American Cinematographer - December 2011 - 102

screen and generate LUTs to send to post. Other tools include printer lights, color wheels, video RGB controls, curves, digital spot meter with zone system, dynamic range slider, and generation of 3-D LUTs and CDLs in multiple formats. 3cP Image Control Pro’s Image Ruler utility allows users to evaluate exposure and color values, see the changes made in the app applied to the images and translate those changes into terms understood by everyone in production and post. Custom profiles such as film stocks, filters, push/pull, bleach bypass and more are available as built-in presets and any custom color corrections saved with metadata profiles are transferable to post houses thanks to 3cP Image Control Pro’s adoption of ASC CDL and IIF ACES utilities. 3cP Image Control Pro can work as a standalone app by transferring frames directly from the camera’s SD memory card or via USB using the iPad Camera Connection Kit. When used in conjunction with 3cP Set + Post, 3cP Image Control Pro allows users to produce dailies and to work with a variety of workflows and camera systems. For additional information, visit www.gammadensity.com. ColorCorrection.com Provides Indie Solution ColorCorrection.com has launched, providing an innovative approach to professional color-correction services for independent film productions. “ColorCorrection.com was born out of frustration,” says Ryan Byrne, founder and CEO of the Web-based service. “We felt that this part of the post industry wasn’t set up in a way that allowed every indie filmmaker the opportunity to access professional color correction.” ColorCorrection.com’s co-founder and chief colorist, Charles Haine, adds, “Not every filmmaker knows his or her way around a color studio, so a lot of time is often spent just helping them learn how to talk about color so they know what to ask for. And when you’re paying $200 to $300 an hour, it’s a frustrating experience for the client. “I have a lot of clients who love to come in and sit in the suite,” Haine continues. “But I was seeing an increasing
102 December 2011

number of clients who were very busy or geographically remote, and they were saying, ‘Isn’t there a way we could do this remotely?’ ColorCorrection.com was the answer.” To get started with the service, filmmakers simply upload a still image from their project onto ColorCorrection.com, and then receive back a set of colorcorrected looks to choose from. The filmmakers can refine and rework those options until they are satisfied. “It’s our way of helping filmmakers see how great their film can look without having to shell out any money or get locked into a commitment before seeing what we can do,” says Martin Roe, co-founder and head of operations. Once filmmakers have established their key look, ColorCorrection.com mails a hard drive to collect a copy of the filmmakers’ media files, or gives them direct upload access. Communication is managed on the Web every step of the way, allowing filmmakers to remotely communicate with the Polecam Introduces Starter Pack Polecam has introduced the entrylevel Starter Pack, a modular system created in response to demand for a simple, effective crane for DSLR camera systems. The Starter Pack features an electronically controlled high-precision motorized head and delivers dynamic, long reach, broadswinging and high-angle crane shots. “Polecam Starter Pack comes complete with a three-section 3.5-meter boom made of the same military-grade high-strength carbon fiber as the standard rig,” says Jeremy Curtis, Polecam’s salesand-marketing manager. “A 3.5-meter rig is hugely versatile, and anyone needing even greater reach can upgrade to a five-section 6-meter boom simply by adding extra poles. For applications where a specific boom length is sometimes required, we can supply

colorist despite geographical distance. Utilizing DaVinci Resolve and Apple Color, ColorCorrection.com implements the grade until it is locked and then mails the material back to the filmmakers. “Filmmakers are just charged a simple per-minute-of-footage rate to implement their look,” says Roe. “This approach to pricing also has the added advantage of allowing filmmakers to get a much clearer idea of their color-correction costs up front.” “With ColorCorrection.com, we have created a model that both gives access to independent filmmakers and also allows them the time and the process to take advantage of professional-grade colorcorrection services,” says Byrne. “Above all, what’s most important is that we are a company of filmmakers, not just a company of colorists.” For additional information, visit www.colorcorrection.com.

half or quarter sections. There is even the option of expanding to a seven-pole 8meter length. As with all Polecam rigs, camera cables can be accommodated inside the boom for maximum operational security.” Like the standard Polecam jib, the Starter Pack can be mounted on any standard professional camera tripod or harness mount. It comes with all the essential modules needed to form the rig, including the Polecam Back End, three interlocking 1.18-meter carbon-fiber poles, rig wiring loom, joystick, pan-and-tilt head, AC power unit, rigging stand and saddle-bag set. Additional options include a video monitor and battery mounting plates. For additional information, visit www.polecam.com.

American Cinematographer


http://www.ColorCorrection.com http://www.ColorCorrection.com http://www.ColorCorrection.com http://www.ColorCorrection.com http://www.ColorCorrection.com http://www.colorcorrection.com http://www.gammadensity.com http://www.ColorCorrection.com http://www.ColorCorrection.com http://www.ColorCorrection.com http://www.ColorCorrection.com http://www.polecam.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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