American Cinematographer - April 2015 - 110

Red Giant Unveils
New Magic Bullet Suite
Red Giant has announced Magic
Bullet Suite 12. Delivering a powerful colorcorrection and grading experience, Magic
Bullet Suite 12 includes a host of new
features and improvements to existing
tools, and introduces the all-new Magic
Bullet Film. Built on the same foundation as
Red Giant Universe, Magic Bullet Suite 12
includes GPU acceleration for Magic Bullet
Looks, Colorista III, Mojo, Cosmo and Magic
Bullet Film, bringing real-time color correction and grading directly to the editing host
application.
New features in Magic Bullet Looks
include 198 new Looks presets based off of
popular films and TV shows, as well as nine
new tools such as color space, four-way
color, and film negative and film print.
Colorista III has been streamlined dramatically, and now integrates with Adobe
Creative Cloud's masking and automatic
tracking features. The all-new Magic Bullet
Film gives footage the look of motionpicture film by emulating the entire photochemical process, from the original film
negative through color timing to the final
print stock.
Magic Bullet Suite integrates seamlessly within an artist's host application of
choice, providing powerful, real-time tools
directly on the user's editing timeline. GPU
acceleration further improves the workflow
by making previewing and rendering faster
than ever. The tools are fully compatible
with Adobe After Effects and Premiere Pro,
and include additional host support for Final
Cut Pro X, Avid and other industry-standard
110

NLEs. (Support varies depending on the
tool.)
For additional information, visit
www.redgiant.com.
Technicolor-PostWorks
Acquires The Room
Technicolor-PostWorks New York
has acquired The Room, the high-performance finishing studio that has been
hosted on its premises for the past three
years. Under the terms of the agreement,
The Room's staff, equipment and dedicated
4K workflow will be integrated into the
Technicolor-PostWorks facility at 110 Leroy
Street. Additionally, Ben Murray, founder of
The Room, will assume a new role as vice
president, Creative Services for TechnicolorPostWorks.
Technicolor-PostWorks COO Rob
DeMartin says the objective of the move is
to leverage the creative talent, workflow
and technology that have made The Room
the finishing facility of choice for a growing
number of independent filmmakers and
other content creators. The Room has
honed a client-centric approach to featurefilm postproduction, combining efficient
data and workflow management, state-ofthe-art technology, team-based operations
and personalized service. Recent credits
include the features St. Vincent, Her and
The Giver, and the series True Detective and
Marco Polo.
Murray will apply a similar approach
to the full range of Technicolor-PostWorks'
film and television operations. "Ben will be
our creative and technical lead, focusing on
workflow design, training, talent manage-


http://www.redgiant.com http://www.theasc.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
American Cinematographer - April 2015 - 8
American Cinematographer - April 2015 - 9
American Cinematographer - April 2015 - 10
American Cinematographer - April 2015 - 11
American Cinematographer - April 2015 - 12
American Cinematographer - April 2015 - 13
American Cinematographer - April 2015 - 14
American Cinematographer - April 2015 - 15
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American Cinematographer - April 2015 - 17
American Cinematographer - April 2015 - 18
American Cinematographer - April 2015 - 19
American Cinematographer - April 2015 - 20
American Cinematographer - April 2015 - 21
American Cinematographer - April 2015 - 22
American Cinematographer - April 2015 - 23
American Cinematographer - April 2015 - 24
American Cinematographer - April 2015 - 25
American Cinematographer - April 2015 - 26
American Cinematographer - April 2015 - 27
American Cinematographer - April 2015 - 28
American Cinematographer - April 2015 - 29
American Cinematographer - April 2015 - 30
American Cinematographer - April 2015 - 31
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American Cinematographer - April 2015 - 33
American Cinematographer - April 2015 - 34
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American Cinematographer - April 2015 - 36
American Cinematographer - April 2015 - 37
American Cinematographer - April 2015 - 38
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American Cinematographer - April 2015 - 41
American Cinematographer - April 2015 - 42
American Cinematographer - April 2015 - 43
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American Cinematographer - April 2015 - 45
American Cinematographer - April 2015 - 46
American Cinematographer - April 2015 - 47
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American Cinematographer - April 2015 - 49
American Cinematographer - April 2015 - 50
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American Cinematographer - April 2015 - 60
American Cinematographer - April 2015 - 61
American Cinematographer - April 2015 - 62
American Cinematographer - April 2015 - 63
American Cinematographer - April 2015 - 64
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
American Cinematographer - April 2015 - I8
American Cinematographer - April 2015 - 65
American Cinematographer - April 2015 - 66
American Cinematographer - April 2015 - 67
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American Cinematographer - April 2015 - 109
American Cinematographer - April 2015 - 110
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American Cinematographer - April 2015 - 120
American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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