American Cinematographer - June 2018 - 122

also boasts an IPX2 water-resistant rating for
operation in challenging conditions. Other
features include a genlock input, timecode
in/out, dual 3G-SDI outputs and an HDMI
output, three XLR audio inputs, Ethernet
and USB ports, wireless audio module slot,
and an additional slot for future expansion.
JVC has also announced three new
additions to its family of 4KCam cameras.
Among other new features, the new GYHM250U offers integrated graphics and live
streaming, while the GY-HM250SP adds
sports-specific score overlays. Additionally,
the GY-HM180U is a professional compact
camera without built-in streaming or graphics. The GY-HM250U replaces the current
GY-HM200U and GY-HM200HW models,
while the GY-HM250SP replaces the
GY HM200SP. An upgrade to the popular
GY-HM170U, the GY-HM180U still outputs
live 4K via HDMI, but also adds a 3G-SDI
output for connectivity flexibility.
New features include 4:2:2 recording
for 4K/30p and 4K/24p, as well as
4K/60p HDMI output. The new tele-macro
shooting mode on the GY-HM250U and
GY-HM250SP provides better focus on close
objects than previous models, while the
new Zero Config function provides automatic, one-click configuration of the camera
when it joins the same LAN as other
cameras.
Beyond the upgrades, the GYHM250U, GY-HM250SP and GY-HM180U
retain the 4KCam line's valued professional
features, including a 1⁄3.3" BSI 4K CMOS
imager and integrated 12x zoom lens with
optical image stabilizer. The cameras record
footage in a variety of file formats and
frame rates - including up to 120 fps - to
economical Class 10 SDHC/SDXC memory
cards. Users can record on two cards simultaneously for instant backup or use relay
mode for extended recording time. Other
features include dual XLR audio inputs, integrated handle with hot shoe, built-in microphone and dedicated shotgun-mic mount,
and viewfinder and LCD displays.
Additionally, JVC has introduced two
new series of studio LCD monitors to
support 4K workflows. Available in two
models, the DT-U series provides native 4K
resolution with 10-bit color depth and HDR
compatibility. The four models in the more
economical DT-G series convert 4K and 2K
122

sources to full HD.
The 28" DT-U28U and 31.5" DT-U31U
feature native 4K LCD panels with
3840x2160 resolution, LED backlight, wider
color gamut, and HLG HDR and PQ HDR
display. Both monitors feature multiple 4K
inputs, including 12G-SDI, 3G-SDI quad link,
4K/60p HDMI 2.0, and optional plug-in SFP
adapter. Users can also display four independent SDI sources in quad-view mode, and
there are extensive connectivity options for
legacy sources. The DT-U31E supports 100percent DCI-P3 and 84-percent ITU-R BT 2020
color gamut, while the DT-U28E supports
100-percent Rec 709 and 80-percent DCI-P3
color gamut.
With sizes ranging from 17.3" to 27",
DT-G series monitors support 4K/60p HDMI
and 2K-SDI signals. Each 8-bit panel has 10bit signal processing and LED backlight, with
the three largest models offering 1,000:1
contrast ratio.
Designed for critical video applications,
both the DT-G and DT-U series are equipped
with a new zero-latency image-processing
mode with only a few lines of delay. Both
series also feature 3D LUT 17x17x17 precise
auto calibration, with built-in color generator
and calibration software, and support user
uploaded 3D LUT cube files, which are convenient for color creation in post. Plus, with
several built-in De-log LUTs (including JVC Jlog1), the monitors can convert directly to
ITU-Rec 709.
Both the DT-G and DT-U series offer
remote control via web browser. Users can
check monitor status, adjust menu settings,
and control all monitors in a facility remotely
when connected to a LAN. All models also
feature convenient front-panel controls with
dual speakers, AC/DC power with integrated
battery port, on-screen tools including tally
and 16-channel audio meters, plus built-in
waveform, vectorscope with line selector, and
histogram.
For additional information, visit
pro.jvc.com.


http://www.rpmlights.com http://pro.jvc.com http://www.theasc.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
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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 - 34
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American Cinematographer - June 2018 - 36
American Cinematographer - June 2018 - 37
American Cinematographer - June 2018 - 38
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American Cinematographer - June 2018 - 43
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American Cinematographer - June 2018 - 50
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American Cinematographer - June 2018 - 136
American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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