American Cinematographer - April 2012 - 88

New Products & Services

• 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.

Lowel Primes LED Lighting System Lowel-Light has released the first two models in the company’s new Lowel Prime LED Lighting System, the Prime 400 and Prime 200. The dedicated tungsten-color models will be followed shortly by their daylight-color counterparts. “The combination of their significant output — 70-plus foot candles at 9 feet from Prime 400, for example — and their 50degree beam angle means being able to light with fewer fixtures from a greater distance than is commonly expected from production LEDs,” says Duane Sherwood, Lowel’s director of communications. “We designed Lowel Primes for studio use, but their performance, as well as their rugged construction, has many shooters willing to pack them in cases and take them on location, just to get the output and coverage they are looking for.” Lowel Prime LEDs have a color-rendering index of 91+. The tungsten-color models have a color temperature of 3,300°K, which mixes well with tungsten-halogen fixtures. Upcoming daylight-color models are expected to have 5,600°K color temperature. The color temperature of all Lowel Prime LEDs can also be slightly adjusted, warmer or cooler, to match other fixtures in color-critical situations. The Prime fixtures feature rear-panel four-pin XLR DMX jacks for connection and communication with DMX-512 control systems for studio use. There are also four selectable dimming-curve behaviors programmed in each fixture. All models will auto-set to voltages from 90-240 volts. Lowel will also release such accessories as a Barn Door Softening Set and 20- and 30-degree honeycombs to trim the beam angle when needed. For additional information, visit www.lowel.com.
88 April 2012

Litepanels Illuminates Sola 4 Litepanels, part of Vitec Videocom, a Vitec Group company, is now shipping the DMX controllable Sola 4 LED Fresnel. The focusable Sola 4 features a 4" Fresnel lens and uses a small fraction of the power consumed by conventional fixtures. It employs Litepanels’ proprietary LEDs to produce soft light quality in 5,600°K daylight color balance. Sola 4 is based on the same Fresnel technology as the Sola 6, but in a smaller, more lightweight form factor. It provides the controllable light-shaping and single-shadow properties inherent in a Fresnel light, focusing from 70 to 10 degrees. Like all Litepanels fixtures, Sola 4 can be dimmed from 100 percent to zero with no noticeable shift in color temperature. Both focus and dimming can be controlled manually with dials on the fixture, or via remote DMX. The compact Sola 4 weighs only 22 ounces and measures 9"x8"x7". Its small size and minimal weight make the fixture adaptable to both studio and field applications. Lighting technicians can easily attach the fixture to a studio lighting grid, lightweight stands or to scenery on location with standard grip equipment. Coolrunning Sola LED Fresnel fixtures generate very little heat, which makes handling easier still. Sola 4 requires only 30 watts of power and produces a luminance output equivalent to a 125-watt Fresnel. The fixture can be powered from AC (120-240 volt) or DC (via XLR). Optional accessories include four-leaf barn doors and a gel-filter set. For additional information, visit www.litepanels.com.

American Cinematographer


http://www.litepanels.com http://www.lowel.com

American Cinematographer - April 2012

Table of Contents for the Digital Edition of American Cinematographer - April 2012

American Cinematographer - April 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Polaris campaign
Production Slate: Footnote4:44 Last Day on Earth
Vice at the Vatican
Back to School
Sundance Standouts
Filmmakers’ Forum: Haskell Wexler, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - American Cinematographer - April 2012
American Cinematographer - April 2012 - Cover2
American Cinematographer - April 2012 - 1
American Cinematographer - April 2012 - 2
American Cinematographer - April 2012 - Contents
American Cinematographer - April 2012 - 4
American Cinematographer - April 2012 - 5
American Cinematographer - April 2012 - 6
American Cinematographer - April 2012 - 7
American Cinematographer - April 2012 - Editor’s Note
American Cinematographer - April 2012 - 9
American Cinematographer - April 2012 - President’s Desk
American Cinematographer - April 2012 - 11
American Cinematographer - April 2012 - Short Takes: Polaris campaign
American Cinematographer - April 2012 - 13
American Cinematographer - April 2012 - 14
American Cinematographer - April 2012 - 15
American Cinematographer - April 2012 - 16
American Cinematographer - April 2012 - 17
American Cinematographer - April 2012 - Production Slate: Footnote4:44 Last Day on Earth
American Cinematographer - April 2012 - 19
American Cinematographer - April 2012 - 20
American Cinematographer - April 2012 - 21
American Cinematographer - April 2012 - 22
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American Cinematographer - April 2012 - 27
American Cinematographer - April 2012 - 28
American Cinematographer - April 2012 - 29
American Cinematographer - April 2012 - 30
American Cinematographer - April 2012 - 31
American Cinematographer - April 2012 - Vice at the Vatican
American Cinematographer - April 2012 - 33
American Cinematographer - April 2012 - 34
American Cinematographer - April 2012 - 35
American Cinematographer - April 2012 - 36
American Cinematographer - April 2012 - 37
American Cinematographer - April 2012 - 38
American Cinematographer - April 2012 - 39
American Cinematographer - April 2012 - 40
American Cinematographer - April 2012 - 41
American Cinematographer - April 2012 - 42
American Cinematographer - April 2012 - 43
American Cinematographer - April 2012 - Back to School
American Cinematographer - April 2012 - 45
American Cinematographer - April 2012 - 46
American Cinematographer - April 2012 - 47
American Cinematographer - April 2012 - 48
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American Cinematographer - April 2012 - 60
American Cinematographer - April 2012 - 61
American Cinematographer - April 2012 - 62
American Cinematographer - April 2012 - 63
American Cinematographer - April 2012 - Sundance Standouts
American Cinematographer - April 2012 - 65
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American Cinematographer - April 2012 - 67
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American Cinematographer - April 2012 - 81
American Cinematographer - April 2012 - Filmmakers’ Forum: Haskell Wexler, ASC
American Cinematographer - April 2012 - 83
American Cinematographer - April 2012 - 84
American Cinematographer - April 2012 - 85
American Cinematographer - April 2012 - 86
American Cinematographer - April 2012 - 87
American Cinematographer - April 2012 - New Products & Services
American Cinematographer - April 2012 - 89
American Cinematographer - April 2012 - 90
American Cinematographer - April 2012 - 91
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American Cinematographer - April 2012 - 97
American Cinematographer - April 2012 - 98
American Cinematographer - April 2012 - 99
American Cinematographer - April 2012 - 100
American Cinematographer - April 2012 - 101
American Cinematographer - April 2012 - International Marketplace
American Cinematographer - April 2012 - Classified Ads
American Cinematographer - April 2012 - Ad Index
American Cinematographer - April 2012 - 105
American Cinematographer - April 2012 - Clubhouse News
American Cinematographer - April 2012 - 107
American Cinematographer - April 2012 - ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - Cover3
American Cinematographer - April 2012 - Cover4
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