American Cinematographer - November 2014 - 92

Denz Expands
Viewfinder,
Support Offerings
Munich-based accessories manufacturer Denz has
expanded its viewfinder lineup
with the introduction of the OIC
35-A, which offers users the ability to
switch back and forth between
spherical and anamorphic viewing.
Adapted from the OIC 35, the
ground-glass holder allows the use of all
previous Arriflex 435 ground glasses. Additional features include an adjustable
eyepiece (+/-3 diopter), a removable eyecup,
and either a PL or Panavision mount.
Additionally, Denz has extended the
functionality of its BP-multi bridge-plate
system with the introduction of the BP12,
which allows BP-multi owners to use the
bridge plate with Arri Alexa cameras.
The BP12 adapter is one part of the
Digital Camera Bracket 90°, which Denz
developed in cooperation with Paris-based
Photo-Cine-Rent.
The DCB 90
enables "upright"
framing - as is
becoming increasingly popular with
smart-phone videography - and can mount any
digital camera at a 90-degree
angle on any tripod, dolly or other support.
In addition to the BP12 adapter, the DCB 90
system comprises two 90-degree brackets,
two redesigned BP-multi-specials, a universal balancing bracket, a camera-specific
support plate and four rods (optional).
For additional information, visit
www.denz-deniz.com.
HP Grows DreamColor Family
Hewlett-Packard Co. has announced
two new HP DreamColor Displays. The HP
Z27x and Z24x displays for PCs and Macs
feature HP's second-generation DreamColor
Engine and provide up to 1.07 billion onscreen colors. Compared to the previousgeneration product, the new displays are
57-percent thinner and include up to 60percent more pixels and a 4,000-percent
increase in the internal color palette.
The HP Z24x delivers the color accuracy and consistency that users have come
92

November 2014

to expect from the HP DreamColor brand,
but at less than 25 percent of the price of
the original HP DreamColor Display. The HP
Z27x breaks new ground by providing three
times the color accuracy over the previous
generation, HP's host-less integrated calibration engine with built-in support for thirdparty professional color-measurement
instruments, Ethernet-based remote
management with an integrated Web
server, and a published software development kit that allows customers to fully integrate the monitor into their existing color
workflows.
Key features of both new displays
include consistent 10-bit color accuracy with
push-button color-space selection for easy
calibration; one-button access to presets
such as sRGB D65, sRGB D50, Adobe RGB,
BT.709, BT.2020 and DCI-P3; the ability to
easily create a custom color space with full
control over primaries, white point and tone
response; and easy connection to existing
workflows through support by Windows,
Mac or Linux operating systems.
The HP Z27x also offers an ultra-wide
digital cinema color gamut with 100
percent of sRGB, 100 percent of AdobeRGB
and 99 percent of DCI-P3; and the HP Night
Vision interface with auto-fade button
backlights and selectable red button backlight color for better low-light viewing in
darkened working conditions.
The result of a technology collaboration with DreamWorks Animation SKG Inc.
and other leading studios, the first HP
DreamColor Display, the HP LP2480zx,
addressed an increasingly critical need for
affordable and consistent color accuracy in
the animation, photography, film/video
post, broadcast, product design and
graphic-arts categories. The HP DreamColor
Z27x and Z24x are available now for $1,499
and $599, respectively.
For additional information, visit
www.hp.com.
MSE Elevates Lo Boy
Matthews Studio Equipment has
introduced the Lo Boy Crank-O-Vator II. The
latest version of the rugged Lo Boy CrankO-Vator was designed to support the lighting and grip equipment necessary for
modern productions.
"At Matthews, one of our prime
American Cinematographer

goals is to listen to production crews," says
Robert Kulesh, vice president of sales and
marketing for MSE. "One of the things that
has been requested lately is a really rugged,
heavy-duty cranking stand. So, we didn't set
out to reinvent the wheel - we just
replaced the 'old' style stand with a different
and better option. ... The strong and robust
lightweight casters are standard, and the
Big Boy heavy-duty casters are available as
an option."
Also new to this version is a singleriser and double-riser option. The Crank-OVator does away with the "push to release"
button to raise the fixture; the button is now
used solely as a safety feature while lowering the fixture. There are seven moving parts
in the entire assembly. The breakaway
design protects the handle and eliminates
the need to reverse it for storage and/or
transit. Additionally, the columns can be
raised and lowered without any weight.
For additional information, visit
www.msegrip.com.
Dracast Spotlights
LED Fresnel
Series
Dracast has
introduced the
LED Fresnel Series,
which incorporates
the company's Multi
Array Surface Mount
LED technology. MASM uses
an array of perfectly balanced
high-output surface-mount LED chips,
and fits them into an ultra-focused lens
housing. This creates tremendous light
output with virtually flawless color consistency.
The Fresnel Series, which currently
comprises the Fresnel1000 and Fresnel2000
fixtures, also features a virtually silent active
fan cooling system, and a high CRI of 95.
For additional information, visit
www.dracast.com.
●


http://www.msegrip.com http://www.denz-deniz.com http://www.hp.com http://www.dracast.com

American Cinematographer - November 2014

Table of Contents for the Digital Edition of American Cinematographer - November 2014

Contents
American Cinematographer - November 2014 - Cover1
American Cinematographer - November 2014 - Cover2
American Cinematographer - November 2014 - 1
American Cinematographer - November 2014 - 2
American Cinematographer - November 2014 - Contents
American Cinematographer - November 2014 - 4
American Cinematographer - November 2014 - 5
American Cinematographer - November 2014 - 6
American Cinematographer - November 2014 - 7
American Cinematographer - November 2014 - 8
American Cinematographer - November 2014 - 9
American Cinematographer - November 2014 - 10
American Cinematographer - November 2014 - 11
American Cinematographer - November 2014 - 12
American Cinematographer - November 2014 - 13
American Cinematographer - November 2014 - 14
American Cinematographer - November 2014 - 15
American Cinematographer - November 2014 - 16
American Cinematographer - November 2014 - 17
American Cinematographer - November 2014 - 18
American Cinematographer - November 2014 - 19
American Cinematographer - November 2014 - 20
American Cinematographer - November 2014 - 21
American Cinematographer - November 2014 - 22
American Cinematographer - November 2014 - 23
American Cinematographer - November 2014 - 24
American Cinematographer - November 2014 - 25
American Cinematographer - November 2014 - 26
American Cinematographer - November 2014 - 27
American Cinematographer - November 2014 - 28
American Cinematographer - November 2014 - 29
American Cinematographer - November 2014 - 30
American Cinematographer - November 2014 - 31
American Cinematographer - November 2014 - 32
American Cinematographer - November 2014 - 33
American Cinematographer - November 2014 - 34
American Cinematographer - November 2014 - 35
American Cinematographer - November 2014 - 36
American Cinematographer - November 2014 - 37
American Cinematographer - November 2014 - 38
American Cinematographer - November 2014 - 39
American Cinematographer - November 2014 - 40
American Cinematographer - November 2014 - 40a
American Cinematographer - November 2014 - 40b
American Cinematographer - November 2014 - 41
American Cinematographer - November 2014 - 42
American Cinematographer - November 2014 - 43
American Cinematographer - November 2014 - 44
American Cinematographer - November 2014 - 45
American Cinematographer - November 2014 - 46
American Cinematographer - November 2014 - 47
American Cinematographer - November 2014 - 48
American Cinematographer - November 2014 - 49
American Cinematographer - November 2014 - 50
American Cinematographer - November 2014 - 51
American Cinematographer - November 2014 - 52
American Cinematographer - November 2014 - 53
American Cinematographer - November 2014 - 54
American Cinematographer - November 2014 - 55
American Cinematographer - November 2014 - 56
American Cinematographer - November 2014 - 57
American Cinematographer - November 2014 - 58
American Cinematographer - November 2014 - 59
American Cinematographer - November 2014 - 60
American Cinematographer - November 2014 - 61
American Cinematographer - November 2014 - 62
American Cinematographer - November 2014 - 63
American Cinematographer - November 2014 - 64
American Cinematographer - November 2014 - 65
American Cinematographer - November 2014 - 66
American Cinematographer - November 2014 - 67
American Cinematographer - November 2014 - 68
American Cinematographer - November 2014 - 69
American Cinematographer - November 2014 - 70
American Cinematographer - November 2014 - 71
American Cinematographer - November 2014 - 72
American Cinematographer - November 2014 - 73
American Cinematographer - November 2014 - 74
American Cinematographer - November 2014 - 75
American Cinematographer - November 2014 - 76
American Cinematographer - November 2014 - 77
American Cinematographer - November 2014 - 78
American Cinematographer - November 2014 - 79
American Cinematographer - November 2014 - 80
American Cinematographer - November 2014 - K1
American Cinematographer - November 2014 - K2
American Cinematographer - November 2014 - K3
American Cinematographer - November 2014 - K4
American Cinematographer - November 2014 - K5
American Cinematographer - November 2014 - K6
American Cinematographer - November 2014 - K7
American Cinematographer - November 2014 - K8
American Cinematographer - November 2014 - K9
American Cinematographer - November 2014 - K10
American Cinematographer - November 2014 - K11
American Cinematographer - November 2014 - K12
American Cinematographer - November 2014 - 81
American Cinematographer - November 2014 - 82
American Cinematographer - November 2014 - 83
American Cinematographer - November 2014 - 84
American Cinematographer - November 2014 - 85
American Cinematographer - November 2014 - 86
American Cinematographer - November 2014 - 87
American Cinematographer - November 2014 - 88
American Cinematographer - November 2014 - 89
American Cinematographer - November 2014 - 90
American Cinematographer - November 2014 - 91
American Cinematographer - November 2014 - 92
American Cinematographer - November 2014 - 93
American Cinematographer - November 2014 - 94
American Cinematographer - November 2014 - 95
American Cinematographer - November 2014 - 96
American Cinematographer - November 2014 - 97
American Cinematographer - November 2014 - 98
American Cinematographer - November 2014 - 99
American Cinematographer - November 2014 - 100
American Cinematographer - November 2014 - Cover3
American Cinematographer - November 2014 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com