American Cinematographer - August 2010 - 82

New Products & Services
Universal Studios Reopens New York Street Universal Studios has opened four acres of newly rebuilt New York Street backlot locations. A fixture in Hollywood for decades, New York Street (which comprises 13 city blocks of buildings) has been the setting of countless commercials, television shows and feature films, including To Kill A Mockingbird, The Sting, The Blues Brothers and Back to the Future. The shooting location burned in an accidental fire on June 1, 2008; the rebuilt site offers a wealth of creative opportunities for film and television production and an exciting behindthe-scenes look at Hollywood moviemaking for Universal Studios Hollywood theme-park guests. Immediately following the fire, Jim Watters, president and general manager of NBC Universal Operations Group, and Dave Beanes, senior vice-president of NBC Universal Production Services, began assembling a creative team to design the new street. Steven Spielberg offered his support, and he contacted production designer Rick Carter to be a part of the process. Carter collaborated with art director Beala Neel on the initial design concepts and scope of the rebuild, and Neel headed the team of production designers and graphic artists, which eventually expanded to a staff of 25. Based on his own production experience and feedback from filmmakers, Beanes helped guide the core design team. They decided to keep the original east-west main street and add new locations, including a modern New York block with a glass-and-steel look, Paris Square, London Square and Central Park. The overall design concentrated on detail work that would cater to modern filmmaking needs. The façade heights have been increased 10' to 25' for an average height of 40' to 50', providing a realistic urban downtown feel. The new façades also feature unobstructed interior shooting spaces that can be built out, allowing productions to shoot interiors without returning to a soundstage. The width of the main street was narrowed so the camera could capture both sides of the street in the same shot, and long vista shots through archways are now possible, giving added depth to scenes. For chase sequences, cameras can be positioned on the reinforced façade roofs or mounted on a crane to follow the action. The fire escapes are practical and built for use with actors and stunt
82 August 2010

• SUBMISSION INFORMATION • Please e-mail New Products/Services releases to: newproducts@ascmag.com and include full contact information and product images. Photos must be TIFF or JPEG files of at least 300dpi.

people. The new Courthouse Square has a fire station large enough to hold a full-sized fire truck, and next door to the fire station is a modular gas station that can be dismantled and stored according to a production’s needs. As an added touch of realism, the manhole covers can emit special-effects steam, and London Square has chimneys rigged for special-effects smoke. Universal Studios partnered with the Los Angeles County Fire and Building & Safety departments to create new guidelines for fire safety in the innovative façades, which now incorporate fully automatic sprinkler systems, a central fire-alarm system, built-in fire separation areas and a separate water supply infrastructure for the hydrants and sprinkler systems. “This is a proud day for Universal Studios,” enthuses Ron Meyer, president and COO of Universal Studios. “The opening of New York Street shows the company’s commitment to film and television production in Los Angeles and to supporting filmmakers worldwide.” For additional information, visit www.filmmakersdestina tion.com. EUE/Screen Gems Unveils Atlanta Studio Complementing its facilities in New York and North Carolina, EUE/Screen Gems has opened a studio complex with multiple stages and support services minutes away from the Atlanta, Ga., airport. EUE/Screen Gems is undertaking a $6 million renovation of the property, located in the former Lakewood Fairgrounds site. The city of Atlanta agreed to the lease agreement in May, and one of four stages was already fully functional and in use by June. At press time, EUE Screen Gems planned to have four other buildings on the property completely updated by August. The existing buildings offer four stages ranging from 10,000 square feet to 35,000 square feet, plus more than 50,000 square feet for lighting and grip, mill shops and support services. In addition to updating the existing structures, EUE/Screen Gems plans to construct a new 37,500-square-foot soundstage to be ready in March 2011. Current plans for the stage include a

American Cinematographer


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American Cinematographer - August 2010

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

The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
Features
Cat and Mouse (Salt)
Girl Trouble (Pilgrim vs. the World)
A Magical Manhattan (The Sorcerer’s Apprentice)
True Colors (Get Low)
Departments
Editor’s Note
President’s Desk
Short Takes: Quiksilver ad campaign
Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
Post Focus: True Blood Workflow
Filmmakers’ Forum: Steven Fierberg, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
American Cinematographer - August 2010 - Cover2
American Cinematographer - August 2010 - 1
American Cinematographer - August 2010 - 2
American Cinematographer - August 2010 - 3
American Cinematographer - August 2010 - 4
American Cinematographer - August 2010 - 5
American Cinematographer - August 2010 - 6
American Cinematographer - August 2010 - 7
American Cinematographer - August 2010 - Editor’s Note
American Cinematographer - August 2010 - 9
American Cinematographer - August 2010 - President’s Desk
American Cinematographer - August 2010 - 11
American Cinematographer - August 2010 - Short Takes: Quiksilver ad campaign
American Cinematographer - August 2010 - 13
American Cinematographer - August 2010 - 14
American Cinematographer - August 2010 - 15
American Cinematographer - August 2010 - Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
American Cinematographer - August 2010 - 17
American Cinematographer - August 2010 - 18
American Cinematographer - August 2010 - 19
American Cinematographer - August 2010 - 20
American Cinematographer - August 2010 - 21
American Cinematographer - August 2010 - 22
American Cinematographer - August 2010 - 23
American Cinematographer - August 2010 - 24
American Cinematographer - August 2010 - 25
American Cinematographer - August 2010 - 26
American Cinematographer - August 2010 - 27
American Cinematographer - August 2010 - Cat and Mouse (Salt)
American Cinematographer - August 2010 - 29
American Cinematographer - August 2010 - 30
American Cinematographer - August 2010 - 31
American Cinematographer - August 2010 - 32
American Cinematographer - August 2010 - 33
American Cinematographer - August 2010 - 34
American Cinematographer - August 2010 - 35
American Cinematographer - August 2010 - 36
American Cinematographer - August 2010 - 37
American Cinematographer - August 2010 - 38
American Cinematographer - August 2010 - 39
American Cinematographer - August 2010 - 40
American Cinematographer - August 2010 - 41
American Cinematographer - August 2010 - Girl Trouble (Pilgrim vs. the World)
American Cinematographer - August 2010 - 43
American Cinematographer - August 2010 - 44
American Cinematographer - August 2010 - 45
American Cinematographer - August 2010 - 46
American Cinematographer - August 2010 - 47
American Cinematographer - August 2010 - 48
American Cinematographer - August 2010 - 49
American Cinematographer - August 2010 - 50
American Cinematographer - August 2010 - 51
American Cinematographer - August 2010 - 52
American Cinematographer - August 2010 - 53
American Cinematographer - August 2010 - 54
American Cinematographer - August 2010 - 55
American Cinematographer - August 2010 - A Magical Manhattan (The Sorcerer’s Apprentice)
American Cinematographer - August 2010 - 57
American Cinematographer - August 2010 - 58
American Cinematographer - August 2010 - 59
American Cinematographer - August 2010 - 60
American Cinematographer - August 2010 - 61
American Cinematographer - August 2010 - 62
American Cinematographer - August 2010 - 63
American Cinematographer - August 2010 - 64
American Cinematographer - August 2010 - 65
American Cinematographer - August 2010 - 66
American Cinematographer - August 2010 - 67
American Cinematographer - August 2010 - True Colors (Get Low)
American Cinematographer - August 2010 - 69
American Cinematographer - August 2010 - 70
American Cinematographer - August 2010 - 71
American Cinematographer - August 2010 - 72
American Cinematographer - August 2010 - 73
American Cinematographer - August 2010 - 74
American Cinematographer - August 2010 - 75
American Cinematographer - August 2010 - Post Focus: True Blood Workflow
American Cinematographer - August 2010 - 77
American Cinematographer - August 2010 - 78
American Cinematographer - August 2010 - 79
American Cinematographer - August 2010 - Filmmakers’ Forum: Steven Fierberg, ASC
American Cinematographer - August 2010 - 81
American Cinematographer - August 2010 - New Products & Services
American Cinematographer - August 2010 - 83
American Cinematographer - August 2010 - 84
American Cinematographer - August 2010 - 85
American Cinematographer - August 2010 - 86
American Cinematographer - August 2010 - 87
American Cinematographer - August 2010 - 88
American Cinematographer - August 2010 - 89
American Cinematographer - August 2010 - International Marketplace
American Cinematographer - August 2010 - Classified Ads
American Cinematographer - August 2010 - Ad Index
American Cinematographer - August 2010 - 93
American Cinematographer - August 2010 - Clubhouse News
American Cinematographer - August 2010 - 95
American Cinematographer - August 2010 - ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - Cover3
American Cinematographer - August 2010 - Cover4
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