American Cinematographer - January 2012 - 96

Marquise Technologies Enhances Rain Marquise Technologies has integrated Cintel’s ImageMill2 board into its Rain color-grading solution, resulting in a fully featured colorgrading station with real-time image de-grain/de-noise, stabilization and dust/scratch concealment features. The upgraded Rain hardware platform allows the parallel processing, in real time, of the restorationdedicated applications Grace, Steady and Origin on 2K images, and up to 8 fps in 4K. With this new set of tools, Rain provides not only color correction, but also real-time capabilities for image cleaning for operations such as chroma-keying and tracking. Rain allows for immediate work on any type of native-format image in either 2-D or stereo 3-D. In addition to high-level grading capabilities such as the multi-point tracker and the dedicated curves for highlights, mid tones and shadows, Rain features a versioning mode that can memorize up to nine versions of a clip; a StoryBoard mode, which allows for the creation of up to 32 groups of sequences to grade them as an ensemble; QuickStore, which provides immediate access to the grades stored in the Grade Library; and an enhanced Grade Library, which allows users to access any grade stored from any project. “From its beginning, Rain’s philosophy [has been] the ability to work in realtime all the time,” says Laurence Stoll, CEO of Marquise Technologies. “The ImageMill2 board matches perfectly our paradigm in offering unbeaten processing performance and excellent results.” For additional information, visit www.marquise-tech.com. Globalstor Unveils LCD for 4K Post Globalstor Data Corporation has introduced the GS564KLC10 LCD display for 4K dailies and postproduction, as well as other high-resolution applications. The 56" LCD display features an ultra-wide viewing angle, high contrast ratio and high brightness. The monitor also boasts an ultra-fast response time, which ensures the fidelity of the moving image. The display also includes easy-to-use
96 January 2012

OSD and RS-232 configurations, allowing the monitor to be quickly integrated into even the most complex environments. Its maximum display mode is 3840x2160 pixels at 60 Hz, and it is calibrated for several color temperatures, including 5,400°K, 6,500°K, 7,500°K and 9,300°K. The monitor is also calibrated for 2.2, 2.4, 2.6, DICOM and user gamma presets. “The monitor supports VESA DDC2B and DDC/CI plug-and-play options,” says Scott Leif, president of Globalstor. “Optional features include a touch panel with up to four sensors for four simultaneous touches, in addition to an AR/AG protective glass.” The display’s power consumption is less than 450 watts, and it consumes roughly 10 watts on standby. It measures approximately 53"x34"x6" and, without its stand, weighs approximately 119 pounds. For additional information, visit www.globalstor.com. Sonnet’s Echo Express Streamlines Red Workflow Sonnet Technologies has introduced its Echo Express PCIe 2.0 Thunderbolt Expansion Chassis, which works with the Red Rocket playback and transcoding card. The Echo Express expansion chassis enables the use of high-performance PCIe expansion cards — designed for desktop

computers — with computers equipped with Thunderbolt ports, including the latest Apple MacBook Pro, iMac and Mac mini systems. The Echo Express PCIe 2.0 Thunderbolt Expansion Chassis contains one PCIe 2.0 slot, an integrated universal 75-watt power supply and two Thunderbolt ports. This system enables users to connect one PCIe 2.0 adapter card to a computer via a Thunderbolt cable while allowing the connection of additional Thunderbolt peripherals to the daisy-chain Thunderbolt port. The Red Rocket card delivers realtime 4K RGB video playback and real-time transcoding of R3D files generated by Red digital cameras. When installed into the Echo Express chassis and connected via a Thunderbolt cable to a laptop computer, the Red Rocket allows Red footage to be decoded and edited at high resolution without dropped frames. “We’re excited to be bringing such a groundbreaking new solution to digital cinema professionals — one that will literally change the way they work,” says Greg LaPorte, vice president of sales and marketing at Sonnet Technologies. “The Echo Express chassis enables a truly portable solution that is exponentially faster than currently available options. It really creates a paradigm shift in on-location Red project work, to be able to use a backpack to carry on-set what typically has been transported in a rolling cart.” For additional information, visit www.sonnettech.com. ●

American Cinematographer


http://www.globalstor.com http://www.sonnettech.com http://www.marquise-tech.com

American Cinematographer - January 2012

Table of Contents for the Digital Edition of American Cinematographer - January 2012

American Cinematographer - January 2012
Contents
Editor’s Note
President’s Desk
Short Takes: String Theory
Production Slate: The Descendants • ASC Awards Preview • HPA Awards
Cold Case
Animal Instincts
Lord of War
Go with the Flow
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Rodrigo Prieto
American Cinematographer - January 2012 - American Cinematographer - January 2012
American Cinematographer - January 2012 - Cover2
American Cinematographer - January 2012 - 1
American Cinematographer - January 2012 - 2
American Cinematographer - January 2012 - Contents
American Cinematographer - January 2012 - 4
American Cinematographer - January 2012 - 5
American Cinematographer - January 2012 - 6
American Cinematographer - January 2012 - 7
American Cinematographer - January 2012 - Editor’s Note
American Cinematographer - January 2012 - 9
American Cinematographer - January 2012 - President’s Desk
American Cinematographer - January 2012 - 11
American Cinematographer - January 2012 - Short Takes: String Theory
American Cinematographer - January 2012 - 13
American Cinematographer - January 2012 - 14
American Cinematographer - January 2012 - 15
American Cinematographer - January 2012 - 16
American Cinematographer - January 2012 - 17
American Cinematographer - January 2012 - 18
American Cinematographer - January 2012 - 19
American Cinematographer - January 2012 - Production Slate: The Descendants • ASC Awards Preview • HPA Awards
American Cinematographer - January 2012 - 21
American Cinematographer - January 2012 - 22
American Cinematographer - January 2012 - 23
American Cinematographer - January 2012 - 24
American Cinematographer - January 2012 - 25
American Cinematographer - January 2012 - 26
American Cinematographer - January 2012 - 27
American Cinematographer - January 2012 - 28
American Cinematographer - January 2012 - 29
American Cinematographer - January 2012 - 30
American Cinematographer - January 2012 - 31
American Cinematographer - January 2012 - Cold Case
American Cinematographer - January 2012 - 33
American Cinematographer - January 2012 - 34
American Cinematographer - January 2012 - 35
American Cinematographer - January 2012 - 36
American Cinematographer - January 2012 - 37
American Cinematographer - January 2012 - 38
American Cinematographer - January 2012 - 39
American Cinematographer - January 2012 - 40
American Cinematographer - January 2012 - 41
American Cinematographer - January 2012 - 42
American Cinematographer - January 2012 - 43
American Cinematographer - January 2012 - 44
American Cinematographer - January 2012 - 45
American Cinematographer - January 2012 - 46
American Cinematographer - January 2012 - 47
American Cinematographer - January 2012 - Animal Instincts
American Cinematographer - January 2012 - 49
American Cinematographer - January 2012 - 50
American Cinematographer - January 2012 - 51
American Cinematographer - January 2012 - 52
American Cinematographer - January 2012 - 53
American Cinematographer - January 2012 - 54
American Cinematographer - January 2012 - 55
American Cinematographer - January 2012 - 56
American Cinematographer - January 2012 - 57
American Cinematographer - January 2012 - 58
American Cinematographer - January 2012 - 59
American Cinematographer - January 2012 - 60
American Cinematographer - January 2012 - 61
American Cinematographer - January 2012 - Lord of War
American Cinematographer - January 2012 - 63
American Cinematographer - January 2012 - 64
American Cinematographer - January 2012 - 65
American Cinematographer - January 2012 - 66
American Cinematographer - January 2012 - 67
American Cinematographer - January 2012 - 68
American Cinematographer - January 2012 - 69
American Cinematographer - January 2012 - 70
American Cinematographer - January 2012 - 71
American Cinematographer - January 2012 - 72
American Cinematographer - January 2012 - 73
American Cinematographer - January 2012 - Go with the Flow
American Cinematographer - January 2012 - 75
American Cinematographer - January 2012 - 76
American Cinematographer - January 2012 - 77
American Cinematographer - January 2012 - 78
American Cinematographer - January 2012 - 79
American Cinematographer - January 2012 - 80
American Cinematographer - January 2012 - 81
American Cinematographer - January 2012 - 82
American Cinematographer - January 2012 - 83
American Cinematographer - January 2012 - 84
American Cinematographer - January 2012 - 85
American Cinematographer - January 2012 - 86
American Cinematographer - January 2012 - 87
American Cinematographer - January 2012 - New Products & Services
American Cinematographer - January 2012 - 89
American Cinematographer - January 2012 - 90
American Cinematographer - January 2012 - 91
American Cinematographer - January 2012 - 92
American Cinematographer - January 2012 - 93
American Cinematographer - January 2012 - 94
American Cinematographer - January 2012 - 95
American Cinematographer - January 2012 - 96
American Cinematographer - January 2012 - 97
American Cinematographer - January 2012 - International Marketplace
American Cinematographer - January 2012 - Classified Ads
American Cinematographer - January 2012 - Ad Index
American Cinematographer - January 2012 - 101
American Cinematographer - January 2012 - Clubhouse News
American Cinematographer - January 2012 - 103
American Cinematographer - January 2012 - ASC Close-Up: Rodrigo Prieto
American Cinematographer - January 2012 - Cover3
American Cinematographer - January 2012 - Cover4
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