American Cinematographer - July 2015 - 79

For additional information, visit www.lumat
echinc.com in the U.S., and www.lumat
ech.tv in the E.U.
and computing that provide both precision
and speed in lens testing. Rapid, reliable
measurement of back-focus, verification of
focus scale marks, and comparison of relative lens resolution can all be accomplished
swiftly and with repeatable accuracy. The
system also features a focal-plane microscope for more advanced analysis and trouble-shooting. Additionally, an interchangeable lens mount enables testing of lenses for
various camera types.
The 1.3x Anamorphic Attachment is
an anamorphic conversion unit intended for
use with Illumina S35 Series high-speed
lenses. The device transforms existing spherical S35 lenses to the 2.4:1 anamorphic
format on digital cameras with sensors
whose native aspect ratios are 2:1 or 1.78:1.
Employing a 1.33x anamorphic squeeze, the
Illumina converter offers high optical performance with a fast T1.9 aperture when used
with S35 T1.3 primes. The device is compatible with focal lengths of 35mm and longer.
Its cylindrical front elements will provide the
anamorphic artifacts sought by cinematographers, all in a compact and affordable
package.
Lastly, this past January, Luma Tech
commenced deliveries of front elements for
Illumina S35 Series primes that are made at
the LOMO factory without their usual multilayer antireflection coatings. With these
special coating-free front elements, the cinematographer can take advantage of a wide
array of effects and artifacts associated with
"vintage" lenses. Manipulation of lighting,
camera angles, and diaphragm settings
makes spectacular flares, ghost reflections
and spectral effects possible. If the situation
calls for more subtle treatment, an overall
desaturation of color and reduction of
contrast can be created. These new front
elements can also be used in conjunction
with the Luma Tech Anamorphic adapter.
New S35 primes can be ordered with the
uncoated front glass already mounted, and
coated and uncoated elements can be
swapped by a lens technician without harming the host lens.
Luma Tech products are distributed
in the European Union by GearCam.

Irwin Develops 3iSpreader
Mark Irwin, ASC, CSC has introduced the 3iSpreader system, which
addresses the shortcomings of conventional
tripod spreaders in three fundamental areas:
spikes, bungees and floor contact.
The 3iSpreader system replaces
spikes with the 3iSpud, a 1" ridged
aluminum tubular plug that threads into the
spike fitting (after the spike has been
removed) and accepts a hard-rubber chair
tip. Bungee cords have been replaced with
quick-release T-pins that lock the spreader
into the ½" ears of the tripod bottom cast-

Telecine &
Color Grading
"Jod is a true artist with
a great passion for his craft."
- John W. Simmons, ASC

Contact Jod @ 310-713-8388
Jod@apt-4.com

ing, preventing any unexpected releases.
Finally, floor contact is improved with three
rubber tips; the Spud-to-Grip (STG) connectors mount to an assortment of flat pads for
different floor surfaces, allowing a solid link
to any surface without grip chain or location
mats.
The 3iSpreader is constructed of
6061 aircraft-grade aluminum and is coated
with Line-x, a black thermoplastic
polyurethane. Its inner legs extend in increments of 2.5" from 15" to 28" and are calibrated to fold up inside the tripod at any
equally locked position. The center puck
assembly is CNC-milled out of a solid billet
of 6061 aluminum and features a
retractable lifting handle. It will take the
weight of most big block batteries (up to 40
pounds) on a level elevated surface. The
complete spreader weighs 5 pounds, takes
minutes to retrofit and works in sand, snow
and water equally well.
The 3iSpreader is manufactured in
Vancouver, British Columbia and Studio City,
Calif. For additional information, visit
www.3ispreader.com.
●


http://www.apt-4.com http://www.lumatechinc.com http://www.lumatech.tv http://www.lumatechinc.com http://www.lumatech.tv http://www.theasc.com http://www.3ispreader.com http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
American Cinematographer - July 2015 - 9
American Cinematographer - July 2015 - 10
American Cinematographer - July 2015 - 11
American Cinematographer - July 2015 - 12
American Cinematographer - July 2015 - 13
American Cinematographer - July 2015 - 14
American Cinematographer - July 2015 - 15
American Cinematographer - July 2015 - 16
American Cinematographer - July 2015 - 17
American Cinematographer - July 2015 - 18
American Cinematographer - July 2015 - 19
American Cinematographer - July 2015 - 20
American Cinematographer - July 2015 - 21
American Cinematographer - July 2015 - 22
American Cinematographer - July 2015 - 23
American Cinematographer - July 2015 - 24
American Cinematographer - July 2015 - 25
American Cinematographer - July 2015 - 26
American Cinematographer - July 2015 - 27
American Cinematographer - July 2015 - 28
American Cinematographer - July 2015 - 29
American Cinematographer - July 2015 - 30
American Cinematographer - July 2015 - 31
American Cinematographer - July 2015 - 32
American Cinematographer - July 2015 - 33
American Cinematographer - July 2015 - 34
American Cinematographer - July 2015 - 35
American Cinematographer - July 2015 - 36
American Cinematographer - July 2015 - 37
American Cinematographer - July 2015 - 38
American Cinematographer - July 2015 - 39
American Cinematographer - July 2015 - 40
American Cinematographer - July 2015 - 41
American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
American Cinematographer - July 2015 - 44
American Cinematographer - July 2015 - 45
American Cinematographer - July 2015 - 46
American Cinematographer - July 2015 - 47
American Cinematographer - July 2015 - 48
American Cinematographer - July 2015 - 49
American Cinematographer - July 2015 - 50
American Cinematographer - July 2015 - 51
American Cinematographer - July 2015 - 52
American Cinematographer - July 2015 - 53
American Cinematographer - July 2015 - 54
American Cinematographer - July 2015 - 55
American Cinematographer - July 2015 - 56
American Cinematographer - July 2015 - 57
American Cinematographer - July 2015 - 58
American Cinematographer - July 2015 - 59
American Cinematographer - July 2015 - 60
American Cinematographer - July 2015 - 61
American Cinematographer - July 2015 - 62
American Cinematographer - July 2015 - 63
American Cinematographer - July 2015 - 64
American Cinematographer - July 2015 - 65
American Cinematographer - July 2015 - 66
American Cinematographer - July 2015 - 67
American Cinematographer - July 2015 - 68
American Cinematographer - July 2015 - 69
American Cinematographer - July 2015 - 70
American Cinematographer - July 2015 - 71
American Cinematographer - July 2015 - 72
American Cinematographer - July 2015 - 73
American Cinematographer - July 2015 - 74
American Cinematographer - July 2015 - 75
American Cinematographer - July 2015 - 76
American Cinematographer - July 2015 - 77
American Cinematographer - July 2015 - 78
American Cinematographer - July 2015 - 79
American Cinematographer - July 2015 - 80
American Cinematographer - July 2015 - 81
American Cinematographer - July 2015 - 82
American Cinematographer - July 2015 - 83
American Cinematographer - July 2015 - 84
American Cinematographer - July 2015 - 85
American Cinematographer - July 2015 - 86
American Cinematographer - July 2015 - 87
American Cinematographer - July 2015 - 88
American Cinematographer - July 2015 - Cover3
American Cinematographer - July 2015 - Cover4
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