American Cinematographer - May 2011 - 86

available with a lens kit (comprising 35mm, 50mm and 85mm T2.0 prime lenses) for a suggested price of $23,000. For additional information, visit www.sony.com/cinealta.

P+S Technik Develops Weisscam Upgrade Modules P+S Technik has developed three software-based Application Upgrade Modules for the multi-purpose Weisscam HS-2 MKII high-speed camera system, which can capture from 1 to 70,000 fps. The Film Mode Module provides enhanced image quality for recording at any frame rate. This mode optimizes the camera settings, significantly enhancing and stabilizing blacks and low-light areas. The result is 30-percent better performance on the signal, especially at lower frame rates; reduced readout noise; and increased dynamic range. The Studio Mode Module allows for the integration of the Weisscam HS-2 MKII directly into studio environments. It provides RAW support for external IT recording devices via GigE, and RAM HD-SDI preview is available from the camera during recording and playback. The Studio Mode also enables easy setup and control of the camera via a Hand Unit. The Rental Mode Module offers the possibility to modify the Weisscam HS-2 MKII to the needs of rental customers. Customers can choose from three different presets tailored for different applications, and all feature sets can be changed and unlocked on set by entering a PIN code. The three presets currently available are Commercial, Fiction and TV Drama. For additional information, visit www.pstechnik.de.

Panasonic Expands P2 Camcorder Line Panasonic Solutions Company has introduced the AJ-HPX3100 master-quality 1080p P2 HD camcorder, its most compact and lowest-price 2⁄ 3" 1080p 3-CCD camcorder. Featuring three 2⁄3" high-density 2.2million-pixel CCDs, the HPX3100 captures full-raster 1920x1080-resolution imaging with 4:2:2 10-bit sampling using the advanced AVC-Intra codec. The camcorder records in multiple worldwide formats, in HD in AVC-Intra and in DVCPro HD at 1080 in 24p, 25p, 30p, 50i and 60i, and in SD (480i/586i) in DVCPro50, DVCPro and DV. N ew features in the HPX3100 include 24-bit audio in AVC-Intra 100/50, wireless metadata input capability via wireless LAN and high-quality proxy recording. The proxy board also provides uncompressed audio, which can enhance editing, especially for projects with a large amount of content, like reality TV and long-form projects. The camcorder is equipped with seven advanced gamma settings, including Film-Rec 600-percent mode (made popular by the VariCam) for capturing increased dynamic range. It also features a built-in reverse scan that allows unique setups such as mounting the camera upside down or the use of a prime lens or an anamorphic lens adapter to create a 2.35:1 image. Offering a new slim-line size for added mobility, the HPX3100 sports a low center of gravity and weighs only 8.6 pounds. The P2 HD camcorder’s superb performance is enhanced with advanced 14-bit A/D conversion and a 12-pole matrix color-correction function. Additional highend features include a Chromatic Aberration Compensation (CAC) function that corrects for lateral chromatic aberration in lenses, and a three-level Dynamic Range Stretch (DRS) function that reduces blocked shadows and blown highlights in scenes where bright and dark objects coexist. The HPX3100 has a high sensitivity of F11 at 2,000 lux in 1080i, and an S/N ratio of 59 dB (with Digital Noise Reduction turned on). Power consumption is about 34 watts. The camcorder records on high data transfer speed E-Series P2 cards (capacity up to 64GB).The HPX3100 has dual optical
American Cinematographer

filter wheels for separate control of ND and CC,and a flip-out, 3.5" color LCD monitor for easy viewing. There is an option for a color or black-and-white type viewfinder. Standard interfaces include an HD-SDI input for external line recording, IEEE 1394A in/out, USB 2.0 in/out, genlock in with HD Tri-Level Sync or VBS in, and SMPTE time code in/out. The HPX3100 supports full 48kHz/24-bit audio recording on all four channels (in AVC-Intra 100/50), and supports the optional AJ-RC10G and AJ-EC4 remote control units for image and control adjustment. Other features include Digital Zoom and Digital Super Gain, and a One-clip REC function that records up to 99 consecutive cuts as a single clip, greatly facilitating editing. The AJ-HPX3100 is available at a suggested price of $19,950. To lower total ownership costs, Panasonic offers a five-year limited warranty (the company’s normal 1year basic warranty plus an extended warranty for years two through five upon registration). For additional information, visit www.panasonic.com/broadcast. Arri Updates Alexa Software Arri has released Software Update Packet 3.0 for its Alexa digital camera system. SUP 3.0 enables a host of new and updated features. For low-light situations, SUP 3.0 extends Alexa’s sensitivity to EI 3,200; the new lineup of exposure indices is EI 160, EI 200, EI 400, EI 800, EI 1,600 and EI 3,200. Alexa’s color-processing engine has also been significantly enhanced, providing higher color saturation in highlights as well as improved skin tones under tungsten light. Two new gamma options have also been added: Log C delivers a signal similar to negative film scanned on an Arriscan, and DCI P3 is the color space used for digital cinema projectors.

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May 2011


http://www.sony.com/cinealta http://www.panasonic.com/broadcast http://www.pstechnik.de

American Cinematographer - May 2011

Table of Contents for the Digital Edition of American Cinematographer - May 2011

American Cinematographer - May 2011
Contents
Editor’s Note
President’s Desk
Short Takes
Production Slate
Living Out Loud
A Saint and a Sinner
First Dance
Decoding Digital Imagers: Part 1
A Hollywood Affair
Post Focus
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam
Clubhouse News
ASC Close-Up
American Cinematographer - May 2011 - American Cinematographer - May 2011
American Cinematographer - May 2011 - Cover2
American Cinematographer - May 2011 - 1
American Cinematographer - May 2011 - 2
American Cinematographer - May 2011 - Contents
American Cinematographer - May 2011 - 4
American Cinematographer - May 2011 - 5
American Cinematographer - May 2011 - 6
American Cinematographer - May 2011 - 7
American Cinematographer - May 2011 - Editor’s Note
American Cinematographer - May 2011 - 9
American Cinematographer - May 2011 - President’s Desk
American Cinematographer - May 2011 - 11
American Cinematographer - May 2011 - Short Takes
American Cinematographer - May 2011 - 13
American Cinematographer - May 2011 - 14
American Cinematographer - May 2011 - 15
American Cinematographer - May 2011 - 16
American Cinematographer - May 2011 - 17
American Cinematographer - May 2011 - Production Slate
American Cinematographer - May 2011 - 19
American Cinematographer - May 2011 - 20
American Cinematographer - May 2011 - 21
American Cinematographer - May 2011 - 22
American Cinematographer - May 2011 - 23
American Cinematographer - May 2011 - 24
American Cinematographer - May 2011 - 25
American Cinematographer - May 2011 - 26
American Cinematographer - May 2011 - 27
American Cinematographer - May 2011 - Living Out Loud
American Cinematographer - May 2011 - 29
American Cinematographer - May 2011 - 30
American Cinematographer - May 2011 - 31
American Cinematographer - May 2011 - 32
American Cinematographer - May 2011 - 33
American Cinematographer - May 2011 - 34
American Cinematographer - May 2011 - 35
American Cinematographer - May 2011 - 36
American Cinematographer - May 2011 - 37
American Cinematographer - May 2011 - 38
American Cinematographer - May 2011 - 39
American Cinematographer - May 2011 - A Saint and a Sinner
American Cinematographer - May 2011 - 41
American Cinematographer - May 2011 - 42
American Cinematographer - May 2011 - 43
American Cinematographer - May 2011 - 44
American Cinematographer - May 2011 - 45
American Cinematographer - May 2011 - 46
American Cinematographer - May 2011 - 47
American Cinematographer - May 2011 - 48
American Cinematographer - May 2011 - 49
American Cinematographer - May 2011 - 50
American Cinematographer - May 2011 - 51
American Cinematographer - May 2011 - First Dance
American Cinematographer - May 2011 - 53
American Cinematographer - May 2011 - 54
American Cinematographer - May 2011 - 55
American Cinematographer - May 2011 - 56
American Cinematographer - May 2011 - 57
American Cinematographer - May 2011 - 58
American Cinematographer - May 2011 - 59
American Cinematographer - May 2011 - Decoding Digital Imagers: Part 1
American Cinematographer - May 2011 - 61
American Cinematographer - May 2011 - 62
American Cinematographer - May 2011 - 63
American Cinematographer - May 2011 - 64
American Cinematographer - May 2011 - 65
American Cinematographer - May 2011 - 66
American Cinematographer - May 2011 - 67
American Cinematographer - May 2011 - 68
American Cinematographer - May 2011 - A Hollywood Affair
American Cinematographer - May 2011 - 70
American Cinematographer - May 2011 - 71
American Cinematographer - May 2011 - 72
American Cinematographer - May 2011 - 73
American Cinematographer - May 2011 - 74
American Cinematographer - May 2011 - 75
American Cinematographer - May 2011 - 76
American Cinematographer - May 2011 - 77
American Cinematographer - May 2011 - 78
American Cinematographer - May 2011 - 79
American Cinematographer - May 2011 - 80
American Cinematographer - May 2011 - 81
American Cinematographer - May 2011 - Post Focus
American Cinematographer - May 2011 - 83
American Cinematographer - May 2011 - New Products & Services
American Cinematographer - May 2011 - 85
American Cinematographer - May 2011 - 86
American Cinematographer - May 2011 - 87
American Cinematographer - May 2011 - International Marketplace
American Cinematographer - May 2011 - Classified Ads
American Cinematographer - May 2011 - Ad Index
American Cinematographer - May 2011 - 91
American Cinematographer - May 2011 - In Memoriam
American Cinematographer - May 2011 - 93
American Cinematographer - May 2011 - Clubhouse News
American Cinematographer - May 2011 - 95
American Cinematographer - May 2011 - ASC Close-Up
American Cinematographer - May 2011 - Cover3
American Cinematographer - May 2011 - Cover4
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