• Video Acquisition & Filming
• Multi Camera Production
• Live Webcast & Video Streaming
• Chroma-Key Studio Filming
• Teleprompter Rental & Operation
• Digital Microwave Camera Video Link
• Video Post with Digital Betacam / HDCAM Support
• Location Sound Recording
• Digital Imaging Technician (DIT Services)
• Stock Footage
• 24/7 TV Broadcast Monitoring

About DXNMedia.net

Dixon's Credit List:

DXNMedia Services

Latest News & Promotions

• (L-R) Panasonic AG-HPX372, JVC GY-HM700, Panasonic AG-AC160, Canon 7D Rig, Panasonic AG-HMR10/ACK10 POVCAM & AG-HSC1U / HDC-SD1 cameras
  
• We have officially phased out & dropped tape-based cameras (DV, DVCAM, HDV) out of our inventory for video acquisition, but still maintain playback & ingest support for miniDV, DV, DVCAM, Digital Betacam, Betacam SP, Betacam SX & MPEG-IMX.
  
• All our cameras are HD-SDI capable, meaning that as long as the front-end camera sensor are still useful for HD or below 2K acquisition, we can technically support any other known forms of recording formats by using our available AJA Ki Pro Mini & AVCHD recorder for ProRES422 or H264/MPEG4 codecs, or other recording devices like the P2 Recorder, NanoFlash or Sound Devices PIX for AVC-Intra, MPEG2 or Avid DNxHD codecs.
  
• The only CCD-based camera in our inventory is the XDCAM based JVC GY-HM700, and it is perfect for applications that CMOS based cameras cannot hold up. (eg. Fast motion sports, and heavy flash/strobes ENG event coverage like press conferences, etc..)

• Yes, we have been a late adoptor because we don't quite think the technical quality is good, but we can't keep declining our regular clients requests and disappoint them.....so finally in late 2011, here is our own HD-DSLR Video Rig.
  
• Using the Canon 7D body for our imager, we have a huge variety of Nikon & Angenieux lenses with proper follow focus system for use....yes, we have lens adaptors for EOS-Nikon mounts.
  
• Our experience also told us that we cannot save on getting a good viewfinder, thus we chose the Zacuto Z-Finder Pro 2.5x unit.
  
• Our BeachTek DXA-5D also finally have it's own partner to work with, and once Canon can sort out a clean HDMI output signal, we can also use our Ki Pro Mini to record better quality videos than using a compromised H264 .mov onboard recording.
  

• Our third wireless video transmission system is a HD capable system operating in the license-exempt 2.4Ghz band.
  
• Utilising the latest technology in video encoding & transmission, our wireless system provides unsurpassed reliability in sending HD video over the WiFi band.
  
• We have Omni, Sector & Patch antennas for all kinds of possible operating environment with range of up to 200m-300m near line of sight.
  
• HDSDI & Component inputs on the transmitter, receiver module in a 2U Flight case can output HDSDI, HDMI & Component video signals with less than 50 frames / 2sec delay from transmit to receive.
  

• With the wide availability of online streaming servers, we are now able to provide low-cost video streaming solutions.
  
• We utilise broadcast grade encoding hardware and streaming software to further value add to our multicamera production capabilities.
  
• Our encoding systems are able to take in HD-SDI & SDI video signals, as well as Composite, component or DV signals via firewire.
  
• Streaming quality, latency & audience reach capability however, will vary significantly depending on internet connection speed at your webcasting venue.
  

• Finally, after months of choosing a good wireless intercom set, we put our money down on the industry leading HME-Clearcom system.
  
• 4-pax Full Duplex wireless communications with capability to add up to 15 Push-To-Talk/listen-only beltpacks.
  
• AC or self-sustainable on battery operations
  
• Usually deployed for multicamera productions, but can be very effective for use to coordinate key position crew on set.

• Included in our inventory in 2011 is the latest AJA KiPro Mini recorder.
  
• We are now able to record ProRES quality video for Direct-to-Edit on FCP.
  
• Popular with XDCAM EX & DSLR camera workflows, the Ki Pro Mini can record with a better intra-frame based codec than H.264 or MPEG2 Long GOP native files.
  
• On the average, a 64gb Compact flash card does about 60mins of ProRES or 40mins of ProRES HQ video.
  
• Cam Ops & Director of Photography can be too engrossed with making sure his primary role is not compromised, and we can be engaged to be on-set as Digital Imaging Technicians (DIT), VT operators, or data-wranglers to assist in making sure your video files are captured & organised properly for post production.

• As much as gear rental is not our main business focus, regular clients have been requesting us to be able to support their productions by dry-hiring out our equipment.
  
• In 2011, DXNMedia will extend our services to rent out selected gear packages to our regular clients and affiliated crew.
  
• For some of our specialised gears, we will require our own trained crew to be present.
  
• Equipment collection & return will be strictly limited to 9pm ~ 12am daily at our operating address. Best to call and check for availability prior to booking & collection arrangements.
  
• Email us for a full equipment listing

• The addition of this JVC GY-HM700 HD camera to our inventory increased our support capability to include acquisition in XDCAM EX 35mpbs format that is native to Final Cut Pro.
  
• Originally intended to be used for our multicam setup with it's HDSDI output feature, we found that this underrated camera is in fact one of the best small form factor ENG camera available.
  
• We can now support the following formats for video acquisition: DVCAM, DVcPro50, HDV, AVCHD, XDCAM EX, DVCProHD, AVC-Intra50, AVC-Intra100. Also with our AJA KiPro Mini & AG-HMR10 AVCHD recorder, we can piggyback and configure for any recording possibilities including Apple's ProRES422 family of formats.
  

• To compliment our existing AG-HMR10 AVCHD HD-SDI Recorder, it was quite a natural move to acquire the AG-HCK10 POVCAM to increase our acquisition capabilities.
  
• This POVCAM system is probably the only AVCHD system to be approved for television use by BBC & major documentary channels.
  
• The camera module can be mounted at almost any positions (eg. In-car, on vehicle, undercarriage, etc...), and we can also deploy this system on our small jib-arm, monopods or boom poles to simulate a pole-mounted camera move.
  
• This system can also be used for security, survillance, & any many other forms of discreet video documentation purposes.
  

• To provide a wider range of service in mobile location production, we have upgraded and improved our multicamera capability to fully support HD video switching.
  
• With 4x HD/SD-SDI input & 1x DVI/HDMI Input, we can support production requirements from sports, concerts, seminars, talk-shows, interviews, variety, webcasting, iMAG (Internet Magazine) and events coverage.
  
• Being AC power independant, our setup can run completely on batteries. We can setup our multicamera system in OB Vans, isolated locations and virtually any possible venues without major limitations.
  
• We also have a range of HDSDI or SDI cameras & intercom systems to complete our multicamera production service.
  

• Having tried many different types of lighting units from Tungstens, HMIs to Kinoflo, etc, we have now invested in our own fresnel & large-array LED lighting units.
  
• Our venture into using LED lights for video filming have been an expensive trial, but the experience gained were invaluable. We have mastered the characteristics of LED lighting for video applications, and are now able to confidently provide our LED lighting services for your filming requirements.
  
• We have a variety of extremely powerful, mobile & battery powered LED panels & customised LED Spots, all balanced closely to match 3200K or 5600K filming.
  
• Email/Call us to engage our portable lighting solutions & services.
  

• It took us a while to decide on acquiring a full-size ENG camera after 10 years since the S-VHS Supercam days.
  
• Finally putting our money down, we chose this Panasonic AG-HPX372 largely because of the capabilities of Intra-Frame based recording formats which are good for chroma keying acquisition. Most cameras at similar pricing range cannot perform as well on this area due to the recording format, and newer generations of camera are getting more highly compressed than ever.
  
• Going for a full size ENG camera meant that we can have integrated Unislot based audio receivers. This meant lesser accessories to worry about, and lesser cables to deal with as compared to using Bodypack based receivers which will take up a cold-shoe slot.
  
• Pictured is our ENG configured AG-HPX372 with an onboard dual diversity audio receiver. We can support either wireless bodypack lapel mic for 'run&gun' shoots or using hand-held wireless mic for presenter/host.
  

• As the trends of using AVCHD for delivery picks up, we chose the AG-HMR10 recorder for capabilties to master any HD-SDI video source back into AVCHD.
  
• This allows a fully compliant AVCHD file structure to be mastered back into low-cost SDHC cards for playback with SDHC reader equipped playback devices like BluRay players, TV sets, PlayStation3, and of course many other types of media players that can handle .MTS file.
  
• Other than using this as a mastering recorder, we are able to deploy the AG-HMR10 as our field monitor for basic checking of HDSDI signals with waveform & vectorscope readings.
  
• We also use the AG-HMR10 as a backup recorder for our new AG-HPX372 camera.
  

• With our Telestream Pipeline network SDI Video ingest system, we are now capable of true 'edit-as-you-capture' capabilities for on-site editing.
  
• This feature is a simulation of a single channel EVS where we can provide slow-motion playback and time-critical highlights editing for live programs.
  
• We are also able to provide remote recording capabilities for our microwave camera setup, where piece-to-cameras or roving-camera footage can be recorded and immediately edited for live VT playback.

• March 2010, we've upgraded our monitoring capabilities with the latest JVC multi-format professional broadcast grade LCD monitors.
  
• We are now able to confidently provide basic & accurate color-grading services for broadcast video mastering.
  
• We are also able to provide field monitoring services with Waveform & Vectorscope functions for critical on-location filming & post production requirements.
  
• With multi-input capabilities, we can handle and monitor any known video formats from Composite, Component, SDI, HDSDI, and DVI/HDMI signals.
  

• 2010 will be our 3rd year in operations and DXNMedia Services sincerely thank all our clients for the continual support and trust in our work.
  
• Here's a summary of what we've done in 2009 to improve & increase our range of media services.

• We now have an extremely lightweight, compact, and hassle-free jib service package available.
  

Jib / Camera crane service package includes the following: Kessler KC-Lite 8.0 Jib system 4.5kg Payload 2.4m Maximum Height Tilt Control Wheeled dolly Varizoom Sony LANC controller LCD Monitor Jib Operator / Assistant Services

• Achieving technical excellence is always a top priority with DXNMedia Services.
  We are serious enough about our work to invest in the following audio & video measurement tools to ensure that your production are technically good.
  
  
  
• Audio Spectrum Analyzers can be used to calibrate your monitoring speakers in your post suite, as well as to take measurements of noise levels in studios or on-location.
  With noise analysis, fixing audio problems in post can be a less painful process.
  
  
• Color Meters can be used to determine the color temperature of our lighting source.
  In the modern lighting for video/film technology, we are usually exposed to a wide variety of lighting source from LEDs, PL tubes (kinos), Tungsten, T4, T5, etc...
  
  All these light source emits different color temperatures. A dedicated color meter provides a more accurate measurement, and it also allows us to be able to grade your film more effecitvely.
  
  
• Laser Distance Meter & Range Finders
  In traditional film acquisition, we use measuring tape to measure our focusing distance from the film plane to the subject. Using the laser distance meter is a much simiplfied way of obtaining focusing through distance measurement as we can just point the beam to obtain an accurate reading.
  
  As we also provide Special effects direction and supervision services, the distance meter is used to take object distance relationship in a scene so that we can translate the data for 3D animation and compositing. A primitive method compared to match-move and other better compositing techniques, but it does the work to provide useful information for 3D animators and modellers.
  
  Last but not least, we use the distance meter and laser range finders to obtain a confident line-of-sight operating distance for our wireless microwave transmission.
  
  
  
• Light Meters are mainly used in film/cine productions, and may be rendered to be a bit pointless to use in a video production. However, we still employ the use of light meters to ensure that our lighting ratios are set correctly in a scene.
  Any decent & skilled DOP should have one in their arsenal of tools.
  
  More to come.....Waveform & vectorscopes..
  

• We have acquired the Beachtek DXA-5D that allows professional XLR connectivity to most DSLR cameras with 3.5mm 'Mic-in-power' input like the Canon 5DMkII and 7D.
  
• This device defeats the built-in ACG feature so that the camera will not do an auto gain riding.
  
• Pictured is also the latest AJA IoExpress for portable waveform monitoring and field capture of DSLR footage via HDMI.
  

• In our move to support the 'NTSC' market for international clients and overseas video crew,
  DXNMedia Services increased our video production capability to support DVCProHD acquisition in 60i, 30p or 24p with our Panasonic AG-HVX200 P2 camera.
  
  
• We are able to serve the regional market like Philippines, USA, Korea, Japan, and Taiwan.
  
  
• This brings our capability to support the follow acquisition formats:
  - Standard Definition, DVCAM 576/25i (PAL)
  - Standard Definition, DVCAM 480/30i (NTSC)
  - Standard Definition, DVCPRO P2 480 in 60i/30/24p
  - Standard Definition, DVCPRO50 P2 480 in 60i/30/24p
  - High Definition, HDV 1080/50i
  - High Definition, HDV 1080/60i
  - High Definition, DVCProHD 1080i/720p in 60/30/24
  
  

• Our Post Production capability can handle playback of PAL or NTSC Digital Betacam, BetacamSP, BetacamSX, MPEG-IMX, DVCAM & HDV.
  
  
• Recording capability in PAL BetacamSP, PAL/NTSC DVCAM & 1080i HDV in 50/60 frame rates, plus options to do 50i/60i standards conversion with our recently acquired broadcast grade converters.
  
  
• We can convert, up-scale, down-scale, ingest and capture footage materials into all FCP supported formats up to 10bit 4:2:2 resolutions, or Avid DNx compatible .MXF formats.
  
  
• We also offer cheap, affordable, and unbeatable rates in and around Singapore for Digital Betacam or Betacam SP tape transfers, format conversions or archival solutions.
  
  

• Stop worrying about copyright issues when using music in sync with your video!
  DXNMedia have our pre-paid library of production music for use in broadcast, web, or corporate videos.
  
  
• Over 1000 tracks to choose from, genres available from Rock, Jazz, Inspirational, Instrumental, etc...
  You'll get to use our music & effects library for just a small fee if you do audio post with us.
  
  

• With our new license-exempt digital microwave video transmitters, we can now operate wireless cameras with reliable digital video link for up to 800m line of sight.
  
  
  
• Ideal for Steadicam operations, roving camera for sports events, seminars, live-to-screen, live broadcast, aerial / in-vehicle video transmission. Our microwave video systems are used by CBS, Australian Channel Seven, BBC, and many other independant ENG/OB production facilities ranging from sports hall, stadiums, racing tracks and even unmanned camera drones.
  
  
• WiFi Band Operation, Standard Definition (PAL or NTSC) Composite or Component input, 12 frames delay between transmitter to receiver. Our wireless camera package includes transmitter, camera, shotgun or hand-held microphone, camera operator and receiving base station.
  
  

• In support of local independent Film & Music art scene, Dixon will be willing to provide personal funding, production and/or post production support to aspiring filmmakers who possess a good script, storyboard, and detailed production planning.
  
  
• Likewise for the local music scene, Dixon is always on the lookout for talented bands and individual artistes with original compositions to produce Music Videos.
  
  
• CALL / EMAIL TO ARRANGE FOR AN AUDITION / PITCH.
  - Terms & Conditions apply
  
  

Buy / Sell Used Professional Video & broadcast Equipment in Singapore

Contact Us:

• Best way to contact us is via email
  
• Alternatively, you may reach Dixon via voice at +65 9635-0447
• There is a high possibility that your call may be unanswered.
  
• It is my policy to give my clients the full attention when they are paying for my time, and I will return your call as soon as possible.

• 341 Ubi Avenue 1
  Unit #09-899
  Singapore 400341
  Appointment is strictly by advanced booking!
  
  
• For post production & tape transfer services, you can courier your footage / materials to us and instruct your courier leave it in our secured dropbox right outside our unit if we are out-stationed.
  Instructions to access our secured drop-box will be available via SMS on arrival.
  
  
• On demand & extra charges, we can operate 24/7 with fast turnarounds for Digital Betacam or DVCAM tape transfers, ingest, capturing and encoding services.