American Cinematographer - December 2017 - 112

Red Unleashes Monstro
Red Digital Cinema has introduced a
new full-frame sensor for Weapon
cameras, Monstro 8K VV. Monstro is a step
beyond the Red Dragon 8K VV sensor, with
improvements in image quality, including
dynamic range and shadow detail.
This Weapon 8K VV camera and
sensor combination offers full-frame lens
coverage, captures 8K full-format motion at
up to 60 fps, produces detailed 35.4
megapixel stills, and delivers fast data
speeds of up to 300 MB/s. Like all of Red's
DSMC2 cameras, Weapon records simultaneous raw and Apple ProRes or Avid
DNxHD/HR, and adheres to Red's dedication to "obsolescence obsolete," a core
operating principle that allows current Red
owners to upgrade their technology as

innovations are unveiled as well as move
between camera systems without having to
purchase all-new gear.
The new Weapon will be priced at
$79,500 for the camera Brain, with
upgrades for carbon-fiber Weapon
customers available for $29,500. Monstro
8K VV will replace the current Red Dragon

8K VV sensor in Red's lineup, and
customers who had previously placed an
order for a Red Dragon 8K VV sensor will
now be offered this new sensor. New
112

December 2017

CineJet Takes Flight
Helinet Aviation, a full-service provider of aerial production services to the motion
picture and advertising industries, has unveiled CineJet, an Aero L-39 Albatros jet featuring
a customized gyro-stabilized Shotover F1 camera system designed for high-speed aerial cinematography. Developed in partnership with Patriots Jet Team - a San Francisco Bay Areabased precision aerobatic demonstration team - CineJet provides excellent jet-aircraft
performance, maneuverability, and camera-angle options thanks to the sleek profile of the
aircraft and the mounting of the F1 camera platform.
CineJet has been developed for television, feature, high-performance photography,
scientific research, and commercial aircraft-marketing applications. The Shotover F1 system
has been specifically tailored for the unique capabilities of the jet platform, and can handle
speeds exceeding 350 knots and maneuvers approaching 3Gs. The open-platform design of
the F1 system allows for a comprehensive range of professional camera and lens combinations depending on the needs of each client, and as new technology comes to market. "We
are thrilled to support Helinet and Patriots Jet Team with a customized 6-axis gyro-stabilized
Shotover F1 camera platform for cutting-edge aerial cinematography," says Shotover CEO
Brad Hurndell.
Further increasing CineJet's functionality and capabilities is a specially developed
multiple antenna array, installed by RF Film Inc., to deliver high-definition video, GPS data,
and ground-to-air audio communication.
The aircraft will be flown by Helinet's VP of aerial film production Kevin LaRosa II, and
Patriots Jet Team founder and owner Randy Howell. For more than 16 years, LaRosa has
served the motion-picture industry as a stunt pilot and aerial coordinator; he is a member of
SAG as well as the Motion Picture Pilots Association. Howell has accumulated more than
23,000 hours of flight time and has more than 30 years of flying experience with United
Airlines; he has been an advanced instructor in aerobatics, formation and UPRT, and has
served as a check airman and simulator instructor in a multitude of aircraft.
"Patriots Jet Team is extremely proud to launch the new CineJet high-speed cinematography platform with Helinet," says Howell. "We look forward to providing productions with a turnkey solution for high-velocity camerawork."
To watch a video of the CineJet in action, visit vimeo.com/237487951. For additional
information, visit www.helinet.com, www.patriotsjetteam.com and www.shotover.com.
orders will start being fulfilled in early 2018.
Red has also announced a comprehensive service for Weapon carbon-fiber
camera owners. Red Armor-W offers
enhanced and extended protection beyond
basic Red Armor, and also includes one
sensor swap each year.
Additionally, Red's enhanced image
processing pipeline (IPP2) is now available
in-camera for all cameras with Helium and
American Cinematographer

Monstro sensors through the v7.0
firmware update. IPP2 offers a completely
overhauled workflow experience, featuring
enhancements such as smoother highlight
roll-off, better management of challenging
colors, and an improved demosaicing algorithm.
For additional information, visit
www.red.com.


http://www.vimeo.com/237487951 http://www.helinet.com http://www.patriotsjetteam.com http://www.shotover.com http://www.red.com

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

Contents
American Cinematographer - December 2017 - Intro
American Cinematographer - December 2017 - Cover1
American Cinematographer - December 2017 - Cover2
American Cinematographer - December 2017 - 1
American Cinematographer - December 2017 - 2
American Cinematographer - December 2017 - 3
American Cinematographer - December 2017 - 4
American Cinematographer - December 2017 - Contents
American Cinematographer - December 2017 - 6
American Cinematographer - December 2017 - 7
American Cinematographer - December 2017 - 8
American Cinematographer - December 2017 - 9
American Cinematographer - December 2017 - 10
American Cinematographer - December 2017 - 11
American Cinematographer - December 2017 - 12
American Cinematographer - December 2017 - 13
American Cinematographer - December 2017 - 14
American Cinematographer - December 2017 - 15
American Cinematographer - December 2017 - 16
American Cinematographer - December 2017 - 17
American Cinematographer - December 2017 - 18
American Cinematographer - December 2017 - 19
American Cinematographer - December 2017 - 20
American Cinematographer - December 2017 - 21
American Cinematographer - December 2017 - 22
American Cinematographer - December 2017 - 23
American Cinematographer - December 2017 - 24
American Cinematographer - December 2017 - 25
American Cinematographer - December 2017 - 26
American Cinematographer - December 2017 - 27
American Cinematographer - December 2017 - 28
American Cinematographer - December 2017 - 29
American Cinematographer - December 2017 - 30
American Cinematographer - December 2017 - 31
American Cinematographer - December 2017 - 32
American Cinematographer - December 2017 - 33
American Cinematographer - December 2017 - 34
American Cinematographer - December 2017 - 35
American Cinematographer - December 2017 - 36
American Cinematographer - December 2017 - 37
American Cinematographer - December 2017 - 38
American Cinematographer - December 2017 - 39
American Cinematographer - December 2017 - 40
American Cinematographer - December 2017 - 41
American Cinematographer - December 2017 - 42
American Cinematographer - December 2017 - 43
American Cinematographer - December 2017 - 44
American Cinematographer - December 2017 - 45
American Cinematographer - December 2017 - 46
American Cinematographer - December 2017 - 47
American Cinematographer - December 2017 - 48
American Cinematographer - December 2017 - 49
American Cinematographer - December 2017 - 50
American Cinematographer - December 2017 - 51
American Cinematographer - December 2017 - 52
American Cinematographer - December 2017 - 53
American Cinematographer - December 2017 - 54
American Cinematographer - December 2017 - 55
American Cinematographer - December 2017 - 56
American Cinematographer - December 2017 - 57
American Cinematographer - December 2017 - 58
American Cinematographer - December 2017 - 59
American Cinematographer - December 2017 - 60
American Cinematographer - December 2017 - 61
American Cinematographer - December 2017 - 62
American Cinematographer - December 2017 - 63
American Cinematographer - December 2017 - 64
American Cinematographer - December 2017 - 65
American Cinematographer - December 2017 - 66
American Cinematographer - December 2017 - 67
American Cinematographer - December 2017 - 68
American Cinematographer - December 2017 - 69
American Cinematographer - December 2017 - 70
American Cinematographer - December 2017 - 71
American Cinematographer - December 2017 - 72
American Cinematographer - December 2017 - 73
American Cinematographer - December 2017 - 74
American Cinematographer - December 2017 - 75
American Cinematographer - December 2017 - 76
American Cinematographer - December 2017 - 77
American Cinematographer - December 2017 - 78
American Cinematographer - December 2017 - 79
American Cinematographer - December 2017 - 80
American Cinematographer - December 2017 - 81
American Cinematographer - December 2017 - 82
American Cinematographer - December 2017 - 83
American Cinematographer - December 2017 - 84
American Cinematographer - December 2017 - 85
American Cinematographer - December 2017 - 86
American Cinematographer - December 2017 - 87
American Cinematographer - December 2017 - 88
American Cinematographer - December 2017 - 89
American Cinematographer - December 2017 - 90
American Cinematographer - December 2017 - 91
American Cinematographer - December 2017 - 92
American Cinematographer - December 2017 - 93
American Cinematographer - December 2017 - 94
American Cinematographer - December 2017 - 95
American Cinematographer - December 2017 - 96
American Cinematographer - December 2017 - 97
American Cinematographer - December 2017 - 98
American Cinematographer - December 2017 - 99
American Cinematographer - December 2017 - 100
American Cinematographer - December 2017 - 101
American Cinematographer - December 2017 - 102
American Cinematographer - December 2017 - 103
American Cinematographer - December 2017 - 104
American Cinematographer - December 2017 - 105
American Cinematographer - December 2017 - 106
American Cinematographer - December 2017 - 107
American Cinematographer - December 2017 - 108
American Cinematographer - December 2017 - 109
American Cinematographer - December 2017 - 110
American Cinematographer - December 2017 - 111
American Cinematographer - December 2017 - 112
American Cinematographer - December 2017 - 113
American Cinematographer - December 2017 - 114
American Cinematographer - December 2017 - 115
American Cinematographer - December 2017 - 116
American Cinematographer - December 2017 - 117
American Cinematographer - December 2017 - 118
American Cinematographer - December 2017 - 119
American Cinematographer - December 2017 - 120
American Cinematographer - December 2017 - 121
American Cinematographer - December 2017 - 122
American Cinematographer - December 2017 - 123
American Cinematographer - December 2017 - 124
American Cinematographer - December 2017 - 125
American Cinematographer - December 2017 - 126
American Cinematographer - December 2017 - 127
American Cinematographer - December 2017 - 128
American Cinematographer - December 2017 - Cover3
American Cinematographer - December 2017 - Cover4
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