American Cinematographer - June 2010 - 86

features 8 sensibly spaced grommets for suspending the cover over a light, or to tie the blanket to the light or a frame. BriteShot also offers a special tie-down cord designed to withstand temperatures up to 1,000°F. Measuring 4'x5' and weighing less than 7 pounds, the Thermal Rain Blanket can be easily folded for storage and transportation. For additional information, visit www.briteshotinc.com. Steadicam Tango Cuts a Rug The Tiffen Co. has introduced the lightweight Steadicam Tango, providing floor-to-ceiling boom range with lateral reach, full stability, intuitive control and simple construction for use with today’s small-form-factor HD cameras. The Steadicam Tango balances and feels like a single sled carrying all components. It provides a comfortable, centered operating position even at full up/down boom. The Tango incorporates rugged, allmechanical construction and uses a conventional Steadicam sled with the 6pound Tiffen Tango extension. “There are no electronics, gyros, wiring, connectors or power-hungry components,” says ASC associate member Garrett Brown, inventor of the Steadicam. “It also has a large-aperture interior cable path for camera/CCU interconnection. With your eyes closed, it feels like a normal Steadicam.” Features of the Steadicam Tango include 9' of continuous elevation and traverse with back-pan and back-tilt; 360degree pan and +/-90-degree tilt throughout the boom range; optimum pan and tilt inertia at all times; the ability to fit the camera into small openings with full angular control; rapid conversion from Tango mode to conventional Steadicam; stability when walking, running and climbing stairs; silent operation with no servo motor noise; and ultra-rapid traverse, elevation, pan and tilt. For more information, visit www.tiffen.com.

Matthews Shines with Hot Flags Matthews Studio Equipment has introduced Hot Flags. Designed as an alternative to previous high-temperature flags, Hot Flags allow precise cutting of light at relatively close distance to large, heatproducing HMI and tungsten fixtures. “Metal gets very hot, retains heat and takes a long time to cool off,” says Ed Phillips, owner of MSE. “Not Hot Flags. Made of a special, patented, thermal-resistant fabric, they not only dissipate heat rapidly, allowing for easier handling and faster tear-down of the lighting setup, they weigh about one-half the weight of metal P+S Technik Goes Freestyle P+S Technik has expanded its 3D Stereo Rig product family to include the Freestyle Rig, designed in collaboration with camera operator and stereography expert Philippe Bordelais. The Freestyle Rig incorporates patented Carbon Formula One technology to deliver an ideal combination of load

hi-temp flags.” Hot Flags come in four sizes: 18"x24", 24"x26", 48"x48" and 24"x72". For additional information, visit www.msegrip.com.

can carry a wide range of professional lenses and cameras weighing up to 15.4 pounds per camera. A range of ergonomic mounting accessories are available to prepare the rig for shoulder, crane and dolly use. For additional information, visit www.pstechnik.de. Woods Hole Shares 3-D Camera Systems The Advanced Imaging and Visualization Laboratory at the Woods Hole Oceanographic Institution — the world’s largest private, nonprofit ocean research, engineering and education organization — is expanding its Woods Hole Imaging Systems 3-D HD production services, making its 3-D camera rigs available to outside groups. The custom 3-D rigs have been specially designed for natural history, science, documentary and sports applications where image quality, reliability and overall equipment size are critical. Woods Hole Imaging has a proven track record of constructing ultra-small, low-power, highresolution mini 3-D camera systems capable of performing from 14,000' below sea

capacity, stability, form and weight. The Freestyle Rig’s construction offers maximum stiffness and dimensional stability even under heat; a lightweight, slim and compact design for mobility and portability; integrated motorization for optimal balance; and great ease of use with complete adjustability. Integrated motors for the stereo base and convergence adjustment optimize weight distribution and balance and are compatible with a number of wireless remote-control systems. The Freestyle Rig
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http://www.msegrip.com http://www.briteshotinc.com http://www.pstechnik.de http://www.tiffen.com

American Cinematographer - June 2010

Table of Contents for the Digital Edition of American Cinematographer - June 2010

The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
Features
Slings and Arrows (Robin Hood)
Desert Storm (Prince of Persia)
Very French Revenge (Micmacs)
Painting Towns White (The White Stripes)
Departments
Editor’s Note
President’s Desk
Short Takes: Land and Bread
Production Slate: Winter’s Bone • Harry Brown
Post Focus: Enhancing Frozen
Tricks of the Trade: Using Red’s False Color
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover1
American Cinematographer - June 2010 - Cover2
American Cinematographer - June 2010 - The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
American Cinematographer - June 2010 - 2
American Cinematographer - June 2010 - 3
American Cinematographer - June 2010 - 4
American Cinematographer - June 2010 - 5
American Cinematographer - June 2010 - 6
American Cinematographer - June 2010 - 7
American Cinematographer - June 2010 - Editor’s Note
American Cinematographer - June 2010 - 9
American Cinematographer - June 2010 - President’s Desk
American Cinematographer - June 2010 - 11
American Cinematographer - June 2010 - Short Takes: Land and Bread
American Cinematographer - June 2010 - 13
American Cinematographer - June 2010 - 14
American Cinematographer - June 2010 - 15
American Cinematographer - June 2010 - Production Slate: Winter’s Bone • Harry Brown
American Cinematographer - June 2010 - 17
American Cinematographer - June 2010 - 18
American Cinematographer - June 2010 - 19
American Cinematographer - June 2010 - 20
American Cinematographer - June 2010 - 21
American Cinematographer - June 2010 - 22
American Cinematographer - June 2010 - 23
American Cinematographer - June 2010 - 24
American Cinematographer - June 2010 - 25
American Cinematographer - June 2010 - 26
American Cinematographer - June 2010 - 27
American Cinematographer - June 2010 - 28
American Cinematographer - June 2010 - 29
American Cinematographer - June 2010 - Slings and Arrows (Robin Hood)
American Cinematographer - June 2010 - 31
American Cinematographer - June 2010 - 32
American Cinematographer - June 2010 - 33
American Cinematographer - June 2010 - 34
American Cinematographer - June 2010 - 35
American Cinematographer - June 2010 - 36
American Cinematographer - June 2010 - 37
American Cinematographer - June 2010 - 38
American Cinematographer - June 2010 - 39
American Cinematographer - June 2010 - 40
American Cinematographer - June 2010 - 41
American Cinematographer - June 2010 - Desert Storm (Prince of Persia)
American Cinematographer - June 2010 - 43
American Cinematographer - June 2010 - 44
American Cinematographer - June 2010 - 45
American Cinematographer - June 2010 - 46
American Cinematographer - June 2010 - 47
American Cinematographer - June 2010 - 48
American Cinematographer - June 2010 - 49
American Cinematographer - June 2010 - 50
American Cinematographer - June 2010 - 51
American Cinematographer - June 2010 - Very French Revenge (Micmacs)
American Cinematographer - June 2010 - 53
American Cinematographer - June 2010 - 54
American Cinematographer - June 2010 - 55
American Cinematographer - June 2010 - 56
American Cinematographer - June 2010 - 57
American Cinematographer - June 2010 - 58
American Cinematographer - June 2010 - 59
American Cinematographer - June 2010 - 60
American Cinematographer - June 2010 - 61
American Cinematographer - June 2010 - 62
American Cinematographer - June 2010 - 63
American Cinematographer - June 2010 - Painting Towns White (The White Stripes)
American Cinematographer - June 2010 - 65
American Cinematographer - June 2010 - 66
American Cinematographer - June 2010 - 67
American Cinematographer - June 2010 - 68
American Cinematographer - June 2010 - 69
American Cinematographer - June 2010 - 70
American Cinematographer - June 2010 - 71
American Cinematographer - June 2010 - Post Focus: Enhancing Frozen
American Cinematographer - June 2010 - 73
American Cinematographer - June 2010 - 74
American Cinematographer - June 2010 - 75
American Cinematographer - June 2010 - 76
American Cinematographer - June 2010 - 77
American Cinematographer - June 2010 - Tricks of the Trade: Using Red’s False Color
American Cinematographer - June 2010 - 79
American Cinematographer - June 2010 - New Products & Services
American Cinematographer - June 2010 - 81
American Cinematographer - June 2010 - 82
American Cinematographer - June 2010 - 83
American Cinematographer - June 2010 - 84
American Cinematographer - June 2010 - 85
American Cinematographer - June 2010 - 86
American Cinematographer - June 2010 - 87
American Cinematographer - June 2010 - 88
American Cinematographer - June 2010 - 89
American Cinematographer - June 2010 - 90
American Cinematographer - June 2010 - 91
American Cinematographer - June 2010 - International Marketplace
American Cinematographer - June 2010 - 93
American Cinematographer - June 2010 - Classified Ads/Ad Index
American Cinematographer - June 2010 - 95
American Cinematographer - June 2010 - ASC Membership Roster
American Cinematographer - June 2010 - 97
American Cinematographer - June 2010 - Clubhouse News
American Cinematographer - June 2010 - 99
American Cinematographer - June 2010 - ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover3
American Cinematographer - June 2010 - Cover4
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