American Cinematographer - September 2011 - 92

adjustability, and it can be left attached even when not in use. The LM-1760WF with carrying bag and hood, protective covers, and VESA adapter is available for $2,795. For additional information, visit www.flandersscien tific.com. DaVinci Shares Resolve Lite Blackmagic Design has announced the availability of DaVinci Resolve Lite, a reduced-feature version of DaVinci Resolve that includes many powerful color-correction features in a downloadable software package free of charge. Based on DaVinci Resolve 8, DaVinci Resolve Lite runs on the latest iMac, 17" MacBook Pro and Mac Pro computers. Resolve Lite limits projects to SD and HD resolutions, two color-correction nodes, a single processing GPU and a single Red Rocket card. Resolve Lite can still accept high-resolution source footage in 2K and 4K from the latest digital cameras, such as those from Red and Arri, and it does include high-quality optical resizing, curve grading, XML import and export, 32-bit float processing, YRGB image processing, multilayer timelines, stabilization, window tracking, primary and secondary color correction, real-time processing, capture and playback with deck control, compatibility with thirdparty control panels, and more. Stereoscopic 3-D features, noise reduction, power mastering, remote grading and sharing projects with an external server are only offered in the full DaVinci Resolve. Users who want to eliminate these restrictions can purchase the full DaVinci Resolve software for $995. For additional information, visit www.blackmagic-design.com. Third Floor, Framestore Join for London Office Previsualization company The Third Floor, Inc., has joined visual-effects company Framestore to provide European filmmakers with top-tier previs expertise. Based in the U.K., the new venture is known as The Third Floor – London, and it will see the two companies sharing staff, tools, skills, philosophies and an initial headquarters at Framestore’s Wells Street office. “This partnership enables us to help
American Cinematographer

damage. The covers are made of high-quality, scratch-resistant, optical-grade acrylic. The Field Unit also ships with a lightweight, durable VESA to 5⁄8" spigot lightstand adapter, which allows for quick and easy mounting on a light stand. The adapter features two pivot points for maximum

directors and their entire crews maintain and realize their vision from early development through to the final visual effects through a collaborative and efficient process,” enthuses Chris Edwards, The Third Floor’s CEO and creative director. William Sargent, CEO of Framestore, adds, “This is a genuinely exciting venture that will be a serious boost to the burgeoning European market. I have long been an admirer of The Third Floor team. We have a shared passion for filmmaking, visual excellence and storytelling, and we can further harness these mutual passions by combining skills, contacts and resources.” For additional information, visit www.thethirdfloor.com and www.frame store.com.

Innovision Gets Close With Probe II-Plus Innovision Optics has released the Probe II-Plus, which features a mounting system for DSLR camera systems. The unique periscope attachment allows users to capture extreme close-ups and different angles of view, putting the lens less than ¾" from the ground and allowing it to fit in small spaces. The Probe II-Plus is also waterproof. The attachment features high-resolution glass elements and relay optics for images with remarkable edge-to-edge sharpness, flat field and extreme depth of field. State-of-the-art multiple coatings provide sharp, low-dispersion images. The Probe II-Plus is available with a variety of standard-resolution focal lengths (9mm, 12mm, 16mm, 20mm and 32mm) and with high-resolution focal lengths (12mm, 20mm, 28mm, 40mm and 55mm). Additionally, the Probe II-Plus is available in interchangeable Straight 45-degree and 90degree Periscope attachments. For additional information, visit www.innovision-optics.com.
92 September 2011

Keyframe Details Cam Report Norwegian developer Keyframe Software has released Cam Report 2.5 for the iPhone and iPod Touch. This update of the camera-reporting system covers both European “slate” and American and German “shot” conventions, as well as supporting Arri, Red and Canon file names. Cam Report’s digital reporting system gives users a unique toolset for metadata handling, report generation and communication of data across all aspects of the workflow. The app provides user-specified and pre-defined tags that follow the report through to the final edit and color grade. Additionally, reports can be reviewed, printed and shared securely over the Web, and they can also be exported as PDFs. Cam Report 2.5 also allows users to add reference pictures to a take, either from


http://www.flandersscientific.com http://www.flandersscientific.com http://www.thethirdfloor.com http://www.framestore.com http://www.framestore.com http://www.blackmagic-design.com http://www.innovision-optics.com

American Cinematographer - September 2011

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

American Cinematographer - September 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Sleep Forever”
Production Slate: Circumstance • Brighton Rock
A Mighty Pen
Immersive Dance
Airing Dirty Laundry
Tips on Location Scouting
Post Focus: Cinelicious
Filmmakers’ Forum: 24-Frame Video Playback
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Dante Spinotti, ASC, AIC
American Cinematographer - September 2011 - American Cinematographer - September 2011
American Cinematographer - September 2011 - Cover2
American Cinematographer - September 2011 - 1
American Cinematographer - September 2011 - 2
American Cinematographer - September 2011 - Contents
American Cinematographer - September 2011 - 4
American Cinematographer - September 2011 - 5
American Cinematographer - September 2011 - 6
American Cinematographer - September 2011 - 7
American Cinematographer - September 2011 - Editor’s Note
American Cinematographer - September 2011 - 9
American Cinematographer - September 2011 - President’s Desk
American Cinematographer - September 2011 - 11
American Cinematographer - September 2011 - Short Takes: “Sleep Forever”
American Cinematographer - September 2011 - 13
American Cinematographer - September 2011 - 14
American Cinematographer - September 2011 - 15
American Cinematographer - September 2011 - Production Slate: Circumstance • Brighton Rock
American Cinematographer - September 2011 - 17
American Cinematographer - September 2011 - 18
American Cinematographer - September 2011 - 19
American Cinematographer - September 2011 - 20
American Cinematographer - September 2011 - 21
American Cinematographer - September 2011 - 22
American Cinematographer - September 2011 - 23
American Cinematographer - September 2011 - 24
American Cinematographer - September 2011 - 25
American Cinematographer - September 2011 - 26
American Cinematographer - September 2011 - 27
American Cinematographer - September 2011 - A Mighty Pen
American Cinematographer - September 2011 - 29
American Cinematographer - September 2011 - 30
American Cinematographer - September 2011 - 31
American Cinematographer - September 2011 - 32
American Cinematographer - September 2011 - 33
American Cinematographer - September 2011 - 34
American Cinematographer - September 2011 - 35
American Cinematographer - September 2011 - 36
American Cinematographer - September 2011 - 37
American Cinematographer - September 2011 - 38
American Cinematographer - September 2011 - 39
American Cinematographer - September 2011 - 40
American Cinematographer - September 2011 - 41
American Cinematographer - September 2011 - 42
American Cinematographer - September 2011 - 43
American Cinematographer - September 2011 - Immersive Dance
American Cinematographer - September 2011 - 45
American Cinematographer - September 2011 - 46
American Cinematographer - September 2011 - 47
American Cinematographer - September 2011 - 48
American Cinematographer - September 2011 - 49
American Cinematographer - September 2011 - 50
American Cinematographer - September 2011 - 51
American Cinematographer - September 2011 - 52
American Cinematographer - September 2011 - 53
American Cinematographer - September 2011 - 54
American Cinematographer - September 2011 - 55
American Cinematographer - September 2011 - Airing Dirty Laundry
American Cinematographer - September 2011 - 57
American Cinematographer - September 2011 - 58
American Cinematographer - September 2011 - 59
American Cinematographer - September 2011 - 60
American Cinematographer - September 2011 - 61
American Cinematographer - September 2011 - 62
American Cinematographer - September 2011 - 63
American Cinematographer - September 2011 - 64
American Cinematographer - September 2011 - 65
American Cinematographer - September 2011 - 66
American Cinematographer - September 2011 - 67
American Cinematographer - September 2011 - Tips on Location Scouting
American Cinematographer - September 2011 - 69
American Cinematographer - September 2011 - 70
American Cinematographer - September 2011 - 71
American Cinematographer - September 2011 - 72
American Cinematographer - September 2011 - 73
American Cinematographer - September 2011 - 74
American Cinematographer - September 2011 - 75
American Cinematographer - September 2011 - 76
American Cinematographer - September 2011 - 77
American Cinematographer - September 2011 - Post Focus: Cinelicious
American Cinematographer - September 2011 - 79
American Cinematographer - September 2011 - 80
American Cinematographer - September 2011 - 81
American Cinematographer - September 2011 - 82
American Cinematographer - September 2011 - 83
American Cinematographer - September 2011 - Filmmakers’ Forum: 24-Frame Video Playback
American Cinematographer - September 2011 - 85
American Cinematographer - September 2011 - 86
American Cinematographer - September 2011 - 87
American Cinematographer - September 2011 - New Products & Services
American Cinematographer - September 2011 - 89
American Cinematographer - September 2011 - 90
American Cinematographer - September 2011 - 91
American Cinematographer - September 2011 - 92
American Cinematographer - September 2011 - 93
American Cinematographer - September 2011 - 94
American Cinematographer - September 2011 - 95
American Cinematographer - September 2011 - International Marketplace
American Cinematographer - September 2011 - Classified Ads
American Cinematographer - September 2011 - Ad Index
American Cinematographer - September 2011 - 99
American Cinematographer - September 2011 - ASC Membership Roster
American Cinematographer - September 2011 - 101
American Cinematographer - September 2011 - Clubhouse News
American Cinematographer - September 2011 - 103
American Cinematographer - September 2011 - ASC Close-Up: Dante Spinotti, ASC, AIC
American Cinematographer - September 2011 - Cover3
American Cinematographer - September 2011 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com