American Cinematographer - August 2013 - 80

sion, media ingest and storage solutions
offering performance up to 900 MB/s.
Housed in a military-grade case with
custom ventilation, the Rogue4 provides a
fast and reliable PCIe and Thunderbolt
backbone for a wide range of on-site digital-intermediate tasks. It works exclusively
on the 15" MacBook Pro Retina platform,
integrating multiple Sonnet Echo Express
Thunderbolt-to-PCIe Expansion Chassis
with popular video I/O cards for tasks such
as transcoding and playout. Multiple
Sonnet Tempo SSD Pro 6Gb PCIe adapter
cards, each holding two 2.5" SSDs, provide
high-performance onboard Thunderbolt
storage. A Sonnet Tempo SATA Pro
6Gb four-port eSATA card
supports up to four
high-performance eSATA
shuttle drives, plus readers
for CompactFlash cards,
SDHC cards, Redmag
1.8" SSDs, and Red
Digital Cinema’s
Red Mini-Mag
cards. Also on
board is Sonnet’s
Echo ExpressCard Pro Thunderbolt adapter to ingest files from SxS
cards.
These features, combined with the
Rogue4’s wireless connectivity, iPad mount,
and full I/O interfaces, provide DI professionals a highly versatile on-site workstation
that is easy to set up. Users can perform
basic data-wrangling tasks as well as
perform speedy transcoding, full-resolution
2-D/3-D side-by-side playback, on-set
image review and adjustment, and wireless
delivery of dailies via the onboard Wi-Fi
terminal.
“Ready to go in fewer than 20
seconds, the Rogue4 eliminates the lengthy
setup times for image technicians and gives
them optimal speed, capacity, and storage
mobility,” says Martin Christien, CEO and
founder of DIT Station. “The Rogue4 is a
true all-in-one tool for any workflow,
anywhere and anytime, and it works seamlessly through the powerful integration of
Sonnet’s technology.”
For additional information, visit
www.ditstation.com and www.sonnet
tech.com.

80

August 2013

and finger-swipe support.
For additional information, visit www.red
giant.com.

Red Giant Makes Footage
BulletProof
Red Giant has introduced BulletProof, a complete offload, prep and delivery
solution for footage that simplifies on-set
tasks. Bridging the gap between camera
and editor, BulletProof combines backup,
organization, color and delivery tasks while
handling footage from multiple cameras
and media cards.
Whether shooting with a Canon
DSLR, Nikon DSLR or GoPro sports cam,
filmmakers, videographers and data wranglers can quickly and easily transform their
captured media into edit-ready footage.
BulletProof eliminates the need to manually
copy media cards to hard drives by including
a reliable, checksum-verified process for
backing up valuable footage. BulletProof
specializes in DSLR and sports-cam workflows and provides professional color
controls.
“My product designs emerge from
my own needs as a filmmaker,” says Stu
Maschwitz, one of the co-designers of
BulletProof. “Every time I return from a
shoot, I’m faced with the same dilemma:
how to manage all my footage. And I face
the same burning questions: Will my shots
look as good on the screen as they did in my
viewfinder? Will it cut? How do I get it to my
editor looking the way I want? BulletProof
allows me to back up safely as I shoot, check
my shots and start the color-correction
process right there on the set, and then
communicate important information to my
editor — all without taking my cinematography hat off.”
The BulletProof workflow is
presented in a series of five views (import,
organize, review, refine and export)
arranged in a left-to-right flow that mirrors
what filmmakers do on set every day. Users
move between views with a sliding interface
American Cinematographer

FilmLight Expands
Color-Management
Offerings
FilmLight
has
launched an array of post
solutions, including the
Baselight One grading system, a diskless, 4U
tower system with the full Baselight creative
toolset and a 2TB solid-state internal cache
that guarantees impressive processing
performance. The company has also introduced the Slate compact grading control
panel designed with both Baselight and
Baselight Editions in mind. Slate draws on
the success of the Blackboard 2 panel and
retains all the quality, precision and
ergonomic convenience in a smaller form
factor and at a lower price point. Additionally, FilmLight’s improved Baselight Editions
brings the Baselight grading toolset and
Slate support to Avid (Windows), Final Cut
Pro 7 and Nuke.
To address the storage and management needs created by the huge amounts
of content generated by contemporary digital workflows, FilmLight has also introduced
Flux Store. Capable of streaming 2K and 4K
content into Baselight systems via dual-link
10 gigabit Ethernet, Flux Store includes
user-expandable storage up to 80TB with
integral data management.
FilmLight has refined its Flip on-set
color-visualization system, making it smaller,
sleeker and battery-operable for location
shoots. Flip allows users to color correct on
set with a BLG file, immediately laying the
foundation for the final grade.
For additional information, visit
www.filmlight.ltd.uk.


http://www.redgiant.com http://www.redgiant.com http://www.filmlight.ltd.uk http://www.ditstation.com http://www.sonnettech.com http://www.sonnettech.com

American Cinematographer - August 2013

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

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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