American Cinematographer - October 2015 - 88

88

able animation wheel. A
high-speed mechanical iris
and an independent fivefacet rotating-step prism
further add to the graphical abilities. A lenticular
feature allows the output
to be further modified to
create a rectangular hard
edge or extruded gobo imagery.
The DMX-selectable Shaft mode allows
the VL4000 BeamWash to also function as a
powerful, collimated ray of light. With 43,000
lumens, the narrow output from the 10" lens
creates a bright parallel shaft. The 4-degree
beam angle can be further reduced to near 0
degrees with the mechanical iris. In addition,
all of the standard features - such as gobos,
animation wheel, prism and color mixing -
are fully functional when utilizing Shaft mode.
Whether used as a Wash, Beam or
Shaft fixture, the VL4000 BeamWash includes
the Infinity Color Mix system, which provides
smooth color changes and instantaneous
snaps. Two five-position fixed color wheels
and variable color correction further add to the
unit's color abilities, and the fixture also
contains smooth dimming flags that, when
combined with independent shutter blades,
deliver excellent dimming and strobing abilities.
For additional information, visit
www.vari-lite.com.

3,000K to 5,600K and renders a very clean
light quality. CRI values are 96 for the SL15600 and 94 for the SL1-3200. Without
diffusion, the SL1-Switch offers 3,000 lux at
1 meter.
Accessories include a soft box and
egg-crate-style louvers from DOP Choice;
barn doors; a variety of mounts, including a
handle mount and a 360-degree mount;
and a variety of powering solutions, including standard AC DMX and a DC converter
that adapts any battery source from 12 to
35 volts. Additionally, the Dome is a round
thermal-formed diffuser that slides onto the
fixture.
Director of photography Antoine
Roch, AFC has used the SL1 on two
features, including Attila Marcel (pictured).
"The SL1 has a great beam, a high light
output and a very precise color temperature," he says. "Definitely a modern tool
well adapted to the cinematography of
current filmmaking."

Maccam Distributes DMG's SL1
Van Nuys, Calif.-based lighting specialists Maccam are now distributing the SL1
Smart Light LED fixture range - manufactured by Lyon, France-based DMG Lumiere -
in North America.
DMG Lumiere is run by brothers Mathieu, Nils and Jean de Montgrand along with
European gaffer Nicholas Georg. Mathieu, a
cinematographer, and Georg conceived of the
SL1, and together made a wish list of features
and capabilities. Nils, who has worked in lighting technology for more than a dozen years,
helped them perfect the design.
The SL1's rectangular format echoes
that of the commonly used four-bank fluorescent fixture, but the SL1 is only about 2
centimeters thick and approximately 1⁄3 the
weight of a standard fluorescent while
producing roughly 15 percent more light. The
DMX-controllable power box ranges from

Thierry Arbogast, AFC has also used
the SL1. "I really like the beam of the SL1,
with the softness it has," he says. "I used it
on car rigs in broad daylight. It also turned
out to be very useful for its weight and low
power consumption."
DMG Lumiere has plans in the works
for variations on the SL1, including the
SLMini, which will be half the size of the
SL1, and a larger version. Nils notes, "Our
goal has always been to design and build a
lamp that is optimized for the exacting standards of cinema production. Our biggest
thrill is to see the creative application of the
lamp by filmmakers, so the availability of
the SL1 in North America is very exciting for
us."
For
additional
information,
visit
www.dmglumiere.com
and
www.maccam.tv.

October 2015

American Cinematographer

Extrasensory Devices Provides
Luxi For All
Extrasensory Devices has introduced
Luxi For All, a light-diffusion dome that fits
over the frontfacing camera of
an iOS or
Android device.
When used in
conjunction with
the Luxi or other
light-meter
apps, Luxi For All
enables
the
smartphone or
tablet to serve as
a professional-quality light meter.
Developed and produced with funds
from a successful Kickstarter campaign, Luxi
For All comes with a microfiber carry bag
and lanyard, and retails for $29.95.
For additional information, visit
www.esdevices.com.
Ikan Spotlights HF40
Ikan has introduced the HF40 Helia
Bi-Color LED light, which offers color
temperatures ranging from 2,700K to
5,600K. The 4" Fresnel lens can focus from
60-degree flood to 15-degree spot.
The HF40 features an easy-to-read
LCD screen for easy adjustment of menu
settings, and the bi-color light can
be simply adjusted with the turn of
a knob, allowing users to precisely
dial in the
desired Kelvin
temperature.
The fixture also
incorporates a
flicker feature,
allowing for
special-effect
lighting or for
dialing in the flicker frequency to accommodate off-speed shooting.
The HF40 can be powered with a
pro battery and comes with a V-mount
battery plate and DC cable, barn doors, and
an AC power cable.
For additional information, visit
●
www.ikancorp.com.


http://www.esdevices.com http://www.vari-lite.com http://www.ikancorp.com http://www.dmglumiere.com http://www.maccam.tv

Table of Contents for the Digital Edition of American Cinematographer - October 2015

Contents
American Cinematographer - October 2015 - Intro
American Cinematographer - October 2015 - Cover1
American Cinematographer - October 2015 - Cover2
American Cinematographer - October 2015 - 1
American Cinematographer - October 2015 - 2
American Cinematographer - October 2015 - Contents
American Cinematographer - October 2015 - 4
American Cinematographer - October 2015 - 5
American Cinematographer - October 2015 - 6
American Cinematographer - October 2015 - 7
American Cinematographer - October 2015 - 8
American Cinematographer - October 2015 - 9
American Cinematographer - October 2015 - 10
American Cinematographer - October 2015 - 11
American Cinematographer - October 2015 - 12
American Cinematographer - October 2015 - 13
American Cinematographer - October 2015 - 14
American Cinematographer - October 2015 - 15
American Cinematographer - October 2015 - 16
American Cinematographer - October 2015 - 17
American Cinematographer - October 2015 - 18
American Cinematographer - October 2015 - 19
American Cinematographer - October 2015 - 20
American Cinematographer - October 2015 - 21
American Cinematographer - October 2015 - 22
American Cinematographer - October 2015 - 23
American Cinematographer - October 2015 - 24
American Cinematographer - October 2015 - 25
American Cinematographer - October 2015 - 26
American Cinematographer - October 2015 - 27
American Cinematographer - October 2015 - 28
American Cinematographer - October 2015 - 29
American Cinematographer - October 2015 - 30
American Cinematographer - October 2015 - 31
American Cinematographer - October 2015 - 32
American Cinematographer - October 2015 - 33
American Cinematographer - October 2015 - 34
American Cinematographer - October 2015 - 35
American Cinematographer - October 2015 - 36
American Cinematographer - October 2015 - 37
American Cinematographer - October 2015 - 38
American Cinematographer - October 2015 - 39
American Cinematographer - October 2015 - 40
American Cinematographer - October 2015 - 41
American Cinematographer - October 2015 - 42
American Cinematographer - October 2015 - 43
American Cinematographer - October 2015 - 44
American Cinematographer - October 2015 - 45
American Cinematographer - October 2015 - 46
American Cinematographer - October 2015 - 47
American Cinematographer - October 2015 - 48
American Cinematographer - October 2015 - 49
American Cinematographer - October 2015 - 50
American Cinematographer - October 2015 - 50a
American Cinematographer - October 2015 - 50b
American Cinematographer - October 2015 - 51
American Cinematographer - October 2015 - 52
American Cinematographer - October 2015 - 53
American Cinematographer - October 2015 - 54
American Cinematographer - October 2015 - 55
American Cinematographer - October 2015 - 56
American Cinematographer - October 2015 - 57
American Cinematographer - October 2015 - 58
American Cinematographer - October 2015 - 59
American Cinematographer - October 2015 - 60
American Cinematographer - October 2015 - 61
American Cinematographer - October 2015 - 62
American Cinematographer - October 2015 - 63
American Cinematographer - October 2015 - 64
American Cinematographer - October 2015 - 65
American Cinematographer - October 2015 - 66
American Cinematographer - October 2015 - 67
American Cinematographer - October 2015 - 68
American Cinematographer - October 2015 - 69
American Cinematographer - October 2015 - 70
American Cinematographer - October 2015 - 71
American Cinematographer - October 2015 - 72
American Cinematographer - October 2015 - 73
American Cinematographer - October 2015 - 74
American Cinematographer - October 2015 - 75
American Cinematographer - October 2015 - 76
American Cinematographer - October 2015 - 77
American Cinematographer - October 2015 - 78
American Cinematographer - October 2015 - 79
American Cinematographer - October 2015 - 80
American Cinematographer - October 2015 - 81
American Cinematographer - October 2015 - 82
American Cinematographer - October 2015 - 83
American Cinematographer - October 2015 - 84
American Cinematographer - October 2015 - 85
American Cinematographer - October 2015 - 86
American Cinematographer - October 2015 - 87
American Cinematographer - October 2015 - 88
American Cinematographer - October 2015 - 89
American Cinematographer - October 2015 - 90
American Cinematographer - October 2015 - 91
American Cinematographer - October 2015 - 92
American Cinematographer - October 2015 - 93
American Cinematographer - October 2015 - 94
American Cinematographer - October 2015 - 95
American Cinematographer - October 2015 - 96
American Cinematographer - October 2015 - Cover3
American Cinematographer - October 2015 - Cover4
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