American Cinematographer - July 2012 - 80

the filters absorb pollution from the far-red (visible) and near-infrared wavelengths. The IR absorbing component of the filters is proportionate to the ND value; the filters are available in ND values up to 1.2, plus the added 2-stop value of the Ultra Pol. Made from Water White glass, the MPTV filters boast no color vignetting on wide-angle lenses. They extract the maximum amount of unwanted glare from the scene, render white clouds in stark contrast against a dramatically dark blue sky and make reflections from water and windows invisible. They also ensure rich, true colors despite glare’s whitewashing effect. Tiffen has also introduced a 1⁄16 grade for its popular Pro-Mist, Black ProMist and Glimmerglass filters. Pro-Mist filters reduce contrast by moderately lightening shadow areas without detracting from the overall image; Black Pro-Mist offers the same benefits but in a subtler form; and Glimmerglass softens fine detail, adds mild glow to highlights, and has a distinct silver sparkle. The new filters and grades are available in popular motion-picture sizes. All Tiffen filters are backed by a 10-year warranty and are made in the U.S.A. For additional information, visit www.tiffen.com. HFC Accessorizes Industry, Distributes Fujifilm Equipment manufacturer Hollywood Film Co. has introduced an array of products for motion-picture professionals. The versatile, fully adjustable HFC Tripod Spreader (model TS-7) has been designed for use on any and all surfaces without the need for any shims or other leveling equipment. The durable Spreader boasts a clear anodized aluminum construction and easy-toadjust large-diameter locking hand wheels. Additionally, the Spreader utilizes sturdy, long-lasting expansion collars and folds quickly for easy carrying.

HFC’s durable 12", 18" and 24" Base Plates are made of high-quality aluminum and are compatible with most popular fluid heads. The Base Plates include precision, 24"-long and 19mm-wide Iris Rods made of tempered stainless steel. An Arri-type tempered aluminum Sliding Bridge Plate System (model BPS-3) utilizes a 19mm or 15mm studio support system with both front and rear sliding adjustments for precise camera balance. The BPS-3 system includes a 12" dovetail base plate and two 17"-long, 19mm-wide stainless rods. HFC has also developed a precisely ground, tempered aluminum Quick Release Plate (model QRP-9). Additionally, Hollywood Film Co. has joined forces with Fujifilm’s Motion Picture Division to offer distribution of Fujifilm’s negative motion-picture products. When Fujifilm’s motion-picture products were first introduced into the North American market in 1967, HFC served as their exclusive distributor. The renewed agreement reflects the commitment of both companies to the negative film business and reaffirms that film is still a vital part of the motion-picture industry. “HFC has many years of expertise in the lab and production world,” says Alan Fraser, vice president, Fujifilm North America Corp., Motion Picture Division. “They understand the challenging dynamics of servicing the camera negative film business. Great quality and outstanding service are always a winning combination, and we look forward to working together with them.” “Fujifilm offers a wide selection of quality products, and enjoys a reputation for manufacturing superb film for today’s filmmaker,” says Vince Carabello Jr., vice president of HFC. “We are proud to once again provide premium Fujifilm negative stocks to our broad customer base.” For additional information, visit www.hollywoodfilmco.com and www.fuji film.com.
American Cinematographer

K-Tek Supports Small Cameras K-Tek has responded to the ergonomic challenges of tiny-form-factor cameras such as the GoPro and iPhone with a wide range of production tools, including the Tadpole and Tripod Mount Case. K-Tek Tadpoles feature a tilting balland-socket head for precise positioning and creative shooting. Extendable Tadpoles allow the camera to get closer to the action and above crowds while being operated one-handed and with steadier movement. Made from the same quality materials as KTek’s award-winning boom poles, they pack small and are available in three models that can extend up to 2', 3' and 6'7". Additionally, the compact, fixed-length (7.5") MiniTadpole features a mini-ball head and a ¼20 female thread on the base. Designed specifically for the iPhone 4/4S, the Tripod Mount Case allows the

smart phone to accept a range of video accessories and mount to professional tripods. Machined from a solid block of aluminum, the rugged case features two threaded aluminum ¼-20 mounting points that allow for horizontal and vertical mounting. K-Tek has also introduced a Camera Handgrip that features a fixed ¼-20 thread on top of a foam-covered graphite tube, offering a practical and inexpensive way to hold a small camera. K-Tek products are made in the U.S.A. For additional information, visit www.ktekbooms.com. ●

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July 2012


http://www.tiffen.com http://www.ktekbooms.com http://www.hollywoodfilmco.com http://www.fujifilm.com http://www.fujifilm.com

American Cinematographer - July 2012

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

American Cinematographer - July 2012
Contents
Editor’s Note
Short Takes: Keane’s “Silenced by the Night”
Production Slate: Trishna • Two and a Half Men
Ancient Aliens
High Anxiety
Hair-Metal Heroes
Shooting J.R.
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - American Cinematographer - July 2012
American Cinematographer - July 2012 - Cover2
American Cinematographer - July 2012 - 1
American Cinematographer - July 2012 - 2
American Cinematographer - July 2012 - Contents
American Cinematographer - July 2012 - 4
American Cinematographer - July 2012 - 5
American Cinematographer - July 2012 - 6
American Cinematographer - July 2012 - 7
American Cinematographer - July 2012 - Editor’s Note
American Cinematographer - July 2012 - 9
American Cinematographer - July 2012 - Short Takes: Keane’s “Silenced by the Night”
American Cinematographer - July 2012 - 11
American Cinematographer - July 2012 - 12
American Cinematographer - July 2012 - 13
American Cinematographer - July 2012 - 14
American Cinematographer - July 2012 - 15
American Cinematographer - July 2012 - Production Slate: Trishna • Two and a Half Men
American Cinematographer - July 2012 - 17
American Cinematographer - July 2012 - 18
American Cinematographer - July 2012 - 19
American Cinematographer - July 2012 - 20
American Cinematographer - July 2012 - 21
American Cinematographer - July 2012 - 22
American Cinematographer - July 2012 - 23
American Cinematographer - July 2012 - 24
American Cinematographer - July 2012 - 25
American Cinematographer - July 2012 - 26
American Cinematographer - July 2012 - 27
American Cinematographer - July 2012 - 28
American Cinematographer - July 2012 - 29
American Cinematographer - July 2012 - Ancient Aliens
American Cinematographer - July 2012 - 31
American Cinematographer - July 2012 - 32
American Cinematographer - July 2012 - 33
American Cinematographer - July 2012 - 34
American Cinematographer - July 2012 - 35
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American Cinematographer - July 2012 - 37
American Cinematographer - July 2012 - 38
American Cinematographer - July 2012 - 39
American Cinematographer - July 2012 - 40
American Cinematographer - July 2012 - 41
American Cinematographer - July 2012 - High Anxiety
American Cinematographer - July 2012 - 43
American Cinematographer - July 2012 - 44
American Cinematographer - July 2012 - 45
American Cinematographer - July 2012 - 46
American Cinematographer - July 2012 - 47
American Cinematographer - July 2012 - 48
American Cinematographer - July 2012 - 49
American Cinematographer - July 2012 - 50
American Cinematographer - July 2012 - 51
American Cinematographer - July 2012 - 52
American Cinematographer - July 2012 - 53
American Cinematographer - July 2012 - Hair-Metal Heroes
American Cinematographer - July 2012 - 55
American Cinematographer - July 2012 - 56
American Cinematographer - July 2012 - 57
American Cinematographer - July 2012 - 58
American Cinematographer - July 2012 - 59
American Cinematographer - July 2012 - 60
American Cinematographer - July 2012 - 61
American Cinematographer - July 2012 - 62
American Cinematographer - July 2012 - 63
American Cinematographer - July 2012 - Shooting J.R.
American Cinematographer - July 2012 - 65
American Cinematographer - July 2012 - 66
American Cinematographer - July 2012 - 67
American Cinematographer - July 2012 - 68
American Cinematographer - July 2012 - 69
American Cinematographer - July 2012 - 70
American Cinematographer - July 2012 - 71
American Cinematographer - July 2012 - New Products & Services
American Cinematographer - July 2012 - 73
American Cinematographer - July 2012 - 74
American Cinematographer - July 2012 - 75
American Cinematographer - July 2012 - 76
American Cinematographer - July 2012 - 77
American Cinematographer - July 2012 - 78
American Cinematographer - July 2012 - 79
American Cinematographer - July 2012 - 80
American Cinematographer - July 2012 - 81
American Cinematographer - July 2012 - International Marketplace
American Cinematographer - July 2012 - Classified Ads
American Cinematographer - July 2012 - Ad Index
American Cinematographer - July 2012 - 85
American Cinematographer - July 2012 - Clubhouse News
American Cinematographer - July 2012 - 87
American Cinematographer - July 2012 - ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - Cover3
American Cinematographer - July 2012 - Cover4
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