American Cinematographer - September 2012 - 98

toolset for highly automated restoration and enhancement of video content stored on various tape formats, such as 1", U-Matic and Betacam SP, or later transferred to digital tape formats. The system handles image defects such as dropouts, severe noise, cross-color artifacting, line-sync problems (shifts/stretching) and more. Additional features include motion-compensated frame-rate conversion and high-quality upscaling as well as full support for common broadcast codecs. These new video-restoration tools have also been added to Digital Vision’s high-end Phoenix Finish restoration offering. For additional information, visit www.imagesystems.se/digital-vision. Signiant, 5th Kind Streamline Asset Management Signiant, a provider of intelligent filemovement software for media and entertainment, and 5th Kind, an innovator of asset-management and workflow solutions optimized for production environments, have partnered to integrate Signiant’s accelerated file-movement capabilities with 5th Kind’s Core platform, enabling dispersed production teams to ingest and share digital media files quickly and securely. Deployed on internal networks accessed via the cloud, the scalable Core asset-management system features flexible modules to organize, search, view, track and tag any type of digital file, including footage and visual effects, and a flexible communication module for ongoing team collaboration. By seamlessly integrating with Signiant’s accelerated digital file-transfer capabilities, Core increases user productivity while significantly reducing labor and overhead costs. “5th Kind’s Core platform is a unique digital production hub that offers clients end-to-end management support for not
98 September 2012

only media, but the full spectrum of production resources, including dailies, scripts, casting and marketing materials in a single system,” says Matt Thomas, Western Region account director for Signiant. “We are pleased to work together with them to serve the needs of the media and entertainment community with capabilities that simplify and centralize access to media and materials in ways that basic point-to-point file transfer or traditional FTP solutions simply cannot.” “It’s our goal to deliver the broadest asset management solution — from script to screen — tailored for the entertainment industry,” adds Steve Cronan, CEO of 5th Kind. “Our collaboration with Signiant gives our studio, production and enterprise media customers the levels of centralized control, security, collaboration and ease of use that they require, and is already in use by our largest customer, Marvel Studios, to move time-sensitive [visual effects], audio and 3-D conversions across the supply chain.” For additional information, visit www.signiant.com and www.5thkind.com. Paralinx Launches Arrow Cinema electronics company Paralinx, LLC, has unveiled the Arrow uncompressed wireless video transmitter. Featuring a latency of less than 2 milliseconds, the Arrow transmits an uncompressed wireless video signal at distances up to 320' line of sight and up to 200' through obstructions. “Our goal was to make wireless HD more accessible,” says Dan Kanes, cofounder and CTO of Paralinx. “We wanted to keep the Arrow affordable to a wide range of filmmakers, yet still offer features like long range, low latency, small footprint and, most importantly, uncompressed 10bit video.” The Arrow boasts an extremely compact size and minimal weight: the transAmerican Cinematographer

mitter is roughly the size of a pack of gum, the receiver is approximately the size of a deck of cards, and the transmitter and receiver together weigh less than ¼ pound. Additionally, the Arrow is plug and play with any HDMI output from a camera or other device, enabling short connection times without any menus to navigate. All resolutions up to 1080 are supported, as are all frame rates up to 60, with capability for progressive and interlaced scanning as well as progressive segmented frame.

Thanks to automatic Dynamic Frequency Selection, up to six Arrow kits can be used in the same area simultaneously, and 256-bit encryption keeps transmissions safe. Also, the Arrow system is FCC and CE certified. The Arrow is available for a recommended price of $1,199. For more information, visit www.paralinx.net. Boxx Builds Meridian Family Boxx Communications, the North American headquarters and official reseller for Boxx TV, has unveiled the Meridian Lite and Meridian Tallis systems. The Meridian Lite is an entry-level RF HD camera system with zero-delay transmission. With its lightweight wireless transmitter, Meridian Lite supports 4:2:2 video, including all formats up to 1080/30p, and delivers uncompressed, artifact-free broadcast video and sound in synch. The system is also upgradable to Boxx TV’s full-featured high-end Meridian wireless RF HD camera system. The Meridian Tallis is an iris control and tally indicator accessory that complements any brand of broadcast camera on a wireless rig or Steadicam. The Tallis is small enough to mount on any camera, and the


http://www.imagesystems.se/digital-vision http://www.paralinx.net http://www.signiant.com http://www.5thkind.com

American Cinematographer - September 2012

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

American Cinematographer - September 2012
Contents
Editor’s Note
President’s Desk
Short Takes: 8
Production Slate: Side by Side • World Without End
Natural Bourne Killer
Around the World in 65mm
Hair-Raising Heroics
Optimizing Digital-Camera Workflows
Post Focus: Eldorado
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: John Newby
American Cinematographer - September 2012 - American Cinematographer - September 2012
American Cinematographer - September 2012 - Cover2
American Cinematographer - September 2012 - 1
American Cinematographer - September 2012 - 2
American Cinematographer - September 2012 - Contents
American Cinematographer - September 2012 - 4
American Cinematographer - September 2012 - 5
American Cinematographer - September 2012 - 6
American Cinematographer - September 2012 - 7
American Cinematographer - September 2012 - Editor’s Note
American Cinematographer - September 2012 - 9
American Cinematographer - September 2012 - President’s Desk
American Cinematographer - September 2012 - 11
American Cinematographer - September 2012 - Short Takes: 8
American Cinematographer - September 2012 - 13
American Cinematographer - September 2012 - 14
American Cinematographer - September 2012 - 15
American Cinematographer - September 2012 - 16
American Cinematographer - September 2012 - 17
American Cinematographer - September 2012 - Production Slate: Side by Side • World Without End
American Cinematographer - September 2012 - 19
American Cinematographer - September 2012 - 20
American Cinematographer - September 2012 - 21
American Cinematographer - September 2012 - 22
American Cinematographer - September 2012 - 23
American Cinematographer - September 2012 - 24
American Cinematographer - September 2012 - 25
American Cinematographer - September 2012 - 26
American Cinematographer - September 2012 - 27
American Cinematographer - September 2012 - 28
American Cinematographer - September 2012 - 29
American Cinematographer - September 2012 - 30
American Cinematographer - September 2012 - 31
American Cinematographer - September 2012 - Natural Bourne Killer
American Cinematographer - September 2012 - 33
American Cinematographer - September 2012 - 34
American Cinematographer - September 2012 - 35
American Cinematographer - September 2012 - 36
American Cinematographer - September 2012 - 37
American Cinematographer - September 2012 - 38
American Cinematographer - September 2012 - 39
American Cinematographer - September 2012 - 40
American Cinematographer - September 2012 - 41
American Cinematographer - September 2012 - 42
American Cinematographer - September 2012 - 43
American Cinematographer - September 2012 - 44
American Cinematographer - September 2012 - 45
American Cinematographer - September 2012 - Around the World in 65mm
American Cinematographer - September 2012 - 47
American Cinematographer - September 2012 - 48
American Cinematographer - September 2012 - 48A
American Cinematographer - September 2012 - 48B
American Cinematographer - September 2012 - 48C
American Cinematographer - September 2012 - 48D
American Cinematographer - September 2012 - 48E
American Cinematographer - September 2012 - 48F
American Cinematographer - September 2012 - 48G
American Cinematographer - September 2012 - 48H
American Cinematographer - September 2012 - 48I
American Cinematographer - September 2012 - 48J
American Cinematographer - September 2012 - 48K
American Cinematographer - September 2012 - 48L
American Cinematographer - September 2012 - 49
American Cinematographer - September 2012 - 50
American Cinematographer - September 2012 - 51
American Cinematographer - September 2012 - 52
American Cinematographer - September 2012 - 53
American Cinematographer - September 2012 - 54
American Cinematographer - September 2012 - 55
American Cinematographer - September 2012 - 56
American Cinematographer - September 2012 - 57
American Cinematographer - September 2012 - 58
American Cinematographer - September 2012 - 59
American Cinematographer - September 2012 - 60
American Cinematographer - September 2012 - 61
American Cinematographer - September 2012 - Hair-Raising Heroics
American Cinematographer - September 2012 - 63
American Cinematographer - September 2012 - 64
American Cinematographer - September 2012 - 65
American Cinematographer - September 2012 - 66
American Cinematographer - September 2012 - 67
American Cinematographer - September 2012 - 68
American Cinematographer - September 2012 - 69
American Cinematographer - September 2012 - 70
American Cinematographer - September 2012 - 71
American Cinematographer - September 2012 - 72
American Cinematographer - September 2012 - 73
American Cinematographer - September 2012 - 74
American Cinematographer - September 2012 - 75
American Cinematographer - September 2012 - 76
American Cinematographer - September 2012 - 77
American Cinematographer - September 2012 - Optimizing Digital-Camera Workflows
American Cinematographer - September 2012 - 79
American Cinematographer - September 2012 - 80
American Cinematographer - September 2012 - 81
American Cinematographer - September 2012 - 82
American Cinematographer - September 2012 - 83
American Cinematographer - September 2012 - 84
American Cinematographer - September 2012 - 85
American Cinematographer - September 2012 - 86
American Cinematographer - September 2012 - 87
American Cinematographer - September 2012 - Post Focus: Eldorado
American Cinematographer - September 2012 - 89
American Cinematographer - September 2012 - 90
American Cinematographer - September 2012 - 91
American Cinematographer - September 2012 - 92
American Cinematographer - September 2012 - 93
American Cinematographer - September 2012 - 95
American Cinematographer - September 2012 - 96
American Cinematographer - September 2012 - 97
American Cinematographer - September 2012 - 98
American Cinematographer - September 2012 - 99
American Cinematographer - September 2012 - 100
American Cinematographer - September 2012 - 101
American Cinematographer - September 2012 - 102
American Cinematographer - September 2012 - 103
American Cinematographer - September 2012 - International Marketplace
American Cinematographer - September 2012 - Ad Index
American Cinematographer - September 2012 - 106
American Cinematographer - September 2012 - 107
American Cinematographer - September 2012 - ASC Membership Roster
American Cinematographer - September 2012 - 109
American Cinematographer - September 2012 - Clubhouse News
American Cinematographer - September 2012 - 111
American Cinematographer - September 2012 - ASC Close-Up: John Newby
American Cinematographer - September 2012 - Cover3
American Cinematographer - September 2012 - Cover4
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