American Cinematographer - April 2015 - 104

In addition to backdrop rentals, Rosco
Digital Imaging produces custom backdrops
in Frontlight, Backlight and Day/Night
options. Custom backdrops can be
produced in vinyl or using Rosco's new SoftDrop technology.
For additional information, visit
www.rosco.com.

Chimera Enhances Lightbanks
Chimera has introduced the Super
Pro X line of Lightbanks, which feature
clean-close backs that wrap around the light
fixture without excess material, allowing
smoother operation and better rotation of
the Lightbank.
The original Super Pro Lightbanks will
be phased out, although Chimera will keep
them available for special order. The Super
Pro X Lightbanks are available in white or
silver, in the following sizes: XXS (12"x16"),
XS (16"x22"), Small (24"x32"), Medium
(36"x48"), Large (54"x72"), Small Strip
(9"x36"), Medium Strip (14"x56") and
Large Strip (21"x84").
As with all Chimera Lightbanks, the
Super Pro X Lightbanks are completely handcrafted in the United States. For more information, visit www.chimeralighting.com.
Elation Re-Imagines Strobe
Elation Professional has introduced
the Protron 3K high-powered LED strobe
light. Capable of blasting out 80,000 lumens
of power from 200 3-watt cool-white LEDs,
its energy-efficient design and affordable
price tag make it an attractive choice for an
array of applications. Compact and lightweight at only 17.2 pounds, the Protron 3K
104

delivers the same output as xenon strobes
but boasts a low peak power output of only
900 watts with high- or low-power-mode
options.
Utilizing special optics and new LED
driver technology, the Protron 3K includes
built-in macros for such effects as burst and
pulse. Additionally, thanks to regulated
silent cooling fans, the fixture can operate
full-on without causing thermal-out issues.
The Protron 3K is controllable via
four DMX modes for a variety of control
options. A host of features come standard,
including 3- and 5-pin DMX in/out, and
powerCon in/out connections (with
included powerCon cable). A four-button
control panel with LCD menu display makes
for easy navigation through DMX and
manual settings, and an auto-sensing
power supply allows the Protron 3K to
operate anywhere in the world.
The Protron 3K comes in a robust
housing and includes electronic dimming
for full output control. Other benefits
include a long average LED life of 50,000
hours, greater reliability and less maintenance than traditional xenon strobes.
For additional information, visit
www.elationlighting.com.
Birns & Sawyer
Distributes Cineroid
Birns & Sawyer is now distributing a
number of products from Korean supplier
Cineroid to the U.S. market.
The Cineroid LM400-VCD is an allpurpose LED light kit with AC adapter,
yoke, barn doors, diffusion and carrying
bag. The unit, which can be used as an oncamera light or mounted on a stand,
features variable color temperature from
3,000K to 5,400K, 30 steps of dimming, a
wide beam spread of 120 degrees, a builtin DMX port, and a CRI of 91.
The LM400-VCD incorporates four
1⁄4"-20 threaded mounting holes, one on
each side of the fixture, to allow users to


http://www.theasc.com http://www.rosco.com http://www.elationlighting.com http://www.chimeralighting.com http://www.theasc.com

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

Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
American Cinematographer - April 2015 - 8
American Cinematographer - April 2015 - 9
American Cinematographer - April 2015 - 10
American Cinematographer - April 2015 - 11
American Cinematographer - April 2015 - 12
American Cinematographer - April 2015 - 13
American Cinematographer - April 2015 - 14
American Cinematographer - April 2015 - 15
American Cinematographer - April 2015 - 16
American Cinematographer - April 2015 - 17
American Cinematographer - April 2015 - 18
American Cinematographer - April 2015 - 19
American Cinematographer - April 2015 - 20
American Cinematographer - April 2015 - 21
American Cinematographer - April 2015 - 22
American Cinematographer - April 2015 - 23
American Cinematographer - April 2015 - 24
American Cinematographer - April 2015 - 25
American Cinematographer - April 2015 - 26
American Cinematographer - April 2015 - 27
American Cinematographer - April 2015 - 28
American Cinematographer - April 2015 - 29
American Cinematographer - April 2015 - 30
American Cinematographer - April 2015 - 31
American Cinematographer - April 2015 - 32
American Cinematographer - April 2015 - 33
American Cinematographer - April 2015 - 34
American Cinematographer - April 2015 - 35
American Cinematographer - April 2015 - 36
American Cinematographer - April 2015 - 37
American Cinematographer - April 2015 - 38
American Cinematographer - April 2015 - 39
American Cinematographer - April 2015 - 40
American Cinematographer - April 2015 - 41
American Cinematographer - April 2015 - 42
American Cinematographer - April 2015 - 43
American Cinematographer - April 2015 - 44
American Cinematographer - April 2015 - 45
American Cinematographer - April 2015 - 46
American Cinematographer - April 2015 - 47
American Cinematographer - April 2015 - 48
American Cinematographer - April 2015 - 49
American Cinematographer - April 2015 - 50
American Cinematographer - April 2015 - 51
American Cinematographer - April 2015 - 52
American Cinematographer - April 2015 - 53
American Cinematographer - April 2015 - 54
American Cinematographer - April 2015 - 55
American Cinematographer - April 2015 - 56
American Cinematographer - April 2015 - 57
American Cinematographer - April 2015 - 58
American Cinematographer - April 2015 - 59
American Cinematographer - April 2015 - 60
American Cinematographer - April 2015 - 61
American Cinematographer - April 2015 - 62
American Cinematographer - April 2015 - 63
American Cinematographer - April 2015 - 64
American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
American Cinematographer - April 2015 - I8
American Cinematographer - April 2015 - 65
American Cinematographer - April 2015 - 66
American Cinematographer - April 2015 - 67
American Cinematographer - April 2015 - 68
American Cinematographer - April 2015 - 69
American Cinematographer - April 2015 - 70
American Cinematographer - April 2015 - 71
American Cinematographer - April 2015 - 72
American Cinematographer - April 2015 - 73
American Cinematographer - April 2015 - 74
American Cinematographer - April 2015 - 75
American Cinematographer - April 2015 - 76
American Cinematographer - April 2015 - 77
American Cinematographer - April 2015 - 78
American Cinematographer - April 2015 - 79
American Cinematographer - April 2015 - 80
American Cinematographer - April 2015 - 81
American Cinematographer - April 2015 - 82
American Cinematographer - April 2015 - 83
American Cinematographer - April 2015 - 84
American Cinematographer - April 2015 - 85
American Cinematographer - April 2015 - 86
American Cinematographer - April 2015 - 87
American Cinematographer - April 2015 - 88
American Cinematographer - April 2015 - 89
American Cinematographer - April 2015 - 90
American Cinematographer - April 2015 - 91
American Cinematographer - April 2015 - 92
American Cinematographer - April 2015 - 93
American Cinematographer - April 2015 - 94
American Cinematographer - April 2015 - 95
American Cinematographer - April 2015 - 96
American Cinematographer - April 2015 - 97
American Cinematographer - April 2015 - 98
American Cinematographer - April 2015 - 99
American Cinematographer - April 2015 - 100
American Cinematographer - April 2015 - 101
American Cinematographer - April 2015 - 102
American Cinematographer - April 2015 - 103
American Cinematographer - April 2015 - 104
American Cinematographer - April 2015 - 105
American Cinematographer - April 2015 - 106
American Cinematographer - April 2015 - 107
American Cinematographer - April 2015 - 108
American Cinematographer - April 2015 - 109
American Cinematographer - April 2015 - 110
American Cinematographer - April 2015 - 111
American Cinematographer - April 2015 - 112
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American Cinematographer - April 2015 - 116
American Cinematographer - April 2015 - 117
American Cinematographer - April 2015 - 118
American Cinematographer - April 2015 - 119
American Cinematographer - April 2015 - 120
American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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