American Cinematographer - October 2017 - 80

BB&S Adds to Pipeline
Lighting Lineup
BB&S Lighting of Denmark has introduced the Pipeline 1' 4-Bank LED remotephosphor fixture. This conveniently sized
panel uses four 1' remote-phosphor pipes
mounted in individual intensifiers to
produce up to 4,000 lumens of output at a
uniform 98 TLCI, while drawing only 40
watts. The fixture is a color-accurate soft
source, available in 3,200K, 4,300K and
5,600K versions.
The compact 1' 4-Bank weighs only
3 pounds and measures 12" long, 8" high
and 1.5" deep. It travels lightly as a single
unit and can fit in a small case. With 90degree light dispersion, this problem solver
can be mounted flush against a wall or ceiling via the included yoke and TVMP mount,
or hung with a variety of optional hardware
accessories.
The optional BB&S 48-volt 4-Way
Controller with DMX - providing four individually controlled 40-watt channels - can
handle four 1' 4-Banks, four 2' 2-Banks or
three 1' 4-Banks plus several 1' Pipelines.
This 48-volt solution provides smooth,
flicker-free dimming all the way to zero and
even in the last 5 percent. Also available are
8', 16' and 24' BB&S heavy-duty extension
cables that can be used with no power loss.
With remote-phosphor LED technology, the LEDs are separated from the colorrendering phosphors to produce more vivid
color generation at 98 TLCI without color
shift, and to prevent heat degradation over
time. The 1' 4-Bank joins BB&S' Pipeline
family of LED remote-phosphor lighting
fixtures, including the 2' 2-Bank; 3' 4-Bank;
4' 4-Bank; Reporter Kit; Pipeline Raw (with
no driver or dimmer) in 1', 2', 3' and 4'
lengths; and the 1', 2', 3' or 4' Pipeline Frees
(with driver and dimmer).
80

October 2017

Available with a three-year warranty,
users can choose from the 3,200K BBS3555, 4,300K BBS-3556 or 5,600K BBS3557, each with an MSRP of $595.
For additional information, visit
www.bbslighting.com in the U.S. or
www.brothers-sons.dk in Europe.
Elation Professional Expands
Lighting Solutions
Elation Professional has introduced
the Fuze PAR Z175 and Wash 575 LED
units, as well as the Paladin blinder-strobewash light and the Proteus Hybrid moving
head.
Elation's Fuze series of LED PAR lights
improves upon the pixelated lens face of
ordinary LED PAR fixtures to project a highquality, flat field of light that emulates the
classic single-source look of a traditional
Fresnel fixture. New to the series, the fullcolor Fuze PAR Z175 is designed for use in
all types of stage wash applications. Like
other lights in the Fuze series, the Fuze PAR
Z175 uses single-lens RGBW COB LEDs to
project a single homogenous beam of light
with an evenly lit lens face that appears as
one color instead of individual diodes. The
fixture houses a 175-watt RGBW COB LED

American Cinematographer

engine for a wide palette of colors with
smooth, single-source color mixing that
gives fully premixed looks and an extremely
flat field of light without multiple shadows.
The Fuze PAR Z175 is powerful
enough to use in all sizes of rigs and can
project 15,026 lux at 6.6' when used full-on
at an 8-degree beam angle; max power
consumption is low at only 200 watts. The
fixture features electronic strobe, variable
dimming curve modes, and a smooth and
fast 8-35-degree zoom for more precise
beam control. The unit comes preprogrammed with 64 color presets and 14
unique color macros. A gel frame and barn
doors are included, and dual adjustable
yokes allow for precise positioning when
mounting on the floor. Remarkably silent
even in its zoom operation, the fixture can
be used in noise-sensitive environments,
and an advanced cooling system keeps the
fixture cool to the touch.

Elation's cool-white Fuze Wash 575
LED PAR moving-head luminaire offers
motorized beam control and single-lens
COB LEDs that project a homogenized flat
field of light for lighting everything from
products to displays to exhibit architecture;
the evenly lit lens face of the Fuze Wash 575
appears as one shade instead of individual
LED diodes. The fixture uses a high-output
350-watt cool white/daylight COB LED
engine with a color temperature of 6,800K
and a high CRI of 95. Designed for largescale exhibits and showrooms, the unit
maintains even distribution and even color
temperature across a surface.
Features of the Fuze Wash 575
include a smooth and fast 11-40-degree
zoom for precise beam control, remote


http://www.bbslighting.com http://www.brothers-sons.dk

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

Contents
American Cinematographer - October 2017 - Cover1
American Cinematographer - October 2017 - Cover2
American Cinematographer - October 2017 - 1
American Cinematographer - October 2017 - 2
American Cinematographer - October 2017 - Contents
American Cinematographer - October 2017 - 4
American Cinematographer - October 2017 - 5
American Cinematographer - October 2017 - 6
American Cinematographer - October 2017 - 7
American Cinematographer - October 2017 - 8
American Cinematographer - October 2017 - 9
American Cinematographer - October 2017 - 10
American Cinematographer - October 2017 - 11
American Cinematographer - October 2017 - 12
American Cinematographer - October 2017 - 13
American Cinematographer - October 2017 - 14
American Cinematographer - October 2017 - 15
American Cinematographer - October 2017 - 16
American Cinematographer - October 2017 - 17
American Cinematographer - October 2017 - 18
American Cinematographer - October 2017 - 19
American Cinematographer - October 2017 - 20
American Cinematographer - October 2017 - 21
American Cinematographer - October 2017 - 22
American Cinematographer - October 2017 - 23
American Cinematographer - October 2017 - 24
American Cinematographer - October 2017 - 25
American Cinematographer - October 2017 - 26
American Cinematographer - October 2017 - 27
American Cinematographer - October 2017 - 28
American Cinematographer - October 2017 - 29
American Cinematographer - October 2017 - 30
American Cinematographer - October 2017 - 31
American Cinematographer - October 2017 - 32
American Cinematographer - October 2017 - 33
American Cinematographer - October 2017 - 34
American Cinematographer - October 2017 - 35
American Cinematographer - October 2017 - 36
American Cinematographer - October 2017 - 37
American Cinematographer - October 2017 - 38
American Cinematographer - October 2017 - 39
American Cinematographer - October 2017 - 40
American Cinematographer - October 2017 - 41
American Cinematographer - October 2017 - 42
American Cinematographer - October 2017 - 43
American Cinematographer - October 2017 - 44
American Cinematographer - October 2017 - 45
American Cinematographer - October 2017 - 46
American Cinematographer - October 2017 - 47
American Cinematographer - October 2017 - 48
American Cinematographer - October 2017 - 49
American Cinematographer - October 2017 - 50
American Cinematographer - October 2017 - 51
American Cinematographer - October 2017 - 52
American Cinematographer - October 2017 - 53
American Cinematographer - October 2017 - 54
American Cinematographer - October 2017 - 55
American Cinematographer - October 2017 - 56
American Cinematographer - October 2017 - 57
American Cinematographer - October 2017 - 58
American Cinematographer - October 2017 - 59
American Cinematographer - October 2017 - 60
American Cinematographer - October 2017 - 61
American Cinematographer - October 2017 - 62
American Cinematographer - October 2017 - 63
American Cinematographer - October 2017 - 64
American Cinematographer - October 2017 - 65
American Cinematographer - October 2017 - 66
American Cinematographer - October 2017 - 67
American Cinematographer - October 2017 - 68
American Cinematographer - October 2017 - 69
American Cinematographer - October 2017 - 70
American Cinematographer - October 2017 - 71
American Cinematographer - October 2017 - 72
American Cinematographer - October 2017 - 73
American Cinematographer - October 2017 - 74
American Cinematographer - October 2017 - 75
American Cinematographer - October 2017 - 76
American Cinematographer - October 2017 - 77
American Cinematographer - October 2017 - 78
American Cinematographer - October 2017 - 79
American Cinematographer - October 2017 - 80
American Cinematographer - October 2017 - 81
American Cinematographer - October 2017 - 82
American Cinematographer - October 2017 - 83
American Cinematographer - October 2017 - 84
American Cinematographer - October 2017 - 85
American Cinematographer - October 2017 - 86
American Cinematographer - October 2017 - 87
American Cinematographer - October 2017 - 88
American Cinematographer - October 2017 - Cover3
American Cinematographer - October 2017 - Cover4
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