Welcome to the latest episode of our weekly roundup of news from the TV and film industry.

This week we are featuring the latest ARRI Orbiter releases, including the Orbiter Dome Mini and Orbiter Docking Ring, the Sony FR7 PTZ cinema camera making the Netflix Approved Camera List and Frame.io's Camera to Cloud for the RED V-Raptor, and V-Raptor XL.

ARRI Orbiter accessories

ARRI has released new demo videos about the latest ORBITER accessories. In the latest ARRI Tech Talk episodes Senior Product Manager, Markus Klüsener explains key accessories such as the Orbiter Fresnel 15-65 degrees, which lets you create a precise light spot with soft shadow. It can be controlled easily via the remote panel or DMX among others. The Orbiter Dome Mini is another compact accessory for situations when you need a soft light for a close up, but have very limited space, while the Orbiter Docking Ring takes the cinematographer’s tool set even further. It allows DoPs to use third party optics on the Orbiter, while still benefiting from the quality and power of ARRI Lighting.

FR7 Netflix approved

Sony has yet another camera added to the Netflix Approved Camera List. Their new and quite revolutionary FR7 PTZ cinema camera joins the esteemed list alongside other Sony cameras such as the VENICE and VENICE 2. A first of its kind, this certification was made possible because of the cinematic capabilities of the FR7 thanks to its full-frame sensor, interchangeable lenses, 15 stops dynamic range and robust 10bit 4K codec. And since it is now on the approved camera list, DoPs can utilise the FR7 for Netflix Original programming as a solo camera or mix it with other Sony cameras such as the FX9, VENICE and other third party models. The FR7 is no stranger to large productions, having already been used alongside the VENICE to film major music events.

Frame.io for V-Raptor

Frame.io's Camera to Cloud for the RED V-Raptor, and V-Raptor XL is finally available. Announced recently, the beta software saves productions valuable time by uploading REDCODE RAW files as well as ProRes proxies directly from the camera to the cloud. This not only saves time, but also provides a valuable backup. The uploaded proxies carry all necessary metadata, making it extremely efficient to reling them with the RAW files in Premiere Pro. Slow-motion speeds are also supported, and those production that have the wireless bandwidth can also even upload the 8K REDCODE RAW files directly to the cloud making for a truly hardware free workflow. This ground-breaking functionality makes it possible to shoot, upload, edit, and review without ever needing to copy files from the camera onto a hard drive on set.

Watch this episode:

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