American Cinematographer - May 2017 - 79

two miles from its current Leicester premises
in the U.K. in order to keep up with growing
demand and to facilitate the development
and manufacture of new lens ranges. Scheduled to open in June, the 700-square-meter
factory will initially focus on building the
new Cooke Panchro/i Classic range, which
offers the original design and characteristics
of Cooke's vintage Speed Panchros with
new housings and PL mounts for modern
cameras.
For additional information, visit
www.cookeoptics.com.
Tiffen Expands Viewing Filter,
ND Offerings
Tiffen has introduced the Variable
Viewing Filter
(VVF), which
incorporates
the company's
award-winning
Variable ND
filter to offer
indexed 2-8-stop variability. The VVF also
accepts any 49mm ring filter from Tiffen's
vast range - including Neutral Density, UV,
polarizing, effects and diffusion filters - to
allow users to easily previsualize a scene
without the need to reposition the camera.
The VVF also allows cinematographers and
gaffers to spot strong lights and keep track
of the sun as it moves in and out of cloud
cover. The filter is manufactured to Tiffen's
high specification and features a classic
eyecup and a 1"handle with a quick-release
lanyard.
Tiffen has also launched Natural
Neutral Density Filters, which memorialize
the achievements made by Tiffen's
founder, Nat Tiffen. The Tiffen
Natural
Neutral
Density Filter
line improves
on neutral-density
filtration,
with
perfect
neutrality
across the visual and IR
spectrum, resulting in natural skin tones and
color fidelity. The glass filters are manufactured in the USA utilizing the patented Tiffen
Color Core process.
For additional information, visit
www.tiffen.com.

Zero Optik Rehouses Baltars
Zero Optik has entered the motionpicture lens-rehousing market with new
housings for Bausch & Lomb's original
Baltar lenses.
Designed in the 1930s, Baltar lenses
were sold as standalone optical cells that
could be built into any focusing unit.
Among the first cinema lenses to be offered
with single-coated optics, they resist veiling
glare, even with point sources in the frame.
As a set, Baltars produce a unique aesthetic
that is sharp and contrast-rich with gentle
corner falloff on wider focal lengths.
The first seven focal lengths (25mm,
30mm, 35mm, 40mm, 50mm, 75mm and
100mm) have uniform T2.5 apertures,
while the 152mm opens to T3.2. With the
Zero Optik rehousing, this consistency is
extended with common 95mm front diameters, expanded focus and iris scales, and
identical gear placement across focal
lengths.
Zero Optik rehouses the vintage
glass in 7075 aerospace aluminum with
316 stainless steel PL mounts and reliable
cam-driven focus mechanisms. Each lens
has smart- and dumb-side focus and iris
marks, as well as scales that can be delivered in metric or imperial units.
Customers must provide their own
Baltar optics, as Zero Optik does not
currently maintain an inventory of
completed lenses. Pricing covers parts and
labor; refurbishing, recoating, or any further
service or repair is available for an additional
fee.
For additional information, visit
www.zerooptik.com.
Shape Turns 10
Camera-accessories manufacturer
Shape, which this year is celebrating its 10th
anniversary, has introduced a range of new
products, including the Revolt VCT Universal Baseplate and Top Handle.
The Revolt VCT Universal Baseplate
provides quick positioning of camera acceswww.theasc.com

sories for optimal adjustment of a camera's
weight distribution. Two 15mm lightweight
rod blocks can be fixed at the front and rear
of the Baseplate, and the height of the
blocks is adjustable to match the camera's
optical center.
The Baseplate is built from robust
components that prevent sliding and
increase the strength of the overall rig.
Safety ratchet knobs apply the optimal pressure to the rods, and safety pins - which
prevent the upper plate from sliding - are
located in strategic areas to maximize stabilization. The Revolt is also equipped with ¼20 and 3⁄8-16 threaded holes, allowing extra
screws to be stored; a magnet at the back
allows a hex key to be attached.

Shape's Revolt Top Handle can
attach to most top plates and camera tops
via ¼-20 screws. The Top Handle features
two cold-shoe mounts (one each in the
front and back), one mount for a rod block
at the front, and four mounts for Shape's
Magic Stick monitor holder (two each in the
front and back). Made of Canadian maple
and CNC-machined 6061-T6 aluminum,
the Top Handle weighs 0.75 pounds and
measures 8.5" long, 2.5" wide and 2.9"
high. The handle also telescopes 2.6" for
fast balancing.
For additional information, visit
www.shapewlb.com.
●

May 2017

79


http://www.cookeoptics.com http://www.zerooptik.com http://www.shapewlb.com http://www.tiffen.com http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - May 2017

Contents
American Cinematographer - May 2017 - Cover1
American Cinematographer - May 2017 - Cover2
American Cinematographer - May 2017 - 1
American Cinematographer - May 2017 - 2
American Cinematographer - May 2017 - Contents
American Cinematographer - May 2017 - 4
American Cinematographer - May 2017 - 5
American Cinematographer - May 2017 - 6
American Cinematographer - May 2017 - 7
American Cinematographer - May 2017 - 8
American Cinematographer - May 2017 - 9
American Cinematographer - May 2017 - 10
American Cinematographer - May 2017 - 11
American Cinematographer - May 2017 - 12
American Cinematographer - May 2017 - 13
American Cinematographer - May 2017 - 14
American Cinematographer - May 2017 - 15
American Cinematographer - May 2017 - 16
American Cinematographer - May 2017 - 17
American Cinematographer - May 2017 - 18
American Cinematographer - May 2017 - 19
American Cinematographer - May 2017 - 20
American Cinematographer - May 2017 - 21
American Cinematographer - May 2017 - 22
American Cinematographer - May 2017 - 23
American Cinematographer - May 2017 - 24
American Cinematographer - May 2017 - 25
American Cinematographer - May 2017 - 26
American Cinematographer - May 2017 - 27
American Cinematographer - May 2017 - 28
American Cinematographer - May 2017 - 29
American Cinematographer - May 2017 - 29A
American Cinematographer - May 2017 - 29B
American Cinematographer - May 2017 - 29C
American Cinematographer - May 2017 - 29D
American Cinematographer - May 2017 - 30
American Cinematographer - May 2017 - 31
American Cinematographer - May 2017 - 32
American Cinematographer - May 2017 - 33
American Cinematographer - May 2017 - 34
American Cinematographer - May 2017 - 35
American Cinematographer - May 2017 - 36
American Cinematographer - May 2017 - 37
American Cinematographer - May 2017 - 38
American Cinematographer - May 2017 - 39
American Cinematographer - May 2017 - 40
American Cinematographer - May 2017 - 41
American Cinematographer - May 2017 - 42
American Cinematographer - May 2017 - 43
American Cinematographer - May 2017 - 44
American Cinematographer - May 2017 - 45
American Cinematographer - May 2017 - 46
American Cinematographer - May 2017 - 47
American Cinematographer - May 2017 - 48
American Cinematographer - May 2017 - 49
American Cinematographer - May 2017 - 50
American Cinematographer - May 2017 - 51
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American Cinematographer - May 2017 - Cover3
American Cinematographer - May 2017 - Cover4
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