American Cinematographer - February 2016 - 87

Zylight
Expands
LED
Offerings
Zylight,
a
leading manufacturer of innovative LED lighting
solutions, has unveiled its "silent" F8-300
LED Fresnel. Engineered specifically for quiet
studios and venues, the F8-300 delivers the
equivalent brightness of a 600-watt HMI
Fresnel while using passive cooling instead
of an internal fan.
Built on Zylight's award-winning F8
platform, the F8-300 uses quantum-dot
LED technology to deliver a high quality of
light. Available in tungsten (3,200K) or
daylight (5,600K), the fixture boasts a high
CRI (color rendering index) as well as a high
TLCI (Television Lighting Consistency Index).
It offers traditional, single-shadow Fresnel
beam shaping, as well as an adjustable
beam spread (16-70 degrees) with a
patented focusing system for spot and
flood operations.
While drawing only 300 watts of
power, the F8-300 delivers more brightness
than a 2K tungsten fixture. Constructed
with aircraft aluminum and composite reinforced thermoplastics, the water-resistant
F8-300 has an IP54 rating, enabling it to
deliver in challenging environments and
weather conditions.
Zylight has also begun shipping its
Newz compact on-camera light. Designed
for broadcast news and other run-and-gun
shooting situations, the Newz features
custom barn doors and a unique integrated
articulated arm that allows shooters to
easily adjust the height and angle of the
light. Plus, the Newz is water-resistant (IP54
rating) for reliable operation in extreme
weather conditions.

With its proprietary LED matrix, the
Newz produces a soft yet punchy light with
true color reproduction similar to the
company's F8 LED Fresnel product line. A
fully dimmable white light with variable
color temperatures from tungsten (3,200K)
to daylight (5,600K), it provides a 60-degree
beam spread at full width half maximum
(FWHM) for a soft falloff around the edges.
Plus, an integrated strobe function adds
versatility for DSLR applications.
The Newz also features an integrated one-touch quick-release mount for
more efficient setup and breakdown, as
well as ZyLink, Zylight's wireless technology,
so it can be linked to multiple Zylights for
simultaneous remote control. It includes a
worldwide AC power supply, but can be
powered by a 7.2- or 14.4-volt camera
battery through its integrated D-Tap cable.
An optional hot-shoe accessory will be
available for DSLR shooters using the strobe
function.
For additional information, visit
www.zylight.com.
Radiant Images Opens
New Doors
Radiant Images, an award-winning
rental house and hub of digital-cinema
innovation, has expanded and moved into a
28,000-square-foot facility in Northeast Los
Angeles to better meet the needs of its filmmaking clients. The new facility, which is
nearly triple Radiant's previous space, is
located at 2702 Media Center Drive in the
Los Angeles Media Tech Center in the Glassell Park neighborhood.
Radiant's continued growth - most
recently in testing and developing virtualreality technology - necessitated the move
to a much larger space with enhanced
conveniences and amenities for clients.
"Radiant's focus has always been to put the
needs of our clients first, and with this move
we are doing just that by taking all of our
innovations and the solutions that filmmakers rely on and putting everything under
one roof," says ASC associate Michael
Mansouri, vice president at Radiant Images.
Designed by architects at Samwon
Design and built to meet the company's
specifications, the new location features an
expanded prep area for gear setup with an
adjacent client kitchen and lounge; ample


http://www.zylight.com http://www.FILMO-USA.COM

American Cinematographer - February 2016

Table of Contents for the Digital Edition of American Cinematographer - February 2016

Contents
American Cinematographer - February 2016 - Intro
American Cinematographer - February 2016 - Cover1
American Cinematographer - February 2016 - Cover2
American Cinematographer - February 2016 - 1
American Cinematographer - February 2016 - 2
American Cinematographer - February 2016 - Contents
American Cinematographer - February 2016 - 4
American Cinematographer - February 2016 - 5
American Cinematographer - February 2016 - 6
American Cinematographer - February 2016 - 7
American Cinematographer - February 2016 - 8
American Cinematographer - February 2016 - 9
American Cinematographer - February 2016 - 10
American Cinematographer - February 2016 - 11
American Cinematographer - February 2016 - 12
American Cinematographer - February 2016 - 13
American Cinematographer - February 2016 - 14
American Cinematographer - February 2016 - 15
American Cinematographer - February 2016 - 16
American Cinematographer - February 2016 - 17
American Cinematographer - February 2016 - 18
American Cinematographer - February 2016 - 19
American Cinematographer - February 2016 - 20
American Cinematographer - February 2016 - 21
American Cinematographer - February 2016 - 22
American Cinematographer - February 2016 - 23
American Cinematographer - February 2016 - 24
American Cinematographer - February 2016 - 25
American Cinematographer - February 2016 - 26
American Cinematographer - February 2016 - 27
American Cinematographer - February 2016 - 28
American Cinematographer - February 2016 - 29
American Cinematographer - February 2016 - 30
American Cinematographer - February 2016 - 31
American Cinematographer - February 2016 - 32
American Cinematographer - February 2016 - 33
American Cinematographer - February 2016 - 34
American Cinematographer - February 2016 - 35
American Cinematographer - February 2016 - 36
American Cinematographer - February 2016 - 37
American Cinematographer - February 2016 - 38
American Cinematographer - February 2016 - 39
American Cinematographer - February 2016 - 40
American Cinematographer - February 2016 - 41
American Cinematographer - February 2016 - 42
American Cinematographer - February 2016 - 43
American Cinematographer - February 2016 - 44
American Cinematographer - February 2016 - 45
American Cinematographer - February 2016 - 46
American Cinematographer - February 2016 - 47
American Cinematographer - February 2016 - 48
American Cinematographer - February 2016 - 49
American Cinematographer - February 2016 - 50
American Cinematographer - February 2016 - 51
American Cinematographer - February 2016 - 52
American Cinematographer - February 2016 - 53
American Cinematographer - February 2016 - 54
American Cinematographer - February 2016 - 55
American Cinematographer - February 2016 - 56
American Cinematographer - February 2016 - 57
American Cinematographer - February 2016 - 58
American Cinematographer - February 2016 - 59
American Cinematographer - February 2016 - 60
American Cinematographer - February 2016 - 61
American Cinematographer - February 2016 - 62
American Cinematographer - February 2016 - 63
American Cinematographer - February 2016 - 64
American Cinematographer - February 2016 - 65
American Cinematographer - February 2016 - 66
American Cinematographer - February 2016 - 67
American Cinematographer - February 2016 - 68
American Cinematographer - February 2016 - 69
American Cinematographer - February 2016 - 70
American Cinematographer - February 2016 - 71
American Cinematographer - February 2016 - 72
American Cinematographer - February 2016 - 73
American Cinematographer - February 2016 - 74
American Cinematographer - February 2016 - 75
American Cinematographer - February 2016 - 76
American Cinematographer - February 2016 - 77
American Cinematographer - February 2016 - 78
American Cinematographer - February 2016 - 79
American Cinematographer - February 2016 - 80
American Cinematographer - February 2016 - 81
American Cinematographer - February 2016 - 82
American Cinematographer - February 2016 - 83
American Cinematographer - February 2016 - 84
American Cinematographer - February 2016 - 85
American Cinematographer - February 2016 - 86
American Cinematographer - February 2016 - 87
American Cinematographer - February 2016 - 88
American Cinematographer - February 2016 - 89
American Cinematographer - February 2016 - 90
American Cinematographer - February 2016 - 91
American Cinematographer - February 2016 - 92
American Cinematographer - February 2016 - 93
American Cinematographer - February 2016 - 94
American Cinematographer - February 2016 - 95
American Cinematographer - February 2016 - 96
American Cinematographer - February 2016 - Cover3
American Cinematographer - February 2016 - Cover4
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