American Cinematographer - February 2011 - 74

Zacuto Aims Double Barrel at DSLRs Zacuto has introduced the Double Barrel shoulder-mounted handheld system for DSLR cinematography. The Double Barrel kit incorporates Zacuto’s shoulder mount and a 7-pound counter balance to give users a comfortable, fully balanced rig that can be configured for use on either the left or right shoulder. The Double Barrel utilizes Zacuto’s DSLR base plate, which attaches to the user’s tripod plate via standard ¼"-20 and 3⁄ 8"-16 tripod plate screws. The rig also incorporates a quick-release plate. Unlike Zacuto’s Fast Draw, the Double Barrel features two handgrips and the Z-Finder Pro 2.5x viewfinder. The Z-Finder Pro 2.5x’s mounting frame attaches to the camera quick-release plate using two thumb screws, and it then sits over the LCD screen and allows users to quickly attach or remove the Z-Finder by snapping it on or off the frame. The Double Barrel also includes Zacuto’s follow-focus system, which is adjustable along the included rods and works in conjunction with Zacuto’s Zipgears. The Double Barrel kit includes a set of four Zipgears; each Zipgear can be attached to a single lens. For additional information, visit www.zacuto.com. Kernercam Offers 3-D Rig Kerner 3D Technologies, a division of Marin, Calif.-based Kerner Group, has introduced the Kernercam KC7000 3-D camerarig system. For more than 30 years, the Kerner Group has been associated with groundbreaking visual effects and optical technology, including the creation of the “Empire Camera” for The Empire Strikes Back . The latest breakthrough is the Kern74 February 2011

ercam KC7000 beam-splitter rig, which is available in various sizes for broadcast and cinematic applications. The Kernercam KC7000 has already been used by Emotion Studios for a 3-D documentary for Nvidea; by Depth Q Media to shoot drift-racing footage for Toyota’s Scion brand; and by director David Arquette for his short film The Butler’s In Love. For additional information, visit www.kerner.com.

narrow profile makes it a space-saving alternative to conventional cranes. Building on the success of the standard MATTowercam, the Twin Peek can telescope in both upright and inverted orientations, with an overall reach of 5'-15' in either orientation. The entire MATTowercam family boasts a short rigging time, and each unit can be operated using a handset, foot pedal or even an iPhone, with a computer-assisted mode also available that allows for implementation as a motion-capture system. For additional information, visit www.mat-film.tv.

GFM Takes Combi-rig to 3rd Dimension Expanding on its range of cameramounting rigs, Grip Factory Munich has introduced the GF-3D Combi-rig. The mounting system utilizes the extension tubes from GFM’s Combi-rig, but instead of using just one tube, the GF-3D accepts two tubes, providing a stable mount for large camera packages and especially 3-D rigs. The GF-3D mounts to Euro-adapter fittings and Mitchell mounts, so it can be used with most dolly systems. The GF-3D can be used as a high or low mount with vertical adjustment possible along the tubes. Horizontal position adjustments can also be made. Additionally, the GF-3D is compatible with GFM’s range of offset Mitchell and Ball Adapters. For additional information, visit www.g-f-m.net. MAT-Towercam Gets Twin Peek Berlin, Germany-based Mad About Technology has added the MAT-Towercam Twin Peek to its line of Towercam telescopic camera columns. Designed by MAT’s owner, Peter Braun, the MAT-Towercam is a portable, remote-controlled, dynamic, smooth and silent telescoping camera column. When coupled with a remote head, the computerassisted lift allows for a wide range of camera moves, and the MAT-Towercam’s
American Cinematographer

Egripment Introduces ProTraveler Egripment Support Systems has entered the prosumer market with the introduction of the compact and lightweight ProTraveler System, a jib/crane system designed for use with cameras with a maximum weight of 22 pounds. The ProTraveler System offers a smooth, high-quality crane movement in combination with a highly technical remote head. The crane features an operational length of 23', with a maximum lens height of 20' (underslung) and adjustable armreach configurations for 5.25'-9' or 12.5'16' operation. The total weight of the crane system is 82.5 pounds. The ProTraveler can be mounted on any 100mm bowl-type connection, and the system includes two carrying bags and one small flight case for easy transporting. Additional features include pan-and-tilt brakes for the camera arm, a monitor platform, weight adjustment, speed control on panand-tilt movement, and a reverse switch for pan-and-tilt direction. For additional information, visit www.egripment.nl. ●


http://www.kerner.com http://www.mat-film.tv http://www.zacuto.com http://www.g-f-m.net http://www.egripment.nl

American Cinematographer - February 2011

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

American Cinematographer - February 2011
Contents
Editor’s Note
President’s Desk
Short Takes: God of Love
Production Slate: The Way BackThe Last Lions
Masked Men
Total Immersion
Behind the Music
A Cinematic Passport
Post Focus: MTI Films
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Robert Steadman, ASC
Clubhouse News
ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - American Cinematographer - February 2011
American Cinematographer - February 2011 - Cover2
American Cinematographer - February 2011 - 1
American Cinematographer - February 2011 - 2
American Cinematographer - February 2011 - Contents
American Cinematographer - February 2011 - 4
American Cinematographer - February 2011 - 5
American Cinematographer - February 2011 - 6
American Cinematographer - February 2011 - 7
American Cinematographer - February 2011 - Editor’s Note
American Cinematographer - February 2011 - 9
American Cinematographer - February 2011 - President’s Desk
American Cinematographer - February 2011 - 11
American Cinematographer - February 2011 - Short Takes: God of Love
American Cinematographer - February 2011 - 13
American Cinematographer - February 2011 - 14
American Cinematographer - February 2011 - 15
American Cinematographer - February 2011 - Production Slate: The Way BackThe Last Lions
American Cinematographer - February 2011 - 17
American Cinematographer - February 2011 - 18
American Cinematographer - February 2011 - 19
American Cinematographer - February 2011 - 20
American Cinematographer - February 2011 - 21
American Cinematographer - February 2011 - 22
American Cinematographer - February 2011 - 23
American Cinematographer - February 2011 - 24
American Cinematographer - February 2011 - 25
American Cinematographer - February 2011 - Masked Men
American Cinematographer - February 2011 - 27
American Cinematographer - February 2011 - 28
American Cinematographer - February 2011 - 29
American Cinematographer - February 2011 - 30
American Cinematographer - February 2011 - 31
American Cinematographer - February 2011 - 32
American Cinematographer - February 2011 - 33
American Cinematographer - February 2011 - 34
American Cinematographer - February 2011 - 35
American Cinematographer - February 2011 - Total Immersion
American Cinematographer - February 2011 - 37
American Cinematographer - February 2011 - 38
American Cinematographer - February 2011 - 39
American Cinematographer - February 2011 - 40
American Cinematographer - February 2011 - 41
American Cinematographer - February 2011 - 42
American Cinematographer - February 2011 - 43
American Cinematographer - February 2011 - 44
American Cinematographer - February 2011 - 45
American Cinematographer - February 2011 - Behind the Music
American Cinematographer - February 2011 - 47
American Cinematographer - February 2011 - 48
American Cinematographer - February 2011 - 49
American Cinematographer - February 2011 - 50
American Cinematographer - February 2011 - 51
American Cinematographer - February 2011 - 52
American Cinematographer - February 2011 - 53
American Cinematographer - February 2011 - A Cinematic Passport
American Cinematographer - February 2011 - 55
American Cinematographer - February 2011 - 56
American Cinematographer - February 2011 - 57
American Cinematographer - February 2011 - 58
American Cinematographer - February 2011 - 59
American Cinematographer - February 2011 - 60
American Cinematographer - February 2011 - 61
American Cinematographer - February 2011 - 62
American Cinematographer - February 2011 - 63
American Cinematographer - February 2011 - Post Focus: MTI Films
American Cinematographer - February 2011 - 65
American Cinematographer - February 2011 - 66
American Cinematographer - February 2011 - 67
American Cinematographer - February 2011 - New Products & Services
American Cinematographer - February 2011 - 69
American Cinematographer - February 2011 - 70
American Cinematographer - February 2011 - 71
American Cinematographer - February 2011 - 72
American Cinematographer - February 2011 - 73
American Cinematographer - February 2011 - 74
American Cinematographer - February 2011 - 75
American Cinematographer - February 2011 - International Marketplace
American Cinematographer - February 2011 - Classified Ads
American Cinematographer - February 2011 - Ad Index
American Cinematographer - February 2011 - 79
American Cinematographer - February 2011 - In Memoriam: Robert Steadman, ASC
American Cinematographer - February 2011 - 81
American Cinematographer - February 2011 - Clubhouse News
American Cinematographer - February 2011 - 83
American Cinematographer - February 2011 - ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - Cover3
American Cinematographer - February 2011 - Cover4
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