Film922 creates compelling content for any screen: Television Commercials, Web Videos, Marketing Films, Documentaries, and Music Videos. It also provides crew for productions in New England. John Papa along with his wife, Art Director Katy McGee, own and operate the business.
Recently Film922 moved into their new 2,000 sq. studio located in an historic mill building in Pawtucket, Rhode Island. “Lots of companies shoot video, but we tell stories with cinematography, original music and our personal hands on commitment,” Papa explains. Among their clients are Mashable,
Hasbro, Toys R Us, Dorel Juvenile, Little Kids, Mensch on a Bench, BJ’s Wholesale Club, Jabra, On Guard, Lionel Trains, Poliquin and Summer Infant. Frequently, Film922 provides support for national television productions.
Film922’s new location has a great shooting area, a full functioning kitchen set; three edit systems and a Logic Station for VO and Music production. It’s a busy place…
IMAGINE is always interested in how a company names itself. Film922 has a special meaning to John Papa. He was recruited out of New York City to come to Hasbro and start Cake Mix Studios in 2005. He worked there for almost eight years but, he says, “I was putting in crazy hours. I worked my first son’s
entire childhood away and I wasn’t going to do it anymore. My little one was then eight years old. I decided to leave. I took an entire year off and hung out with him. When I was ready to go back to work the most important thing to me was my family.”
Their home address is 922 and John selected it as his company name to always remind him to be home as much as possible. “I put the numbers in our name and I’m in the film and video business. Film922 LLC. That’s it.”
CANTON, Mass. (July 15, 2015) – High Output, Inc., New England’s largest supplier of services and equipment for the entertainment industry, announced today the appointment of Meghan Crimmins Young as their newest account manager and Alexa Hirsch as marketing and public relations coordinator.
Young, a seasoned lighting professional with over 10 years experience in the New England theatre and events industries, rejoins the company after previously spending several years at High Output as an electronics technician. She has also served as a freelance theatre and event electrician for High Output for the past nine years. Most recently, Young has held lighting and electrician positions with José Mateo Ballet Theatre and Boston’s historic Strand Theatre. As the technical and lighting supervisor at The Strand, Young worked with the city of Boston to maintain the theatre and served as the lighting designer for all City of Boston productions. Outside of work, Young is an animal lover and avid scuba diver.
“We are very excited to welcome Meghan back to High Output,” said John Cini, High Output’s president and co-founder. “She is a valuable resource with a wealth of experience, who will undoubtedly continue to build the company’s reputation as New England’s top provider of production equipment.”
Alexa Hirsch joins High Output with several years of marketing and publicity experience in the entertainment, food, and fashion industries, and will play a key role in expanding the company’s brand awareness. She graduated with a bachelor’s degree from the University of Rochester in 2011 and most recently served as a vendor specialist at Bloomingdale’s. Hirsch is also a dedicated dog lover and actively volunteers with Last Hope K9, a local rescue organization.
About High Output
High Output, Inc. is New England’s largest supplier of production services and equipment for theatre, film, television, and special events, with offices in Massachusetts, Rhode Island, Maine, and South Carolina. Founded in 1986 with an emphasis on state-of-the-art technology and superior customer service, High Output supports theatre and live music, political events, feature films and television shows, corporate meetings, fundraisers, and parties. The company also designs and installs technologically advanced permanent lighting, AV, and rigging systems in venues of all kinds, and operates four sound stages for film and television production. For more information, please visit www.highoutput.com.
High Output, Inc announced today that Daniel H Jentzen, a lighting designer and theatre teacher, will join the company full-time as Account Executive in its event production department and as its corporate Director of Education.
Mr. Jentzen has worked for seven years in the New England area as a freelance lighting designer specializing in theatre, live music, and special events. He has created lighting for Hillary Clinton, Bela Fleck, Alison Krauss, WGBH, Celebrity Series of Boston, Harvard Business School, and many others. He holds a Bachelor of Fine Arts Degree in Drama from Carnegie Mellon University. Mr. Jentzen will bring this wealth of experience and connections to High Output, and will continue to build the company’s reputation as New England’s top provider of event production services.
Mr. Jentzen is also a committed educator, and teaches lighting design at Boston Arts Academy, the city’s public high school for the visual and performing arts. He conducts interdisciplinary arts/science workshops for students and teachers, exploring such topics as neuroscience, education, and theatre. He holds a Master’s degree from the Harvard Graduate School of Education. He is also the founder of Brighter Boston, a nonprofit partnership of top lighting companies, producers, and venues with area public schools, aimed at creating professional work opportunities for students in lighting design. Since its inception in 2012, Brighter Boston has created internships for public high school students on professional shows, building their confidence and teaching them leadership, creativity, math, science, and communication.
Beginning in 2014, High Output will create an educational outreach initiative, harnessing the power of lighting design to create unique learning experiences for students. When students participate in the production of theatre and special events, they explore both the arts and sciences and practice collaboration, leadership, and critical thinking. Using its industry expertise and inventory of state-of-the-art lighting equipment, High Output will build educational programs includingstudent internships on production jobs and a lighting design contest for high school students. As the company’s Director of Education, Mr. Jentzen will implement these initiatives. Interested parties should contact the company.
About High Output
High Output, Inc is New England’s largest supplier of production services and equipment for theatre, film, television, and special events. Founded in 1986, the company has offices in Massachusetts, Rhode Island, Maine, and South Carolina. With an emphasis on top-quality event production, state-of-the-art technology, and superior customer service, High Output supports theatre and live music, political events, feature films and television shows, corporate meetings, fundraisers, and parties with more than 75 full time staff members and over 20,000 pieces of equipment from leading manufacturers. The company also designs and installs technologically advanced permanent lighting, AV and rigging systems in venues of all kinds, and operates three sound stages for film and television production.
FUJIFILM North America Corporation, Optical Devices Division has announced that Talamas Sales and Rentals, a broadcast equipment rental house in Boston, recently took delivery of the new FUJINON PL 85-300 (ZK3.5×85), making it the first in the region to receive the HDTV PL mount zoom lens. Talamas, which placed its order for the FUJINON Premier PL 85-300 lens when it was announced in November 2012, already owns and rents its predecessor, the FUJINON PL 19-90 Cabrio (ZK4.7×19) PL Mount zoom lens.
“The new PL 85-300 is a perfect complement to our PL 19-90,” said Dave Talamas, president of Talamas. “The design of both Cabrio lenses provides exactly what the market needs. These fast, lightweight lenses offer ideal focal ranges and a built-in handgrip zoom control at a sweet spot price point that makes them ideal for many applications.”
Talamas received its new FUJINON PL 85-300 Cabrio lens in mid-February. The FUJINON PL 19-90 Cabrio lens, received last year, has already been rented to several productions requiring the look of the large sensor shallow depth of field with the ease of use. The Fujinon Cabrio PL mount lenses are a welcome addition to Talamas’s digital cinematography lens inventory.
“Demand and feedback for the PL 19-90 have been very strong, but our customers were asking us for something a little bit longer. We felt that beauty shots, nature cinematography, sports documentaries, and other applications would benefit from this new lens’ longer focal length,” said Anthony Bottaro, Talamas’ chief engineer. “With the growing popularity of digital video cameras with Super 35mm image sensors and PL mounts, we’re confident that demand will be strong for both of these ‘crossover’ lenses.”
Bottaro considers them crossover lenses because they combine the look, resolution, and other picture attributes associated with large sensor PL mount zoom lenses, but with the compact, lightweight “run and gun” functionality ENG/EFP shooters expect. Talamas’ PL mount camera inventory currently includes: the Canon EOS C300 PL, Sony PMW-F3, Sony PMW-F5, Sony PMW-F55, , RED Epic, and ARRI Alexa cameras. “Having the digital servo handgrip right on the lens for zoom control—in combination with today’s small, lightweight digital cameras–makes this lens particularly appealing to ENG shooters who like to be agile and follow the action,” said Daniel Ardizzoni, Senior video technician in the rental department at Talamas.
While those shooting ENG-style are right at home with the servo unit attached to the lens, both Cabrio lens models are designed to allow cinematographers to detach the handgrip and shoot instead with industry-standard cine motors and matte boxes, as well as FUJINON wired or wireless controllers. The digital servo on Cabrio lenses has 16-bit encoding to ensure that lens data output is extremely accurate.
The FUJINON Premier PL 19-90 Cabrio lens offers a 19-90mm focal range at T2.9 and weight of only 2.7kg with servo, while the FUJINON PL 85-300 offers a focal length of 85-220mm at T2.9 and 300mm at T4.0. The weight of the PL 85-300 is 3.0kg with servo and 2.5kg without. Both models offer flange focal distance adjustment, 200-degree focus rotation, a short MOD, a macro function for close-ups of objects and the images captured cover a 31.5mm diagonal sensor size.
According to Thom Calabro, Director, Marketing and Product Development, FUJIFILM North America Corporation, Optical Devices Division, “We value our long association with Talamas and we look forward to continuing to support their needs as their equipment rental business grows and expands.”
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of five operating divisions and one subsidiary company. The Imaging Division sells consumer and commercial photographic products and services including film, one-time-use cameras, online photo services and fulfillment, digital printing equipment and service. The Electronic Imaging Division markets consumer digital cameras. The Motion Picture Division provides motion picture archival film, and the Graphic Systems Division supplies products and services to the printing industry. The Optical Devices Division provides binoculars, and optical lenses for closed circuit television, videography, cinematography,broadcast and industrial markets. FUJIFILM Canada Inc. markets a range of Fujifilm products and services. For more information, please visit www.fujifilmusa.com/northamerica, or go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.
FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials, and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 10 companies around the world granted U.S. patents in 2011, and in the year ended March 31, 2012, had global revenues of $27.8 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.
About Talamas Sales and Rentals
Talamas Sales and Rentals has been serving the broadcast and production industries for over 30 years. Over that time the Newton, MA-based, company has earned a reputation for technical know-how and unparalleled customer service. Founded in 1979 by Dave Talamas, the company has responded to innovations in audio and video technology by bringing state-of-the-art gear to professionals in the Boston area and across the United States. For more information, visit www.talamas.com.
Set in South Boston and produced by Powderhouse Productions and Magilla Entertainment for A&E, Southie Rules debuted , January 29th, at 10:00 PM ET on A&E.
Southie Rules follows the lives of one of the few remaining multi-generational Southie clans living together under the same roof in what is a swiftly gentrifying neighborhood. It’s an environment where anything can happen and so required a highly flexible production package to capture all the action without fail, says Patrick McMahill, who co-directs Southie Rules with Terrence Hayes. I can’t tell you how many order changes we made to keep up with the technical demands of the show, but, if we needed something, Talamas took care of it inside of a day.
In addition to Talamas ability to provide a production package tailored specifically to meet their demands, Powderhouse also valued the efforts Talamas took to help achieve the show’s signature look, and meet the ever-evolving needs of production. Talamas has been with us from the start on Southie Rules and has worked closely with us to define the show’s look and achieve the best production value possible, says Luke Gasbarro, VP of Production at Powderhouse. The relationship has been more of a collaboration in terms of defining what the show needed technologically, and making sure the production value is the best it can be.
Over the past few years weíve has developed a very strong relationship with Powderhouse, says Ted Driscoll, Talamasí Senior Account Manager, Digital Cinema and Video; a relationship based as much on Talamas ability to deal with the volume of productions Powderhouse produces and the attention to detail they apply to every client’s project.
The production package Talamas provided included Sony PDW-F800 XDCAM HD Camcorders, double system audio bag packages, built around Sound Devicesí 788T audio recorders with CL-8 mixing control surfaces, Lectrosonics wireless mics, Motorola two way radios, wireless video system and remote internet service.
Beyond the Sony F800 HDCAMs high quality broadcast image the F800ís Blue Laser disc storage offers up all the archiving capabilities of tape, as well as the efficiency, flexibility and time saving aspects of a tapeless, file-based workflow. Additionally, the Sound Devices audio gear provided both flexibility and rock solid redundancy, regardless of what happens on set.
Reality TV is so run and gun, McMahill says. The characters we’re following could do something we had no idea they were going to at any moment. With the 788T the audio mixer can follow right behind the camera, even while mixing multiple scenes.
The shoot presented other challenges, McMahill adds, among them, the fact that the location’s proximity to Boston’s Logan Airport made accurate frequency coordination particularly important in a service Talamas has long been known for providing swiftly and effectively. Talamas took care of all our needs, McMahill says. From a customer service standpoint, theyíre light years ahead of everybody else.
Founded in 1994 by Joel Olicker and Tug Yourgrau, Powderhouse Productions, www.powderhouse.net, has produced a variety of shows for the Discovery Channel, Science Channel, Animal Planet, HGTV, Travel Channel and others, and now, A&E.
Talamas Sales and Rentals has been serving the broadcast and production industries for over 30 years. Over that time the Newton, MA-based, company has earned a reputation for technical know-how and unparalleled customer service. Founded in 1979 by Dave Talamas, the company has responded to innovations in audio and video technology by bringing state-of-the-art gear to professionals in the Boston area and across the United States. For more information, visit the Talamas Broadcast website, www.talamas.com.
The November 2012 addition of Motorola product to Talamas
Broadcast Equipment’s sales inventory fits perfectly with Talamas’ ongoing
efforts to provide both one-stop access to all the technology their clients
require and unsurpassed expertise in the use of that technology.
“Our specialty is catering to motion picture, live event and production
companies,” says CEO Dave Talamas. “If you want your walkies to talk to your
RTS, your wireless intercom, or – in a theatre setting – to your Clearcomm,
we can do that.”
It is critical for production companies to deal with a provider that knows
the industry and speaks their language and Talamas does, fluently. “We know
your needs and can provide and package these products specifically with
those needs in mind,” Talamas says, “so they can be deployed swiftly, kept
track of easily and stored safely to protect your investment.”
With the largest Motorola two-way radio rental inventory in the Northeastern
U.S. for the film and staging industries, and the experience of providing
Motorola products to countless commercial shoots, television production and
major motion pictures including Moneyball, The Social Network and The
Fighter, Talamas’ ability to tailor a walkie-talkie package to your specific
needs is without compare.
Talamas’ extensive work as RF Specialists and early adoption of wireless
technologies for a broad spectrum of production applications also enhances
the services they offer potential Motorola buyers. “We have numerous
licenses for frequencies in the mobile band,” explains Audio Account
Manager, Ben Rossignol, “and our knowledge of FCC laws governing bandwidth
and areas of usage is very broad and very current. So, when a client comes
to us and wants to purchase, they have the benefit of our being able to
inform them about the sort of licensing process they need to go through,
because we’ve gone through it ourselves.”
That offers substantial value to customers looking to purchase Motorola
product, adds Video Account Manager, Mark Sacco. “We’re an experienced
rental facility and have deep connections with companies that use these
products on an ongoing basis, so we know how to help our clients deploy them
effectively. It’s like having a favorite mechanic who suddenly becomes a car
dealer. As authorized Motorola dealers we can take care of our buyers more
effectively and provide not just quality equipment, but advice they can
trust, because we’ve been working with Motorola products for years.”
Talamas Broadcast Equipment has served the broadcast and production
industries for over 30 years. Over that time the Newton, MA-based, company
has earned a reputation for technical know-how and unparalleled customer
service. Founded in 1979 by Dave Talamas, the company has responded to
innovations in audio and video technology by bringing state-of-the-art gear
to professionals in the Boston area and across the United States. For more
information, visit the Talamas Broadcast Equipment website, www.talamas.com
A new generation of smaller & brighter lights that consume less power have resulted in new and more cost effective lighting techniques. To this, add the greater light sensitivity and contrast range of HD camera systems and it is possible to shoot an entire feature production with what can be powered by a portable generator. Unfortunately, sizing a portable generator for a lighting load can be very complicated. When you use lights sources like HMIs, Kinos, CLF lamp banks, & even LEDs, on generators it matters not only what type of generator you use but also what type of ballasts the lights use. That is because the poor Power Factor and Harmonic Noise that magnetic and non-Power Factor Corrected electronic ballasts (HMI, Kino, CFL, & LED) kick back into the power stream can have a severe adverse effect on the power waveform of some generators, but not others.
For example, what size generator is required to power a small lighting package consisting of a 800W Joker Buglite and two 40W 1×1 Litepanels? You would think that you could operate this lighting package on a conventional 1000W generator (800W+40W+40W= 880W.) However, when your lighting package consists predominantly HMIs, Kinos, CLF lamp banks, & even LEDs, you must consider the Power Factor of the lights when calculating the load that you will put on the generator. A careful analysis of the Power Factor of the Joker 800 and 1×1 Litepanel indicates that our lighting package would in fact overload a conventional 1000W generator.
If we look at the technical specifications for the Joker 800 Buglite, we see that it uses a non-Power Factor Corrected ballast with a Power Factor of .58. According to the K5600 website, the Joker 800 ballast draws 12.5 Amps rather than the 7 Amps you would think using Ohm’s Law (800W/110V=7.2A.) What that means is that it has an Apparent Power of 1375W (110V x 12.5A = 1375W) or draws nearly twice the power to generate 800W of light output than a quartz instrument of the same wattage. Used on wall outlets, this relatively inefficient use of power is negligible because the power draw of the Joker 800 fits easily in a standard wall circuit. However, the greater Apparent Power of the Joker 800 must be factored when using portable generators because the generator must be sized to supply the Apparent Power (1375W), even though only the True Power (800W) provides light.
The same is true when it comes to the 1×1 Litepanels. According to the manufacturer, the AC-to-DC power supply that Litepanel uses for their 1×1 fixtures has a Power Factor of .54 and so draws nearly twice the power (an Apparent Power of 75W) for it’s true power output of 40W. If you were to use this lighting package on a 1000W conventional generator, the total Apparent Power of 1525W (1375W + 75W + 75W = 1525W), would overload the generator because the “continuous load” rating of 1000W conventional generators are usually only 850W. Even though it’s power is cleaner and more stable, you would not be able to run this package on a Honda EU1000is Inverter Generator either because, with a continuous load rating of 900W, the accumulative load of 1525W would also overload a 1000W inverter generator.
Could you operate this lighting package on a 2000W conventional generator? Again, the answer is “no” because the greater Apparent Power of lights with a poor Power Factor is not the only consideration when operating them on conventional generators. Of equal importance, is the Harmonic Noise that ballasts with poor Power Factor kick back into the power stream that severely limits the total amount of Leading Power Factor loads, as compared to Unity Power Factor loads, that can be reliably operated on conventional generators.
Left: Grid Power w/ 1.2Kw Arri non-PFC Elec. Ballast. Center: Conventional AVR Power w/ 1.2Kw Arri non-PFC Elec. Ballast. Right: Inverter Power w/ 1.2Kw Arri non-PFC Elec. Ballast.
Given the large sub-transient impedance of conventional generators, as the oscilloscope shots above illustrate, even a small degree of harmonic noise being fed back into the power stream will result in a large amount of distortion in its’ voltage. Add to that, the fact that the original supply voltage waveform of conventional generators is appreciably distorted to begin with, and you have a situation where the return of any harmonic currents by a non-PFC HMI, Fluorescent, or LED ballast will result in significant waveform distortion of the voltage at the power bus and operational problems with the generator voltage and frequency regulation.
This is graphically illustrated in the You-Tube video, “Compact Fluorescent verses The Generator”, by Lighting Designer Kevan Shaw’s (available on-line at href=”http://www.youtube.com/watch?v=LeCqreRMzKM, when he is not able to operate an equivalent Apparent Power of CFLs, as he could incandescent light, on his small 850W generator.
In fact, Kevan Shaw’s You-Tube video illustrates the general rule of thumb that it is not possible to load conventional generators beyond roughly 65% of their rated capacity for more than a short period when the load consists of lights with a poor Leading Power Factor ( Max Apparent Power of 540W/850W Generator = .64) Which translates to a maximum load of 1300W on a 2000W conventional generator. Where the total Apparent Power of our lighting package consisting of a Joker 800 and a couple of 40W 1×1 Litepanels is 1525W, it will overload even a 2000W conventional generator.
Will our lighting package operate on a 2000W inverter generator like the Honda EU2000is? The oscilloscope shots above indicate that it would. Even though the non-PFC ballasts of our lighting package kick back the same harmonic currents, the voltage waveform of inverter generators retain an over all sinusoidal shape because of their lower system impedance and purer original power waveform. The appreciable difference in voltage distortion created here by the same light demonstrates that an inverter generator will provide cleaner power, and operate more reliably, regardless of the type of load.
Left: Grid Power w/ 1.2Kw P-2-L PFC Elec. Ballast. Center: Conventional AVR Power w/ 1.2Kw P-2-L PFC Elec. Ballast. Right: Inverter Power w/ 1.2Kw P-2-L PFC Elec. Ballast.
As the oscilloscope shots above illustrate, Power Factor Correction can be of tremendous benefit when operating HMIs, Kinos, and LEDs on portable gas generators because a PFC circuit realigns voltage and current, eliminates the generation of harmonic currents, and induces a smoother power waveform at the distribution bus. PFC circuits successfully increase the power factor to as much as .98, making ballasts with it near linear loads. As a result, the ballast uses power more efficiently with minimized return current and line noise and also reduces heat, thereby increasing their reliability. For instance, if you were to replace the Joker Ballast with a Power-2-Light 800W PFC HMI ballast instead, the same head would draw 8 Amps at 110 Volts (instead of 12.5) and have an Apparent Power of only 880 Watts. If you were also able to replace the non-PFC AC power supplies of the 1×1 Litepanels with Power Factor Corrected ones, the oscilloscope shots above also indicate that you would likely be able to operate the whole package on a 1000W inverter generator (880W + 40W + 40W = 960W.)
A modified Honda EU6500is with our Transformer/Distro can power
the PFC 2.5 & 1.8 HMI Pars, PFC 400w Lighthouse HMI,
2 ParaBeam 400, 2 ParaBeam 200s, and 2 Tegra 400s of our HD P&P Pkg.
What is true of small lighting loads on small generators, is also true of larger lighting loads on larger generators. For instance, before reading this article, you would have thought that you could reliably operate a 4k HMI with non-PFC ballast on a conventional 6500W generator. But, where a non-PFC 4k electronic ballast will draw 58A at 120V it will overload a 6500W. To understand why, simply compare its’ Apparent Power of 6960W (58A x 120V = 6960W), to the continuous load capacity of a conventional 6500W generator after de-rating it for a load with Leading Power Factor of .58 (6500W x .65 = 4225W.) Likewise, if you were to replace the non-PFC 4k electronic ballast with a Power Factor Corrected one, the light would only draw 38A at 120V and have an Apparent Power of 4560W. And since, the ballast has a near Unity Power Factor, the 6500W generator would not have to be de-rated, and so could operate the 4560W Apparent Power load without a problem.
Guy Holt presenting to the Electrical Department of IATSE Local 481 as part of the
“Advanced Power and Generation for Set Lighting Technicians Seminar”
Guy Holt has served as a Gaffer, Set Electrician, and Generator Operator on numerous features and television productions (for a partial list of credits see his imdb listing). Guy Holt presented on Harmonics to the Electrical Department of IATSE Local 481 (pictured above) as part of the “Advanced Power and Generation for Set Lighting Technicians Seminar” offered by Russ Saunders of Saunders Electric (the provider of power generation services for the Academy Awards since 1952 and a recipient of a technical Emmy). Guy Holt also developed a nationally recognized curriculum on “Electrical Hazard Protection for the Entertainment Industry” that he teaches through the IATSE Local 481 Electrical Department “TECs” Program.
With the addition of the PL 19-90 Cabrio (ZK4.7×19) to their
inventory on October 1st 2012, Talamas became the first in New England to
carry an entirely new class of lens, a product that speaks to Talamas’
ongoing efforts to ensure their customers every opportunity to expand their
capabilities in the field as well as streamline their workflow.
Fujinon’s exclusive, detachable servo drive unit makes the ZK4.7×19 suitable
for use as either a standard PL or ENG-Style lens and an asset in virtually
any type of production – from documentary shoots, to reality shows, to news
broadcast applications and feature films. Additionally, the ZK4.7×19
features flange focal distance adjustment, is LDS (Lens Data System) and /i
metadata compatible, and, with 16-bit encoding on its digital servo, ensures
operators that all lens data output is accurate.
“Essentially it’s a high-quality PL Zoom that’s lightweight, compact and –
with a focal range of 19 mm to 90 mm and a zoom handle built right into the
lens – ideal for handheld use,” says Ted Driscoll, Senior Account Manager
for Digital Cinema and Video at Talamas.
Since first acquiring the PL 19-90, Talamas has experienced consistent
demand for the product, Driscoll adds, explaining that the lens has been out
on a variety of jobs already, and is currently in use on the New York City
set of a documentary being filmed by Lone Wolf Documentary Group.
In all, the PL 19-90 weighs just 2.7 kilograms; servo motors included. It
also boasts the longest focal range available in a lightweight zoom and
covers 31.5 mm sensor size on a digital cinema style camera thereby ensuring
the image captured will cover large sensors for optimal, full-frame
resolution. The PL 19-90 can also be controlled using cinema, industry
standard wireless controllers and existing Fujinon wired and wireless units.
“Fujinon are the first company I know of who’ve ever put a zoom grip on a PL
mount zoom lens,” says Talamas Staff Engineer, Anthony Bottaro. “Other
companies are working on it, but in this price sector a similar product
doesn’t exist right now. Your options are either high-end zooms – without
servos built in – or lower end options that, in order to use in the
professional realm, you have to make many compromises. The servo handgrip
changed everything so, right now, the Fujinon PL 19-90 doesn’t have any
Put bluntly, with the PL 19-90 Cabrio (ZK4.7×19), Fujinon has bridged the
gap between those options, while still offering class-leading quality and
revolutionary flexibility. Similarly, with their early adoption of Fujinon’s
latest technology, Talamas is bridging the gap themselves – providing access
to a cutting edge product well before it becomes industry standard.
Talamas Broadcast Equipment has been serving the broadcast and production
industries for over 30 years. Over that time the Newton, MA-based, company
has earned a reputation for technical know-how and unparalleled customer
service. Founded in 1979 by Dave Talamas, the company has responded to
innovations in audio and video technology by bringing state-of-the-art gear
to professionals in the Boston area and across the United States.