American Cinematographer - November 2017 - 80

Edelkrone Enables App Support
Edelkrone's SliderPlus app is now
available for Android users, providing wireless control over focus, tilt,
pan, and object or subject
tracking with the company's
SliderPlus motion-control slider
systems. A focus button locks
a target, and from there up to
five more points can be set for
automatic rack focusing. With
settings for duration and
speed, the target can be
shifted manually through the
graphic interface thumbwheel. Lens information and
focal points can all be stored and repeated.
Custom thumbnails, transition durations, and in and out points can be set, and
manual moves, including pan and tilt, can
be recorded and played back with programmable, tapered stops and starts. Motions
can also be converted into time-lapse
through a "convert to stop-motion"
button, and the time-lapse can be set for
several days. Communication is performed
through a low-power-consumption Bluetooth connection, and operations are accessible from a single screen via a graphic
thumbwheel interface. The SliderPlus app
and program executions can run in the
background so the user can simultaneously
access other phone applications.
There are three primary components
to the SliderPlus motion-control system: the
Slide Module, the Head Module and the
Focus Module. Edelkrone's SliderPlus X
Short offers 1.6' of travel and is built to
accommodate professional camera setups
up to 30 pounds; the SliderPlus X Long can
support up to 22 pounds across 2.9' of
travel. The compact SliderPlus M Short will
carry smaller camcorders and DSLR systems
weighing up to 17 pounds for up to 1.3',
and the SliderPlus M Long will carry systems
up to 9 pounds for up to 2.6'. The SliderPlus
models can also be used as standalone
tabletop dollies thanks to their flip-down,
independently adjustable legs.
Edelkrone makes a number of other
camera-slider devices, like the SurfaceOne
two-axis tabletop dolly, which also works
with the Edelkrone SliderPlus app, and the
SliderOne, which is available with a Motion
Module for up to 20 pounds of support and
80

November 2017

6" of travel. Additionally, the company
offers the compact FocusOne focus puller
and the three-wheel PocketSkater, which
supports smaller cameras of up to 5.5
pounds for tabletop dolly moves and closeup, wide-angle arcs. Thanks to two front
wheels and Edelkrone's Flextilt head, the
PocketSkater can also be used in a compact
mode, without wheels extended, for smartphones and action cams.
For additional information, visit
www.edelkrone.com.
Panasonic Adds Compact
Cine Camera
Panasonic has unveiled the AU-EVA1
EF-mount compact cinema camera, which
features a 5.7K Super 35 sensor for 4K, 10bit 4:2:2 recording. Weighing 2.64 pounds
and measuring 6.69"x5.31"x5.23", the
camera boasts an imaging engine capable
of up to 14 stops of dynamic range, as well
as high-frame-rate abilities including 4K
recording at up to 60 fps, and a cropped
image area at up to 240 fps.
At 24.60mm x 12.97mm, the sensor
has an effective pixel count of 5720x3016
for nearly twice the image information of
the DCI 4K standard (4096x2160); the 5.7K
sensor yields a higher-resolving image when
down-sampled to 4K, UHD, 2K or even
720p. Additionally, the increased color information results in a finer, more accurate
finished image.
Available codecs include 4:2:2 10-bit
and 4:2:0 8-bit Long GOP, with bit rates of
up to 150 Mbps. A promised update will
bring 4:2:2 10-bit Intra as well as 400 Mbps
capture when using SD cards with the latest
Video Speed Class V60 (60 MB/s) or V90 (90
MB/s) ratings. Panasonic has announced

American Cinematographer

raw output as an update that will be made
available in the near future.
Like Panasonic's VariCam camera
systems, the AU-EVA1 boasts a dual native
ISO with minimized noise and artifacts - in
this case, 800 and 2,500, whereas the VariCam line offers 800 and 5,000. Colorimetry
is based on the same color science as the
VariCam line, with V-Log provided for plotting the conventional log curves of filmnegative scans, and V-Gamut capturing a
high enough amount of color information
to cover the BT.2020 color space.
For run-and-gun applications, Electronic Image Stabilization provides motion
compensation. The detachable handle and
rotary grip, as well as numerous threaded
mounts along the body, have been
designed to make the AU-EVA1 suitable for
use on drones, jibs, gimbals and other rigs.
The IR cut filter can be disengaged with the
press of a button. There is also internal ND
filtration in clear, 0.6, 1.2 and 1.8 densities.
Positioned by Panasonic as an affordable but advanced solution for videographers looking to take the next step into
professional work, the AU-EVA1 also incorporates dual XLR inputs and Dolby Audio
encoding. With standard time code, the
HDMI and SDI outputs can channel 4K as
well as HD streams for external recorders,
viewfinders and monitors.
The Panasonic AU-EVA1 comes with
the AG-VBR59 battery for approximately an
hour and a half of continuous operating
time. An optional AG-VBR118 battery
extends that operation to more than three
hours. The touch-panel LCD monitor
provides peaking, image zoom, waveform,
zebras, spot-meter, "focus squares" focusassist, and more.
For additional information, visit
www.panasonic.com.
New Products & Services is compiled
by David Alexander Willis. For more, visit
●
ascmag.com/articles/new-product.


http://www.edelkrone.com http://www.panasonic.com http://www.ascmag.com/articles/new-product

American Cinematographer - November 2017

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

Contents
American Cinematographer - November 2017 - Cover1
American Cinematographer - November 2017 - Cover2
American Cinematographer - November 2017 - 1
American Cinematographer - November 2017 - 2
American Cinematographer - November 2017 - Contents
American Cinematographer - November 2017 - 4
American Cinematographer - November 2017 - 5
American Cinematographer - November 2017 - 6
American Cinematographer - November 2017 - 7
American Cinematographer - November 2017 - 8
American Cinematographer - November 2017 - 9
American Cinematographer - November 2017 - 10
American Cinematographer - November 2017 - 11
American Cinematographer - November 2017 - 12
American Cinematographer - November 2017 - 13
American Cinematographer - November 2017 - 14
American Cinematographer - November 2017 - 15
American Cinematographer - November 2017 - 16
American Cinematographer - November 2017 - 17
American Cinematographer - November 2017 - 18
American Cinematographer - November 2017 - 19
American Cinematographer - November 2017 - 20
American Cinematographer - November 2017 - 21
American Cinematographer - November 2017 - 22
American Cinematographer - November 2017 - 23
American Cinematographer - November 2017 - 24
American Cinematographer - November 2017 - 25
American Cinematographer - November 2017 - 26
American Cinematographer - November 2017 - 27
American Cinematographer - November 2017 - 28
American Cinematographer - November 2017 - 29
American Cinematographer - November 2017 - 30
American Cinematographer - November 2017 - 31
American Cinematographer - November 2017 - 32
American Cinematographer - November 2017 - 33
American Cinematographer - November 2017 - 34
American Cinematographer - November 2017 - 35
American Cinematographer - November 2017 - 36
American Cinematographer - November 2017 - 37
American Cinematographer - November 2017 - 38
American Cinematographer - November 2017 - 39
American Cinematographer - November 2017 - 40
American Cinematographer - November 2017 - 41
American Cinematographer - November 2017 - 42
American Cinematographer - November 2017 - 43
American Cinematographer - November 2017 - 44
American Cinematographer - November 2017 - 45
American Cinematographer - November 2017 - 46
American Cinematographer - November 2017 - 47
American Cinematographer - November 2017 - 48
American Cinematographer - November 2017 - 48a
American Cinematographer - November 2017 - 48b
American Cinematographer - November 2017 - 49
American Cinematographer - November 2017 - 50
American Cinematographer - November 2017 - 51
American Cinematographer - November 2017 - 52
American Cinematographer - November 2017 - 53
American Cinematographer - November 2017 - 54
American Cinematographer - November 2017 - 55
American Cinematographer - November 2017 - 56
American Cinematographer - November 2017 - 57
American Cinematographer - November 2017 - 58
American Cinematographer - November 2017 - 59
American Cinematographer - November 2017 - 60
American Cinematographer - November 2017 - 61
American Cinematographer - November 2017 - 62
American Cinematographer - November 2017 - 63
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American Cinematographer - November 2017 - 74
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American Cinematographer - November 2017 - 79
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American Cinematographer - November 2017 - Cover3
American Cinematographer - November 2017 - Cover4
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