| PERG News: February 2020 |
In this Issue:
Wednesday, February 5, 2020
PERG Meeting at NAB ~ New Day and Location!
Please join us on MONDAY (April 20th) for the PERG General Membership meeting (in N112) immediately followed by the networking event with drinks and refreshments in NAB’s new Cine Central area in Central Hall. That’s right, this year the PERG meeting will be entirely in the Las Vegas Convention Center!
• 4:00 pm - General Membership Meeting and Presentation (Las Vegas Convention Center, Room N112 across from Central Hall).
• 5:30-7:00 pm - Beer, wine, refreshments and Networking (Cine Central, C8532)
The meeting will feature a discussion with Johnathan Holiday of Tiger Group regarding the marketplace for selling underutilized rental inventory (see interview in this issue). PERG expects to have some additional exciting news about the meeting as the time gets closer.
Watch for an email invitation coming soon.
PERG is delighted to be partnering with NAB to host the annual rental house social event/meeting conveniently in the Las Vegas Convention Center. By having PERG as a partner in Cine Central, NAB acknowledges the value that rental houses bring as attendees of NAB. PERG sees the move as an opportunity for more rental houses to attend PERG’s General Membership Meeting. The meeting begins at 4pm in room N112, across the first floor concourse from Central Hall. Unlike year’s past, the social part of the meeting will take place after the presentation, and will be held in Central Hall at Cine Central (Booth 8532) from 5:30-7:00 pm. The exhibition hall closes at 6 pm, so the PERG party will have the hall to itself after that.
With a training area, exhibition tables, and private meeting rooms, Cine Central is set up to provide additional value to the cinema side of production. NAB describes Cine Central as “the new basecamp for content creators. In the heart of Central Hall, Cine Central sits at the crossroads of the major changes taking place in preproduction, production and post today. From previs through final color correction you’ll learn how to use, and integrate, the latest tools into a functional ecosystem; hear content creators describe their new techniques and workflows; get hands-on with state-of-the-art products; and connect with friends and colleagues.”
The meeting will feature a discussion with Johnathan Holiday of Tiger Group regarding the marketplace for selling underutilized rental inventory (see interview in this issue). PERG expects to have some additional exciting news about the meeting as the time gets closer.
Use this link for FREE NAB Registration (through April 4th): PR32 (courtesy of PERG)
Watch for an email invitation coming soon.
PERG is delighted to be partnering with NAB to host the annual rental house social event/meeting conveniently in the Las Vegas Convention Center. By having PERG as a partner in Cine Central, NAB acknowledges the value that rental houses bring as attendees of NAB. PERG sees the move as an opportunity for more rental houses to attend PERG’s General Membership Meeting. The meeting begins at 4pm in room N112, across the first floor concourse from Central Hall. Unlike year’s past, the social part of the meeting will take place after the presentation, and will be held in Central Hall at Cine Central (Booth 8532) from 5:30-7:00 pm. The exhibition hall closes at 6 pm, so the PERG party will have the hall to itself after that.
With a training area, exhibition tables, and private meeting rooms, Cine Central is set up to provide additional value to the cinema side of production. NAB describes Cine Central as “the new basecamp for content creators. In the heart of Central Hall, Cine Central sits at the crossroads of the major changes taking place in preproduction, production and post today. From previs through final color correction you’ll learn how to use, and integrate, the latest tools into a functional ecosystem; hear content creators describe their new techniques and workflows; get hands-on with state-of-the-art products; and connect with friends and colleagues.”
What is the Market for Your Underutilized Gear?
A Q&A with Tiger Group’s Jonathan Holiday
Among the topics that will be presented at the PERG General Membership Meeting at NAB this year will be the market for used equipment and the question of what a rental house can do with underutilized gear.
Jonathan Holiday has had a busy 24 months selling excess pro Audio Video (AV) gear on behalf of PRG/VER, Keslow Camera, Illumination Dynamics and Birns & Sawyer, to name a few. The veteran auctioneer and Director of Business Development leads the AV vertical at Tiger Group’s commercial and industrial division, which has emerged as an industry leader in AV dispositions. With sales volume jumping 50% in 2019 from 2018, the momentum continues in this space. Tiger conducts auctions, liquidations, turnkey business sales, asset appraisals and more for professional rental companies, production companies and studios. Recently PERG sat down with Holiday, who is based in Los Angeles, for his take on the state of the market.
PERG: With the popularity of TV, movie and digital content continuing to grow, how is this affecting demand for AV gear?
HOLIDAY: The changes in the market are definitely driving demand. We are seeing specific areas where purchasing is being made to handle the acceleration in production. Buyers are being very specific in their needs. For example, lenses from Cooke, Zeiss and Ultra Prime, as well as digital cameras, continue to have demand in the marketplace.
PERG: How are international markets fitting into the content picture?
HOLIDAY: Demand for content continues to be global, but it’s interesting to see how the patterns are changing. In 2018, China was a prolific buyer. The trade war and tariffs last year have really slowed down their purchases of gear. More recently, we’ve been seeing demand from buyers in Israel, the United Kingdom, Australia, New Zealand and Latin America.
PERG: What is Tiger doing differently with all this rising demand?
HOLIDAY: In today’s environment buyers want to know that the gear they buy is ready to roll. We’ve started to provide supplemental information about the gear we put on the market, with much more asset-specific information than traditionally available. Whenever possible, we’ll tell buyers things like, “Here’s the testing or servicing that’s been done on this, here’s its history, and here’s what you can expect about performance based on what we and our clients know.” In some cases, we’ve hired third-party technicians and projectionists to evaluate gear. It bolsters interest in equipment by giving buyers more confidence in the used gear they are purchasing.
PERG: Can you explain why a rental company would engage a firm like Tiger rather than sell excess gear on their own?
HOLIDAY: Some companies assume that because they’ve struggled to sell gear via third-party websites or through other internal methods, a company like Tiger may have the same difficult experience. Tiger has a holistic process for marketing AV gear and equipment, and our sell-through rate is nearly 100 percent. We take the time to understand the gear, where it is being sold, the pricing and other market factors. Our team works diligently, and our focus is only on selling equipment, which is a key ingredient to meeting our clients’ objectives. At Tiger, we have spent years honing our skills in AV marketing, sales and customer service. We have extensive relationships with buyers in this space, and that does make a difference. Finally, we want our clients to be able to focus on what they do best and that is rent gear!
PERG: There were some noteworthy M&As in recent years, such as Keslow Camera acquiring Clairmont Camera and PRG’s merger with VER. Could you talk about how that affects the market for excess and underutilized AV gear?
HOLIDAY: Those were very important events, and we assisted both Keslow Camera and PRG/VER in eliminating inventory redundancies. We implemented key strategies to open up much-needed warehouse space and eliminate redundant and older gear, without impacting their ongoing business. Additionally, the revenue generated from surplus sales allowed the companies to purchase new gear to support their rental demands for next-generation productions.
PERG: What other significant transactions took place that required an innovative solution?
HOLIDAY: We had the good fortune of selling North Hollywood-based Cineworks a 40-year-old lighting and grip rental company at the eleventh-hour last year. This really highlighted the benefits of turnkey sales: The owner of Cineworks ended up with a recovery value that was nearly double what likely would have resulted from an auction sale. We were also very proud that the company was able to continue operating.
PERG: Who is buying gear these days?
HOLIDAY: Overall, we continue to see buyers from a gamut of stakeholders—production houses, rental companies, directors, cinematographers, AV dealers, and in-house marketing departments. Our focus on global marketing also drove demand from international buyers. In one recent unconventional case on the buyer’s side, cosmetics company Anastasia Beverly Hills wanted to disrupt the usual approach of outsourcing marketing and advertising production. Alex Smith, the company’s Director of Media Production, leveraged our sales to help build an in-house production company and advertising agency from scratch.
PERG: What gear is in highest demand right now?
HOLIDAY: We are seeing a strong demand for Arri Alexa Classics, 4:3 and XT and the Sony PMW-F55 digital cameras. Lenses are always a fast-selling mainstay. Cooke, Ultra Prime and Zeiss are particularly sought-after. We also recently sold more than 18,000 Tiffen filters—one of the largest inventories of filters to be sold on the open market.
PERG: What segments of the gear market is becoming obsolete?
HOLIDAY: Due to technology changes for traditional lighting, the shift to LED lights continues, and that’s part of why there are fewer lighting and grip rental companies. Affinity for the warmth of traditional lighting hasn’t disappeared, but these lighting rental companies are managing their inventories carefully, because demand is changing. With respect to cameras, we’re continuing to see the effects of “good-enough” manufacturing from China. Top-of-the-line cameras are not always being used for productions, and this is ramping up competition among manufacturers to churn out lower-priced cameras that still perform well. Rental and production companies really need to stay ahead of the obsolescence curve. Illumination Dynamics chose to do this in 2019 with their lighting, which paved the way for new gear to be purchased and to get the older lighting off their books. Scott Sawyer of Illumination Dynamics was quite happy with the results of our recent sale of the company’s excess event and conventional lighting. The company used the proceeds to purchase new equipment. Noting that our team was “very easy to work with,” Scott said the process “went very smoothly” and was profitable for his company.
PERG: Any misperceptions out there about selling excess AV gear through third-party asset-disposition firms?
HOLIDAY: Some rental companies view putting gear on the market as something you do when it’s time to shut down the company and then monetize every last piece of your gear. In fact, we routinely work with healthy rental and production companies to strengthen their competitiveness. In addition, we have the ability to look at a rental company’s inventory and assess what may be best to currently sell, and it may just be a partial amount of gear. We take pride at Tiger to create flexible programs to meet our clients’ needs.
PERG: Can you give an example of a success story involving one of our members?
HOLIDAY: Recently, I received a nice note from Bill Meurer, the founder and president of Birns & Sawyer, which has partnered with Tiger for more than 15 years. Bill pointed to the strategic importance of divesting underused motion-picture equipment and staying ahead of the obsolescence curve. In his note, he said that Tiger’s auctions and liquidations have helped his company continue to grow after 65 years in Hollywood. The proceeds are part of what enabled Birns & Sawyer to become an employee-owned business. For us, that was really gratifying to hear.
PERG: What’s the difference between auctions and liquidations?
HOLIDAY: We tend to use the term “sale solutions” because there’s actually quite a bit of variability in terms of the approach you can take. With respect to auctions, you’re talking about live, webcast or online events which take place on SoldTiger.com. Other solutions include, as I mentioned before, turnkey sales, as well as liquidations, sealed-bid offerings and private-treaty sales. We strive to make the process simple for both sellers and buyers. Our goal is to always customize each project to meet our customers’ needs and timetables. As to the distinction between auctions and the liquidation process, it’s important to understand an auction can take place as soon as 30 days and a liquidation may take 90-120 days. Liquidations take longer, but they yield higher values. A liquidation is a fixed price with possible tiered price reductions over time and leverages multi-channel marketing over time. It’s social media, ads in trade publications, e-mail blasts, telemarketing, and online banner ads. We keep and maintain a database with thousands of proven buyers. To be sure, we do a lot of that same marketing for our auctions. However, liquidations are more controlled. You can exert more influence over prices and timetables. That’s important because it helps us avoid flooding the market with inventory.
PERG: Do you ever combine auctions and liquidations?
HOLIDAY: Absolutely. We can leverage a combination of our solutions. Tiger wants to work with each company to find the pathway to the highest value.
PERG: Can you give our members a recent example of this type of program?
HOLIDAY: For 10 months in 2019 we leased a 6,000-square-foot warehouse in Glendale for PRG/VER and Keslow Camera. We had gear moved into the warehouse from all over the country. As we pointed out, many ongoing rental companies typically don’t want buyers at their facilities and may need to open up space in a short period of time. The gear was moved and then much of it tested. It was all priced, catalogued and photographed, plus buyers were able to check the gear themselves, giving them additional confidence in purchasing the equipment. Over 21,000 pieces of gear were sold in those 10 months via the liquidation process and five auctions. With the warehouse and integrated sales process, both Keslow and PRG/VER really benefitted from our efforts.
PERG: What do you think about the macroeconomic situation moving forward?
HOLIDAY: I’m an optimist and am really happy to see the strong growth in content-creation continuing, and this is great for rental companies. However, I also think it’s important to remember that the business cycle, sooner or later, will turn. When that happens, marketing and advertising budgets will shrink in proportion, with cascading effects on demand for AV gear. There is a lot of gear out in the secondary market and eventually there will be downward pressure on values.
PERG: That is why it is important to have multiple solutions to deal with gear?
HOLIDAY: Correct. Having an asset disposition firm as a partner can alleviate significant challenges in the present and future. We are here to listen, evaluate and take action. Most importantly, we really value creating long-term, fruitful relationships with our clients.
Jonathan Holiday is Director of Business Development for Tiger Group’s Westlake Village, California-based Commercial & Industrial Division; jholiday@tigergroup.com
PERG to Participate in Koerner Camera’s Pacific Northwest Lens Summit
The Pacific Northwest Lens Summit at Koerner Camera in Portland, Oregon has grown in attendance and popularity every year since it began in 2017. The event is a unique, concentrated platform for the world’s finest cine optics. Representatives from Angenieux, Arri, Canon, Cooke, Fujinon, Leica, P+S Technik, Sigma, Tokina, Zeiss and many more present their latest optical solutions, over 30 exhibitors in all. AbelCine, Band Pro, Camadeus and Preston Cinema Systems are also in the house. The write up in the Film and Digital Times from last year’s event gives you an idea (and pictures) of the fascinating range of special and unique optical equipment on display. There are also workshops and seminars in the planned for this year’s event.
The day before the exhibition, lens techs from far and wide attend free half day training sessions. The 2020 training sessions include Zeiss, Angenieux, Sigma, Atlas and Fujinon. The training is provided by the likes of Paul Duclos, Joe Neiman, Jean-Marc Bouchut, Oliver Reil from Pure4C and others. Last year the event hosted about 24 lens techs. This year, the attendance is expected to be from 36 lens technicians from across North America.
This year, as part of the open house exhibition on Saturday, some special sessions are planned in the upstairs of the Koerner building. PERG Manager Harry Box will hold an informational session and discussion regarding equipment theft, providing attendees the latest information collected by PERG’s Fraud and Theft database RENTAL GUARD. Lens technicians and rental house personnel are invited to join the discussion. On Sunday May 3rd there will be more programming which will be announced shortly.
Part of the appeal of the event is undoubtedly the chance to visit Portland in the fine days of early summer and experience that special Portland vibe. Adam Wilt of Film and Digital Times wrote about last year’s event “Attendance might have been even higher had Portland not suffered from a warm and sunny day (rain-sodden Portlanders will cheerfully cancel their own weddings for a chance to frolic in the sun). Those who resisted the call of the wild were rewarded with a taco truck, local wine and beer, and — because it’s Portland — exotic donuts. Also — because it’s Portland — the Unipiper: a unicycling, bagpipe-playing, flame-throwing, kilt-wearing Darth Vader. ‘This machine keeps Portland weird!’ is emblazoned on his bagpipes, and no one could possibly disagree.”
The exhibition is Saturday, May 2nd, 2020. 10am to 5 pm at 2828 SE 14th Ave. in Portland, OR.
PERG Member MTY Works Installs New Precision Systems at Panavision and Scheimpflug.
| PERG News: February 2020 |
In 2018, several members of the PERG council were treated to a full demonstration of the precision Opti Glide lens chart system by MTY Works owner Etienne Sauret. The demonstration at Adorama’s Brooklyn facility was followed by a visit to the workshop where Sauret and his team design and manufacture professional checkout bays, camera sliders, nodal heads, rover dollies, motion control equipment, and now the Opti Glide Reticle. I checked in with MTY Works recently to hear about the precision Reticle newly installed at Panavision in New York. They sent us the following update.
From left to right, Etienne Sauret hosts PERG Council members Sally Spaderna (Korerner Camera Systems, Portland), Mark Wofford (PC&E, Atlanta), Alex Pakarian (The Camera Division, Los Angeles) and Anna Mayo (MP&E, Dallas) at MTY Works shop in 2018.
Opti-Glide Reticle Installation at Panavision
In 2018, several members of the PERG council were treated to a full demonstration of the precision Opti Glide lens chart system by MTY Works owner Etienne Sauret. The demonstration at Adorama’s Brooklyn facility was followed by a visit to the workshop where Sauret and his team design and manufacture professional checkout bays, camera sliders, nodal heads, rover dollies, motion control equipment, and now the Opti Glide Reticle. I checked in with MTY Works recently to hear about the precision Reticle newly installed at Panavision in New York. They sent us the following update.
From left to right, Etienne Sauret hosts PERG Council members Sally Spaderna (Korerner Camera Systems, Portland), Mark Wofford (PC&E, Atlanta), Alex Pakarian (The Camera Division, Los Angeles) and Anna Mayo (MP&E, Dallas) at MTY Works shop in 2018.
The installation of two MYT Works Opti-Glide Reticles at Panavision New York is now complete. Over the last few months, MYT Works has been working closely with Panavision to replace existing target systems with Reticles in two dedicated projection rooms. The Opti-Glide Reticle brings a new level of accuracy and precision to lens assessment and verification while significantly reducing the technician's time at the projector. The system features calibration-free digital-distance-readout, as well as precision hand-wheel and motor control of the target's distance during critical lens assessment.
For the Reticle, technician ergonomics were a very important design consideration. We moved the distance-display directly into the line of sight of the projector eye piece and reduced the monitor brightness to eliminate fatigue. Following Panavision's feedback, we also provided a second distance display next to the projector.
This installation required a close collaboration between MYT Works and Panavision. Christopher Konash, Vice President of Operations, spearheaded the project and kept it on a tight schedule. He had to ensure minimal downtime and disruption for the lens technicians who use the projection rooms on a daily basis. As a result, extensive measurement and planning was required in order to complete the structural support work as quickly as possible and with minimal disruption.
Once the Reticles were installed, a great deal of time was spent leveling and adjusting the target to ensure it was perfectly square to the optical axis of the projector. Steve Boyce, the Panavision Optical Product Manager flew in from the Woodland Hills, CA facility to install the brand new Panavision projectors. He was instrumental in verifying the entire system was completed according to the strict specifications necessary for these projectors.
This installation is definitely one of our favorites. It was a pleasure to work with the entire team of technically savvy, meticulous and incredibly knowledgeable individuals at Panavision. We want to thank Ms. Terra Bliss, Mr. Christopher Konash, Mr. Dominick Aiello, Mr. Steve Boyce and the rest of the Panavision team in New York and California for entrusting us with a critical component of their premier camera rental facility.
This installation required a close collaboration between MYT Works and Panavision. Christopher Konash, Vice President of Operations, spearheaded the project and kept it on a tight schedule. He had to ensure minimal downtime and disruption for the lens technicians who use the projection rooms on a daily basis. As a result, extensive measurement and planning was required in order to complete the structural support work as quickly as possible and with minimal disruption.
Once the Reticles were installed, a great deal of time was spent leveling and adjusting the target to ensure it was perfectly square to the optical axis of the projector. Steve Boyce, the Panavision Optical Product Manager flew in from the Woodland Hills, CA facility to install the brand new Panavision projectors. He was instrumental in verifying the entire system was completed according to the strict specifications necessary for these projectors.
This installation is definitely one of our favorites. It was a pleasure to work with the entire team of technically savvy, meticulous and incredibly knowledgeable individuals at Panavision. We want to thank Ms. Terra Bliss, Mr. Christopher Konash, Mr. Dominick Aiello, Mr. Steve Boyce and the rest of the Panavision team in New York and California for entrusting us with a critical component of their premier camera rental facility.
Four Opti-Glides Installed at Flüg in NYC
We have completed the installation of four new MYT Works Opti-Glides at Scheimpflüg's new location in Manhattan's Chelsea neighborhood. Their renovated space is a classic New York City loft: amazing views of the city, large windows around the perimeter, and an abundance of natural light throughout. The tall ceiling, warm hardwood floors, and open layout gives the entire space a welcoming feeling.
Flüg, as it is known in the industry, is a very busy, multi-location camera, lighting, grip, and truck rental house. They also offer specialty production services such as 3D Volumetric Scanning for motion picture applications. They pride themselves on offering a high level of service to all of their clients. Kristine Guzman, Digital Director at Flüg, was adamant that their new location offer a seamless camera checkout experience while expediting the process for both the client and her team. They needed a solution to handle multiple, effortless, and efficient checkouts on a daily basis.
In her search for a "state-of-the-art" lens chart system, Kristine chose the Opti-Glide for its extremely accurate positioning, zero mechanical play, and precise jitter-free motion. In addition, our industry-first encoder system was one of the most important features for Flüg as it removes any doubt to the accuracy of the lens checkout process and is an insurance against any surprises on location. The calibration-free nature of the system means no complicated measuring or training is necessary; clients can intuitively start using the system the moment they mount the camera to the Pedestal.
Flüg is now up and running in their brand new location just in time for 2020 and beyond. The installation of the systems in an older space was an enjoyable challenge; the idiosyncrasies of the unique wood floor and century-old wood ceiling joists were something we knew would make this installation unique from the beginning. We're extremely proud that our New York City engineering and manufacturing is a part of such a quintessential Manhattan location. We want to thank Kristine, and Flüg's Owner / Cinematographer, John Engstrom, for entrusting us with one of the most important and critical aspects of their rental process.
Learn more about the Opti-Glide System.
Flüg, as it is known in the industry, is a very busy, multi-location camera, lighting, grip, and truck rental house. They also offer specialty production services such as 3D Volumetric Scanning for motion picture applications. They pride themselves on offering a high level of service to all of their clients. Kristine Guzman, Digital Director at Flüg, was adamant that their new location offer a seamless camera checkout experience while expediting the process for both the client and her team. They needed a solution to handle multiple, effortless, and efficient checkouts on a daily basis.
In her search for a "state-of-the-art" lens chart system, Kristine chose the Opti-Glide for its extremely accurate positioning, zero mechanical play, and precise jitter-free motion. In addition, our industry-first encoder system was one of the most important features for Flüg as it removes any doubt to the accuracy of the lens checkout process and is an insurance against any surprises on location. The calibration-free nature of the system means no complicated measuring or training is necessary; clients can intuitively start using the system the moment they mount the camera to the Pedestal.
Flüg is now up and running in their brand new location just in time for 2020 and beyond. The installation of the systems in an older space was an enjoyable challenge; the idiosyncrasies of the unique wood floor and century-old wood ceiling joists were something we knew would make this installation unique from the beginning. We're extremely proud that our New York City engineering and manufacturing is a part of such a quintessential Manhattan location. We want to thank Kristine, and Flüg's Owner / Cinematographer, John Engstrom, for entrusting us with one of the most important and critical aspects of their rental process.
Learn more about the Opti-Glide System.
LiteGear Supports Their Colleagues With LiteMat Fixtures
Every time someone buys one of LiteGear’s popular LiteMat fixtures they are helping an industry colleague who is seriously ill or injured. That’s because LiteGear has pledged a portion of the profits of the sales of all LiteMat fixtures to Behind the Scenes and at the LDI show last fall they presented a check to the charity for $10,000. LiteGear’s ongoing support of the charity through its Pledge-a-Product Program represents an incredible commitment by the company, its employees and its customers to care for their colleagues in need.
LiteGear Inc., are designers and builders of LED lighting products for professionals in the Cinema, TV, and HD Video industries and are pioneers behind the popularization of flexible LED lighting for use in Cinema and TV lighting applications. The LiteMat fixtures are designed to offer soft yet controllable light for location or studio work. Available in 6 sizes, these bi-color LED fixtures are made of a composite of polypropylene and sheet aluminum making Series 2 LiteMat and LiteMat+ one of the thinnest and lightest luminaires in its category. Learn more about LiteMats at www.litegear.com.
Upon presenting the check, LiteGear CEO, Mike Wagner, stated, “Many of our customers are like family to LiteGear. As the company was started by a group of filmmakers, we take great pride in supporting charities like Behind the Scenes, which directly supports those in the field.”
Lori Rubinstein, Executive Director of Behind the Scenes, commented, “Once again LiteGear has demonstrated their heartfelt commitment to ensuring those in need won’t be evicted from their homes or have their heat and water turned off, that they’ll be able to afford medications and doctor visits. Their inclusion of information about Behind the Scenes in every shipment of LiteMat fixtures lets customers know the impact of their purchase and spreads the word that help is available to those in need.”
The Behind the Scenes charity provides entertainment technology professionals who are seriously ill or injured with grants that may be used for basic living and medical expenses. For more information about Behind the Scenes, to donate, or to apply for a grant, visit www.behindthescenescharity.org. For more information about the Pledge-a-Product Program please contact info@behindthescenescharity.org.
The Behind the Scenes Mental Health Initiative Seeks Therapist Recommendations
Last fall, Behind the Scenes conducted an online survey of industry members which received an unprecedented response. This was followed by two focus groups in January to delve deeper into some of the issues and concerns raised in the survey responses. One of the most frequent complaints we heard was how difficult it is to find a therapist who knows anything about the entertainment industry and who is available to see people on nights and weekends or through teletherapy.
As one of the first programs of our mental health and suicide prevention initiative, we are partnering with HelpPro to create an online therapist finder specifically for the entertainment industry. This means that we are seeking therapists who either have personal experience in our industry or who have previously seen clients who work in the industry and learned about the unique pressures and stresses.
In order to make this program a valuable resource for the industry, we need the assistance of everyone in the industry who has seen a therapist they thought was helpful. If you or a family member have experience with a therapist you think should be listed on the finder, please send their contact information to mh@btshelp.org. We’ll reach out to them to let them know when the finder is ready for them to sign up.
They’ll be asked about their experience in the industry and will complete an extensive questionnaire that includes their areas of specialty, what insurance they accept and whether they have a sliding scale for those not covered, whether they have weekend and nighttime office hours or will conduct phone or video sessions, and much more. This will allow those seeking counseling to find the best possible matches for their needs.
We are hoping to launch the new finder in late March or early April – contingent upon having enough therapists listed to be useful.
For additional information about Behind the Scenes, visit www.behindthescenescharity.org or call 212-244-1421.
As one of the first programs of our mental health and suicide prevention initiative, we are partnering with HelpPro to create an online therapist finder specifically for the entertainment industry. This means that we are seeking therapists who either have personal experience in our industry or who have previously seen clients who work in the industry and learned about the unique pressures and stresses.
In order to make this program a valuable resource for the industry, we need the assistance of everyone in the industry who has seen a therapist they thought was helpful. If you or a family member have experience with a therapist you think should be listed on the finder, please send their contact information to mh@btshelp.org. We’ll reach out to them to let them know when the finder is ready for them to sign up.
They’ll be asked about their experience in the industry and will complete an extensive questionnaire that includes their areas of specialty, what insurance they accept and whether they have a sliding scale for those not covered, whether they have weekend and nighttime office hours or will conduct phone or video sessions, and much more. This will allow those seeking counseling to find the best possible matches for their needs.
We are hoping to launch the new finder in late March or early April – contingent upon having enough therapists listed to be useful.
For additional information about Behind the Scenes, visit www.behindthescenescharity.org or call 212-244-1421.
Monday, May 20, 2019
Rental House Breakfast at Cine Gear 2019
| PERG News: Cine Gear 2019 |
Welcome to Cine Gear 2019. PERG will once again be hosting the PERG Rental House Breakfast thanks to the generous support of the sponsors featured in this newsletter. Many of them are exhibiting at the show, so here’s some of the new products, seminars, and events the’ll be showing.
PERG members should have already received invitations for the breakfast. If you wish to attend and did not receive an invitation, please contact harry.box@esta.org.
In this Issue:
Anton Bauer / Litepanels
New! Litepanels Gemini 1x1 Soft LED Panel
Litepanels will showcase the all-new Gemini 1x1 Soft at Cine Gear 2019. Seen for the first time at NAB 2019, where it received a Product of the Year Award.
Gemini 1x1 Soft is an all-in-one, cine-quality LED light that is easy to transport and quick to rig in the studio or on location. Offering the highly accurate full-spectrum white light associated with all Litepanels fixtures — as a full RGBWW light — it also delivers every color in the 360° color wheel with plus/minus green adjustment all in a single, lightweight, and easy-to-control fixture. Gemini 1x1 Soft builds on a foundation of daylight-to-tungsten light, providing accurate white light together with flexible and precise color adjustment. These features make Gemini 1x1 Soft ideal for lighting talent and rendering skin tones, giving users the ability to match a broad range of lighting conditions quickly and easily.
Weighing in at just 11.7 pounds, and with a maximum draw of just 200W, Gemini 1x1 Soft is the industry’s most agile light for on-the-go filmmakers. The compact power supply means that Gemini is fast and easy to rig with fewer cables, and users can instantly switch the light from AC power to battery power — using V-Mount, Gold Mount, or XLR output batteries — while retaining similar lighting intensity.
New! Anton/Bauer Titon Battery Series
Also new for Cine Gear Expo is Anton/Bauer’s Titon, an all-new series of Gold Mount and V-Mount batteries designed for on-location productions that provide filmmakers with a versatile way to “power their story.” Offered in both 90Wh and 150Wh models, Titon powers the leading DSLR, mirrorless, ENG, and digital cine cameras as well as LED panels such as the Litepanels Gemini 1X1 Soft.
With P-TAP and high-speed Smart USB ports, Titon can also power accessories such as wireless transmitters, follow focus and lens controllers, monitors, and smart devices. Using the on-board LCD screen or the camera’s viewfinder display, Titon users know, down to the minute, the exact runtime and remaining available power for the camera and accessories being powered.
Titon offers one of the widest operating temperature ranges in its class — from -4 °F to 140 °F — ensuring its reliability even in the world’s most extreme conditions. Titon batteries are the ideal mobile power solution for on-location settings, where portable power is preferred for faster setups, or in remote environments, where outlets or generators are simply not available.
New! Anton/Bauer Dionic 26V Battery Series
Available later this summer, Anton/Bauer will be offering Cinegear attendees an exclusive preview of their new 26V battery series.
The perfect solution to run the power-hungry devices necessary for today’s demanding cinematography standards including multi-function creative lighting such as the Litepanels Gemini range and similar high-power LED panels, high-end cine cameras including the ARRI Alexa LF, and specialist high-speed cameras such as the Phantom v2640. A lightweight agile alternative to block batteries, providing a high-power, ultra-versatile and travel-safe way to power devices on set.
Available in 98Wh and 240Wh versions, Anton/Bauer smart battery technology combined with high-energy cells provides consistent power with protection from over-voltage, short-circuits and heat. Dionic 26V features a new Gold Mount Plus lock that delivers not only the industry’s most secure battery lock system but also the most reliable communications between the battery and a camera or light. Know your battery runtime down to the minute with the on-board LCD display or in your camera viewfinder. With a dedicated high-speed 26V charger and a range of camera brackets in partnership with Wooden Camera, the Dionic 26V battery promises to be the battery of choice where power and portability are paramount.
ARRI Rental
ARRI Rental DNA LF's at Cine Gear
Comprising re-housed vintage optics with a new iris for circular bokeh, DNA LF lenses incorporate coating options and tuneable internal elements. Once customized to suit your creative vision, your unique settings can be kept on file and reproduced at any ARRI Rental facility. Robust housings, uniform lens rings and full LDS-2 metadata make DNA LF lenses practical, characterful companions for ALEXA LF and Mini LF.
Core
Helix
Helix is the most complete on-board battery system ever offered to the cinematic industry. The system encompasses all the features of Hypercore, with the added function of dual 14v/28v* simultaneous voltage output, answering the call for better designed and performing, on-board high voltage solutions. Leveraging a proprietary, patent pending technology, Helix is ultra-efficient, providing nearly lossless power transmission at a 99% efficiency rate to high voltage operating equipment. Helix’s unique design allows it to output up to 33.6v, within the top range of high voltage acceptance, thus drawing less current, creating less heat and extending both operational runtime and product longevity. Helix’s uniquely designed infrastructure allows the pack to function as a standard V-mount or Gold mount 14v pack in all applications without the fear of accidentally transmitting high voltage. Along with standard powering applications, Helix charges on all standard v-mount and gold mount Lithium-Ion equipment, including Anton/Bauer, allowing it to seamlessly integrate into your current fleet of battery packs. Core has produced a series of mount plate offerings for high voltage accepting equipment. To unlock the high voltage output function, couple HELIX with the mount plate. Once mounted, the battery pack will transmit the higher voltage efficiently to the camera, yet still have access to 14v for other production accessories. In addition, the battery mount plates are compatible with standard on-board battery packs. This compatibility allows you to still use your existing V-mount and Gold mount battery packs on wide rang voltage cameras (ARRI Alexa, Amira, Mini Alexa, Sony Venice, RED Ranger, etc.) when using a Helix mount plate.
Come see us at Cine Gear, Booth 32
Helix is the most complete on-board battery system ever offered to the cinematic industry. The system encompasses all the features of Hypercore, with the added function of dual 14v/28v* simultaneous voltage output, answering the call for better designed and performing, on-board high voltage solutions. Leveraging a proprietary, patent pending technology, Helix is ultra-efficient, providing nearly lossless power transmission at a 99% efficiency rate to high voltage operating equipment. Helix’s unique design allows it to output up to 33.6v, within the top range of high voltage acceptance, thus drawing less current, creating less heat and extending both operational runtime and product longevity. Helix’s uniquely designed infrastructure allows the pack to function as a standard V-mount or Gold mount 14v pack in all applications without the fear of accidentally transmitting high voltage. Along with standard powering applications, Helix charges on all standard v-mount and gold mount Lithium-Ion equipment, including Anton/Bauer, allowing it to seamlessly integrate into your current fleet of battery packs. Core has produced a series of mount plate offerings for high voltage accepting equipment. To unlock the high voltage output function, couple HELIX with the mount plate. Once mounted, the battery pack will transmit the higher voltage efficiently to the camera, yet still have access to 14v for other production accessories. In addition, the battery mount plates are compatible with standard on-board battery packs. This compatibility allows you to still use your existing V-mount and Gold mount battery packs on wide rang voltage cameras (ARRI Alexa, Amira, Mini Alexa, Sony Venice, RED Ranger, etc.) when using a Helix mount plate.
Come see us at Cine Gear, Booth 32
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