PANASONIC CINELIVE MOBILE
NATIONWIDE TRAVEL | CREWED AS NEEDED
A "LEARJET" IN MOBILE BROADCAST PRODUCTION FACILITIES
Taking advantage of the latest in 4K HDR/UHD cinematic camera technology this
world class production unit is designed and built as compact,
systems versatile and highway lightweight as possible.
8 PANASONIC VARICAM LT 4K CINELIVE CAMERAS
FUJINON Cine Lensed for Theatre & Arenas
DESIGNED FOR LIVE PRODUCED ENTERTAINMENT
4K ACQUISITION OPTIMIZED FOR 3G LIVE BROADCAST
Studio Production - Theatre - Comedy - Concerts - Fairs - Festivals - Events
YAMAHA CL5 64 INPUT - 64 OUTPUT
5.1 LIVE SOUND MIXING | 64 MULTI TRACK RECORDING
Kenworth T-370 Tractor
Click on above photo for floor plan layout.
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.
GENERAL DESIGN - UNITS A & B
24 Input - 3ME Video Switcher
3 Full MEs & 4 built-in floating MiniMEs,
equivalent to a 7ME switcher with 20 key channels.
CINELIVE SYSTEM OPERATES @ 3G 1080P FREQUENCY 59.94.
ALL VARIABLE SENSOR FRAME RATES ARE AVAILABLE ON THE 59.94 BACKBONE.
LIVE CINEMA 4K S35 CAMERAS
with Variable Sensor Frame Rates
NATIVE 4K Super 35mm HDR/UHD Image Sensor
with Variable Sensor Frame Rate Control and Live Anamorphic De-Squeeze.
THE VARICAM LT VARIABLE SENSOR IS ALSO USEFUL FOR SYNCHRONIZING OTHER OFF FRAME RATE BACKGROUNDS... 24FPS VIDEO WALLS, MONITORS, LED LIGHTING, ETC... MAINTAINING THE 59.94 SYSTEM FREQUENCY.
Camera Sensor Frame Rate
Exposure latitude 14+ stops in V-Log.
Optional Camera Configuration
DUAL IN-CAMERA 4K CODEC RECORDING
Atomos Shogun Studio and Studio II recorders
ProVideoPlayer 3 Media Server
ADDITIONAL B-ROLL CAMERA
RED SCARLET-W DRAGON 5K
with complete wild and sync sound package.
POINT OF VIEW
with Live 3G SDI output.
7ea. - MULTIDYNE SILVERBACK SMPT Fiber Transport
8ea. - PANASONIC HRP1000 ROP's Remote Operational Panels
ADDITIONAL 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.
Expansive color gamut, V-Gamut, has a wider color gamut than that of film and exceeds BT2020 color space required for HDR content delivery.
ABonAir WIRELESS CAMERA
MICROWAVE VIDEO/DATA TRANSPORT
1ea. - ABonAir- AB512 with HRP 1000 ROP Camera Control Interface
FUJiFILM - FUJINON
PREMIUM LIVE TELEVISION
CINE ZOOM LENSES
Super 35mm - PL MOUNT
Unit LENSING DESIGN IS FOR STUDIO, THEATRE, ARENAS and stadiums
key lenses are BASED ON 80' - 120' to stage
1ea. - Fujinon BESM 4K HDR UA70x
22mm x 1540mm optically converted to super 35 sensor.
2ea. - Fujinon Cine 4K Cabrio ZK 12x
25mm - 300mm
2ea. - Fujinon Cine 4K Cabrio XK 6x
1ea. - Fujinon Cine 4K Cabrio ZK 2.5x
Wide 14mm - 35mm
CINE ZOOM LENSES
GIMBAL | STEADICAM | HAND HELD
Wide - Very Lightweight - Fast
2ea. - DZOFilm Pictor 6K
14mm - 30mm
Extreme Wide - Super Lightweight - Fast
2ea. - DZOFilm Pictor 6K
12mm - 25mm
Cine Prime Lens with remote Iris Shading Control
Tilta 4x5.65 Swing-away Carbon Fiber Matte Box
16mm T2.6 | 24mm T1.5 | 35mm T1.5 | 50mm T1.5 | 85mm T1.5 | 135mm T1.5
LAOWA PL Prime "Blue Flair"
1.5x squeeze allowing scope framing s35 ratio 2.35:1
Tilta Carbon Fiber Matte Box
THE SOUND BOOTH
LIVE 5.1 MIXING
64 TRACK RECORDING
SOUND DEVICES 970 Dante 64-Track Recording
RTS AND CLEARCOM Matrix Intercom Systems
WAVEFORM / VECTORSCOPE - Omnitek Ultra XR
Wireless 3G Video Monitoring Transport
Fiber 3G Video Monitoring Transport
Teleprompter (s) (In studio use only.)
Studio Air Peds and Stuff
CAMERA MOVEMENT SUB-CONTRACTOR LINKS
LIKE A FINE TUNED MUSICAL INSTRUMENT
BROADCAST, CINEMA AND THEATRE CROSSOVER TECHNIQUES
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:
Unit pricing starts at $5,000 per production day plus cameras, lenses, labor, and travel.
Unit travel is based of $1.25 per mile. Plus driver hotel & food expenses.
Typically project price packages are contracted based on the duration of production.
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.