American Cinematographer - February 2013 - 80

effects filters to Apple’s Final Cut Pro 7, Final
Cut Pro X and Motion 5.
Boris Continuum Complete gives
editors and motion-graphics artists the
power to create high-quality broadcast
graphics and perform project-saving image
restorations within Final Cut Pro. The expansive filter set includes extruded text, 3-D
particle effects, image restoration and
touchup tools, true 3-D lens flares and volumetric lighting effects, keys and mattes,
color-grading tools, time-based effects,
blurs, glows, stylish auto-animating transitions and cinematic effects such as film
glow, film grain, and film-process looks.
Highlights of BCC 8 FxPlug include
new Final Cut Pro X templates and transitions; extrusions for Final Cut Pro X that
make it easy to create 3-D objects using text
and shapes; Beat Reactor technology, which
enables easy generation of audio-driven
effects; a built-in masking system and builtin motion tracking for Final Cut Pro X; lensblur effects for Final Cut Pro X; and versatile,
high-quality glow effects. Other all-new
BCC 8 FxPlug filters include BCC Flicker
Fixer, BCC Lens Flare 3D, BCC Particle Emitter 3D, BCC Organic Strands, BCC Wild
Cards and BCC Stage Light.
For additional information, visit
www.borisfx.com.
Stargate Opens Middle
East Studio
Stargate Studios, a production
company that specializes in virtual production and visual effects, has partnered with
the Middle East Broadcasting Center Group
to open Stargate Middle East.
The company’s first two full-service
virtual production studios will be located in
Dubai Studio City, U.A.E., and Cairo, Egypt.
Both will be equipped with the latest digital
camera technologies, LED lighting, motion
tracking, real-time compositing, 3-D imaging and virtual sets. Both Stargate Dubai and
Stargate Cairo will employ multiple visualeffects supervisors, producers and local
graphic-artist talent and will feature extensive soundstages.
According to Stargate CEO Sam
Nicholson, ASC, the partnership with MBC
will further strengthen Stargate’s international presence and will bring the company’s
proprietary Virtual Backlot technology to the
80

February 2013

Middle East. “MBC has given us the opportunity to dramatically change the face of
the television industry throughout the
Middle East,” says Nicholson. “This partnership connects MBC to the entire Stargate global digital network, effectively
combining our production expertise and
advanced technologies with MBC’s creative
artistry and local programming.”
Founded in 1989, Stargate has
offices in Los Angeles, Atlanta, Berlin,
Vancouver, Toronto, Mumbai and Malta.
The company’s global network allows
clients to access more than 250 visualeffects artists and supervisors all over the
world, as well as high-speed data transfer
and simultaneous international rendering
and delivery. Stargate’s Virtual Backlot
provides an alternative to shooting on location, offering fully immersive environments
to shoot establishing shots, multiple-angle
coverage, walk-and-talks and driving.
For additional information, visit
www.stargatestudios.net.
Company 3 Plays “Games”
Company 3, a subsidiary of Deluxe
Entertainment Services Group Inc., recently
provided a variety of post services to its first
video-game project, Call of Duty: Black Ops
II. Concurrently, the company announced
the opening of Company 3 Games, a new
division dedicated to offering high-end
post services for game production.
“The creation of Company 3 Games
represents a new level of collaboration
between game developers as well as
publishers and providers of feature-filmlevel post services,” says ASC associate
member Stefan Sonnenfeld, president and
founder of Company 3. Malte Wagener,
vice president of Games, adds, “With the
amazing level of sophistication in games
and the immense talent pool in the feature
film world, a tight collaboration [between]
the two spheres is a natural development.”
Wagener, who oversees Games
from the division’s offices in Company 3’s
Santa Monica, Calif. headquarters, comes
to the position following an extensive
career in video-game business with companies such as Koch Media in Germany and
WEG, a division of CJ Media, in South
Korea. “I’m very excited to be leading
Company 3 Games,” he says. “With the
American Cinematographer

talent and resources of Company 3 and its
affiliated companies, we plan to set the
new standard for game postproduction.”
For
additional
information,
visit
www.company3.com
and
www.bydeluxe.com.
Visual Data Relocates
Visual Data Media Services, a
provider of integrated end-to-end post
solutions and distribution for all media
outlets, has opened a new facility in
Burbank, Calif. The location was designed
from scratch to support 21st-century workflows and accommodate the needs of a
changing industry.
The 30,000-square-foot facility
features 20 suites for editing, QC, color
correction and captioning built around a
highly secure Data Center, a large Digital
Machine Room and an Encoding Center.
The Data Center was built to support the
company’s proprietary Asset Management
System, which will simplify distribution and
archival tasks for Visual Data’s clients. The
new space also offers two mix stages, an
ADR stage and a Foley stage.
The increased capacity afforded by
the new facility will support Visual Data’s
wide-ranging services dedicated to the
creation, management, repurposing and
distribution of content. These offerings
include subtitling and localization, closed
captioning, DVD services, syndication
services, asset management, encoding,
digital cinema DCP and digital delivery. To
support these workflows, the facility has
been installed with the latest products from
a number of vendors, including DVS-SAN,
Aspera, Isilon, Avascent, Miranda and
Blackmagic Design’s DaVinci.
Visual Data Media Services, 610
North Hollywood Way, Burbank, Calif.,
91505. For more information, visit
www.visualdatainc.com.
Siren Digital Employs
Digital Vision
Siren Digital, a film, television and
new-media production group, has turned
to Digital Vision for a number of solutions
to power its new facility in Hollywood.
“We have a significant comfort level
and familiarity with Digital Vision’s
outstanding toolset, support and R&D


http://www.company3.com http://www.bydeluxe.com http://www.stargatestudios.net http://www.borisfx.com http://www.visualdatainc.com

American Cinematographer - February 2013

Table of Contents for the Digital Edition of American Cinematographer - February 2013

American Cinematographer - February 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
Production Slate: House of Cards • Caesar Must Die
The World’s Most Wanted Man
War on Crime
Crumbling Pillars
Vision and Verve
Postcards from Poland
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - American Cinematographer - February 2013
American Cinematographer - February 2013 - Cover2
American Cinematographer - February 2013 - 1
American Cinematographer - February 2013 - 2
American Cinematographer - February 2013 - Contents
American Cinematographer - February 2013 - 4
American Cinematographer - February 2013 - 5
American Cinematographer - February 2013 - 6
American Cinematographer - February 2013 - 7
American Cinematographer - February 2013 - Editor’s Note
American Cinematographer - February 2013 - 9
American Cinematographer - February 2013 - President’s Desk
American Cinematographer - February 2013 - 11
American Cinematographer - February 2013 - Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
American Cinematographer - February 2013 - 13
American Cinematographer - February 2013 - 14
American Cinematographer - February 2013 - 15
American Cinematographer - February 2013 - 16
American Cinematographer - February 2013 - 17
American Cinematographer - February 2013 - Production Slate: House of Cards • Caesar Must Die
American Cinematographer - February 2013 - 19
American Cinematographer - February 2013 - 20
American Cinematographer - February 2013 - 21
American Cinematographer - February 2013 - 22
American Cinematographer - February 2013 - 23
American Cinematographer - February 2013 - 24
American Cinematographer - February 2013 - 25
American Cinematographer - February 2013 - 26
American Cinematographer - February 2013 - 27
American Cinematographer - February 2013 - 28
American Cinematographer - February 2013 - 29
American Cinematographer - February 2013 - 30
American Cinematographer - February 2013 - 31
American Cinematographer - February 2013 - The World’s Most Wanted Man
American Cinematographer - February 2013 - 33
American Cinematographer - February 2013 - 34
American Cinematographer - February 2013 - 35
American Cinematographer - February 2013 - 36
American Cinematographer - February 2013 - 37
American Cinematographer - February 2013 - 38
American Cinematographer - February 2013 - 39
American Cinematographer - February 2013 - 40
American Cinematographer - February 2013 - 41
American Cinematographer - February 2013 - War on Crime
American Cinematographer - February 2013 - 43
American Cinematographer - February 2013 - 44
American Cinematographer - February 2013 - 45
American Cinematographer - February 2013 - 46
American Cinematographer - February 2013 - 47
American Cinematographer - February 2013 - 48
American Cinematographer - February 2013 - 49
American Cinematographer - February 2013 - 50
American Cinematographer - February 2013 - 51
American Cinematographer - February 2013 - 52
American Cinematographer - February 2013 - 53
American Cinematographer - February 2013 - Crumbling Pillars
American Cinematographer - February 2013 - 55
American Cinematographer - February 2013 - 56
American Cinematographer - February 2013 - 57
American Cinematographer - February 2013 - 58
American Cinematographer - February 2013 - 59
American Cinematographer - February 2013 - 60
American Cinematographer - February 2013 - 61
American Cinematographer - February 2013 - Vision and Verve
American Cinematographer - February 2013 - 63
American Cinematographer - February 2013 - 64
American Cinematographer - February 2013 - 65
American Cinematographer - February 2013 - 66
American Cinematographer - February 2013 - 67
American Cinematographer - February 2013 - 68
American Cinematographer - February 2013 - 69
American Cinematographer - February 2013 - 70
American Cinematographer - February 2013 - 71
American Cinematographer - February 2013 - Postcards from Poland
American Cinematographer - February 2013 - 73
American Cinematographer - February 2013 - 74
American Cinematographer - February 2013 - 75
American Cinematographer - February 2013 - New Products & Services
American Cinematographer - February 2013 - 77
American Cinematographer - February 2013 - 78
American Cinematographer - February 2013 - 79
American Cinematographer - February 2013 - 80
American Cinematographer - February 2013 - 81
American Cinematographer - February 2013 - International Marketplace
American Cinematographer - February 2013 - Classified Ads
American Cinematographer - February 2013 - Ad Index
American Cinematographer - February 2013 - 85
American Cinematographer - February 2013 - Clubhouse News
American Cinematographer - February 2013 - 87
American Cinematographer - February 2013 - ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - Cover3
American Cinematographer - February 2013 - Cover4
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