American Cinematographer - July 2009 - 66
operator’s unwanted hand movements. Additionally, the gimbal incorporates several adjustable axis-convergence controls, allowing all three axes to intersect for proper operational alignment. Users can quickly attach or remove their cameras to the stabilizers via a camera-mounting platform with a quick-release, no-tools, drop-on camera plate. Ergonomic control knobs allow quick, precise adjustment of the top stage’s movement and allow the operator to adjust the camera’s horizontal balance. Vertical balance can then be adjusted by varying the counterweights on the base platform or by changing the length of the no-tools, telescoping central post. Finally, a proprietary Dynamic Base Platform can expand or contract, allowing users to easily adjust the overall system’s dynamic balance and increase or decrease the system’s rotational pan inertia. For more information, visit www.glidecam.com. New Bearing with Miller Compass Miller Camera Support has unveiled the 75mm Compass range of fluid heads, a premium camera-support option with professional performance at competitive pricing. The stylish, lowprofile, lightweight, operator-friendly design boasts a wide payload range, selectable pan-and-tilt drag settings and an illuminated bubble level. The Compass range retains the same drag components used in Miller’s Arrow range of 100mm fluid heads, resulting in the widest drag range available in a 75mm fluid head, with ultrasmooth takeoffs, super-stable pan/tilt moves and perfect stops. The newly 66 July 2009 designed four-position counterbalance system in the Compass 15 and 20 fluid heads provides for a wide payload range; where other counterbalance systems can reduce the tilt range and cause “spring-back” in higher settings, the Compass counterbalance settings are fully functional in all positions. The Compass 15 provides professional performance for the latest generation of lightweight HDV/DVCam/XDCam and P2 HD cameras with payloads between 4 and 20 pounds. With a payload range of 4-26 pounds, the Compass 20 is compatible tripod adaptor-plate pocket. A molded head cradle offers added protection for the Arrow range of fluid heads, and easy snap-lock straps fasten the tripod in place. For more information, visit www.millertripods.com. Cine-tal Unveils B Series Cine-tal Systems, a developer of image-monitoring and color-management solutions, has expanded its awardwinning Cinemage product line with the Cinemage B Series, comprising 42", 23" and 19" monitors. Providing true 10-bit display with wide color gamuts to support both HD and DCI standards, the B Series integrates the company’s CineSpace colormanagement and calibration software. “By integrating our CineSpace technology into Cinemage, we provide precision control of the wide gamut color primaries, creating a perfect reference for DCI, HD and SD monitoring,” says Rob Carroll, president and CEO of Cinetal. “Cinemage is the only monitoring system utilizing an optimized combination of 3-D LUTs, 1-D LUTs and 21-bit color matrices to provide the highest precision of monitor calibration, displaysystem emulation and color previsualization.” The B Series also supports an enhanced user interface and modular control panel. Cine-tal has also released version 4.0 for the Cinemage 2000 product line, adding support for 2K XYZ color space, XYZ Waveform Monitor, Enhanced Standard Definition Modes and Independent Color Space I/O. Additionally, the company has introduced CineSpace version 2.7.1, which offers support for a wider range of measurement tools, including Photo Research, Minolta and XRite. For more information, visit www.cine-tal.com. with an even larger range of cameras. For more information, visit www.millertripods.com. Miller Wheels Out Arrow Shell Case Miller Camera Support has introduced the Arrow Shell Case with wheels for two-stage Arrow tripod systems. The semi-rigid case is constructed with quality, weatherproof, 1000D Cordura; lightweight, padded, honeycomb-plastic wall paneling; corner protection; and heavyduty straps. Both the pull handle and carry straps are double attached, integrated with metal D-links for extra strength and positioned for ergonomic comfort. The case’s inline roller wheels are recessed to protect the axle from damage during shipping and to provide ease of maneuverability in transit. Additionally, molded-plastic foot and base supports enable the case to stand upright, clear of wet or dirty floors. Inside the Arrow Shell Case are pockets for accessories and a dedicated
http://www.millertripods.com
http://www.millertripods.com
http://www.glidecam.com
http://www.cine-tal.com
American Cinematographer - July 2009
Table of Contents for the Digital Edition of American Cinematographer - July 2009
American Cinematographer - July 2009
Contents
Editor’s Note
Short Takes: Puppy Love
Production Slate: Moon and Séraphine
Big Guns
Impressionistic Cinema
Risk and Valor
Terror on the Tracks
Post Focus: Mega Playground’s DP Dailies
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Jack Cardiff, BSC
Clubhouse News
ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - American Cinematographer - July 2009
American Cinematographer - July 2009 - Cover2
American Cinematographer - July 2009 - 1
American Cinematographer - July 2009 - 2
American Cinematographer - July 2009 - Contents
American Cinematographer - July 2009 - 4
American Cinematographer - July 2009 - 5
American Cinematographer - July 2009 - 6
American Cinematographer - July 2009 - 7
American Cinematographer - July 2009 - Editor’s Note
American Cinematographer - July 2009 - 9
American Cinematographer - July 2009 - Short Takes: Puppy Love
American Cinematographer - July 2009 - 11
American Cinematographer - July 2009 - 12
American Cinematographer - July 2009 - 13
American Cinematographer - July 2009 - Production Slate: Moon and Séraphine
American Cinematographer - July 2009 - 15
American Cinematographer - July 2009 - 16
American Cinematographer - July 2009 - 17
American Cinematographer - July 2009 - 18
American Cinematographer - July 2009 - 19
American Cinematographer - July 2009 - 20
American Cinematographer - July 2009 - 21
American Cinematographer - July 2009 - 22
American Cinematographer - July 2009 - 23
American Cinematographer - July 2009 - Big Guns
American Cinematographer - July 2009 - 25
American Cinematographer - July 2009 - 26
American Cinematographer - July 2009 - 27
American Cinematographer - July 2009 - 28
American Cinematographer - July 2009 - 29
American Cinematographer - July 2009 - 30
American Cinematographer - July 2009 - 31
American Cinematographer - July 2009 - 32
American Cinematographer - July 2009 - 33
American Cinematographer - July 2009 - Impressionistic Cinema
American Cinematographer - July 2009 - 35
American Cinematographer - July 2009 - 36
American Cinematographer - July 2009 - 37
American Cinematographer - July 2009 - 38
American Cinematographer - July 2009 - 39
American Cinematographer - July 2009 - 40
American Cinematographer - July 2009 - 41
American Cinematographer - July 2009 - 42
American Cinematographer - July 2009 - 43
American Cinematographer - July 2009 - Risk and Valor
American Cinematographer - July 2009 - 45
American Cinematographer - July 2009 - 46
American Cinematographer - July 2009 - 47
American Cinematographer - July 2009 - 48
American Cinematographer - July 2009 - 49
American Cinematographer - July 2009 - 50
American Cinematographer - July 2009 - 51
American Cinematographer - July 2009 - Terror on the Tracks
American Cinematographer - July 2009 - 53
American Cinematographer - July 2009 - 54
American Cinematographer - July 2009 - 55
American Cinematographer - July 2009 - 56
American Cinematographer - July 2009 - 57
American Cinematographer - July 2009 - 58
American Cinematographer - July 2009 - 59
American Cinematographer - July 2009 - Post Focus: Mega Playground’s DP Dailies
American Cinematographer - July 2009 - 61
American Cinematographer - July 2009 - 62
American Cinematographer - July 2009 - 63
American Cinematographer - July 2009 - New Products & Services
American Cinematographer - July 2009 - 65
American Cinematographer - July 2009 - 66
American Cinematographer - July 2009 - 67
American Cinematographer - July 2009 - International Marketplace
American Cinematographer - July 2009 - Classified Ads
American Cinematographer - July 2009 - Ad Index
American Cinematographer - July 2009 - 71
American Cinematographer - July 2009 - In Memoriam: Jack Cardiff, BSC
American Cinematographer - July 2009 - 73
American Cinematographer - July 2009 - Clubhouse News
American Cinematographer - July 2009 - 75
American Cinematographer - July 2009 - ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - Cover3
American Cinematographer - July 2009 - Cover4
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