American Cinematographer - November 2013 - 102

years. Additionally, Ghee managed Black
Entertainment Television's Los Angelesbased production facility and oversaw his
own Atlanta-based production house, PG-3
Productions. Ghee's understanding of new
and emerging technology includes 4K
cameras and workflows, as well as HD,
standard definition and online streaming
video production.
"Phillips' work in the industry is
extensive, and the knowledge he brings to
Band Pro South is a great asset," says ASC
associate Amnon Ban, president and CEO
of Band Pro.
Bolstering Band Pro's coast-to-coast
presence, Band Pro South was created in
response to the growing cinematography
needs of Georgia and the South as a whole.
The facility stands poised as a key partner
for the local production community and will
act as a connected link between the existing Burbank and New York offices.
Band Pro's full line of product offerings - from manufacturers including Sony,
Canon, Red, Leica, Fujinon, Codex, Leader
and MovCam - will be available through
the Atlanta office. As with Band Pro's other
offices worldwide, Band Pro South will
actively foster hands-on learning opportunities through local training events.
Band Pro South, 100 Hartsfield
Center Parkway, Suite 508, Atlanta, Ga.
30354. For additional information, visit
www.bandpro.com.
Assimilate Adds Subscriptions,
Offers Free Scratch Play
Assimilate, a provider of dailies and
postproduction tools for digital cinema and
broadcast workflows, has introduced an
annual subscription option for both Scratch
and Scratch Lab software. The subscription
is ideal for DI artists and on-set profession102

November 2013

als who need daily access to Scratch or
Scratch Lab, and who want the ability to
annually license the latest software version
with the newest features.
Assimilate also continues to offer
rental options for periods as little as one
day or as long as one month, as well as
permanent license purchases and a sitelicense program. "We've learned from
listening to our dailies and post artists that
the realities of their businesses have
changed," says Steve Bannerman, vice
president of marketing at Assimilate. "Not
only are budgets tighter, but work ebbs
and flows. Today, the way artists and facilities pay for their tools has become just as
important as how much they pay, or even
what features they get. Our array of flexible options combine the best of both
worlds: incredible affordability, with the
flexibility of knowing that you can turn the
licenses on and off, if and when you need
to, or own an asset if you prefer. From a
one-day rental to a worldwide site license,
Scratch and Scratch Lab purchase options
are designed to fit the new way artists
work, making them more productive and
helping them make more money."
Assimilate has also launched
Scratch Play, a comprehensive, no-cost
media player. Scratch Play supports camera
raw footage from Red, Arri, Sony and
Canon; common visual-effects and editorial formats such as MXF, DPX, OpenEXR
and ProRes; and commonly encountered
Web files such as QuickTime, WMV and
MP4. Scratch Play also features Assimilate's
Construct media-management timeline,
versatile color grading based on the ASC
CDL standard, and robust metadatahandling capabilities.
The annual subscription for Scratch
and Scratch Lab is available through the
Assimilate Store for $5,000 per year and
$995 per year, respectively, and includes all
software updates, maintenance and
support during the activation period. The
ad-supported version of Scratch Play is
completely free; Scratch Play Premium,
which offers the same feature set without
the ads, can be downloaded for $5.00.
For additional information, visit
www.assimilateinc.com.

American Cinematographer

Gamma & Density Goes Mobile
Gamma & Density Co. has introduced ExpressColor, a mobile color-correction tool for the iPhone and iPad. The app
answers the demand for an easy-to-understand, high-performance handheld tool
that allows for fast look-creation and effective communication.
ExpressColor allows users to import
a still frame from the original footage,
grade it on the iPhone with color wheels

and preset looks, and export the graded still
along with a LUT or ASC CDL file, sending
it to post or the DIT via email or Dropbox.
With the help of ExpressColor's calibration
utility, the iPhone or iPad's screen can be
internally calibrated for accurate display of
Rec 709 imagery.
The app features lift/gamma/gain
color wheels with density sliders for the ultimate control over color and brightness.
Exposure changes are shown as f-stops.
ExpressColor also comes with hundreds of
preset looks that can be applied to any
image, including Alexa Log-C to Rec 709
adjustment, Kodak and Fuji negative- and
print-stock emulators, and an array of
colored gels, including the Rosco Storaro
selection.
ExpressColor is compatible with
iPhones and iPads running iOS 6.0 or later.
The app can be downloaded from the
Apple App Store for $2.99. For more information, visit www.gammadensity.com.
Adorama Glows with Flashpoint
Adorama has introduced the Glow
by Flashpoint diffusion and accessory line.
Glow by Flashpoint offers R Series soft
boxes in varying shapes and sizes and HexaPop products that combine the diffusion of
a soft box with the soft, focused light from
the reflective, curved surface of an
umbrella. All Glow lighting accessories are
completely heat resistant.
Every Glow R Series product features
removable double diffusers and extremely


http://www.gammadensity.com http://www.bandpro.com http://www.assimilateinc.com

American Cinematographer - November 2013

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

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
American Cinematographer - November 2013 - 12
American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
American Cinematographer - November 2013 - 15
American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
American Cinematographer - November 2013 - 26
American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
American Cinematographer - November 2013 - 30
American Cinematographer - November 2013 - 31
American Cinematographer - November 2013 - 32
American Cinematographer - November 2013 - 33
American Cinematographer - November 2013 - 34
American Cinematographer - November 2013 - 35
American Cinematographer - November 2013 - 36
American Cinematographer - November 2013 - 37
American Cinematographer - November 2013 - 38
American Cinematographer - November 2013 - 39
American Cinematographer - November 2013 - 40
American Cinematographer - November 2013 - 41
American Cinematographer - November 2013 - 42
American Cinematographer - November 2013 - 43
American Cinematographer - November 2013 - 44
American Cinematographer - November 2013 - 45
American Cinematographer - November 2013 - 46
American Cinematographer - November 2013 - 47
American Cinematographer - November 2013 - 48
American Cinematographer - November 2013 - 49
American Cinematographer - November 2013 - 50
American Cinematographer - November 2013 - 51
American Cinematographer - November 2013 - 52
American Cinematographer - November 2013 - 53
American Cinematographer - November 2013 - 54
American Cinematographer - November 2013 - 55
American Cinematographer - November 2013 - 56
American Cinematographer - November 2013 - 57
American Cinematographer - November 2013 - 58
American Cinematographer - November 2013 - 59
American Cinematographer - November 2013 - 60
American Cinematographer - November 2013 - 61
American Cinematographer - November 2013 - 62
American Cinematographer - November 2013 - 63
American Cinematographer - November 2013 - 64
American Cinematographer - November 2013 - 65
American Cinematographer - November 2013 - 66
American Cinematographer - November 2013 - 67
American Cinematographer - November 2013 - 68
American Cinematographer - November 2013 - 69
American Cinematographer - November 2013 - 70
American Cinematographer - November 2013 - 71
American Cinematographer - November 2013 - 72
American Cinematographer - November 2013 - 73
American Cinematographer - November 2013 - 74
American Cinematographer - November 2013 - 75
American Cinematographer - November 2013 - 76
American Cinematographer - November 2013 - 77
American Cinematographer - November 2013 - 78
American Cinematographer - November 2013 - 79
American Cinematographer - November 2013 - 80
American Cinematographer - November 2013 - 81
American Cinematographer - November 2013 - 82
American Cinematographer - November 2013 - 83
American Cinematographer - November 2013 - 84
American Cinematographer - November 2013 - 85
American Cinematographer - November 2013 - 86
American Cinematographer - November 2013 - 87
American Cinematographer - November 2013 - 88
American Cinematographer - November 2013 - 89
American Cinematographer - November 2013 - 90
American Cinematographer - November 2013 - 91
American Cinematographer - November 2013 - 92
American Cinematographer - November 2013 - 93
American Cinematographer - November 2013 - 94
American Cinematographer - November 2013 - 95
American Cinematographer - November 2013 - 96
American Cinematographer - November 2013 - 97
American Cinematographer - November 2013 - 98
American Cinematographer - November 2013 - 99
American Cinematographer - November 2013 - 100
American Cinematographer - November 2013 - 101
American Cinematographer - November 2013 - 102
American Cinematographer - November 2013 - 103
American Cinematographer - November 2013 - 104
American Cinematographer - November 2013 - 105
American Cinematographer - November 2013 - 106
American Cinematographer - November 2013 - 107
American Cinematographer - November 2013 - 108
American Cinematographer - November 2013 - 109
American Cinematographer - November 2013 - 110
American Cinematographer - November 2013 - 111
American Cinematographer - November 2013 - 112
American Cinematographer - November 2013 - Cover3
American Cinematographer - November 2013 - Cover4
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