American Cinematographer - May 2010 - 76
New Products & Services
S.two Ships FlashDock S.two Corporation has added the FlashDock transfer station to its family of uncompressed digital film production solutions. The FlashDock is a portable editorial ingest and archival station for FlashMag solid-state magazines from the OB-1, S.two’s onboard digital film recorder. Supporting uncompressed 4:4:4 RGB and raw data — including ArriRaw — the FlashDock provides multiple transfer target interfaces, including dual-link HD-SDI, eSATA, USB 2.0, Gbit Ethernet, RS422 and SAS. FCP-style XML and Avid-style ALE metadata files are generated and made available over Ethernet or to a USB device for automated editorial ingest. An optional Expansion Chassis provides two half-height LTO3/4 drive bays and is powered from the FlashDock for true on-location archival backup capability. The FlashDock is capable of operating on 100-240-volt AC or 24-volt DC power, and is designed for use on remote shoot locations, in the studio or in a post facility. “This is the workflow component that our OB-1 customers have been looking for,” says Chris Romine, president of S.two. “It is economical, field portable and facility friendly, and satisfies both dailies generation and backup requirements with a user-friendly touch-screen LCD interface.” The first FlashDock production units have begun shipping to sales and marketing partner Band Pro Film & Digital. For more information, visit www.bandpro.com and www.stwo-corp.com.
• SUBMISSION INFORMATION • Please e-mail New Products/Services releases to: newproducts@ascmag.com and include full contact information and product images. Photos must be TIFF or JPEG files of at least 300dpi.
FTC Makes Smooth Moves Filmotechnic Canada Ltd., a Toronto-based camera-supportequipment rental and manufacturing company, has introduced the 2-Axis Rotary Damper & Level Control Nose Mount for Technocrane and MovieBird’s telescopic cranes. The 2-Axis Rotary Damper & Level Control consists of two fully adjustable rotary hydraulic cylinders with axel shafts apposed at 90 degrees in a single, lightweight, compact aluminum body. The
upper cylinder is perpendicular to the crane arm and the lower cylinder is inline with the arm. Each X- and Y-axis has a rotational range of +/-75 degrees. When a crane arm is panned left or right, the Rotary Damper absorbs the stop and start inertia, as it does when the crane telescopes in or out. The faster the move, the more resistance is provided by the special hydraulic fluid inside the rotating cylinder. The Rotary Damper further eliminates dynamic rotational stress on a crane’s arm sections. “The 2-Axis Rotary Damper & Level Control was originally designed to work with the Flight Head V on our Russian Arm to improve its performance,” says Oleksiy Zolotarov, president of FCL.
Schneider Intros IRND Filters Schneider Optics has developed a range of absorptive IRND filters designed to address the demanding requirements of today’s highdefinition cameras. Many hi-def cameras have a high sensitivity to light just beyond the visible range. While this can be beneficial in extending the camera’s color gamut to more closely approach that of film, the light in the IR spectrum can also cause unwanted false color shifts and prevent the camera’s imagers from capturing true black tones. To solve this problem, Schneider’s Platinum Series IRND filters limit the light striking the camera’s imager to the visible spectrum. By carefully calculating the cutoff frequency in nanometers, Schneider has produced a near-
infrared cut filter, eliminating the near-infrared light leakage and letting the camera maintain true color rendition in the blacks while maintaining high MTF of its lenses and camera system. Schneider Platinum Series IRND filters are free of off-axis color shift regardless of the focal length and can be stacked without introducing reflections. They can also be used as standard ND filters with all HD video and film cameras. The filters are available in standard video and cine sizes, including 4x4, 4x5.65, 5x5, 5.65x5.65 and 6.6x6.6, plus rounds in 138mm, 4.5" and Series 9. Each filter is available in ½-, 1-, 2-, 3- and 4-stop densities. For more information, visit www.schneideroptics.com.
76
May 2010
American Cinematographer
http://www.bandpro.com
http://www.stwo-corp.com
http://www.schneideroptics.com
American Cinematographer - May 2010
Table of Contents for the Digital Edition of American Cinematographer - May 2010
American Cinematographer - May 2010
Contents
Editor’s Note
President’s Desk
Short Takes: ASC Heritage Award Winners
Production Slate: The Man Next Door • Academy Sci-Tech Awards
Armor Wars
Wonders of the Sea
Lost and Found Families
Dark Secrets
Deep Visual Roots
Post Focus: Restoring A Star Is Born
Tricks of the Trade
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Fred Elmes
American Cinematographer - May 2010 - Intro
American Cinematographer - May 2010 - American Cinematographer - May 2010
American Cinematographer - May 2010 - Cover2
American Cinematographer - May 2010 - 1
American Cinematographer - May 2010 - 2
American Cinematographer - May 2010 - Contents
American Cinematographer - May 2010 - 4
American Cinematographer - May 2010 - 5
American Cinematographer - May 2010 - 6
American Cinematographer - May 2010 - 7
American Cinematographer - May 2010 - Editor’s Note
American Cinematographer - May 2010 - 9
American Cinematographer - May 2010 - President’s Desk
American Cinematographer - May 2010 - 11
American Cinematographer - May 2010 - Short Takes: ASC Heritage Award Winners
American Cinematographer - May 2010 - 13
American Cinematographer - May 2010 - 14
American Cinematographer - May 2010 - 15
American Cinematographer - May 2010 - 16
American Cinematographer - May 2010 - 17
American Cinematographer - May 2010 - Production Slate: The Man Next Door • Academy Sci-Tech Awards
American Cinematographer - May 2010 - 19
American Cinematographer - May 2010 - 20
American Cinematographer - May 2010 - 21
American Cinematographer - May 2010 - 22
American Cinematographer - May 2010 - 23
American Cinematographer - May 2010 - Armor Wars
American Cinematographer - May 2010 - 25
American Cinematographer - May 2010 - 26
American Cinematographer - May 2010 - 27
American Cinematographer - May 2010 - 28
American Cinematographer - May 2010 - 29
American Cinematographer - May 2010 - 30
American Cinematographer - May 2010 - 31
American Cinematographer - May 2010 - 32
American Cinematographer - May 2010 - 33
American Cinematographer - May 2010 - 34
American Cinematographer - May 2010 - 35
American Cinematographer - May 2010 - 36
American Cinematographer - May 2010 - 37
American Cinematographer - May 2010 - 38
American Cinematographer - May 2010 - 39
American Cinematographer - May 2010 - Wonders of the Sea
American Cinematographer - May 2010 - 41
American Cinematographer - May 2010 - 42
American Cinematographer - May 2010 - 43
American Cinematographer - May 2010 - 44
American Cinematographer - May 2010 - 45
American Cinematographer - May 2010 - 46
American Cinematographer - May 2010 - 47
American Cinematographer - May 2010 - 48
American Cinematographer - May 2010 - 49
American Cinematographer - May 2010 - Lost and Found Families
American Cinematographer - May 2010 - 51
American Cinematographer - May 2010 - 52
American Cinematographer - May 2010 - 53
American Cinematographer - May 2010 - 54
American Cinematographer - May 2010 - 55
American Cinematographer - May 2010 - Dark Secrets
American Cinematographer - May 2010 - 57
American Cinematographer - May 2010 - 58
American Cinematographer - May 2010 - 59
American Cinematographer - May 2010 - 60
American Cinematographer - May 2010 - 61
American Cinematographer - May 2010 - 62
American Cinematographer - May 2010 - 63
American Cinematographer - May 2010 - 64
American Cinematographer - May 2010 - 65
American Cinematographer - May 2010 - 66
American Cinematographer - May 2010 - 67
American Cinematographer - May 2010 - 68
American Cinematographer - May 2010 - 69
American Cinematographer - May 2010 - 70
American Cinematographer - May 2010 - 71
American Cinematographer - May 2010 - Post Focus: Restoring A Star Is Born
American Cinematographer - May 2010 - 73
American Cinematographer - May 2010 - Tricks of the Trade
American Cinematographer - May 2010 - 75
American Cinematographer - May 2010 - New Products & Services
American Cinematographer - May 2010 - 77
American Cinematographer - May 2010 - 78
American Cinematographer - May 2010 - 79
American Cinematographer - May 2010 - 80
American Cinematographer - May 2010 - 81
American Cinematographer - May 2010 - 82
American Cinematographer - May 2010 - 83
American Cinematographer - May 2010 - International Marketplace
American Cinematographer - May 2010 - Classified Ads
American Cinematographer - May 2010 - Ad Index
American Cinematographer - May 2010 - Clubhouse News
American Cinematographer - May 2010 - ASC Close-Up: Fred Elmes
American Cinematographer - May 2010 - Cover3
American Cinematographer - May 2010 - Cover4
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