American Cinematographer - April 2015 - 102

saved for future color grading. The Webbased LUT browsing tool allows users to
access hundreds of ACES-based camera LUTs
from Fujifilm, including many with negative
and positive film-stock emulations. In addition, Mini Manager Plus+ has the capability
of importing and exporting LUTs from many
different color-corrector format types, allowing simple exchange of looks between the
set and post house. For digital-imaging technicians and colorists, the new Tone Curve
tool and 12-vector color manipulation functions will be particularly beneficial. The
enhanced color-measurement tool in the
monitor-calibration section now features
automatic grayscale and RGB measurements
for demanding color professionals.
For additional information, visit
www.fujifilm.com/products/motion_picture/.
Tiffen Goes Solo
The Tiffen Co. has announced the
availability of the Steadicam Solo camera
stabilizer. Ideal for both DSLRs and
camcorders, the Solo can be used handheld,
as a monopod or with a Steadicam arm and
vest. It boasts a sleek and lightweight frame,
and durability to match the larger Steadicam
models.
Capable of being folded to a compact
25"x6" profile, the Solo system readily
supports cameras weighing up to 10
pounds. The closely engineered three-axis
gimbal design enables the precise movements and excellent stability demanded by
professional operators, while the ergonomic
foam handle and grips - which control the
four-section telescopic post - provide a high
level of comfort.
Other features include a quickrelease camera-mounting plate,
push-on lock, push-button release,
positive-positioning clamping,
standard 1⁄4-20 and 3⁄8-16
camera mounting, and simple
dual knob fore-aft vernier
adjustment.
The Steadicam Solo is available as an
upgradeable
handheld
camera stabilizer or as a
complete system with sled,
arm and vest.
For additional information, visit
www.tiffen.com/steadicam.

102

April 2015

Pictorvision Flies Heavy-Lift
Drones
Pictorvision has announced that it
has received FAA approval to fly two new
heavy-lift drones for aerial cinematography.
Pictorvision's two new drones are
the PV-HL1, which will fly a Red Dragon for
up to 15 minutes, and the PV-HL2, which
will fly a Red Dragon for up to 20 minutes.
"Alternatively, we can trade off some of this
extended flight time in order to fly heavier
payloads, up to 20 pounds, allowing
productions even greater choices in
cameras and lenses," notes Tom Hallman,
Pictorvision's president.
The two new drones join Pictorvision's original PV-ML1 medium-lift
unmanned aircraft, which carries a GH4
camera package and has already successfully shot for multiple clients.
For additional information, visit
www.pictorvision.com.
Kodak Announces
Studio Support
Kodak has announced that it has
finalized new film-supply agreements with
all six major Hollywood studios. As part of
these agreements, Kodak will continue to
provide motion-picture film to 20th
Century Fox, Walt Disney Co., Warner Bros.
Entertainment Inc., NBC Universal Inc.,
Paramount Pictures Corp. and Sony Pictures
for their movie and television productions.
"Film has long been - and will
remain - a vital part of our culture," says
Jeff Clarke, Kodak's chief executive officer.
"With the support of the studios, we will
continue to provide motion-picture film,
with its unparalleled richness and unique
textures, to enable filmmakers to tell their
stories and demonstrate their art."
The agreements make it possible for
Kodak to continue to manufacture motionpicture film while also pursuing new opportunities to leverage film production technologies in growth applications, such as
American Cinematographer

touch screens for smart phones and tablet
computers. This also positions the company
to remain the premier supplier of camera
negative, intermediate stock for postproduction, and archival and print film.
"With the support of the major
studios, the creative community can
continue to confidently choose film for their
projects," says Andrew Evenski, Kodak's
president of Entertainment & Commercial
Films. "We've been asking filmmakers,
'What makes a project film worthy?' Their
responses have varied from the need for its
exceptional depth to its distinctive grain, but
overwhelmingly, the answer is 'the story.'
They need film to tell their stories the way
they envision them, and hold a strong desire
for it to remain a critical part of their visual
language. Enabling artists to use film will
help them to create the moments that
make cinema history."
For additional information, visit
www.kodak.com/go/motion.
Rosco Expands Backdrop Rentals
Rosco has launched the SoftDrops
line of fabric backdrops for the film and
television industry. Printed on woven cotton
and offered in Frontlight, Backlight or
Day/Night Backdrop technologies, SoftDrops can be produced in seamless sizes as
large as 40' high by 170' wide. This large,
seamless size allows filmmakers to shoot
from any angle or position, avoiding visible
seams. The ultra-matte finish is semitranslucent and requires less light to illuminate than vinyl.
Rosco has also announced the
expansion of its North American rental facilities for its award-winning backdrops.
Rosco's backdrop rental inventory will now
be stored and shipped from Stamford,
Conn. as well as the existing Sun Valley,
Calif. facility, minimizing the shipping time
and cost to customers working in the eastern part of the region. As in the Sun Valley
location, Rosco backdrops are also available
for same-day pickup from Stamford.
Rosco Digital Imaging has supplied
backdrops for the film and television industries for more than 20 years. The rental
inventory consists of more than 1,000 backdrops, and can be viewed on the Rosco
Digital Imaging database at www.roscodig
➣
ital.com.


http://www.fujifilm.com/products/motion_picture/ http://www.kodak.com/go/motion http://www.pictorvision.com http://www.tiffen.com/steadicam http://www.roscodigital.com http://www.roscodigital.com

Table of Contents for the Digital Edition of American Cinematographer - April 2015

Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
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American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
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American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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