American Cinematographer - May 2012 - 90

The innovative Translucent Mirror design directs incoming light to the CMOS image sensor and the auto-focus sensor at the same time, allowing full-time, continuous auto focus during both still and video shooting. Users can also frame, focus and preview shots in real time on the high-resolution Tru-Finder electronic viewfinder, which offers a wide viewing angle and 100-percent field of view. The Tru-Finder also features a choice of selectable high-resolution information displays, including a digital level gauge and framing grid. Information can be displayed either directly in the viewfinder or on the angle-adjustable 7.5cm Xtra Fine LCD display. Responsive full-time continuous phase detection AF ensures that moving subjects stay sharply focused when shooting both stills and video. The Alpha 57 supports the AVCHD version 2.0 (progressive) format, and movie-making options are further enhanced with full control over P/A/S/M shooting modes. The Alpha 57 interchangeable lens camera is available with an 18-55mm kit zoom lens for $800; it is also offered as a body only for $700. For more information, visit www.sony.com. Weisscam Builds Soha Platform Weisscam GmbH has launched Soha, an advanced technology platform that offers total scalability while greatly extending the life cycle of the camera to which it is applied. Going forward, every Weisscam T-Cam will be equipped with Soha hardware. “We always wanted to develop a platform that outlasts the short product cycles that are current within the industry,” says cinematographer Stefan Weiss, CEO of Weisscam. “With our Soha platform, we can build cameras that are long lasting, extendable, flexible and always easy to use.” The Soha hardware platform features an interchangeable sensor board to allow
90 May 2012

One of Us Offers One-Cam London studio One of Us has unveiled the smallform-factor One-Cam camera system. The One-Cam has been developed with an understanding of the entire filmmaking process, from shooting through post, with an eye toward the color science required to make great digital images. Measuring 70mm x 70mm x 50mm and weighing less than 12 ounces, the OneCam enables users to shoot in incredibly small spaces and in a less intrusive way than with a traditional film camera. Compatible with C-mount, PL-mount and Nikon-mount lenses, the camera head is tethered to a One-Cam recorder via standard Ethernet cable; the recorder is approximately the size of a 16mm camera body. The One-Cam utilizes a single CCD, providing a greater sensor area devoted to gathering light, and a true global shutter, resulting in high sensitivity and detail with no motion artifacts. With variable frame rates up to 30 fps, the One-Cam captures uncompressed 12-bit raw at a resolution of 2336x1752 pixels, with an exposure rating for 2⁄3", Super 16 and Super 35-format capture; a high-performance interface for industry-standard recorders; uncompressed raw and HD output; and modular software architecture. “We see it as our responsibility to simplify the application of high technology so that even first-time users find our products completely intuitive,” says Weiss. “The T-Cam with Soha is the embodiment of this concept and completely empowers the creative process, enabling filmmakers to maintain total focus and immersion in their passion: making films!” For additional information, visit www.weisscam.com.
American Cinematographer

of 500 ASA and a dynamic range of at least 9 stops. For additional information, visit www.weacceptyou.com and www.one-cam.com.

OptiTrack Flex 13 Provides Flexible Mo-Cap OptiTrack has introduced the Flex 13 motion-capture camera, which boasts 1.3 million pixels of resolution, a 120-fps sample rate and a 56-degree field of view. The combination of its expansive field of view and 1.3 megapixel sensor allows the Flew 13 to track complex, multiple-actor scenes with an exceptional volume-to-setup ratio. When deployed with the stock 56-degree lens in a standard 20'x20' arrangement, the camera can attain an active capture area that is among the largest in the industry, which allows for extensive capture volumes even in modest tracking environments. Additional features include oncamera image processing for efficient system scaling, grayscale scene video with on-camera MJPEG compression, userchangeable 5.5mm (56 degrees) and 8mm (42 degrees) M12 lenses, unobtrusive 850nm infrared illumination, infrared and visible-spectrum filtering options, OptiSync for camera synchronization over USB cable, external sync in/out via the OptiHub, oncamera Aim Assist button, and quickrelease faceplate for simple lens adjustment. Additionally, the Flex 13 is compatible with OptiTrack’s Arena, Expression and Tracking Tools software. The Flex 13 is available for $999. For more information, visit www.opti track.com. ●


http://www.weacceptyou.com http://www.one-cam.com http://www.sony.com http://www.optitrack.com http://www.optitrack.com http://www.weisscam.com

American Cinematographer - May 2012

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

American Cinematographer - May 2012
Contents
Editor’s Note
President’s Desk
Short Takes: M.I.A.’s “Bad Girls”
Production Slate: Person of Interest • The Raven
Harsh Realms
Wild Passion
Tales of Ordinary Madness
Top of Their Class
Center Stage for Cinematographers
Post Focus: Technicolor Restores Wings
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
Clubhouse News
ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - American Cinematographer - May 2012
American Cinematographer - May 2012 - Cover2
American Cinematographer - May 2012 - 1
American Cinematographer - May 2012 - 2
American Cinematographer - May 2012 - 3
American Cinematographer - May 2012 - Contents
American Cinematographer - May 2012 - 5
American Cinematographer - May 2012 - 6
American Cinematographer - May 2012 - 7
American Cinematographer - May 2012 - Editor’s Note
American Cinematographer - May 2012 - 9
American Cinematographer - May 2012 - President’s Desk
American Cinematographer - May 2012 - 11
American Cinematographer - May 2012 - Short Takes: M.I.A.’s “Bad Girls”
American Cinematographer - May 2012 - 13
American Cinematographer - May 2012 - 14
American Cinematographer - May 2012 - 15
American Cinematographer - May 2012 - 16
American Cinematographer - May 2012 - 17
American Cinematographer - May 2012 - Production Slate: Person of Interest • The Raven
American Cinematographer - May 2012 - 19
American Cinematographer - May 2012 - 20
American Cinematographer - May 2012 - 21
American Cinematographer - May 2012 - 22
American Cinematographer - May 2012 - 23
American Cinematographer - May 2012 - 24
American Cinematographer - May 2012 - 25
American Cinematographer - May 2012 - 26
American Cinematographer - May 2012 - 27
American Cinematographer - May 2012 - 28
American Cinematographer - May 2012 - 29
American Cinematographer - May 2012 - 30
American Cinematographer - May 2012 - 31
American Cinematographer - May 2012 - Harsh Realms
American Cinematographer - May 2012 - 33
American Cinematographer - May 2012 - 34
American Cinematographer - May 2012 - 35
American Cinematographer - May 2012 - 36
American Cinematographer - May 2012 - 37
American Cinematographer - May 2012 - 38
American Cinematographer - May 2012 - 39
American Cinematographer - May 2012 - 40
American Cinematographer - May 2012 - 41
American Cinematographer - May 2012 - Wild Passion
American Cinematographer - May 2012 - 43
American Cinematographer - May 2012 - 44
American Cinematographer - May 2012 - 45
American Cinematographer - May 2012 - 46
American Cinematographer - May 2012 - 47
American Cinematographer - May 2012 - 48
American Cinematographer - May 2012 - 49
American Cinematographer - May 2012 - 50
American Cinematographer - May 2012 - 51
American Cinematographer - May 2012 - Tales of Ordinary Madness
American Cinematographer - May 2012 - 53
American Cinematographer - May 2012 - 54
American Cinematographer - May 2012 - 55
American Cinematographer - May 2012 - 56
American Cinematographer - May 2012 - 57
American Cinematographer - May 2012 - 58
American Cinematographer - May 2012 - 59
American Cinematographer - May 2012 - 60
American Cinematographer - May 2012 - 61
American Cinematographer - May 2012 - Top of Their Class
American Cinematographer - May 2012 - 63
American Cinematographer - May 2012 - 64
American Cinematographer - May 2012 - 65
American Cinematographer - May 2012 - 66
American Cinematographer - May 2012 - 67
American Cinematographer - May 2012 - 68
American Cinematographer - May 2012 - Center Stage for Cinematographers
American Cinematographer - May 2012 - 70
American Cinematographer - May 2012 - 71
American Cinematographer - May 2012 - 72
American Cinematographer - May 2012 - 73
American Cinematographer - May 2012 - 74
American Cinematographer - May 2012 - 75
American Cinematographer - May 2012 - 76
American Cinematographer - May 2012 - 77
American Cinematographer - May 2012 - 78
American Cinematographer - May 2012 - 79
American Cinematographer - May 2012 - 80
American Cinematographer - May 2012 - 81
American Cinematographer - May 2012 - Post Focus: Technicolor Restores Wings
American Cinematographer - May 2012 - 83
American Cinematographer - May 2012 - 84
American Cinematographer - May 2012 - 85
American Cinematographer - May 2012 - 86
American Cinematographer - May 2012 - 87
American Cinematographer - May 2012 - New Products & Services
American Cinematographer - May 2012 - 89
American Cinematographer - May 2012 - 90
American Cinematographer - May 2012 - 91
American Cinematographer - May 2012 - International Marketplace
American Cinematographer - May 2012 - Classified Ads
American Cinematographer - May 2012 - Ad Index
American Cinematographer - May 2012 - In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
American Cinematographer - May 2012 - 96
American Cinematographer - May 2012 - 97
American Cinematographer - May 2012 - Clubhouse News
American Cinematographer - May 2012 - 99
American Cinematographer - May 2012 - ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - Cover3
American Cinematographer - May 2012 - Cover4
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