American Cinematographer - April 2017 - 100

that will hold the camera at a
desired angle until released,
making it effortless to
smoothly track an object above or
below the horizon. The Karma Grip
comes packaged with a handle and
stabilizer, Hero5 harness, mounting
ring, USB-C charging cable, tie-down
strap and wrist lanyard, and grip case
for protection and carrying.
GoPro has also unveiled the Quik
app for mobile and desktop, which
enables users to quickly produce highquality videos, and the Quik Key, a keychain micro-USB card reader that plugs into
a phone to quickly transfer photos and
videos from a GoPro camera. Also new is
Remo, a voice-activated waterproof remote
that extends the voice control range of
Hero5 cameras while providing one-button
remote control.
For additional information, visit
www.gopro.com.
DMG Lights up Maxi Switch
DMG Lumière has introduced the
Maxi Switch LED fixture, which the
company created based on customer feedback regarding DMG's SL1 and Mini Switch
LED units.

Measuring 120cm x 75cm x 2cm,
the 520-watt Maxi Switch LED panel
features a bi-folding design that makes the
unit easy to transport. The panels can also
be split and used individually, effectively
making the Maxi Switch two lights in one.
The fixture can be controlled via Wi-Fi and
wireless DMX, and it is installed with a
LumenRadio emitter and receiver.
For additional information, visit
www.dmglumiere.com.
Transvideo Launches StarliteRF-a
Thanks to the success of Transvideo's
StarliteHD-5 Arri monitor, which interfaces
100

April 2017

with and controls Arri's AlexaMini and Amira cameras, Transvideo has introduced the
StarliteRF-a, a wireless
monitor-recorder
with advanced
camera-control
capabilities.
The StarliteRF-a is a variation of
Transvideo's 5" OLED wireless monitorrecorder, with advanced features for remote
control of Arri's Alexa-Mini and Amira
cameras. The kit consists of a StarliteRF-a
monitor and a TitanHD2 Tx-a that connects
to the camera via a specific cable provided
in the kit.
For additional information, visit
www.transvideo.eu.

Glidecam Flies Centurion,
Ultra-Shot
Glidecam Industries has launched
the Centurion, a lightweight and compact
3-axis motorized gimbal designed to work
with the majority of video cameras, DSLRs
and mirrorless cameras weighing from 1 to
5 pounds.
Made with precision aluminum and
carbon-fiber composites, the versatile Glidecam Centurion offers an array of handlegrip positions and can be set up in single- or
dual-grip handlebar modes. Cameras can
be easily and quickly positioned for neutral
balance. The Centurion's computercontrolled, direct-drive, brushless motors
stabilize the camera by taking control of all
three rotational axes of movement. The 32bit accuracy of the Centurion's sensors,
coupled with the high speed of the
controller, delivers smooth and stable
images while maintaining horizontal accuracy on all three axes within .02 degrees.
Each brushless motor has an electric slip
ring so the wires will never tangle.
The Centurion's motors work with
American Cinematographer

position feedback, encoders, and the IMU
(Inertial Measurement Unit) sensor to
communicate with the custom 32-bit
controller. The joystick on top of the handle
offers manual control of the pitch and yaw
axis by toggling forward, backward, left
and right. The joystick will move the rig
exponentially faster as it is pushed farther
from the center position; the joystick function can be inverted or customized in the
software. Included with the Glidecam
Centurion is a USB stick with the software
and drivers, enabling users to make additional adjustments if required.
Glidecam Industries has also introduced the Ultra-Shot. Designed by Lee
Snijders and manufactured by Glidecam,
the Ultra-Shot is an extremely durable and
multi-functional "hybrid" camera accessory
that allows users to quickly convert
between monopod, shoulder and groundlevel shooting modes.
The Ultra-Shot's swivel monopod
head comes attached with an industry-standard 3⁄8" screw. The camera plate includes
two 1⁄4" camera screws to ensure compatibility with all industry-standard camcorders
and fully outfitted DSLRs. When the UltraShot is used as a monopod, its five telescoping sections extend to a maximum height of
5'3" and can support camera setups
weighing up to 20 pounds. Because the
Ultra-Shot's hexagon weight rests on the
ground and is protected by a convex rubber
sole, the monopod configuration is betterstabilized than top-heavy monopods.

Additional Ultra-Shot features
include a quick-release 6" offset plate, an
E.V.A. foam shoulder pad and two professional motocross handle grips. Made of T66061 aluminum, the Ultra-Shot weighs 6
pounds.
The Centurion retails for $1,799,
and the Ultra-Shot for $499.
For additional information, visit
www.glidecam.com.
●


http://www.transvideo.eu http://www.gopro.com http://www.dmglumiere.com http://www.glidecam.com

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

Contents
American Cinematographer - April 2017 - Intro
American Cinematographer - April 2017 - Cover1
American Cinematographer - April 2017 - Cover2
American Cinematographer - April 2017 - 1
American Cinematographer - April 2017 - 2
American Cinematographer - April 2017 - Contents
American Cinematographer - April 2017 - 4
American Cinematographer - April 2017 - 5
American Cinematographer - April 2017 - 6
American Cinematographer - April 2017 - 7
American Cinematographer - April 2017 - 8
American Cinematographer - April 2017 - 9
American Cinematographer - April 2017 - 10
American Cinematographer - April 2017 - 11
American Cinematographer - April 2017 - 12
American Cinematographer - April 2017 - 13
American Cinematographer - April 2017 - 14
American Cinematographer - April 2017 - 15
American Cinematographer - April 2017 - 16
American Cinematographer - April 2017 - 17
American Cinematographer - April 2017 - 18
American Cinematographer - April 2017 - 19
American Cinematographer - April 2017 - 20
American Cinematographer - April 2017 - 21
American Cinematographer - April 2017 - 22
American Cinematographer - April 2017 - 23
American Cinematographer - April 2017 - 24
American Cinematographer - April 2017 - 25
American Cinematographer - April 2017 - 26
American Cinematographer - April 2017 - 27
American Cinematographer - April 2017 - 28
American Cinematographer - April 2017 - 29
American Cinematographer - April 2017 - 30
American Cinematographer - April 2017 - 31
American Cinematographer - April 2017 - 32
American Cinematographer - April 2017 - 33
American Cinematographer - April 2017 - 34
American Cinematographer - April 2017 - 35
American Cinematographer - April 2017 - 35A
American Cinematographer - April 2017 - 35B
American Cinematographer - April 2017 - 36
American Cinematographer - April 2017 - 37
American Cinematographer - April 2017 - 38
American Cinematographer - April 2017 - 39
American Cinematographer - April 2017 - 40
American Cinematographer - April 2017 - 41
American Cinematographer - April 2017 - 42
American Cinematographer - April 2017 - 43
American Cinematographer - April 2017 - 44
American Cinematographer - April 2017 - 45
American Cinematographer - April 2017 - 46
American Cinematographer - April 2017 - 47
American Cinematographer - April 2017 - 48
American Cinematographer - April 2017 - 49
American Cinematographer - April 2017 - 50
American Cinematographer - April 2017 - 51
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American Cinematographer - April 2017 - 53
American Cinematographer - April 2017 - 54
American Cinematographer - April 2017 - 55
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American Cinematographer - April 2017 - 57
American Cinematographer - April 2017 - 58
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American Cinematographer - April 2017 - 60
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American Cinematographer - April 2017 - 90
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American Cinematographer - April 2017 - 98
American Cinematographer - April 2017 - 99
American Cinematographer - April 2017 - 100
American Cinematographer - April 2017 - 101
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American Cinematographer - April 2017 - 106
American Cinematographer - April 2017 - 107
American Cinematographer - April 2017 - 108
American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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