American Cinematographer - March 2017 - 79

Teradek Streams 360 Degrees
Teradek, part of the Creative Solutions division of the Vitec Group, has introduced Sphere SDI, a 4-channel 4K (1080x4)
HD-SDI encoder for live streaming and
monitoring of 360-degree content.
Sphere SDI is built on the same platform as the company's Sphere HDMI
encoder. At its core, Sphere operates as a
wireless monitoring solution for 360-degree
camera rigs, which allows content creators
to view their live footage on iPads from
areas out of view of the scene being shot.
Since Sphere utilizes the processing power
of iPads for live-stitching several camera
feeds, production crews can be far more
mobile than PC-based systems.
Like Sphere HDMI, the SDI model is
capable of streaming to any compatible
360-degree online video platform. For rigs
that consist of five to eight cameras, a
second Sphere can be attached via an
Ethernet cable to expand connectivity.
The product's free, patent-pending
iOS stitching software allows users to view
their content at just 4 frames of latency in
several different ways: Rectilinear allows
them to explore live 360-degree content as
if they were wearing a VR headset by
moving the iPad to visualize the experience;
Panoramic displays the live 360-degree
footage as a single panoramic image; and
Little Planet turns the 360-degree content
into a stereographic projection, allowing
users to view it as if it were a tiny planet.
Also included with Sphere's iOS
software is a re-streaming feature that
allows several iPhone users on set to interact with the 360-degree content in real
time, allowing clients to see what the final
product will look like.
For additional information, visit
www.teradek.com.
MSE Supports VR Production
Matthews Studio Equipment
has entered the virtual-reality arena
with the introduction of the VRig, a
professional-grade camera-support
system designed for VR capture.

The VRig's ultra-small footprint minimizes nadir hole and shadow obstruction
while maintaining stability. This is made
possible with the VRig's low-center-of-gravity barbell weight retainer, which works with
standard or Olympic-style weights. There is
also an optional suction Pump Cup for nonporous surfaces and an Auger Spike for
exterior locations.
"By their very nature, spherical
cameras see everything and are often left
unattended amidst the action," says ASC
associate Tyler Phillips, vice president of
marketing and product development for
MSE. "They require a strong support system
that is unobtrusive to the camera view, and
can be easily painted out in post.
"With discretion in mind, we
designed the VRig with a slim vertical riser
and equipped it with a Black Elastic Leg
Skirt, allowing camera accessories to be
concealed from view," adds Phillips. Integrated tapped female mounts for lighting
fixtures and microphones are also included
to help address the rigging challenges of a
spherical environment.
With its robust, modular aluminum
construction, the VRig can be reconfigured
as a low-angle mount for a car, tabletop, or
on the ground; an optional Boom Arm
provides extended positive and negative
angles. The VRig also integrates seamlessly
with standard grip equipment to allow
custom-built rigging.
Two VRig versions are available. The
lightweight S30 weighs only 7.5 pounds
and supports up to 30 pounds; it features a
minimum height of 26" and a maximum
height of 64.5", with a minimum footprint diameter of 6" and a maximum
of 37". The heavyweight S75 weighs
14 pounds and supports up to 75
pounds; it features a minimum height of
33" and a maximum height of 86", with
a minimum footprint diameter of 9" and
maximum of 43".
For additional information, visit
www.msegrip.com/vrig.
Nikon Launches KeyMission 360
Nikon Inc. has announced the
KeyMission action-camera line.
The rugged KeyMission 360 is
the first Nikon camera capable
of full 360-degree video in 4K

UHD at 24p (3480x2160) or Full HD
(1080p). Also available are the KeyMission
170, which captures stills and 4K UHD video
at a wide-angle point of view, and the
compact and lightweight KeyMission 80.
The KeyMission 360 boasts a
compact, waterproof (to 98'), shockproof
(to 6.6') and freezeproof (to 14° F) design,
with two integrated f2.0 lenses and two 20megapixel CMOS sensors
that combine to create
photos and videos
without blind spots.
Automatic in-camera
stitching cuts down on
the editing process
while eliminating the need
for multiple cameras or specialized rigs, making the images easy to share
on supported 360-degree content platforms
from either a compatible smart device or a
desktop computer. Videos can also be
customized with shooting modes such as
Superlapse, Time-Lapse or Loop Movies. An
in-camera stereo microphone helps provide
crisp and clear accompanying audio, while
Electronic Vibration Reduction is available
after capture to help steady playback.
Additionally, the Nikon SnapBridge
360/170 app for iOS and Android devices
allows users to access camera settings and
live view, perform simple editing functions,
and share content directly. For PC and Mac
users, the KeyMission 360/170 Utility
program for PC and Mac opens up more
advanced editing functions.
Included alongside the camera are a
variety of accessories and mounting solutions, such as a Base Mount Adapter; two
Base Mounts; a Silicone Jacket for added
grip and protection; two lens protectors;
and a cardboard-style head-mounted
display that, with a compatible smartphone,
allows for fully immersive playback. The
KeyMission 360 features a standard ¼"
tripod socket to which a variety of mounts
and accessories can be attached via the
included base adapter. The camera is also
compatible with an optional remote control.
For additional information, visit
●
www.nikonusa.com.

79


http://www.teradek.com http://www.msegrip.com/vrig http://www.nikonusa.com

American Cinematographer - March 2017

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

Contents
American Cinematographer - March 2017 - Cover1
American Cinematographer - March 2017 - Cover2
American Cinematographer - March 2017 - 1
American Cinematographer - March 2017 - 2
American Cinematographer - March 2017 - Contents
American Cinematographer - March 2017 - 4
American Cinematographer - March 2017 - 5
American Cinematographer - March 2017 - 6
American Cinematographer - March 2017 - 7
American Cinematographer - March 2017 - 8
American Cinematographer - March 2017 - 9
American Cinematographer - March 2017 - 10
American Cinematographer - March 2017 - 11
American Cinematographer - March 2017 - 12
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American Cinematographer - March 2017 - 14
American Cinematographer - March 2017 - 15
American Cinematographer - March 2017 - 16
American Cinematographer - March 2017 - 17
American Cinematographer - March 2017 - 18
American Cinematographer - March 2017 - 19
American Cinematographer - March 2017 - 20
American Cinematographer - March 2017 - 21
American Cinematographer - March 2017 - 22
American Cinematographer - March 2017 - 23
American Cinematographer - March 2017 - 24
American Cinematographer - March 2017 - 25
American Cinematographer - March 2017 - A
American Cinematographer - March 2017 - B
American Cinematographer - March 2017 - 26
American Cinematographer - March 2017 - 27
American Cinematographer - March 2017 - 28
American Cinematographer - March 2017 - 29
American Cinematographer - March 2017 - 30
American Cinematographer - March 2017 - 31
American Cinematographer - March 2017 - I1
American Cinematographer - March 2017 - I2
American Cinematographer - March 2017 - 32
American Cinematographer - March 2017 - 33
American Cinematographer - March 2017 - 34
American Cinematographer - March 2017 - 35
American Cinematographer - March 2017 - 36
American Cinematographer - March 2017 - 37
American Cinematographer - March 2017 - 38
American Cinematographer - March 2017 - 39
American Cinematographer - March 2017 - 40
American Cinematographer - March 2017 - 41
American Cinematographer - March 2017 - 42
American Cinematographer - March 2017 - 43
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American Cinematographer - March 2017 - 45
American Cinematographer - March 2017 - 46
American Cinematographer - March 2017 - 47
American Cinematographer - March 2017 - 48
American Cinematographer - March 2017 - 49
American Cinematographer - March 2017 - 50
American Cinematographer - March 2017 - 51
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American Cinematographer - March 2017 - 53
American Cinematographer - March 2017 - 54
American Cinematographer - March 2017 - 55
American Cinematographer - March 2017 - 56
American Cinematographer - March 2017 - 57
American Cinematographer - March 2017 - 58
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American Cinematographer - March 2017 - 63
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American Cinematographer - March 2017 - 78
American Cinematographer - March 2017 - 79
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American Cinematographer - March 2017 - Cover3
American Cinematographer - March 2017 - Cover4
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