Wireless video transmission system for film sets with sub-1ms latency, operating in the 5.8 GHz band to deliver 4K60p signals to up to eight receivers simultaneously.
Paralinx systems operate in the 5.1-5.8 GHz ISM band with COFDM (Coded Orthogonal Frequency Division Multiplexing) modulation. The transmitter weighs 340g and measures 140x90x30mm, the receiver 450g at 165x110x45mm. The systems support 1080i/p up to 60fps as well as 4K signals via 3G-SDI, HDMI, and composite outputs. Paralinx Arrow and Tomahawk offer up to eight simultaneous receiver channels per transmitter with 14-bit color depth. The batteries provide 2.5 hours of operating time, external power is supplied via 12-30V DC.
Paralinx was founded in 2009 by former Teradek engineers in California. The first Arrow system was launched in 2011 and established itself as the standard for Steadicam and gimbal operations due to its extremely low latency. In 2014, the more compact Tomahawk system followed for smaller productions. In 2018, Teradek acquired Paralinx technology but continued to integrate it as a separate product line. The current generation Arrow-X (2020) offers 4K60p transmission with under 1ms latency.
Paralinx systems allow the cinematographer to directly monitor the image during Steadicam shots, while the director and script supervisor simultaneously follow the live feed. In "1917" (2019), cinematographer Roger Deakins used Paralinx for the continuous sequences to permanently involve the focus puller and director Sam Mendes in the action. The systems prove their worth in drone shots, where conventional cables are impossible, as well as in car rigs and hard-to-reach camera positions. The disadvantage lies in the dependence on radio frequencies, which can be overloaded in urban areas.
Paralinx primarily competes with Teradek Bolt, Hollyland, and SmallHD systems. While Teradek Bolt focuses on robustness and range, Paralinx excels with minimal latency. Hollyland systems are more affordable but do not achieve the transmission quality of Paralinx. For budget productions, DJI Transmission or Accsoon systems are suitable; professional high-end shoots continue to rely on Paralinx or Preston Light Ranger. The choice depends on budget, required range, and latency requirements.
Ich nutze Paralinx hauptsächlich für Steadicam-Arbeiten, wo ich das Bild permanent im Blick behalten muss – die unter 16ms Latenz machen den Unterschied zwischen verwackelten und präzisen Shots. Bei komplexen Bewegungen kann ich durch das Live-Monitoring sofort korrigieren, ohne auf den Playback warten zu müssen.
Mit Paralinx kann ich auch bei schwierigsten Kamerabewegungen direkt beurteilen, ob die emotionale Wirkung stimmt und gegebenenfalls sofort Anpassungen verlangen. Besonders bei langen Takes spare ich mir dadurch mehrere Wiederholungen, weil ich schon während der Aufnahme weiß, ob der Take funktioniert.
Paralinx kostet zwar 8.000€ pro Set, amortisiert sich aber durch eingesparte Drehtage – weniger Wiederholungen bedeuten weniger Overtime und Location-Kosten. Die Systeme sind robust genug für mehrjährigen Einsatz, und die Zeitersparnis beim Dreh rechtfertigt definitiv die Investition gegenüber günstigeren Alternativen.
1. Zu welchem Department gehört „Paralinx"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.