American Cinematographer - February 2015 - 80

New Products & Services
Panavision Acquires
Light Iron
Panavision has reached
an agreement to acquire
postproduction technology
provider Light Iron. The
acquisition will offer
turnkey technology solutions from preproduction
through delivery.
With facilities in Los
Angeles and New York City,
Light Iron will operate as a wholly owned subsidiary of Panavision,
maintaining its executive leadership and talent. Light Iron's Outpost
Mobile Post Systems will be available at Panavision rental facilities
worldwide.
"Panavision and Light Iron are dedicated to providing clients
the innovation they need to succeed at the intersection of art and
science," says ASC associate Kim Snyder (pictured, left), CEO and
president of Panavision. "Together, we are poised to offer creative
clients a deeper and more progressive level of support and services
across all market segments. This union uniquely positions us both to
serve the industry through collaboration, advanced engineering and
optimized services all over the world."
ASC associate Michael Cioni (pictured, right), CEO of Light
Iron, remarks that Panavision is an ideal partner to extend Light Iron's
international reach. "A longstanding commitment to quality and
client service has made Panavision one of the most trusted brands
in the world," he says. "The fusion of our two companies, and the
creation of new optimized tools, will mark the beginning of a new
era in digital acquisition and delivery on a global scale."
Light Iron was founded in Los Angeles in 2009 by brothers
Michael and Peter Cioni, along with a core team of experts. Embracing emerging digital tools for content creation, the company has
grown into a leading provider of mobile dailies, archival services,
offline editorial rental, finishing and delivery. Through its suite of
Outpost systems and digital-intermediate services, Light Iron
supports high-resolution 6K acquisition formats and UHD delivery.
For additional information, visit www.panavision.com and
www.lightiron.com.
Deluxe Opens Toronto Post House
Deluxe has announced the opening of a state-of-the-art
postproduction studio for picture and sound in Toronto. The threestory, 62,000-square-foot facility is located in the city's Liberty Village
neighborhood.
The facility features a large ADR stage, and four 5.1 and 7.1
mixing stages for feature and television productions. It boasts the
80

February 2015

* SUBMISSION INFORMATION *
Please e-mail New Products/Services releases to
newproducts@ascmag.com and include full contact
information and product images. Photos must be
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largest feature mixing stage in
Canada - with Imax and Dolby
Atmos - as well as a digitalintermediate suite with 4K
projection. Other features
include a wide range of ad
services, dailies solutions, on-set
and near-set services, and innovative solutions for asset management, storage and archiving.
For additional information, visit www.bydeluxe.com.
SmallHD Makes Grade
SmallHD, a provider of
on-camera monitoring solutions
and part of the Vitec Group, has
introduced an on-camera colorgrading system designed to dial
in quick color grades and provide
clients and crew with a clear view
of how the finished shot will
look. This toolset is part of the
free downloadable firmware
upgrade V3.0, and ships with all
new SmallHD DP7-Pro oncamera field monitors.
In addition to real-time
color grading of HDMI and SDI
signals, the DP7-Pro allows users
to send graded video downstream via HDMI or SDI to another monitor. It also allows for importing and applying grades in 3D look-up
tables that have been created on popular desktop color-grading
apps, and for modifying them on the DP7-Pro. The resultant grades
made on the DP7-Pro can be exported for use with any popular
color-grading app as a starting point for postproduction coloring.
SmallHD's latest firmware upgrade also allows users to overlay any JPEG image via SD card on top of live video using selectable
transparency of the JPEG; shooting for post is therefore made easier,
because the on-camera monitor allows users to perform shotmatching for CG work and camera alignment for 3D rigs. In addition, V3.0 firmware allows the DP7-Pro to capture nearly unlimited
screen shots from the video feed, giving the user a reference for
continuity and shot composition for future overlay use.
The 7" high-definition monitor, complete with color-grading
system, is available in three versions: the DP7-Pro LCD (SB), DP7-Pro
OLED and DP7-Pro High Bright (HB).
For additional information, visit www.smallhd.com.

American Cinematographer


http://www.bydeluxe.com http://www.panavision.com http://www.lightiron.com http://www.smallhd.com

American Cinematographer - February 2015

Table of Contents for the Digital Edition of American Cinematographer - February 2015

Contents
American Cinematographer - February 2015 - Cover1
American Cinematographer - February 2015 - Cover2
American Cinematographer - February 2015 - 1
American Cinematographer - February 2015 - 2
American Cinematographer - February 2015 - Contents
American Cinematographer - February 2015 - 4
American Cinematographer - February 2015 - 5
American Cinematographer - February 2015 - 6
American Cinematographer - February 2015 - 7
American Cinematographer - February 2015 - 8
American Cinematographer - February 2015 - 9
American Cinematographer - February 2015 - 10
American Cinematographer - February 2015 - 11
American Cinematographer - February 2015 - 12
American Cinematographer - February 2015 - 13
American Cinematographer - February 2015 - 14
American Cinematographer - February 2015 - 14a
American Cinematographer - February 2015 - 14b
American Cinematographer - February 2015 - 15
American Cinematographer - February 2015 - 16
American Cinematographer - February 2015 - 17
American Cinematographer - February 2015 - 18
American Cinematographer - February 2015 - 19
American Cinematographer - February 2015 - 20
American Cinematographer - February 2015 - 21
American Cinematographer - February 2015 - 22
American Cinematographer - February 2015 - 23
American Cinematographer - February 2015 - 24
American Cinematographer - February 2015 - 25
American Cinematographer - February 2015 - 26
American Cinematographer - February 2015 - 27
American Cinematographer - February 2015 - 28
American Cinematographer - February 2015 - 29
American Cinematographer - February 2015 - 30
American Cinematographer - February 2015 - 31
American Cinematographer - February 2015 - 32
American Cinematographer - February 2015 - 33
American Cinematographer - February 2015 - 34
American Cinematographer - February 2015 - 35
American Cinematographer - February 2015 - 36
American Cinematographer - February 2015 - 37
American Cinematographer - February 2015 - 38
American Cinematographer - February 2015 - 39
American Cinematographer - February 2015 - 40
American Cinematographer - February 2015 - 41
American Cinematographer - February 2015 - 42
American Cinematographer - February 2015 - 43
American Cinematographer - February 2015 - 44
American Cinematographer - February 2015 - 45
American Cinematographer - February 2015 - 46
American Cinematographer - February 2015 - 47
American Cinematographer - February 2015 - 48
American Cinematographer - February 2015 - 49
American Cinematographer - February 2015 - 50
American Cinematographer - February 2015 - 51
American Cinematographer - February 2015 - 52
American Cinematographer - February 2015 - 53
American Cinematographer - February 2015 - 54
American Cinematographer - February 2015 - 55
American Cinematographer - February 2015 - 56
American Cinematographer - February 2015 - 57
American Cinematographer - February 2015 - 58
American Cinematographer - February 2015 - 59
American Cinematographer - February 2015 - 60
American Cinematographer - February 2015 - 61
American Cinematographer - February 2015 - 62
American Cinematographer - February 2015 - 63
American Cinematographer - February 2015 - 64
American Cinematographer - February 2015 - 65
American Cinematographer - February 2015 - 66
American Cinematographer - February 2015 - 67
American Cinematographer - February 2015 - 68
American Cinematographer - February 2015 - 69
American Cinematographer - February 2015 - 70
American Cinematographer - February 2015 - 71
American Cinematographer - February 2015 - 72
American Cinematographer - February 2015 - 73
American Cinematographer - February 2015 - 74
American Cinematographer - February 2015 - 75
American Cinematographer - February 2015 - 76
American Cinematographer - February 2015 - 77
American Cinematographer - February 2015 - 78
American Cinematographer - February 2015 - 79
American Cinematographer - February 2015 - 80
American Cinematographer - February 2015 - 81
American Cinematographer - February 2015 - 82
American Cinematographer - February 2015 - 83
American Cinematographer - February 2015 - 84
American Cinematographer - February 2015 - 85
American Cinematographer - February 2015 - 86
American Cinematographer - February 2015 - 87
American Cinematographer - February 2015 - 88
American Cinematographer - February 2015 - Cover3
American Cinematographer - February 2015 - Cover4
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