Miller Tripods, a leader in the production of innovative camera support solutions, will unveil its new CiNX series, a new line of Fluid Heads at IBC 2019. The series is composed of durable and lightweight fluid heads packed with features designed to meet all the needs of a cinematographer at an affordable price. CiNX 3, CiNX 5 and CiNX 7, the tree variations of CiNX line, will have a wide payload range that is going to enable accurate counterbalance of multiple camera sizes, lenses and accessories, increasing the flexibility of use.
With a payload range from 1kg (2.2lbs) to 19kg (41.8lbs), the new CiNX 3 is ideal for meeting the needs of cinematographers with lighter rigs, requiring less pan and tilt drag (5+0 positions). The second variation, Miller’s new CiNX 5 fluid head has a payload range of 2kg (4.4lbs) up to 21 kg (46.2lbs) and pan and tilt drag 7+0 positions—ideal for lighter rigs that require more pan and tilt positions. Last but never least, the CiNX 7 is the ultimate fluid head for heavier rigs that require more positions of pan and tilt drag, with a larger payload range of 6kg (13.2lbs) to 25kg (55.1lbs) and pan and tilt drag 7+0 positions.
All the variations of Miller’s new fluid head lineup feature a sideload platform, with safety lock, which enables the rapid deployment of several sizes of camera rigs, as well as an extended camera plate range of movement to balance front-heavy setups. Additional features of CiNX Fluid Heads include large brake lock levers and a single heavy-duty telescopic pan handle, with an optional second pan handle mount for increased control. For simplified mounting, the CiNX fluid heads are adaptable to a Mitchel base plate (100mm or 150mm ball leveling) and include a removable ball level stud, which allows for flat base mounting with 3/8” screw thread.
A key feature of the CiNX series is Miller’s patented 16 CB Plus™ technology, a unique sequential counterbalance design resulting in accurate and rapid setup. With 16 positions of counterbalance, the new series provides very fine, repeatable balance, which is ideal for cinematographers requiring frequent and fast re-rigging. To ensure smooth capture, the CiNX range deploys a fluid drag system, with smooth start and soft stop technology, and balanced diagonal transitions, as well as precise floating pan-tilt caliper locks to ensure bounce-free on-off performance. It also features illuminated bubble level and pan-tilt drag controls,making Miller’s new fluid heads an ideal solution for environments with limited light source. To further improve the user experience, the pan, tilt drag and counterbalance controls are all located at the back of the head in one location.
RED Epic-W 8K is a cinematographic camera that mounts a 35.4 MP Helium sensor and can record in 8K, using REDCODE Raw, which is the versatile and powerful proprietary codec of the company.
In fact, since its first appearance on the market, RED has stood out for these two fundamental aspects: resolution and Raw recording with a wide dynamic range.
Shooting in Raw allows you to work with great flexibility in post-production on the images, as well as the high resolution, which can be exploited for digital visual effects, for stabilization, for reframing and allows you to capture details and nuances that would slip to lower resolutions.
A few months ago, RED has introduced the possibility of editing its Raw footage up to 8k in real time, not only with its own dedicated graphics acceleration cards, but it has also opened the support of third-party video cards. The NVIDIA manufacturer in this regard offers the following models to the cause: Quadro RTX 6000 and 8000, GeForce RTX 2080 Ti and TITAN RTX.
Everyone’s question is always the same when faced with major changes of this kind, what is going to be the best video card of the future in terms of value for money? Will we be able to take advantage of the super versions (GeForce 2060, 2070, 2080) or will they be more performing for gaming as they are now? What do you think about it?
The retro looking Harinezumi 2+++ is a built for artists camera.
It is a little pearl in the desert, very undervalued at its release and, like all good things, appreciated and reevaluated over time. Produced in Tokyo, the camera expresses a truly unique color rendering. It is shaped like a roll of 110 film and is equipped with 10 creative effects and multiple exposure modes. Harinezumi 2 +++ shoots in different frame rates, and enables the user to create a vintage looking movie like super 8 retro style videos.
Its size gives the possibility to take a creative movie on the spot, furthermore you can control the sound by switching it on/off. This japanese device in its second version since the original one, has been used by famous artists and musicians from allover the world to produce amazing digital wonders.
Personally, I used the Harinezumi creatively in a movie mounted on my Red Helium (using a magic arm) to have the double perspective of the actor, creating a double look a the same time: the vision of the present and the vision of the past.
