American Cinematographer - August 2013 - 76

New Products & Services
Fujifilm Manages
Color with IS-Mini
Fujifilm North America Corp.
has introduced the IS-Mini
color-management tool. The
IS-Mini is a small hardware
device that takes an incoming
HD-SDI video signal from a
digital camera and converts
the color information via two
sets of 1-D LUTs and 3-D LUTs
to outputs of both HD-SDI and HDMI connections — all in record
time while delivering high-quality imaging.
The IS-Mini is an extension of the technologies first introduced through Fujifilm’s CCBox Image Processing System IS-100,
and is designed to work with the CCBox by extending its abilities to
accurately profile production monitors and provide remote color
adjustment of live digital images during movie and television
productions. Together, the CCBox and IS-Mini form a powerful onset color-management system.
The IS-Mini can also operate independently of the CCBox to
create and apply calibrations to almost any kind of production monitor. A built-in Ethernet connection allows multiple IS-Mini units to be
assembled into an array for multi-monitor/multi-camera image
control and precise color matching.
For additional information, visit www.fujifilm.com.
Blackmagic Updates Resolve, Integrates
Fraunhofer’s EasyDCP
Blackmagic Design has released DaVinci Resolve 10, a major
upgrade that includes new features for integrating the workflows of
varied software products used throughout the film and television
industry.
DaVinci Resolve 10 allows timelines to be moved into and out

• SUBMISSION INFORMATION •
Please e-mail New Products/Services releases to
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.

of DaVinci Resolve and other editing software such as Final Cut Pro,
Avid and Premiere Pro. It also boasts upgraded on-set tools, added
support for OpenFX plug-ins and added tools for delivering final
project masters to cinemas. A Resolve Live feature allows live color
grading direct from the video input with full creative power such as
primaries, secondaries, power windows, custom curves and more.
Grades can be stored and then relinked when the camera files are
loaded.
DaVinci Resolve 10 also includes enhanced editing features
and allows online finishing of edits performed in other popular
editing software. Features include full multi-track editing with 16
channels of audio per clip and unlimited video and audio tracks in
the timeline, as well as extensive ripple, roll, slide and slip-clip trimming support and a powerful title tool with static, lower third,
scroll and crawl titles with multiple fonts, sizes, drop shadow and
XY positioning.
“One thing I have found extremely frustrating over the last
few years is the incompatibility between software tools for video,”
says Grant Petty, CEO of Blackmagic Design. “I think it makes life
very hard for people working in postproduction, where multiple
people are working on different parts of the job and using all kinds
of different software tools. With DaVinci Resolve 10 we have
worked hard to help all these tools work together, depending on
what the customer wants to do. This is what customers actually
need and we think they will love all the work we have done to help
make this high-end workflow simple and easy.”
Blackmagic has also paired with the Fraunhofer Institute for
Integrated Circuits — part of the Fraunhofer Digital Cinema Alliance
— to incorporate Fraunhofer IIS’ EasyDCP software into the DaVinci
Resolve 10. Thanks to the key delivery message generator of the
Fraunhofer software, even sensitive data for dailies can be created
and encrypted so they can be activated for specific players and for
predetermined play-out periods.
“The integration of our EasyDCP software allows DaVinci
Resolve 10 to use DCPs as the direct input format for postproduction and as an alternative exchange format with the highest image
quality,” says Heiko Sparenberg, group manager for digital cinema
at Fraunhofer IIS.
DaVinci Resolve 10 is available through Blackmagic Design
resellers worldwide and is a free upgrade for existing DaVinci Resolve
customers.
For additional information, visit www.blackmagicdesign.com
and www.dcinema.fraunhofer.de.
Autodesk Announces Creation Suite 2014
Autodesk has unveiled the Autodesk Entertainment Creation
Suite 2014, which includes Autodesk Maya 2014, Autodesk 3ds
Max 2014, Autodesk MotionBuilder 2014, Autodesk Mudbox 2014,

76

August 2013

American Cinematographer


http://www.fujifilm.com http://www.blackmagicdesign.com http://www.dcinema.fraunhofer.de

American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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