American Cinematographer - November 2012 - 89
and for 16mm is almost 4.5 times the average resolution of 16mm film. We can capture 35mm film images at up to 6.5K. And, in terms of color … what we’re doing here is up to 14 bits per channel — that’s 42 bits of color depth. That’s 1.5 trillion colors. The human eye can differentiate about 10 million colors.” The scanner offers gentle film handling, transporting the film with continuous motion and minimal surface tension over self-cleaning silicon O-rings. “We can handle film that has shrunk by up to 20 percent,” Bovee enthuses. “The distance between the perfs doesn’t matter, and it doesn’t even need to be consistent; there could be different amounts of shrinkage within one reel.” “We’ll handle all aspects of the process, from inspecting and cleaning the film, to scanning it at full resolution, to delivering it in the format or formats the customer needs,” says Knapp. “The scanner is the brains of the process, but knowledgeable, trained operators are the heart. Reflex is not just about scanning yesterday’s media; it’s about delivering the highest quality transfers that can be useful for tomorrow.” For additional information, visit www.reflextechnologies.com. General Dynamics Launches Cineflex Elite General Dynamics Global Imaging Technologies has introduced the Cineflex Elite. Designed in close collaboration with cinematographers, the Cineflex Elite gyrostabilized system is a compact, lightweight, Super 35-format digital-production camera system that combines the proven five-axis stability of the Cineflex family of camera systems with Canon Premier lenses and the Arri Alexa-M digital camera. “The Cineflex Elite is our highestresolution system yet, expanding the proven quality, versatility and rugged reliability of our systems to motion-picture cinematography,” says Bob McGill, vice president and general manager of General Dynamics Global Imaging Technologies. Originally designed for helicopters and aerial platforms, Cineflex camera systems deliver superior image quality and
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American Cinematographer - November 2012
Table of Contents for the Digital Edition of American Cinematographer - November 2012
American Cinematographer - November 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Kick Start Theft
Production Slate: Middle of Nowhere • Husbands
Promoting “The Cause”
Creative Conspiracies
Deep Shih Tzu
Bedlam’s New Address
First-Rate Fare
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Deming
American Cinematographer - November 2012 - American Cinematographer - November 2012
American Cinematographer - November 2012 - Cover2
American Cinematographer - November 2012 - 1
American Cinematographer - November 2012 - 2
American Cinematographer - November 2012 - Contents
American Cinematographer - November 2012 - 4
American Cinematographer - November 2012 - 5
American Cinematographer - November 2012 - 6
American Cinematographer - November 2012 - 7
American Cinematographer - November 2012 - Editor’s Note
American Cinematographer - November 2012 - 9
American Cinematographer - November 2012 - President’s Desk
American Cinematographer - November 2012 - 11
American Cinematographer - November 2012 - Short Takes: Kick Start Theft
American Cinematographer - November 2012 - 13
American Cinematographer - November 2012 - 14
American Cinematographer - November 2012 - 15
American Cinematographer - November 2012 - 16
American Cinematographer - November 2012 - 17
American Cinematographer - November 2012 - 18
American Cinematographer - November 2012 - 19
American Cinematographer - November 2012 - Production Slate: Middle of Nowhere • Husbands
American Cinematographer - November 2012 - 21
American Cinematographer - November 2012 - 22
American Cinematographer - November 2012 - 23
American Cinematographer - November 2012 - 24
American Cinematographer - November 2012 - 25
American Cinematographer - November 2012 - 26
American Cinematographer - November 2012 - 27
American Cinematographer - November 2012 - 28
American Cinematographer - November 2012 - 29
American Cinematographer - November 2012 - 30
American Cinematographer - November 2012 - 31
American Cinematographer - November 2012 - Promoting “The Cause”
American Cinematographer - November 2012 - 33
American Cinematographer - November 2012 - 34
American Cinematographer - November 2012 - 35
American Cinematographer - November 2012 - 36
American Cinematographer - November 2012 - 37
American Cinematographer - November 2012 - 38
American Cinematographer - November 2012 - 39
American Cinematographer - November 2012 - 40
American Cinematographer - November 2012 - 41
American Cinematographer - November 2012 - 42
American Cinematographer - November 2012 - 43
American Cinematographer - November 2012 - 44
American Cinematographer - November 2012 - 45
American Cinematographer - November 2012 - 46
American Cinematographer - November 2012 - 47
American Cinematographer - November 2012 - 48
American Cinematographer - November 2012 - 49
American Cinematographer - November 2012 - 50
American Cinematographer - November 2012 - 51
American Cinematographer - November 2012 - Creative Conspiracies
American Cinematographer - November 2012 - 53
American Cinematographer - November 2012 - 54
American Cinematographer - November 2012 - 55
American Cinematographer - November 2012 - 56
American Cinematographer - November 2012 - 57
American Cinematographer - November 2012 - 58
American Cinematographer - November 2012 - 59
American Cinematographer - November 2012 - 60
American Cinematographer - November 2012 - 61
American Cinematographer - November 2012 - 62
American Cinematographer - November 2012 - 63
American Cinematographer - November 2012 - 64
American Cinematographer - November 2012 - 65
American Cinematographer - November 2012 - Deep Shih Tzu
American Cinematographer - November 2012 - 67
American Cinematographer - November 2012 - 68
American Cinematographer - November 2012 - 69
American Cinematographer - November 2012 - 70
American Cinematographer - November 2012 - 71
American Cinematographer - November 2012 - 72
American Cinematographer - November 2012 - 73
American Cinematographer - November 2012 - 74
American Cinematographer - November 2012 - 75
American Cinematographer - November 2012 - Bedlam’s New Address
American Cinematographer - November 2012 - 77
American Cinematographer - November 2012 - 78
American Cinematographer - November 2012 - 79
American Cinematographer - November 2012 - 80
American Cinematographer - November 2012 - 81
American Cinematographer - November 2012 - 82
American Cinematographer - November 2012 - 83
American Cinematographer - November 2012 - 84
American Cinematographer - November 2012 - 85
American Cinematographer - November 2012 - First-Rate Fare
American Cinematographer - November 2012 - 87
American Cinematographer - November 2012 - New Products & Services
American Cinematographer - November 2012 - 89
American Cinematographer - November 2012 - 90
American Cinematographer - November 2012 - 91
American Cinematographer - November 2012 - 92
American Cinematographer - November 2012 - 93
American Cinematographer - November 2012 - International Marketplace
American Cinematographer - November 2012 - Classified Ads
American Cinematographer - November 2012 - Ad Index
American Cinematographer - November 2012 - 97
American Cinematographer - November 2012 - Clubhouse News
American Cinematographer - November 2012 - 99
American Cinematographer - November 2012 - ASC Close-Up: Peter Deming
American Cinematographer - November 2012 - Cover3
American Cinematographer - November 2012 - Cover4
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