American Cinematographer - March 2015 - 73

flight control systems, a weather-protected
build, and a wide, stable landing base.
Additionally, the Aries Blackbird X10
features simple and flexible operating
controls via its transmitter's ergonomic
controller grip, stable and reliable performance, and a 1,640' transmitter range.
With complete 2.4GHz Wi-Fi integration that connects to mobile device platforms running Android or iOS, users can
control the Blackbird X10 camera through
the Aries App in real time and direct the
camera to precisely frame the subject
or scene. The app's
mobile display enables
users to start and stop
video recordings, take a
still shot, or make changes
to the settings and vary
the field of view of the
lens. Mobile devices can
be securely mounted to the
main controller using the
Mobile Device Mount, which ships with the
Blackbird X10.
The Aries repeater, which also ships
with the Blackbird X10, is a wireless
communication device that works in the
2.4GHz frequency band, and is used to
increase the effective communication
distance between the mobile device and the
quadcopter. The Aries Repeater increases
the effective wireless range by approximately 1,000' depending on conditions.
The Blackbird X10 also boasts such
safety measures as autopilot and Failsafe
mode. When the flight controls are released
or there is loss of control, the copter automatically hovers, using its GPS-accurate
guidance to maintain position and height,
regardless of wind conditions. With Failsafe
mode, if the quadcopter loses the signal
from the transmitter, the Automatic Flight
Control system will pilot the Blackbird X10
to a safe height, then return it to the starting point and land it safely. The Blackbird
X10 will automatically go into Failsafe mode
when the transmitter is turned off or runs

out of batteries, if the flight distance is
beyond the effective range of the transmitter signal, if there are obstructions between
the transmitter and the quadcopter, or if
there is interference in the transmitter
signal.
The Aries Blackbird X10 is available
now for $799. For more information, visit
www.adorama.com/l/Aries~Video-Equip
ment.

Panther Expands
Camera Support
Panther has introduced Boogie
Wheels, the Vario Jib S and the Wireless
Handset.
With a unique, flexible design,
Boogie Wheels keep any dolly steady on
straight or curved track, even over rough
track joints. The Boogie Wheels system
includes four pairs of individually articulated
skateboard wheels located underneath a
swiveling platform that can accommodate
any dolly.
The Vario Jib S is a small version of
the Panther Vario Jib. The jib boasts an
ergonomic design for easy handling and
quick setup, and features a pan-and-tilt
brake with integrated friction. An additional
sliding weight allows users to find the
perfect balance.
The ergonomic Wireless Handset
works with the Panther Classic Dolly Plus as
well as older Panther dollies. The system
incorporates a hand unit with display for the
dolly, a motion control interface and a wireless control option. The handset offers
control of speed and height, with a percentage readout for the latter.
For additional information, visit
www.panther.tv.

www.theasc.com

Manfrotto Unveils Fluid Head
Manfrotto has launched the XPro
Fluid Head, which features the Manfrotto
200PL quick-release plate for easy swapping
between photo and video applications. The
head is equipped with a fluidity selector,
which allows the user to switch between
hard fluidity for slow tilt movement and soft
fluidity for fast tilt movement. These fluid
cartridge settings ensure that stable videos
can be taken with any lens.
The compact, versatile and portable
XPro Fluid Head weighs only 1.54 pounds
and can support equipment up to 8.8
pounds. The head is available now for
$149.99.
For additional information, visit
www.manfrotto.us.

Ikan Builds Lighting Solutions,
Distributes Accessories
Houston, Texas-based Ikan International Corp. has introduced the White Star
Fresnel fixtures and Piatto Lights.
The White Star line of Fresnel fixtures
includes 100-, 200- and 350-watt lights.
The 4" or 6" Fresnel lenses allow the lights
to be focused between flood and spot,
while the lightweight, heavy-duty
aluminum housing is able to take the everyday wear and tear of lighting setups on
location.
Ikan's Piatto Lights feature edge-lit
LED technology and are available in four
sizes and two shapes (round and rectanguMarch 2015

73


http://www.adorama.com/l/Aries~Video-Equipment http://www.adorama.com/l/Aries~Video-Equipment http://www.manfrotto.us http://www.panther.tv http://www.theasc.com

American Cinematographer - March 2015

Table of Contents for the Digital Edition of American Cinematographer - March 2015

Contents
American Cinematographer - March 2015 - Cover1
American Cinematographer - March 2015 - Cover2
American Cinematographer - March 2015 - 1
American Cinematographer - March 2015 - 2
American Cinematographer - March 2015 - Contents
American Cinematographer - March 2015 - 4
American Cinematographer - March 2015 - 5
American Cinematographer - March 2015 - 6
American Cinematographer - March 2015 - 7
American Cinematographer - March 2015 - 8
American Cinematographer - March 2015 - 9
American Cinematographer - March 2015 - 10
American Cinematographer - March 2015 - 11
American Cinematographer - March 2015 - 12
American Cinematographer - March 2015 - 13
American Cinematographer - March 2015 - 14
American Cinematographer - March 2015 - 15
American Cinematographer - March 2015 - 16
American Cinematographer - March 2015 - 17
American Cinematographer - March 2015 - 18
American Cinematographer - March 2015 - 19
American Cinematographer - March 2015 - 20
American Cinematographer - March 2015 - 21
American Cinematographer - March 2015 - 22
American Cinematographer - March 2015 - 23
American Cinematographer - March 2015 - 24
American Cinematographer - March 2015 - 25
American Cinematographer - March 2015 - 26
American Cinematographer - March 2015 - 27
American Cinematographer - March 2015 - 28
American Cinematographer - March 2015 - 29
American Cinematographer - March 2015 - 30
American Cinematographer - March 2015 - 31
American Cinematographer - March 2015 - 32
American Cinematographer - March 2015 - 33
American Cinematographer - March 2015 - 34
American Cinematographer - March 2015 - 35
American Cinematographer - March 2015 - 36
American Cinematographer - March 2015 - 37
American Cinematographer - March 2015 - 38
American Cinematographer - March 2015 - 39
American Cinematographer - March 2015 - 40
American Cinematographer - March 2015 - 41
American Cinematographer - March 2015 - 42
American Cinematographer - March 2015 - 43
American Cinematographer - March 2015 - 44
American Cinematographer - March 2015 - 45
American Cinematographer - March 2015 - 46
American Cinematographer - March 2015 - 47
American Cinematographer - March 2015 - 48
American Cinematographer - March 2015 - 49
American Cinematographer - March 2015 - 50
American Cinematographer - March 2015 - 51
American Cinematographer - March 2015 - 52
American Cinematographer - March 2015 - 53
American Cinematographer - March 2015 - 54
American Cinematographer - March 2015 - 55
American Cinematographer - March 2015 - 56
American Cinematographer - March 2015 - 57
American Cinematographer - March 2015 - 58
American Cinematographer - March 2015 - 59
American Cinematographer - March 2015 - 60
American Cinematographer - March 2015 - 61
American Cinematographer - March 2015 - 62
American Cinematographer - March 2015 - 63
American Cinematographer - March 2015 - 64
American Cinematographer - March 2015 - 65
American Cinematographer - March 2015 - 66
American Cinematographer - March 2015 - 67
American Cinematographer - March 2015 - 68
American Cinematographer - March 2015 - 69
American Cinematographer - March 2015 - 70
American Cinematographer - March 2015 - 71
American Cinematographer - March 2015 - 72
American Cinematographer - March 2015 - 73
American Cinematographer - March 2015 - 74
American Cinematographer - March 2015 - 75
American Cinematographer - March 2015 - 76
American Cinematographer - March 2015 - 77
American Cinematographer - March 2015 - 78
American Cinematographer - March 2015 - 79
American Cinematographer - March 2015 - 80
American Cinematographer - March 2015 - 81
American Cinematographer - March 2015 - 82
American Cinematographer - March 2015 - 83
American Cinematographer - March 2015 - 84
American Cinematographer - March 2015 - 85
American Cinematographer - March 2015 - 86
American Cinematographer - March 2015 - 87
American Cinematographer - March 2015 - 88
American Cinematographer - March 2015 - Cover3
American Cinematographer - March 2015 - Cover4
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