American Cinematographer - July 2017 - 78

process does not damage the batteries.
Weighing less than 1 kilogram, the system
is fan-cooled and thermally protected,
making it safe to use and leave unattended
in any environment. With its robust metal
chassis, the LPD Discharger is designed to
be shipped to any location with the batteries attached for the user's convenience.
The LPD is currently available for
either Gold Mount or V-Mount.
For additional information, visit
www.antonbauer.com.

Schneider-Kreuznach Expands
Filter Range
Schneider-Kreuznach has introduced
Radiant Soft diffusion filters. These highlight-controlling filters are capable of toning
down skin imperfections while still managing contrast and blooming around in-frame
lights.
Thanks to a proprietary new engineering technique, these water-white glass
filters offer an expanded palette of incamera effects. Available in strengths of ¼,
½, 1, 2, 3, 4 and 5 - as well as traditional
sizes including 4"x4",
4"x5.65"
and
6.6"x6.6" - Radiant
Softs prevent the

Density (FSND) filters, a lineup of high-end
ND filters made to exceed the critical color
standards of the newest 4K-, 6K- and 8Kresolution cameras. Available in 6"x6" and
4"x5.65" sizes, they come in a full range of
densities: 0.3, 0.6, 0.9, 1.2, 1.5, 1.8, 2.1,
2.4, 2.7 and 3.0.
The Rhodium filters are engineered
with an extremely thin neutral-density interlayer sandwiched between two sheets of
Schott water-white glass and manufactured
to finer flatness/parallelism specifications
than ever before. The result is that they help
resolve even the finest detail and produce
images free from distortion or abnormalities. And by encapsulating the interlayer
between the glass, rather than on the
surface, Rhodiums are better protected
from abrasions and other rigors of production. Schneider's unique Edge Seal protects
against delamination and edge chipping,
while also reducing edge reflection and
edge glare.
In the lab, Rhodium filters undergo
tristimulus scanning, a more critical color
measurement than methods previously
used to measure filter quality. This method
verifies neutrality by utilizing a colorimetric
algorithm that compares samples to
perfectly neutral light. Additionally, in realworld testing on popular high-end cameras,
the Rhodiums have proven to be free of
infrared light leakage.
For additional information, visit
www.schneideroptics.com.
Wooden Camera Cages
Monitors, Follows Focus
Camera-accessories manufacturer
Wooden Camera has introduced the Director's Monitor Cage v2 and the UFF-1 Universal Follow Focus.
The Director's Monitor Cage v2 is
engineered to be universally compatible
with any monitor up to 9" (measured diag-

need to reset the overall contrast grade of
the scene after the desired diffusion is
applied. This versatile family can do the job
of improving skin tones at a low strength,
and then add a highlight bloom effect at
higher strengths.
Schneider-Kreuznach has also introduced Rhodium Full Spectrum Neutral
78

July 2017

American Cinematographer

onally) and attaches via top, bottom or rear
1⁄4-20 mounting locations. Newly designed
main brackets also allow direct mounting to
the rear of Convergent Design Odyssey and
Apollo.
An included sunshade is adaptable
to most monitors and snaps directly to the
cage frame. The bottom of the shade is
made of Velcro, which can be adjusted to
the proper width of the monitor, and an
included loop piece can be used to hook
onto the bottom of the cage for a more
permanent mounting of the shade. Vertical
and side-by-side mounting of two monitors
is also possible with the Dual Director's
Monitor Cage v2.
The UFF-1 Universal Follow Focus is
compatible with 15mm LW, 15mm Studio,
and 19mm rods without the use of
adapters. Simply unlock the rod clamps and
slide to the appropriate position; notches in
the bottom of the bridge indicate when the
clamp is in the proper place. The included
swing arm can be reversed to the front or
back position and is helpful for compact
lens configurations. The low bridge height
works with larger zoom-lens barrels.
Each hand wheel includes a standard marking disc and a hard-stop disc,
which provide positionable limits when
using DSLR lenses with infinite barrel rotation. The hand wheels are removable and
have standard accessory ports for whip and
crank.
Included in the kit are five gear
attachments: .5 mod for Canon ENG, .6
mod for Fujinon ENG, .8 mod
small diameter/large diameter
for cinema lenses, and a friction
gear for DSLR lenses. Each kit
ships in custom-cut foam,
which fits natively into a Pelican
1500 case (not included).
For additional information, visit www.wooden
camera.com.
●


http://www.antonbauer.com http://www.schneideroptics.com http://www.woodencamera.com http://www.woodencamera.com

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

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
American Cinematographer - July 2017 - 12
American Cinematographer - July 2017 - 13
American Cinematographer - July 2017 - 14
American Cinematographer - July 2017 - 15
American Cinematographer - July 2017 - 16
American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
American Cinematographer - July 2017 - 23
American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
American Cinematographer - July 2017 - 32
American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
American Cinematographer - July 2017 - 52
American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
American Cinematographer - July 2017 - 56
American Cinematographer - July 2017 - 57
American Cinematographer - July 2017 - 58
American Cinematographer - July 2017 - 59
American Cinematographer - July 2017 - 60
American Cinematographer - July 2017 - 61
American Cinematographer - July 2017 - 62
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American Cinematographer - July 2017 - 76
American Cinematographer - July 2017 - 77
American Cinematographer - July 2017 - 78
American Cinematographer - July 2017 - 79
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American Cinematographer - July 2017 - 87
American Cinematographer - July 2017 - 88
American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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