American Cinematographer - June 2010 - 88

nated bubble level while maintaining a low profile and light weight. The Compass 25 incorporates five pan-and-tilt fluid-drag settings combined with a four-position selectable counterbalance system. A quick release camera-mounting system utilizing the standard Euro camera plate — common to Miller’s Arrow range of fluid heads — allows the Compass 25 to integrate easily into existing camera-support inventories. “Both of our Compass 15 and 20 fluid-head models have been strong performers during their first year on the market,” says Grant Clementson, managing director of Miller. “With such a positive reaction for the performance and design of the new Compass range, we are pleased to now offer users with larger camera configurations the option of using our Compass 25 fluid head.” For additional information, visit www.millertripods.com.

MYT Works Rolls Out 3 in 1 Dolly MYT Works has released the MYT 3 in 1, a patent-pending dolly system delivering ease-of-use, versatility and near-limitless mounting options. Considerably reducing setup time, the 3 in 1 allows for impromptu dolly moves and static shots. Users can dolly the camera on the MYT Glide, switch to a static shot with the MYT Hi-Hat and revert back to tracking using the MYT Skate without ever having to dismount the camera. MYT Works owns and operates its

own shop in Brooklyn, NY, complete with a state-of-the-art CNC milling machine. The MYT 3 in 1 is a made-to-order dolly glider, custom designed to fit the needs of any

production. Etienne Sauret, CEO of MYT Works, says, “The MYT family of Gliders was designed and built strictly from a filmmaker’s point of view, and every facet and function reflects a desire to build one multipurpose integrated system that [can] satisfy the most demanding of professionals.” The MYT 3 in 1 sells for a base price of $950 with the option to upgrade and customize additional features. For more information, visit www.mytworks.com.

Sachtler Updates Video Heads with S1 Models Sachtler, a Vitec Group brand, has introduced the Video 18 S1 and Video 20 S1 100mm fluid heads. Based on the fieldproven robustness and technology of Sachtler’s Video 18 and Video 20 ENG/EFP heads, the S1 models provide a wider payload range and lower minimum
88 June 2010

payload, making them ideal for a variety of camera systems, from heavily accessorized newsgathering camcorders to lightweight DSLRs. The Video 18 S1 and Video 20 S1 offer expanded 16-step counterbalance to enable extremely fine center-of-gravity adjustment for a wide range of camera payloads. Both heads can accommodate cameras as lightweight as 4.4 pounds, and both feature a Boost Button that instantly expands the payload range upward when working with heavier systems; the Video 18 S1 can handle up to 33 pounds regularly and 39.6 pounds in Boost mode, while the 20 S1 can handle up to 39 pounds regularly and 55 pounds in Boost mode. The S1 heads feature Sachtler’s Speedbalance technology, an ergonomically designed counterbalance knob, storage positions for spare camera screws and seven steps of drag for both pan and tilt. A newly designed self-illuminating Touch Bubble requires only one battery, and the Touch & Go camera-attachment plate features tap holes for the viewfinder extension adapter. For additional information, visit www.sachtler.us.

Petrol’s Cambio Supports, Protects Petrol Bags has introduced the Cambio convertible equipment bag/camerasupport system. A carry-on sized smoothrolling camera carrier, the Cambio transforms into a lightweight support system for small video camcorders, allowing users to travel lighter and set up quickly. The Cambio features an ultra-wide U-shaped opening for quick and easy access. The main compartment offers ample

American Cinematographer


http://www.mytworks.com http://www.millertripods.com http://www.sachtler.us

American Cinematographer - June 2010

Table of Contents for the Digital Edition of American Cinematographer - June 2010

The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
Features
Slings and Arrows (Robin Hood)
Desert Storm (Prince of Persia)
Very French Revenge (Micmacs)
Painting Towns White (The White Stripes)
Departments
Editor’s Note
President’s Desk
Short Takes: Land and Bread
Production Slate: Winter’s Bone • Harry Brown
Post Focus: Enhancing Frozen
Tricks of the Trade: Using Red’s False Color
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover1
American Cinematographer - June 2010 - Cover2
American Cinematographer - June 2010 - The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
American Cinematographer - June 2010 - 2
American Cinematographer - June 2010 - 3
American Cinematographer - June 2010 - 4
American Cinematographer - June 2010 - 5
American Cinematographer - June 2010 - 6
American Cinematographer - June 2010 - 7
American Cinematographer - June 2010 - Editor’s Note
American Cinematographer - June 2010 - 9
American Cinematographer - June 2010 - President’s Desk
American Cinematographer - June 2010 - 11
American Cinematographer - June 2010 - Short Takes: Land and Bread
American Cinematographer - June 2010 - 13
American Cinematographer - June 2010 - 14
American Cinematographer - June 2010 - 15
American Cinematographer - June 2010 - Production Slate: Winter’s Bone • Harry Brown
American Cinematographer - June 2010 - 17
American Cinematographer - June 2010 - 18
American Cinematographer - June 2010 - 19
American Cinematographer - June 2010 - 20
American Cinematographer - June 2010 - 21
American Cinematographer - June 2010 - 22
American Cinematographer - June 2010 - 23
American Cinematographer - June 2010 - 24
American Cinematographer - June 2010 - 25
American Cinematographer - June 2010 - 26
American Cinematographer - June 2010 - 27
American Cinematographer - June 2010 - 28
American Cinematographer - June 2010 - 29
American Cinematographer - June 2010 - Slings and Arrows (Robin Hood)
American Cinematographer - June 2010 - 31
American Cinematographer - June 2010 - 32
American Cinematographer - June 2010 - 33
American Cinematographer - June 2010 - 34
American Cinematographer - June 2010 - 35
American Cinematographer - June 2010 - 36
American Cinematographer - June 2010 - 37
American Cinematographer - June 2010 - 38
American Cinematographer - June 2010 - 39
American Cinematographer - June 2010 - 40
American Cinematographer - June 2010 - 41
American Cinematographer - June 2010 - Desert Storm (Prince of Persia)
American Cinematographer - June 2010 - 43
American Cinematographer - June 2010 - 44
American Cinematographer - June 2010 - 45
American Cinematographer - June 2010 - 46
American Cinematographer - June 2010 - 47
American Cinematographer - June 2010 - 48
American Cinematographer - June 2010 - 49
American Cinematographer - June 2010 - 50
American Cinematographer - June 2010 - 51
American Cinematographer - June 2010 - Very French Revenge (Micmacs)
American Cinematographer - June 2010 - 53
American Cinematographer - June 2010 - 54
American Cinematographer - June 2010 - 55
American Cinematographer - June 2010 - 56
American Cinematographer - June 2010 - 57
American Cinematographer - June 2010 - 58
American Cinematographer - June 2010 - 59
American Cinematographer - June 2010 - 60
American Cinematographer - June 2010 - 61
American Cinematographer - June 2010 - 62
American Cinematographer - June 2010 - 63
American Cinematographer - June 2010 - Painting Towns White (The White Stripes)
American Cinematographer - June 2010 - 65
American Cinematographer - June 2010 - 66
American Cinematographer - June 2010 - 67
American Cinematographer - June 2010 - 68
American Cinematographer - June 2010 - 69
American Cinematographer - June 2010 - 70
American Cinematographer - June 2010 - 71
American Cinematographer - June 2010 - Post Focus: Enhancing Frozen
American Cinematographer - June 2010 - 73
American Cinematographer - June 2010 - 74
American Cinematographer - June 2010 - 75
American Cinematographer - June 2010 - 76
American Cinematographer - June 2010 - 77
American Cinematographer - June 2010 - Tricks of the Trade: Using Red’s False Color
American Cinematographer - June 2010 - 79
American Cinematographer - June 2010 - New Products & Services
American Cinematographer - June 2010 - 81
American Cinematographer - June 2010 - 82
American Cinematographer - June 2010 - 83
American Cinematographer - June 2010 - 84
American Cinematographer - June 2010 - 85
American Cinematographer - June 2010 - 86
American Cinematographer - June 2010 - 87
American Cinematographer - June 2010 - 88
American Cinematographer - June 2010 - 89
American Cinematographer - June 2010 - 90
American Cinematographer - June 2010 - 91
American Cinematographer - June 2010 - International Marketplace
American Cinematographer - June 2010 - 93
American Cinematographer - June 2010 - Classified Ads/Ad Index
American Cinematographer - June 2010 - 95
American Cinematographer - June 2010 - ASC Membership Roster
American Cinematographer - June 2010 - 97
American Cinematographer - June 2010 - Clubhouse News
American Cinematographer - June 2010 - 99
American Cinematographer - June 2010 - ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover3
American Cinematographer - June 2010 - Cover4
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