American Cinematographer - June 2015 - 102

tiful effect. The new Para Heat Resistant
reflectors support powerful light outputs,
and the new Para Focusing Tube lamp-head
design streamlines the operation, allowing
the use of HMIs, tungsten heads and strobe
heads in parabolic light banks that can be
set up in just minutes.
The Broncolor HMI FT1600 is
dimmable with constant color and a CRI of
95+. The light is absolutely flicker-free and
ideal for high-speed shooting. The FT focusing rod also accepts 1K or 2K tungsten
heads, and an optional F focusing rod
provides a firm mount for Broncolor strobe
heads as well as strobe heads and standard
stud-mounted lights from other manufacturers. New heat-resistant materials make it
possible for both the 88 HR and the 133 HR
Paras to handle the high output from the
HMI 1,600-watt FT and 2,000-watt tungsten-halogen light sources.
Initially, there will be four sizes of
Para FT system reflectors: 88HR, 133HR,
177 and 222. Modular light sources will
include a choice of 1,600-watt HMI daylight
and 2,000-watt tungsten-halogen lamps.
The FT System is as easy to customize as it is
to use, and it will be adaptable to work with
other brands of products as well.
For additional information, visit
www.bron.ch/broncolor.

Telecine &
Color Grading
"Jod is a true artist with
a great passion for his craft."
- John W. Simmons, ASC

Contact Jod @ 310-713-8388
Jod@apt-4.com
102

Power Gems Expands
Ballast Range
Power Gems has introduced the
EB1812P modular electronic ballast, which
is capable of operating any lamp in the
range of 6-18K; 300Hz operation comes as
standard. The ballast also
features built-in compensation of lamp-cable volt
drop. The power components can be interchanged
in a few minutes, and slidein modules enable easy
maintenance.
The
EB1812P
boasts a completely new
design concept that incorporates the latest silicon
carbide power device
technology.
"The
advanced design is
the realization of
feedback from users

around the world and data gathered
through extensive testing," says Dr. Phil
Ellams, director of Power Gems. "In direct
response to new working practices, we are
able to offer a smaller, lighter ballast packed
full of features such as DMX remote control
and high-speed operation as standard."
For additional information, visit
www.powergems.com.

BBS Spotlights Pipeline System
BBS Lighting has introduced the
Pipeline Remote Phosphor
LED System, which boasts
a versatile form factor,
excellent color rendering, heatless and fanless operation, wireless
DMX control, and AC
or DC operability.
The Pipeline System provides
soft, projected light that is fully controllable and dimmable with no color shift or
flickering, and an ultra-high TLCI (colorfidelity index) rating of 95+. Additional
features include low power draw, high light
output (more than 1,000 lumens per foot),
180-degree light dispersion, long lamp life
and optional wireless DMX 512 control.
Available in 3,200K, 4,300K and 5,600K
color temperatures, the lamps can be used
in a bi-color arrangement that mixes different lamps to achieve mid-range color
temperatures.
The Pipeline System offers a convenient cylindrical form factor 1" in diameter
and in lengths of 1', 2', 3' and 4'. Unlike
standard LED lighting where phosphor is
applied directly onto the light-emitting
diodes, BBS Pipes utilize a phosphor layer
positioned away from the LEDs, providing
brighter and higher-fidelity light emission.
The Pipeline Remote Phosphor LED
System offers one-, two- and fourPipe reflector housings for each
length. Pipes quickly snap into
the housings via magnetic locks
on each end. Control is provided
by manual dimmers or wireless
DMX. The optional Smart
Control automatically senses indi-


http://www.aerocrane.nl http://www.powergems.com http://www.aerocrane.nl http://www.APT-4.com http://www.bron.ch/broncolor

American Cinematographer - June 2015

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

Contents
American Cinematographer - June 2015 - Cover1
American Cinematographer - June 2015 - Cover2
American Cinematographer - June 2015 - 1
American Cinematographer - June 2015 - 2
American Cinematographer - June 2015 - Contents
American Cinematographer - June 2015 - 4
American Cinematographer - June 2015 - 5
American Cinematographer - June 2015 - 6
American Cinematographer - June 2015 - 7
American Cinematographer - June 2015 - 8
American Cinematographer - June 2015 - 9
American Cinematographer - June 2015 - 10
American Cinematographer - June 2015 - 11
American Cinematographer - June 2015 - 12
American Cinematographer - June 2015 - 13
American Cinematographer - June 2015 - 14
American Cinematographer - June 2015 - 15
American Cinematographer - June 2015 - 16
American Cinematographer - June 2015 - 17
American Cinematographer - June 2015 - 18
American Cinematographer - June 2015 - 19
American Cinematographer - June 2015 - 20
American Cinematographer - June 2015 - 21
American Cinematographer - June 2015 - 22
American Cinematographer - June 2015 - 23
American Cinematographer - June 2015 - 24
American Cinematographer - June 2015 - 25
American Cinematographer - June 2015 - 26
American Cinematographer - June 2015 - 27
American Cinematographer - June 2015 - 28
American Cinematographer - June 2015 - 29
American Cinematographer - June 2015 - 30
American Cinematographer - June 2015 - 31
American Cinematographer - June 2015 - 32
American Cinematographer - June 2015 - 33
American Cinematographer - June 2015 - 34
American Cinematographer - June 2015 - 35
American Cinematographer - June 2015 - 36
American Cinematographer - June 2015 - 37
American Cinematographer - June 2015 - 38
American Cinematographer - June 2015 - 39
American Cinematographer - June 2015 - 40
American Cinematographer - June 2015 - 41
American Cinematographer - June 2015 - 42
American Cinematographer - June 2015 - 43
American Cinematographer - June 2015 - 44
American Cinematographer - June 2015 - 45
American Cinematographer - June 2015 - 46
American Cinematographer - June 2015 - 47
American Cinematographer - June 2015 - 48
American Cinematographer - June 2015 - 49
American Cinematographer - June 2015 - 50
American Cinematographer - June 2015 - 51
American Cinematographer - June 2015 - 52
American Cinematographer - June 2015 - 53
American Cinematographer - June 2015 - 54
American Cinematographer - June 2015 - 55
American Cinematographer - June 2015 - 56
American Cinematographer - June 2015 - 57
American Cinematographer - June 2015 - 58
American Cinematographer - June 2015 - 59
American Cinematographer - June 2015 - 60
American Cinematographer - June 2015 - 61
American Cinematographer - June 2015 - 62
American Cinematographer - June 2015 - 63
American Cinematographer - June 2015 - 64
American Cinematographer - June 2015 - 65
American Cinematographer - June 2015 - 66
American Cinematographer - June 2015 - 67
American Cinematographer - June 2015 - 68
American Cinematographer - June 2015 - 69
American Cinematographer - June 2015 - 70
American Cinematographer - June 2015 - 71
American Cinematographer - June 2015 - 72
American Cinematographer - June 2015 - 73
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American Cinematographer - June 2015 - 76
American Cinematographer - June 2015 - 77
American Cinematographer - June 2015 - 78
American Cinematographer - June 2015 - 79
American Cinematographer - June 2015 - 80
American Cinematographer - June 2015 - 80a
American Cinematographer - June 2015 - 80b
American Cinematographer - June 2015 - 80c
American Cinematographer - June 2015 - 80d
American Cinematographer - June 2015 - 80e
American Cinematographer - June 2015 - 80f
American Cinematographer - June 2015 - 80g
American Cinematographer - June 2015 - 80h
American Cinematographer - June 2015 - 81
American Cinematographer - June 2015 - 82
American Cinematographer - June 2015 - 83
American Cinematographer - June 2015 - 84
American Cinematographer - June 2015 - 85
American Cinematographer - June 2015 - 86
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American Cinematographer - June 2015 - 88
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American Cinematographer - June 2015 - 90
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American Cinematographer - June 2015 - 100
American Cinematographer - June 2015 - 101
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American Cinematographer - June 2015 - 103
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American Cinematographer - June 2015 - Cover3
American Cinematographer - June 2015 - Cover4
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