American Cinematographer - August 2016 - 79

spaces and pairs well with Blackmagic
Design's Micro Cinema camera and
GoPro cameras, as well as gimbals.
Building on the popular DH5 monitor, the DH5e is a 5" field monitor that
boasts a full-HD panel with 1920x1080
pixels and 4K support. The DH5e has
touch-screen capabilities including
pinch-to-zoom. This lightweight oncamera monitor is ideally suited for
gimbal operators or anyone using 4K
cameras such as the Sony a7S.
Sony Unveils 55" 4K OLED
Sony has introduced the PVM-X550
55" Trimaster 4K OLED monitor. The quadview monitor allows customized individual
display settings across four distinct views in
HD.
The PVM-X550 is equipped with the
same signal-processing engine as Sony's
BVM-X300, providing a 12-bit output signal
for picture accuracy and consistency. It also
supports industry-standard color spaces,
including the wider ITU-R BT.2020 for Ultra
High Definition. These all work in tandem
with Sony's Trimaster EL technology.
"As demand grows for 4K and High
Dynamic Range content, production teams
and their clients need more tools for evaluating video," says ASC associate Gary
Mandle, senior product manager for Sony
Electronics. "This new monitor delivers
quad-viewing flexibility in a size that meets
the need for larger, more detailed monitors
in postproduction suites."
The PVM-X550 supports HDR
through Electro-Optical Transfer Functions
(EOTF), such as S-Log3, SMPTE ST.2084 and
Hybrid Log-Gamma, covering applications
for both cinema and broadcast. The PVMX550's narrow bezel, lightweight design
and off-axis viewing performance make it
suited to wall mounting, a benefit in liveproduction environments where space is
often at a premium.
For additional information, visit
www.sony.com/monitors.
Ikan Expands Monitor Offerings
Ikan has introduced a line of 4Kcompatible on-camera monitors: the VL35,
the DH5e and the VXF7.
The VL35 is a lightweight and
compact on-camera field monitor. With a
3.5" screen, the VL35 works well in tight

The 7" VXF7 monitor is the latest
update to Ikan's VX series. The VXF7 has a
full-HD plus IPS panel (1920x1200 pixels),
4K support and an SDI-to-HDMI converter.
Designed to function more like a standard
production monitor, the VXF7 has easy-toaccess knobs, professional BNC connectors,

SGO Partners With AJA
Software developer SGO and hardware developer AJA Video Systems have
announced a dynamic integration partnership. Mistika, SGO's flagship color-grading
and finishing system, is now fully compatible with AJA's line of Kona and Corvid
video-capture and playback cards, resulting
in optimized video output. The alliance
provides customers with high-quality delivery outcomes and finely tuned feature sets
to further enhance workflows. The combination of the new Mistika version with the
AJA hardware boosts support for video
www.theasc.com

and a four-pin XLR power connector. It also
has 3G-SDI, component, composite, and
HDMI inputs and outputs. This on-camera
monitor works well with cameras such as
Sony's FS7.
Ikan has also announced that it is
now the exclusive distributor in North and
South America (excluding Canada) for the
entire line of broadcast, field, high-brightness and recordable monitors, as well as
other video accessories, from South Korean
manufacturer Bon. The current Bon product
lineup includes 10-bit processing monitors
(the BEM and BSM Series), 12-bit processing monitors (BXM Series) and premium
OLED reference monitors (TXM Series). The
company's Postium Rackmount Monitors
will also be available with features such as
waveform, vectorscope, time code and
audio meters.
For additional information, visit
www.ikancorp.com.
Atto Builds ThunderLink
Atto Technology, Inc. - a global
provider of storage, network connectivity
and infrastructure solutions for data-intensive computing environments - has
unveiled its Gen 6 Fibre Channel product
portfolio. The Gen 6 line includes Celerity
32Gb and 16Gb Host Bus Adapters (HBAs),

formats such as 4K 3D dual-link, even at
frame rates up to 60p.
AJA's Kona capture, display and
mastering products for SD, HD, 3G, Dual
Link HD, 2K and 4K are a perfect match
with Mistika, which provides a complete
postproduction feature set. Stereo 3D
output in 4K using the Corvid 88 I/O card is
already available, along with viable future
8K capabilities for Mistika Ultima 8K
systems.
For additional information, visit
www.sgo.es and www.aja.com.

August 2016

79


http://www.ikancorp.com http://www.sony.com/monitors http://www.sgo.es http://www.aja.com http://www.theasc.com

American Cinematographer - August 2016

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

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