American Cinematographer - June 2013 - 87

use a
proprietary
Quantum Dot
LED developed and
produced by Mole to exactly replicate
film and television 3,200°K tungsten and
5,600°K daylight color temperatures.
The line of MoleLED Fresnels
comprises three sizes and wattages: The
100-watt TweenieLED has a 4.5" lens, the
150-watt BabyLED has a 6" lens, and the
200-watt JuniorLED has an 8" lens. Each
fixture is a single color, tungsten or daylight,
and uses a borosilicate glass Fresnel lens to
perform identically to an existing incandescent or HMI Fresnel fixture.
Built rugged and based on more than
70 years of successful Fresnel design,
MoleLED Fresnels are ideally suited for all
set-lighting needs. Each fixture contains a
built-in universal power supply, built-in local
dimming and on-board DMX dimming.
Additionally, all three fixtures share accessory
sizes with the legacy Solarspots, so barn
doors, gel frames and speed rings remain
compatible.
Mole also offers retrofit kits to
convert existing Tweenie, Baby and 8" Junior
Solarspots to tungsten or daylight MoleLED
Fresnels.
“In an industry inundated with massproduced, eco-friendly products, the
MoleLED Fresnels are truly a hybrid of handcrafted quality and the most advanced solidstate lighting technology available,” says
ASC honorary member Larry Mole Parker,
executive vice president of the MoleRichardson Co.
MoleLED Fresnels are designed, engineered and built in the United States for
professionals everywhere. For additional
information, visit mole.com.

Blackmagic Grows
Camera Family
Blackmagic Design has expanded its
Cinema Camera line with the Blackmagic
Production Camera 4K and the Blackmagic
Pocket Cinema Camera.
The Blackmagic Production Camera
4K, which incorporates a large Super 35sized sensor, global shutter and EF lens
mount, shoots to high-quality compressed
CinemaDNG raw and ProRes 422 (HQ) files
in 4K using the built-in high-speed SSD
recorder. Blackmagic Design will also implement a QuickTime wrapper for the openstandard CinemaDNG and companion
codec, allowing the camera to record in a
format that allows raw editing in popular
editing software. Additionally, users have
the choice of recording Rec 709 video files.
With standard connections and an
internal battery packed inside a machined-

aluminum design, the Blackmagic Production Camera 4K is built to endure the rigors
of location work. A high-resolution LCD
display shows settings such as shutter
speed, color temperature, aperture and
time code in an easy-to-read status strip.
The built-in capacitive touchscreen offers
direct access to menus with a touch of the
finger and allows changing settings such as
recording format, shutter angle and more;
the touchscreen also allows users to enter
metadata that is compatible with editing
software such as Final Cut Pro X.
The camera supports 6G-SDI videoout that can be down-converted to HD or
used for Ultra HD video production. The
camera also includes a built-in Thunderbolt
port and UltraScope software for real-time
waveform monitoring. For audio, the
camera features ¼" jack mic/line inputs
plus 12-volt to 30-volt DC input, a 3.5mm
headphone socket and LANC remote
control.
The Blackmagic Pocket Cinema
87


http://www.denz-deniz.com http://www.mole.com http://www.denz-deniz.com

American Cinematographer - June 2013

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

American Cinematographer - June 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “The Volt Plasma Challenge”
Production Slate: Frances Ha • Spring Breakers
Boldly Captured
Living Large
A Killer with 2 Faces
Utopian Dreams
Filmmakers’ Forum: Edgar Burcksen, ACE
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Shelly Johnson
American Cinematographer - June 2013 - American Cinematographer - June 2013
American Cinematographer - June 2013 - Cover2
American Cinematographer - June 2013 - Contents
American Cinematographer - June 2013 - 2
American Cinematographer - June 2013 - 3
American Cinematographer - June 2013 - 4
American Cinematographer - June 2013 - 5
American Cinematographer - June 2013 - 6
American Cinematographer - June 2013 - 7
American Cinematographer - June 2013 - 8
American Cinematographer - June 2013 - 9
American Cinematographer - June 2013 - Editor’s Note
American Cinematographer - June 2013 - 11
American Cinematographer - June 2013 - President’s Desk
American Cinematographer - June 2013 - 13
American Cinematographer - June 2013 - Short Takes: “The Volt Plasma Challenge”
American Cinematographer - June 2013 - 15
American Cinematographer - June 2013 - 16
American Cinematographer - June 2013 - 17
American Cinematographer - June 2013 - 18
American Cinematographer - June 2013 - 19
American Cinematographer - June 2013 - Production Slate: Frances Ha • Spring Breakers
American Cinematographer - June 2013 - 21
American Cinematographer - June 2013 - 22
American Cinematographer - June 2013 - 23
American Cinematographer - June 2013 - 24
American Cinematographer - June 2013 - 25
American Cinematographer - June 2013 - 26
American Cinematographer - June 2013 - 27
American Cinematographer - June 2013 - 28
American Cinematographer - June 2013 - 29
American Cinematographer - June 2013 - 30
American Cinematographer - June 2013 - 31
American Cinematographer - June 2013 - 32
American Cinematographer - June 2013 - 33
American Cinematographer - June 2013 - Boldly Captured
American Cinematographer - June 2013 - 35
American Cinematographer - June 2013 - 36
American Cinematographer - June 2013 - 37
American Cinematographer - June 2013 - 38
American Cinematographer - June 2013 - 39
American Cinematographer - June 2013 - 40
American Cinematographer - June 2013 - 41
American Cinematographer - June 2013 - 42
American Cinematographer - June 2013 - 43
American Cinematographer - June 2013 - 44
American Cinematographer - June 2013 - 45
American Cinematographer - June 2013 - 46
American Cinematographer - June 2013 - 47
American Cinematographer - June 2013 - Living Large
American Cinematographer - June 2013 - 49
American Cinematographer - June 2013 - 50
American Cinematographer - June 2013 - 51
American Cinematographer - June 2013 - 52
American Cinematographer - June 2013 - 53
American Cinematographer - June 2013 - 54
American Cinematographer - June 2013 - 55
American Cinematographer - June 2013 - 56
American Cinematographer - June 2013 - 57
American Cinematographer - June 2013 - 58
American Cinematographer - June 2013 - 59
American Cinematographer - June 2013 - A Killer with 2 Faces
American Cinematographer - June 2013 - 61
American Cinematographer - June 2013 - 62
American Cinematographer - June 2013 - 63
American Cinematographer - June 2013 - 64
American Cinematographer - June 2013 - I1
American Cinematographer - June 2013 - I2
American Cinematographer - June 2013 - I3
American Cinematographer - June 2013 - I4
American Cinematographer - June 2013 - I5
American Cinematographer - June 2013 - I6
American Cinematographer - June 2013 - I7
American Cinematographer - June 2013 - I8
American Cinematographer - June 2013 - I9
American Cinematographer - June 2013 - I10
American Cinematographer - June 2013 - I11
American Cinematographer - June 2013 - I12
American Cinematographer - June 2013 - 65
American Cinematographer - June 2013 - 66
American Cinematographer - June 2013 - 67
American Cinematographer - June 2013 - Utopian Dreams
American Cinematographer - June 2013 - 69
American Cinematographer - June 2013 - 70
American Cinematographer - June 2013 - 71
American Cinematographer - June 2013 - 72
American Cinematographer - June 2013 - 73
American Cinematographer - June 2013 - 74
American Cinematographer - June 2013 - 75
American Cinematographer - June 2013 - 76
American Cinematographer - June 2013 - 77
American Cinematographer - June 2013 - 78
American Cinematographer - June 2013 - 79
American Cinematographer - June 2013 - 80
American Cinematographer - June 2013 - 81
American Cinematographer - June 2013 - Filmmakers’ Forum: Edgar Burcksen, ACE
American Cinematographer - June 2013 - 83
American Cinematographer - June 2013 - 84
American Cinematographer - June 2013 - 85
American Cinematographer - June 2013 - New Products & Services
American Cinematographer - June 2013 - 87
American Cinematographer - June 2013 - 88
American Cinematographer - June 2013 - 89
American Cinematographer - June 2013 - 90
American Cinematographer - June 2013 - 91
American Cinematographer - June 2013 - 92
American Cinematographer - June 2013 - 93
American Cinematographer - June 2013 - 94
American Cinematographer - June 2013 - 95
American Cinematographer - June 2013 - 96
American Cinematographer - June 2013 - 97
American Cinematographer - June 2013 - 98
American Cinematographer - June 2013 - 99
American Cinematographer - June 2013 - International Marketplace
American Cinematographer - June 2013 - Classified Ads
American Cinematographer - June 2013 - Ad Index
American Cinematographer - June 2013 - 103
American Cinematographer - June 2013 - ASC Membership Roster
American Cinematographer - June 2013 - 105
American Cinematographer - June 2013 - Clubhouse News
American Cinematographer - June 2013 - 107
American Cinematographer - June 2013 - ASC Close-Up: Shelly Johnson
American Cinematographer - June 2013 - Cover3
American Cinematographer - June 2013 - Cover4
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