American Cinematographer - April 2012 - 98
also monitor audio via the headphone jack, and toggle between audio inputs, while simultaneously viewing the onscreen recording-level display. Cinedeck RX enables users to review shots instantly in real time and in any order via the built-in display or external HD-SDI or HDMI monitors, allowing for instant QC and giving users the assurance that they have captured the shots they want. For additional information, visit www.cinedeck.com.
FFV SideKick HD Takes Video Straight to Edit Fast Forward Video has unveiled the SideKick HD multi-format, straight-to-edit, camera-mountable digital-video recorder. Designed to streamline production workflows, the SideKick HD enables customers to get the most out of their camcorders without compromising quality. “With the SideKick HD, camera-toediting workflows have never been more streamlined,” says Paul DeKeyser, founder
9th International Trade Fair for Cine Equipment and Technology Munich M,O,C, 22 – 24 September 2012 www.cinec.de
of FFV. “Instead of using the camera’s onboard recording device, users can capture video directly from any HD/SDI or HDMI output and choose the final postproduction codec without any additional transcoding, saving valuable time and removing steps that could degrade image quality.” The SideKick HD offers extremely high image quality in a camera-mountable recording solution, with the ability to record at 220 megabits per second at only 7:1 compression. The DVR attaches to any HD camcorder or HDSLR using a standard ¼-20 mount. The system records to off-the-shelf, hot-swappable 2.5" SSD drives in native ProRes (for Apple Final Cut Pro) or DNxHD (for Avid) N LE formats. Bringing files into the NLE environment is a simple matter of moving the disk from the SideKick HD to the computer; no time-consuming ingest or transcoding operations are required. Additionally, a 4.3" on-board confidence monitor offers playback options including scrub and jog capabilities. To simplify power management, the extremely lightweight SideKick HD is powered from the camera’s battery. FFV offers power cables for direct connection to Anton-Bauer and IDX camera batteries, as well as approved OEM-compatible batteries with a DC output for Sony, Panasonic, Canon and JVC camcorders. In addition, FFV offers a battery-pack option that extends the full power of the SideKick HD to users of smaller cameras that are not equipped with full-sized batteries. On remote-location shoots, these users now have the ability to unplug a discharged battery and replace it with a fully charged one without interrupting a SideKick HD recording session. For additional information, visit www.ffv.com.
http://www.cinedeck.com
http://www.cinec.de
http://www.cinec.de
http://www.ffv.com
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: Footnote • 4:44 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: Footnote • 4:44 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
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American Cinematographer - April 2012 - 53
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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
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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
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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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