CINELIVE 35 ENTERTAINMENT FILMING

8+ CAMERAS | 35MM LENSED

64 TRACK SOUND RECORDING

 FULL SERVICE | NATIONWIDE TRAVEL | FULLY CREWED

 

LIKE A FINE TUNED MUSICAL INSTRUMENT

CREATIVELY POWERFUL

BROADCAST, CINEMA  AND THEATRE CROSSOVER TECHNIQUES

 

MANAGED BY BRIAN BARNETT

 

​

A "LEARJET" IN MOBILE BROADCAST PRODUCTION FACILITIES

Taking advantage of the latest in 4K UHD cinematic camera technology this

all new world class production unit was designed and built

as compact, systems versatile and highway lightweight as possible.

 

​

 

Panasonic VariCam LT CineLive 35

4K OPTIMIZED FOR 3G BROADCAST

 

FUJINON LENSED FOR THEATRE & ARENAS

 

TWO MERGING TECHNOLOGIES

Multi-camera "live broadcast" systems with

"film style" UHD digital cine cameras and lenses.

​

 

 

IN OUR SEATTLE SOUNDSTAGE OR NATIONWIDE

All outboard technical production equipment e.g., microphones, monitors, etc.,

are fiber optic input/output interfaced allowing unlimited set distancing.

 

​

 

DESIGNED SPECIFICALLY FOR LIVE PRODUCED

ENTERTAINMENT ACQUISITION AND BROADCASTING

Studio Production - Theatre - Comedy - Concerts - Fairs - Festivals - Events

 

_________________________________________________________

 

TECHNICAL SPECIFICATIONS

 

​

CAMERA TRUCK

Kenworth T-370 Tractor

  • On location Camera and Lens systems preparation, build and maintenance.
  • Paccar PX-9 350hp diesel engine.
  • Allison 3000 HS Transmission.
  • Air Brakes - Air Suspension.
  • 12,000 watt Cummins/Onan commercial diesel generator for production backup power.
  • Lift-gate - Tail compartment, camera/lens assembly, sound equipment storage.
  • Center compartment with curbside door entrance. Client overflow suite / universal production operations.
  • Forward compartment, driver private sleeper area with cab access. Allows for comfortable and efficient long-haul commutes across the country.

 

​

PRODUCTION UNIT

LIVE PRODUCTION / ENGINEERING / RECORDING

HYBRID/14 HR. BATTERY POWER

Unit A Trailer has complete live video and audio production facilities, including an on-board DC/AC battery backup system that can deliver up to 14 hours of technical power. The system, intended for backup in-case of grid or generator power failure, is also ideal for early setup and after production when facility provided power can be questionable or not available.

 

For standard operation both units require a small single service of cam-lock supplied, single or three phase, 240v/100 amp AC. Units carry cine style, GFI circuited, TPD boxes and necessary cable for unit power distribution.

 

  • A-UNIT Trailer (capable of stand-alone operation)
    • Battery inverter system, DC/AC 60ah, provides technical equipment only.
    • Technical equipment power load, with 8 cameras, averages 24ah or less.
    • HVAC system consists of two interior integrated, 22ah, rooftop units.
    • Technical and HVAC power load, combined split phase total, is 68ah.
    • Trailer production unit solo dimensions: 8' wide x 26' long x 10'.5" tall.
    • GVW is 9,999 lbs. Total loaded weight is 8,440 lbs.

 

  • B-UNIT Kenworth Tractor, class B CDL compliant, 33,500 GVW.
  • Average loaded weight is 26,100 lbs.

 

    • Included; Cummins/Onan commercial diesel generator for backup off-grid power:
      • 12,000 Watts, 240Vac 60ah per 120V leg, supplies all technical and HVAC power requirements of both units.
      • Diesel fuel is supplied from highway, 100 gallon, fuel tank.
      • Generator is extremely quiet and unseen, operates from drivers side forward belly box.

 

    • Camera Support Truck is 8' wide x 31.5' long, add additional 8' for lift-gate operation. Total overall truck length with lift-gate in horizontal-up position 36'5".
      • Combined truck & trailer highway driving length 52.5'.
      • Parking requirement (combination in-line working) 60.5'.

 

GENERAL DESIGN - UNITS A & B

 

  • Black exterior color, including the roof, allows for stealth parking.
  • Split unit design allows for venue size scaling.
  • City street parking requires no special permitting.
  • Meets public indoor safety regulations.

_________________________________________________________

 

​

ROSS CARBONITE 4K ULTRA

24 Input - 3ME Video Switcher

3 Full MEs & 4 built-in floating MiniMEs,

equivalent to a 7ME switcher with 20 key channels.

VIDEO PATH DIAGRAM

 

SYSTEM OPERATES 3G 1080P @ FREQUENCY 59.94

WITH ALL CINEMATIC OPTICAL FRAME RATES, 2-60, AVAILABLE.

 

  • 12/3G 1080 Progressive - 59.94fps
    • 24 Inputs, All frame synced
    • 14 - Outputs (8 scalable)
    • 14 - Aux Outputs (Switchable)
    • DVE - 20 key channels
    • 8GB Memory still/clip storage

 

  • 40x40 12/3G Router / 72 12G cabled patchbay
    • 112 combined distribution system pathway.
    • 3G SDI, level A & B compatible.
    • 4 remote panels including FOH operations.

_________________________________________________________

 

​

LIVE CINEMA CAMERAS

with Variable Sensor Frame Rates

 

​

EIGHT VARICAM LT Super 35 CINELIVE 4K CAMERAS

NATIVE 4K Super 35mm HDR/UHD Image Sensor

with Variable Sensor Frame Rate Control and Live Anamorphic De-Squeeze.

 

CINELIVE VIDEO SIGNAL IS SET TO 3G 1080p 59.94.

 

  • Setup for 8 Varicam LT Cameras, (PL Mount, EF as needed), + As needed Panasonic Lumix BGH1 4K/3G Box Cameras, (MFT Mount with PL adapters when required).
  • 3G Live camera outputs, (ISO & Switchable), are recorded with (up to) 18 Atamos Shogun Studio recorders set to 3G in mobile unit. (See below)
  • Mobile Unit/Cameras operating system frequency is 59.94p / 3G. (1920 x 1080 Progressive Scan)
  • Camera Sensor fps, (Image Frames Per Second), is variable 2 - 60 (Live)
  • Red 5K and Nikon Z9 8K packages available for B roll recording on request.

 

Camera Sensor Frame Rate "the Varicam look"

  • 60/59.94 fps - Live Video/Gaming/Sports, (no motion blur)
  • 30/29:97 fps - Broadcast Interlaced Look (slight motion blur)
  • 24/23.98 fps - Cinematic, (standard "Film Look" motion blur)
  • Everything else - Artistic Motion Effect
    • Shutter Speed [deg] mode: 1.0 deg to 358 deg (0.1 deg step)
    • (sec) mode 1/24 sec. to 1/250 sec. (for 24fps)
  • Sensor Sizing
    • 4096 x 2160P (4K UHD Letter boxed)
    • 3840 x 2160P (4K UHD 16X9)
    • 2048 x 1080P (2K HD Letter Boxed)
    • 1920 x 1080P (3G HD 16x9)

 

Dual ISO: 800 and 5000 (light sensitivity)

Exposure latitude 14+ stops in V-Log.

  • Native 800 Base: adjustable 200 to 4000 (Industry Standard)
  • Native 5000 Base: adjustable1250 to 12800 (unique only to Varicam)
    • ISO 5000 is approximately 2.5 stops faster (Brighter) than ISO 800
    • see lighting production value in lensing speeds - (in lensing below)

 

Optional

  • 6 Studio setup configurations.
  • 4 Hand Held setup configurations. (one, fully wireless, (ABonAir Microwave System))

 

DUAL IN-CAMERA 4K CODEC RECORDING

  • 4K REC: 709 or V-log record with live V-Log LUT coloring in unit for switching.
  • Express P2 Card- In-camera recorder.
    • Recording Format P2 (Main Recorder)
      • AVC-Intra4K422 (148min), AVC-Intra4K-LT, AVC-Intra2K444, AVC-Intra2K422, AVC-Intra2K-LT, AVC-Intra444,AVC-Intra422,AVC-Intra-LT, AVC-Intra100, ProRes 422 HQ, ProRes 4444
    • SD proxy - In-camera memory card recorder:
        • Primary Express P2 recording data is used to create master deliverables while the proxy recordings are used for viewing or off-line editing. The file name and time code of each file will match exactly.

 

 

  • 1-card (512GB Express P2, and SD 124GB) supplied per camera for immediate transfer after show.
  • Cards are not available to carry away at end of show without prior arrangement.

 

_______________________________________________

 

PANASONIC LUMIX BGH1 CINEMA 4K BOX CAMERA

4K / 3G Live SDI output - put it anywhere.

Duel ISO

 

​

  • INVENTORY: 4 (As needed per project requirements)
  • WEIGHT: Approx. 545 g / 1.2 lb (Body only)
  • SENSOR: Micro Four Thirds System
  • DIMENSIONS (W X H X D): Approx. 3.66 x 3.66 x 3.07 inch (excluding protrusions)
  • LENS MOUNT: Micro Four Thirds mount - adaptable to PL
  • RECORD: 4K internal w/timecode - SDI / Fiber 3G live output at mobile unit.
  • AC/BATTERIES: Panasonic VW-VBD Series
  • TILTA CAGE with Atamos 5" 4K Viewfinder/Recorder
  • DJI RONIN-SC Gimbal Stabilizer (Teradeck 3000XT.  (2500 ft. range)

 

_______________________________________________

 

CINE ZOOM LENSING

Super 35mm - PL MOUNT

standard ON-BOARD inventory

Unit LENSING DESIGN IS FOR STUDIO, THEATRE,  ARENAS and stadiums

key lenses are BASED ON 80' - 120' to stage

 

​

Fujinon BESM 4K HDR UA70x (ARRI PL Mount)

  • 22mm x 1540mm optically converted to super 35 sensor.
      • Musashi B4-PL Mount Cinema Optical Converter 4K/8K TL-OM25X
        • f 4.25 - 8.75 aprox. @ 800 ISO
        • f 1.7 - 3.5 (equivalent) @ 5000 ISO
        • Weight 52.5 Lb.
        • 9 Blades
    • Full studio servo motor operation with 9" monitor, tally and return video.
      • 100 ft. / 1500mm ( Will shoot a ring on a finger. )
      • 100 ft. / 1000mm ( Will shoot a tight head shot. )

 

​

 

 

Fujinon Cine 4K Cabrio ZK 12x - ARRI PL

  • 25mm - 300mm
    • T 3.5 (25-273mm) @ 800 ISO
      • T drop @ 300mm to T 3.85
    • T 1.4 (equivalent) @ 5000 ISO
    • Weight 22 lb. includes motor.
    • 9 iris blades.
    • Fujinon studio servo/motor drive operation with 9" monitor, tally and return video and rear controls.
    • 100ft @ 300mm (Generally will shoot knee to head shot.)

 

​

Fujinon Cine 4K Cabrio XK 6x - ARRI PL

  • 20mm -120mm
    • T 3.5 @ 800 ISO
    • T 1.4 (equivalent) @ 5000 ISO
    • No T drop.
    • Weight 4.3 lb
    • 9 iris blades.
    • Fujinon studio servo/motor drive Hand Held operation or with 9" monitor, tally, return video and rear controls.

 

​

 

Fujinon Cine 4K Cabrio ZK 2.5x - ARRI PL

  • 14mm - 35mm
    • T2.9 @ 800 ISO
    • No T drop.
    • Weight 6.39 lbs
    • Hand Held servo/motor operation with tally and return video.
    • 9-iris blades.

 

 

 

 

 

 

​

Very Lightweight

Perfect for Live HH Wireless Operation

 

Canon Cine CN-E EF Mount S35

  • 18mm - 80mm
    • Extremely lightweight 2.65 lb.
    • Crisp, Sharp and Bright.
    • 9-iris blades.
    • T4.4 @ 800 ISO
    • T1.9 (equivalent) @ 5000 ISO
    • Hand Held Canon servo/motor operation with tally no return video on lens grip.
    • 4.5 x 1 zoom range.

 

____________________________________________

PRIME LENSING

Cine Prime Lens with remote Iris Shading Control

INVENTORY 1

Cmotion Broadcast Camin Hirose 12pin interface with CForce mini motor allowing Cine Prime Lens, S-35, PL Mount, remote Iris control from camera shading station.

  • Follow focus will require assistant camera technician.
  • Works with ABonAir Wireless and Multi-Dyne Fiber systems.

 

​ 

 

 

SPHERICAL

Rokinon Xeen Cine PL Prime

(Standard Inventory)

  •   16mm T2.6
  •   24mm T1.5
  •   35mm T1.5
  •   50mm T1.5
  •   85mm T1.5
  • 135mm T1.5

 

 

ANAMORPHIC

LAOWA PL Prime "Blue Flair"

Live Camera De-Squeeze Output @ 1.5x

allowing CinemaScope Wide Angle Framing Ratio 2.35:1

 

  • 27mm (De-Squeeze to approx. 18mm Horizontal POV based on ratio)
  • 35mm (De-Squeeze to approx. 24mm Horizontal POV based on ratio)
  • 50mm (De-Squeeze to approx. 33mm Horizontal POV based on ratio)

 

​

 

  • ALL lens inventory IS adjustable as required for lensing of the show.

 

 

_______________________________________________

SURROUND MONITORING

THE SOUND BOOTH

LIVE 5.1 MIXING

64 TRACK RECORDING

 

​

​

 

 

YAMAHA CL-5

  • Genelec 5.1 Monitoring. (Mix Booth and Production Control Room.)
  • 5 - 8320APMs, 1 - 7350A Sub-woofer & GLM V2.0
    • Mix booth design and monitor placement is dimensional accurate, (all 5 points), to ear placement.
    • Room acoustically engineered for Genelec 8320 live surround mixing monitors.
  • Sound Proofing Wall Construction.
    • Double sheet exterior/interior aluminum skin, thermal foam filled.
    • Aluminum, 1"x1" stud framing.
    • Spun fabric insulation.
    • Aluminum / Wood, sandwiched layer, of "sound deadening material", (bio friendly version of lead).
    • Wood interior layers upholstered with foam and stretched automotive leather - black skin finish.
  • Dante Digital Audio Network.
    • Number of (Dante) Digital I/O Channels 64 in / 64 out
    • Unit travels with 1 Rio 3224-D2 digital remote I/O station with 2-1000ft fiber cable links, one for redundancy.
    • Mix Buses, 24.
    • Input Mixing Channels, 72 mono + 8 stereo.
      • Number of Scenes 300

 

SOUND DEVICES 970 Dante 64-Track Recording

​

  • 136 channels of digital connectivity Dante / MADI / AES/EBU
    • 8 channels of AES/EBU
    • 64 channels Dante
    • 64 channels MADI
    • 4 redundant solid state recording bays
  • 96 input/output analog patch-bay.
  • All inventory microphones as needed are included in unit package pricing.

 

MICROPHONES

​SOUND DEPT

(Please see microphone list in our sound department inventory.)

 

INTERCOM

WIRED-WIRELESS-GLOBAL

RTS AND CLEARCOM Matrix Intercom Systems

  • RTS ODEN Dante digital 32 port intercom coupled to Clearcom Freespeak II wireless.
    • 8 - 16 channel programmable user stations in unit.
      • Audio, AD, Producer, Director, TD, Video, Lighting, FOH
    • 15 - RTS Two Channel Wired Beltpacks.
    • 4 channels IFB interrupt, located on Producer/Director/AD user stations.
      • 4 Wired IFB Bodypacks.
      • 1 Shure PCM 900 Wireless Monitor System.
        • P9T Transmitter and PR9A+ Wireless Bodypack Receiver.
    • Stage Announce, located on Director/AD user stations.

 

  • CLEAR-COM FREESPEAK II Digital Wireless Intercom.
    •  5 Channels wireless coupled to Oden.
    • 15 Wireless Beltpack Stations.
    • 1 to 6 dedicated to camera department. (Based on # of cameras used)
    • Network Antenna System.
      • 4 antenna units - allows arena size coverage for 20 wireless stations
    • David Clark "Loud environment" headsets for camera operations.

 

    • Connects Globally over WIFI and Cellular
    • Self-Hosted Server Version
    • Intergrates with RTS Oden via DANTE
    • 2 Party-Line Channels and Program between the two systems.

 

____________________________________________

 

Fiber IP CAMERA CONTROL

LIVE COLOR GRADING

 

​ 

 

PANASONIC  HRP1000 ROP's Remote Operational Panels

  •  Full camera menu operations
    • Lens iris control
    • 4K and proxy in-camera record roll control.
    • Viewfinder tally
    • Viewfinder return video.

 

 

6 MULTI DYNE SILVERBACK SMPT Fiber Transport

    • 3G SMPT Fiber video/ IP data to/from cameras.
      • Provides power for camera system including external monitors and other 4K raw outboard recorders.
      • Fiber transport does not include intercom (See Intercom in Sound section)
      • Unit carries 4,000 ft. of SMPT fiber camera cable. (More Available)

 

_______________________________________________

 

WIRELESS IP CAMERA SYSTEM

​

ABONAIR - AB512

  • Wireless live video, sound and camera color mixing system.
    • Microwave IP based Iris control, color mixing, and tally.
  • World’s only wireless broadcast system with 7 msec sub frame delay.
  • FCE (Fiber Coverage Antenna Extender) (1 zone)
    • Unit caries 1,000 ft. of antenna linked tactical fiber cable.
  • Transmits outdoor line-of-site up to 2 miles per zone.
  • Microwave - operates in 5GHz range - no FCC license required.

 

 

_______________________________________________

 

LIVE COLOR GRADING

 

​

WONDERLOOKPRO OR LIVEGRADE STUDIO

STATE-OF-THE-ART DIGITAL IMAGING SYSTEMS.

Digital Imaging Systems provide productions with advanced grading functionalities, customizable control features, and powerful automation, that are specifically tailored to multi-camera productions.

 

  • Varicam 4K V-Log colorspace workflow
    • Full HD rec:709 and HDR rec:2020 color space management.
    • V-log on/off control with 4 optional V-log LUT presets
    • pre-defined color imagery look/style, non adjustable with CCU.

 

Expansive color gamut, V-Gamut, has a  wider color gamut than that of film and exceeds BT2020 color space required for HDR content delivery.

 

____________________________________________

 

VIDEO MONITORING

 

        • EBU Grade-1

 

    • PREVIEW / SOURCE MONITOR
      • LG OLED C9 55" 4K processor.
        • REC:709 Color Space.

 

    • CONTROL CONSOLE DOG HOUSE
        • 16 Marshall 5" Source Reference Monitors.
        • Routable.

 

 

  •  DIT CAMERA CONTROL COLORING STATION

 

  •  LIGHTING - LD Station @ DIT Coloring
      • SONY BROADCAST MASTER MONITOR  A170 v.2.0 17" 4K OLED.
        • REC: 709
        • Supports ITU-R BT.2020 color space.
        • DCI-P3 and S-GAMUT/S-GAMUT3/S-GAMUT3.cine settings, with proper EOTFs 2.6 gamma, V-LOG
        • Router Panel Switchable.
    • FOH LIGHTING BOARD
      • Marshall 17" LED
          • REC: 709 color space.
          • Reference Monitor Grade.
          • Router Panel Switchable or LD follow.

 

 

WAVEFORM / VECTORSCOPE - Omnitek Ultra XR

 

​

 

  • SOUND BOOTH
    • 2 Marshall 17" LED (Program and 9 Input Multiview)

 

 

  • ENGINEERING RACK
    • Marshall 17" Engineering. (Hard Patch and Routable)

 

Wireless 3G Video Monitoring Transport

  • Teradeck 3000XT.  (2500 ft. range)

 

Fiber 3G Video Monitoring Transport

  • 3 - Multi Dyne T/R rattler sets for monitor video transport.
  • Unit carries 4,000 ft. of single pair ST fiber.

 

Teleprompter (s) (In studio use only.)

  • 3 - SDI 17" large monitor teleprompter's are available mounded on Vinten Air-Peds.

 

_______________________________________________

 

3G RECORDERS/SERVERS

​

Atomos Shogun Studio and Studio II recorders

  • 12 VIDEO RECORDERS 10 are located at VC/LD Station, 8 double as camera/ISO monitors, with 2 line cut/program . (2 of the 12 are Shogun Studio II located at TD position, lower doghouse 15 &16, for whatever.)
  • Industry standard Apple ProRes and AVID DNx codecs.
  • Audio In/Out @ 48K -12 channels embedded each machine. (Also see Sound section below)
  • Timecode is embedded
  • Media, SSD 2.5"  (standard 512Gb)
  • 1-512 GB record drive supplied per record source
  • Media manager is required on complex productions. Drives are not available to carry away at end of show without prior arrangement.

 

ProVideoPlayer 3 Media Server

  • MacBook Pro Server
  • 5 Channel Output

 

________________________________________________________

 

BATTERY POWER

  • Battery/Electric inverter system is constructed within the sub floor frame of unit A. Is intended for backup power with seamless auto/switch, at show power loss, maintaining up to 14 hours of insured power. When operating on battery, HVAC circuits are not supplied, B unit generator would be implemented:
    • AC/DC power supply is an AIMS Power 6000 Watt Pure Sine Inverter/Charger, operating at 240Vac or 24Vdc input, with 10msec transfer time, delivering 120/240Vac split phase, 30ah x 2 = 60ah output.

 

BATTERY DESIGN

THE MATH

    • Battery power is supplied by twelve 6 Volt Deep Cycle maintenance free batteries.
    • Battery capacity rating is 220ah each.
    • The 12 batteries are cabled in series; in groups of 4, increasing the voltage, creating three 24Vdc 220ah quad cell banks. Tying the 3 banks together in parallel manufactures one 24Vdc 660ah battery array.
        • Dividing the normal technical equipment metered AC load of 24ah into the 660ah battery array = 27.5 hours of 24Vdc capacity.
        • Calculating; (for battery life maintenance), a necessary depth of discharge safety margin of 50%, allowing usage of a "soft" 13.75 or "14 hours" of technical equipment DC/AC operation.
        • Formula: 660ah/24ah=27.5h/2dod = 13.75 hours.

 

​

____________________________________________

Robotics, Pan Heads, Studio Air Peds and Stuff

  • 5 - Studio Air Peds
  • 1 - Vinten Vector 70 Panhead
  • 1 - Sachtler Dutch Roll Head
  • 2 - Sachtler Cine 100 Panhead Mitchell Mount
  • 2 - Sachtler Cine 75 Panheads 100mm Ball Mount
  • 4 - Sachtler Video 20II Panheads 50mm Ball Mount

 

 

​

ADDITIONAL SPECIALIZED

CAMERA MOVEMENT SUB-CONTRACTOR LINKS

 

 Jensenjibs.com

 

 Fluidpictures.com

 

​

 

 

JONAS JENSEN STUDIOS INC.

DBA FREMONT STUDIOS

 

Fremont Studios, Panasonic Varicam LT CineLive Mobile Unit is based in Seattle, is available for studio, theatre and concert style entertainment production throughout the US. Besides Fremont staff the unit is generally packaged as needed with A level veteran crew located from around the country via our 40 + years accumulation of national contacts, agents and friends.

 

Units are operated and air traveled with up to 4 staff engineers:

 

    • EIC (Video Engineer in Charge)
    • EIC (Sound Engineer in Charge)
      • works as A/1 mix
        • multi-track recordest
    • MASTER VC (Video Colorest)
      • works as Colorest/Shader
      • Recorder Operator
      • (Does not include Media Management)
    • FIRST AC - (Camera Engineer)
      • works as Focus Puller
      • Camera and Lens builder,
      • Wireless Camera Systems

 

Unit travel is based of $1.25 per mile. Plus driver hotel & food expenses.

 

Fremont Studios staff also provides lighting design and equipment for entertainment production of most any size venue, studio, theater or amphitheater.

 

 

 

TO START COMMUNICATIONS

 

​Check Availability        Schedule a Meeting

 

 

 

 

 

A TINY BIT OF HIDDEN HISTORY

 

​

 

 PANASONIC PROGRESSIVE HD - UNIT 1

1999 - 2019

 

This was the first Digital Progressive 60fps (59.97) 720 HDTV Mobile Production Unit in the world with an estimated street value of $7,000,000 at that time. It was built by ABC Television and Panasonic as a marketing tool and "presented to the world" the first High Definition broadcastings, (with 6 prototype Panasonic cameras and Fujinon's first HD Lenses), of Monday Night Football and Super Bowl XXXIV in Atlanta, GA., 1999-2000.

 

Afterward the unit was put up for sale and purchased by Ackerly Communications of Seattle, soon to become Clear Channel in 2003. Supported by Panasonic the prototype 720P cameras were replaced with 720P Ikegami's. Fijinon HD lensing remained the same.

 

Under the name of Progressive HD Mobile Productions, it was managed and operated coast to coast in years 2000 - 2004 by Jonas Jensen Studios, (today dba Fremont Studios), introducing live multi-camera Progressive frame rate HD pictures to the National Entertainment Filming Industry.

 

Ahead of its time for multi-camera, broadcasters unaware, in late 2004, it was then again sold, changed to 1080i cameras, and absorbed back into a National Sports Broadcast Unit where it remained for the rest of it's carrier. NEP retired it from their U.S. National Sports truck fleet in 2019.

 

FYI - Red Digital Cinema Company was founded in 2005 establishing a new industry standard of progressive scan, variable frame rate, single camera cinema production.