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Libec, the camera support specialist, is pleased to announce the launch of Jib50, a new jib featuring a strong telescopic arm. This model joins a range of supports that includes the Jib30, a product that won the prestigious Digital Video Black Diamond Award 2011 at California's DV Expo in September 2011.

Available in kit form with carrying cases, it is a truly portable system, at home in the studio and in the field. The Jib50 has been designed to be versatile and adaptable to users' needs: a remote control box, monitors and a remote head can all be fitted to the jib with minimal effort. Like the Jib30, the Jib50 is quick, compact and dynamic. It can be set up in minutes, hence its name - Swift Jib.

A stand-out feature of this model is its telescopic arm. Rather than fixing on extension units, a time consuming and often fiddly process, Jib50's arm simply extends by turning the lock levers. Despite this additional mechanism, the Libec jib is still able to support considerable loads. Even fully extended at 190cm, it can still hold a 10Kg load, as much as many other systems can manage at a metre length. At its shortest setting - 100cm - it has the build quality to hold an impressive 20Kg of equipment. This strength and adaptability makes the product a highly versatile piece of equipment.

Nick Allen-Miles of Ianiro International comments: "Producers have become used to working around the limitations of their grip, as changing jib arm length has been something of a chore, especially on location where camera operators prefer to travel light. With Jib50 this is no longer an issue. We think its extendible arm, combined with its sheer strength make it an excellent choice."

Jib50 - Swift Jib - will be on the Ianiro stand at Earls Court's BVE 2012. Camera crews are welcome to try out this new model. 

Ianiro is announcing a significant expansion of its operations to include market research, global strategy and international distribution. Ianiro International launches today.

Nick Allen-Miles, managing director of Ianiro International said: "Over the last decade Ianiro UK's customer-centred model has proven highly successful. It is based on a philosophy that prioritises next-day product availability and strong relations with trusted and expert resellers. We are planning to build on this sound foundation."

From February Ianiro, headquarted in Rome for over half a century, will shift sales and marketing strategy, day-to-day management and customer services to the English midlands while the company continues the manufacture of its lighting systems to a high specification in Italy. Warehousing in the UK, France (Lille) and Italy (Rome) will mean very fast delivery of stock throughout Europe.

The internet, digital channels and mobile TV are all having a massive impact on video production. With more hours content being produced now than ever in history, there seems to be no end to this growth. This coincides with the availability of high quality, low cost professional lighting equipment from the likes of Ianiro whose research into low energy systems make it well-positioned for the future.

Anticipating these developments in the sector, Fabrizia Ianiro comments: "We wanted to ensure that we were ready for the next phase of expansion. First class distribution, customer understanding and market knowledge are a priority. Re-structuring around the fast-growing Ianiro UK is a logical and exciting move."

With plans to open offices and new non-exclusive reseller relationships across the world, Allen-Miles concluded: "We aim to satisfy the growing need for professional lighting equipment available where and when the customer needs it."

For more information, visit the Ianiro booth at BVExpo 2012 at Earls Court, London in February.

Ianiro UK will be exhibiting at the 2012 Broadcast Video Expo in London.

Please visit our trade stand to see us and to view our NEW and current range of products.

EARLS COURT 2

STAND NUMBER: E26

For more information on the exhibition, please visit the BVE website

http://www.bvexpo.com

New to the Ianiro UK range of lighting equipment is the Foton, a small, lightweight and versatile variable-beam unit. It is powerful, inexpensive and waterproof.

Manufactured by PRG, the Foton is a highly colour-accurate digital light source designed specifically for motion picture, broadcast and professional photography. Producing a 95+ colour rendering index (CRI), the Foton virtually eliminates the challenges of lighting with the discontinuous spectrum inherent in most LED lighting sources. Instead, completely natural-looking light is generated using remote phosphor technology, requiring no colour correction, while correlating perfectly with professional light and colour meters. Impressively, it is dimmable from 0% To 100% with no colour shift.

The Foton is a 1.3Kg go-anywhere light. It is able to operate at temperatures from -20 to +50 degrees while its sealing means it is suitable for use unprotected in wet locations, being able to withstand water saturation.

Nick Allen-Miles of distributor Ianiro UK commented: “The Foton will be welcomed by everyone from ENG camera men shooting outdoors in European drizzle to film makers facing wintry mountain conditions. Its small size, high output and low power consumption means it will also be a welcome addition for specialist crews working underground, in disaster zones or desert environments.”

Cost-saving features include an estimated 50,000 hour life, and, in spite of its 1,000 lumen output, the Foton draws less than 30 watts and requires no cooling fans. This is achieved despite employing a direct-drive array that eliminates flicker at any frame rate. Flexible options include both Ac and Dc-powered versions and a variable beam angle of 10˚ to 120˚using quick-connect reflectors.

The television industry is big business in the UK and a very considerable employer to boot. Feeding the media with the next generation of producers and technicians can be a costly in terms of training and education. It's a financial challenge that's beyond most of today's hard-pushed schools.

So, although media studies is increasingly popular, many institutions can deliver the theory with great aplomb but fall short on the practical side of teaching programme making.

Following a significant refurbishment project, students in the West Midlands are now at an advantage. The local authority has had the foresight to develop a centralised media resource for students from all across the area. Known enigmatically as Flat Sandwich Studios, the centre is replete with broadcast equipment, expert technical support and specialist media trainers.

James Jordan, Operations Manager of the studios said: “Employers need new recruits that have the theoretical understanding of production as well as practical experience with professional kit. To make sure we were on the right track, we set out with an agenda to establish a centre that could prove its relevance by selling itself to schools and also holding its own as a commercial enterprise.”

Now complete, Flat Sandwich is home to an array of first-rate facilities including an HD green screen studio with full lighting rig, a multi-system Final Cut Pro editing room, satellite OB vans and a ProTools recording studio. The installation was managed by a team from the midland video specialist, Digital Garage, who oversaw the full refurbishment of the centre.

Today the studios fulfil dual education and commercial functions. Schools and colleges from the region attend for practical programme-making experience while businesses of all kinds have used the facilities to create high quality training films and publicity videos.

“The HD studio cameras we specified do a great job while the Panasonic HPX171 P2 camcorders are true broadcast systems, giving users image control and fabulous pictures.” comments James. “The chromakey results we have achieved are excellent, thanks to the performance of the Newtek Tricaster, the control from the Libec jib and the lighting rig from Ianiro.

The lighting units are a mix of fluorescent and tungsten units. James notes: “Initially we were just happy that they came within budget but it's safe to say that we have been exceptionally pleased with the Ianiro equipment - it's been at the heart of both film and photography projects. The control it allows has enabled users to really learn the 'dark art' of lighting. We've even been confident enough to re-create a moonscape and have now started investigating offering dedicated lighting training courses. We do own some on-camera lights, but the rig has been so good that we very rarely use them.”

Digital Garage recommended equipment based on its quality and interoperability. As such, the project was delivered on time – and therefore to budget.

Now through its probationary period, James reflects on the re-fit: “With video equipment, there's always a compromise between price and performance but it really has exceeded our expectations. It's a set up I would recommend to anyone. As for Digital Garage and the installation team, they've got a great skillset of technical nous and commercial sense. In both respects, they've been an ideal partner.”

Now looking to the future, James is keen to invest in more Panasonic ENG cameras and grip, and is already busy researching large sensor camera options. Meanwhile the centre's students are already reporting that their practical experience at Flat Sandwich Studios has given them a real advantage in the job market.

IANIRO’s research and development into LED applications in television goes on, as was announced from the earliest introduction of our portable equipment to LED technology in 2007.

With fast-paced evolution in LEDs in the interim, and a greater experience being acquired in low-consumption ENG and EFP devices in the field, we are beginning to see the application potential also for TV studios.

Our approach remains cautious and detached from certain inflated expectations often based on a degree of misinformation.

The native character of LEDs as unidirectional, key light sources is a strength - provided it is used precisely in assemblies for hard lighting solutions rather than soft ones.
However, the criticality of LEDs to increases in drive current remains a weak point. LEDs are very sensitive to thermal management and overheating beyond the manufacturers’ recommended limits still causes their characteristics to deteriorate significantly, with associated reduction in light output, change in color temperature, and a reduced durability.

Compared to these and other stumbling blocks, we are instead witnessing promising developments in terms of assembly potential. Both LED manufacturers and
lighting equipment manufacturers can now create more types of mono-chip arrays (improperly but effectively named) with latest production techniques that allow LEDs to be mounted closer together. The visual result is a single concentrated light source that reduces shadow fragmentation and improves light-beam uniformity and control with front lens and barndoors.

This allows for switching from Par-type LED lights or simple Panel ones, to true singlefront-lens projectors that allow for changing the angle from spot to flood: in other words, television projectors in their own right.

Manufacturers are also starting to make these individual LED assemblies available with improved CRI / CQS Unfortunately, at high color rendering, less light is produced so the equipment needs to provide a compromise of acceptable quality without necessarily seeking a maximum light output.

Last but not least, many LEDs are now powered up to 3A, remembering that things had started from 350mAh and 700mAh. Even today most devices are usually powered at 1A/1.5A, which are still ideal drive currents for allowing greater LED performance stability.

SOLARIS LED

So in light of this evolution, for the IBC2011 trade show in September we have prepared a line of prototype Fresnel-lens projectors aimed at a balance between performance and consistency.
By the way our arrays performed very well and in dark room won on Solaris tungsten 1kw with a consumption of only 180W, and very limited extra size thanks to its compact built-in dissipating device.

The projectors use 3 IANIRO custom assemblies with the very latest generation LEDs:

• Solaris LED C Cool (cool white)
• Solaris LED W Warm (warm white)
• Solaris LED WT White Tuning (tunable white)

The main advantage of key LED lights and backlight work is that of being able to integrate the cold fluorescent lights into small to medium television studios without using any external dimmers (currently needed with halogen projectors), and of being able to modulate the color temperature to the fluorescent lights in use (hot 3200°k or cold 5600°k).

The results are:

•  Significant energy savings
•  Reduced maintenance, air conditioning and operating costs
•  Simpler cabling

SOLARIS LED will be available in the UK Spring 2013

Ianiro is pleased to announce a new light based on newly developed LED arrays. The new device has compared extremely well in dark room test conditions against a Solaris tungsten 1kw. Ianiro's new unit boasts a consumption of only 180W in a comparable size casing, thanks to a built-in dissipating system. The new projector uses 3 Ianiro custom assemblies with the very latest generation LEDs: Solaris LED C (cool white), Solaris LED W (warm white) and Solaris LED WT (tunable white).

LED technology is a burgeoning business. Manufacturers are claiming that its key features - energy saving, simpler cabling, longer life and switchable colour temperatures - amount to a lighting revolution. However, LED technology has been the victim of inflated expectations, often based on a degree of misinformation. Despite introducing its first portable LED models in 2007, Ianiro's research and development team has remained cautious about adopting the technology at too early a stage in its evolution. Despite the fast-pace of development in LEDs, its potential is only just starting to be realised. With low-consumption LED devices being increasingly used for ENG and EFP, studios are now also looking at the potential for LED.

A Tale of Caution

The native character of LED as a unidirectional, key light source is highly appealing. However, the sensitivity of LEDs to increases in drive current remains a weak point. LEDs are very susceptible to overheating beyond the manufacturers’ recommended limits, at which point their characteristics to deteriorate significantly, with a reduction in light output, change in color temperature, and a reduced durability.

Many LEDs can now be powered up to 3A, (compared with earlier 350mAh and 700mAh units). Even today most devices are usually powered at 1A/1.5A, which is ideal for allowing greater LED performance stability. Ianiro's prototype Fresnel-lens projector does not push drive current to the maximum but instead ensures a balance between performance and optimal efficiency.

As multi-diode assemblies, LEDs can suffer from shadowing, depending on the distance from the subject and the placement of individual LEDs. Manufacturers have developed mono-chip arrays with LEDs mounted closer together. The resulting single concentrated light source reduces shadow fragmentation and improves light-beam uniformity and control. It has also taken improvements in lenses and hoods to limit shadows, allowing for switching from Par-type lights (multi-LEDs with small lenses of different angles) or simple Panel units, to true single-front-lens projectors that allow for changing the angle from spot to flood.

Manufacturers are also starting to make these individual LED assemblies available with CRI / CQS characteristics, ideally suited to television and film photography. Unfortunately, at high color rendering, less light is produced so there is still a compromise between quality and output.

Early models will be market tested before final technical data is announced and ergonomic designs are released.

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We are pleased to announce the new support section added to the website.

This is for all Libec Service and Spare Part diagrams.

The section can be found using the following link:

http://www.ianirouk.com/categories.php?CategoryID=45

New Minima LED light offers the ultimate on-camera solution with switchable colour temperatures, full dimming control and outstanding brightness

Ianiro UK is introducing the new Minima pro LED light, manufactured by Visio Inc. The Minima is a very small unit that weighs a mere 190 grams. Despite its diminutive proportions, the Minima provides an excellent level of output at 100 lm / Watt, equivalent to a 50W tungsten. Uniquely, in a unit of this size, the light offers full colour temperature switching, with 6 settings from 2800°K to 6500°K.

Nick Allen-Miles of Ianiro UK commented:

"The Minima is a major step forward for every production on the run. It does away with the need for colour gels to control image temperature, buying the camera team valuable time while reducing the size of their kit bag. But most importantly, the quality of the output is excellent, marrying outstanding brightness with amazing colour accuracy."

The Minima achieves this accuracy by combining red, white and yellow LED lights to form a continuous spectrum with full-range frequency. Low-cost and inaccurate analog circuitry has been replaced by a digital signal microprocessor and a 25k frequency PWM controller. This allows for the colour ratio of different LEDs to be adjusted precisely according to different colour temperatures. Minima's CRI (Colour Rendering Index) can reach above 90% at any colour temperature from 2800°K to 6500°K. Minimum colour shift is guaranteed to be within the range of 3-step dimming.

With the unit featuring 144 individual LED light bulbs, the Minima delivers a pleasant, uniformly soft light that delivers natural skin toneswith an excellent 3D effect. Despite the sophistication of its electronics and its powerful lighting output, Minima features a low power consumption design and with a run time of 1.5 hours.

Allen-Miles adds:

"In today's media frenzy, time is of the essence. The camera operator is always looking to start shooting fast, with the least possible set up time. And production departments are increasingly calling for footage that can go to air without time consuming colour correction or relighting in post. The Minima can help camera teams capture broadcast-ready, beautiful pictures fast. They can now shoot interview after interview without reaching for spare batteries, gels or reflectors."

The Minima is available from December 2010 from dealers across Europe at an SRP £169.00 / 199 Euros. Visit www.ianirouk.com for more details. The Minima will be on show at BVE 2011, Earls Court 2.

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Editorial Enquiries

Kieron Seth
M 07852 113606
T 01273 782 976
E kieron@seth-net.co.uk
W www.seth-net.co.uk