrial End to End Workflow

Schneider Cine-Xenar III Lenses

ARRI Alexa Film-Style Digital Cameras

ARRI-ALURA/Master Prime/Ultra Prime/

Master Anamorphic Lenses

Convergent Design Compact Recorder

3ality Technica Stereoscopic Systems

Angenieux Optimo Zoom Lenses

Cooke /i Prime Lenses

ZEISS Compact Prime CP.2 Lenses

ZEISS Compact Zoom CZ.2 Lenses

ARRI Lighting – L-Series (LED Technology)

ARRI Lighting – M-Series (MAX Technology)


SHAPE Camera Support


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Matthews MSE DC Slider

STEADICAM Camera Stabilizing Systems

OCONNOR Fluid Heads

RONFORD BAKER Camera Tripods

TIFFEN Camera Filters

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Transvideo Monitor - ALEXA Package

NAGRA Professional Audio Recorders

COTECH Lighting Filters

KOTO Lamps

Filmlight - Digital Image Color Processing System

P. 31 MTI - Correct DRS Digital Restoration System

P. 32 MTI - Cortex: Control Dailies

Complete Dailies Solution

P. 33 MTI - Cortex: Convey Transcoding System

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RorkeData SAN Solution

Bright Technologies - Storage Optimization

Jebsen Industrial End to End Workflow


Color Grading

& Finshing





On Set



Products represented by

Jebsen Industrial and partners



Schneider Cine-Xenar III Lenses

Schneider-Kreuznach Cine-Xenar III lenses are the tool for your creativity. They have the speed, image quality and robust reliable construction to give you the maximum freedom to pursue your vision. The high resolution telecentric design provides even image brightness and minimizes breathing. Up to eighteen iris blades result in a beautiful, extremely pleasing bokeh.

The improved functionality is achieved by an exceptionally wellengineered focus mechanism: the user friendly focus has large easily readable engraving and has been spread out to facilitate smooth accurate adjustment during use.

The superior modular concept supports your workflow and helps to reduce maintenance. Changing lenses has never been easier: CX III lenses have all the same dimensions, and all focus and iris gears are in the same position.

The Schneider-Kreuznach Cine-Xenar III lens range starts with the focal lengths of:

18 mm / T2.2

35 mm / T2.1

25 mm / T2.2

50 mm / T2.0

75 mm / T2.0 95 mm / T2.0

* More lenses with different focal lengths will be added soon

Main Features:

• PL mount for digital and 35mm film cameras

• Canon EF mount available

• 31.5 mm image circle for coverage of 2K / 4K / 5K Cinema, and Canon 7D

• Telecentric optical design for better performance with digital cameras

• Ultra Close Focus (UCF) down to 25 cm / 11” from sensor plane

• Virtually no breathing

• All lenses are color matched

Schneider Cine-Xenar III Lenses

• Flare suppression through internal light traps and Schneider-

Kreuznach High Performance coating

• Easily interchangeable calibrated focus scales (feet/meter)

• 100 mm x 0.75 filter thread

• 104 mm outside diameter

• Low distortion

• Iris with up to 18 blades for an exceptional bokeh effect

• Protective lens coating against dust and humidity

The lenses are designed and made in Germany by the Schneider-

Kreuznach Group.

Offering the latest cinematic technology solutions, Jebsen Industrial serves as the

exclusive distributor


KREUZNACH , delivering its innovative CINE-XENAR III LENSES to Greater China, Hong Kong, Taiwan, Singapore, Malaysia,

Thailand, Philippines, Indonesia, and Vietnam.

Technical Data Schneider Kreuznach Cine-Xenar III lenses

Article description

T2.2 / 18 mm

T2.2 / 25 mm

T2.1 / 35 mm

T2.0 / 50 mm

T2.0 / 75 mm

T2.0 / 95 mm


T2.2 to 16

T2.2 to 16

T2.1 to 16

T2.0 to 16

T2.0 to 16

T2.0 to 16

Close focus* TotaI length Front to

PL mount

0.26 m / 11“ 179,3 mm / 7.1“ 151,5 mm / 6.0“

Front diameter

Weight Horizontal angle of view*

ANSI Super



Horizontal angle of view*

DIN Super



Horizontal angle of view*




2.06 kg / 4.54 lbs

0.28 m / 11” 179,3 mm / 7.1“ 151,5 mm / 6.0“ 104 mm / 4.1“ 1.89 kg / 4.17 lbs

0.28 m / 11” 179,3 mm / 7.1“ 151,5 mm / 6.0“ 104 mm / 4.1“ 1.83 kg / 4.03 lbs

0.35 m / 14” 179,3 mm / 7.1“ 151,5 mm / 6.0“ 104 mm / 4.1“ 1.59 kg / 3.51 lbs

0.45 m / 18” 179,3 mm / 7.1“ 151,5 mm / 6.0“ 104 mm / 4.1“ 1.69 kg / 3.72 lbs

0.65 m / 26” 179,3 mm / 7.1“ 151,5 mm / 6.0“

104 mm / 4.1“

104 mm / 4.1“ 1.81 kg / 3.99 lbs







1 ANSI Super 35: Horizontal angle of view for an ANSI Super 35 Silent camera aperture (aspect ratio 1.33, dimensions 24.9 mm x 18.7 mm / 0.980” x 0.7362”’)


DIN Super 35: Horizontal angle of view for a DIN Super 35 Silent camera aperture (aspect ratio 1.33, dimensions 24 mm x 18 mm / 0. 944” x 0.7087”)

3 Normal 35: Horizontal angle of view for a Normal 35 Academy camera aperture (aspect ratio 1.37, dimensions 22 mm x 16 mm / 0.8661” x 0.6299”)

* Close focus: Close focus is measured from the film / sensor plane















ARRI Alexa Film-Style Digital Cameras

With the ALEXA XT (Extended Technology) ARRI is refreshing the ALEXA line-up with new features inspired by feedback from professional users. The ALEXA XT, ALEXA XT M, ALEXA

XT Plus and ALEXA XT Studio cameras replaced all previous models except for the original ALEXA. Owners of existing

ALEXA cameras can purchase individual upgrades that deliver most of the features of the XT configuration.

All Alexa XT cameras come with the new XR Module (Extended

Recording), a side panel that was co-developed with Codex and that replaces the previous SxS Module. The XR Module allows in-camera ARRIRAW recording up to 120 fps onto exceptionally fast and rugged 512GB XR Capture Drives. This not only makes for a smaller, lighter and more affordable camera package, it also simplifies setup and operation. The result is an even faster and more reliable way to record ARRIRAW, ALEXA’s highest quality image output. Once removed from the camera, the XR Capture

Drive offers a number of different paths into post, using the proven Codex workflow.


The ALEXA XT adds a number of significant improvements to the base model ALEXA: in-camera ARRIRAW recording, internal ND filtration, a 4:3 Super 35 sensor, LDS PL mount, new viewfinder mounting bracket, included anamorphic de-squeeze and high speed licenses as well as a new, super silent fan. These features will expand on the benefits that have already made

ALEXA such an extraordinary success – highest overall image quality and lowest overall production cost through reliability, ergonomics and efficient workflows.

ARRI Alexa XT Plus

The ALEXA XT Plus is the most versatile and flexible of the

ALEXA XTR camera range, and thus a true allrounder. With an integrated wireless receiver for camera and lens remote control, built-in tilt and roll sensors and additional connectors for camera and lens control, signal output and accessory power supply, the ALEXA XT Plus offers the best value for anyone who can live without an optical viewfinder.


The ALEXA XT M is a flexible solution consisting of a separate camera head and body; it is tailored for action and aerial photography, tight corner shots and 3D productions, and any application or environment that would challenge a full-sized

ALEXA. Based on cutting edge ARRI technologies, the M model features the same sensor, image processing, build quality, efficient workflows and exceptional image quality that have made

ALEXA such a worldwide success. The head and body of the M are connected with a fiber optic cable, which in a hybrid form can also be used for powering the head. Weighing well under

3 kg, the compact front end offers multiple mounting points and versatile maneuverability. Meanwhile the body provides various options for recording images, sound and metadata, accommodating all workflows of the standard ALEXA XT.

ARRI Alexa XT Studio

At the pinnacle of the range is the ALEXA XT Studio, featuring a quiet, adjustable mirror shutter and an optical viewfinder that provides a real-time, high contrast image with true colors. The

Studio is a direct response to cinematographers requests for a camera that perfectly combines cutting edge digital imagemaking with traditional elements of the film cameras they have known and trusted for generations.

Like the ALEXA XT Plus, the ALEXA XT Studio has an integrated wireless receiver for camera and lens remote control, built-in tilt and roll sensors and additional connectors for camera and lens control, signal output and accessory power supply. Like all

ALEXA XT cameras it has in-camera ARRIRAW recording, a

4:3 Super 35 sensor, LDS PL mount, included anamorphic desqueeze and high speed licenses as well as a new, super silent fan. Additionally, the ALEXA XT Studio also has an internal motorized ND filter and a DNxHD license (DNxHD recording not possible with SUP 8.0, planned for SUP 9.0).




The four lenses in the ARRI/FUJINON Alura Zoom range offer a complete imaging solution to productions wishing to benefit from the speed and flexibility of working with zooms. Suitable for both film and digital cameras, all four of the lenses are color matched not just to each other, but also to ARRI prime lenses, exhibiting high contrast and high resolution for sharp, punchy images.

Comprising two production zooms, two lightweight zooms and two extenders, the Alura series covers a focal length range of

15.5 mm to 500 mm.

ARRI/ZEISS Master Prime Lenses

The Master Prime Lenses finally realized a cinematographer’s dream: lenses that are both fast and have an optical performance surpassing that of all standard speed primes. The Master Prime

Lenses open up new creative opportunities, making shots possible that would have been considered impossible before.

Main Features:

• 16 high speed prime lenses (T1.3)

• 12 – 150 mm

• Higher resolution & contrast

• Improved T* XP anti-reflex coating

ARRI/ZEISS Ultra Prime Lenses

The Ultra Prime Lenses have the widest focal range of any prime lens set available to cover every cinematic need, Ultra

Prime Lenses retain their excellent image quality even at close focus across the whole Super 35 frame.

Main Features:

• 16 modern high performance prime lenses (T.1.9)

• Widest focal length range: 8 - 180 mm

• Ultra Prime 8R – extreme wide angle lens

• Ultra Prime 180 the best cinema telephoto prime

• Superior close focus ability

Lens type

Focal range




Close focus

Front diameter

Lens Data


Alura 15.5-45 Alura 30-80 lightweight zoom

15.5-45 mm lightweight zoom

30-80 mm



Alura 18-80 Alura 45-250 studio zoom studio zoom

18-80 mm


45-250 mm


2.2 kg / 4.9 lbs 2.2 kg / 4.9 lbs 4.7 kg / 10.4 lbs

0.6 m / 2' 0.6 m / 2' 0.7 m / 2'4"

7.5 kg / 16.5 lbs

1.2 m / 3'11"

114 mm

114 mm

134 mm

134 mm

ARRI/ZEISS Master Anamorphic Prime Lenses

A range of seven high-performance prime lenses, the ARRI/

ZEISS Master Anamorphic series represents a significant step forward in the technology and practicality of anamorphic cinematography for 35 format digital and film cameras.

For the first time, a perfect combination of compact size, minimal weight, very high speed and exceptional optical design with minimal distortion has been achieved in a set of anamorphics. With beautiful out-of-focus backgrounds and a smooth, cinematic look, the Master Anamorphic lenses are as fast and easy to use on set as other modern cine lenses.

Main Features:

• Super color matched to other ARRI/ZEISS primes and ARRI/

Fujinon zooms

• Optimized anamorphic bokeh:

• evenly illuminated oval out-of-focus highlights

• newly developed iris with 15 aperture blades

• Pleasant out-of-focus areas with traditional anamorphic look

• Outstanding overall image quality with ARRI ALEXA

4:3 cameras

• Revolutionary new optical technology in anamorphic lenses:

• virtually no image breathing

• no anamorphic mumps (fat face effect)

• Completely new focusing mechanism

• Near telecentric optical design, which reduces color fringing and shading at the image corners

• ARRI Lens Data System (LDS) for lens metadata

• Compact form factor:

• front diameter 95 mm

• maximum weight approx. 3 kg

• very high T-stop of 1.9 for all 7 focal lengths

• Reliable mechanics



Convergent Design Compact Recorder

Gemini 4:4:4 Uncompressed Recorder

The Gemini 4:4:4 is a professional, high-definition video recorder that fits in the palm of your hand. Gemini 4:4:4 functions as a high-quality 6”monitor, a recorder, and a playback device.

As a recorder, Gemini 4:4:4 records in the ultimate highest quality possible – uncompressed, which can easily be incorporated into virtually any workflow using your favorite CODEC. Gemini

4:4:4 is also capable of recording, combining, and playing back

3D video (with paid upgrade).

Odyssey 7 / Odyssey 7Q


Convergent Design is announcing two exciting new monitor/ recorder products: Odyssey7 and Odyssey7Q. The Odyssey family is intended to follow users as they journey through their careers from DSLRs to high-end 4K raw cine cameras, hugging the ever-changing camera technology curve and adapting to change without invasive hardware changes or costly upgrades.

The Odyssey family is a professional 7.7” OLED monitor with high-end monitor features, including Waveform, Zebras,

Histogram, Vectorscope, Focus Assist, False Color, Timecode

Display and Audio Level Meters and 1:1 Pixel mode.

2.5” Solid State Drive

3ality Technica Stereoscopic Systems

3ality Technica offers complete solutions for all kinds of content creators interested in creating stereoscopic 3D. Whether you want to add the Stereo Image Processor – the world’s most accurate alignment tool – for the systems you already own, or want to outfit an entire production, 3ality Technica can provide with the hardware and software to realize your vision.

Stereoscopic systems are precision tools designed to align two cameras to a sub-pixel level of accuracy.

The 3alityTechnica family of tools enables creative producers, directors and cinematographers to create 3D on the same schedule they’ve established for their 2D productions. Choose from among manual, partially automated or fully robotic systems or augment the systems you already own with 3alityTechnica alignment tools. 3alityTechnica can provide you with a solution you seek for everything from a single-system narrative project to a multi-camera live event.

TS-5 TS-2 TS-4 Stereo Image Processors





Atom Pulsar Neutron Quasar



Angenieux Optimo Anamorphic 56-152 2S Zoom Lens

• 2x squeeze, no ramping or breathing, a fast aperture of T:4, exceptional sharpness and low distortion

• Perfect homogeneity of colorimetry, contrast and resolution

• Precise, ergonomic focus ring, in feet or meters on request

• Available in PL mount, PV mount on request

Zoom Ratio

Focal Length



Internal Focus

: 2.7X

: 56 - 152 mm

: f/3.6 -T:4

: 2 ft 1 in - 0.63 m

: Yes

Image Coverage : 4 perf. scope+ :

28.8 mm diagonal

Weight (approx.) : 4.8 lbs - 2.2 kg

Length : 210 mm

Front Diameter : 114 mm

Angenieux Optimo 28-340 Zoom Lens

• Extremely fast aperture of T3.2

• 327° focus rotation with over 70 precise focus witness marks and minimal breathing

• Superior optical performance rivaling prime lenses at equivalent focal lengths

• Calibrated focus marks available in feet or meters

Zoom Ratio

Focal Length



Internal Focus

: 12X

: 28 - 340 mm

: f/2.9 -T3.2

: 4 ft 0.5 in - 1.23 m

: Yes

Image Coverage : S35+: 31.4 mm diagonal

Weight (approx.) : 24.4 lbs - 11.1 kg

Length : 454 mm (PL)

449 mm (Panavision)

Front Diameter : 162 mm

Angenieux Optimo19.5-94 Zoom Lens

• Extremely fast aperture of T2.6

• 329° focus rotation with over 50 precise focus witness marks and minimal breathing

• Superior optical performance rivaling prime lenses at equivalent focal lengths

• Calibrated focus marks available in feet or meters

Zoom Ratio

Focal Length



Internal Focus

: 4.7X

: 19.5 - 94 mm

: f/2.4 -T2.6

: 2 ft 0.5 in - 0.62 m

: Yes

Image Coverage : S35+: 31.4 mm diagonal

Weight (approx.) : 12.3 lbs - 5.6 kg

Length : 335 mm (PL)

330 mm (Panavision)

Front Diameter : 136 mm

the rt of film optics


lightweight zoom lenses capture the dream. Recognized around the world for their elegant lightweight design and outstanding performance.

Available in 15-40mm, 28-76mm and 45-120mm.

[email protected] •

Angenieux Optimo 28-76 Zoom Lens

• Extremely fast aperture of T2.6 with no ramping

• 320° focus rotation with over 50 precise focus witness marks and no breathing

• 4738MP-EN-1 British Cine. Angenieux Venice ad RA 245mm x 352mm equivalent focal lengths

Zoom Ratio

Focal Length



Internal Focus

: 2.7X

: 28 - 76 mm

: f/2.4 -T2.6

: 2 ft 0.6 m

: Yes

Image Coverage : S35+: 31.4 mm diagonal

Weight (approx.) : 4.2 lbs - 1.92 kg


Front Diameter

: 186 mm

: 114 mm

Angenieux Optimo 45-120 Zoom Lens

• Extremely fast aperture of T2.8 with no ramping

• 320° focus rotation with over 50 precise focus witness marks and minimal breathing

• Calibrated focus marks available in feet or meters (easily interchangeable focus ring)

Zoom Ratio

Focal Length



Internal Focus

: 2.7X

: 45 - 120 mm

: f/2.6 -T2.8

: 3 ft 1 in - 0.94 m

: Yes

Image Coverage : S35+: 31.4 mm diagonal

Weight (approx.) : 4.3 lbs - 1.95 kg


Front Diameter

: 203mm

: 114 mm

Angenieux Optimo 15-40 Zoom Lens

• Extremely fast aperture of T2.6 with no ramping

• 320° focus rotation with over 50 precise focus witness marks and no breathing

• Superior optical performance rivaling prime lenses at equivalent focal lengths

• Calibrated focus marks available in feet or meters

Zoom Ratio

Focal Length



Internal Focus

: 2.7X

: 15 - 40 mm

: f/2.4 -T2.6

: 2 ft - 0.6 m

: Yes

Image Coverage : S35+: 31.4 mm diagonal

Weight (approx.) : 4.2 lbs - 1.92 kg

Length : 186 mm

Front Diameter : 114 mm



Angenieux Optimo DP 30-80 Zoom Lens

• Extremely fast aperture of T2.8 with no ramping

• 320° focus rotation with over 20 precise focus witness marks and no breathing

• Optical design optimized for today’s large format single sensor cameras

• Calibrated focus marks in feet or meters

Zoom Ratio

Focal Length



Internal Focus

: 2.7X

: 30 - 80 mm

: f/2.6 -T2.8

: 2 ft 0.6 m

: Yes

Image Coverage : S35+: 31.4 mm diagonal

Weight (approx.) : 4.2 lbs - 1.92 kg


Front Diameter

: 184 mm

: 114 mm

Angenieux Optimo DP 16-42 Zoom Lens

• Extremely fast aperture of T2.8 with no ramping

• 320° focus rotation with over 20 precise focus witness marks and no breathing

• Optical design optimized for today’s large format single sensor cameras

• Calibrated focus marks in feet or meters

Zoom Ratio

Focal Length



Internal Focus

: 2.7X

: 14 - 42 mm

: f/2.6 -T2.8

: 2 ft 0.6 m

: Yes

Image Coverage : S35+: 31.4 mm diagonal

Weight (approx.) : 4.2 lbs - 1.92 kg


Front Diameter

: 190 mm

: 114 mm

Angenieux Optimo DP 3D Package

• Similar “matched” optical quality

• Easily adjustable tracking

• Harmonized focus and zoom marks

• Customized travel case

Cooke Anamorphic Prime Lenses

While the “look” is crucial, precision engineering and seamless integration with other equipment is equally important. The

Anamorphic/i, T2.3 primes in seven focal lengths are color matched to Cooke S4/i, 5/i and mini S4/i lenses. And, the new Angenieux compact anamorphic zooms will give you complementary color, so you can enjoy a full range of anamorphic lens options on your next production.

Superb optical and mechanical performance. Distortion, veiling glare, flares, and all aberrations are controlled at all apertures over the whole field of view. Like S4/i, 5/i and mini S4/i primes, the cam focus mechanism allows for smooth focus adjustments.

Modular construction increases ease of maintenance and serviceability. The Anamorphic/i lenses are designed and made by Cooke to the traditional high standards in Leicester, England.

Cooke 5 Prime Lenses

Cooke 5/i Prime Lenses were designed and developed in close technical collaboration with industry professionals. They are color-matched and compatible with Cooke S4/i, mini S4/i,

CXX 15-40 mm T2 S4/i Zoom, 18-100 mm T3.0 and

25-250 mm T3.7 and the SK4 16 mm lenses.

Cooke S4 Prime Lenses

Cooke S4 optics offer superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture. The cam-type focus mechanism allows for smooth focus adjustments. Modular construction increases ease of maintenance and serviceability.


The /i enables film and digital cameras to automatically record key lens and camera data for every frame shot and provide it to post-production teams digitally. It streamlines production and post, saves time and cost, and eliminates guesswork while enabling greater creative freedom.



ZEISS Compact Prime CP.2 Lenses

With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, Carl Zeiss is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.

Main Features:

• Interchangeable Mount

• Full frame coverage (CP.2 18 mm only APS-H)

• Robust cine style housing with the ability to utilize follow-focus

• Standard focus and iris gear positions

• Five different mounts available (PL, EF, F, E and MFT mount)

• Consistent front diameter (except of 50 Macro)

• Longer focus rotation and a manual focus and iris

• Calibrated focus scales


Prime CP.2

Super Speed

CP.2 35 mm/


Super Speed

CP.2 50 mm/


Super Speed

CP.2 85 mm/


Super Speed

Aperture Close



T 1.5 to

T 22

T 1.5 to

T 22

T 1.5 to

T 22

0.3 m /


0.45 m /






91 mm /

80 mm /


1 m / 3’3’’ 80 mm /

Front diameter

114 mm /


114 mm /



1.1 kg /

2.4 lbs

0.9 kg /

2.0 lbs

114 mm /


0.9 kg /

2.0 lbs





1 Close focus distance is measured from the image plane


Front to PL mount flange

3 Horizontal angle of view for an ANSI Super 35 Silent camera aperture

(aspect ratio 1:1.33, dimensions 24.9 mm x 18.7 mm / 0.98” x 0.74”)

ZEISS Compact Prime Makro 50mm

Classic portraits are as much the strength of the Makro-Planar

T* 2/50 as the most striking details from close up. Thanks to its high performance at any distance, this macro lens can be used for a variety of tasks. As one of the fastest macro lenses available, small details can be isolated from the foreground and the background for great creative control.


Prime CP.2

CP.2 50 mm/

T2.1 Macro

Aperture Close

Focus 1

T 2.1 to

T 22

0.24 m /




132 mm /


Front diameter

134 mm /



1.4 kg /

3.0 lbs





Close focus distance is measured from the image plane

2 Front to PL mount flange


Horizontal angle of view for an ANSI Super 35 Silent camera aperture

(aspect ratio 1:1.33, dimensions 24.9 mm x 18.7 mm / 0.98“ x 0.74“)

ZEISS Compact Zoom CZ.2 Lenses

The new Compact Zoom CZ.2 lenses are handy, compact, ready for 4k and even offer full-frame coverage. With their zoom lengths of 28-80 and 70-200 mm, they give you a wide range of creative options.

Their compact size and light weight make them the ideal companions for even the most ambitious applications, including handheld, Steadicam and projects in confined spaces. And thanks to their robust, cine-style housing (which also allows for the use of a follow-focus system), their full-frame coverage and interchangeable mounts, they will be reliable partners for years to come.

Main Features:

• Interchangeable mount

• Full-frame coverage (36 x 24 mm)

• No focus shift over the zoom range

• Robust cine-style housing

• Circular shape of iris

• Great flare suppression

• Calibrated focus scales

Aperture range

Focal range

Close focus distance


Horizontal angle of view




Super 35 4

Normal 35






Front diameter


Compact Zoom CZ.2

T 2.9 to T 22

70–200 mm

1.52 m / 5”







250 mm / 9.84”

95 mm / 3.7”

2.8 kg / 6.2 lbs

T 2.9 to T 22

28–80 mm

0.83 m / 2’8”







196 mm / 7.72”

95 mm / 3.7”

2.5 kg / 5.5 lbs


Close focus distance is measured from the image plane

2 Horizontal angle of view for a full-frame camera aperture (aspect ratio 1:1.5, dimensions 36 mm x 24 mm / 1.42“ x 0.94“)


Horizontal angle of view for an APS-H camera aperture (aspect ratio 1:1.81, dimensions 30.2 mm x 16.7 mm / 1.19“ x 0.66“)

4 Horizontal angle of view for an ANSI Super 35 Silent camera aperture (aspect ratio 1:1.33, dimensions 24.9 mm x 18.7 mm / 0.98“ x 0.74“)


Horizontal angle of view for a Normal 35 Academy camera aperture (aspect ratio 1:1.37, dimensions 22 mm x 16 mm / 0.87“ x 0.63“)

6 Horizontal angle of view for an APS-C camera aperture (aspect ratio 1:1.50, dimensions 22.3 mm x 14.9 mm / 0.88“ x 0.59“)


Horizontal angle of view for a Micro 4/3 (MFT) camera aperture (aspect ratio 1:1.33, dimensions 17.3 mm x 13 mm / 0.68“ x 0.51“)

8 Front to PL mount flange



ARRI Lighting – L-Series (LED Technology)

Introducing the ARRI L-Series, a new generation of lighting fixtures that heralds the seamless integration of LED technology into established working practices within the film, television and event industries.


The innovative technology embodied in the L-Series Fresnels is made immediately accessible by their traditional functionality.

The fact that they can be operated in the same way and in the same situations as conventional Fresnels means a zero learning curve for the lighting team, who will not have to alter their working methods when making the switch to the L-Series; nor will studios have to reconfigure their operating procedures.

Cost Saving

In contrast with tungsten Fresnels, L-Series fixtures reduce electricity usage by 75%, which equates to dramatic cost savings in terms of power draw. Further savings are brought about by the exceptional life span of the LED light engine, which lasts around 200 times longer than a conventional tungsten lamp; the reduced maintenance and minimized power distribution will combine with other cost-saving attributes such as built-in dimming to effect a rapid return on investment.

Cool Burning

L-Series Fresnels burn cold; the lack of forward heat significantly reduces studio air conditioning costs and allows for a much cooler work environment. This makes life easier on set, both for the technicians behind the lights and the talent in front of them.

ARRI L7 LED Fresnel Fixtures

The L-Series is launched with three LED Fresnel fixtures; The

L7-T, L7-D and L7-C are the first LED fixtures to truly incorporate Fresnel characteristics such as continuous focusability from spot to flood and a smooth, homogenous light field. Each model has different color output: the L7-T is 3200 K

(matching tungsten), the L7-D is 5600 K (matching daylight), and the L7-C is color controllable.

In NAB 2013, ARRI announced two new additions to the popular

L-Series range of LED Fresnels: a tuneable tungsten model – the

L7-TT – and an optional active cooling version for all fixtures.

As a tuneable 2600 K - 3600 K tungsten version of the popular L7-C, the L7-TT is over 20% brighter than the L7-C, while maintaining the same size and weight. It offers the same calibrated color quality and adjustable green-magenta point as the L7-C, and is particularly suited to applications requiring precise color matching to conventional tungsten lampheads.

Additionally, all versions of the L7 are premiering an active cooling option with reduced size and weight, making them ideal for location shoots, portable lighting kits and space- constrained studios.

ARRI Lighting – M-Series (MAX Technology)

MAX Technology is a unique reflector design invented and patented by ARRI. Combining the best elements of PAR and

Fresnel fixtures, units incorporating MAX Technology are openface and thus very bright.

Fixtures with MAX reflector made lighting easier and reduce the total cost of ownership and simplifying inventory. Due to these advantages, MAX Technology has already been extended to other lampheads such as the tungsten ARRILITE 750 and

2000 Plus. The same technology is also employed to traditional power classes making M18, M40/25, and now, M90.

ARRI M90 - The Smallest Biggest Light on Set

The M90 is focusable from 16° up to 49° just by turning the focus knob, producing a remarkably even light field and a crisp, clear shadow. The elimination of spread lenses speeds up the workflow on set and reduces the risk of lost production time due to glass breakage.

Accompanying the M90 is a new ballast, the EB 6/9 kW, available in standard and high speed versions.

ARRI M40/25

The M40/25 is focusable over a range of 18-52° HPA, casting a crisp shadow. The reflector characteristics is optimized for

4000 W lamps, but can also be used with 2500 W lamps.

The lamphead is equipped with a CCL module (compensation for cable loss). When operated with the new ARRI EB 2.5/4 kW with CCL, full power is maintained all the way to the lamp even when very long cables are used. This means uniformly high light output independent from cable length.


The M18 is an 1800W ARRIMAX style lamphead, as small as a 1200W PAR but with a 70 percent higher light output. The

“BABYMAX” gives a remarkably even beam spread that casts crisp shadows and is adjustable from 20-60 degrees without requiring spreader lenses.

M90/60 Features:

• As small and lightweight as a 6K PAR

• Light output close to a


• Focusable from 16° to 49°

• Can be operated with 9KW bulb at 1000Hz

• Can also be used with 6KW lamps and ballasts

EB6000/9000 Ballast Features:

• Same size as EB 6000

Baby ballast

• CCL (Compensation for

Cable Loss)

• ALF ( Active Line Filter)

• Dual Voltage (120/230V)

• DMX compatible

Available in a 1000Hz version





Litepanels 1x1



The original Litepanels 1x1™ fixtures introduced filmmakers, videographers, broadcasters and photographers to a new kind of light while simultaneously spawning an entire industry of copycat panels that have failed to meet the high standards set by Litepanels for quality and performance.

Litepanels family of one-foot square LED arrays offer a number of options with daylight, tungsten, variable color and variable focus fixtures that output Litepanels signature full spectrum white light. Drawing only 40 W and weighing just 1.36 kg, the heat-free 1x1 is a go-to tool on many productions.

Main Features:

• Extreme portability – Lightweight and compact

• AC or DC – Optional snap on battery adaptor plates

• Over 90% more power efficient than legacy lighting equipment

• Cool to the Touch™ thermal dynamics

• Optional honeycomb grids and barndoors

• Works equally well in confined spaces or high ceiling studios


1x1 Mono

The most popular Litepanels fixture. Available in Flood (50°) and Spot (30°) daylight balanced versions, and in a tungsten balanced Flood (50°) model.

1x1 Bi-Color

The ultimate color control; from daylight to tungsten, or any color temperature in between. Both color temperature and dimming level can be set and adjusted from either on-fixture controls or via DMX.

1x1 Bi-Focus

Adjustable beam angle control. The Flood/Spot (50°/30°) provides on-fixture and DMX control of beam angle and dimming.

1x1 LS Mono

Traditional 1x1 quality and features at an entry-level price for those who do not need DMX control. Available in daylight Flood

(50°) or Spot (30°). Compatible with all 1x1 accessories.

1x1 LS Bi-Color

A high quality, variable color fixture that adjusts from daylight to tungsten. Both color temperature and dimming level can be adjusted with on-fixture controls.

SHAPE Camera Support

SHAPE BP7000 Base Plate

The SHAPE BP7000 BASE PLATE offers a unique design created for professional cameras like the Sony F5, Sony F55, Canon

C300, the RED series, Sony EX1, EX3, the Panasonic AF100/101,

P2 and many other camera models with interchangeable lenses and external viewfinders.


ROSETTE quick-lock button technology

• Designed for ARRI standard cameras with ARRI rosette sockets

• 15 mm (8’’) rods at the front and (4’’) rods at the back

• Compatible with all 15mm rod systems and optional 15 mm studio or 19 mm brackets

• V-lock delta adapter at the bottom of base plate

• Length-adjustable rods using red ratchet knobs on ROD BLOCs

• Height-adjustable SLIDING ROD BLOC using black knob

SHAPE C300 Shoulder Mount Camera Rig

Primarily designed for cameras such as the CANON C300, provides an offset position.

• 15 mm standard rod and ROD BLOC system


• Unique patented SHAPE QUICK HANDLE push-button technology

• SHAPE PAPARAZZI RISER with several threaded holes (1/4-

20” and 3/8-16”)

• SHAPE PAPARAZZI I HANDLE for holding many accessories

• OFFSET RAIL BLOC can be attached left or right of SHAPE


SHAPE Sony F5/F55 Bundle with BP7000

This is a combination of our BP7000 including the Panasonic plate and our TOP HANDLE F5-F55 KIT, which provides an ideal solution for the Sony F5-F55 camera.



PANTHER Tristar Dolly

The Tristar Dolly realises a central camera position on eye level.

It is equipped with a completely new developed 3 stage column which realizes an extremely low starting position. It can be operated from any of the 4 wheels with all three steering options.

Speed Levels / Ramps


3 Steering Options

Snap on Batteries

Height Duration

Track Gauge

Ground Clearance

: 4 / hard - medium - soft

: 150 kg / 330 lbs

: front – rear – crab

: 2 x DC 24V / 12 Ah Panther standard batteries

: 54 cm / 21”- 62 cm / 24.4”

: 36 cm / 14” ; 62 cm / 24.5”

: 4 cm / 1.5”

PANTHER Twister Dolly

The Twister Dolly supply supplies precise movements around the subject and allows to easily rotate even in the tightest of spaces. The steering rod is in every angle from 0-90° adjustable.

Inner Steering Radius

Outer Steering Radius

: 42 cm / 1’6” (4-wheel-steering)

: 116 cm / 3‘1” (4-wheel-steering)

Play Load


: 270 kg / 595 lbs

: 116 cm / 3’10”

Width (narrow; tracking) : 78,6 cm / 2’ 7” ; 86,6 cm / 2’10”

Platform Height : 19,5 cm / 7’7”

PANTHER Catwheel Dolly

The Catwheel dolly enables pan movements, camera-and crane movements in the DSLR weight range. All standard movements like pushing/pulling, steering and pan/tilt as well as adjustments of the lens height are simply operated by the user’s hands with a variable balancing, an adjustable steering bar and rubberized handles.

Jib Length

Lifting Capacity

: 95 cm / 37”

: 4-6 kg

Packing Dimension : 110 cm / 43”

Transport Weight in Basic Configuration : 6 kg / 13 lbs

Matthews MSE DC Slider

Matthew’s DC-slider combines an unusually long variableangled camera slider track with mini-jib functionality. It can be quickly transformed into a vertical 6-foot tower. The DC-slider’s counterbalancing feature ensures precision camera moves are smooth and steady.

Slider Set up:

Rail Length

Tracking Length

Vertical Height

Maximum Load



Mini-Jib Set up:

Maximum Height

Working Diameter

: 73" / 185 cm

: 63" / 160 cm

: 79" / 200 cm

: 22 lbs / 10 kg

: 28 lbs / 12 kg

: 26 lbs / 12 kg

: 114" / 290 cm (w/Tripod at 63" /

160 cm)

: at Horizontal, 63" / 160 cm

Matthews MSE HD DC Slider

Matthew’s HD DC Slider features all of the operating characteristics of the original DC Slider but this “Big Brother” will accommodate camera packages up to 30kg. It operates through a wide range of variable angles as well as horizontally and the precision counter balance assures smooth operation from start to stop of the camera moves. Also, it operates as a mini jib and vertical tower as well as ground level or table top camera support.

• Rail length: 73” (185 cm)

• Tracking length: 63” (160 cm)

• Maximum Load: 70 lbs. (30 kg)

• System Weight: 90 lbs. (41 kg)

• Mini Jib working diameter: 63” (160 cm)

• Flight cases included

• Motion Control System available




The Shadow base system starts with a 29 to 49 inch telescoping carbon fiber post coupled to the Ultra 2 stage – with the patented +/- 20º tilt head – and terminating in a new solid base.

Outfitted with the Ultra 2 Gimbal, 800 NIT HD/SDI/SD monitor, dual monitor mounts, frameline generator, on-screen artificial horizon, and a dual battery mount – 12 and 24 volts

(either V-Lock or Anton Bauer), the Shadow fills the need for a heavy duty, high performance and low-cost rig.


With enhanced quick set-ups/tear-downs, and 3 standard modes to choose from, Archer 2 Series is designed to accommodate a wide range of operating needs.

The sleek 3.2” width sled design allows it to be kept closer to the operator’s body and results in less fatigue but more flexibility.

• Integra tilt head, +/- 15º

• Optional, upgradeable motorized stage, one or two motors

• Tango™ compatible

• Standard LX Vest

• G50X arm: 29” (74 cm) boom range

• 30lb (13.6 kg) max payload capacity


A new Zephyr V has an improvement from Zephyr including a stage tally sensor, monitor mounted tally LED, 3x LEMO power connectors on stage, which makes it an ever-evolving essential tool for camera stabilization needs.

• 16:9, 4.3” Return Monitor

• HD/SD 7”, 800nit LCD Monitor

• Balance and Inertial control via at base of sled and additional balance weights

• 9 to 13 lbs (4-10.4 kg) camera/load weight capacity


The lightweight Steadicam® TANGO provides long-sought floor-to-ceiling boom range with lateral reach, full stability, intuitive control and simple, economical construction. TANGO is a game-changing Steadicam accessory for use with today’s miniature HD cameras.


• Nine-foot continuous elevation and traverse with back-pan and back-tilt

• 360 degree pan, ±90 , ±90 degree tilt available throughout boom range

• Optimum pan/tilt inertia at all times

• 6 lb. camera payload @ 3:1 extension equals 29 lb. total

• Rapid conversion from “Tango” mode to conventional Steadicam

• Stable – when walking, running, climbing stairs

• Silent – no servo motor noise

• Fast – ultra-rapid traverse, elevation, pan/tilt


The Scout has uncompromising quality and all the necessary features to get the job done at an affordable price. With flyer vest, an ergonomic fit of the breast plate combined with solid metal shoulder fasteners, it assures a new comfort level for extended use and a secure fit. New vest and pad covers are easily removed for cleaning or replacement offering extended durability.

Scout Features:

• 5-18 lb. (2.3 - 8 kg) camera payload capacity

• No-tools adjustable Iso-Elastic™ arm

• Dual axis vernier adjustable stage

• Unparalleled inertial control and dynamically adjustable base

• Standard composite BNC video input connector and RCA output connector

• Standard 3-pin LEMO power in/out connectors on the base and stage

• Standard 7” LCD and choice of Anton Bauer or V-lock battery mounts




The new SOLO can easily convert between a Steadicam and a monopod, which makes it ideal for run & gun shooting situations. It is available as an upgradeable hand-held stabilizer or as a complete system with sled, arm and vest.

• Up to 10 lb (4.5 kg) weight capacity

• Folds up to a 24” x 3.5” (61 cm x 9 cm) profile

• All metal infrastructure design

• Telescopic 4-section post; Unique dynamic balance capability;

Moveable gimbal

• Removable Stage Design; Quick release camera mounting plate

• Standard 1/4-20 and 3/8-16 camera mounting

• Simple dual knob fore-aft vernier adjustment


With a lightweight Iso-Elastic Arm and ultra-low profile vest, lightweight sled with Carbon-Lite expandable Center post and low mass gimbal, it offers advanced features/benefits with low cost for the video professional.

• Iso-Elastic 2-section non-reactive arm

• Huge 28” (71cm) Lifting Range

• 3.5” LCD Color Monitor

• New Arm / Vest Interface System

• X-Y Vernier Adjustment of Stage Plate

• Professional tool-free 3-axis gimbal


The Merlin 2 stabilizer’s unique dual extended weight system greatly increases inertial stability. And its counterbalancing weight supports a wide range of DSLR, compact and professional camcorders, point-and-shoot cameras and other video-capture device models weighing from 0.23 to 2.2 kg.

• Weight 1.4 lbs (0.64 kg) (without balance weights)

• Camera Weight Capacity from 0.5 to 5.0 lb (0.23 – 2.27 kg)

• Camera Weight Capacity up to 7.5 lbs max. (3.4 kg) with

OPTIONAL Merlin Arm & Vest Accessory

OCONNOR 2575D Fluid Head

Featuring Oconnor’s patented sinusoidal counterbalance system for true, accurate balance at any point in the tilt range. Add to this Oconnor’s 2575D stepless, ultra-smooth pan & tilt fluid drag, and you’ve got the best of all possible combinations.

Capacity @ 4 / 6 / 8 in. : 60.5 / 47.7 / 39.5 kg

Handle(s) : 0° & 30°



: +90° / -90°

: 22.9 lb. (10.4 kg)

OCONNOR 2065 Fluid Head

Replacing the renowned 2060HD, the 2065 platform is equipped with dual scales, one on each side, and four handle rosettes to allow operation from either side of the head as well as front or back handle mounting.

A handy one-touch platform release lever enables one finger or hand action to undo the safety catch and open the lever, which speeds deployment and location changes in the field.

Capacity @ 4 / 6 / 8 in. : 40.4 / 32.2 / 26.3 kg

Handle(s) : 0° & 30°



: +90° / -90°

: 22.9 lb. (10.4 kg)

RONFORD BAKER Camera Tripods

The “Fluid Off” and “Fluid On” design gained a “Technical Oscar” as well as an International Patent, makes Ronford Baker’s fluid heads so famous all over the world!

Heavy Duty Tripod:

Height : 2575D

Weight : 133 lbs. (60.5 kg)

Baby Tripod:

As above, but height range from

1’8” (50.8 cm) to 3’ (91.4 cm)

Weight : 18 lb (8 kg)

Medium Duty Tripod:

Height : With legs spread at 1’6”

(45.7 cm): closed 3 ft’

(91.4 cm), fully extended

5’6” (167.6 cm)

Weight : 14 lb (6.5 kg)

Baby Tripod:

As above, but height range from 1’8”

(50.8 cm) to 3’ (91.4 cm)

Weight : 11 lb (5 kg)



TIFFEN Hot Mirror Filter

Tiffen has now addressed the problem of IR pollution with the introduction of its exclusive Hot Mirror and Hot Mirror

IRND filters. Unlike photographic film, the imaging devices in hi-definition cameras are inherently sensitive to infra-red light.

Because of this, IR pollution has become a significant issue, particularly for those hi-definition cameras that do not incorporate an internal IR blocker. To combat this issue, Tiffen has developed a special Hot Mirror filter that completely blocks

IR thru the entire spectrum. These Hot Mirror filters are the perfect solution for IR pollution with no appreciable reduction in visible light transmission.

Tiffen’s Hot Mirror filters (HM) are available as a stand-alone filter or in combination, as HMIRND.3, HMIRND.6, HMIRND.9,

HMIRND1.2, HMIRND1.5, HMIRND1.8, and new HMIRND2.1.


Full Spectrum I.R.N.D’s, have been designed for CMOS and some

CCD sensors with a heightened response in the RED Channel.

Tiffen’s Full Spectrum I.R.N.D. filters with an appropriate amount of the ‘T’ filter chemical in them. This ‘T’ chemical is combined and increased with each stop density of this Neutral

Density filter.

It is recommended to use Full Spectrum I.R.N.Ds on many of today’s cameras, since standard Neutral Density filters will allow the pollution to pass through.

Transvideo Monitor - ALEXA Package

• CineMonitorHD Evolution, with 2 shoulder strap pins and

1 bottom slide

• Screen protective cover

• 3D Swing Arm, Carbon Handle, light hood

• 2 x 4.5 GHz HDTV BNC Cable (1 m)

• mini HDMI cable, RS3 power cable

• 1xi / lens cable to display datas from Cooke™ or

Angenieux™ /i primes and zooms

• In a Pelican case with custom shaped foam

NAGRA Professional Audio Recorders

Nagra SD Hand-held Recorder

The Nagra SD is the latest generation of hand-held recorders for ultra-portable recording work. Extra rugged and made for field work it offers exceptional quality in the palm of your hand.

Principal Applications:

• Any ultra-portable recording application

Special Features:

• Removable SD media

• Built-in loudspeaker

• Stereo monitoring on mini Jack

• Stereo Line In / Out

Nagra VI Eight-channel Digital Recorder

Portable, battery powered eight-channel hard disk / compact flash digital audio recorder.

Principal Applications:

• On-Location Film / TV Production

• Portable Music Mastering / Wildlife recordings

Special Features:

• 8-Channels, SMPTE Time code, 24/192, iXML compatibility,

BWF files

• Battery powered

COTECH Lighting Filter

COTECH newly launched a new semi-rigid filter range in 2013 which is specifically designed for use on LED lighting fixtures.

Semi-rigit filter is available in: Frost/Diffusion Filters, CT Orange/

CT Blue Filters, Minus/Plus Green Filters, and Cosmetic Filters.

The regular thickness of Cotech semi-rigid filters is 850 microns

(34 mil) and will support their own weight which enables them to be fitted directly into the sliders of the LED lighting fixture without dropping out.

KOTO Lamps

With 60 year history of lamp technology development,

Koto Di-Lite lamps give off about 3 times the brightness of tungsten-halogen sources, with lumen efficiency of 85~108 lm per watt, a Color Rendering Index (Ra) of more than 90 and generate considerably less heat than tungsten-halogen lamps.

While Tungsten Halogen lamps provide virtually constant color temperature and light output throughout their life span. which makes lamp replacement possible without degradation in light output or color.



Filmlight - Digital Image Color Processing System

Digital production has come a long way, but delivering the look you want is still complex.

FilmLight makes it possible for creative decisions to be made at the start of the process, and for the results to travel effortlessly along the production pipeline.

FilmLight’s industry leading products help you to create, store and manage your media in a way that is unique and comprehensive.

New developments include:


FilmLight’s image processing system for on-set grading preview, designed to apply looks and grades at the earliest of the production process.

Baselight TRANSFER

Near-set, real-time, 4K dailies with automatic color matching between on-set grading data from FLIP and raw camera footage ensuring absolute integrity.

Baselight Editions

Extends the accessibility of Baselight into the world of editorial and VFX.


Advanced data management and storage for post-production

– all data can be managed visually with full metadata support.

Filmlight Workflow Diagram

Color Management at each stage

MTI (Mathematical Technologies Inc.)

MTI - Correct DRS

Digital Restoration System

The Industry Standard

MTI Film is the recognized leader in digital restoration, the

DRS tool at the heart of the Correct suite blazed the trail as the original digital restoration system. Correct DRS™ is now a powerful suite of automated, semi-automatic and manual tools, each designed to address the myriad of problems seen in footage from the very old to the very new.

Full Featured:

• Scratch Tool

• AutoFilter – with 3-layer dirt detection

• Paint Tool

• 3 Layer registration

• Flicker correction

• Dewarp

• Stabilization

• Noise and grain reduction

Time-Saving Efficiency

Correct DRS™ is designed to maximize time and efficiency, thus lowering costs.

New features in Correct DRS v10:

• PixelStax – Portable, Frame-Based History

• An updated history architecture makes it easy to back up,

move and share fix history

• AutoFilter Region of Interest

• Quickly preview and apply AutoFilter fixes to a specific

region of a frame

• Magnifying Loupe

• Keep an eye on the full frame while magnifying a local area

around a defect for ideal results


• Make work in 4k just as responsive as in 2k!

• Improved Timeline

• Visually improved timeline to help users better navigate

longer clips


• Smoother fix preview and review for even higher quality

fixes at any resolution

• Enhanced Paint Tool

• The new Paint Tool includes improved macro and repeat

stroke features to automate precision fixes across

multiple frames

• AutoClean

• AutoClean is a completely new tool for automated dust

and debris removal that can instantaneously detect all

defects in a shot, based on interactive motion and

contrast settings



MTI - Cortex: Control Dailies

Complete Dailies Solution

Play. Color. Sync. Transcode

Cortex::Control Dailies is a complete dailies solution - from set to delivery that includes tools for on-set playback, color correction, audio/picture synchronization, metadata management, and transcoding. The system supports all popular camera formats and provides a simple, streamlined workflow for the production of dailies editorial and screening media.

Powered by Cortex, MTI Film’s new platform that brings efficiency, usability and coherence to the process of managing file based workflows from set to screen. All Cortex applications share a common SQL database format where all project metadata is stored.

Shoot It All, Play It All

Cortex::Control Dailies can play back media from any camera in real time, so go ahead and shoot whatever’s on the truck.

Effortlessly mix clips from different cameras in a single job. Full control of camera-specific display options for cameras including

RED Epic, Sony F65, ARRI Alexa are at your fingertips. Common formats from editorial and finishing are supported as well.

Color Your Way

Set looks using Printer Lights or Lift, Gamma, Gain. Easy to use keyboard shortcuts and tangent panel support let you work in full screen or grab a mouse and use the GUI. Import LUTs and

ACES transforms for color management, and export stills and

ASC CDL metadata for use downstream in post.

Sync Fast

Auto-sync audio with matching timecode or refine to the sample with clap detection and sub-frame slipping. Forget to jam timecode or using your hands as a clapper instead of a smart slate? No problem, the tools are there to sync your audio no matter what.

Easy Setup

An intuitive user interface lets anyone get started right away.

Create deliverable templates with file type, bit rate, sizing, audio mix and burn-ins all on one page. Recall them automatically to deliver consistent results on time every day.

All Editions of Cortex::Control Dailies include:

• Support for all major cameras

• 3D LUT Support

• ACES IDT and ODT Support

• Export stills with metadata and ASC CDLs

• Set looks via Tangent Panel, Keyboard & Mouse or GUI

• Audio-image auto-sync

• Manual sync overrides for sub-frame accuracy

• Automatically pull metadata from camera and audio files

• Edit metadata and add notes for comments and issues

• Automatic background transcoding of editorial and review media

• Deliverables template editor to define burn-ins, slates, audio mix and more

Tech Specs

Cortex applications run on Windows 7 x64 and are optimized for the latest NVIDIA GPUs and Intel CPUs.

MTI - Cortex: Convey

Transcoding System

Powered by a multi-threaded background transcoding engine with GPU-accelerated image processing, Convey can create all the deliverables needed for review, editorial and mastering.

Convey can transcode from any input to any output quickly and easily. Read editorial and finishing codecs like Avid DNxHD,

MXF 1:1, Apple ProRes, DPX and OpenEXR. Also supports all the cameras available on the market today including RED Epic,

Sony F65, ARRI Alexa RAW, Phantom and more.

Output all common formats like Apple ProRes or Avid DNxHD for editorial as well as H.264, MPEG2 DVD, Blu-ray, DPX and more for review, delivery or to pass between editorial, VFX and color grading systems.


Codecs & File Formats

• Apple ProRes

• Avid DNxHD (Op-Atom)*

• Avid MXF 1-to-1

• ARRI DNxHD (VC3 Op1a)**

• Cineform

• CinemaDNG



• H.264 / AVC / XAVC*


• OpenEXR


• Sony SRMaster


Output Codecs and File Formats*

• JPEG (QuickTime / JPG) • DVD (fully authored with

• H.264 (QuickTime / MP4)

• Avid DNxHD (all bitrates)

• Avid MXF 1-to-1

• Apple ProRes (QuickTime)


• MPEG2 chapters)


• OpenEXR

• Blu-ray (fully authored with chapters)

* Output Codecs Vary

By Edition

Cameras & Recorders

• ARRI Alexa RAW

• ARRI Alexa ProRes

• Canon 5D & 7D*

• Canon C300*

• Canon C500 RAW

• Convergent Design Gemini

• Convergent Design


• Panasonic P2 AVC-Intra*

• Panasonic P2 DVCProHD*

• Phantom Gold and Flex

• RED One, Scarlet, Epic

• Sony F3 and F5*

• Sony F55 and F65 RAW

• Sony XDCAM EX3*

* Not included in Starter


** A la carte option

Other Options

• StreamViewer iPad server

• SDI Video Output

• Multi-GPU support

Background Processing

• Faster than realtime

• Transcode in the background

• Re-prioritize outputs any time

• Build reels with simple editing tools

• Batch process lists of clips


• Configurations set up once and saved with project

• Single page for choosing all output settings

• Audio: mix and map up to

16 input & output channels

• Text or image based watermarks for protection

• Burn-ins for project and clip metadata



RorkeData SAN Solution

Rorke Data has over 20 years experience providing data storage solutions for post production and broadcast file-based workflows.

Aurora RAID & HyperFS

Aurora is a purpose-built direct-attach RAID or SAN appliance that is a natural addition to Rorke’s open architecture philosophy.

Hyper FS is a scalable, high-performance storage area network (SAN) management software that is application agnostic made for cross-platform environments. HyperFS offers the Video, Film, and Broadcast industries enhanced file and project collaboration, data management, and cost saving tools that keep workflows on time and on budget.

Aurora 36Bay Aurora 24LP

4000 MB/s supports


Ideal for DPX workflows

3000 MB/s

4U 36 bay up to 108TB 2U 24 bay with 2.5


Designed for On-set

Aurora 24Bay Aurora LS

3000 MB/s supports


1500 MB/s

4U 24 bay up to 72TB 4U 12 bay up to 36TB

Ideal for 3D Ultra-quiet <30dB


Aurora and HyperFS SAN for Film Workflow Example

Bright Technologies - Storage Optimization

Maintaining high performance and low latencies in every SAN environment – with intelligent and easy-to-use technologies.

With the right technologies and tools, every heterogeneous network is able to continuously perform at peak and with low latencies, providing a reliable, predictable and more profitable workflow.

Bright Technologies is specialized in developing those unique technologies and tools - all our products are designed to enhance and maintain high performance and low latencies in the long run, and yet to reduce maintenance effort.

BrightDrive Low-latency SAN Server

BrightDrive is much more than a standard IT file server or a MDC.

Designed and engineered to fulfill essential needs in your daily business:

• Low latencies and peak performance – over time

• More uptime - and no unplanned downtime, ever

• Flawless and smooth collaboration - always

• Less maintenance effort - and no defragmentation tasks

BrightClip SA Advanced Recording Technology

The patented software technology BrightClip for proper file recording is a field-proven solution to overcome performance loss over time. BrightClip ensures optimal file layout on every metadata controller and storage subsystems.

BrightClip is an inherent part of our BrightDrive Low-latency

SAN Servers but is also available as a stand-alone software solution for every MDC.

Bright File Management - designed for media

Manage your media files - as media files.

Learn how file management tools with specialized capabilities like sequence-awareness, bandwidth-throttling and compatibility with various platforms make your life easier, faster and more efficient. And even help preventing file fragmentation and randomization - during every data wrangling task.

Instead of standard IT file managers such as Windows Explorer or MAC OS X Finder, use a file manager that understands the relationship of these files as groups and clips.

Professional Services for Media

Bright Technologies’ Professional Services is a dedicated department for solving all kinds of issues around your network

- independently of the purchase of Bright products. Bright

Technologies’ special task force, composed of the technically most qualified staff you can find, is specialized in all matters regarding infrastructure and workflow specifically in the media and entertainment business.


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Jebsen Industrial

One-stop Solution Provider for

Film & Broadcast Industry

Mission of Broadcast And Cinematic

Solutions Department

• Be the best business partner for all our principals and our clients

• Become the best solution provider and the most professional technical service provider for our clients

• Become the most professional consultancy sales for clients in focused business area

To be the most admired

and trusted

industrial enterprise creating value

and sustainability

in Asia

Jebsen Industrial Technology Co. Ltd.

Group Head Office

28/F Caroline Centre, 28 Yun Ping Road

Causeway Bay, Hong Kong

Tel: (852) 2926 2337

Fax: (852) 2882 2017

Email: [email protected]

Jebsen Industrial (China) Co. Ltd.

Shanghai Head Office

19/F East Ocean Centre

618 Yan An Road East

Shanghai, China 200001

Tel: (86) 21 2306 4784

Fax: (86) 21 2306 4899

Email: [email protected]

Jebsen Industrial (China) Co. Ltd.

Guangzhou Branch

28/F Tower B China International Center

No.33 Zhongshan San Road

Guangzhou, China 510055

Tel: (86) 20 8713 7122

Fax: (86) 20 8713 7199

Email: [email protected]

Jebsen ( Taiwan) & Company Limited

Taipei Office ( Jebsen Industrial)

6/F-5 No.21 Sec 6 Jhongsiao East Road


Tel: (886) 2 2653 0600(ext 501(

Fax: (886) 2 2653 0877

Email: [email protected]

Jebsen Industrial (China) Co. Ltd.

Beijing Branch

10/F Tower 2 Henderson Center

No.18 Jian Guo Men Nei Dajie

Beijing, China 100005

Tel: (86) 10 8519 8552

Fax: (86) 10 8519 8699

Email: [email protected]

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