ASSIMILATE (www.assimilateinc.com) today announced that SCRATCH and SCRATCH Lab version 6.1 have achieved never-before-seen performance levels in the playback of RED EPIC Stereo content. SCRATCH Lab now provides DITs, DPs and Directors with dailies playback and review of RAW Stereo EPIC streams, direct from the camera at a full 48 FPS. SCRATCH 6.1 finishing systems can achieve the same 48 FPS playback rate of EPIC Stereo content even after sophisticated color grades and VFX have been applied.

Now, Directors and DPs that are planning the next generation of stereo feature films can have the confidence of knowing that they can maintain the integrity of their shot from on-set QC and review, all the way through post-production. And best of all, they can eliminate the costly and time-consuming step of transcoding.

“48 FPS Stereo EPIC feature films are the next holy grail on the moviemaking horizon”, said Ted Schilowitz of RED. “Directors are constantly pushing the envelope to deliver the highest quality cinematic experience possible, and EPIC is the camera of choice for the majority of the top stereo productions in 2012. We’re delighted that these productions now have the benefit of 48 FPS playback, review and QC of stereo EPIC shots, on-set and in realtime, with an industry-leading tool like SCRATCH Lab. The ability to achieve 48 FPS Stereo EPIC support in a world-class dailies workflow system for less than $5,000 is astonishing”.

Jeff Edson, CEO of ASSIMILATE, said, “SCRATCH and SCRATCH Lab have been at the leading edge of digital moviemaking since the original RED One camera. Today’s announcement is just another example of how SCRATCH and Lab and RED continue to set the pace for the industry. ASSIMILATE is dedicated to delivering the highest quality, most consistent artist experience for file-based content – from image acquisition, all the way through DI and post. We’re committed to continue working in lock-step with RED as we consistently deliver the technology that changes the way the world watches movies”.

SCRATCH Digital Workflow Tools

ASSIMILATE’s SCRATCH and SCRATCH Lab deliver the industry’s most comprehensive toolset for data-centric digital cinema and broadcast productions for 2D and 3D stereo projects at up to 5K resolution and beyond. New 6.1 versions of the software, running on Mac OS X and Windows 7, feature SDI output via AJA Kona 3G graphics cards, wicked-fast dailies rendering, improved metadata and timecode handling, and enhanced RED workflow support.

ASSIMILATE is the premier provider of digital workflow and post-production tools, that have proven essential to the successful creation of thousands of studio and independent features, television shows, music videos and corporate video productions. The company’s SCRATCH products, running on Windows and Mac OSX, are the heartbeat of today’s most demanding digital post-production and dailies workflows for 2D and stereo 3D productions. They equip Directors, DPs and Artists with the state-of-the-art, intuitive, data-centric solutions they need to meet the continual challenges of increased creativity and productivity amid ever-shrinking budgets. ASSIMILATE’s SCRATCH data-centric DI system, is the most comprehensive, end-to-end cinema and broadcast imaging tool for playback, conform, editing, color grading, compositing and finishing of RED and other digital workflows. SCRATCH Lab delivers a comprehensive toolset for the review, versioning, color correction, conform and output of on-set or VFX dailies. ASSIMILATE a privately held company, with headquarters in Santa Clara, California, USA, offices in London, UK, Groningen, NL and Beijing City, CN and markets its products worldwide via a global reseller network. www.assimilateinc.com.

Orad’s lineup will include state of the art on-air graphics, studio, sports, MAM, and video server solutions for the broadcast industry
 
February 8, 2012 – Orad, world leader of award winning, real time, 3D graphics, video servers, and media asset management solutions will be presenting its newest product lineup at the upcoming 2012 NAB Show (booth SL4524). Orad’s professionals will be on-site to provide attendees with informative demonstrations and presentations of its on-air, studio, MAM, sports and video server solutions.
 
“The 2012 NAB Show is the perfect forum to demonstrate our wide variety of unique broadcasting solutions. Visitors to our booth will enjoy exciting interactive demos, giving them a feel for the endless possibilities Orad’s solutions can offer,” comments Avi Sharir, President and CEO of Orad. “This NAB Show, Orad will also be presenting some new solutions that will greatly facilitate the production workflow.”
 
NAB Show 2012 Lineup – What to See at the Orad Booth
 
Press and attendees are invited to stop by the Orad booth (SL4524) to see Orad’s award-winning solutions.
 
• TD Control: Orad’s TD Control allows Technical Directors (switcher operator) to select different video box compositions and assign different video sources to each of the video boxes, enabling tasks that could not have been achieved before, like switching on air from six video sources to completely different video sources with one click of a button.
 
• PowerPlay: PowerPlay is a turnkey solution that manages fast turnaround sports productions from ingest, through instant highlight editing, to dedicated sports media asset management in a post-production environment. PowerPlay is designed to provide a complete solution for large-scale sporting events, focusing on fast turnaround and advanced data management tools.
 
• PlayMaker: PlayMaker, Orad’s SD/HD, slow-motion video server, is designed to meet the growing challenges of live sports productions. PlayMaker provides up to 8 I/O channels of high quality ingest in multiple video formats, including DVCpro, DNxHD and JPEG200, with synchronized slow motion replay and powerful yet simple editing tools. With its “PlayNet” module, PlayMaker provides Gigabit network file sharing between servers for preview, copy, or instant playout of clips from remote servers. For an extremely fast turnaround workflow, PlayMaker introduces instant import and export capabilities to almost any storage or NLE environment. PlayMaker supports tapeless workflow with the export and import of video footage to and from NLE systems.
 
• iFind: iFind is a sophisticated media management solution, which provides the user with the ability to manage the essential elements of a complete broadcast server, graphics and archive system from a web browser. Powerful search, workflow and management functionality is available, which can be tailored to a station’s individual requirements to maintain a smooth day-to-day operation. Simple to use, the combination of the iFind user interface and rules engine produces a powerful workflow management system, the benefits of which can be quickly identified to bring a fast return on investment. The system’s iFind Asset Core is the powerful database that underpins the media asset management system, providing flexible, user configurable metadata schemas. In addition, advanced business rules based and process driven workflows enable essential functions such as archiving, restore from archive, clip movement and deletion.
 
• RadioTV: RadioTV enables the automatic broadcast of radio shows, including live videos, real-time 3D graphics and promos, over digital media without human intervention. RadioTV is completely automated and relies on unique audio detection software to identify the talent’s voice and determine which camera should be on air. Camera switching does not require human intervention and the existing workflow is maintained without any additional costs. RadioTV offers a complete set of 3D graphic templates including supers, titles, logos, promos and other elements, and supports the playback of full-frame videos, opening new revenue streams for advertising and sponsorships.
 
• Interact: Orad’s Interact enables television presenters to control and direct the content on their touch screens, video walls and other input devices, helping them engage more with their viewers. Orad now offers its dedicated OradTouch application, which enables presenters to interact with the graphics using their iPad and control the content and flow of production while moving around the production space freely. Interact supports single, dual and multi-touch displays from a variety of manufacturers, allowing broadcasters to choose the device that best suits their production’s style and budget.
 
• MVP: Emmy Award-winning MVP provides fast preparation of captivating sports highlight clips to better visualize critical plays, the flow of the game, and post-game analysis. MVP can be deployed for any sports event and can be used for live productions or highlight shows, from either the OB VAN or the studio, and supports up to 32 different cameras without camera or lens modifications. New enhancement features include: virtual camera flights between two real cameras; viewing a play as it is drawn on the coach’s drawing board comparing the position and technique of individual athletes; drawing a specific player in color on top of a black and white background, and breaking down a play into a sequence of frames to better analyze the player’s movements, and more.
 
• Maestro: Maestro addresses all broadcasters’ graphic needs for real time, pre- and post-production environments. The latest version of Maestro introduces many interesting features that improve usability in a studio environment, and the connection to external systems and data sources. The new OradControl iPad application enables television anchors to control Maestro graphics by using an iPad. Also new are integrations with Avid’s Command and an NLE plugin for Adobe’s Premiere, further expanding Maestro’s extensive list of supported NLE systems.
 
• 3DPlay: 3DPlay, Orad’s advanced channel branding solution, offers stunning 3D graphics for promo over credits, multiple tickers, video clips playback, etc. 3DPlay covers the entire workflow from integration with traffic, scheduling and automation, to frame accurate graphic playout. 3DPlay offers user management, customized metadata, and logic-based, scripting free graphics.
 
• Morpho: Morpho is a real time, 3D character generator that offers uncompromised creation and playout capabilities from a single user interface. Powerful 3D real time graphics rendering, smart graphic design tools and flexible playout capabilities are packed together, offering an efficient and easy workflow. Creation and playout are performed from a single interface, increasing reactivity in production. Morpho is the perfect solution for branding, OB VAN, news and other studio productions.
 
• ProSet: ProSet, Orad’s high-end virtual studio solution, provides a powerful dimension to any virtual studio production. ProSet can utilize any of Orad’s many tracking solutions, including its high-end Xync infrared tracking system with 360 degrees of free camera movement. By combining state of the art tracking with sophisticated graphics, ProSet enables the broadcaster to display a big studio look from a small location.
 
Book A Private Press Briefing
To set up a press briefing with a member of Orad’s management team or a private product viewing, please contact Janice Dolan at janice(at)zazilmediagroup(dot)com.
 
About Orad
Orad Hi-Tec Systems is a world-leading provider of real time 3D broadcast graphic and video server solutions including news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement. Orad’s compelling solutions streamline production workflow, enhance viewer experience, and improve production value. Founded in 1993, Orad is a public company listed on the Frankfurt Stock Exchange (OHT). More information is available at www.orad.tv
 
Press Contacts
Ofir Benovici
VP Marketing
Orad Hi Tec Systems
ofirb(at)orad(dot)tv
 
Anya Oskolkova
Zazil Media Group
anya(at)zazilmediagroup(dot)com
(p) 617.817.6559

CRASH+SUES, the hybrid VFX, animation, color correction and creative editing company, has signed executive producer Sven Shelgren. With over 20-years of experience, the industry veteran has executive produced spots for such iconic directors as Jim Johnston, John Pytka, Peter Kagan, and Paul Dektor, and worked for a prestigious list of production companies, including Dektor Film, Jon Francis Films, and Stiefel & Co. Shelgren, whose work has garnered numerous Clios, as well as awards at Cannes and MOMA, is skilled at helming productions with budgets that run the gamut from modest to millions of dollars. He brings this broad range of experience to his new position heading the Minneapolis-based company’s multi-disciplined collective of talent, and working with C+S president/owner, Heidi Habben to provide advertising, film, broadcast and emerging media clients with expanded creative resources.

 

Shelgren’s career has traversed the commercial, film and television arenas. He began working in the industry in 1978 as a repair technician and teamster dispatcher for a grip and lighting company in NYC, and then made the leap to high volume commercial producing for Jim Johnston, John Pytka, Ed Barnett and Andrzej Karpinski. In 1985, he helped launch Stiefel & Company in NYC, and as executive producer for Richard McCarthy, Steve Tobin, Peter Kagan, and Jon
Francis, he expanded Stiefel to LA and produced a long roster of memorable spots, including the multi-million dollar

 

Merrill Lynch “Bull Across America” campaign. In 1988 Sven began a six-year stint working exclusively with director
Jon Francis as executive and line producer. Their prolific partnership generated numerous award-winning spots, including multiple Little Caesar’s campaigns for Cliff Freeman Partners, SF Examiner spots for Goodby Berlin, and many others.

 

Shelgren opened his own production house, RCR Inc. in 1994, which debuted with the highly acclaimed Saturn campaign, “Mt Rushmore” and “Yellowstone” for Hal Riney/SF. That same year Sven was offered an executive and line producer position with Paul Dektor at Dektor Film, which continued for the next 13 years, where he supervised dozens of major national accounts including Michelob, Nike, AT&T, Wachovia, Huggies, and Dove. Throughout this period, Sven also produced RCR Inc. projects, working with public service agencies such as Amnesty International, as well as corporate clients like Epson, Clarion Hospitals, and the Indiana and Illinois Lotteries.

 

“I first met Sven when CRASH + SUES hired Dektor Films to produce an innovative spot for WE Energies and Laughlin Constable/Milwaukee. That was over a decade ago, and we’ve been friends ever since,” notes Habben. “I think it’s Sven’s love of the industry and passion for his craft that consistently propels his work to the next level. He brings the full breadth of his experience to every job and knows how to elevate a collaboration into a creative partnership that pushes a project farther than expected or imagined. I’ve always said he could spin more plates than anyone I know. He’s an extraordinarily talented executive producer, and I’m honored that he’s joined the CRASH+SUES team.”

 

“Sven is also a tenacious creative problem-solver who knows how to amp up the production value of a projects – whether the budget is $5K or $5M,” adds Habben. “Working in a mix of major markets – from Los Angeles and New York to Vancouver and the Mid-West – has given him a national and global perspective of the industry, which is invaluable to CRASH+SUES as we expand and diversify,” continues Habben.

Habben also recognizes the value of Shelgren’s keen eye for talent and has tasked the executive producer with recruiting talent and expanding C+S’ diverse team of animators, designs, VFX artists, creative editors, color correctors, digital strategists, illustrators and mixers.

 

Sven Shelgren’s ability to conceptualize and produce inspired media content continues to draw him into long-form work. His recent feature documentary film, A Single Woman, premiered in a session of the US Congress, as well as being recognized with screenings at both the Smithsonian Institution and at the United Nations. It tells the true story of the first US Congresswoman and lifelong pacifist, Jeannette Rankin, and earned Shelgren an Exceptional Merit in Media Award, the highest honor presented by the National Women’s Political Caucus. His short film, My Husband’s Son, was honored as a festival selection in Edinburgh, London, Los Angeles, South by Southwest, and others, also garnering Best Actress for Kathleen Wilhoite at the Festival du Cinema de Paris.

 

“Once I had the delightful experience of working with CRASH+SUES as executive producer for Dektor Films back in 2001, Heidi and I became fast friends,” says Shelgren. “She’s built a high-end multi-disciplined creative resource for providing a blend of all formats of media content – from spots and broadcast to films and emerging media – in a collaborative environment driven by a team of talent that brings a fresh aesthetic and cutting-edge creative solutions to their work. It’s a business model that has no boundaries, and I’m thrilled to have the opportunity to work together with such a talented team to make clients and collaborators all proud of the work we do together.”

 

About CRASH+SUES:
CRASH+SUES (is a seamlessly integrated creative editorial, animation, FX, motion design, color correction, finishing and multi-media company. Its collaborative team of talent is dedicated to providing advertising agencies, brands and filmmakers with fresh, innovate and cost-effective creative content. For additional information about CRASH+SUES, contact executive producer Sven Shelgren at 612.338.7947 or (sven@crash-sues.com) or visit www.crashandsues.com.

Emmy Award-winning Artist Scott Rader Joins Team
(SANTA MONICA, CA) SPY, a FotoKem company offering creative finishing services for commercials and feature films, has opened a new studio in Santa Monica, Calif. SPY: LA extends the capabilities of its main facility in San Francisco, and will specialize in VFX based commercial productions. SPY: LA began work in December on a number of visually compelling spots for such clients as UPS, Asics, THQ/UFC, Hillshire Farm and Canon. The new West Coast locale is within FotoKem’s award-winning sound studio Margarita Mix.

Visual effects artist Scott Rader also joins SPY: LA as creative director and lead Flame artist. He previously worked at top VFX studios such as Radium, Hydraulx and Digital Domain. Rader’s work on numerous television series, feature films, commercials and music videos as an Inferno artist/VFX supervisor has earned him nine Emmys, three Clio Awards, three PromaxBDA Awards and a VES Award.

“Anchored by Emmy Award-winning talent and industry leading technology, SPY: LA provides the same level of quality services that is offered in our San Francisco facility,” says Co-Founder Eric Hanson. “The two studios are securely connected by a high speed network offering real-time interface capabilities between San Francisco and Santa Monica, and this west side location greatly enhances our ability to interface effectively with our clients.”

FotoKem Senior VP Rand Gladden notes, “There is synergy and scalability for our clients in the aggregation of solutions provided by SPY and Margarita Mix. The flexibility of SPY’s interconnected locations and FotoKem’s Burbank headquarters offers a wide range of artistic and technical support from set to delivery. Our goal is to continue to support the creative community through investments in talent and technology.”
Hanson adds, “The connection and design of the facilities will empower collaboration; when there are tight turnarounds, creative changes, and advancing deliveries, this will be a great value-add for the creative process.”

About SPY
SPY was founded in San Francisco in 1998 by Darren Orr and Hanson, and acquired by FotoKem in 2009. A highly regarded creative studio, SPY has contributed to many projects for some of the industry’s leading advertising agencies, including Goodby Silverstein & Partners, TBWA\Chiat\Day, Leo Burnett, DDB, and more. Over the past several years, SPY: SF has also provided visual effects for a number of features including Fox’s Avatar and Sony Screen Gem’s Priest, as well as effects and color grading for director Francis Ford Coppola on his visually complex self-released feature, Twixt.

For more information, go to www.spypost.com, or follow SPY on Facebook (www.facebook.com/spypost).

# # #

Media Contacts:
Chris Purse / Lisa Muldowney
ignite strategic communications
818.303.8088
chris@ignite.bz / lisa@ignite.bz

New 3D BULLET RIG shown with Panasonic HPX250 cameras. The most affordable, modular 3D beam-splitter made. Adustable IO (3.5″), convergence (0-2 deg), XYZ axis, camera elevation and mirror angle (44 to 46 deg) for perfect image alignment. Fits easily on Steadicam, handheld mode (shoulder mount incl), EasyRig, jib and any tripod. Weighs just 15 lbs. Accomodates Red Epic, Scarlet, Sony EX3, F3, Canon XF305, XF105, 5D, Si-2K, & many other cameras. Visit www.3DFilmFactory.com

Inspiring Demonstrations, Collegial Atmosphere and Unparalleled Sessions Bring Experts from Entertainment, Government and Research Together in Vibrant Exchange

(Los Angeles, CA) The Hollywood Post Alliance(r) – the trade association for the post production community – has announced the lineup for the HPA Tech Retreat(r), set to take place February 13 -17 at the Hyatt Grand Champions in Indian Wells, CA. The HPA Tech Retreat is the annual conference that brings together thought leaders from digital and content creation, media and entertainment, forensics, medicine, digital imaging, to academic research.

The event consists of three days of sessions, and two days of additional conference programming including an all day super session, seminars presented by ATSC and by imaging-guru Charles Poynton, a demo room with groundbreaking technologies, cocktail receptions, a welcome dinner, and three days of breakfast roundtables, fireside chats and opportunities for networking throughout each day. The Tech Retreat is designed to foster ideas and information sharing among industry experts.

Leon Silverman, President of HPA, notes, “Our industry’s incredibly accelerated pace of change makes it extremely difficult to know to whom or where one can turn to make sure you’re plugged into the knowledge and people you need to know to survive and navigate in this environment. The Tech Retreat is a yearly way to literally get into the heads and private conversations of the people who are driving and leading our industry through this transformative change. There really is nothing like it anywhere. A ticket to the Tech Retreat is a front-row, up close & personal seat on the cutting edge.”

Mark Schubin, who has led the programming for the Tech Retreat for 15 years, sums up the event, “There will be someone there who knows the answer, whatever the question is!” And, that fact, he contends, is why the Tech Retreat remains a mandatory event for many in the industry. “It doesn’t matter what you are dealing with – movies, television, media for the physically impaired, forensics, optical issues for 3D – there are experts here who want to discuss their latest findings, show you what they’ve been working on, and share. It’s the place where questions are explored in depth.”

The Tech Retreat is also an event where technologies, chosen by a committee of experts, are presented in a carefully curated demo room. “This year I am particularly excited about the Demo Room. There are a number of truly interesting technologies and companies debuting here. We are presenting a technology that makes any camera a stereoscopic 3D camera, a 360-degree camera from which HD images can be extracted, demos of how depth perception varies with viewing distance, high frame rate tests, Ethernet AVB, and more. It’s inspiring to say the least.” Schubin concluded.

Registration for the HPA Tech Retreat is limited. Information and registration is available at http://www.hpaonline.com/mc/page.do?sitePageId=130712. The Tech Retreat is sponsored by the Hollywood Post Alliance(r), serving the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

A complete schedule of the event is available online by clicking here: (http://www.hpaonline.com/mc/page.do?sitePageId=130539). A summary of speakers, panels, and participating companies follow.

Expert speakers confirmed include:

o Andrea Kalas
o Andy Maltz
o Annie Chang
o Arjun Ramamurthy
o Bob Liodice
o Brian Zents
o Bruce Devlin
o Chris Lennon
o Clyde Smith
o Craig Merkin
o Craig Todd
o Curtis Clark
o Dan Germain
o Debra Kaufman
o Edgar Shane
o Geoffrey Tulley
o Henry Gu
o Jenny Read
o Jerry Pierce
o Jim Berger
o Jim DeFillipis
o Jim Taylor
o John Hurst
o Larry Thorpe
o Leon Silverman
o Mark Aitken
o Mark Lemmons
o Mark Schubin
o Masayuki Sugawara
o Michael Koetter
o Mike Krause
o Paul Chapman
o Peter Putman
o Peter Symes
o Phil Squyres
o Rob Hummel
o Sean Cooney
o Skip Pizzi
o Steve Kochak
o Steven Poster
o Tim Claman
o Tom Burn
o Wendy Aylsworth

Also joining the line-up are the filmmakers from the Girl with the Dragon Tattoo, and an announcement of additional speakers is expected shortly.

Panelists representing studios, companies, and organizations include:

ABC
Adobe
ATSC
ARRI
Barco
Belden
Canon
CBS
CNN
DECE
Deluxe
Digital Domain
Digital Projection
Disney
Dolby
DVS
Fox
Harris
ICG
JVC
Laser-Illuminated Projector Association (LIPA)
Light Iron
NAB
NBC
Newcastle University
NHK
Oracle
Panasonic
PBS
RE: Vision Effects
RED
Rods & Cones
Sinclair
SMPTE
Sony
Sony Electronics
Technicolor
The Association of National Advertisers (ANA)
Vision Research
Warner Brothers
Walt Disney Company

More programming, panelists and organizations are to be announced shortly.

The HPA Tech Retreat is known for presenting topical, latest-knowledge panels and presentations. Among others, this year’s presentation topics include:

o Forecast for SuperSession 2012: Snowflakes with an Increasing Chance of Clouds
o 4K Cameras and their Workflows
o The Image Interchange Framework Demystified: What It Is and Why It Matters
o High-Dynamic-Range Acquisition
o Optical Temporal Filtering
o Broadcasters Panel
o The Current State of Connected TV
o The Home Ecosystem: What Will Make It Work?
o CES Review
o HPA Monitor Symposium Recap
o Next Generation Projection Systems
o Getting Creative Intent to the Viewer
o Digital Commercial Slates: a New Era in Commercial Workflow – a bicoastal live presentation
o Washington Update
o CALM Down? Stereo vs. Surround Loudness
o VFX Panel
o IMF Moving Forward
o What Happened to Dailies?
o Digital Preservation: An Ecosystem
o Perceiving 3D
o Increasing Resolution by Covering the Image Sensor, and much more.

Sponsors of HPA Tech Retreat in 2012 include: AJA, Dolby, DataDirect Networks, and Testronic Labs and Media Sponsors Createasphere, Post Magazine and LA 411.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

# # #

Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Hollywood, CA – 3D Film Factory, the leader in professional, affordable 3D camera rigs, introduces the world’s lightest, most affordable, hand-held 3D rig – the 3D Bullet Rig. Ready to “Load & Shoot”, this versatile 3D system is literally unshakable for handheld, Steadicam, Easyrig, or tripod filming.Priced at a fraction of other professional 3D rigs (under $5K), this compact beam-splitter rig is the perfect solution for location, reality, or action 3D filmmaking. It’s features actually surpass that of other more expensive rigs. For more information on the 3D Bullet Rig visit www(dot)3DFilmFactory(dot)com

“The 3D Bullet Rig is going to take 3D production to a whole new level. I love this rig. It’s incredibly light, rock steady and most of all – it’s really easy to shoot with from your shoulder, or tripod. This rig is a 3D filmmakers dream, very versatile“, said the company’s veteran stereographer Keith Driver. “Most 3D rigs are bulky, expensive and worst of all – tripod bound. They require a crew to operate. We’ve shot 3D projects in Africa, the Middle East, Hollywood soundstages, you name it we’ve done it in 3D. And we realized we needed a more mobile 3D rig. A 3D rig you could just pick up and shoot with. This is the 3D Bullet Rig.”

The 3D Bullet Rig makes handheld 3D filming effortless and smooth by transferring the weight to your waist and shoulder. Each 3D rig includes a spring-loaded suspension rod, comfortable weight displacement belt and adjustable, padded shoulder mount. The result is hours of mobile, handheld 3D filming capability. In addition, the rig features detachable rubber hand grips for easy manoeuvring and a standard tripod mounting plate (¼-20 and ?-16 holes).

Weighing approx. 15 lbs. (5.8 kgs.) the Bullet Rig accommodates the Red Epic, Canon DSLR 5D, 7D, XF105, XF305, XH-G1, Sony F3, EX3’s, HDCP1, X5U, Z1U, Panasonic AF100, HPX250 and many other professional HD cameras.

The rig also features custom camera mounts that easily lock and load cameras into place using a standard quick-release plate from Bogen/Manfrotto. The horizontal camera mount offers IO (inter-ocular) adjustability from 0” – 3.5” (0 – 89 mm) and simple convergence movement from 0°-3°. Both functions are easily controlled using smooth, accurate finger knobs, with calibration markings. The vertical camera mount adjusts for perfect stereoscopic picture alignment by elevating and performing full x-y-z rotation (yaw, roll, tilt).

The light-weight, mirror box housing is constructed using space-age foam core plastic that’s durable, corrosion-free and substantially cooler than a metal matte box. This ensures your beam-splitter glass with its expensive coatings will stay cool on hot days. The rig itself is hand-milled employing a nearly indestructible aluminium alloy frame.

Perfect for traveling light, the entire 3D Bullet Rig is ingenuously designed to set-up and break down in a matter of minutes, packing into a small, water-tight pelican case.

As a bonus, the horizontal rail easily detaches, along with the camera mounts, transforming into a side-by-side rig 3D for wide and landscape stereography.

Our opti-prime, 50/50 beam-splitter glass is optimized to meet the demands of 3D filmmaking. See specs. Within the matte box, a simple adjustment tool allows stereographers to fine tune the glass angle from between 43° to 47°.

The outcome is simply the world’s most affordable, professional handheld 3D rig.

It should be noted that using our simple Lanc system camera operators can now synch start/stop, focus, alignment, lens shift and many other vital functions thru both cameras or individually.

The 3D Film Factory offers a complete line of 3D beam-splitter rigs intended for HD camcorders, as well as larger ENG and broadcast style camera. In addition, we offer several inexpensive side-by-side rigs and real-time 3D viewing solutions. To learn more about 3D camera rigs, 3D viewing systems, 3D production services, or 3D training workshops visit – www.3DFilmFactory.com

About the 3D Film Factory
Established in 2008 by award-winning filmmakers and veteran stereographers, the 3D Film Factory has been the worldwide leader in professional, affordable 3D camera rigs and real-time 3D monitoring solutions. In addition we provide a host of 3D production services worldwide including, stereographers ‘for hire’, 3D camera rig rental, 3D viewing systems, and 3D post, as well as intensive 3D training workshops. Former clients include ESPN, NASA, Disney, HD Cinema, Pinewood Studios and Discovery. For more information visit www.3DFilmFactory.com

3D Film Factory Introduces the All-New, Handheld 3D Rig Designed to Capture Incredible, Accurate Stereoscopic Images on the Move

Hollywood, CA – 3D Film Factory, the leader in professional, affordable 3D camera rigs, introduces the world’s lightest, most affordable, hand-held 3D rig – the 3D Bullet Rig. Ready to “Load & Shoot”, this versatile 3D system is literally unshakable for handheld, Steadicam, Easyrig, or tripod filming.

Priced at a fraction of other professional 3D rigs (under $5K), this compact beam-splitter rig is the perfect solution for location, reality, or action 3D filmmaking. It’s features actually surpass that of other more expensive rigs. For more information on the 3D Bullet Rig visit www(dot)3DFilmFactory(dot)com

“The 3D Bullet Rig is going to take 3D production to a whole new level. I love this rig. It’s incredibly light, rock steady and most of all – it’s really easy to shoot with from your shoulder, or tripod. This rig is a 3D filmmakers dream, very versatile“, said the company’s veteran stereographer Keith Driver. “Most 3D rigs are bulky, expensive and worst of all – tripod bound. They require a crew to operate. We’ve shot 3D projects in Africa, the Middle East, Hollywood soundstages, you name it we’ve done it in 3D. And we realized we needed a more mobile 3D rig. A 3D rig you could just pick up and shoot with. This is the 3D Bullet Rig.”

The 3D Bullet Rig makes handheld 3D filming effortless and smooth by transferring the weight to your waist and shoulder. Each 3D rig includes a spring-loaded suspension rod, comfortable weight displacement belt and adjustable, padded shoulder mount. The result is hours of mobile, handheld 3D filming capability. In addition, the rig features detachable rubber hand grips for easy manoeuvring and a standard tripod mounting plate (¼-20 and ?-16 holes).

Weighing approx. 13 lbs. (5.8 kgs.) the Bullet Rig accommodates the Red Epic, Canon DSLR 5D, 7D, XF105
XF305, XH-G1, Sony F3, EX3’s, HDCP1, X5U, Z1U, Panasonic AF100, HPX250 and many other professional HD cameras.

The rig also features custom camera mounts that easily lock and load cameras into place using a standard quick-release plate from Bogen/Manfrotto. The horizontal camera mount offers IO (inter-ocular) adjustability from 0” – 3.5” (0 – 89 mm) and simple convergence movement from 0°-3°. Both functions are easily controlled using smooth, accurate finger knobs, with calibration markings. The vertical camera mount adjusts for perfect stereoscopic picture alignment by elevating and performing full x-y-z rotation (yaw, roll, tilt).

The light-weight, mirror box housing is constructed using space-age foam core plastic that’s durable, corrosion-free and substantially cooler than a metal matte box. This ensures your beam-splitter glass with its expensive coatings will stay cool on hot days. The rig itself is hand-milled employing a nearly indestructible aluminium alloy frame.

Perfect for traveling light, the entire 3D Bullet Rig is ingenuously designed to set-up and break down in a matter of minutes, packing into a small, water-tight pelican case.

As a bonus, the horizontal rail easily detaches, along with the camera mounts, transforming into a side-by-side rig 3D for wide and landscape stereography.

Our opti-prime, 50/50 beam-splitter glass is optimized to meet the demands of 3D filmmaking. See specs. Within the matte box, a simple adjustment tool allows stereographers to fine tune the glass angle from between 43° to 47°.

The outcome is simply the world’s most affordable, professional handheld 3D rig.

It should be noted that using our simple Lanc system camera operators can now synch start/stop, focus, alignment, lens shift and many other vital functions thru both cameras or individually.

The 3D Film Factory offers a complete line of 3D beam-splitter rigs intended for HD camcorders, as well as larger ENG and broadcast style camera. In addition, we offer several inexpensive side-by-side rigs and real-time 3D viewing solutions. To learn more about 3D camera rigs, 3D viewing systems, 3D production services, or 3D training workshops visit – www.3DFilmFactory.com

About the 3D Film Factory
Established in 2008 by award-winning filmmakers and veteran stereographers, the 3D Film Factory has been the worldwide leader in professional, affordable 3D camera rigs and real-time 3D monitoring solutions. In addition we provide a host of 3D production services worldwide including, stereographers ‘for hire’, 3D camera rig rental, 3D viewing systems, and 3D post, as well as intensive 3D training workshops. Former clients include ESPN, NASA, Disney, HD Cinema, Pinewood Studios and Discovery. For more information visit www.3DFilmFactory.com

New 3D BULLET RIG shown with Panasonic HPX250 and Canon XF305 cameras, is the most affordable, modular 3D beam-splitter available today. It features adustable IO (3.5?), convergence (0-2 deg), XYZ axis, camera elevation and mirror angle (44 to 46 deg) for perfect image alignment in every situation. Fits easily on Steadicam, in handheld mode (shoulder mount incl), with EasyRig, on a jib and any tripod. Weighs just 15 lbs. and is 15? wide. Accomodates Red Epic, Scarlet, Sony EX3, F3, Canon XF305, XF105, 5D, Si-2K, & many other professional cameras. For more information visit www.3DFilmFactory.com

New 3D BULLET RIG shown with Panasonic HPX250 and Canon XF305 cameras, is the most affordable, modular 3D beam-splitter available today. It features adustable IO (3.5″), convergence (0-2 deg), XYZ axis, camera elevation and mirror angle (44 to 46 deg) for perfect image alignment in every situation. Fits easily on Steadicam, in handheld mode (shoulder mount incl), with EasyRig, on a jib and any tripod. Weighs just 15 lbs. and is 15″ wide. Accomodates Red Epic, Scarlet, Sony EX3, F3, Canon XF305, XF105, 5D, Si-2K, & many other professional cameras. For more information visit www.3DFilmFactory.com