American Cinematographer - February 2016 - 86

New Products & Services
Cineo, Cinelease
Collaborate on Quantum
Cineo Lighting and Cinelease
Inc. have collaborated to produce
the Quantum120 LED fixture.
Drawing 1,200 watts, the
4'x4'x6" Quantum120 outputs
up to 75,000 lumens of highquality, color-correct light. Even
with its substantial size, the Quantum120 weighs only 65 pounds,
inclusive of its integrated power
supply and electronics. The fixture boasts passive, completely silent
cooling with no fans.
The Quantum120 required the development of proprietary
LEDs that carry the same color quality as Cineo's Remote Phosphor
fixtures; the unit features four proprietary 585mm x 585mm metal
ceramic LED modules, each with 1,280 CineoColor LEDs. Color
temperature is completely variable from 2,700K-6,000K, with
presets at 2,700K, 3,200K, 4,300K, 5,600K and 6,000K. Color
accuracy is excellent at all color temperatures, with a CRI of 97 at
3,200K. Correlated color temperature remains constant and flickerfree throughout the 0-100-percent dimming range, and output is
consistent at any CCT. The Quantum120 can be controlled locally or
remotely and is configurable via RDM.
The fixture can be fitted with standard 4'x4' frames and
comes with a removable Snapbag soft box. Multiple mounting
options are available, including a heavy-duty yoke.
The Quantum120 is available for rent exclusively from Cinelease in all of the company's rental locations.
For additional information, visit www.quantum120.com,
www.cineolighting.com and www.cinelease.com.
Panavision Opens at Pinewood Atlanta
Panavision has opened a satellite office at Pinewood Atlanta
Studios. The high-tech workspace houses a full range of filmmaking
equipment with a large area for prep and testing, and access to the
company's specialists in production solutions.
Pinewood Atlanta Studios opened in February 2014 and
consists of 11 sound stages, more than 500 acres of back lots, and
offices and other amenities. It has become a hub for the international and U.S. production community needing studio accommodations in the Southeast.
Robert Presley, a veteran camera operator and Steadicam
specialist who joined Panavision as a sales and marketing executive
in January, serves the needs of feature and television productions
shooting in the region, along with a full team of experienced technicians and support personnel.
86

February 2016

* SUBMISSION INFORMATION *
Please e-mail New Products/Services releases to
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.

Panavision's main Atlanta office in West Midtown will
continue handling equipment rentals and services for productions
filming throughout the Southeast area. The company has serviced
many productions, including the features Ant-Man and Captain
America: Civil War, over the past year.
"Panavision
is
committed to helping
filmmakers regardless of
where they are shooting," says John Schrimpf,
Panavision's VP of U.S.
regional operations. "By
investing in the locations
that are providing a thriving environment for the
creative community, we
can address the needs of our clients with extraordinary speed and
precision."
For additional information, visit www.panavision.com.
Anton/Bauer Powers Cine Series
Battery- and charging-technology provider Anton/Bauer, a
Vitec Group brand, has announced the Cine battery series, which is
designed to provide a safe and durable mobile power solution for
professional cinematographers working with digital
cinema cameras.
The Cine series delivers 12 amps of continuous
power and incorporates Fuse
Link technology, which - in the case of a cell anomaly - provides
protection to surrounding battery cells and prevents catastrophic
damage. The battery line also features multiple sensors to detect
temperature and over-current states, ensuring optimal battery
performance during regular use.
Ideal for camera-stabilizer systems and rail-mounted
cameras, the Cine batteries function on all existing Anton/Bauer
chargers. For additional convenience, the Cine battery series
includes a PowerTap to power auxiliary accessories such as monitors,
lights, wireless receivers, and any other 14-volt accessory.
The Cine series also includes an extremely accurate LCD that
provides users with run-time information in hours and minutes.
When the battery is detached, the LCD screen will display battery life
as a percentage of capacity, allowing the user to effortlessly track
usage.
Now shipping, the Cine series is available with both Gold
Mount and V-Mount connectors.
For additional information, visit www.antonbauer.com.

American Cinematographer


http://www.panavision.com http://www.quantum120.com http://www.cineolighting.com http://www.cinelease.com http://www.antonbauer.com

Table of Contents for the Digital Edition of American Cinematographer - February 2016

Contents
American Cinematographer - February 2016 - Intro
American Cinematographer - February 2016 - Cover1
American Cinematographer - February 2016 - Cover2
American Cinematographer - February 2016 - 1
American Cinematographer - February 2016 - 2
American Cinematographer - February 2016 - Contents
American Cinematographer - February 2016 - 4
American Cinematographer - February 2016 - 5
American Cinematographer - February 2016 - 6
American Cinematographer - February 2016 - 7
American Cinematographer - February 2016 - 8
American Cinematographer - February 2016 - 9
American Cinematographer - February 2016 - 10
American Cinematographer - February 2016 - 11
American Cinematographer - February 2016 - 12
American Cinematographer - February 2016 - 13
American Cinematographer - February 2016 - 14
American Cinematographer - February 2016 - 15
American Cinematographer - February 2016 - 16
American Cinematographer - February 2016 - 17
American Cinematographer - February 2016 - 18
American Cinematographer - February 2016 - 19
American Cinematographer - February 2016 - 20
American Cinematographer - February 2016 - 21
American Cinematographer - February 2016 - 22
American Cinematographer - February 2016 - 23
American Cinematographer - February 2016 - 24
American Cinematographer - February 2016 - 25
American Cinematographer - February 2016 - 26
American Cinematographer - February 2016 - 27
American Cinematographer - February 2016 - 28
American Cinematographer - February 2016 - 29
American Cinematographer - February 2016 - 30
American Cinematographer - February 2016 - 31
American Cinematographer - February 2016 - 32
American Cinematographer - February 2016 - 33
American Cinematographer - February 2016 - 34
American Cinematographer - February 2016 - 35
American Cinematographer - February 2016 - 36
American Cinematographer - February 2016 - 37
American Cinematographer - February 2016 - 38
American Cinematographer - February 2016 - 39
American Cinematographer - February 2016 - 40
American Cinematographer - February 2016 - 41
American Cinematographer - February 2016 - 42
American Cinematographer - February 2016 - 43
American Cinematographer - February 2016 - 44
American Cinematographer - February 2016 - 45
American Cinematographer - February 2016 - 46
American Cinematographer - February 2016 - 47
American Cinematographer - February 2016 - 48
American Cinematographer - February 2016 - 49
American Cinematographer - February 2016 - 50
American Cinematographer - February 2016 - 51
American Cinematographer - February 2016 - 52
American Cinematographer - February 2016 - 53
American Cinematographer - February 2016 - 54
American Cinematographer - February 2016 - 55
American Cinematographer - February 2016 - 56
American Cinematographer - February 2016 - 57
American Cinematographer - February 2016 - 58
American Cinematographer - February 2016 - 59
American Cinematographer - February 2016 - 60
American Cinematographer - February 2016 - 61
American Cinematographer - February 2016 - 62
American Cinematographer - February 2016 - 63
American Cinematographer - February 2016 - 64
American Cinematographer - February 2016 - 65
American Cinematographer - February 2016 - 66
American Cinematographer - February 2016 - 67
American Cinematographer - February 2016 - 68
American Cinematographer - February 2016 - 69
American Cinematographer - February 2016 - 70
American Cinematographer - February 2016 - 71
American Cinematographer - February 2016 - 72
American Cinematographer - February 2016 - 73
American Cinematographer - February 2016 - 74
American Cinematographer - February 2016 - 75
American Cinematographer - February 2016 - 76
American Cinematographer - February 2016 - 77
American Cinematographer - February 2016 - 78
American Cinematographer - February 2016 - 79
American Cinematographer - February 2016 - 80
American Cinematographer - February 2016 - 81
American Cinematographer - February 2016 - 82
American Cinematographer - February 2016 - 83
American Cinematographer - February 2016 - 84
American Cinematographer - February 2016 - 85
American Cinematographer - February 2016 - 86
American Cinematographer - February 2016 - 87
American Cinematographer - February 2016 - 88
American Cinematographer - February 2016 - 89
American Cinematographer - February 2016 - 90
American Cinematographer - February 2016 - 91
American Cinematographer - February 2016 - 92
American Cinematographer - February 2016 - 93
American Cinematographer - February 2016 - 94
American Cinematographer - February 2016 - 95
American Cinematographer - February 2016 - 96
American Cinematographer - February 2016 - Cover3
American Cinematographer - February 2016 - Cover4
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