American Cinematographer - April 2011 - 61
ment. Some manufacturers offer better options. At rig specialist Element Technica, company co-founder Stephen Pizzo highlighted the features of their beamsplitters and discussed their work on incorporating effect filters into their rigs. They have gone to great lengths to develop exceedingly capable mirrors, and make it a point to provide their specifications on their website so their clients know what they’re getting. They have also developed new filter mountings that maximize useful focal-length range, which can be adversely affected when fitting the mirror box with effectfilter mounts. Sebastian Cramer, founder of rig maker Screen Plane and inventor of the Skater Dolly, noted that his Production Rig “offers a wide range of filter options; both cameras have two 4"x5.65" filter trays [with space] for an additional 4.5" round filter. All round filters can be turned into any angle; the 4"x5.65"s are
fixed in angle. In addition, we offer a custom filter tray in front of the mirror box to filter the light that goes into the mirror box.” It’s clear that effect filters still have their place in 3-D. As for 3-D itself, where do we go from here? Technology offers a tantalizing taste. The Eastman Kodak Co. recently announced the development of Kodak Laser Projection Technology. Embodied in a prototype projector, lasers provide practical cost advantages in maintenance as well as performance enhancements. A key factor is that lasers are inherently polarized, eliminating light losses from polarizing at the projector, providing a brighter image. Tim Sassoon, president of visualeffects/post facility Sassoon Film Design, considers the future: “We need to … be capturing enough scene information … so that one can efficiently
manipulate the image space as part of normal post processes, as one does color correction. Generally speaking, today we are not. I predict that when we do have a better approach to capturing and displaying depth information, it will prove to be fairly inexpensive to implement … and thus will rapidly become pervasive at every price point.” Jean-Pierre Beauviala, prolific innovator and founder of Aaton, has hinted online that there may soon be a new and different approach in sight: a single camera with the ability to store spatial metadata. The more things change, the more things change. ●
61
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American Cinematographer - April 2011
Table of Contents for the Digital Edition of American Cinematographer - April 2011
American Cinematographer - April 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Faeries”
Production Slate: Jane Eyre • Battle: Los Angeles
Wicked World
A Woman on the Verge
Optical Filtration and 3-D
Sundance 2011: Spirited Images
Post Focus: Red Riding Hood
Tricks of the Trade: Unfettering a Digital Shoot
Filmmakers’ Forum: The Image Interchange Framework
New Products & Services
International Marketplace
Classified Ads/Ad Index
Clubhouse News
ASC Close-Up: Dennis Muren
American Cinematographer - April 2011 - American Cinematographer - April 2011
American Cinematographer - April 2011 - Cover2
American Cinematographer - April 2011 - 1
American Cinematographer - April 2011 - 2
American Cinematographer - April 2011 - Contents
American Cinematographer - April 2011 - 4
American Cinematographer - April 2011 - 5
American Cinematographer - April 2011 - 6
American Cinematographer - April 2011 - 7
American Cinematographer - April 2011 - Editor’s Note
American Cinematographer - April 2011 - 9
American Cinematographer - April 2011 - President’s Desk
American Cinematographer - April 2011 - 11
American Cinematographer - April 2011 - Short Takes: “Faeries”
American Cinematographer - April 2011 - 13
American Cinematographer - April 2011 - 14
American Cinematographer - April 2011 - 15
American Cinematographer - April 2011 - Production Slate: Jane Eyre • Battle: Los Angeles
American Cinematographer - April 2011 - 17
American Cinematographer - April 2011 - 18
American Cinematographer - April 2011 - 19
American Cinematographer - April 2011 - 20
American Cinematographer - April 2011 - 21
American Cinematographer - April 2011 - 22
American Cinematographer - April 2011 - 23
American Cinematographer - April 2011 - 24
American Cinematographer - April 2011 - 25
American Cinematographer - April 2011 - Wicked World
American Cinematographer - April 2011 - 27
American Cinematographer - April 2011 - 28
American Cinematographer - April 2011 - 29
American Cinematographer - April 2011 - 30
American Cinematographer - April 2011 - 30a
American Cinematographer - April 2011 - 30b
American Cinematographer - April 2011 - 31
American Cinematographer - April 2011 - 32
American Cinematographer - April 2011 - 33
American Cinematographer - April 2011 - 34
American Cinematographer - April 2011 - 35
American Cinematographer - April 2011 - 36
American Cinematographer - April 2011 - 37
American Cinematographer - April 2011 - 38
American Cinematographer - April 2011 - 39
American Cinematographer - April 2011 - 40
American Cinematographer - April 2011 - 41
American Cinematographer - April 2011 - A Woman on the Verge
American Cinematographer - April 2011 - 43
American Cinematographer - April 2011 - 44
American Cinematographer - April 2011 - 45
American Cinematographer - April 2011 - 46
American Cinematographer - April 2011 - 47
American Cinematographer - April 2011 - 48
American Cinematographer - April 2011 - 49
American Cinematographer - April 2011 - 50
American Cinematographer - April 2011 - 51
American Cinematographer - April 2011 - Optical Filtration and 3-D
American Cinematographer - April 2011 - 53
American Cinematographer - April 2011 - 54
American Cinematographer - April 2011 - 55
American Cinematographer - April 2011 - 56
American Cinematographer - April 2011 - 57
American Cinematographer - April 2011 - 58
American Cinematographer - April 2011 - 59
American Cinematographer - April 2011 - 60
American Cinematographer - April 2011 - 61
American Cinematographer - April 2011 - Sundance 2011: Spirited Images
American Cinematographer - April 2011 - 63
American Cinematographer - April 2011 - 64
American Cinematographer - April 2011 - 65
American Cinematographer - April 2011 - 66
American Cinematographer - April 2011 - 67
American Cinematographer - April 2011 - 68
American Cinematographer - April 2011 - 69
American Cinematographer - April 2011 - 70
American Cinematographer - April 2011 - 71
American Cinematographer - April 2011 - 72
American Cinematographer - April 2011 - 73
American Cinematographer - April 2011 - 74
American Cinematographer - April 2011 - 75
American Cinematographer - April 2011 - 76
American Cinematographer - April 2011 - 77
American Cinematographer - April 2011 - Post Focus: Red Riding Hood
American Cinematographer - April 2011 - 79
American Cinematographer - April 2011 - 80
American Cinematographer - April 2011 - 81
American Cinematographer - April 2011 - Tricks of the Trade: Unfettering a Digital Shoot
American Cinematographer - April 2011 - 83
American Cinematographer - April 2011 - 84
American Cinematographer - April 2011 - 85
American Cinematographer - April 2011 - Filmmakers’ Forum: The Image Interchange Framework
American Cinematographer - April 2011 - 87
American Cinematographer - April 2011 - 88
American Cinematographer - April 2011 - 89
American Cinematographer - April 2011 - New Products & Services
American Cinematographer - April 2011 - 91
American Cinematographer - April 2011 - 92
American Cinematographer - April 2011 - 93
American Cinematographer - April 2011 - 94
American Cinematographer - April 2011 - 95
American Cinematographer - April 2011 - 96
American Cinematographer - April 2011 - 97
American Cinematographer - April 2011 - International Marketplace
American Cinematographer - April 2011 - 99
American Cinematographer - April 2011 - Classified Ads/Ad Index
American Cinematographer - April 2011 - 101
American Cinematographer - April 2011 - Clubhouse News
American Cinematographer - April 2011 - 103
American Cinematographer - April 2011 - ASC Close-Up: Dennis Muren
American Cinematographer - April 2011 - Cover3
American Cinematographer - April 2011 - Cover4
American Cinematographer - April 2011 - Cover5
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