American Cinematographer - September 2016 - 96
ensures the highest possible image quality
from the center across the Super 35 field
and beyond.
For additional information, visit
www.ducloslenses.com.
Zacuto Offers Power
Chicago-based equipment manufacturer and vendor Zacuto has introduced
the Gripper Series batteries, which are
designed for use on professional camera
rigs without the need for additional brackets or clamps. The Gripper batteries snap
directly onto 15mm rods, offering a hasslefree, lightweight and low-cost power
option.
There are two options available,
75Wh and 100Wh, covering the various
needs of camera operators. Each battery is
equipped with two power-tap outputs as
standard and can easily be increased by
plugging in a four-way Gripper adapter to
either output. Gripper batteries feature
high-impact ABS casing fitted with
premium lithium-ion cells, which in turn are
backed up by the latest in protection
systems to guarantee long and reliable
performance.
The 75Wh and 100Wh batteries
plus a single Fast Charger are now available,
with a dual charger and other accessories
coming soon. Zacuto is partnering with
Hawk-Woods manufacturing, a broadcast
equipment company located in England, to
distribute the Gripper Series. Zacuto offers
worldwide distribution through its dealer
network and the Zacuto store.
Zacuto has also introduced the Gratical Eye Micro-OLED SDI EVF. The smallest
and the lightest EVF in Zacuto's Micro-OLED
lineup, the Gratical Eye is targeted at filmmakers working with professional SDI
cameras and external power systems.
The 14-ounce Gratical Eye has the
same bright, brilliant 5.4 million pixel micro96
September 2016
OLED screen, high-quality precision optics,
and powerful FPGA dual-core processor as
Zacuto's two other Gratical EVF models. It
incorporates Zacuto's patented anti-fog
coated lens and a full range of software
features, including scopes, LUTs and two
forms of peaking. New to the Gratical Eye
are two unique features: an external tally
light and a proximity screen saver.
The Gratical Eye eliminates the
Canon LP-E6 battery found on other EVFs
and replaces it with the widely used 2-pin
Lemo connector; Zacuto has created a
custom power video cable combining a
BNC with a 2-pin Lemo to power tap. HDMI
customers can easily use the Eye with an
HDMI converter. Gripper batteries are also
ideal for use with the Gratical Eye.
For additional information, visit
www.zacuto.com.
DMG Lumière Opens
Toronto Office
Lighting company DMG Lumière -
which is run by brothers Mathieu, Nils and
Jean de Montgrand, along with European
gaffer Nicholas Georg - has opened an
office in Toronto, Canada. The company's
founding principle is to utilize LEDs as efficiently as possible - in terms of size,
weight, control and light output.
With its successful Switch LED lighting range, the company has gained the
trust of Europe's filmmaking community
and is now moving into the North American
market. Jean de Montgrand will be running
the new Toronto office, which is located at
545 King Street West, Toronto, Ontario,
M5V 1M.
For additional information, visit
www.dmglumiere.com.
American Cinematographer
Canon Adds Modular Camera,
Relocates Technology Center
Canon U.S.A., Inc., has announced
the latest addition to its line of multipurpose modular cameras, the ME200S-SH.
The 8.2-megapixel Super 35mm compact
box camera features both high sensitivity
and a cinema look for high-quality image
capture. Canon's Dual Pixel CMOS autofocus technology provides users with a range
of focusing options when using compatible
Canon EF and Cine-Servo lenses.
The ME200S-SH camera's compact,
modular design allows for easy custom
configurations for diverse scenarios. Live HD
use is possible with 1920x1080, 60p or 50p
output, and Dual Pixel CMOS AF and
Remote (RC-V100) functionality; genlock is
standard for multi-purpose camera use.
Remote manual control of focus, iris, auto
exposure and ND filters is available with the
optional Canon RC-V100 controller.
Infrared shooting and ISO 204,800 allow
for surveillance applications.
The ME200S-SH includes both
Canon Log and Wide DR Gamma, providing users with high dynamic range and the
ability to choose their postproduction strategy. Additionally, the camera employs
Canon's EF Mount, providing shooters with
the ability to use a diverse array of compatible lenses; the Cine Lock feature allows
users to easily mount the lens without
having to rotate it into the mount.
The ME200S-SH features 3G/HD-SDI
and HDMI output terminals that enable
users to output video via a single cable to a
variety of peripheral equipment, including
external recorders and monitors. A 12-pin
lens jack is provided to enable communication with the drive unit of select Cine-Servo
http://www.ducloslenses.com
http://www.zacuto.com
http://www.dmglumiere.com
American Cinematographer - September 2016
Table of Contents for the Digital Edition of American Cinematographer - September 2016
Contents
American Cinematographer - September 2016 - Intro
American Cinematographer - September 2016 - Cover1
American Cinematographer - September 2016 - Cover2
American Cinematographer - September 2016 - 1
American Cinematographer - September 2016 - 2
American Cinematographer - September 2016 - Contents
American Cinematographer - September 2016 - 4
American Cinematographer - September 2016 - 5
American Cinematographer - September 2016 - 6
American Cinematographer - September 2016 - 7
American Cinematographer - September 2016 - 8
American Cinematographer - September 2016 - 9
American Cinematographer - September 2016 - 10
American Cinematographer - September 2016 - 11
American Cinematographer - September 2016 - 12
American Cinematographer - September 2016 - 13
American Cinematographer - September 2016 - 14
American Cinematographer - September 2016 - 15
American Cinematographer - September 2016 - 16
American Cinematographer - September 2016 - 17
American Cinematographer - September 2016 - 18
American Cinematographer - September 2016 - 19
American Cinematographer - September 2016 - 20
American Cinematographer - September 2016 - 21
American Cinematographer - September 2016 - 22
American Cinematographer - September 2016 - 23
American Cinematographer - September 2016 - 24
American Cinematographer - September 2016 - 25
American Cinematographer - September 2016 - 26
American Cinematographer - September 2016 - 27
American Cinematographer - September 2016 - 28
American Cinematographer - September 2016 - 29
American Cinematographer - September 2016 - 30
American Cinematographer - September 2016 - 31
American Cinematographer - September 2016 - 32
American Cinematographer - September 2016 - 33
American Cinematographer - September 2016 - 34
American Cinematographer - September 2016 - 35
American Cinematographer - September 2016 - 36
American Cinematographer - September 2016 - 37
American Cinematographer - September 2016 - 38
American Cinematographer - September 2016 - 39
American Cinematographer - September 2016 - 40
American Cinematographer - September 2016 - 41
American Cinematographer - September 2016 - 42
American Cinematographer - September 2016 - 43
American Cinematographer - September 2016 - 44
American Cinematographer - September 2016 - 45
American Cinematographer - September 2016 - 46
American Cinematographer - September 2016 - 47
American Cinematographer - September 2016 - 48
American Cinematographer - September 2016 - 49
American Cinematographer - September 2016 - 50
American Cinematographer - September 2016 - 51
American Cinematographer - September 2016 - 52
American Cinematographer - September 2016 - 53
American Cinematographer - September 2016 - 54
American Cinematographer - September 2016 - 55
American Cinematographer - September 2016 - 56
American Cinematographer - September 2016 - 57
American Cinematographer - September 2016 - 58
American Cinematographer - September 2016 - 59
American Cinematographer - September 2016 - 60
American Cinematographer - September 2016 - 61
American Cinematographer - September 2016 - 62
American Cinematographer - September 2016 - 63
American Cinematographer - September 2016 - 64
American Cinematographer - September 2016 - 65
American Cinematographer - September 2016 - 66
American Cinematographer - September 2016 - 67
American Cinematographer - September 2016 - 68
American Cinematographer - September 2016 - 69
American Cinematographer - September 2016 - 70
American Cinematographer - September 2016 - 71
American Cinematographer - September 2016 - 72
American Cinematographer - September 2016 - 73
American Cinematographer - September 2016 - 74
American Cinematographer - September 2016 - 75
American Cinematographer - September 2016 - 76
American Cinematographer - September 2016 - 77
American Cinematographer - September 2016 - 78
American Cinematographer - September 2016 - 79
American Cinematographer - September 2016 - 80
American Cinematographer - September 2016 - 81
American Cinematographer - September 2016 - 82
American Cinematographer - September 2016 - 83
American Cinematographer - September 2016 - 84
American Cinematographer - September 2016 - 85
American Cinematographer - September 2016 - 86
American Cinematographer - September 2016 - 87
American Cinematographer - September 2016 - 88
American Cinematographer - September 2016 - 89
American Cinematographer - September 2016 - 90
American Cinematographer - September 2016 - 91
American Cinematographer - September 2016 - 92
American Cinematographer - September 2016 - 93
American Cinematographer - September 2016 - 94
American Cinematographer - September 2016 - 95
American Cinematographer - September 2016 - 96
American Cinematographer - September 2016 - 97
American Cinematographer - September 2016 - 98
American Cinematographer - September 2016 - 99
American Cinematographer - September 2016 - 100
American Cinematographer - September 2016 - 101
American Cinematographer - September 2016 - 102
American Cinematographer - September 2016 - 103
American Cinematographer - September 2016 - 104
American Cinematographer - September 2016 - 105
American Cinematographer - September 2016 - 106
American Cinematographer - September 2016 - 107
American Cinematographer - September 2016 - 108
American Cinematographer - September 2016 - 109
American Cinematographer - September 2016 - 110
American Cinematographer - September 2016 - 111
American Cinematographer - September 2016 - 112
American Cinematographer - September 2016 - Cover3
American Cinematographer - September 2016 - Cover4
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