American Cinematographer - August 2013 - 78

Panasonic Monitors in 4K
Panasonic has introduced the BT4LH310, a 31" 4096x2160-resolution LCD
monitor for 4K/2K monitoring in the field
for live viewing of 4K cameras as well as for
viewing dailies. The 4LH310 also enables
post facilities to accept more 4K assignments, including editing, screenings and
dailies. The 4LH310’s 4K 10-bit IPS panel
affords native 4K resolution, a wide viewing
angle and faithful reproduction of up to
1.07 billion colors.
Equipped with a rugged aluminum
frame, the 4LH310 features multiple professional inputs, including HD-SDI, 3G-SDI and
HDMI; true color processing with a 3-D
look-up table; HD/SD closed captioning; 28volt DC operation for field use; and an ecofriendly panel with mercury-free LED backlight. In addition to 4K, the 4LH310 is also
an ideal monitor for 2K and HD resolutions.
The 4LH310’s high contrast
(1,500:1), horizontally aligned IPS panel
boasts 178-degree vertical and horizontal
viewing angles. The monitor delivers
imagery with superb color accuracy and
exhibits minimal changes in color due to the
viewing angle. The 3-D LUT with six-pole
color correction includes a look-up table for
each signal level and applies 10-bit image
processing to each RGB color to balance the
six coordinate axes of the three primary
colors and their complementary colors
(CMY), resolving color drifting at low light
levels and keeping colors vivid and natural.
The 4LH310 supports the DCI-P3
color space (defined by more than a 96percent cover area) and facilitates digital
cinema workflows with a LUT upload function. The monitor can also accurately
display industry standard color space of ITUR BT.709.
Advanced assist features include a
Y-Map display that makes it easy to con78

August 2013

firm luminance level map, and a zebra
display. An SDI error-status indication can be
viewed in 4K/2K/HD/SD. Waveform and
vectorscope display, a quad-split display,
and a simultaneous multi-display of input
signal, Focus-in-Red, waveform and
vectorscope are available in 2K/HD/SD. The
4LH310 will display HD/SD closed captioning with an SDI or video input.
The LH310 incorporates diverse
video inputs and remote terminals to deliver
superb operability in a system configuration, connection with almost any 4K imaging equipment and support of various
display modes. Other key features include
pixel-to-pixel mapping, a color audio level
meter, worldwide 59.94/50Hz compatibility,
VESA screws for mounting, and a supplied
stand.
For additional information, visit
www.panasonic.com/broadcast.
MTI Film Grows Cortex
Workflow Family
MTI Film has unveiled an expanded
line of Cortex dailies-processing and
transcoding solutions.
“In response to numerous requests
from current users and the production
community as a whole, we are broadening
our Cortex line to provide increased options
for users of all types,” says David McClure,
MTI Film’s vice president of product development. “Our aim is to make the process of
capturing, managing and delivering digital
media quick, easy and available at every
point in the production and postproduction
chain.”
Designed for users seeking basic
dailies-processing features, the Free Cortex
Control Dailies Starter Edition is capable of
decoding the most widely used, royalty-free
camera codecs (Red, Sony, Arri, Phantom,
Canon Raw) to QuickTime and Photo-JPEG
at resolutions up to 1920x1080.
Cortex Control Dailies DP is designed
for cinematographers; it includes all of the
features of the Starter Edition while adding
decoding of MPEG2, H.264 and DVCPro
HD, and encoding to H.264.
Other Cortex Control Dailies Editions
include Pro, which adds encoding to
DNxHD and ProRes; Studio, which adds
encoding to DPX, OpenEXR MPEG2 and
DVD; and Ultimate, which adds encoding to
American Cinematographer

Blu-ray and support for multiple GPUs. The
Studio and Ultimate Editions also add
output to any resolution.
MTI Film has also introduced other
enhancements and features for the new
Cortex products: a Cortex iPad dailies
review app makes it possible to review
dailies immediately after they are synced
and/or graded; an XML API allows developers to integrate the Cortex transcoding
engine into their own applications; an XML
file format for Cortex Convey facilitates the
transfer of metadata to third-party applications; Cortex integration for Digital Vision
grading platforms; SDI output via DVS
Atomix cards; and Tangent Element
support.
For additional information, visit
www.mtifilm.com.

G-Technology Evolves
Storage Solutions
G-Technology, a leader in delivering
premium storage solutions for audio/video
production and the creative professional
market, has announced the G-Dock Ev with
Thunderbolt and the G-Drive Ev and GDrive Ev Plus external hard-drive modules,
the first solutions in its Evolution Series
family.
The G-Dock Ev with Thunderbolt is a
two-bay, hot-swappable JBOD media drive
system with user-configurable RAID 1
(protected) or RAID 0 (performance). Unlike
other two-bay solutions, the G-Dock Ev has
the flexibility to be taken into the field and
used as a true standalone external drive. It
ships with two 1TB removable and portable
G-Drive Ev external hard-drive modules with
USB 3.0.
The G-Drive Ev is a USB 3.0, 2.5",
7,200 RPM hard-drive-based external storage solution with transfer rates of up to
136MB/s. Paired with an Evolution Series
G-Dock Ev, or used as a stand-alone exter-


http://www.mtifilm.com http://www.panasonic.com/broadcast

American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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