American Cinematographer - June 2008 - 98

New Products & Services IDX V-mount that allows direct attachment to an IDX battery for rear mounting on a camera (the unit can also be powered directly by DC) and the selection of four manual or auto-select frequencies with 256-bit encryption. For more information, visit www.idx.tv. More Power from Anton/Bauer Anton/Bauer has expanded its Cine line of power products with the addition of the Cine-VCLX/2 battery, addressing a wide range of power requirements for both film and video productions. Like the Cine-VCLX, the new VCLX/2 offers the flexibility of dual simultaneous output voltages, delivering up to 32 amps of total power — 12 amps from the regulated 28-volt channel and 20 amps from the 14-volt channel. The VCLX/2 delivers 280 watt hours in a compact, easy-to-handle package while employing NiMH technology carried over from Anton/Bauer’s fieldproven Hytron video batteries. As a consequence, the batteries are not subject to the transportation restrictions of lithium ion or the disposal burdens of lead acid. In addition to the range of film and digital cameras the VCLX/2 can power, the battery’s high-power 28-volt output can address up to 250-watt HMI lights and lighting panels from various manufacturers. The Cine batteries also fit all dollies, including ChapmanLeonard and J.L. Fisher. Both the VCLX and VCLX/2 feature Anton/Bauer’s exclusive RealTime capacity display, calibrated for the higher loads of cinema equipment, along with a visual LED battery-change warning. Furthermore, specialized InterActive chargers cut the charge time to three hours for the VCLX/2. For more information, visit www.antonbauer.com. Steady Shooting with Stasis Flex Building on the innovations of the original Stasis body support, Anton/Bauer has introduced the Stasis Flex, redirecting the geometry of a handheld camera by redistributing its weight into the operator’s torso and over the shoulder. The innovative design enables an operator to shoot in virtually any position as it relieves fatigue and stabilizes shooting. With a patent-pending adjust- IDX Rides Cam-Wave IDX System Technology, Inc. has introduced the Cam-Wave HD, a mobile transmission system that eliminates the need for cables in many remote situations, even when shooting in high-definition (HD) video. Producing uncompressed, full-bandwidth HD-SDI and SDSDI pictures, the Cam-Wave HD transmits those images wirelessly with less than a 1-millisecond delay across distances up to 150' in line-of-sight situations or 100' through walls. With no visible antennas, the lightweight (1.7 pounds) Cam-Wave HD transmits via encrypted MIMO/OFDM (orthogonal frequency division multiplexing), freeing the operator’s movements while offering convenience and cost savings to productions. “IDX is diversifying and developing products that provide technologically advanced, value-added services for camera operators and production owners alike,” notes Henry Hara, president of IDX. “Wireless technology holds great promise for the production industry, and we are pleased to be a leader in this emerging technology.” Other features of the Cam-Wave HD include two channels of embedded audio, 11-watt power consumption, an 98 June 2008
http://www.idx.tv http://www.antonbauer.com

American Cinematographer - June 2008

Table of Contents for the Digital Edition of American Cinematographer - June 2008

American Cinematographer - June 2008
Contents
Editor's Note
Short Takes: "100 Days, " Sharon Jones and the Dap-Kings
Production Slate: Mongol
Production Slate: Greensburg
Vintage Indy
A Prince in Peril
Women's World
90 Years of Precision
Post Focus: A 3-D Imax Work Flow for Wild Ocean
Post Focus: 3cP Incorporates ASC CDL on State of Play
Filmmakers' Forum: John Baily, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
In Memoriam: Gayne Rescher, ASC
Clubhouse News
ASC Close-Up: Rob McLachlan
American Cinematographer - June 2008 - American Cinematographer - June 2008
American Cinematographer - June 2008 - Cover2
American Cinematographer - June 2008 - 1
American Cinematographer - June 2008 - 2
American Cinematographer - June 2008 - Contents
American Cinematographer - June 2008 - 4
American Cinematographer - June 2008 - 5
American Cinematographer - June 2008 - 6
American Cinematographer - June 2008 - 7
American Cinematographer - June 2008 - Editor's Note
American Cinematographer - June 2008 - 9
American Cinematographer - June 2008 - Short Takes: "100 Days, " Sharon Jones and the Dap-Kings
American Cinematographer - June 2008 - 11
American Cinematographer - June 2008 - 12
American Cinematographer - June 2008 - 13
American Cinematographer - June 2008 - 14
American Cinematographer - June 2008 - 15
American Cinematographer - June 2008 - Production Slate: Greensburg
American Cinematographer - June 2008 - 17
American Cinematographer - June 2008 - 18
American Cinematographer - June 2008 - 19
American Cinematographer - June 2008 - 20
American Cinematographer - June 2008 - 21
American Cinematographer - June 2008 - 22
American Cinematographer - June 2008 - 23
American Cinematographer - June 2008 - 24
American Cinematographer - June 2008 - 25
American Cinematographer - June 2008 - 26
American Cinematographer - June 2008 - 27
American Cinematographer - June 2008 - Vintage Indy
American Cinematographer - June 2008 - 29
American Cinematographer - June 2008 - 30
American Cinematographer - June 2008 - 31
American Cinematographer - June 2008 - 32
American Cinematographer - June 2008 - 33
American Cinematographer - June 2008 - 34
American Cinematographer - June 2008 - 35
American Cinematographer - June 2008 - 36
American Cinematographer - June 2008 - 37
American Cinematographer - June 2008 - A Prince in Peril
American Cinematographer - June 2008 - 39
American Cinematographer - June 2008 - 40
American Cinematographer - June 2008 - 41
American Cinematographer - June 2008 - 42
American Cinematographer - June 2008 - 43
American Cinematographer - June 2008 - 44
American Cinematographer - June 2008 - 45
American Cinematographer - June 2008 - 46
American Cinematographer - June 2008 - 47
American Cinematographer - June 2008 - 48
American Cinematographer - June 2008 - 49
American Cinematographer - June 2008 - 50
American Cinematographer - June 2008 - 51
American Cinematographer - June 2008 - 52
American Cinematographer - June 2008 - 53
American Cinematographer - June 2008 - 54
American Cinematographer - June 2008 - 55
American Cinematographer - June 2008 - Women's World
American Cinematographer - June 2008 - 57
American Cinematographer - June 2008 - 58
American Cinematographer - June 2008 - 59
American Cinematographer - June 2008 - 60
American Cinematographer - June 2008 - 61
American Cinematographer - June 2008 - 62
American Cinematographer - June 2008 - 63
American Cinematographer - June 2008 - 64
American Cinematographer - June 2008 - 65
American Cinematographer - June 2008 - 66
American Cinematographer - June 2008 - 67
American Cinematographer - June 2008 - 90 Years of Precision
American Cinematographer - June 2008 - 69
American Cinematographer - June 2008 - 70
American Cinematographer - June 2008 - 71
American Cinematographer - June 2008 - 72
American Cinematographer - June 2008 - 73
American Cinematographer - June 2008 - 74
American Cinematographer - June 2008 - 75
American Cinematographer - June 2008 - 76
American Cinematographer - June 2008 - 77
American Cinematographer - June 2008 - 78
American Cinematographer - June 2008 - 79
American Cinematographer - June 2008 - 80
American Cinematographer - June 2008 - 81
American Cinematographer - June 2008 - Post Focus: 3cP Incorporates ASC CDL on State of Play
American Cinematographer - June 2008 - 83
American Cinematographer - June 2008 - 84
American Cinematographer - June 2008 - 85
American Cinematographer - June 2008 - 86
American Cinematographer - June 2008 - 87
American Cinematographer - June 2008 - 88
American Cinematographer - June 2008 - 89
American Cinematographer - June 2008 - 90
American Cinematographer - June 2008 - 91
American Cinematographer - June 2008 - Filmmakers' Forum: John Baily, ASC
American Cinematographer - June 2008 - 93
American Cinematographer - June 2008 - 94
American Cinematographer - June 2008 - 95
American Cinematographer - June 2008 - 96
American Cinematographer - June 2008 - 97
American Cinematographer - June 2008 - New Products & Services
American Cinematographer - June 2008 - 99
American Cinematographer - June 2008 - 100
American Cinematographer - June 2008 - 101
American Cinematographer - June 2008 - 102
American Cinematographer - June 2008 - 103
American Cinematographer - June 2008 - 104
American Cinematographer - June 2008 - 105
American Cinematographer - June 2008 - 106
American Cinematographer - June 2008 - 107
American Cinematographer - June 2008 - 108
American Cinematographer - June 2008 - 109
American Cinematographer - June 2008 - International Marketplace
American Cinematographer - June 2008 - 111
American Cinematographer - June 2008 - Ad Index
American Cinematographer - June 2008 - 113
American Cinematographer - June 2008 - ASC Membership Roster
American Cinematographer - June 2008 - 115
American Cinematographer - June 2008 - In Memoriam: Gayne Rescher, ASC
American Cinematographer - June 2008 - 117
American Cinematographer - June 2008 - Clubhouse News
American Cinematographer - June 2008 - 119
American Cinematographer - June 2008 - ASC Close-Up: Rob McLachlan
American Cinematographer - June 2008 - Cover3
American Cinematographer - June 2008 - Cover4
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