Wooden Camera has announced a host of new products in time for IBC. Alexa Mini LF and Blackmagic Pocket 6K accessories, Fujifilm/RED Ranger/ ARRI LPL Lens Mounts and a new 26V battery system for ARRI Alexa LF, 65 and SXT. Dionic Series 26V The 26V battery system is the most significant announcement of the lot. Teaming up with Anton Bauer (who are also part of the Vitec Group) Wooden Camera has announced the Dionic 26V Series. The Dionic 26V Series is a full battery ecosystem- two Gold Mount camera battery plates, Flush and Sharkfin (single and double battery mounts respectively) 98Wh and 240Wh 26V batteries, a simultaneous dual voltage quad charger and a quad discharger. The 26V system is designed for use with power hungry cameras like the ARRI Alexa LF, SXT and 65. Offering 12A output for multiple high-powered accessories. “More efficient and effective than dual voltage batteries, DIONIC 26V batteries feature a design dedicated to one voltage to deliver a longer battery lifetime and less heat for a stronger battery.” The Batteries There are two new batteries – the Dionic 26V 98Wh and the Dionic 26V 240Wh. Naturally, with any premium battery line there is over-discharge, over-voltage, short circuit and thermal protection. The batteries feature Gold Mount Plus that Anton Bauer bill the “Most Secure Battery Mount”. Like other Dionic series these feature an LCD screen with run time down to the minute. Anton Bauer state the below discharge times: As these are coming directly from the battery manufacturer, expect these figures to be best case. Battery Plates The battery plates are where Wooden Camera comes in – the 26V Gold Mount Plus (single battery) and the 26V Gold Mount Plus Sharkfin Battery Bracket (dual battery), with all subsequent features applying to both mounts. There is a screen on the side for voltage information, as well as 15V p-taps on the top and on the dumbside of the plate. There is a prioritized 2-pin DC input on the same side that will allow hot-swapping of batteries when a DC source is connected (either block battery or compatible AC adaptor). Chargers The 26V Gold Mount Plus charger is a dual voltage charger. It will receive up to four 14.4V Gold Mount or 26V Gold Mount Plus batteries. Most importantly, it is simultaneous and the smart technology allows for the new 26V batteries to charge quicker than 14.4V versions; a 98Wh 26V will charge as quick as 1.5hours. The quad discharger is great for travel; it will discharge 4 batteries to less than 30% to meet IATA travel regulations. Mini Touch and Go System Wooden Camera has announced a few other products for IBC. The Mini Touch and Go System is a follow up to their quick release announcement last year. The Mini version is an 80mm quick release plate compatible with Sachtler 16, Ronford Baker Mini-RBQ and 80mm Oconnor Euro. It is a very simple go between adaptor allowing a quick snap on, snap off action to your tripod plate. ARRI LPL Mount for RED Ranger Camera Right inline with the new RED Ranger announcement comes a new mount from Wooden Camera allowing use of ARRI LPL mount lenses on the RED Ranger cameras. The mount allows full frame lenses like the ARRI Signature Series to work with the original RED Ranger Monstro, but naturally will work with the new super35mm Ranger cameras also. There is an external LDS- port that is not currently in use: “Once external LDS-2 metadata workflows are created, this port can be connected to a metadata recorder.” Fujifilm G Mount (GFX) to ARRI LPL Mount Adapter Sticking with ARRI LPL, this Wooden Camera lens Mount allows ARRI Signature Primes to be used with Fujifilm G Mount (GFX) Cameras. It comes with a ¼ 20” thread on the bottom for lens support – essential when considering how small the camera body will be in comparison to the adapting lens. It is calibrated from factory, but is shimmable in the field should adjustment be necessary. “The adapter is shimmable by loosening six socket cap screws around the collar area, separating the two sections, and adding color coded shims of various thickness. Back focus should be checked using collimation tools or a wide lens focused to infinity.” ARRI Alexa Mini LF and Blackmagic Pocket 6K Accessories Start Shipping Last from Wooden Camera is shipping of Alexa Mini LF accessory kits as well as accessories for the Blackmagic Pocket 6K. Like all Wooden Camera camera-specific accessory kits, the new lines are available in Base, Advance and Pro configurations. Alexa Mini LF Accessories The Wooden Camera Alexa Mini LF system is built around a cage design. Nato rails on the top and both sides allow use of quick-release accessories – the top handle can swivel and slide and the sides feature rosette attachments. All faces have an array of 1/4 20” and 3/8” holes. The battery plate in Base configuration is attached to the top plate, this is nice as it keeps the setup small, this can swivel and slide to allow better balancing and rear access. The baseplate separates in two – the first plate is an Arca Swiss compatible (great for compact solutions), the lower plate houses 2 15mm LW rods has an ARRI Dovetail receiver. The Advanced model adds a 12” dovetail plate, longer 15” 15mm rods and moves the battery to said lower rods for fine-tuning balance. The Pro model add a viewfinder mount on the top, and Bridge plate on the bottom in either 19mm or 15mm studio configuration. The baseplate is certainly the USP of the Wooden Camera system – the 3-stage Arca Swiss/ARRI Dovetail/ARRI Dovetail Bridge Plate design is really nice in bulking up & slimming down your rig quickly. It’s a shame the bridge plate is not snap on/off. Blackmagic Pocket Cinema Camera 4K/6K Accessory Kits The Blackmagic Pocket 6K (and 4K) accessory kits are built around a half cage configuration. Wooden Camera has chosen 15mm rod as the main protocol on this lightweight camera platform. A 15mm rod stem connects the top and bottom plates, as well as attaching the swivel-able top (wood or rubber) handle. The baseplate is Manfrotto tripod plate compatible, as well as having a 15mm LW rod attachment with ARRI dovetail receiver. The 15mm rod side stem offers mounting points for their port protectors for both HDMI and USB (for SSD recording). The Advanced kit adds a Noga arm style monitor mount and ARRI Dovetail. The Pro version adds a 15mm Rod mounted battery plate for use with battery mounts like V lock or Gold Mount, as well a DSLR A-box for dual XLR inputs. That’s a ton of info that you probably stopped reading half way through! Pricing in links below for all related items.

The RED Ranger camera is now open to public purchase by announcement of two new models. The previously rental house only body will now sport their two 2 Super35mm sensors – the Helium 8K and Gemini 5K. Earlier this year, RED announced the RED Ranger, an ergonomically refined, production ready camera available only to rental houses. It was reminiscent of the Panavision DXL2, which also shares the same Monstro 8K VV sensor. RED Ranger is now available in two Super35mm versions, ready to purchase – The Helium 8K S35 and the Gemini 5K S35. What Is The RED Ranger Whilst still adhering to the RED modular ethos, the Ranger is more production ready than DMSC2 bodies. Out of the box it features two independent SDI outputs plus an additional monitor out, genlock, timecode, XLR audio. Multiple Aux power, 24v RS. It is similar in features to a DMSC2 with a Production Module back, but with better ergonomics. Power outs are placed around the camera – 24V RS is found at the front, right where it should be for focus units. Control panel is on the assistant side, the larger body houses has larger fan for more efficient temperature management. The PL mount is shimmed for better back focus, battery mount is V lock or Gold Mount. The camera body weighs around 7.5 .lbs. RED Ranger Goes Super35 The original Monstro 8K VV currently remains Rental House only, but the new Super35 versions can be purchased. Pricing starts at $24,950 (full pricing below), and specifications remain the same as their DMSC2 counterparts. The Red Ranger Helium8K S35 has the same 8K sensor it always has. Still has a max full format framerate of 60p in 8K, 5:1 & 12:1 compression ratios in 8K for 24p and 60p respectively. Likewise with the RED Ranger Gemini 5K S35 – same sensor, 96p 5K full format, 2:1 & 6:1 compression ratios for 5K 24p & 60p respectively. The difference really is the ergonomics, peripherals and cooling. Full specification for both cameras in links below. Pricing Pricing for the RED Ranger Helium 8K S35 starts at $29,950, and the Ranger Gemini 5K S35 starts at $24,950. It wasn’t too clear where the RED Ranger would sit with the initial Monstro announcement. Rental House only cameras can often sit in a bracket that only really makes them viable for feature/large content productions. These two new announcements suggest RED are making strides to produce a more ready to go camera. Sony Venice, DXL2, ARRI Amira, Alexa are all singular items on a camera kit list. With RED DSMC2 there are grey areas – does it comes with XLR audio? What are the power options? Will the AC’s Preston system work with the package; every hire company’s RED cameras are different. The RED Ranger line should be a little more straight forward, offering much more out of the box so there is less ambiguity. Are you considering to buy a RED Ranger? How do you feel about RED’s current offerings? Let us know in the comments below. 

New Camera, new accessories. Bright Tangerine has announced the Canon EOS C500 Mark II Left Field Cage, an as-the-name-suggests cage offering multiple accessory mounting points, top and bottom rail mounts as well as a snap on, snap off ARRI Dovetail baseplate system. The Canon EOS C500 Mark II (our first-look video can be found here) may be the most ergonomically conscious Cinema Camera Canon has made to date. But naturally, with any camera, third party accessories will start to roll out. Bright Tangerine is quick off the mark with the Canon EOS C500 Mark II Left Field Cage, it seems the UK-based company has focused on stability, weight, and speed with their design. Bright Tangerine bills the Left Field cage as load-bearing, whilst weighing 1.2kg (2.2. lbs.), 30% lighter than their C200 equivalent. Starting from the top-down, the top handle is Allen key attachable, with a shoe-like mount on the front for the native screen, there are ARRI spaced ¼ 20” thread on the side and top. The top plate has an array of ¼ 20” and 3/8” threads, as well as 15mm top rail receivers and a 15mm stud receiver for accessories like the Titan Arm. Said top plate slides front to back for perfect balance also, nice. Flanking both sides of the camera you have more 1/4 20” and 3/8” threads, the dumb side also has a rosette receiver. Both side panels follow the contours of the camera on the operator side, which are far enough forward to not interfere with any of the buttons. The base offers dual 15mm rods in lightweight configuration, as well as perhaps the Left Field Cages most unique feature, the dovetail receiver. The ARRI Dovetail receiver snaps on and off, meaning you don’t have to slide the camera off the dovetail; a feature very common in smaller camcorder orientated tripod wedges but has taken some time to transfer into ARRI Dovetail standard. No price announced yet, but expect an update in the upcoming weeks. The Canon EOS C500 Mark II Left Field Cage will be available as a complete kit or split into individual components (baseplate, top plate, side plates). Do you have any experience using Bright Tangerine accessories? How is their built quality? If yes, please share with us your thoughts in the comment section below. 

Freewell has announced a new line of quick-release filters for DSLR and Mirrorless systems. The Magnetic Quick-Swap Filter System offers a variety of filters including Circular Polarizer and Neutral Density that snap on and off in seconds. Freewell is not new to the filter industry, better known for filter systems for pro-consumer drones and action cameras. This is their first venture into more conventional filter sizes suitable for Mirrorless and DSLR cameras. Image credit: Freewell How It Works The Magnetic Quick-Swap Filter System promises lightning-fast filter changes, and the clue to its method is in its own name. Rather than the time-consuming approach of threading filters onto the front of your lens, Freewell Quick-Swaps operate utilizing a magnetic system; filters snap on and off in seconds. It does this by provisionally mounting a UV filter to the front of your lens; the filter has the magnetic front component attached to all other quick-swap filters. Freewell has noted in their YouTube video comments from viewers regarding concerns of always going through a UV filter, however, the company states that the system does not impair image quality. Image credit: Freewell What Filters Are Available Current filters available in the Quick-Swap system: ND64 (6 stops) ND1000 (10 stops) Circular Polarizer (CP) Light Pollution Reduction (NV) End Cap* *The end cap serves as a normal lens cap with the addition of utilizing the same magnetic mounting system as the filters. Image credit: Freewell The current filter line up is set up more intimately for photographers – a full range of neutral density filters, as well as a variable ND, would be useful for videographers. The Magnetic Quick-Snap Filter system is available in 67mm, 72mm 77mm, and 82mm. You can also step up through conventional step up rings, and double stack if you wish to use existing filters, as all Freewell Quick-Swap filters have a threaded front. Image credit: Freewell My Thoughts This is not the first time we have seen magnetic filter systems, and they’re no doubt a concept of high interest for self-shooters that demand fast operation from their kit. (Xume magnetic filter concept by Manfrotto offers a similar solution). As mentioned, Freewell needs to expand its lineup to make this a solid option for video work; a filter-less magnetic mount would be useful also for pure-use with other filter systems. The starting price of $99 a filter is attractive, but to truly benefit from the quick-swap system, multiple purchases to cover your wider lens package is advised.

A large network of Hollywood’s biggest filmmakers and studios are supporting “Filmmaker Mode” – a new TV setting that will enable films to be displayed the way they were intended to be seen. Filmmaker Mode will look to disable all post-processing commonly found in modern televisions, in a hope to simplify how a consumer can view films the way they were supposed to. LG, Panasonic and Vizio are amongst the electronics companies to partner with the UHD Alliance (UHDA) who will look to standardize the new TV setting. We’re looking forward to see this new setting find its way into all their new television sets – and it remains to be seen if all the manufacturers will fulfill their promise to completely disable all their image manipulation settings once the “Filmmaker Mode” is switched on. Prominent Support from Hollywood Veterans & Industry Giants The growth of consumer electronic technology, along with an increased level of home screen viewing has led top names within the industry to make their opinion known. Martin Scorsese, Christopher Nolan, James Cameron, Rian Johnson, JJ Abrams, Ryan Coogler amongst many more have endorsed Filmmaker Mode. The list of UHDA members is growing, including the likes of Amazon, Dell, Dolby, Google, Intel, Panasonic, Philips, Paramount, Samsung, Sony, Toshiba and Warner Brothers. With a roster this large and star-studded endorsements it can only be assumed that things will move pretty wide and fast. Why do we need this? As a consumer it can be very easy to become lost with the caverns of multi-standard consumer electronics. Dynamic contrast, Motion Smoothing, Color Enhancement – all buzzword settings that a regular consumer would naturally seek to enable. Or rather, not disable – in many cases, all those settings are enabled by default in televisions. It is also often not easy to find out which settings actually alters the image and which one doesn’t – Filmmaker Mode was created to make that process easy, switching the look of content to the way it’s “coming into the TV” without any additional alterations. Only the savvy or people within our industry will know that the result is often a lot of unnecessary post-processed colour, brightness and clarity boosting, often with merged frames, odd aspect ratios and pushed contrast levels. “I care deeply about how cinema is experienced at home because that’s where it lives the longest. With Filmmaker Mode, we can collectively help make the consumer experience more like it is in the cinema.”, says Ryan Coogler. Are you suffering like we do when you see a TV which has “motion smoothing” enabled? Have you spent hours explaining to your parents why the settings on their TV are wrong? Let us know in the comments below. 

The cmotion Cinefade VariND system is now available for purchase, a previous hire-only package that utilizes revolutionary technology to wirelessly control neutral density. It was two years ago at CineGear 2017 where we interviewed founder Oliver Janesch Christiansen on the original cmotion Cinefade VariND system. This year they have announced a purchase-friendly package, no longer requiring a specialist technician to operate. The technology is revolutionary – it is one of the few systems to offer mechanical changing neutral density. It does so through two circular polarizing filters – a motorized polarizer and a static polarizer. When worked in conjunction they offer a variable neutral density filter. The system is built around the cmotion focus ecosystem. When paired with cmotion motors and controller you can wirelessly control the level of neutral density. What’s smart about the system is it can slave to your iris motor, making exposure changes seamless. This is a unique effect in itself – being able to control depth of field independently from exposure; blur the background more or less without changing the exposure. The motorized variable ND alone is great for saving time with filter changes or when filter changes are very tricky due to hard-to-reach camera body (steadicam, techocrane etc.). A handy bi-product of the system is a motorized polarizer (just using the single filter). The full-filter system is designed to work with 2-stages on a 4X5 compatible mattebox. The LBUS cable peripherals work with ARRI and cmotion systems. In more compact solutions, it can just require power via LBUS, and you can control ND levels on the motorized polarizer filter itself. The level of neutral density starts at 1.5 stops (approx. ND.4) and can provide up to 8 stops ND, with an optical safe range (reduced color shift) of 5 stops. See below handy graph. CineGear will once again be a platform for checking out the Cinefade system, now in purchase form. Pricing as follows: cmotion Cinefade VariND (motorized and static polarizer with case) €7980/$8885 +tax. cmotion cPRO Motor Kit (cPRO hand unit, cPRO motor & accessories) €7280/$8100+tax cmotion cPRO Camin Kit (cPRO hand unit, cPRO camin & accessories) €5980/$6655+tax What do you think, will this catch on? Can you see yourself using variable ND filters for your productions on a regular basis, when shooting on high-end cinema cameras?

Vocas has announced a new 5-axis diopter holder. Offering up precise positioning control of varied diopter lenses. There is quite the variety of types of diopters now available – standard, split field, strip, letter box, effects vary from simply reducing the focus distance of your lens, to offering specific or split focus within your frame. The Vocas 5-axis diopter holder enables you to have more control over these filters, offering up adjustment for pitch, roll, yaw, vertical and horizontal shift. Each axis can be controlled independently and accurately; you can precise dial in your desired position of your diopter filter. The Vocas 5-axis Diopter Holder has built in 15mm compact rod support, but will ship with a 19mm adaptor also. It also has a thread on the top for mounting accessories. It will work with any 138mm round filter, the industry-standard format for diopter filters. It’s a specialist bit of kit for sure, but one that will find more than one use. Macro DP/photographers will enjoy the refined control you now get with close up lenses. Of course there is the traditional use of split diopters (and now any combination in-between) where foreground and background elements of your frame remain in focus (Spielberg’s Jaws being a classic example). You can also use them in perhaps a less-conventionally-considered way in creating interesting foreground detail elements; utilizing the fact there’s a nice chunk of light refracting glass in front of your lens. If you are heading to CineGear later in the week, the 5-axis Diopter Holder will be will be there for you to check out. We’ll take a look at it in one of our site videos. What do you think about it? Let us know in the comments below.

The SmallHD Cine 7 is a new on-camera monitor supporting advanced camera control via touchscreen display for Arri, RED and Sony. Furthermore, there’s a new 702 touch monitor which is a refined and upgraded model of the popular 702 bright. Another day another SmallHD monitor… There’s a plethora of them out there, but rather than bolstering an existing line, the SmallHD Cine 7 offers something completely new – integrated camera control via touchsreen. SmallHD Cine 7 Monitor Currently compatible with ARRI Alexa Mini and Amira, but future compatibility is also promised for RED and Sony. The Cine 7 is a 1800 nit, daylight viewable display with 100% DCI-P3 coverage. The advanced camera control allows you to change settings such as white balance, shutter angle, exposure index and record start/stop through the 7” touchscreen display. It does so through Ethernet connection; there’s a full size port on the bottom, along with other peripherals like SDI in/out HDMI in/out, 10-34V, 2A DC power via 2 pin Lemo, SD card and 3.5mm headphone jack. Additional power options are available through a removable battery bracket, V lock, Gold Mount and Sony L series are all supported through individual mounts. The removable battery bracket also allows for compatibility with Teradek wireless systems; TX and RX versions will both become available. Like all current SmallHD monitors the Cine 7 supports OS3, meaning on top of the advanced camera control you get all the software tools from SmallHD for exposure and focus aids, overlay features and LUT support. I will update this article with links when they are available, but pricing looks to retail at $1799 with a Gold Mount or V Lock battery mount, wireless options starting from $2749, and the ARRI camera control feature requiring a separate license. SmallHD 702 Touch The new 702 touch monitor is a refined and upgraded version of the popular 702 bright series. It sports 1500nits of brightness, comes in an upgraded chassis and sits just under the new flagship Cine 7 model in terms of functionality. It obviously lacks the camera control features but still offers HDMI and SDI in/out and –as the name suggests– a high resolution touch display. It also offers upgraded DCI-P3 gamut in comparison to the REC 709 of the 702 bright. The whole unit sits in a unibody design and comes with a total of four 1/4-20 mounting which is always nice to have. You can power the 702 touch with either 10-34V DC through its dedicated power input or via the included dual Sony L-series battery mount. That mount can be swapped out with either a Gold Mount or V-mount battery plate, too. All the OS3 software tools are available with this monitor, of course. Links: SmallHD Cine 7 | 702 touch What do you think? Share your comments in the comments section below!