American Cinematographer - February 2010 - 84

requiring complex interocular and convergence calculation techniques. Interocular, convergence, zoom, focus and iris control can all be coordinated through Element Technica’s Stereo Assist feature; Technica 3D Rig users can also choose to integrate Preston motors with the system via ports and adapters. Element Technica is coordinating one-day operator training classes geared toward camera assistants through Keslow Camera and Offhollywood. For more information, visit www.elementtechnica.com and www.technica3d.com. of Action 3D Productions, chose the Quasar 3D Rigs to capture the Dave Matthews Band concert at the Austin City Limits Festival, Ben Harper at the Mile High Music Festival, and Gogo Bordello at the All Points West Music Festival. “The functionality of the Technica 3D Rigs is such that when you’re out on location shooting, they are quick to set up and calibrate,” he says. “Once aligned, they hold that alignment very well.” “Now, for the first time, the very best 3-D acquisition equipment can be rented much like a traditional camera package,” says Stephen Pizzo, co-founder of Element Technica. “Combine that with the ability to choose your own crew as well as your favorite post facility, and you gain greater creative control over the entire 3-D process.” Technica 3D systems will soon be available in three different sizes to accommodate a variety of cameras. In addition to the largest system, Quasar, the mid-sized Pulsar mounts box-style digital-cinema cameras such as the Red Scarlet, Red Epic and Silicon Imaging SI-2K. The ultra-small Neutron is designed for tiny 2⁄3"- or 1⁄3"imager cameras supporting C-mount lenses, such as the SI-2K Mini and the Iconix HD-RH1. All three Technica 3D Rig systems can convert from parallel to beamsplitter configuration and back. Element Technica has also developed a series of intuitive hardware/software tools to automate stereo calculation. These tools will be available as add-on modules for the core 3D Rig systems to enable users to intuitively control how much or how little the subject comes off of the screen without 84 February 2010 tial accessories. Rugged nylon handgrips on either side of the tray allow for easy removal and carrying. Underneath, the Red One fits comfortably in the bag’s lower padded compartment. When a panel is removed from the upper accessory tray, the camera can be stored without disturbing the viewfinder. An adjustable nylon strap holds Petrol Bags Red One Petrol, a Vitec Group brand, has introduced the Petrol Red Bag (PRB-15), an innovative camera carrier specifically designed to transport and protect the Red One digital camera. The Red Bag’s dual-directional upside-down zippers open smoothly for quick and easy access to the smartly designed interior, where a removable upper tray with detachable dividers provides the perfect place to stash the Red One’s essen- the camera firmly and safely in place, and four detachable padded dividers help secure the compartment’s contents and form pockets for additional storage. The PRB-15 comes equipped with a separate fabric sleeve to hold the Red One’s steel support rods. With the rods inside, the Fast Forward Video Launches Micron Recorder Fast Forward Video (FFV) has announced the release of its Micron HD digital video recorder (DVR), a powerful, costeffective solution for recording and playingout broadcast-quality digital SD and HD video. The Micron HD offers many of the features of FFV’s Omega HD DVR in a single rack unit and at a price point specifically targeted to today’s most budget-conscious broadcast-grade operations. “The Micron HD is a direct response to many of our customers who requested an inexpensive entry-level HD DVR that could still measure up to the superb picture quality of the Omega HD,” says Harry Glass, vice president of sales for FFV. “The single-channel Micron HD is an ideal solution for broad- casters seeking to migrate to HD operations at a low cost per channel while maintaining SD capabilities.” The Micron HD utilizes high-quality JPEG2000 compression at speeds up to 100 Mb/s, making it an excellent replacement for SD-only DVRs and analog tape decks. It offers up to five hours of record time, and its removable non-proprietary 2.5" SATA drive is fully compatible with FFV’s Elite HD camera-mounted DVR. Users can record, play and store multiple SD and HD video files, and with a simple machine controller, users can access a larger set of functions and command multiple units with one keystroke. The suggested retail price of the Micron HD DVR is $4,995. For more information, visit www.ffv.com. American Cinematographer
http://www.elementtechnica.com http://www.technica3d.com http://www.ffv.com

American Cinematographer - February 2010

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

American Cinematographer - February 2010
Contents
Editor’s Note
President’s Desk
Short Takes: What’s in the Box?
Production Slate: Fish Tank • Dollhouse
Bad Moon Rising
Artistry and Conscience
Working With the Red
Terror in Technicolor
Post Focus: Offhollywood Digital
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Marc E. Reshovsky, ASC
Clubhouse News
ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - American Cinematographer - February 2010
American Cinematographer - February 2010 - Cover2
American Cinematographer - February 2010 - 1
American Cinematographer - February 2010 - 2
American Cinematographer - February 2010 - Contents
American Cinematographer - February 2010 - 4
American Cinematographer - February 2010 - 5
American Cinematographer - February 2010 - 6
American Cinematographer - February 2010 - 7
American Cinematographer - February 2010 - Editor’s Note
American Cinematographer - February 2010 - 9
American Cinematographer - February 2010 - President’s Desk
American Cinematographer - February 2010 - 11
American Cinematographer - February 2010 - Short Takes: What’s in the Box?
American Cinematographer - February 2010 - 13
American Cinematographer - February 2010 - 14
American Cinematographer - February 2010 - 15
American Cinematographer - February 2010 - 16
American Cinematographer - February 2010 - 17
American Cinematographer - February 2010 - Production Slate: Fish Tank • Dollhouse
American Cinematographer - February 2010 - 19
American Cinematographer - February 2010 - 20
American Cinematographer - February 2010 - 21
American Cinematographer - February 2010 - 22
American Cinematographer - February 2010 - 23
American Cinematographer - February 2010 - 24
American Cinematographer - February 2010 - 25
American Cinematographer - February 2010 - 26
American Cinematographer - February 2010 - 27
American Cinematographer - February 2010 - 28
American Cinematographer - February 2010 - 29
American Cinematographer - February 2010 - 30
American Cinematographer - February 2010 - 31
American Cinematographer - February 2010 - Bad Moon Rising
American Cinematographer - February 2010 - 33
American Cinematographer - February 2010 - 34
American Cinematographer - February 2010 - 35
American Cinematographer - February 2010 - 36
American Cinematographer - February 2010 - 36A
American Cinematographer - February 2010 - 36B
American Cinematographer - February 2010 - 37
American Cinematographer - February 2010 - 38
American Cinematographer - February 2010 - 39
American Cinematographer - February 2010 - 40
American Cinematographer - February 2010 - 41
American Cinematographer - February 2010 - 42
American Cinematographer - February 2010 - 43
American Cinematographer - February 2010 - 44
American Cinematographer - February 2010 - 45
American Cinematographer - February 2010 - Artistry and Conscience
American Cinematographer - February 2010 - 47
American Cinematographer - February 2010 - 48
American Cinematographer - February 2010 - 49
American Cinematographer - February 2010 - 50
American Cinematographer - February 2010 - 51
American Cinematographer - February 2010 - 52
American Cinematographer - February 2010 - 53
American Cinematographer - February 2010 - 54
American Cinematographer - February 2010 - 55
American Cinematographer - February 2010 - Working With the Red
American Cinematographer - February 2010 - 57
American Cinematographer - February 2010 - 58
American Cinematographer - February 2010 - 59
American Cinematographer - February 2010 - 60
American Cinematographer - February 2010 - 61
American Cinematographer - February 2010 - 62
American Cinematographer - February 2010 - 63
American Cinematographer - February 2010 - 64
American Cinematographer - February 2010 - 65
American Cinematographer - February 2010 - 66
American Cinematographer - February 2010 - 67
American Cinematographer - February 2010 - Terror in Technicolor
American Cinematographer - February 2010 - 69
American Cinematographer - February 2010 - 70
American Cinematographer - February 2010 - 71
American Cinematographer - February 2010 - 72
American Cinematographer - February 2010 - 73
American Cinematographer - February 2010 - 74
American Cinematographer - February 2010 - 75
American Cinematographer - February 2010 - 76
American Cinematographer - February 2010 - 77
American Cinematographer - February 2010 - Post Focus: Offhollywood Digital
American Cinematographer - February 2010 - 79
American Cinematographer - February 2010 - 80
American Cinematographer - February 2010 - 81
American Cinematographer - February 2010 - New Products & Services
American Cinematographer - February 2010 - 83
American Cinematographer - February 2010 - 84
American Cinematographer - February 2010 - 85
American Cinematographer - February 2010 - 86
American Cinematographer - February 2010 - 87
American Cinematographer - February 2010 - International Marketplace
American Cinematographer - February 2010 - 89
American Cinematographer - February 2010 - Ad Index
American Cinematographer - February 2010 - 91
American Cinematographer - February 2010 - In Memoriam: Marc E. Reshovsky, ASC
American Cinematographer - February 2010 - 93
American Cinematographer - February 2010 - Clubhouse News
American Cinematographer - February 2010 - 95
American Cinematographer - February 2010 - ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - Cover3
American Cinematographer - February 2010 - Cover4
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