American Cinematographer - August 2010 - 86

Ditto Scanner Evolves Cintel International has introduced the Ditto Evolution 2K/4K film scanner and ImageMill2 image-processing platform. Building on the successful elements of the Ditto scanner — including excellent image performance, an easy-to-use interface and the D/SCOP Dust/Scratch Concealment Option — the Ditto Evolution offers a modular and upgradeable solution to film scanning. The Ditto Evolution provides fast shuttle capability, a non-pin registration mode for archive scanning, ImageMill2 processing tools and 3.2D density range. “Ditto Evolution is the first film scanner to be instantly switchable from pin registration to non-pin registration and also the first film scanner to include film grain management and image stabilization tools,” says Simon Carter, sales director for Cintel. “It is the ideal film scanner for all applications and stock types, from OCN ingest for

digital intermediates to dense print for restoration projects.” Simon Clark, Cintel’s business development manager, adds, “Ditto Evolution offers solutions to all filmscanning needs. It can evolve from a simpleto-use calibrated pin-registration scanner for digital-intermediate use with superb image quality to a multi-format, non-pin-registration machine for shrunken and damaged film incorporating a full set of image-restoration tools.” The ImageMill2 image-processing platform adds network capabilities and data file management to the existing ImageMill feature set. Carter notes, “ImageMill2 will

machine control protocols.” Ki Pro version 2.0 firmware is available as a free software download to all Ki Pro customers. For more information, visit www.aja.com. Lightcraft, Mo-Sys Forge Agreement Lightcraft Technology and Mo-Sys, who have independently developed affordable solutions to simplify the tracking and visualization of complex visual-effects shots, have announced they will combine their product offerings in order to provide a full range of virtual-production tools for the entertainment industry. The companies have entered into a joint distribution agreement to sell each other’s products as well as their own in their respective regions, thereby supplying their customers with a single source for complete optical and encoded tracking and on-set visualization systems. Lightcraft Technology builds the Previzion virtual studio system, which combines real-time photorealistic 3-D rendering, keying, lens tracking, compositing, metadata recording and camera tracking; the camera tracking works with either the inertial/optical combination of Lightcraft’s Airtrack precision gyro and Intersense’s IS1200, or with Mo-Sys encoded camera supports. Among Mo-Sys’ offerings is the 3D Inserter, offering fast and flexible live previsualization and data logging of camera moves on a virtual set. In addition to its own products, Mo-Sys will now distribute Lightcraft’s Previzion system in Europe, while Lightcraft will distribute MoSys’ 3D Inserter, Motion Logger and full range of encoded camera heads and cranes in the Americas. Eliot Mack, CEO of Lightcraft Technology, notes, “It is rare to find a company to work with that has Mo-Sys’ combination of technical expertise, vision and innovation. We are excited about the potential that this relationship will provide us and our customers as we expand the use of virtual production tools worldwide.” Michael Geissler, CEO of Mo-Sys, adds, “We are impressed with the competence and innovative spirit at Lightcraft. The collaboration brings together a unique and powerful complimentary chain of tools for next-

address the industry’s need for a fast yet simple-to-use noise and grain management tool for both data-centric digital-intermediate applications and restoration projects within one product. With speeds in excess of 25 fps for 2K and HD files, the performance of ImageMill2 is unequalled. We are currently processing 4K files at 10 fps and can also deal with SD files at twice real time. With ImageMill2 you can truly ‘eliminate the wait.’” For additional information, visit www.cintel.co.uk.

files onto computer-friendly media. Featuring SD/HD-SDI, HDMI and analog inputs, the Ki Pro enables users to interface with virtually any type of camera or video source they may own or rent. Intuitive to operate, the Ki Pro’s familiar VTR-like buttons provide immediate controls for basic operation, and from a distance, users can control the Ki Pro with a laptop or iPhone Web browser via

Ethernet or wireless connection. Additionally, AJA has collaborated with Avid to ensure that, via Avid Media Access (AMA) plug-in architecture, the Ki Pro’s ProRes QuickTime files are directly compatible with Avid Media Composer and Symphony systems, allowing users to view, edit and play back the files with access to all clip metadata. “Since Ki Pro delivers pristine 10-bit 4:2:2 image quality, many of our customers have been turning to it as a practical, cost effective alternative to a VTR on set, in the studio and in mobile production environments,” says Nick Rashby, president of AJA Video Systems. “Now with RS-422 device control, Ki Pro can interface to even more devices and workflows via industry standard
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August 2010


http://www.aja.com http://www.cintel.co.uk

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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