American Cinematographer - December 2016 - 88

New Products & Services
Red Launches Helium 8K Sensor
Red Digital Cinema recently visited
the ASC Clubhouse in Hollywood to
showcase the newly unveiled Red EpicW and Red Weapon cameras with the
company's Helium 8K S35 sensor,
which allows for higher resolution in an
S35 frame while maintaining the
dynamic range found in the Red
Dragon sensor. Both cameras feature
the compact DSMC2 form factor.
The Epic-W 8K S35 camera
captures 8K full-frame motion at up to 30 fps, produces ultradetailed 35.4 megapixel stills, and offers Super 35 lens coverage; the
camera is capable of fast data speeds up to 275MB/s. The camera
Brain is priced at $29,500.
The Weapon 8K S35 is the latest option in Red's Weapon line
of cameras. The Weapon 8K features data speeds up to 300MB/s,
the ability to capture 8K full-frame motion at up to 60 fps, and a
sensor upgrade path to the Red Dragon 8K VV. It is available for the
same price as the Weapon 6K with Red Dragon sensor, at $49,500
for the Brain.
Red also announced special pricing on these new cameras
for registered Red camera owners - as well as those that have
placed a deposit for Red Raven and Scarlet-W - starting at
$14,500. Full eligibility details are available at www.red.com.
Additionally, Red has announced an improved imageprocessing pipeline, including new color science. These improvements will be available in-camera on all Brains with a Helium sensor,
and will be available in postproduction to all footage shot on Red
cameras. The new image-processing pipeline will be made available
via free firmware and software upgrades.
All of Red's DSMC2 cameras offer excellent dynamic range
with the ability to record simultaneous Redcode Raw and Apple
ProRes or Avid DNxHD/HR. The cameras also adhere to the
company's dedication to "obsolescence obsolete," a core operating
principle that allows current Red owners to upgrade their technology as innovations are unveiled and move between camera systems
without having to purchase entirely new gear.
For additional information, visit www.red.com.
Angenieux, Band Pro, Jebsen Partner for EZ Lens Series
Thales Angenieux, in collaboration with Band Pro Film & Digital and Jebsen Industrial Technology Co., has announced the Angenieux Type EZ Series, which currently comprises two fast and lightweight zoom lenses that integrate a modular design based on Interchangeable Rear Optics (IRO) technology. Designed for both Super
35mm and FF/VistaVision digital motion-picture cameras, the Type
88

December 2016

* SUBMISSION INFORMATION *
Please e-mail New Products/Services releases to
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information and product images. Photos must be
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EZ series combines the flexibility necessary for run-and-gun shooting
with high optical quality at an affordable
price.
Both lenses in
the Type EZ Series allow
the rear lens group to
be exchanged between
Super 35mm (up to
30mm image diagonal)
and VistaVision (up to
46mm image diagonal). The Type EZ-1 is a standard zoom lens with
a zoom factor of 3x. When configured for S35 cameras, the focal
range and aperture are set to 30-90mm (T2); by exchanging the rear
lens group, the lens becomes a 45-135mm (T3), covering an image
circle up to 46mm diagonal. The Type EZ-2 is a wide zoom lens with
a zoom factor of 2.7x. When configured for S35 cameras, the focal
range and aperture are set to 15-40mm (T2); by exchanging the rear
lens group, the lens becomes a 22-60mm (T3), covering an image
circle up to 46mm diagonal.
Both lenses are built in a full metal casing with internal thermal drift compensation, which allows focus to remain constant
when the temperature changes. Focus, zoom and iris can be
controlled precisely due to the wide rotation angle of the three
control rings, which are also equipped with standard cinema-industry gear teeth. The lens size remains consistent across the zoom
range due to the internal focusing and zooming mechanism. Users
can easily configure these lenses to support different imaging
formats and different lens mounts - PL, EF or E - on their own,
without returning their lenses to service centers.
Full-frame EZ zooms will cover Red 8K VV and Red cameras
recording at resolutions higher than 5.5K, Arri Alexa Open Gate, Arri
Alexa 65 with VistaVision crop, and full-frame DSLR cameras such as
Sony's a7S Mark II and Canon's EOS 5D Mark IV. Detachable ENGstyle zoom servo grips and other accessories are being developed by
third-party manufacturers.
Deliveries are expected to start from the first quarter of 2017
through selected distribution partners. Preorders can be made by
contacting Band Pro's sales representatives.
For additional information, visit www.angenieux.com,
www.bandpro.com and www.jebsenindustrial.com.
Digital Sputnik Streamlines Lighting Control
Digital Sputnik has announced the DS Flow modular lightgrading and fixture-management software suite. The system offers
an intuitive toolset-based software solution for multicolored lighting
fixtures on any size of production, from a single lighting unit up to
thousands of fixtures. DS Flow supports sACN E1.31, Artnet, OSC

American Cinematographer


http://www.red.com http://www.red.com http://www.angenieux.com http://www.bandpro.com http://www.jebsenindustrial.com

American Cinematographer - December 2016

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

Contents
American Cinematographer - December 2016 - Cover1
American Cinematographer - December 2016 - Cover2
American Cinematographer - December 2016 - 1
American Cinematographer - December 2016 - 2
American Cinematographer - December 2016 - Contents
American Cinematographer - December 2016 - 4
American Cinematographer - December 2016 - 5
American Cinematographer - December 2016 - 6
American Cinematographer - December 2016 - 7
American Cinematographer - December 2016 - 8
American Cinematographer - December 2016 - 9
American Cinematographer - December 2016 - 10
American Cinematographer - December 2016 - 11
American Cinematographer - December 2016 - 12
American Cinematographer - December 2016 - 13
American Cinematographer - December 2016 - 14
American Cinematographer - December 2016 - 15
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American Cinematographer - December 2016 - 17
American Cinematographer - December 2016 - 18
American Cinematographer - December 2016 - 19
American Cinematographer - December 2016 - 20
American Cinematographer - December 2016 - 21
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American Cinematographer - December 2016 - 24
American Cinematographer - December 2016 - 25
American Cinematographer - December 2016 - 26
American Cinematographer - December 2016 - 27
American Cinematographer - December 2016 - 28
American Cinematographer - December 2016 - 29
American Cinematographer - December 2016 - 30
American Cinematographer - December 2016 - 31
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American Cinematographer - December 2016 - 33
American Cinematographer - December 2016 - 34
American Cinematographer - December 2016 - 35
American Cinematographer - December 2016 - 36
American Cinematographer - December 2016 - 37
American Cinematographer - December 2016 - 38
American Cinematographer - December 2016 - 39
American Cinematographer - December 2016 - 40
American Cinematographer - December 2016 - 41
American Cinematographer - December 2016 - 42
American Cinematographer - December 2016 - 43
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American Cinematographer - December 2016 - 45
American Cinematographer - December 2016 - 46
American Cinematographer - December 2016 - 47
American Cinematographer - December 2016 - 48
American Cinematographer - December 2016 - 49
American Cinematographer - December 2016 - 50
American Cinematographer - December 2016 - 51
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American Cinematographer - December 2016 - 53
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American Cinematographer - December 2016 - 57
American Cinematographer - December 2016 - 58
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American Cinematographer - December 2016 - 60
American Cinematographer - December 2016 - 61
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American Cinematographer - December 2016 - 63
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American Cinematographer - December 2016 - 65
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American Cinematographer - December 2016 - Cover3
American Cinematographer - December 2016 - Cover4
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