American Cinematographer - November 2016 - 78

& Lomb (Super Baltar), Canon (K-35 and
FD), Cooke (Panchro and Telepanchro),
Kinoptik, Kowa, Leica, Lomo (spherical and
anamorphic), Meyer-Optik-Görlitz, and
Schneider (Cinegon and Cine Xenon).
For additional information, visit
www.pstechnik.de.
MAT Launches Cosmo Dolly
Founded by Peter Braun in Hamburg,
Germany, in 1976 and celebrating 40 years
of contributions to the film, television and
music industries, Mad About Technology
(MAT) continues to innovate with the introduction of the Cosmo Dolly.

The Cosmo's design hides all of its
electronics inside, and its fast and highprecision belt drive enables smooth, noiseless shots. The lightweight dolly can work
on the ground, overhead, vertically and
diagonally, and can perform curved moves
on its 35cm-wide tracks. The compact,
30x82cm dolly can also be combined with a
special edition of the Academy Sci-Tech
Award-winning MAT-Towercam to create
one-of-a-kind moves.
For additional information, visit
www.mat-film.tv.
Zeiss Adds Lightweight Zoom
Zeiss has introduced the Lightweight
Zoom LWZ.3 21-100mm (T2.9-3.9) for the
Super 35 format. Weighing only 2kg (4.4
pounds), the LWZ.3 is compatible with all
common film cameras, and will be available
starting January 2017. The zoom lens' optical characteristics, as well as its long and
precise focus rotation and the high quality
of materials used in its construction, make it
an ideal lens for an array of applications.
The LWZ.3 is equipped with the
Interchangeable Mount System, with five
different mounts for all current camera
systems. Other features of the LWZ.3
78

November 2016

include calibrated scales, consistent imaging quality across the entire image field, no
vignetting, and the efficient reduction of
reflections thanks to the Zeiss T* anti-reflective coating.
For additional information, visit
www.zeiss.com.
Cineo Tunes HSX, Partners
With LumenRadio
Cineo Lighting has unveiled the HSX
Color-Tunable Soft Source.
The HSX features flicker-free operation and a color-tuning range of 2,700K6,000K while measuring in at
12"x21"x8.5". Boasting an output control
range of 0-100 percent with local control,
DMX and RDM support, and a straightforward, intuitive control interface, adjustments can be made quickly and efficiently.
A silent, passive cooling system without
fans ensures that no ambient noise will
disrupt a shoot.
Other features include three Standard Deviation Color Matching (SDCM)
variations over 50,000 hours, and presets at
2,700K, 3,200K, 4,300K, 5,600K and
6,000K. The HSX has no color shift over the
full dimming range and is 100-percent
compatible with all HS-line accessories.
Cineo Lighting has also announced
an OEM wireless partnership with LumenRadio, a leader in wireless technologies for
the entertainment industries.
With the addition of integrated
LumenRadio CRMX OEM RDM modules to
Cineo's HSX and HS2 Wave products, users
are now able to control and configure their
fixtures wirelessly. The HS product line is
highly configurable over RDM, and LumenRadio's RDM implementation means the
Cineo Lighting fixtures can now be
patched, monitored and configured from a
distance.

American Cinematographer

The HS2 Wave and HSX are the first
Cineo Lighting products to utilize LumenRadio's award-winning technology, and
Cineo promises that additional products -
both new and existing - will integrate the
technology in the near future.
For additional information, visit
www.cineolighting.com.
Gates Houses ME20
Gates Underwater Products has
introduced the ME20 underwater housing
system for use with Canon's ME20F-SH
multi-purpose camera, which is capable of
incredible low-light performance at up to 4
million ISO.
The Gates ME20 Housing is
designed to take advantage of the camera's
capabilities in order to capture natural bioluminescence, moonlit reefs, dark caves and
other light-challenged scenes without the
aid of artificial lighting. The Gates ME20
system is integrated with the Starlite ST5, a
small and highly capable external monitor
housing for Transvideo's StarliteHD OLED monitor.
Together, the ST5 and
StarliteHD give
users a 5" highresolution display
and H.264 proxies
recorded to SD
cards. Additionally,
the housing includes
integrated space for an external recorder such as Convergent
Design's Gemini. Adaptations for other
recorders and applications can be accommodated.
Consistent with Gates' line of
cinema housings, the Gates ME20 boasts
reliability, field serviceability, Gates Precision
Ports, an adjustable trim weight system for
buoyancy and balance, adjustable handle
grips, and an extensive line of accessories,
including a 3G-SDI surface feed and remote
camera control. The Gates ME20 also
supports all EF-mount lenses with Gates'
Lens Gear Drive system. The Gates Seal
Check II verifies housing integrity before
entering the water.
For additional information, visit
●
www.gateshousings.com.


http://www.pstechnik.de http://www.cineolighting.com http://www.zeiss.com http://www.mat-film.tv http://www.gateshousings.com

American Cinematographer - November 2016

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

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