American Cinematographer - June 2011 - 94

Schneider Optics Provides Perspective Control Schneider Optics has announced a new family of Perspective Control through Tilt/Shift (PC-TS) lenses, designed to provide DSLR and medium-format photographers a tool that allows them to control perspective in a manner previously possible only with a monorail-style camera. The PC-TS lenses can shift laterally up to 12mm or tilt at an angle up to 8 degrees. These movements can be applied in 30-degree increments at any position within the 360-degree lens rotation. With huge 90mm and 120mm image circles (for DSLR and Mamiya/Phase One System cameras, respectively), the lens retains its full range of movements without vignetting.

portion of the image while leaving the rest soft, create miniaturization effects and correct or exaggerate perspective distortion. The TS-Pro works with four different camera-mount styles: PL, Micro 4⁄3, Canon EOS and Nikon F. With the TS-Pro’s interchangeable mount system, one main unit can work with many camera types by simply switching mounts. The mount on the lens side is also interchangeable, allowing a range of lens options, including PL, Canon EOS, Nikon F, Hasselblad, Mamiya 645, Pentax 645 and M39. For additional information, visit www.bandpro.com. Lowel Illuminates LED Studio Series Lowel-Light has introduced the LED Studio Series, a set of powerful lighting fixtures that bring state-of-the-art LED technology to studio environments both large and small. The first fixture in the LED Studio Series is the Studio 450, which boasts a powerful output of 89 foot candles at 9' with a beam angle of 50 degrees. The Studio 450 has a tungsten color output of 3,200°K and a CRI of 91+, which mixes perfectly with existing tungsten-halogen fixtures as well as high-CRI tungsten-color fluorescent lamps. Additionally, the fixture’s

DMX jacks allow connection and communication with DMX-512 control systems. Lowel plans to release a daylightbalanced version of the 450 shortly, as well as further tungsten and daylight LED Studio models. All fixtures in the LED Studio Series will auto-set to voltages from 90 to 240 volts. There will also be accessories such as barn doors, egg crates and honeycomb grids for each fixture in the series. For additional information, visit www.lowel.com. Litepanels Highlights Hi-Output LEDs Litepanels has unveiled the H2 HiOutput LED lights. The new fixtures answer the need for an LED fixture capable of throwing illumination over a 20-25' distance, providing HD-friendly light with all the advantages of Litepanels’ proprietary LED fixtures.

The lenses also feature Schneider’s highresolution optics and a precise, zero-play mechanism. Schneider currently offers three PCTS lenses: the Super Angulon f2.8 50mm and the Makro-Symmar f4.0 90mm for DSLR cameras and the Apo-Digitar 5.6/120 HM Aspheric lens for medium-format Mamiya/Phase One System digital cameras. For additional information, visit www.schneider.com. Band Pro Distributes Horseman Tilt/Shift System Band Pro is now the dealer for Komamura Corp.’s Horseman TS-Pro in the Americas, Europe and Israel. The Horseman TS-Pro allows DSLR and digital cinema camera users to creatively control depth-offield and perspective distortion through lens tilt and shift, as well as lateral and rise-fall movements. Such movements allow the shooter to selectively focus on a small
94 June 2011

The H2 Hi-Output is 5,600°K color balanced, utilizing an array of 72 1-watt daylight LEDs focused to a 10-degree angle. H2 fixtures integrate perfectly into sets or locations utilizing other Litepanels fixtures, providing wide-spectrum daylight-balanced illumination. Like all Litepanels LED fixtures, the H2 provides incredible output while remaining energy efficient. The 100-watt H2 fixture provides light equivalent to a 1,000watt legacy lighting fixture, utilizing just 10percent of the energy. Additionally, because H2 lights generate no noticeable heat, the need for power-hungry air conditioning is reduced. H2 fixtures feature dimming from 100-percent to 0 with no noticeable color change; dimming is provided via a knob located on the fixture itself, or from a DMX

American Cinematographer


http://www.lowel.com http://www.bandpro.com http://www.schneider.com

American Cinematographer - June 2011

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

American Cinematographer - June 2011
Contents
Editor’s Note
President’s Desk
Short Takes: TV on the Radio’s “Will Do”
Production Slate: The Mill & The Cross • Last Man Standing
Scalawags in Stereo
Hammer of the Gods
Tortured Souls
Decoding Digital Imagers: Part 2
Post Focus: Highlights from NAB
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Dean Semler
American Cinematographer - June 2011 - American Cinematographer - June 2011
American Cinematographer - June 2011 - Cover2
American Cinematographer - June 2011 - 1
American Cinematographer - June 2011 - 2
American Cinematographer - June 2011 - Contents
American Cinematographer - June 2011 - 4
American Cinematographer - June 2011 - 5
American Cinematographer - June 2011 - 6
American Cinematographer - June 2011 - 7
American Cinematographer - June 2011 - Editor’s Note
American Cinematographer - June 2011 - 9
American Cinematographer - June 2011 - President’s Desk
American Cinematographer - June 2011 - 11
American Cinematographer - June 2011 - Short Takes: TV on the Radio’s “Will Do”
American Cinematographer - June 2011 - 13
American Cinematographer - June 2011 - 14
American Cinematographer - June 2011 - 15
American Cinematographer - June 2011 - Production Slate: The Mill & The Cross • Last Man Standing
American Cinematographer - June 2011 - 17
American Cinematographer - June 2011 - 18
American Cinematographer - June 2011 - 19
American Cinematographer - June 2011 - 20
American Cinematographer - June 2011 - 21
American Cinematographer - June 2011 - 22
American Cinematographer - June 2011 - 23
American Cinematographer - June 2011 - 24
American Cinematographer - June 2011 - 25
American Cinematographer - June 2011 - Scalawags in Stereo
American Cinematographer - June 2011 - 27
American Cinematographer - June 2011 - 28
American Cinematographer - June 2011 - 29
American Cinematographer - June 2011 - 30
American Cinematographer - June 2011 - 31
American Cinematographer - June 2011 - 32
American Cinematographer - June 2011 - 33
American Cinematographer - June 2011 - 34
American Cinematographer - June 2011 - 35
American Cinematographer - June 2011 - 36
American Cinematographer - June 2011 - 37
American Cinematographer - June 2011 - 38
American Cinematographer - June 2011 - 39
American Cinematographer - June 2011 - Hammer of the Gods
American Cinematographer - June 2011 - 41
American Cinematographer - June 2011 - 42
American Cinematographer - June 2011 - 43
American Cinematographer - June 2011 - 44
American Cinematographer - June 2011 - 45
American Cinematographer - June 2011 - 46
American Cinematographer - June 2011 - 47
American Cinematographer - June 2011 - 48
American Cinematographer - June 2011 - 49
American Cinematographer - June 2011 - 50
American Cinematographer - June 2011 - 51
American Cinematographer - June 2011 - 52
American Cinematographer - June 2011 - 53
American Cinematographer - June 2011 - 54
American Cinematographer - June 2011 - 55
American Cinematographer - June 2011 - Tortured Souls
American Cinematographer - June 2011 - 57
American Cinematographer - June 2011 - 58
American Cinematographer - June 2011 - 59
American Cinematographer - June 2011 - 60
American Cinematographer - June 2011 - 61
American Cinematographer - June 2011 - 62
American Cinematographer - June 2011 - 63
American Cinematographer - June 2011 - 64
American Cinematographer - June 2011 - 65
American Cinematographer - June 2011 - 66
American Cinematographer - June 2011 - 67
American Cinematographer - June 2011 - Decoding Digital Imagers: Part 2
American Cinematographer - June 2011 - 69
American Cinematographer - June 2011 - 70
American Cinematographer - June 2011 - 71
American Cinematographer - June 2011 - 72
American Cinematographer - June 2011 - 73
American Cinematographer - June 2011 - 74
American Cinematographer - June 2011 - 75
American Cinematographer - June 2011 - 76
American Cinematographer - June 2011 - 77
American Cinematographer - June 2011 - 78
American Cinematographer - June 2011 - 79
American Cinematographer - June 2011 - Post Focus: Highlights from NAB
American Cinematographer - June 2011 - 81
American Cinematographer - June 2011 - 82
American Cinematographer - June 2011 - 83
American Cinematographer - June 2011 - 84
American Cinematographer - June 2011 - 85
American Cinematographer - June 2011 - 86
American Cinematographer - June 2011 - 87
American Cinematographer - June 2011 - New Products & Services
American Cinematographer - June 2011 - 89
American Cinematographer - June 2011 - 90
American Cinematographer - June 2011 - 91
American Cinematographer - June 2011 - 92
American Cinematographer - June 2011 - 93
American Cinematographer - June 2011 - 94
American Cinematographer - June 2011 - 95
American Cinematographer - June 2011 - 96
American Cinematographer - June 2011 - 97
American Cinematographer - June 2011 - 98
American Cinematographer - June 2011 - 99
American Cinematographer - June 2011 - International Marketplace
American Cinematographer - June 2011 - Classified Ads
American Cinematographer - June 2011 - Ad Index
American Cinematographer - June 2011 - 103
American Cinematographer - June 2011 - ASC Membership Roster
American Cinematographer - June 2011 - 105
American Cinematographer - June 2011 - Clubhouse News
American Cinematographer - June 2011 - 107
American Cinematographer - June 2011 - ASC Close-Up: Dean Semler
American Cinematographer - June 2011 - Cover3
American Cinematographer - June 2011 - Cover4
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