American Cinematographer - April 2012 - 93

Marking Discs, Handwheel Extension and Studio 15/19mm Bridge. The new Toothless Friction Driver, for use with still lenses, eliminates much of the need for additional toothed gear rings. For additional information, visit www.ocon.com. The Photo Set utilizes a Hard Stop Handwheel with a transmission ratio of 1:1. When coupled with the O-Focus Bridge, it yields a 1:0.75 transmission ratio, so that 360 degrees of input results in 270 degrees of gear-drive rotation, which translates to longer, more exacting focus pulls when using limited-barrel-rotation still lenses for digital cinematography, and allows for more precise lens control than has previously been available for these camera configurations. In addition, the hard stops enable the user to set minimum and maximum focus points for lenses with unlimited rotation and to carry out hard-stop pulls. To allow the focus puller to react to unexpected movements, the unique, singlehand-operated hard-stop on/off switch allows for instantaneous disengagement of the end stops for critical adjustments even during the shot. The Cine Set utilizes OConnor’s existing CFF-1 Studio Handwheel, which features a transmission ratio of 1:1.8. When coupled with the O-Focus Bridge, it yields a 1:1.4 output transmission ratio well suited for cine lenses with an expanded focus scale. The Studio Handwheel is offset, meaning it has 360-degree rotation for optimum placement and view of lens witness marks, and allows the camera to be set on the ground without the rig weight resting on the handwheel. Both versions of the O-Focus DM feature extremely low profiles, which allows for use with large-diameter lenses. The sliding dovetail design provides adjustments for various lens sizes, even those with very large lens-barrel diameters. Additionally, tapered flank couplings (pioneered with the OConnor CFF-1) eliminate play between the handwheel and bridge connection. The O-Focus DM integrates seamlessly with existing follow-focus accessories, including whips, cranks and gears. It also shares many of the OConnor CFF-1 accessories, including the Studio Handwheel and Zacuto Supports DSLRs with Scorpion Zacuto has introduced the Scorpion rig for DSLR shoulder-mounted shooting with an electronic viewfinder. It can be used on the left or right shoulder. At the center of the Scorpion is Zacuto’s highly adjustable DSLR Baseplate, which allows users to mount any DSLR to the rig, and to mount the rig onto a tripod. The Baseplate attaches to a tripod using standard ¼"-20 and 3⁄8"-16 tripod-plate screws. Users can easily quick-release the camera from the rig by turning the red knob on the side of the Baseplate and pulling up on the camera. The Scorpion also features an allnew, curved, form-fitting Akton Polymer pad, which connects to the back of the Baseplate via two 2" M/F rods. The rods screw into the back of the Baseplate and connect to the front of the shoulder pad via 15mm quick-release ports, making the switch from shoulder mount to tripod quick and easy. The Scorpion shoulder assembly also features an innovative ball joint built into the front of the shoulder pad; this allows the entire shoulder-pad assembly to articulate in multiple directions so the user can angle it to fit his body for individual

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http://www.theasc.com http://www.ocon.com http://www.theasc.com http://www.panther.tv http://www.panther.tv

American Cinematographer - April 2012

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

American Cinematographer - April 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Polaris campaign
Production Slate: Footnote4:44 Last Day on Earth
Vice at the Vatican
Back to School
Sundance Standouts
Filmmakers’ Forum: Haskell Wexler, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - American Cinematographer - April 2012
American Cinematographer - April 2012 - Cover2
American Cinematographer - April 2012 - 1
American Cinematographer - April 2012 - 2
American Cinematographer - April 2012 - Contents
American Cinematographer - April 2012 - 4
American Cinematographer - April 2012 - 5
American Cinematographer - April 2012 - 6
American Cinematographer - April 2012 - 7
American Cinematographer - April 2012 - Editor’s Note
American Cinematographer - April 2012 - 9
American Cinematographer - April 2012 - President’s Desk
American Cinematographer - April 2012 - 11
American Cinematographer - April 2012 - Short Takes: Polaris campaign
American Cinematographer - April 2012 - 13
American Cinematographer - April 2012 - 14
American Cinematographer - April 2012 - 15
American Cinematographer - April 2012 - 16
American Cinematographer - April 2012 - 17
American Cinematographer - April 2012 - Production Slate: Footnote4:44 Last Day on Earth
American Cinematographer - April 2012 - 19
American Cinematographer - April 2012 - 20
American Cinematographer - April 2012 - 21
American Cinematographer - April 2012 - 22
American Cinematographer - April 2012 - 23
American Cinematographer - April 2012 - 24
American Cinematographer - April 2012 - 25
American Cinematographer - April 2012 - 26
American Cinematographer - April 2012 - 27
American Cinematographer - April 2012 - 28
American Cinematographer - April 2012 - 29
American Cinematographer - April 2012 - 30
American Cinematographer - April 2012 - 31
American Cinematographer - April 2012 - Vice at the Vatican
American Cinematographer - April 2012 - 33
American Cinematographer - April 2012 - 34
American Cinematographer - April 2012 - 35
American Cinematographer - April 2012 - 36
American Cinematographer - April 2012 - 37
American Cinematographer - April 2012 - 38
American Cinematographer - April 2012 - 39
American Cinematographer - April 2012 - 40
American Cinematographer - April 2012 - 41
American Cinematographer - April 2012 - 42
American Cinematographer - April 2012 - 43
American Cinematographer - April 2012 - Back to School
American Cinematographer - April 2012 - 45
American Cinematographer - April 2012 - 46
American Cinematographer - April 2012 - 47
American Cinematographer - April 2012 - 48
American Cinematographer - April 2012 - 49
American Cinematographer - April 2012 - 50
American Cinematographer - April 2012 - 51
American Cinematographer - April 2012 - 52
American Cinematographer - April 2012 - 53
American Cinematographer - April 2012 - 54
American Cinematographer - April 2012 - 55
American Cinematographer - April 2012 - 56
American Cinematographer - April 2012 - 57
American Cinematographer - April 2012 - 58
American Cinematographer - April 2012 - 59
American Cinematographer - April 2012 - 60
American Cinematographer - April 2012 - 61
American Cinematographer - April 2012 - 62
American Cinematographer - April 2012 - 63
American Cinematographer - April 2012 - Sundance Standouts
American Cinematographer - April 2012 - 65
American Cinematographer - April 2012 - 66
American Cinematographer - April 2012 - 67
American Cinematographer - April 2012 - 68
American Cinematographer - April 2012 - 69
American Cinematographer - April 2012 - 70
American Cinematographer - April 2012 - 71
American Cinematographer - April 2012 - 72
American Cinematographer - April 2012 - 73
American Cinematographer - April 2012 - 74
American Cinematographer - April 2012 - 75
American Cinematographer - April 2012 - 76
American Cinematographer - April 2012 - 77
American Cinematographer - April 2012 - 78
American Cinematographer - April 2012 - 79
American Cinematographer - April 2012 - 80
American Cinematographer - April 2012 - 81
American Cinematographer - April 2012 - Filmmakers’ Forum: Haskell Wexler, ASC
American Cinematographer - April 2012 - 83
American Cinematographer - April 2012 - 84
American Cinematographer - April 2012 - 85
American Cinematographer - April 2012 - 86
American Cinematographer - April 2012 - 87
American Cinematographer - April 2012 - New Products & Services
American Cinematographer - April 2012 - 89
American Cinematographer - April 2012 - 90
American Cinematographer - April 2012 - 91
American Cinematographer - April 2012 - 92
American Cinematographer - April 2012 - 93
American Cinematographer - April 2012 - 94
American Cinematographer - April 2012 - 95
American Cinematographer - April 2012 - 96
American Cinematographer - April 2012 - 97
American Cinematographer - April 2012 - 98
American Cinematographer - April 2012 - 99
American Cinematographer - April 2012 - 100
American Cinematographer - April 2012 - 101
American Cinematographer - April 2012 - International Marketplace
American Cinematographer - April 2012 - Classified Ads
American Cinematographer - April 2012 - Ad Index
American Cinematographer - April 2012 - 105
American Cinematographer - April 2012 - Clubhouse News
American Cinematographer - April 2012 - 107
American Cinematographer - April 2012 - ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - Cover3
American Cinematographer - April 2012 - Cover4
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