American Cinematographer - October 2017 - 77

then we do the final assembly, testing and
calibration in-house."
The DS Voyager can be set monochromatically or as homogenous, truewhite light; it can also be used for complex
lighting setups that may require flickering or
transitions, including traditional DMX
effects like police or firefighter lights as well
as firelight. Effects and transitions can move
smoothly from each LED diode to the next,
and even from fixture to fixture, enabling
large wraparound lighting effects.
Sequences and lighting designs can be
programmed, recorded and stored for
repeated playback or later usage. Additionally, the tubes are submersible in water for
up to 30 minutes.
The DS Voyager lights work with
DMX, ArtNet, sACN and RDM protocols to
ensure that they can be mixed with lighting
systems from other manufacturers. With a
built-in media server provided for network
access, the DS Voyager lights can create
their own Wi-Fi hotspot, one for each unit;
the systems can also be connected to
routers and networks.
"We want to make it very simple so
that it is accessible to everybody," Kallas
concludes. "You can have a certain area of
a fixture doing one thing, and a certain
other area doing something else. It's wraparound light, and it changes its color, its
intensity, [with] all of these effects, which
can be added on very easily. The media
server is built-in, and you have a resolution
of 1-by-83, and if you add another, it's 2-by83. So if you have 10 of these, you can even
play it a video feed, and play it back as a
display. It opens up a lot of new options."
For additional information, visit
www.digitalsputnik.com.

Kino Flo, BlockBattery
Power LEDs
Kino Flo Lighting Systems has partnered with BlockBattery for the KF21
battery system, which is designed to provide
DC power solutions for Kino Flo's LED
fixtures, including the FreeStyle 31 and 21
LED DMX, the Select 30 and 20 LED DMX,
the Diva-Lite 30 and 20 DMX, and the Celeb
250 LED DMX.
The KF21 battery system boasts a
travel-friendly nickel metal-hydride (NiMH)
chemistry, which is unrestricted for air and
ground transport. The batteries offer a
runtime of more than one hour at full
brightness - or longer when the fixtures
are dimmed - and a charge time of only
1.5 hours. The system's 140-watt hours and
nominal 28.8-volt output are well-matched
to the operating range of Kino Flo's LED

lighting systems, providing efficient use of
each battery's capacity. KF21 batteries can
also be adapted to 14.4-volt applications via
A/B-mount and V-mount adapters, or to
earlier Kino Flo lighting systems through
other BlockBattery adapters and accessories.
"One of the challenges for us as a
lighting manufacturer has been recommending battery solutions for our
customers," says Kino Flo sales manager
Scott Stueckle. "We want to provide those
solutions rather than put the burden of
researching batteries on our customers.
They don't need to look any further now."
"Kino Flo's lighting systems and the
new KF21 battery demonstrate the versatility of the 2F1 battery platform," says Greg
Prentiss, director of sales and marketing for
BlockBattery. "For years, lighting professionals have been struggling to adapt camera
batteries designed for applications typically
under 50 watts to lighting applications of
100 watts or more. The 2F1 battery platform is different in that it was designed from
the ground up to address applications up to


http://www.fluotec.net http://www.digitalsputnik.com

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

Contents
American Cinematographer - October 2017 - Cover1
American Cinematographer - October 2017 - Cover2
American Cinematographer - October 2017 - 1
American Cinematographer - October 2017 - 2
American Cinematographer - October 2017 - Contents
American Cinematographer - October 2017 - 4
American Cinematographer - October 2017 - 5
American Cinematographer - October 2017 - 6
American Cinematographer - October 2017 - 7
American Cinematographer - October 2017 - 8
American Cinematographer - October 2017 - 9
American Cinematographer - October 2017 - 10
American Cinematographer - October 2017 - 11
American Cinematographer - October 2017 - 12
American Cinematographer - October 2017 - 13
American Cinematographer - October 2017 - 14
American Cinematographer - October 2017 - 15
American Cinematographer - October 2017 - 16
American Cinematographer - October 2017 - 17
American Cinematographer - October 2017 - 18
American Cinematographer - October 2017 - 19
American Cinematographer - October 2017 - 20
American Cinematographer - October 2017 - 21
American Cinematographer - October 2017 - 22
American Cinematographer - October 2017 - 23
American Cinematographer - October 2017 - 24
American Cinematographer - October 2017 - 25
American Cinematographer - October 2017 - 26
American Cinematographer - October 2017 - 27
American Cinematographer - October 2017 - 28
American Cinematographer - October 2017 - 29
American Cinematographer - October 2017 - 30
American Cinematographer - October 2017 - 31
American Cinematographer - October 2017 - 32
American Cinematographer - October 2017 - 33
American Cinematographer - October 2017 - 34
American Cinematographer - October 2017 - 35
American Cinematographer - October 2017 - 36
American Cinematographer - October 2017 - 37
American Cinematographer - October 2017 - 38
American Cinematographer - October 2017 - 39
American Cinematographer - October 2017 - 40
American Cinematographer - October 2017 - 41
American Cinematographer - October 2017 - 42
American Cinematographer - October 2017 - 43
American Cinematographer - October 2017 - 44
American Cinematographer - October 2017 - 45
American Cinematographer - October 2017 - 46
American Cinematographer - October 2017 - 47
American Cinematographer - October 2017 - 48
American Cinematographer - October 2017 - 49
American Cinematographer - October 2017 - 50
American Cinematographer - October 2017 - 51
American Cinematographer - October 2017 - 52
American Cinematographer - October 2017 - 53
American Cinematographer - October 2017 - 54
American Cinematographer - October 2017 - 55
American Cinematographer - October 2017 - 56
American Cinematographer - October 2017 - 57
American Cinematographer - October 2017 - 58
American Cinematographer - October 2017 - 59
American Cinematographer - October 2017 - 60
American Cinematographer - October 2017 - 61
American Cinematographer - October 2017 - 62
American Cinematographer - October 2017 - 63
American Cinematographer - October 2017 - 64
American Cinematographer - October 2017 - 65
American Cinematographer - October 2017 - 66
American Cinematographer - October 2017 - 67
American Cinematographer - October 2017 - 68
American Cinematographer - October 2017 - 69
American Cinematographer - October 2017 - 70
American Cinematographer - October 2017 - 71
American Cinematographer - October 2017 - 72
American Cinematographer - October 2017 - 73
American Cinematographer - October 2017 - 74
American Cinematographer - October 2017 - 75
American Cinematographer - October 2017 - 76
American Cinematographer - October 2017 - 77
American Cinematographer - October 2017 - 78
American Cinematographer - October 2017 - 79
American Cinematographer - October 2017 - 80
American Cinematographer - October 2017 - 81
American Cinematographer - October 2017 - 82
American Cinematographer - October 2017 - 83
American Cinematographer - October 2017 - 84
American Cinematographer - October 2017 - 85
American Cinematographer - October 2017 - 86
American Cinematographer - October 2017 - 87
American Cinematographer - October 2017 - 88
American Cinematographer - October 2017 - Cover3
American Cinematographer - October 2017 - Cover4
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