American Cinematographer - April 2015 - 106

orient the light either horizontally or vertically. The included yoke attaches to the
sides of the light and can mount to a stand
with a baby (5⁄8") pin.
The Cineroid EVF4RVW electronic
viewfinder features a 3.5" Retina LCD
display with 960x640 resolution and a
metal housing. The device has 3G/HD/SDSDI and HDMI inputs, and a 3G/HD/SD-SDI
output enables loop-through. The optical
loupe has an adjustable diopter and can be
detached completely or flipped open to
view the display as a monitor.
The EVF4RVW boasts a comprehensive set of confidence features, including
multiple waveform and vectorscope display
options. Peaking is available in red or white,
and various clip guides include color and a
range of zebra patterns. Two types of falsecolor displays translate exposure values into
six different colors. Crop guide superimposes darkened bars on the screen to aid in
framing shots that will be cropped in post,
and the screen size can be changed for use
with anamorphic lenses. Additional
features include pixel-to-pixel, screen flip,
monochrome mode, interchangeable
battery plates, and a mini XLR power input.
Cineroid's PG32 3G Pattern Generator and Converter is a handheld device with
HDMI and HD-SDI outputs and inputs that
can be mounted on any video camera. The
PG32 is designed to calibrate and set up a
camera quickly. In addition to outputting
SMPTE standard patterns, the PG32 works
as an HD-SDI to HDMI cross-converter and
video monitor with waveform and
vectorscope display. It contains a soundlevel meter and internal speaker. One
battery mount for Sony NPF batteries is also
included.
For additional information, visit
www.birnsandsawyer.com.

106

Red Expands Global Support
Red Digital Cinema has expanded
the reach of its global support through the
addition of new Authorized Rental House
and Dealer programs.
Red Digital Cinema carefully
selected Authorized Dealers to create a
support network extension in a variety of
genres, including stills, cinema, broadcast,
in-flight videography, television and more.
Customers can experience services such as
product demos, technical assistance, product purchases, and mail-in/drop-off for
repair services. New location service areas
and companies include the U.K. (CVP and
WTS Broadcast), the Asia Pacific region
(Seika DI, DVInside), North America (Aerial
Media Pros, Omega Broadcast Group,
Samy's Camera), Russia (Feel Systems Co.,
JC Group), Denmark (Goecker A/S) and
Norway (Interfoto).
Additionally, Red now has more
than 80 Authorized Rental House locations
worldwide. All locations have met the
necessary requirements to become an
Authorized Rental House, including a minimum inventory level of Red cameras as well
as an in-house technical staff with a
confirmed knowledge of and experience
with Red products. This program ensures
that customers will get the best possible
service when choosing Red.
For additional information, visit
www.red.com/locations.
Redrock Micro Supports Gimbals
Redrock Micro has announced a
suite of products that increase performance
and add important features for popular
gimbals such as the Freefly Movi, DJI Ronin,
Defy and others. Redrock's Gimbal Gear
consists of the updated MicroRemote wireless remote-focus system, FlexCable superflexible cables, PowerPack power distribution, and camera rigging options.
The popular MicroRemote has been
updated with new designs and features for
gimbal use. The compact torque motor is
now even smaller, logging in at 86mm total
height, and features a new angled cable
port for more compact rigging. The
updated wireless hand unit is 30-percent
smaller and lighter and includes an updated
radio with a 1-mile line-of-sight range. New
MicroRemote 2.0 firmware increases


http://www.theasc.com http://www.red.com/locations http://www.birnsandsawyer.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
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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
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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
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American Cinematographer - April 2015 - 98
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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
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American Cinematographer - April 2015 - 120
American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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