American Cinematographer - May 2013 - 92

which can be rotated to suit left- or righteye shooting, and its mounting plate makes
it easy to install and remove. This model of
Flashpoint Swivi retails for $150.
The Flashpoint ZeroGrav Camera
Stabilizer is designed to allow shooters to
control camera movement with precision,
ease and comfort while mitigating shakes
and bumps. DSLR cameras can be attached
to the ZeroGrav platform directly or by way
of a quick-release adapter. The ZeroGrav
Camera Stabilizer retails for $300.
camera with integrated features that
enhance the studio production workflow,
while saving our customers money,” says
Sean Moran, vice president of Sales, Broadcast & Professional Division at Hitachi. “By
incorporating useful operational features in
the camera system, we’ve eliminated the
need for external hardware and extra wiring,
making our system simpler to use, integrate
and deploy.”
The Z-HD6000 camera head provides
built-in access points, which decrease or
eliminate the need for external power
sources. The camera also provides two IFB
channels for listen only, two auxiliary feeds
that can send video to the operator, two
video feeds that can go to talent and studio
monitors, a second intercom channel for the
floor manager or spotter, and a tally viewable in the talent prompter.
Additional features include f12 standard sensitivity with more than 60dB of
signal-to-noise ratio and an RLAC real-time
lens-aberration-correction function. The
camera also boasts no vertical smear.
For additional information, visit
www.hitachikokusai.com.
Adorama Grows Flashpoint
Accessory Line
Adorama has expanded its line of
Flashpoint accessories with the Flashpoint
Swivi HD DSLR LCD Universal Foldable
Viewfinder Version II and the Flashpoint
ZeroGrav Camera Stabilizer.
The Flashpoint Swivi is designed for
use with DSLR cameras and provides a clear
view of the camera LCD. The viewfinder’s 3x
magnification mode assists shooters in
ensuring a subject remains in focus, and its
standard mode hoods the view of the LCD
from sunlight. The Flashpoint Swivi also
features a comfortable rubber eyecup,
92

Adorama has also introduced the
Flashpoint All-Inclusive DSLR/DV Cinema
Bundle, which ships with Flashpoint’s DSLR
Shoulder Rig II with Rails and Quick-Release
System, a Matte Box System II, and the
Follow-Focus Pro II with clip-on system. This
solidly constructed, customizable Bundle
allows users to position and accessorize
their DSLR or camcorder for their individual
shooting requirements. All items in the
Cinema Bundle are backed by a two-year
warranty.
For additional details, visit
www.adorama.com.
●


http://www.filmtools.com http://www.filmtools.com http://www.adorama.com http://www.hitachikokusai.com http://www.theasc.com/store

American Cinematographer - May 2013

Table of Contents for the Digital Edition of American Cinematographer - May 2013

American Cinematographer - May 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “Suit & Tie”
Production Slate: Trance • The Reluctant Fundamentalist
Surviving the Future
A Trailblazer’s Tale
Conjuring Hope
The ABCs of DMX
Star Tech
Hot Shots
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - American Cinematographer - May 2013
American Cinematographer - May 2013 - Cover2
American Cinematographer - May 2013 - 1
American Cinematographer - May 2013 - 2
American Cinematographer - May 2013 - Contents
American Cinematographer - May 2013 - 4
American Cinematographer - May 2013 - 5
American Cinematographer - May 2013 - 6
American Cinematographer - May 2013 - 7
American Cinematographer - May 2013 - 8
American Cinematographer - May 2013 - 9
American Cinematographer - May 2013 - Editor’s Note
American Cinematographer - May 2013 - 11
American Cinematographer - May 2013 - President’s Desk
American Cinematographer - May 2013 - 13
American Cinematographer - May 2013 - Short Takes: “Suit & Tie”
American Cinematographer - May 2013 - 15
American Cinematographer - May 2013 - 16
American Cinematographer - May 2013 - 17
American Cinematographer - May 2013 - 18
American Cinematographer - May 2013 - 19
American Cinematographer - May 2013 - Production Slate: Trance • The Reluctant Fundamentalist
American Cinematographer - May 2013 - 21
American Cinematographer - May 2013 - 22
American Cinematographer - May 2013 - 23
American Cinematographer - May 2013 - 24
American Cinematographer - May 2013 - 25
American Cinematographer - May 2013 - 26
American Cinematographer - May 2013 - 27
American Cinematographer - May 2013 - 28
American Cinematographer - May 2013 - 29
American Cinematographer - May 2013 - 30
American Cinematographer - May 2013 - 31
American Cinematographer - May 2013 - 32
American Cinematographer - May 2013 - 33
American Cinematographer - May 2013 - Surviving the Future
American Cinematographer - May 2013 - 35
American Cinematographer - May 2013 - 36
American Cinematographer - May 2013 - 37
American Cinematographer - May 2013 - 38
American Cinematographer - May 2013 - 39
American Cinematographer - May 2013 - 40
American Cinematographer - May 2013 - 41
American Cinematographer - May 2013 - 42
American Cinematographer - May 2013 - 43
American Cinematographer - May 2013 - 44
American Cinematographer - May 2013 - 45
American Cinematographer - May 2013 - 46
American Cinematographer - May 2013 - 47
American Cinematographer - May 2013 - A Trailblazer’s Tale
American Cinematographer - May 2013 - 49
American Cinematographer - May 2013 - 50
American Cinematographer - May 2013 - 51
American Cinematographer - May 2013 - 52
American Cinematographer - May 2013 - 53
American Cinematographer - May 2013 - 54
American Cinematographer - May 2013 - 55
American Cinematographer - May 2013 - Conjuring Hope
American Cinematographer - May 2013 - 57
American Cinematographer - May 2013 - 58
American Cinematographer - May 2013 - 59
American Cinematographer - May 2013 - 60
American Cinematographer - May 2013 - 61
American Cinematographer - May 2013 - 62
American Cinematographer - May 2013 - 63
American Cinematographer - May 2013 - 64
American Cinematographer - May 2013 - 65
American Cinematographer - May 2013 - The ABCs of DMX
American Cinematographer - May 2013 - 67
American Cinematographer - May 2013 - 68
American Cinematographer - May 2013 - 69
American Cinematographer - May 2013 - 70
American Cinematographer - May 2013 - 71
American Cinematographer - May 2013 - Star Tech
American Cinematographer - May 2013 - 73
American Cinematographer - May 2013 - 74
American Cinematographer - May 2013 - 75
American Cinematographer - May 2013 - 76
American Cinematographer - May 2013 - Hot Shots
American Cinematographer - May 2013 - 78
American Cinematographer - May 2013 - 79
American Cinematographer - May 2013 - 80
American Cinematographer - May 2013 - 81
American Cinematographer - May 2013 - 82
American Cinematographer - May 2013 - 83
American Cinematographer - May 2013 - 84
American Cinematographer - May 2013 - 85
American Cinematographer - May 2013 - 86
American Cinematographer - May 2013 - 87
American Cinematographer - May 2013 - 88
American Cinematographer - May 2013 - 89
American Cinematographer - May 2013 - New Products & Services
American Cinematographer - May 2013 - 91
American Cinematographer - May 2013 - 92
American Cinematographer - May 2013 - 93
American Cinematographer - May 2013 - International Marketplace
American Cinematographer - May 2013 - Classified Ads
American Cinematographer - May 2013 - Ad Index
American Cinematographer - May 2013 - 97
American Cinematographer - May 2013 - Clubhouse News
American Cinematographer - May 2013 - 99
American Cinematographer - May 2013 - ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - Cover3
American Cinematographer - May 2013 - Cover4
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