American Cinematographer - July 2015 - 77

Sony Expands
Trimaster EL Series
Sony has unveiled the BVM-X300, the
company's first OLED master monitor to
combine 4K resolution, high dynamic range
and a wide color-gamut display. The 30"
model expands Sony's Trimaster EL series and
provides an OLED option for professional
video production applications, including color
grading, on-set monitoring and quality
control in a 4K workflow.
The monitor's high dynamic range
mode gives users the ability to view the entire
range of an image accurately and clearly.
"This feature offers never-before-seen image
reproduction - the black is black, and peak
brightness can be reproduced more realistically with colors that are typically saturated in
a conventional standard dynamic range,"
says ASC associate Gary Mandle, senior
product manager for professional displays.
"This mode can brilliantly express sparkling
town lights and stars in the night sky."
The emission layers in the monitor's
4K panel and a new layering design give the
BVM-X300 the ability to display ITU-R BT709
and DCI-P3 color gamuts more accurately
than any previous Sony Trimaster display. The
BVM-X300 can also display 80 percent of the
new ITU-R BT2020 color gamut.
The BVM-300 features an integrated
control panel with integrated inputs, giving
users a plug-and-play system right out of the
box. "This new monitor offers the same
performance of all our Trimaster EL OLED
monitors, including unparalleled black performance, color reproduction [and] quick pixel
response," Mandle adds.
This master monitor supports both 2
Sample Interleave and Square Division
signals. It also supports HD signals including
3G-SDI Quad-link up to 4096x2160/48p,
50p, 60p; 3G-SDI single link for
1920x1080/50p, 60p; YCbCr 4:2:2 10-bit;
and 3G-SDI dual link for 1920x1080/50p,
60p, 4:4:4 12/10-bit.
For additional information, visit
www.pro.sony.com.

Spacecam Maneuvers Oculus 2.0
Spacecam Systems Inc. has introduced Oculus 2.0, the company's first stabilized remote head made strictly for ground
coverage. Oculus 2.0 attaches seamlessly to
cranes, camera cars, nautical vehicles and
more, and provides an unrestricted field of
view in all axes.
Weighing 50 pounds and measuring 23.5" long, 8" wide and 28.5" high,
Oculus 2.0 is a four-axis carbon-fiber gyrostabilized gimbal that can operate in

temperatures ranging from -20°F to 110°F.
The system boasts 360-degree continuous
pan, tilt and roll capability, and a pan and
tilt speed of up to 260 degrees per second.
Oculus can accept a wide variety of camera
and lens configurations up to 70 pounds.
Years of award-winning aerial-cinematography experience went into the
creation of Oculus 2.0. "I designed what I
felt the industry was missing," says Ron
Goodman, president of Spacecam Systems.
"It's reliable, user-friendly, and the
changeovers are lightning-fast. We've done
over 30 lens changes in one day and rig
changes in one to five minutes, tops. The
certified training we provide makes this the
easiest system to operate."
The Oculus system has already been
employed on the upcoming features Pirates
of the Caribbean: Dead Men Tell No Tales,
Independence Day 2 and Pee-wee's Big
Holiday, as well as numerous commercials.
Oculus 2.0 was designed, engineered and manufactured in the United
States. For additional information, visit
www.spacecam.com.
Nila Enters Arina
Nila has unveiled the Arina LED
fixture. The next generation of the
www.theasc.com

company's popular SL, the Arina boasts
greater punch, substantially less weight and
a much narrower profile.
Designed as a replacement for
2,500-watt HMIs and 6,000-watt tungsten
fixtures, the Arina draws only 800 watts of
power. Additionally, as each Arina draws
only 6 amps,
multiple Arinas
can operate on
the same standard
20-amp
circuit. The Arina
also offers all of
the same features
found in other
Nila lights: onboard or DMXcontrollable
dimming, holographic lenses,
inductive cooling,
durable housing
and more.
Other features include 90-240-volt
AC input, ETL and CE compliance, instant
on, a long throw of more than 400',
daylight and tungsten versions, color accuracy from fixture to fixture, stable color
reproduction and flicker-free operation up
to 1,500 fps throughout the dimming
range, flicker-free operation at any speed
when the output is at 100 percent, no UV
or IR emissions, long-life LEDs, and a twoyear limited warranty.
For additional information, visit
www.nila.tv.
Panasonic Introduces 4K DVX200
Panasonic has announced the AGDVX200 4K large-sensor 4 ⁄ 3" handheld
camcorder. The camera offers an array of
top-end features, including 4K/60p recording, a 13x optical zoom, and V-Log L
gamma curve with a target of 12 stops of
latitude.
The DVX200 is optimized for 4K/HD
production, and shares the VariCam family
characteristics of filmic tonality and
colorimetry, with natural, subtle rendering
of flesh tones, and a V-Log curve that
emulates the natural gray-scale rendition of
the VariCam 35. The camcorder incorporates a newly developed 4 ⁄ 3" large-format
MOS sensor and offers variable frame-rate
July 2015

77


http://www.nila.tv http://www.spacecam.com http://pro.sony.com http://www.theasc.com

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

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
American Cinematographer - July 2015 - 9
American Cinematographer - July 2015 - 10
American Cinematographer - July 2015 - 11
American Cinematographer - July 2015 - 12
American Cinematographer - July 2015 - 13
American Cinematographer - July 2015 - 14
American Cinematographer - July 2015 - 15
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American Cinematographer - July 2015 - 17
American Cinematographer - July 2015 - 18
American Cinematographer - July 2015 - 19
American Cinematographer - July 2015 - 20
American Cinematographer - July 2015 - 21
American Cinematographer - July 2015 - 22
American Cinematographer - July 2015 - 23
American Cinematographer - July 2015 - 24
American Cinematographer - July 2015 - 25
American Cinematographer - July 2015 - 26
American Cinematographer - July 2015 - 27
American Cinematographer - July 2015 - 28
American Cinematographer - July 2015 - 29
American Cinematographer - July 2015 - 30
American Cinematographer - July 2015 - 31
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American Cinematographer - July 2015 - 33
American Cinematographer - July 2015 - 34
American Cinematographer - July 2015 - 35
American Cinematographer - July 2015 - 36
American Cinematographer - July 2015 - 37
American Cinematographer - July 2015 - 38
American Cinematographer - July 2015 - 39
American Cinematographer - July 2015 - 40
American Cinematographer - July 2015 - 41
American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
American Cinematographer - July 2015 - 44
American Cinematographer - July 2015 - 45
American Cinematographer - July 2015 - 46
American Cinematographer - July 2015 - 47
American Cinematographer - July 2015 - 48
American Cinematographer - July 2015 - 49
American Cinematographer - July 2015 - 50
American Cinematographer - July 2015 - 51
American Cinematographer - July 2015 - 52
American Cinematographer - July 2015 - 53
American Cinematographer - July 2015 - 54
American Cinematographer - July 2015 - 55
American Cinematographer - July 2015 - 56
American Cinematographer - July 2015 - 57
American Cinematographer - July 2015 - 58
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American Cinematographer - July 2015 - 60
American Cinematographer - July 2015 - 61
American Cinematographer - July 2015 - 62
American Cinematographer - July 2015 - 63
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American Cinematographer - July 2015 - 70
American Cinematographer - July 2015 - 71
American Cinematographer - July 2015 - 72
American Cinematographer - July 2015 - 73
American Cinematographer - July 2015 - 74
American Cinematographer - July 2015 - 75
American Cinematographer - July 2015 - 76
American Cinematographer - July 2015 - 77
American Cinematographer - July 2015 - 78
American Cinematographer - July 2015 - 79
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American Cinematographer - July 2015 - 87
American Cinematographer - July 2015 - 88
American Cinematographer - July 2015 - Cover3
American Cinematographer - July 2015 - Cover4
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