American Cinematographer - December 2011 - 100

New Products & Services
PRG Illuminates TruColor Foton Production Resource Group has introduced Foton, the first fixture in the company’s new TruColor line of digital lighting for image capture. Foton incorporates remote-phosphor technology, allowing it to achieve a CRI of more than 95 with a nearly continuous light spectrum previously unattainable from traditional LED sources. The fixture was designed to eliminate color-accuracy issues inherent in LED lighting for film and television production. Foton is completely flicker-free at any frame rate, silent and waterproof, and it generates almost no heat. Models matching tungsten sources are available in AC or DC. (Daylight models will be released early next year.) Power consumption is less than 30 watts. Local dimming from 0 to 100 percent is achieved with negligible shift in CCT. The Foton AC unit also allows for output control through any external dimmer. Foton utilizes a bayonet-style system for attachments to alter the beam characteristics. The unit ships with three open-face reflectors, providing 20-degree, 40-degree and 60-degree beam angles in a single-source hard light. With the 20-degree reflector attached, Foton delivers more than 400 lux at 3 meters. Barn doors and gel frames are also available. Foton is available through PRG’s worldwide dealer network for $895 for the fixture, yoke mount and three reflectors. For additional information, visit www.prg.com. Panasonic Expands 3-D Camcorder Line Panasonic Solutions Company has introduced the AG3DP1, a 3-D twin-lens P2 HD shoulder-mount camcorder with 10-bit 4:2:2 independent-frame 1920x1080-resolution AVCIntra recording. 1⁄ 3-type full-HD 2.2 The 3DP1 incorporates two pairs of megapixel 3-MOS imagers with enhanced sensitivity and a 20-bit Digital Signal Processor to acquire native 1920x1080 images. The twinlens system adopted in the camcorder’s optical section allows the convergence point to be adjusted, and functions for automatically correcting horizontal and vertical displacement are also provided. Panasonic’s integrated professional 3-D camera recorders automati100 December 2011

• SUBMISSION INFORMATION • Please e-mail New Products/Services releases to: newproducts@ascmag.com and include full contact information and product images. Photos must be TIFF or JPEG files of at least 300dpi.

cally recalibrate without any need for external equipment. The 3DP1 records AVC-Intra 100/50 and is 50Hz/60Hz switchable. In AVC-Intra 100/50, the camcorder records in 1080 at 59.94i, 29.97pN , 23.99pN , 50i and 25pN and in 720p at 59.94p, 50p, 29.97pN, 23.98pN and 25pN. For creative flexibility, the 3DP1 has variable frame-rate recording for creating slow-motion effects. In 720p mode, a user can choose from 20 variable frame steps between 12 and 60 fps. The 3DP1 is equipped with dual optical, wide, 17X zoom lenses and can record for up to 80 minutes on dual 64GB P2 cards in AVCIntra 100 1080/24pN . The camcorder offers professional interfaces including dual HD-SDI outs, HDMI (3-D compatible) out, and two XLR connectors. It offers genlock and time-code inputs for multi-camera operation. It is also equipped with a remote terminal for focus, iris, zoom, record start/stop and convergence point. The camcorder’s 3.2" LCD screen provides the option to switch among left, right and overlay image display. The 3DP1 offers all the benefits of the file-based P2 HD workflow, including instant recording startup, clip thumbnail view, continuous recording and interval recording. The 3DP1 boasts low power consumption and operates on a 12-volt (Anton Bauer) battery. For additional information, visit www.panasonic.com/broadcast. JVC Upgrades ProHD Camcorder JVC Professional Products Co. has introduced the GYHM150 ProHD handheld camcorder. Based on the ergonomic design of the popular GYHM100, the GY-HM150 is built to handle demanding production environments. Additionally, an encoder and digital signal processor adopted from JVC’s 700 series cameras deliver improved HD recording and add support for standard-definition workflows. With its three CCD imagers, the GY-HM150 offers full HD 1080p, 1080i and 720p recording at a variety of frame and bit rates. JVC’s native file recording provides native .MOV files for Final Cut Pro or Adobe Premiere, as well as native .MP4 files for other NLE systems. The camcorder can also record 480i SD footage as standard DV files (.AVI or .MOV). The GY-HM150 records to non-proprietary SDHC media cards and also accepts SDXC cards. In addition to relay mode for uninterrupted recording, the camcorder allows simultaneous recording to both memory cards for instant backup or client copy. A new Pre Rec (retro cache) feature continuously records and stores up to five seconds of footage in cache memory, which helps

American Cinematographer


http://www.panasonic.com/broadcast http://www.prg.com

American Cinematographer - December 2011

Table of Contents for the Digital Edition of American Cinematographer - December 2011

American Cinematographer - December 2011
Contents
Editor’s Note
President's Desk
Short Takes: OK Go’s “Muppet Show Theme Song”
Production Slate: Melancholia • Tinker Tailor Soldier Spy
Stepping into the Shadows
Through a Child’s Eyes
Silent Splendor
It’s Time to Raise the Curtain
Filmmakers’ Forum: David Stump, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
2011 AC Index
In Memoriam: Andrew Laszlo, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Luciano Tovoli, ASC, AIC
American Cinematographer - December 2011 - American Cinematographer - December 2011
American Cinematographer - December 2011 - Cover2
American Cinematographer - December 2011 - 1
American Cinematographer - December 2011 - 2
American Cinematographer - December 2011 - Contents
American Cinematographer - December 2011 - 4
American Cinematographer - December 2011 - 5
American Cinematographer - December 2011 - 6
American Cinematographer - December 2011 - 7
American Cinematographer - December 2011 - Editor’s Note
American Cinematographer - December 2011 - 9
American Cinematographer - December 2011 - President's Desk
American Cinematographer - December 2011 - 11
American Cinematographer - December 2011 - Short Takes: OK Go’s “Muppet Show Theme Song”
American Cinematographer - December 2011 - 13
American Cinematographer - December 2011 - 14
American Cinematographer - December 2011 - 15
American Cinematographer - December 2011 - 16
American Cinematographer - December 2011 - 17
American Cinematographer - December 2011 - Production Slate: Melancholia • Tinker Tailor Soldier Spy
American Cinematographer - December 2011 - 19
American Cinematographer - December 2011 - 20
American Cinematographer - December 2011 - 21
American Cinematographer - December 2011 - 22
American Cinematographer - December 2011 - 23
American Cinematographer - December 2011 - 24
American Cinematographer - December 2011 - 25
American Cinematographer - December 2011 - 26
American Cinematographer - December 2011 - 27
American Cinematographer - December 2011 - 28
American Cinematographer - December 2011 - 29
American Cinematographer - December 2011 - 30
American Cinematographer - December 2011 - 31
American Cinematographer - December 2011 - 32
American Cinematographer - December 2011 - 33
American Cinematographer - December 2011 - 34
American Cinematographer - December 2011 - 35
American Cinematographer - December 2011 - Stepping into the Shadows
American Cinematographer - December 2011 - 37
American Cinematographer - December 2011 - 38
American Cinematographer - December 2011 - 39
American Cinematographer - December 2011 - 40
American Cinematographer - December 2011 - 41
American Cinematographer - December 2011 - 42
American Cinematographer - December 2011 - 43
American Cinematographer - December 2011 - 44
American Cinematographer - December 2011 - 45
American Cinematographer - December 2011 - 46
American Cinematographer - December 2011 - 47
American Cinematographer - December 2011 - 48
American Cinematographer - December 2011 - 49
American Cinematographer - December 2011 - 50
American Cinematographer - December 2011 - 51
American Cinematographer - December 2011 - 52
American Cinematographer - December 2011 - 53
American Cinematographer - December 2011 - Through a Child’s Eyes
American Cinematographer - December 2011 - 55
American Cinematographer - December 2011 - 56
American Cinematographer - December 2011 - 57
American Cinematographer - December 2011 - 58
American Cinematographer - December 2011 - 59
American Cinematographer - December 2011 - 60
American Cinematographer - December 2011 - 61
American Cinematographer - December 2011 - 62
American Cinematographer - December 2011 - 63
American Cinematographer - December 2011 - 64
American Cinematographer - December 2011 - 65
American Cinematographer - December 2011 - 66
American Cinematographer - December 2011 - 67
American Cinematographer - December 2011 - Silent Splendor
American Cinematographer - December 2011 - 69
American Cinematographer - December 2011 - 70
American Cinematographer - December 2011 - 71
American Cinematographer - December 2011 - 72
American Cinematographer - December 2011 - 73
American Cinematographer - December 2011 - 74
American Cinematographer - December 2011 - 75
American Cinematographer - December 2011 - 76
American Cinematographer - December 2011 - 77
American Cinematographer - December 2011 - It’s Time to Raise the Curtain
American Cinematographer - December 2011 - 79
American Cinematographer - December 2011 - 80
American Cinematographer - December 2011 - 81
American Cinematographer - December 2011 - 82
American Cinematographer - December 2011 - 83
American Cinematographer - December 2011 - 84
American Cinematographer - December 2011 - 85
American Cinematographer - December 2011 - 86
American Cinematographer - December 2011 - 87
American Cinematographer - December 2011 - 88
American Cinematographer - December 2011 - 89
American Cinematographer - December 2011 - 90
American Cinematographer - December 2011 - 91
American Cinematographer - December 2011 - 92
American Cinematographer - December 2011 - 93
American Cinematographer - December 2011 - Filmmakers’ Forum: David Stump, ASC
American Cinematographer - December 2011 - 95
American Cinematographer - December 2011 - 96
American Cinematographer - December 2011 - 97
American Cinematographer - December 2011 - 98
American Cinematographer - December 2011 - 99
American Cinematographer - December 2011 - New Products & Services
American Cinematographer - December 2011 - 101
American Cinematographer - December 2011 - 102
American Cinematographer - December 2011 - 103
American Cinematographer - December 2011 - International Marketplace
American Cinematographer - December 2011 - Classified Ads
American Cinematographer - December 2011 - Ad Index
American Cinematographer - December 2011 - 2011 AC Index
American Cinematographer - December 2011 - 108
American Cinematographer - December 2011 - 109
American Cinematographer - December 2011 - 110
American Cinematographer - December 2011 - 111
American Cinematographer - December 2011 - 112
American Cinematographer - December 2011 - 113
American Cinematographer - December 2011 - In Memoriam: Andrew Laszlo, ASC
American Cinematographer - December 2011 - 115
American Cinematographer - December 2011 - ASC Membership Roster
American Cinematographer - December 2011 - 117
American Cinematographer - December 2011 - Clubhouse News
American Cinematographer - December 2011 - 119
American Cinematographer - December 2011 - ASC Close-Up: Luciano Tovoli, ASC, AIC
American Cinematographer - December 2011 - Cover3
American Cinematographer - December 2011 - Cover4
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