American Cinematographer - June 2018 - 121

85mm (T1.4) and 135mm (T2.0) focal
lengths. Additional features include a
common 114mm front diameter, changeable focus rings for metric and imperial
measurements, gear rings at the same position across the line, the option for coated or
uncoated front elements, and dustproof
housing. The Genesis G35s are available
with PL, LPL, EF, E, F and MFT mounts.
Gecko-Cam's Stealth lenses are
rehoused Zeiss Super Speed primes. Developed and constructed in Germany, the small
and lightweight primes share a common
front diameter of 80mm and all have their
gear rings at the same position. The
rehoused front is hard-mounted with the
lens mount, which can be changed
between PL, LPL, E, EF and more; the focus
scales can also be changed. The thread
inside of the front ring allows for the use of
77mm screw-in filters. Additional features
include precise CNC engraving, a focus-ring
range of more than 230 degrees, and
compatibility with the Gecko-Motor
Bracket.
For additional information, visit
www.camade.us.

JVC Connects Cameras
JVC Professional Video has
announced the GY-HC900 Connected Cam
broadcast camcorder, which features three
2⁄3" CMOS image sensors for full HD
imagery, as well as enhanced connectivity
for a complete news-over-IP workflow solution in the field.
When paired directly with the
optional ProHD Dockable Bridge or via Wi-Fi
with any ProHD Bridge unit, the new GYHC900 allows on-air talent to conduct a
two-way interview with return video while
streaming live to air without any external
boxes or backpacks. It is JVC's first camera
featuring a new communications engine
that optimizes both image processing and IP

performance. The engine enables simultaneous recording, low-latency streaming,
and simultaneous decoding for return video
and IFB. Latency can be as low as 500ms for
both outgoing and incoming video.
The GY-HC900's complete IP workflow includes streaming performance up to
20 Mbps and built-in Wi-Fi (2.4Ghz/5GHz)
with dual external antennas. The camera
also features Zixi error correction with automatic repeat request (ARQ) and SMPTE
2022 forward error correction for reliable
transmission.
Beyond ENG, the GY-HC900 is wellsuited for high-end EFP and studio fiber
applications. It works with the FS-900
camera module, which attaches seamlessly
to the camera via a 68-pin interface, and
feeds 3G-SDI signals, control, audio, sync
and intercom to a base station via fiber.
Equipped with an industry-standard
B4 lens mount and four-position optical
filter, the GY-HC900 delivers excellent sensitivity and high 62dB signal-to-noise ratio (in
standard mode). The advanced 2⁄3" CMOS
sensors, each with 1920x1080 pixels,
combine with an f1.4 prism to produce full
HD images. The camera also offers an HDR
mode, as well as up to 120 fps 1080p slowmotion recording.
The GY-HC900 supports native
recording of both MPEG-2 at up to 35
Mbps, which is widely used by broadcasters,
and H.264 (.MOV), which provides production-quality 10-bit 1080/60p 4:2:2 footage.
Plus, the camcorder records in Sports
Exchange Standard formats, so sports organizations can produce HD video with rich
metadata that specifically addresses the
workflow needs of sports production and
video-coaching applications.
With dual memory card slots for
SDHC/SDXC media, the GY-HC900 offers
redundant-, relay- and backup-recording
modes. It also records proxy-resolution
video clips for offline editing or online posts.
The camera includes a 3.26" OLED color
viewfinder, as well as a 3.5" LCD panel for
menu navigation.
An integrated 3G-SDI pool feed
input allows the GY-HC900 operator to
capture video while simultaneously streaming it live. Camera functions can also be
controlled via web browser or the JVC RMLP100 remote camera control. The camera


http://backstageweb.com http://www.camade.us http://www.backstageweb.com

Table of Contents for the Digital Edition of American Cinematographer - June 2018

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
American Cinematographer - June 2018 - 5
American Cinematographer - June 2018 - 6
American Cinematographer - June 2018 - 7
American Cinematographer - June 2018 - 8
American Cinematographer - June 2018 - 9
American Cinematographer - June 2018 - 10
American Cinematographer - June 2018 - 11
American Cinematographer - June 2018 - 12
American Cinematographer - June 2018 - 13
American Cinematographer - June 2018 - 14
American Cinematographer - June 2018 - 15
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American Cinematographer - June 2018 - 17
American Cinematographer - June 2018 - 18
American Cinematographer - June 2018 - 19
American Cinematographer - June 2018 - 20
American Cinematographer - June 2018 - 21
American Cinematographer - June 2018 - 22
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American Cinematographer - June 2018 - 24
American Cinematographer - June 2018 - 25
American Cinematographer - June 2018 - 26
American Cinematographer - June 2018 - 27
American Cinematographer - June 2018 - 28
American Cinematographer - June 2018 - 29
American Cinematographer - June 2018 - 30
American Cinematographer - June 2018 - 31
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American Cinematographer - June 2018 - 33
American Cinematographer - June 2018 - 34
American Cinematographer - June 2018 - 35
American Cinematographer - June 2018 - 36
American Cinematographer - June 2018 - 37
American Cinematographer - June 2018 - 38
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American Cinematographer - June 2018 - 40
American Cinematographer - June 2018 - 41
American Cinematographer - June 2018 - 42
American Cinematographer - June 2018 - 43
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American Cinematographer - June 2018 - 49
American Cinematographer - June 2018 - 50
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American Cinematographer - June 2018 - 62
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American Cinematographer - June 2018 - 136
American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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