On-Site Catering, Restaurant and Bar

FIRST OF A NEW BREED

CINELIVE

COMPACT MOBILE PRODUCTION TRAILER

WITH CINEMA CAMERAS AND LENSES

 

BATTERY-ELECTRIC POWERED

A LearJet in todays complex world of live and near live

multi-camera mobile production facilities.

 

CONCERTS, FESTIVALS, THEATRE, COMEDY, STUDIO SITCOMS,

CORPORATE MEETINGS AND PRESENTATIONS

ON-LOCATION NATIONALLY - OR IN OUR STUDIOS

 

Trailer interior layout

 

 

SWITCHING

ROSS CARBONITE ULTRA video effects switching

ROSS Carbonite Ultra 3ME 24 input switcher

(Above photo shows 2 M/E panel)

  • 3 full MEs & 4 built-in floating MiniMEs, equivalent to a 7ME switcher with 20 key channels
    • 24 Inputs, All frame synced
    • 12 - Outputs (8 scalable)
    • 12 - Aux Outputs (Switchable)
    • DVE
    • 8GB Memory still/clip storage.
    • Mobile unit systems operate at 3G SDI Level A

 

40x40 6G Router

  • 3G SDI level A & B compatible.
  • 4 remote panels including FOH operations.
  • Cabled Patchbay 72 Input/Output

 

 

RECORDERS/SERVERS

Atomos Shogun Studio recorders

  • 10 recorders located at VC/LD Station (8 camera ISO's / 2 Program)
  • Audio SDI In/Out @ 48K -12 channels embedded
  • Timecode embedded
  • Media, SSD 2.5"  (standard 512Gb)
    • 1-512 GB record drive supplied per record source
    • drives are not available to carry away at end of show without prior arrangement

 

ProVideoPlayer 3 Media Server

  • MacBook Pro Server
  • 4 Channel Output

 

CAMERAS

PANASONIC CINEMATIC VARICAM LT

 

6 VARICAM LT S-35 CINELIVE CAMERAS

    • 4 Studio configurations
    • 4 Hand Held configurations
    • Unit is wired 12G/3G for 8 Varicam CineLive cameras
  • NATIVE 4K Super 35mm MOS High Dynamic Range (HDR) image sensor.
      • 4096 x 2160P (4K 16X9) (in camera record)
      • 3840 x 2160P (4K UHD)  (in camera record)
      • 2048 x 1080P (2K) (in camera record)
      • 1920 x 1080P (3G 16x9 HD) (in mobile unit record)
    • Exposure latitude 14+ stops
    • Dual ISO: 800 and 5000
      • Native 800 Base: Variable 200 to 4000
      • Native 5000 Base: Variable 1250 to 12800
        • ISO 5000 is approximately 2.5 stops faster than ISO 800
        • (see value in lensing speeds below)
    • Mobile Unit Systems fps, (Frequency Per Second), Progressive HD 59.94p (3G)
    • Cameras fps (Frames Per Second) Variable 2 - 60 fps
      • (Mixable fps-per camera , changeable on the fly if desired)
    • 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)

 

DUAL IN-CAMERA 4K CODEC RECORDING

    • 4K V-Log or REC: 709
    • Express P2 - Main in-camera recorder
      • AVC-Intra 4K-LT Codek
    • 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.

(Please note camera tally bug.) When recording on-board camera P2 4K, show switcher tally is overridden by camera record tally. (on camera only)

 

  • 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.

 

MULTI DYNE SILVERBACK SMPT FIBER - (Custom Build)

    • 3G SMPT Fiber video/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 Wireless Intercom System)
        • Unit carries 4,000 ft. of SMPT fiber camera cable.

 

COMING AFTER COVIDFLU OR AS NEEDED

2-Black Magic Pocket Cinema 6K Cameras with EF Mount.

Fiber transport to TV Logic IS mini LUT boxes, color graded by Wonder Look Pro.

 

CAMERA CONTROL

CINELIVE 4K V-LOG LUT 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.
  • Varicam 4K V-Log colorspace workflow (See Wonderlook Pro Grading below for V-Log operation)
    • Full rec:709 standard broadcast color shading control
    • V-log on/off control with 4 optional V-log LUT presets
      • pre-defined color imagery look/style, non adjustable with CCU

 

TV-LOGIC   WONDERLOOK PRO  LOG GRADING

    • FUJIFILM technologies LOG color space grading

 

LENSING

Super 35mm - PL MOUNT - Zoom and prime lensing

standard ON-BOARD inventory - priced per camera.

LENSING DESIGN IS FOR STUDIO, THEATRE, AND ARENAS BASED ON 100FT to stage

 

    • Full studio servo motor operation with 9" monitor, tally and return video.
    • Will shoot a ring on finger at 1500mm @100 ft.
    • Will shoot a tight head shot at 1000mm @ 100ft.
    • 70 x 1 zoom range.

 

 

  • 2- Fujinon Cine 4K Cabrio PL 25mm - 300mm
    • T 3.5 @ 800 ISO
    • T 1.4 @ 5000 ISO
    • 19.6 lb
    • 9 iris blades
    • Full studio servo motor operation with 9" monitor, tally and return video.
    • Will shoot knee to head shot at 100ft @ 300mm
    • 12 x 1 zoom range

 

 

  • 2-Fujinon Cine 4K Cabrio PL 20mm -120mm
    • T 3.5 @ 800 ISO
    • T 1.4 @ 5000 ISO
    • 4.3 lb
    • 9 iris blades
    • Full studio servo motor operation with 9" monitor, tally and return video.
    • 6 x 1 zoom range.

 

 

  • Fujinon Cine 4K Cabrio PL ZK19mm - 90mm
  • Not standard inventory on request only.
    • PL Mount
    • T2.9 @ 800 ISO
    • Hand Held servo/motor operation with tally and return video.
    • 4.7 x 1 zoom range.

 

  • 2-Canon Cine S-35 CN-E 18mm - 80mm
    • EF Mount
    • 2.65 lb
    • 9-iris blades
    • T4.4 @ 800 ISO
    • T1.9 @ 5000 ISO
    • Hand Held servo/motor operation with tally no return video on lens grip.
    • 4.4 x 1 zoom range.

 

 

PRIME LENSING

Cine Prime S-35 PL Mount Lenses

Unit caries one cmotion broadcast camin Hirose 12pin interface allowing CForce mini motor iris control at camera control station for studio, steadicam, HH, Jibs, etc.

ARRI WCU4 / UMC4 for wireless focus control at camera.

All prime lensing, iris, and focus systems require 1st AC Ryan Brown.

 

Zeiss Standard Speeds T2.1

(16,24,32,40,50,85mm)

 

Zeiss Super Speeds T1.3-T1

(18,25,35,50,85mm)

 

Xeen

  • Xeen 16mm T2.6 (PL Mount)
  • Xeen 24mm T1.5 (PL)
  • Xeen 35mm T1.5 (PL)
  • Xeen 50mm T1.5 (PL)
  • Xeen 85mm T1.5 (PL)
  • Xeen 135mm T1.5 (PL)

XEEN LENSES ARE CHANGEABLE TO EF MOUNT FOR POCKET CINEMA CAMERAS

 

lens inventory adjustable as required for lensing of the show.

 

 

VIDEO MONITORING

  • Program Monitor / Control Room
  • Clean Non Compressed Program Output (Not Multiview)
  • Multiview patch-able on request

 

  • Preview / Source Monitor / Control Room Multiview
    • LG OLED C9 55" 4K processor.
    • 16 Marshall 5" all routable source monitors.

 

  • Master Video / Shading Station
    • 2 Sony broadcast  A170 v.2.0 17" 4K OLED. (HRP1000 switchable)

 

  • Master Lighting LD Station at Master Video
    • Sony broadcast  A170 v.2.0 17" 709 4K OLED. (Router Panel Switchable)
    • Lighting Board Operator @ FOH. (Router Panel Switchable or LD follow)
    • Sony 17" LED. (studio grade)

 

  • Sound Booth
    • 2 Marshall 17" LED (Program and 9 Input Multiview )

 

  • Engineering Station
    • 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.

 

Teleprompters (In studio use only.)

3 - SDI 17" large monitor teleprompters are available mounded on Vinten Air-Peds.

 

 

SOUND

YAMAHA CL-5 Live Surround Sound Mixing

SOUND DEVICES 64 Track Recording

 

YAMAHA CL-5 Live 5.1 Surround Sound Mixing

  • Genlec 5.1 Monitoring -Mix Booth and Production Control Room.
    • 5 - 8320APMs, 1 - 7350A Sub-woofer & GLM V2.0
    • Mix booth acoustical design and monitor placement is accurate, (all 5 points), to ear placement, specifically engineered for Genlec 8320 live surround mixing.
  • 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

 

INTERCOM

RTS AND CLEARCOM Matrix Intercom Systems

  • RTS ODEN Dante digital 32 port intercom coupled to Clearcom Freespeek 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 Director/AD user stations
    • Stage Announce, located on Director/AD user stations

 

  • CLEARCOM FREESPEEK II Digital Wireless Intercom
    •  6 Channels 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 15 stations
    • David Clark "Loud environment" headsets for camera operations

 

 

Tow Vehicle

Camera Truck and

PRODUCTION TRAILER

(Coming Very Soon)

Available late August 2020

Kenworth Camera Truck / Tow Vehicle

Construction Up-Date Photo as of Aug. 1st.

2020 Kenworth T-370 Tractor / Camera Truck

    • Paccar PX-9 350hp engine (Governed at 80mph, 1800 mile fuel range.)
    • Allison 3000 HS Transmission.
    • Air Brakes - Air Suspension.
    • 12,000 watt Cummins/Onan diesel generator for production trailer support power.
    • Duel driver capable, with walk through sleeper area, for faster long-haul commutes across the country.
    • This B Unit Camera Truck can double as client/producers production monitoring suite.

 

POWER AND SIZE

BATTERY - ELECTRIC POWERED TRAILER

This compact 22 ft., 4K/3G mobile production trailer is Battery-Electric powered. Providing a robust 12+ hours of integrated off grid DC/AC backup power insuring on-location live production facilities.

 

Normal daily operating power requires 220v 50 amp, single phase AC, with Camlock Connectors.

  • This service supplies all technical production equipment including HVAC.
  • HVAC is not part of the battery/electric backup system and needs a independent power service of 220v 30amps.
  • Kenworth Tractor Unit B - camera support truck travels with a 220v 60amp Cummins/Onan generator for HVAC and off-grid battery charging if needed. (not intended as a main power source.)
  • Support camera truck is 8' wide x 31.5' long as seen in picture. (add 5ft. additional for lift gate operation)
  • Highway driving length 52.5' overall weight 28,500 lbs.
  • Trailer solo dimensions 8' wide x 26' long. (average size of a production "Video Village")
  • Indoor/outdoor venue parking allows for fast 1/2 day setup. B Unit is not required indoors.
  • Trailer weight is 7,000 lbs.

 

CAMERA SUPPORT

 

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 services.

 Fluidpicturesinc.com

 Jensen Jib's

 

 

 Designer/Builder

JONAS JENSEN 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 and Canada. The Unit is generally packaged as needed with A level veteran crew located around the country from our 40 year developed national who's who's database.

 

Unit is operated and traveled with staff, EIC of overall systems, 1st. AC/VC , EIC Sound and a Driver.

 

TO START AN INQUIRY

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