American Cinematographer - October 2010 - 84

equipment. The KF32 displays a smooth beam gradient that responds especially well to the latest generation of HD cameras. The lamps work side by side with traditional tungsten sources without corrective filtration, while drawing 1⁄10 the power per lumen compared with incandescent fixtures. For additional information, visit www.kinoflo.com. preserve as much power as possible while dispersing light; the filters provide up to 92 percent light transmission. “Our LSF filters are unique in that they give you a wider beam angle without sacrificing much output, and they also smooth out the beam of any LED fixture that does not have a perfect field of light,” says Loader. Light Shaping Filters are available in four different beam angles: 10 degrees (LSF10-24), 20 degrees (LSF20-22), 30 degrees (LSF30-24) and 60 degrees by 1 degree (LSF601-24). With the first three versions, the beam angle is widened both vertically and horizontally, while the 60x1 version broadens the angle 60 degrees horizontally and only 1 degree vertically, making it ideal for long, flat wall washes. Each LSF filter sells for $139.99 and comes in a large sheet that the user can cut to the desired size; each sheet measures 24"x24", except the 20-degree filter, which measures 24"x22". For additional information, visit www.elationlighting.com. Kino Flo Expands True Match Lamp Range Kino Flo has introduced tungstenbalanced, high-lumen, high-color-rendering True Match 96-watt KF32 Twin Lamps and True Match 55-watt KF32 Quad Lamps. The KF32 Twin Lamps fit Kino Flo’s VistaBeam and Vista Single fixtures, while the KF32 Quad Lamps are designed for the company’s BarFly line. Like other lamps in the True Match family, the KF32’s color (CRI 95) is formulated by Kino Flo to match the spectral sensitivity curves of HD and digital film imaging
84 October 2010

Arri Ballasts Enable High-Speed Shooting Arri’s next generation of 1,000Hz High-Speed Ballasts promise to set a new bar for flicker-free illumination in digital high-speed photography. The new ballasts are available in four different wattage configurations: EB 125/200-watt Digital High Speed, EB 400/575-watt Digital High Speed, EB 575/1,200-watt Digital High Speed and EB 2,500/4,000-watt Digital High Speed. Arri’s electronic ballasts traditionally offer a flicker-free mode to supply the lamp with a 75Hz square wave current; this mode works perfectly for high-speed photography with analog film cameras shooting up to 150 fps. The new High-Speed Ballasts supply the lamps with a 1,000Hz square wave current to achieve high-quality flickerfree images even at frame rates exceeding 1,000 fps. For additional information, visit www.arri.com. Pixled Flexes LED Mesh Pixled has introduced the F-37L, a 37mm flexible mesh LED video display designed for both backdrop applications and creative LED applications. The F-37L’s ultra-slim, flexible mesh construction offers the perfect combination of design flexibility and speed of deployment. The F-37L can be formed into any shape or molded over any object, or it can be deployed as a flat LED video screen. With its ultra-lightweight construction, IP63 rating and quick roll-out design, the F-37L can be used in almost any venue, indoors or out, and installed quickly. The F-37L uses Nichia SMD LEDs at a pixel pitch of 37.5mm, both vertically and horizontally, with viewing angles greater than 120 degrees both vertically and horizontally. The combination of pixel pitch, light
American Cinematographer

output and 57-percent transparency make the F37L an ideal solution for massive wide-canvas backdrops, delivering sharp, crisp video images. Each F-37L panel weighs 5.11 pounds and measures 11.8" wide, 47.2" high and 0.95" deep. It is available in either a white or black finish and is CE and ETL listed. The maximum power draw per panel is less than 100 watts, with an input frequency of 60Hz, a refresh rate greater than 240Hz, and an operating temperature range of -4° to 122°F. For additional information, visit www.pixled.com. Shadowstone Introduces LED Bands Shadowstone has introduced a range of customizable LED Band Lighting Kits. Ideally suited to cramped quarters where power and heat are major concerns, the LED Band Lighting Kits are perfect for close-up lighting or as a supplement to other light sources in a studio or on location. The basic Band Lighting Kit consists of 16' bands of Warm White (3,000°K), Cool White (6,000°K) and RGB LEDs. The Kit also includes a DMX Pocket Console, a DMX Interface Module, a local dimming power supply, non-dimming power supplies and a variety of accessories such as T and L junctions and other connectors that allow for customization of band configuration. The bands can be cut on site to lengths as small as 2" for the white-light LEDs and 4" for the RGB band. Multiple adhesives, Velcro and other mounting options are also included to further facilitate individual production needs. The Band Lighting Kits can be adapted for waterproof applications, and the kits are also available in specific kits of only Warm White, Cool White or RGB arrangements. For additional information, visit www.shadowstone.com. OmniSistem Lights Up Nite Available in either RGBA or white-only configurations, OmniSistem’s Omni Nite LED Curtain is made of ultra-thin lightweight fabric and features wide Velcro straps for secure


http://www.kinoflo.com http://www.pixled.com http://www.arri.com http://www.elationlighting.com http://www.shadowstone.com

American Cinematographer - October 2010

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

American Cinematographer - October 2010
Contents
Editors Note
President’s Desk
Short Takes: “Lakairomania”
Production Slate: Enter the Void • Indie 3-D
With Friends Like These…
Zero-Sum Game
Bloody Valentine
Welcome to the Jungle
Post Focus: Advanced Digital Services
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - American Cinematographer - October 2010
American Cinematographer - October 2010 - Cover2
American Cinematographer - October 2010 - 1
American Cinematographer - October 2010 - 2
American Cinematographer - October 2010 - Contents
American Cinematographer - October 2010 - 4
American Cinematographer - October 2010 - 5
American Cinematographer - October 2010 - 6
American Cinematographer - October 2010 - 7
American Cinematographer - October 2010 - Editors Note
American Cinematographer - October 2010 - 9
American Cinematographer - October 2010 - President’s Desk
American Cinematographer - October 2010 - 11
American Cinematographer - October 2010 - Short Takes: “Lakairomania”
American Cinematographer - October 2010 - 13
American Cinematographer - October 2010 - 14
American Cinematographer - October 2010 - 15
American Cinematographer - October 2010 - 16
American Cinematographer - October 2010 - 17
American Cinematographer - October 2010 - Production Slate: Enter the Void • Indie 3-D
American Cinematographer - October 2010 - 19
American Cinematographer - October 2010 - 20
American Cinematographer - October 2010 - 21
American Cinematographer - October 2010 - 22
American Cinematographer - October 2010 - 23
American Cinematographer - October 2010 - 24
American Cinematographer - October 2010 - 25
American Cinematographer - October 2010 - 26
American Cinematographer - October 2010 - 27
American Cinematographer - October 2010 - With Friends Like These…
American Cinematographer - October 2010 - 29
American Cinematographer - October 2010 - 30
American Cinematographer - October 2010 - 31
American Cinematographer - October 2010 - 32
American Cinematographer - October 2010 - 33
American Cinematographer - October 2010 - 34
American Cinematographer - October 2010 - 35
American Cinematographer - October 2010 - 36
American Cinematographer - October 2010 - 37
American Cinematographer - October 2010 - 38
American Cinematographer - October 2010 - 39
American Cinematographer - October 2010 - 40
American Cinematographer - October 2010 - 41
American Cinematographer - October 2010 - Zero-Sum Game
American Cinematographer - October 2010 - 43
American Cinematographer - October 2010 - 44
American Cinematographer - October 2010 - 45
American Cinematographer - October 2010 - 46
American Cinematographer - October 2010 - 47
American Cinematographer - October 2010 - 48
American Cinematographer - October 2010 - 49
American Cinematographer - October 2010 - 50
American Cinematographer - October 2010 - 51
American Cinematographer - October 2010 - 52
American Cinematographer - October 2010 - 53
American Cinematographer - October 2010 - Bloody Valentine
American Cinematographer - October 2010 - 55
American Cinematographer - October 2010 - 56
American Cinematographer - October 2010 - 57
American Cinematographer - October 2010 - 58
American Cinematographer - October 2010 - 59
American Cinematographer - October 2010 - 60
American Cinematographer - October 2010 - 61
American Cinematographer - October 2010 - 62
American Cinematographer - October 2010 - 63
American Cinematographer - October 2010 - 64
American Cinematographer - October 2010 - 65
American Cinematographer - October 2010 - Welcome to the Jungle
American Cinematographer - October 2010 - 67
American Cinematographer - October 2010 - 68
American Cinematographer - October 2010 - 69
American Cinematographer - October 2010 - 70
American Cinematographer - October 2010 - 71
American Cinematographer - October 2010 - Post Focus: Advanced Digital Services
American Cinematographer - October 2010 - 73
American Cinematographer - October 2010 - 74
American Cinematographer - October 2010 - 75
American Cinematographer - October 2010 - 76
American Cinematographer - October 2010 - 77
American Cinematographer - October 2010 - New Products & Services
American Cinematographer - October 2010 - 79
American Cinematographer - October 2010 - 80
American Cinematographer - October 2010 - 81
American Cinematographer - October 2010 - 82
American Cinematographer - October 2010 - 83
American Cinematographer - October 2010 - 84
American Cinematographer - October 2010 - 85
American Cinematographer - October 2010 - International Marketplace
American Cinematographer - October 2010 - 87
American Cinematographer - October 2010 - Ad Index
American Cinematographer - October 2010 - 89
American Cinematographer - October 2010 - Clubhouse News
American Cinematographer - October 2010 - 91
American Cinematographer - October 2010 - ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - Cover3
American Cinematographer - October 2010 - Cover4
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