ikan News Blog

With most of the information available regarding the D7 covered in the post previous, this post is more dedicated to our other monitors coming out with some images to boot. However, I am going to sprinkle in some D7W photos because I can’t stop looking at them!

With regards to the D5, our newest and smallest all-digital monitor, much of the same specs and abilities found in the D7 are present, with a smaller form factor. Lightweight and still packed with features, the D5 is another example of ikan’s desire to set a new standard with our flagship monitors at competitive prices.

Below are  a few shots of the D5 and VH8. Application photos coming in the near future. For a closer look, be sure to stop by our booth at #c10637 at #NAB2012.

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VH8 Specifications are still being finalized, but this is what to expect in this super slim wide-panel:

• high brightness 1600 x 768 LCD panel
• 
Pixel Data Analysis (IRE the color charts)
• HDMI input and output without signal loss
• 1 composite input
stereo headphones
• 4-capacitive sensing “F” button
• False Color – Adjustable Under Luminance & Over Luminance Warning (only HDMI)
• Clip Guide – Adjustable Threshold (similar to the zebra crossing function) (only HDMI)
• Peaking – (red outline)
DSLR Scaling (only HDMI)
underscan
Movable Pixel to Pixel
• Guides (4: 3 & 16:9 Framing Safe Area)
• Check Field (blue, red, green, mono)
• H / V-line field delay
• aspect ratio (16:9 / 4:3)
• 2 1/4 “-20 mounting holes
• Adjustable 
RGB
• Tint
• 
480 i/p; 576 i/p; 720 p 50hz, 60hz; 1080 i/p 24hz, 25hz, 30hz, 50hz, 60hz, 24hzsf, 25hzsf

Get the idea yet? For $499 that’s a pretty big steal. If you think you’re going to get ripped off taking advantage of some NAB special purchasing this, I promise you–there are not only worse deals, but the customer service you’ll receive for any concern is top-notch and still getting better. Did I mention that there will be a Vk5 for an even lower price ($399).

Oh, and some more D7W images, highlighting the plush features. Couldn’t help it. Want to spoil you.

Let me know your comments and thoughts. Cheers! More updates on new products to come before NAB 2012.

I had the chance to taste the digital-only panels we’re going to demo at NAB this year and I think you’ll like the results.

Starting with the aptly named D7, it’s a 7″ IPS-based panel viewing in 1280×800 resolution (true 720p). Moving forward, the D series of monitors from ikan (the D5, D7, D7W and D9) will be our new flagship line as we phase out our VX series of HDMI & SDI monitors (though we will still support you). By placing this technology in our latest monitors, we hope to stay on the cutting edge of on-camera monitor options and give our users something worth creaming about.

If you’re not savvy with this newer panel technology, start learning. There’s been some good argument to say that these puppies will stick around for at least a few years: with extremely wide viewing angles, IPS panels keep blacks crushed with consistent color, vivid images and clean contrast. More mainstream companies such as Dell (their UltraSharp series of flatscreens) and Apple (with their LED Cinema Displays) have switched over and started offering these monitors for gaming or video towers, aside from putting them into more snazzy laptops.

We’ve tested this with mostly Canon cameras (c300, 5dII, xf305 and more) in a variety of modes, also. Check the details below for supported formats.

For the moment, though, here are some pictures for you, thus followed by tech specs of the D7 & D7W (and the dolla bills). Note that in the production model will have a black anodized aluminum body with etched labels–something we’ve received flack for in the past. Hopefully this adds to the sexy and sturdy mentality that all fanboys crave.

Official Tech  Specs (why do I feel like I am putting my foot in my mouth when I say “official?”  This section is updated to the “Offiicial Specs” that we are running with at NAB2012):

• 1280 x 800 IPS panel
• Aluminum case with 4 reinforced 1/4 20tpi threads
• HDMI loopthru / 3G SDI loopthru
• Peaking
• False Color
• Pixel to Pixel
• Supported Inputs: 1080p 24, 25, 30, 50, 60p / 720p 50p, 60p
• 4 adjustable function buttons and scrolling menu wheel
• list price =  $1099.99
• upgrade hardware for $300 to include Waveform, Vectorscope, and RGB Parade

We will also have an upgrade path from the D7 to our D7w (coming soon). The D7w will list for $1299.99–If you decide to get the D7 and upgrade later, you can trade in and pay the difference. Additional features on the D7w will include:

1. Vectorscope
2. Waveform
3. RGB Parade

If those stills suit your fancy, I’d say keep your eyes peeled in the coming month or two for a production model.

We will have these panels at our NAB booth #c10637 so stop on by for a demo.

More on upcoming monitors soon…

November is a funny time for many, as it marks the end of fall with the cooler weather rolling in with many of the first real snows. The impending winter means spending time indoors, seeking refuge from the cold and experiencing that slow-down and stillness to life, where leaving the bed is akin to blasphemy. For us in Houston, though, it’s really the first full month where we won’t see temperatures in the 90’s (finally). For ikan, it means we start looking forward to the spring releases for NAB. It’s a time for industry–scheduling production of new products and putting the final pieces together.

Today, there were several last-minute meetings with the software division where we finalized the features of new products. Last year @NABShow, we demoed a product suite concept designed to aid the production community’s workflow. Since all these apps work together (they talk), it has been a challenge to develop them concurrently; fortunately, we are finally nearing the release of the first of the suite! One key thing changed since then–based on customer feedback, we switched the priority of release from android apps to iOS apps. Over the next few months, you’ll notice several new apps rolling out. Since last week’s concept meeting, they’ve put the finishing touches on them–all i can say is WOW! They have really put some innovative usage and tools in the software –stuff I haven’t seen in any other apps like them in the market. I can’t wait for the other application to mature. We really think you’re going to like the way the pieces fit together (literally and figuratively)!

Ikan works hard about innovating new products and sometimes its easy for us to forget around here some of the things we have innovated in the last few years. We were the first to come out with a high quality 5.6 LCD with HDMI. at NAB 2009 (before the 5D MkII and D90 were released) we introduced the V5600 because we anticipated that HDMI would become an attractive alternative to SDI, that cameras were shrinking, and a HDMI LCD field monitor smaller than 7’  would be a great addition in the market place. Now every LCD company has a 5″ in their lineup. It’s hard to believe this monitor is 4 years old now and still is a favorite for many shooters.

Our ID500 light was the first high powered LED light to have a wireless remote control.  For the Event and ENG users the remote feature and battery power have given them truly mobile solutions. Event videographers can turn a light on an off from their camera position on one side of a ball room as needed. ENG crews can sit and wait for their air time and turn the light on and off without leaving their cameras. A solo shooter who acts as talent and camera operators can now adjust the light intensity while looking into their monitors.

Our EV2 Stealth was the first 15mm rod configuration developed for ENG shooters. We worked with Canon to help their customers as they migrate from traditional shoulder mount cameras ENG to more economical midsized cameras.

The Stealth was designed as a ENG rig–not a stripped down cinema shoulder rig–to better match the needs of news shooters. Its adaptability allows the user to see the eye piece in bright sun light. The adjustable shoulder pads allows for different users to tweak it for their comfort. Its Heavy duty shoulder mount is beefed up to withstand use 24/7. Replaceable pads give it a longer lifespan, while plenty of mounting points (for battery systems and accessories) allow it to conform to any work flow or requirements. We even designed mounting points for a traditional ENG VL14 style quick release to simplify run and gun demands of the ENG environment

One of our first products introduced in our first year of business PT-1000 pioneered the low-cost above the lens Teleprompters.

Once again several other teleprompter companies have a similar solution in their line up. This year we added a single handed adjustment riser to our PT3100 and PT4100 to make it easier to adjust for the different heights of cameras.

Simply turn the knob and adjust the height no tools or disassembly necessary. The next generation of teleprompters and software is under development and will also include several new and innovative features.

This year, ikan acquired the Cinemage monitor line to provide top tier LCD monitors adding additional choices for our customers. This acquisition also put new technologies and contacts in our reach. Soon you should see innovative new features and products as a result.

So this winter, keep your eye on ikan to see what new products are going to come from us here in Houston. I know some of the things we are planning will be new and innovative.  Just wait and see. To make it easier, check back here or follow us on Facebook or twitter to keep up with the latest news.

Jay P. Morgan and the guys over at The Slanted Lens have put together another one of their informative series of videos.  In addition to their coverage of how to light things with simplicity and elegance, they discuss using camera cranes. I’m a big fan of having cranes around for several reasons. In fact, I own two of them personally and at each of production companies I’ve owned or worked for, it was usually one of the first pieces of support gear I had brought in. Even at the college where I teach–as soon as we got the budget, guess what we bought. I don’t recommend owning a jib over 4 feet. Anything over that the size, expense transportation and storage hassles make it best to rent to meet the shooting needs for that production. I guess many people would call the long versions “cranes” and the short ones “jibs,” but so often I see the terms interchanged it doesn’t seem to matter much anymore.  To me a 4 foot jib is priced affordably enough to own and long enough to accomplish most of the things you would want to do with a crane. What are those things you might ask?

You can accomplish several things with a jib. As Jay P. Morgan mentions in the video, a jib can add production value.  The sweeping moves with swings and dips have a different look than a simple pan or tilt you get with a tripod. Since the camera moves in space the lines of convergence in the frames shifts and changes as the camera moves in a manner that is much different than a simple head pan or tilt from a head on a tripod.  This adds a depth of movement that adds value to the production.  The second thing he mentions is what I call a two-for-one shot. You can create two separate “thoughts” or messages with one shot without an edit.  In their sample video you have an establishing shot of the morgue then the “surprise” shot of the dead guy waking up. Traditionally with static shots you would show the establishing shot then cut to the shot of the John Doe toe tag, linger long enough for the audience to get bored and then surprise them with the sudden waking up of the dead John Doe. Doing the same shot with a moderately slow jib move adds to the floaty mystery feeling and slows down the audience’s tempo and pace connection with the scene, setting up a contrast for when the dead guy suddenly sits up. Couple that with the silence of the morgue and his loudly gasping for breath as he sits up and your guaranteed to make more than a few viewers jump.   A third reason I love jibs is the speed of camera positioning. If I’m in a location and know I will be moving the camera around for lots of little shots moving , rising and lowering the tripod over and over can slow things down. A jib allows me to quickly reposition and fine tune the camera’s placement in an infinite number of static shots very quickly. I frequently used a jib this way if I was shooting training video where parts had to be assembled or some time s shooting commercials in a shop where I had to shoot a lot of displays.

The one thing that every jib guy needs no matter the length is a good monitor. On the original cranes mentioned by Jay, the operator looked through the eyepiece or viewfinder as if it was on a tripod and traveled with the camera. On a small jib or crane with the range of movement looking through the viewfinder is not possible and an external monitor is necessary. I used a few different type of monitors in these situations. A small monitor mounted to the jib positioned near the where I was placing my hands allowed me to watch the frame as the jib moved.  In the video Jay uses a VX 7E  mounted near the tilt controls.  For this use the operator is looking at framing and not really concerned as much about exposure and color, so a simpler monitor like our V5600 or the newer VL7 or VH7 are pretty cost-effective solutions.  I also like to use larger monitors like our V17 in a field configuration in situations where I have to pay more attention to focus or wide sweeping moves. I can mount the V17 on a C-stand on one side if the jib and I stand on the other near the pivot point. I can move a wide swing and watch in the large monitor. If I did this with a small monitor I would have to move my body to follow the monitor increasing the likely hood of the unwanted jiggles and jostles showing up in the frame. If you guys want, let me know and We here at ikan might just make our video on using jib with monitors …

Anyway, go check out Jay’s most recent video at The Slanted Lens or visit their youtube channel. Make sure you tell them the guys at ikan sent you when you thank them for their cool work.

These are some very kind words from our local friends Blue Ribbon Digital Media. They’re one of the few Alexa owners here in H-town and some really tech-savvy and cool guys.

“Recently, we had the opportunity to demo the new ikan VX7e 7” HD-SDI monitor. What made this demo unique was that we demoed the ikan VX7e with Blue Ribbon Digital Media’s new ARRI Alexa and Alura 18-80 zoom lens.”

“Remarkably, the VX7e held its own with the new powerhouse ARRI digital cinema camera. Not only was it a nice size, light weight, onboard field monitor, but the new features blew me away with their accuracy and reliability.”

“The VX7e comes equipped with a Peaking feature that may be highlighted in color or monochrome. We measured out numerous focus distances with a measuring tape and found the ikan’s Peaking feature was consistently on point with the hard measurements on the Alura lens.”

“The VX7e also comes with a False Color feature. This is the feature that really grabbed us with its accuracy. We used a Sekonic L-508 exposure meter to take both incident and spot readings of our test subject. We then calibrated the meter readings with the False Color rendition on the ikan monitor. The VX7e False Color exposure rendition was consistently within a tenth of a stop of my incident meter’s findings. That was impressive.”

“Overall, we at Blue Ribbon Digital Media like the advances ikan is making to their VX series of HD monitors and look forward to seeing what they come up with in the near future.”

-Barry Strickland- Director of Photography, Gaffer
-Michael Melendez- Owner, Operator- BRDM

Blue Ribbon Digital Media is a Camera and support company offering everything from individual equipment rentals to turnkey rental solutions for productions who need to save hassle and get everything in one place. Blue Ribbon Digital Media is based in Houston, Texas and services productions throughout the United States and beyond.

We sent out our press release this last week but I wanted to make it publicly available to highlight the latest in our product lines. Note that Official Release of the VX7e was today (awesome) so if you’ve already placed your order with our sales team, you should be receiving your monitor within the coming week or so. If you’d like to purchase one, inquire >> sales@ikancorp.com. Below are further details. If you already have a VX7 and are considering upgrading, know that we’ve created a policy for cheap and easy upgrades to the newest version.

Thanks to the #AllinFilm Poker Tourney @NAB earlier this year, Beth Oslander won the first VX7e to come off the assembly line, as part of a packaged prize: our Shoulder Deluxe Complete rig (ELE-SDC), updated with the VX7e and FG Cine Kit (ELE-FGK). You can check out her work on vimeo. Her event videos are a lot of fun to watch.

We’re getting more  positive feedback on the new Traveler Backpack–it’s been redesigned and I think it’s worth noting the changes (the old one can be found here if you wanna peep it for yourself). Look closely in the media released in the coming months–you might spot one or two on some savvy camera folk. I hear our promo video should be released soon, too.

As of last Friday, our latest video release was for the iLED ONE-TK (that’s table kit, ya’ll) and the stop-motion intro to the video is a scream–take a look:
http://vimeo.com/23689158
(thanks to Kay Ennis and Daniel Contreras–if you were @NAB you might recognize them from our booth)

Also, thanks to Tercius Befete, writer for LA City College’s The Collegian. Soon he will be featuring the iLED ONE–and a giveaway–in his articles. Once I have more info i’ll link it here.