American Cinematographer - May 2013 - 90

New Products & Services
Radiant Images, View
Factor Launch Novo
Los Angeles-based rental house
Radiant Images is now renting
View Factor Studios’ Novo digital
cinema camera. Radiant Images
collaborated with View Factor
Studios on the camera, which is
designed to provide filmmakers
with the power and versatility of a
small form-factor camera, but with fewer cinematic limitations.
Key features of the Novo include a C-mount lens system with
back-focus adjustment to eliminate a fish-eye look or bubble effect, as
well as exposure-control capabilities that enable a wide range of possibilities for camera operators and cinematographers. The camera is
capable of recording at 2K and 4K resolution.
Due to the cost of development and ongoing improvements
that are still being added to the camera, the Novo is only being offered
for rental, exclusively through Radiant Images. The Novo rental package includes the camera, custom-geared C-Mount lenses and all the
required accessories.
For additional information, visit www.radiantimages.com and
www.viewfactor.net.
Panasonic Unveils PX5000G Camcorder
Panasonic has introduced the AJ-PX5000G, the company’s first
P2 HD camcorder with native AVC-Ultra recording and built-in MicroP2
card slots. The 2⁄3" 3-MOS camera features 720p and 1080p/i recording, and is the first P2 camcorder that will record in full-resolution,
10-bit 1080/60p (in AVC-Intra100). AVC-LongG is standard, and the
camcorder also offers optional AVC-Intra200 recording, which, at
twice the bit rate per frame of AVC-Intra100, is virtually lossless and
delivers a master-quality codec in an affordable, file-based shouldermount camera. High-resolution AVC-Proxy recording is also an option.
The PX5000G’s three 2.2-megapixel MOS sensors deliver a horizontal resolution of 1,000 TV lines and sensitivity of f12 over 60i. The
camcorder’s 2⁄3" format accommodates a variety of interchangeable
lenses. Recording formats include AVC-LongG and AVC-Intra100/50,
with optional recording in DVCPro HD, DVCPro50, DVCPro and DV.
The camcorder is also switchable between 50 and 59.94 Hz for worldwide use.
Panasonic’s AVC-Ultra offers master-quality and/or low-bit-rate
10-bit, 4:2:2 recording in Full HD to meet a variety of user needs from
mastering to transmission. AVC-LongG offers up to 10-bit 4:2:2
recording in a much smaller file size, saving storage costs and transfer
times while maintaining video quality comparable to MPEG-2. The
PX5000G incorporates a selection of AVC-LongG quality levels, including AVC-LongG50 and AVC-LongG25. Additionally, AVC-Proxy
90

May 2013

• 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.

encodes can be made in parallel with higher-bandwidth production
formats to enable fast, efficient offline editing at bit rates from 3.5
megabits down to 800 kilobits per second.
Weighing just over 8 pounds, the PX5000G is equipped with
two MicroP2 slots, two standard P2 slots and an SD-card slot for
proxy/metadata recording. The camera also boasts Chromatic Aberration Compensation to maximize lens performance, Dynamic
Range Stretch to help compensate for wide variations in lighting,
and a highly accurate flash-band detection and compensation algorithm. The camcorder also delivers seven-mode gamma selection
and extensive image settings. The camera’s functions can be
accessed through an LCD display on the side of the camera. The
system also incorporates a 16:9, 3.5", 920,000-dot-resolution LCD
color viewfinder that doubles as an LCD monitor when open; a
simplified waveform and vectorscope; and a 10-pin remote terminal
for remote operation.
Other standard features include Scan Reverse for use with a
cinema lens adaptor; Digital Zoom function for 2x and 4x close-ups;
Variable Shutter Speed from 1⁄12 to 1⁄2000 plus Synchro Scan; and a
four-position (Clear, ¼, 1⁄16 and 1⁄64) optical neutral-density filter
wheel. Professional interfaces include MON out, HDMI out, HD/SDSDI in/out, 3G-SDI out, genlock, time-code in/out,
USB 3.0 and a two-channel UniSlotcompatible wireless
receiver.
Additional
features of the
PX5000G include
wireless
and
wired connection
ability with Wi-Fi,
USB and Gigabit
Ethernet, including
wireless control of key camera functions from a smart phone, and
optional support of operational integration with live video uplink
transmitter devices from Panasonic partners including LiveU,
AVIWest, Streambox and TVU Networks. The PX5000G is scheduled
for availability in the fall with a suggested retail price under $28,000.
Panasonic is also now delivering its 64GB and 32GB MicroP2
memory cards. Boasting an SD-card form factor, the AJ-P2M064A
64GB and AJ-P2M032A 32GB cards are available for a suggested
price of $380 and $250, respectively. The AJ-P2AD1 MicroP2
adapter, which enables use of MicroP2 cards in a standard P2 card
slot, is also available for a suggested price of $199, and the AJ-MPD1
MicroP2 drive is available for $350.
For additional information, visit www.panasonic.com/
broadcast.

American Cinematographer


http://www.radiantimages.com http://www.viewfactor.net http://www.panasonic.com/broadcast http://www.panasonic.com/broadcast

American Cinematographer - May 2013

Table of Contents for the Digital Edition of American Cinematographer - May 2013

American Cinematographer - May 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “Suit & Tie”
Production Slate: Trance • The Reluctant Fundamentalist
Surviving the Future
A Trailblazer’s Tale
Conjuring Hope
The ABCs of DMX
Star Tech
Hot Shots
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - American Cinematographer - May 2013
American Cinematographer - May 2013 - Cover2
American Cinematographer - May 2013 - 1
American Cinematographer - May 2013 - 2
American Cinematographer - May 2013 - Contents
American Cinematographer - May 2013 - 4
American Cinematographer - May 2013 - 5
American Cinematographer - May 2013 - 6
American Cinematographer - May 2013 - 7
American Cinematographer - May 2013 - 8
American Cinematographer - May 2013 - 9
American Cinematographer - May 2013 - Editor’s Note
American Cinematographer - May 2013 - 11
American Cinematographer - May 2013 - President’s Desk
American Cinematographer - May 2013 - 13
American Cinematographer - May 2013 - Short Takes: “Suit & Tie”
American Cinematographer - May 2013 - 15
American Cinematographer - May 2013 - 16
American Cinematographer - May 2013 - 17
American Cinematographer - May 2013 - 18
American Cinematographer - May 2013 - 19
American Cinematographer - May 2013 - Production Slate: Trance • The Reluctant Fundamentalist
American Cinematographer - May 2013 - 21
American Cinematographer - May 2013 - 22
American Cinematographer - May 2013 - 23
American Cinematographer - May 2013 - 24
American Cinematographer - May 2013 - 25
American Cinematographer - May 2013 - 26
American Cinematographer - May 2013 - 27
American Cinematographer - May 2013 - 28
American Cinematographer - May 2013 - 29
American Cinematographer - May 2013 - 30
American Cinematographer - May 2013 - 31
American Cinematographer - May 2013 - 32
American Cinematographer - May 2013 - 33
American Cinematographer - May 2013 - Surviving the Future
American Cinematographer - May 2013 - 35
American Cinematographer - May 2013 - 36
American Cinematographer - May 2013 - 37
American Cinematographer - May 2013 - 38
American Cinematographer - May 2013 - 39
American Cinematographer - May 2013 - 40
American Cinematographer - May 2013 - 41
American Cinematographer - May 2013 - 42
American Cinematographer - May 2013 - 43
American Cinematographer - May 2013 - 44
American Cinematographer - May 2013 - 45
American Cinematographer - May 2013 - 46
American Cinematographer - May 2013 - 47
American Cinematographer - May 2013 - A Trailblazer’s Tale
American Cinematographer - May 2013 - 49
American Cinematographer - May 2013 - 50
American Cinematographer - May 2013 - 51
American Cinematographer - May 2013 - 52
American Cinematographer - May 2013 - 53
American Cinematographer - May 2013 - 54
American Cinematographer - May 2013 - 55
American Cinematographer - May 2013 - Conjuring Hope
American Cinematographer - May 2013 - 57
American Cinematographer - May 2013 - 58
American Cinematographer - May 2013 - 59
American Cinematographer - May 2013 - 60
American Cinematographer - May 2013 - 61
American Cinematographer - May 2013 - 62
American Cinematographer - May 2013 - 63
American Cinematographer - May 2013 - 64
American Cinematographer - May 2013 - 65
American Cinematographer - May 2013 - The ABCs of DMX
American Cinematographer - May 2013 - 67
American Cinematographer - May 2013 - 68
American Cinematographer - May 2013 - 69
American Cinematographer - May 2013 - 70
American Cinematographer - May 2013 - 71
American Cinematographer - May 2013 - Star Tech
American Cinematographer - May 2013 - 73
American Cinematographer - May 2013 - 74
American Cinematographer - May 2013 - 75
American Cinematographer - May 2013 - 76
American Cinematographer - May 2013 - Hot Shots
American Cinematographer - May 2013 - 78
American Cinematographer - May 2013 - 79
American Cinematographer - May 2013 - 80
American Cinematographer - May 2013 - 81
American Cinematographer - May 2013 - 82
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American Cinematographer - May 2013 - 85
American Cinematographer - May 2013 - 86
American Cinematographer - May 2013 - 87
American Cinematographer - May 2013 - 88
American Cinematographer - May 2013 - 89
American Cinematographer - May 2013 - New Products & Services
American Cinematographer - May 2013 - 91
American Cinematographer - May 2013 - 92
American Cinematographer - May 2013 - 93
American Cinematographer - May 2013 - International Marketplace
American Cinematographer - May 2013 - Classified Ads
American Cinematographer - May 2013 - Ad Index
American Cinematographer - May 2013 - 97
American Cinematographer - May 2013 - Clubhouse News
American Cinematographer - May 2013 - 99
American Cinematographer - May 2013 - ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - Cover3
American Cinematographer - May 2013 - Cover4
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