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September 16, 2010

Table of Contents

The Moving Picture: Encoding Tips for 24p Footage
The Business Coach | Be Profitable: Handling Price Objections the Right Way
Nikon Introduces D7000 DSLR
Sony Creative Software Licenses proDAD Video Stabilization Technology for New Vegas Pro 10 Video, Audio, and Blu-ray Disc Creation Suite
CHV Updates The Bezier Garbage Matte Pro V4.0
OConnor Intros Mattebox for Digital Cinematography
Anton/Bauer Tandem 150 Makes International Debut at IBC 2010
Imation Expands Award-Winning Apollo External Hard Drive Portfolio

The Moving Picture: Encoding Tips for 24p Footage

If you’re shooting in 24p, you should deliver your projects in 24p. This sounds obvious and simple, but it can get surprisingly complex depending upon your choice of encoding and authoring tool. I just spent 2 weeks comparing MPEG-2 encoders, and I saw a surprising difference in quality and ability to deliver 24p footage that Apple’s DVD Studio Pro could import and the quality Adobe Encore was able to achieve without re-encoding. In this column, I’ll discuss those findings and detail the best workflows for producing 24p DVDs.

Let’s start with some background for those unfamiliar with the technical issues. When we deliver a 24p DVD, it’s played at that frame rate on DVDs and display devices that support 24p, which includes most progressive-scan DVD players and HDTVs. However, most older TV sets can accept only analog inputs that must be in 29.97 interlaced format. To display on those devices, the 24p footage must be converted to 29.97i, which involves a process called 3:2 pulldown. Both DVD Studio Pro and Adobe Encore can insert a 24p “flag” that tells the DVD player to invoke 3:2 pulldown for its analog outputs. But the file has to be properly encoded if you want to import it into the finicky DVD Studio Pro or to avoid recompression with Adobe Media Encoder.

In addition to Adobe Media Encoder and Apple Compressor, I looked at Innobits BitVice, Sorenson Squeeze, and Telestream Episode Pro. I tried to look at Cinema Craft Encoder MP, but the company felt that my test files and procedures weren’t a good match for the requirements of its tiny Hollywood-based target customer, so we agreed to part company without me fully testing the software. For the products that I did review, I looked at both encoding quality and the compatibility of their 24p files with DVD Studio Pro and Encore.

Overall, the easiest way to get both optimum quality and perfect 24p compatibility is to stick with the Adobe and Apple products. For example, Encore successfully imported the 24p files produced by all encoding tools, but, at least initially, it wanted to transcode all files except those produced by Adobe Media Encoder and Compressor. DVD Studio Pro returned the favor, successfully importing the Adobe and Apple files, as well as the 24p files produced by BitVice, but it wouldn’t import the files produced by Episode Pro or Squeeze. Compatibility is nice, but quality is even nicer, and Adobe and Apple produced the highest quality video files in my review.

In an all-Adobe workflow, start in Premiere Pro using either a 23.976 or 24p preset that matches your source footage. If you send the project to Encore via Adobe Dynamic Link, Encore should insert the 24p flag automatically. If you encode with the Adobe Media Encoder, use the NTSC 23.976p Widescreen encoding preset as a starting point and adjust the data rate accordingly. After importing the encoded file, check its DVD transcode status in the Project panel, which should be Transcoded, and the frame rate in the Properties panel should be 23.976. Note that when I imported files produced by other encoders, the frame rate was 23.976, but the DVD Transcode Status was Untranscoded, which meant that Encore would re-encode the files when creating the disc. That means double compression, which takes time and reduces quality.

If you’re working in Final Cut Pro, use a preset that matches your source footage. Then, either Share to the DVD Preset or Send the file to Compressor. Both techniques automatically preserve the frame rate from the sequence setting, so you don’t have to worry about choosing the right preset. Unfortunately, after you import the file, DVD Studio Pro’s Inspector will report that the file has a frame rate of 29.97. QuickTime won’t play the file, so you can’t check frame rate there. And Final Cut Pro won’t import it, so you can’t check frame rate there. I used MediaInfo (www.mediainfo.sourceforge.net) to confirm the 23.976 frame rate during my tests.

With BitVice, a stand-alone utility that costs $196 (www.innobits.com), you set the 24p flag by importing 24p footage and setting the target frame rate at 29.97 fps with 3:2 pulldown. In my tests, this produced a file that loaded fine into DVD Studio Pro, but Encore wanted to re-encode the file. I sent a note to Innobits. If anyone’s curious, send me an email and I’ll let you know what they said.

Innobits’ quality was generally right up there with Apple and Adobe. Although, in one very high-motion scene, it suffered from noticeable blockiness that neither Adobe- nor Apple-encoded footage exhibited. That said, Innobits does have a very highly regarded video filter product that’s worth checking out if you’re working with noisy footage.

Episode is going through a pretty massive makeover between version 5 and 6; check the Telestream website for details on the ship date. Part of the change is a shift to the MainConcept MPEG-2 (and H.264 encoder), which should improve the quality of both output formats. With version 5, Telestream recognizes that the 24p files aren’t compatible with DVD Studio Pro or Encore, and the company plans to fix this for version 6. Video quality was also below that produced by Compressor and Adobe Media Encoder, making Episode 5.x tough to recommend for DVD production.

It turns out that the folks at Sorenson were also revamping their 24p offering at the time of my review, which should be fixed in an upcoming version. I also found Squeeze’s quality lacking; hopefully they can bump this up as well. For both 24p compatibility and quality, I wouldn’t recommend any version up to and including (which I used) for DVD production.

Jan Ozer (jan at doceo.com) is a frequent contributor to industry magazines and websites on digital video-related topics. He is chief instructor at StreamingLearningCenter.com.

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The Business Coach | Be Profitable: Handling Price Objections the Right Way

I don't want to use this column to challenge your ability to shoot and edit weddings. But I do want to challenge you on your ability and finely trained skill of being profitable in your business. In my experience coaching other videographers, I've discovered that there's a pandemic running rampant in our industry. And sadly, it's killing is. It's the lack of knowledge on handling price objections and understanding exactly what they mean and what consequences they have for your business when you handle them the wrong way. Let me tell you a secret: These objections usually have nothing to do with price.

Responses such as, “Your prices are out of my budget” and “It costs too much” are the No. 1 stall in sales. Yep, I said stall, not obstruction or objection. How do most of us respond when we hear these things? We get angry or offended or, worst of all, we drop the price! If you go that route, it pretty much implies that you were charging too much to begin with. So not only are you left with a potential client who doesn’t trust you, you lost some of your profit margin. But I digress.

Potential clients complain about prices all the time. Heck, we even do this from time to time as consumers. But only when you realize why you ask these same questions yourself will you understand why you get these responses from your own clients. As consumers, we want to be in control, but we also want to be nice. You can’t pay too much for something that you find valuable. So there has to be another reason, right?

It could be a smokescreen. And I’d like to share with you some tips on how you’ve gotten yourself into this situation. By avoiding these pitfalls, you can put more money in the bank and regain your confidence in your prices. This goes for every type of videographer, whether you’re budget or high-end. Everyone deals with the price issue.

You see, people hate to gamble with their money (except when there’s the chance to make more money, that is). So our challenge is to help a client get over the feeling of risk, even though most of our sales processes force our clients to gamble because we don’t convey the value of what we do. And the truth is, the less people know about “video,” the higher their anxiety is in the sales process. Here are some reasons you may be hearing, “It costs too much."

You aren’t asking questions. In your sales process, you’re most likely regurgitating all of the reasons you are an awesome videographer: the fact that you have a Mac editing suite and that you use 3CCD cameras. Keeping your mouth shut and asking the right questions not only allows you to get to know your client and what they would like for their wedding, but it also creates a friendly and emotional atmosphere. It means you care.

You aren’t giving them confidence in your product. Most wedding clients have never used a videographer before. They also probably have never been married before. So all they have is a number in their head—a price. And what do we give them? A price! We just send them some numbers and some bullet points on our packages and expect them to love our work enough to book our top package. It doesn’t work that way. One of the biggest mistakes we make in devaluing our business is just sending a price sheet in an email. Why would they book us? They don’t know us, and we are now being judged based on a random number you picked for your prices, not the value of your services. Which brings me to …

Don’t sell on benefits! Sell on the loss of not having a video (and not having a good one). Just like Alan Naumann says, we are in the memory business. And what would most of us hate to lose more than anything? Our memories! Loss hurts twice as much as gain feels good. Am I right? So when someone says we cost too much, I’d be willing to bet there isn’t much they are afraid to lose by not choosing your unique services. You need to incorporate into your sales process a way that shows people that the bigger risk is going with someone cheaper!

Your job in selling is to find out if price really is the issue. A study has shown 68% of salespeople think that price is the customer’s main concern. But the majority of consumers polled in the same study were more concerned with the quality, relationship, and service.

If you put out a unique product, create a relationship with your client during the sales process, and convey the pricelessness of your product, it will be harder for someone to say, “You cost too much.” Of course, not everybody you’ll meet with is a good client for you. And that’s something you need to be comfortable with. Never get greedy or desperate enough to lower your prices or try to force a fit with a client who isn’t a good match. Not only will you devalue your talent, but you’ll gain a reputation as the “discount guy” for future referrals.

Next time, as we get into the fall booking season, I’m going to cover one of the biggest issues we all face with wedding video sales: You’ve spoken with the bride, and now she has to ask her parents, the real decision makers. How do we still book the job when all the parents will see is a number?

Matt Davis (coaching at lifestagefilms.com) of Life Stage Films has been described as the “Head Coach of Wedding Videography,” providing one-on-one business coaching as well as group coaching webinars. A featured speaker at WEVA 2009–10 and IN[FOCUS] 2010, as well as a multiple CEA award winner and 2009 EventDV 25 all-star, he is based in Wilmington, N.C.

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Nikon Introduces D7000 DSLR

Nikon Inc. today introduced the new D7000 digital SLR camera designed to fulfill the needs of passionate photographers who demand exceptional performance, reliability, and unprecedented levels of control and versatility in a compact form factor. Engineered as an ideal balance of durability and functionality, the D7000 D-SLR features a multitude of new enhancements and updated Nikon technologies, which results in stunning photos and amazing full HD (High Definition) movies.

Continuing the tradition of innovative technology that began with the revolutionary D90, the first D-SLR to capture HD movie, the D7000 features a new 16.2-megapixel CMOS sensor with low-light ability never before seen in a DX-format (APS-C) camera. The new EXPEED 2 image-processing engine fuels the enhanced performance of the D7000 along with a new 39-point AF system and groundbreaking new 2,016 pixel RGB 3D Matrix Metering System to deliver amazing image quality in a variety of shooting conditions. Additionally, the D7000 D-SLR provides full 1080p HD movie capability with full-time auto focus (AF), enabling users to capture their world with both striking still and moving images.

"The D7000 D-SLR creates a new class of Nikon camera by delivering exceptional quality, control and an innovative feature set; this is a camera that enables D-SLR users to achieve a true expression of their creative vision, while concentrating primarily on image quality above all else," said Lisa Osorio, general manager of marketing at Nikon Inc. "When you combine the innovation of the agile D7000 with the exceptional and robust line of NIKKOR lenses and accessories, the potential for D-SLR photographers and filmmakers is limitless."

Unparalleled Performance From Unrivaled Technologies
With its new 16.2-megapixel CMOS image sensor and Nikon's new EXPEED 2 image processing system, the D7000 D-SLR delivers superior image quality with low noise. The EXPEED 2 image-processing engine combined with a 14- bit Analog / Digital conversion brings a new level of even tonal gradations while managing color, contrast, exposure, and noise resulting in brilliant image quality. EXPEED 2 also manages the D7000's speedy 50-millisecond shutter response, blazing AF speed and rapid six frame-per-second (fps) burst speed for up to 100 images.

The D7000 D-SLR features an all-new 39-point AF System, which includes nine center cross-type sensors that operate with more than 60 NIKKOR lenses. The 39 points in the new Multi-CAM 4800DX AF module work together to provide superior subject acquisition and fast tracking capabilities, allowing photographers to confidently capture a player stealing third from the sideline to fast-moving wildlife. Additionally, photographers can activate dynamic or single point AF, configurable in combinations of 9, 21 or 39 or a 21-point ring to match a variety of shooting styles and situations. Photographers can activate 3D tracking, which continuously follows moving subjects within the 39 AF points, highlighting the activated AF point in the viewfinder.

Utilizing Nikon's exclusive Scene Recognition System, the camera analyzes subject information from a database containing more than 30,000 images to optimize focus, exposure and white balance. To assist in creating amazing imagery, the Scene Recognition System reads data from a groundbreaking 2,016-pixel 3D Color Matrix Meter RGB sensor that examines the scene's brightness and color data then optimizes the camera's performance prior to the actual exposure. Another revolutionary Nikon first, this system interprets scene data for improved control of light metering and i-TTL flash output. Additionally this new sensor allows for a new "Ambient" white balance setting which can be activated to allow warm rendering in Automatic White Balance.

Nikon Continues the Low-Light Fight
The D7000 D-SLR continues Nikon's tradition of providing photographers the confidence to shoot in low-light, knowing they will capture high quality low-noise images. The camera's native ISO range of 100-6400 affords the versatility to photograph in challenging lighting conditions, such as when indoors or in the evening. The ISO range can be expanded to a Hi-2 setting of 25,600, which was previously found only in Nikon FX-format territory. The resolution of the camera renders a pixel size of 4.78 µm, which allows more light to be gathered, resulting in a correctly exposed image that has less noise and finer grain.

Full 1080p HD Movies with Advanced Video Features
Building upon the popular D90 D-SLR, the Nikon D7000 captures breathtaking full 1080p HD movies with full-time autofocus and manual exposure control. To keep critical HD focus, users can choose to engage a variety of AF functions, including face priority to track up to 35 human faces, subject-tracking and normal or wide-area autofocus.

Advanced movie features also allow exposure adjustment on the fly while recording. The D7000 D-SLR offers variable frame rates and resolutions, and can record 1080p at a cinema-like 24 fps, or a web-friendly 720p at either 24 or 30 fps for up to 20 minutes per clip. Once recorded, users are able to edit and trim video clips in the camera to save time in post production. Whether utilizing a wireless or hot shoe mounted microphone, sound can be recorded via the stereo microphone input for professional audio results.

To further simplify movie shooting, Live View is activated by a single dedicated switch, and HD video recording is achieved by pressing a single button. The D7000 D-SLR also incorporates a built-in HDMI output CEC compliant (Consumer Electronic Control) that allows users to connect it to a HDTV and playback with most HDTV remote controls.

By adding versatile NIKKOR lenses to the equation, photographers can create a variety of photo perspectives to video such as isolating subjects with a shallow depth of field, and recording in low-light conditions. Combining the D7000 D-SLR with NIKKOR lenses also delivers the sharpness essential for HD video, and Nikon's innovative Vibration Reduction (VR) II technology helps to eliminate the effects of camera shake.

No Compromise: Enhanced Build Quality, Durability and Usability
The compact design is lightweight enough for a full days use, but has a reassuring heft that hints at Nikon's reputation for reliability. The durable camera body consists of a magnesium-alloy top and rear covers and a 150,000 cycle-rated shutter system. Additionally, the D7000 D-SLR is dust and moisture sealed and features Nikon's dust reduction system to remove image-degrading particles from the image sensor. Among the well laid out ergonomics, users will immediately notice a new Mode Dial that eschews traditional Scene Mode icons for more advanced manual functions and two user-defined settings (U1, U2) to adapt to a users shooting style on the fly. Placed under the control wheel is a Release Mode dial, which allows access the burst modes, timer, or the Quiet Shutter, to soften the cameras operation when shooting in sensitive environments such as a ceremonies or nature.

When framing lush landscapes or tight telephoto shots from afar, users will appreciate the large, bright glass pentaprism optical viewfinder has approximately 100% frame coverage and approximately 0.94x magnification. The three-inch, 921,000-dot super-density LCD monitor with 170-degree viewing delivers bright, crisp image playback and precise Live View and movie shooting.

The D7000 D-SLR features twin SD card slots with SD, SDHC, SDXC memory card compatibility that offers several recording options including designating separate NEF (RAW) JPEG and movie files. The built-in i-TTL Speedlight flash offers coverage for lenses as wide as 16mm and has Wireless Commander support so users can choose how to light their subjects. The D7000 was designed to provide maximum performance with minimized power usage and also employs a new EN-EL15 battery which enables up to 1050 shots when fully charged.

Nikon Technologies That Empower and Inspire
The D7000 D-SLR contains many features aimed at empowering the user with creative freedom including the ability to process RAW images directly in the camera, and add in special effects using the retouch menu. Among the many editing options are color filters, distortion control for a fisheye effect, perspective control for a miniature effect, or a new color sketch filter that creates a sketch-styled image. As always, manipulated images are saved as copies while the original is retained.

The Picture Control system also allows the choice for Standard, Neutral, Vivid, Monochrome, Portrait, or Landscape settings to apply a personal look and feel to their pictures, and it's versatile Scene Modes let them choose from Portrait, Landscape, Child, Sports, Close-up or Night Portrait for stunning results even in challenging conditions.

Price and Availability
The D7000 D-SLR camera will be available throughout the United States beginning mid-October 2010 at an MSRP* of $1199.95 for body only and $1499.95 for body and lens outfit that includes the AF-S DX Zoom-NIKKOR 18-105mm f/3.5-5.6G ED VR lens. For more information, please visit http://www.nikonusa.com.

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Sony Creative Software Licenses proDAD Video Stabilization Technology for New Vegas Pro 10 Video, Audio, and Blu-ray Disc Creation Suite

proDAD, the renowned developer of digital video effects plug-ins and image optimization technologies for video professionals as well as aspiring pros today announced that Sony Creative Software has chosen to integrate proDAD’s video stabilization and rolling-shutter correction technology into its award winning Vegas Pro 10 video, audio, and Blu-ray Disc creation suite.

proDAD’s Mercalli video stabilization product has long been a favorite of video professionals for removing “shake” from otherwise solid video in post-production. Until now, however, video professionals could only get proDAD’s video stabilization technology as a plug-in effect for NLE applications such as Sony Vegas Pro and other Windows® and Macintosh® NLEs. proDAD has taken its highly effective video stabilization technology and made it available in SDK form to allow software companies, including Sony Creative Software, to integrate proDAD’s highly refined video stabilization and rolling-shutter correction technology into their own products. The proDAD Mercalli SDK supports HD/SD video and offers extremely fast video analysis and preview of the stabilized/corrected video based on several different stabilization “profiles” and fast rendering with minimal artifacts. The Mercalli SDK also provides effective and fully automatic “rolling-shutter” compensation which corrects the wobble, skew, and jello distortion often introduced with CMOS-type image sensors found in some digital camcorders and DSLR cameras when they are panned quickly.

Sony Creative Software’s Vegas Pro 10 is a complete video editing, audio production, and Blu-ray Disc/DVD authoring suite with advanced movie making features including Dolby® Digital 5.1 surround sound mixing and encoding, video compositing, color correction, and support for professional camcorders including RED, HDV, AVCHD, and even revolutionary XDCAM broadcast formats. Its highly intuitive timeline-based workflow and helpful “show me how” tutorials make it a snap to produce stunning video productions in a few simple steps with precise creative control.

"The addition of a shaky video ‘rescue’ and rolling-shutter correction tool in Vegas Pro 10 gives our professional users a simple solution for removing shake and rolling-shutter distortion from otherwise great video, right on the Vegas Pro 10 timeline" said Dave Chaimson, Vice-President of global marketing for Sony Creative Software. "It’s not always possible to shoot on sticks so being able to correct video footage ‘post-capture’ means our users can focus on capturing the action, knowing Vegas Pro 10 has the tools to make their productions shine. The proDAD solution was simply the best all-around solution we evaluated.”

Information & Availability
Sony Creative Software’s Vegas 10 Pro including the proDAD video stabilization technology will be available starting October 11, 2010 for $699.95 MSRP from popular Pro Video retailers/resellers or from www.sonycreativesoftware.com.

proDAD recently announced and began delivering advanced Mercalli V2 technology in new Mercalli V2 Pro plug-in solution supporting Vegas Pro 10 and other popular Windows® and Macintosh® NLEs. The new Mercalli V2 technology is also available for license in SDK form. Learn more about proDAD’s video stabilization products and technology at www.prodad.us.

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CHV Updates The Bezier Garbage Matte Pro V4.0

CHV-electronics, software developer of plugins for Motion, Final Cut Pro and Final Cut Express since 2002 announced today the release of an update of the popular plugin package The Bezier Garbage Matte Pro.

Version 4.0 addresses compatibility with Final Cut Pro 7 and Snow Leopard and improves the overall stability of Final Cut Pro.

The Bezier Garbage Matte Pro is an Fx-Script plugin package for Final Cut Pro and Final Cut Express and holds 4 plugins (video filters).

The Bezier Garbage Matte Pro is the only native professional Fx-Script garbage Matte for Final Fut Pro and Final Cut Express that provides the user with a fully functional garbage Matte with Bezier handles.

The plugin package runs on all PowerPC and Intel Mac computers on OSX 10.4 (Tiger), OSX 10.5 (Leopard) and OSX 10.6 (Snow Leopard) that are qualified to run any version of Final Cut Pro or Final Cut Express.

All Fx-Script plugin packages from CHV-electronics are GPU-accelerated, using the full power of the installed graphics adapter for direct feedback and fast rendering.

Pricing: The Bezier Garbage Matte Pro is priced at only $ 49.00
Updates: Free for existing customers of The Bezier Garbage Matte Pro and The Entire-Bundle.
A fully functional watermarked demo version is available for download on the website in the Download section.


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OConnor Intros Mattebox for Digital Cinematography

The OConnor O-Box WM is a two-stage wide-angle mattebox designed around the 16:9 format full- size sensor. Surprisingly compact, it accommodates lenses up to 18mm (and in some cases wider).

This precision mechanical device adeptly accepts up to three filters: two in top-loading filter frames (two 4x4” and two 4x5.65 inch frames are included). The rear frame is rotatable 360 degrees. A third 138mm round filter sleekly fits in the bellows.

Constructed of OConnor’s proprietary rugged composite, the sunshade is lightweight yet substantially stronger and more impact-resistant than existing units. This translates to fewer sunshade replacements arising from the rigors of professional production environments.

The O-Box WM is the first commercially produced mattebox to have integrated handgrip interfaces. While traditionally operators have used the sunshade as a handle, this precarious handling is remedied by OConnor’s O-Grips that can be conveniently attached directly to the O-Box support cage in three locations: camera left, right or bottom center. The bottom center position is particularly useful for small setups such as with HDSLR cameras. That’s when the O-Grips can turn into a pistol-style grip for the operator’s right hand while the follow focus handwheel is in their left.

The O-Box WM can be clamped directly onto lenses with outer diameters of 150mm or less, and can also be supported by the removable 15mm LWS rod bracket. Studio 15mm and 19mm mounting options are also possible via industry standard adapters.

The O-Box WM Kit includes: the WM Mattebox including the Wide Mini Sunshade made of proprietary composite material with two stages; front fixed/ rear rotatable 360 degrees, two top-loading 4x4” filter frames, two 4x5.65” size filter frames and a provision for a third 138mm filter, top flag and mounting bracket. To prepare for any configuration, OConnor offers optional items including: Side flags, retaining brackets, a bottom bracket and flag. Another handy accessory is the universal mask set that clips into place within the sunshade. Popular bellows step-down rings to 80mm are also available.

For more information about the O-Box WM, CFF-1 Follow Focus or O-Grips Handgrip system go to http://www.ocon.com


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Anton/Bauer Tandem 150 Makes International Debut at IBC 2010

Anton/Bauer®, a Vitec Group brand, and the world’s premier provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, will introduce its cutting-edge Tandem® 150 Modular Power System to attendees at this year’s IBC 2010 (Stand 11.F60).

The Tandem 150 system provides ultimate flexibility for shoots in isolated areas offering two unique methods of charging. Crews working out of their cars during a night shoot, in an isolated location, or in an area where power is not accessible can simply use the CA-TMCL with their dependable vehicle AC power outlet. The CA-TMCL is the smallest portable car charger on the market and does not require an inverter. The battery simply snaps on the QR-TM bracket and plugs into the vehicle’s power outlet. In addition, for productions where sunlight is available, crews can charge any Logic Series® battery with the award-winning Anton/Bauer Solar Panel.

Weighing just two and a half pounds, the Tandem 150 is the smallest and lightest charger and on-camera power supply, as well as the only on-camera AC power supply over 100 watts without a fan available on the market. This fully automatic system allows a user to simultaneously charge a battery and power a camera. When a 75 watt draw is exceeded, the system automatically stops charging and performs solely as a 150 watt power supply. When the camera is turned off or the load is reduced below 75 watts, the Tandem 150 system instantly resumes normal operation as a simultaneous charger/power supply. Users can operate the system from the AC Mains at 100 to 240 volts AC or 50-60 Hz.

“Anton/Bauer prides itself on meeting the expanding needs of industry professionals,” says Michael Accardi, president, Anton/Bauer. “As users’ needs continue to expand and evolve, it’s important that solutions address this issue and provide more options for production crews. The Tandem 150 Modular Power System does just that, giving industry professionals working on-location or in remote areas a lightweight solution with several choices for power supply. We certainly focused on ease of use for this system.”


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Imation Expands Award-Winning Apollo External Hard Drive Portfolio

Imation Corp. (NYSE: IMN), a market leader in data storage, expanded its award-winning Apollo™ family of external hard disk drives (EHDD) to provide leading-edge technology, professional design and stylish value for portable and desktop storage.

The updated Apollo line delivers solutions ranging from personal to professional use, updated designs and next-generation software that simplifies, automates and personalizes backup for up to two terabytes (TB) of data. In addition, the portfolio’s flagship drive, the Apollo Expert D300, employs leading-edge USB 3.0 technology to move data up to 10 times faster than USB 2.0-based drives.

“The explosion of large multimedia files, such as high-resolution photos and video, and the fact that even small businesses can be data-intensive, means households and businesses need to capture and save more digital information than ever,” says Jason Elles, global brand leader for Imation. “Whether they’re seeking exceptional value or high speeds, using a drive personally or professionally, or backing up their desktop or managing data on the go, there’s an Apollo external hard drive to utilize.”

The new Apollo family begins with the Apollo Expert D300 External Hard Drive. Ideal for professional users, the external hard drive features leading-edge, USB 3.0 technology to move data up to 10 times faster than USB 2.0 drives, and is backward compatible with USB 2.0. Available in 500-GB, 1-TB and 2-TB capacities, the drive delivers high-speed, professional-class data backup and solid protection capabilities. The drive features a brushed silver industrial design and removable stand to orient it horizontally or vertically. The drive uses ArcSoft TotalMedia® Backup software and includes a 60-day trial of Norton™ Online Backup.

Other products in the portfolio include the following:
Apollo Expert D200 External Hard Drive: Available in capacities from 500 GB to 2 TB, the external drive delivers professional-class data backup and solid protection. The USB 2.0-powered drive features a brushed silver, industrial design and a removable stand that enables users to orient the drive horizontally or vertically on their desktops. Designed for high performance and protected by a five-year limited warranty, the Apollo Expert D200 drive comes equipped with ArcSoft TotalMedia® Backup software and a 60-day trial of Norton™ Online Backup.

Apollo Expert M200 Portable Hard Drive: Designed for mobile professionals, the high-performance portable hard drive features an industrial design and a five-year limited warranty. The fully USB 2.0-powered drive offers storage capacities of 320, 500 and 640 GB. The drive uses ArcSoft Total Media® Backup software and includes a 60-day trial of Norton™ Online Backup for an extra layer of protection.

Apollo M100 Portable Hard Drive: The stylish, compact portable hard drive is ideal for value-focused, mobile users. Available in 320-, 500- and 640-gigabyte (GB) capacities, the fully USB 2.0-powered drive requires no external power supply or drivers. The 2.5-inch drive comes equipped with ArcSoft Total Media® Backup software to simplify, automate and personalize backup for both PC and Mac users.

The Apollo M100 and Expert M200 portable hard drives are available immediately. The Apollo Expert D200 and D300 external hard drives will be available in October. Prices range from $79.99 MSRP to $219.99 MSRP depending on drive capacity and data-transfer speed.


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