American Cinematographer - December 2010 - 98

it simple to rig and transport. The Vector 430 controls were ergonomically designed to ensure ease of use in any situation, whether in the studio or during an outside broadcast. The controls include a retractable counterbalance adjuster, backlit drag knobs and an illuminated LCD display for low-light situations. The base of the Vector 430 includes an integral Quickfix groove for fast and secure attachment. All of these features, combined with a Quickfit wedge adaptor, make the Vector 430 the perfect choice for busy multi-camera productions. The Vector 430 is also available in a 430i configuration, featuring a high quality, highly accurate encoder output to meet demand for virtual- and augmented-reality applications in outside broadcast and studio environments. The 430i incorporates an Intelligence Module to provide precise, realtime digital electronic positioning of pan and tilt, enabling graphics to be placed perfectly onto the live environment. The 430i also includes a unique optional inclinometer feature developed to solve the challenge of platform movement. For additional information, visit www.vinten.com. Panther Expands Dolly Line Camera-support company Panther has introduced an updated Panther Classic Dolly and an all-new Tristar Dolly. The new Panther Classic Dolly boasts a patent-pending High-Low Turnstile; this innovative camera support gives users the freedom to employ low camera positions while maximizing the ergonomics for the operator. When changing the height of the
98 December 2010

camera, only one clamping needs to be opened, and the camera can be swiveled in each direction via the 80mm Euromount tube without any waste of time. Additionally, a new software package lets users quickly and easily store limit positions, and a new column measuring system with a magnetic switch replaces the rotary encoder and offers maximum reliability. The Tristar Dolly builds on Panther’s decades of experience in designing and manufacturing electromechanical dolly systems. At the heart of the Tristar Dolly is a three-stage column, which gives the dolly a very low starting position, enabling camera movements that frame an actor at eye level from a seated to a standing position without any further conversion of the dolly; the column boasts a magnetic-switch measur-

ing system for maximum reliability. Also, as with the Classic Dolly, the Tristar features a High-Low Turnstile, an electronic drive train and wheel system, and a software package for storing limit positions. The Tristar’s platform system makes it possible to mount the platform at standard height or in low-mode position by simply turning it around. Three different steering modes — crab, steer front and steer rear — make it easy to maneuver the dolly; a single knob on the wheel arm adjusts the steering mode. Batteries and most of the accessories introduced for previous Panther dolly systems can be used with the Tristar. For additional information, visit www.panther.tv.

Straight Shoot’r Goes Mini Straight Shoot’r Cranes, Inc. has introduced the Mini-Me three-axis jib arm. The one-piece Mini-Me is a 7' version of the company’s 10' Straight Shoot’r. Like the classic Straight Shoot’r three-axis jib, the Mini-Me offers cinematographers a unique Z-axis “slider” gliding camera mount in combination with a rock-solid jib arm with smooth three-axis camera movement capabilities. Unlike the classic jib arm, though, the Mini-Me can be used in tighter locations. “I’m in constant touch with the cinematographers who use my equipment, and one of the most frequent [notes] they had was that they found the classic Straight Shoot’r to be too large at times,” says Andy Coradeschi, president of Straight Shoot’r Cranes. “I manufactured several smaller prototypes, and the 7-foot model was the one that cinematographers agreed best enabled them to benefit from the creative freedom and production efficiencies the Straight Shoot’r system offers, even while shooting in cramped quarters.” Straight Shoot’r three-axis jib arms are available for rent through the company’s headquarters in Los Angeles and selected grip-rental houses across the United States, Canada, Europe and Japan. For more information, visit www.straight shootr.com. Illumination Dynamics Opens North Carolina Camera Division Illumination Dynamics has established a camera division at its N orth Carolina rental facility. The camera division will complement Illumination Dynamics’ rental of lighting, grip, generators and power distribution to the entertainment, live-broadcast and special-event industries. The new department will be fully supported by parent company Arri CSC, and will start with an inventory that includes Arricam Lite and Arriflex 435, 235 and D-21 packages. “This expansion is part of our continued commitment and support to the

American Cinematographer


http://www.straightshootr.com http://www.straightshootr.com http://www.vinten.com http://www.panther.tv

American Cinematographer - December 2010

Table of Contents for the Digital Edition of American Cinematographer - December 2010

American Cinematographer - December 2010
Contents
Editor’s Note
President’s Desk
Short Takes: “Dot”
Production Slate
Danse Macabre
Up Against It
Romantic Chemistry
A Big-City Dream
Post Focus: 3-D Workflow at Company 3
Tomorrow’s Technology
Filmmakers’ Forum: Michael Grady
New Products & Services
International Marketplace
Classified Ads
Ad Index
2010 AC Index
ASC Membership Roster
Clubhouse News
ASC Close-Up
American Cinematographer - December 2010 - American Cinematographer - December 2010
American Cinematographer - December 2010 - Cover2
American Cinematographer - December 2010 - 1
American Cinematographer - December 2010 - 2
American Cinematographer - December 2010 - Contents
American Cinematographer - December 2010 - 4
American Cinematographer - December 2010 - 5
American Cinematographer - December 2010 - 6
American Cinematographer - December 2010 - 7
American Cinematographer - December 2010 - Editor’s Note
American Cinematographer - December 2010 - 9
American Cinematographer - December 2010 - President’s Desk
American Cinematographer - December 2010 - 11
American Cinematographer - December 2010 - Short Takes: “Dot”
American Cinematographer - December 2010 - 13
American Cinematographer - December 2010 - 14
American Cinematographer - December 2010 - 15
American Cinematographer - December 2010 - 16
American Cinematographer - December 2010 - 17
American Cinematographer - December 2010 - Production Slate
American Cinematographer - December 2010 - 19
American Cinematographer - December 2010 - 20
American Cinematographer - December 2010 - 21
American Cinematographer - December 2010 - 22
American Cinematographer - December 2010 - 23
American Cinematographer - December 2010 - 24
American Cinematographer - December 2010 - 25
American Cinematographer - December 2010 - 26
American Cinematographer - December 2010 - 27
American Cinematographer - December 2010 - 28
American Cinematographer - December 2010 - 29
American Cinematographer - December 2010 - Danse Macabre
American Cinematographer - December 2010 - 31
American Cinematographer - December 2010 - 32
American Cinematographer - December 2010 - 33
American Cinematographer - December 2010 - 34
American Cinematographer - December 2010 - 35
American Cinematographer - December 2010 - 36
American Cinematographer - December 2010 - 37
American Cinematographer - December 2010 - 38
American Cinematographer - December 2010 - 39
American Cinematographer - December 2010 - 40
American Cinematographer - December 2010 - 41
American Cinematographer - December 2010 - 42
American Cinematographer - December 2010 - 43
American Cinematographer - December 2010 - 44
American Cinematographer - December 2010 - 45
American Cinematographer - December 2010 - 46
American Cinematographer - December 2010 - 47
American Cinematographer - December 2010 - 48
American Cinematographer - December 2010 - 49
American Cinematographer - December 2010 - Up Against It
American Cinematographer - December 2010 - 51
American Cinematographer - December 2010 - 52
American Cinematographer - December 2010 - 53
American Cinematographer - December 2010 - 54
American Cinematographer - December 2010 - 55
American Cinematographer - December 2010 - 56
American Cinematographer - December 2010 - 57
American Cinematographer - December 2010 - 58
American Cinematographer - December 2010 - 59
American Cinematographer - December 2010 - 60
American Cinematographer - December 2010 - 61
American Cinematographer - December 2010 - 62
American Cinematographer - December 2010 - 63
American Cinematographer - December 2010 - Romantic Chemistry
American Cinematographer - December 2010 - 65
American Cinematographer - December 2010 - 66
American Cinematographer - December 2010 - 67
American Cinematographer - December 2010 - 68
American Cinematographer - December 2010 - 69
American Cinematographer - December 2010 - 70
American Cinematographer - December 2010 - 71
American Cinematographer - December 2010 - 72
American Cinematographer - December 2010 - 73
American Cinematographer - December 2010 - 74
American Cinematographer - December 2010 - 75
American Cinematographer - December 2010 - A Big-City Dream
American Cinematographer - December 2010 - 77
American Cinematographer - December 2010 - 78
American Cinematographer - December 2010 - 79
American Cinematographer - December 2010 - 80
American Cinematographer - December 2010 - 81
American Cinematographer - December 2010 - 82
American Cinematographer - December 2010 - 83
American Cinematographer - December 2010 - 84
American Cinematographer - December 2010 - 85
American Cinematographer - December 2010 - 86
American Cinematographer - December 2010 - 87
American Cinematographer - December 2010 - Post Focus: 3-D Workflow at Company 3
American Cinematographer - December 2010 - 89
American Cinematographer - December 2010 - 90
American Cinematographer - December 2010 - 91
American Cinematographer - December 2010 - Tomorrow’s Technology
American Cinematographer - December 2010 - 93
American Cinematographer - December 2010 - Filmmakers’ Forum: Michael Grady
American Cinematographer - December 2010 - 95
American Cinematographer - December 2010 - New Products & Services
American Cinematographer - December 2010 - 97
American Cinematographer - December 2010 - 98
American Cinematographer - December 2010 - 99
American Cinematographer - December 2010 - 100
American Cinematographer - December 2010 - 101
American Cinematographer - December 2010 - International Marketplace
American Cinematographer - December 2010 - 103
American Cinematographer - December 2010 - Ad Index
American Cinematographer - December 2010 - 2010 AC Index
American Cinematographer - December 2010 - 106
American Cinematographer - December 2010 - 107
American Cinematographer - December 2010 - 108
American Cinematographer - December 2010 - 109
American Cinematographer - December 2010 - 110
American Cinematographer - December 2010 - 111
American Cinematographer - December 2010 - ASC Membership Roster
American Cinematographer - December 2010 - 113
American Cinematographer - December 2010 - Clubhouse News
American Cinematographer - December 2010 - 115
American Cinematographer - December 2010 - ASC Close-Up
American Cinematographer - December 2010 - Cover3
American Cinematographer - December 2010 - Cover4
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