American Cinematographer - May 2016 - 87

low. All four lights are certified 90 CRI and
TLCI 90+ with a CCT of 5,000K.
Both the Stella Pro 7000 and 5000
ship with a 50-degree focus optic, barn
doors, YS mount, C-stand mount, high-leverage handle and 24-volt external power
supply. The Stella 2000 ships with a 50degree focus optic, barn doors, cold-shoemount base and 12-volt external power
supply. The Stella 1000 ships with a snap-on
diffuser, 25-degree optic with tethers, a coldshoe mount and external power supply.
For additional information, visit
www.lightandmotion.com.

Atomos Fires Up Flame Series
Atomos has unveiled the Shogun
Flame and Ninja Flame 7" field monitorrecorders.
The Flame Series monitors accurately
display 10 stops of the luminance detail of
Log with 10-bit HDR postproduction color
accuracy. The AtomHDR engine not only
resolves HDR brightness detail (dynamic
range), it also resolves 64 times more color
information than traditional 8-bit panels. The
monitors also offer professional 4K/HD
ProRes/DNxHR recording, playback and editing.
With the AtomHDR engine, the usual
complications of exposing Log signals on a
washed-out image are eliminated. All major
camera manufacturers' log formats are
supported: Sony, Canon, Panasonic, Arri, Red
and JVC.
The monitor itself is a calibrated 7"
1920x1200 325ppi IPS with upgraded 10-bit
color accuracy, resolving 1.07 billion colors
compared to the 16.7 million colors of traditional 8-bit panels. This all but eliminates the
color banding seen on traditional panels and,
in tandem with AtomHDR, lets users see
images as they would with their own eyes.
For existing SDR, Rec 709 delivery, or scenes
that do not have the wide brightness variation required for HDR shooting, users can

switch to traditional video mode (Rec 709)
and activate a brightness slider that lets
them take advantage of the daylight-viewable 1,500 nits of brightness.
Shogun Flame and Ninja Flame both
feature a rugged built-in armor, and they
inherit Atomos' patented continuouspower system. The dual-battery system
automatically switches to the second
battery when power is low, enabling hotswapping to fresh batteries.
Both units record 4K/HD direct from
the sensor as 10-bit 4:2:2 Apple ProRes or
Avid DNxHR/DNxHD files onto affordable
and reliable SSDs from leading brands. The
Flame Series monitor-recorders also feature
on-the-fly 3:2 and 2:2 pull-down removal,
and advanced recording features such as
time lapse and pre-roll. Playback with
controls is possible on the screen or out to
larger monitors, and built-in focus, framing
and exposure tools can be used to judge
the shot and then start tagging to ease the
decision-making in post.
The HDMI-only Ninja Flame ships
with a host of accessories, including an
HPRC hard case, snap-fast HDR sun hood,
fast battery charger, control cable, two NPF750 four-cell batteries, USB 3 docking
station, D-Tap cable, five Master Caddy
cases and a 12-volt 3-amp AC-DC power
adapter. With bi-directional SDI/HDMI
conversion, the Shogun Flame offers raw to
ProRes/DNxHR recording for select Sony
and Canon cameras, balanced XLR audio
input/output, LTC/genlock connectivity, and
an XLR breakout cable.
For additional information, visit
www.atomos.com.
IDX Powers Endura Duo
Compact Batteries
IDX has introduced Endura Duo
Compact batteries, which offer significant
savings in size and weight.
The Duo-C95 packs a 93-watt-hour
capacity into a slim form factor that weighs
only 1.3 pounds. For those needing even
longer run times, the Duo-C190 weighs just
2.3 pounds with a capacity of 185 watt
hours; the Duo-C190 supports a continuous load of 11 amps/120 watts, ideal for
high-power LED lights and digital cinemacamera setups.
The feature-rich Endura Duo


http://www.lightandmotion.com http://www.atomos.com http://www.fjwestcott.com

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

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