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Canon CN7x17 KAS T/R1 and T/P1 Lens: $23,850
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Viz Connect Tetra: Multi-Channel 4K
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Core SMX MoXIE Solo: First Sodium-Ion Battery for Film
360 Seconds. Broadcast News & Commentary is a weekly program on Youtube about the latest equipment for broadcasting and film. Explained by experts – practitioners directly working in the field of cinema and television.
Hosts: Philip Grossman, host and co-producer at Visionaries, and Pax Moore. Production – TKT1957 LLC.
Airing on June 11, 2024
Canon CN7x17 KAS T/R1 and T/P1 Lens with New Features, Priced at $23,850
Pax: Canon has introduced the CN7x17 KAS T/R1 and T/P1 lens, a new model in their Cine-Servo lens series. Philip, how do you believe this will impact and upgrade Canon’s offerings?
Philip: Well, recently Canon announced their C400, which is, I believe, their first RF-based Cinema Camera. Of course, you have a lot of their stills cameras that are now RF-based, so it makes sense that they would release this. It really does indicate to the industry, at least from my perspective, that they are serious about that RF Mount and their cine cameras, and bringing that RF Mount to those cameras. The 17 to 120mm is just a great range. I always joke that I’m looking for that 8mm to 100,000mm f/2.8 that weighs a pound. That’s a dream lens—never going to happen. But from a broadcaster’s perspective, this lens has a fantastic range. I think it’s a T4, which is a little fast, I would think. Although, you have to remember in the broadcast arena, you’ve got fixed lighting situations. As a documentary lens, it might not quite be enough within that creative aspect. You’ll hear people say, “Well, you can’t get enough bokeh.” But if you zoom in at T4 to 120, you’re going to get a very shallow depth of field. The servo zoom on there is fantastic, very smooth, and adjustable, so you can change the rate of speed. Overall, I think it’s a great addition to their set of lenses and really shows that they have made a commitment to that RF Mount.
Viz Connect Tetra: Multi-Channel 4K Connectivity Anywhere
Pax: Now for some Vizrt news. Vizrt, the leader in real-time graphics and live production for content creators, has announced Viz Connect Tetra, an ultra-compact live production workstation. Philip, what are your thoughts on this?
Philip: So it’s interesting to see that several manufacturers are now getting into this camera connection market. They realized that in order for their products to work, they’ve got to get the signal into their products. Everybody has different sorts of connections. Of course, SDI is our standard, but over the last three years, we have had SMPTE 2110, NDI, and a plethora of different types of connections. By creating a standalone unit that helps integrate into the Vizrt world and aids in the adoption of their other platforms, I think it’s a very smart move for them. They are known for their graphics and technology, so it’s a name you can trust, as opposed to some third-party manufacturer you may not have heard of before. It offers a lot of flexibility and supports UHD, which is important nowadays as we’re starting to see more UHD programming available via OTT models. We’re still not quite seeing it on cable and satellite, although I think that’s coming. This is just another tool in your toolkit to say, “Hey, now I can connect.” From within there, you’ll be able to apply a lot of camera shading and, to some extent, normalize the video signal across multiple different cameras. In general, I think it’s a great tool. I’m glad to see Vizrt getting into this market, and it’ll be exciting to see how far they progress with this type of unit.
Core SWX MoXIE Solo, First Sodium Ion Battery for Filmmakers
Pax: So Philip, I’m sure you’ve heard of MoXIE company, which prides itself on Mobile Exchangeable Intelligent Energy for the film industry. How do you believe that this MoXIE Solo will impact the market within power sources for film production?
Philip: Films use a lot of power, especially when you used to have 2,000-watt PAR fixtures and tungsten fixtures. Now everything’s gone to LED, so it is possible to power them via battery. As we get more and more and bigger and bigger units, you need more and more power. It’s interesting to see a lot of manufacturers coming to market with these, some via partnerships. I believe Aputure did a partnership with, I think it was Anker, to bring their power solution. MoXIE’s solution is a little bit different; if I’m not mistaken, it’s a sodium-based battery as opposed to a standard lithium-ion battery. They sometimes call them semi-solid state batteries. I think it was 3.4 kilowatts—that’s a lot of power. On a film set, that makes it very quiet. In the past, we’d have the diesel generator down the road and miles of cabling so that you wouldn’t hear that diesel generator. Now, with these smaller electric generators or solar generators on set, you can have two or three of these spread throughout the set area, making it much easier to do your striking, your staging, and all those kinds of things without worrying about needing power from one central location. Hopefully, the film industry will start adopting these and using them in a creative fashion instead of just as a replacement for a standard generator.
Pax: Many thanks to our expert, Philip Grossman. We want to appreciate everyone that watches 360 Seconds with TKT1957. Once again, I’m Pax Moore. Until we see you next time, don’t forget to like and subscribe!
360 Seconds. Broadcast News & Commentary
The weekly show, focusing on the latest products and solutions in the global TV and film industry, features insights and analysis from top experts. Released every Monday within the TKT1957 network, the program can be found on the YouTube channel, social media groups, and the tkt1957.com website.
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