The American Society of Cinematographers

Loyalty • Progress • Artistry

November 2012
Kodak Introduces Asset-Protection Film

Kodak has introduced Color Asset Protection Film 2332, a color film that is optimized for content owners who originate or finish their productions on digital formats and want to protect their media for the future. 

Reflex Technologies Moves to Burbank
Reflex Technologies, a developer of archival film cleaning, viewing and scanning technologies, has moved from Alaska to Burbank, Calif. 
General Dynamics Launches Cineflex Elite

General Dynamics Global Imaging Technologies has introduced the Cineflex Elite.

3am Digital Studios Plugs into Adobe Premiere
3am Digital Studios has unveiled two H.264/AVC video-encoder plug-ins for Adobe Premiere Pro CS5 and CS6: x264 Pro and x264 ProBD.
Reel Apps Releases Shot Lister
Reel Apps has released Shot Lister, an app designed by director Zach Lipovsky for use on iPads and iPhones.
Dougmon Supports Handheld Operating
International Supplies, a leading distributer in the photo and video industry, has brought the Dougmon handheld camera-support system to market.
Ready Rig Ready for Action
Designed by cinematographer/director Mario Di Leo and further developed by his son, Alessandro Di Leo, Alba Camera Support Systems’ Ready Rig is an upper-body-mounted camera-support system that balances camera weight and offers users hands-free operation of the camera.
Rift Labs Kickstarts Kick Light
Following a successful funding drive through Kickstarter.com, RiftLabs has introduced the Kick light, a pocket-sized unit for video and photo applications.
Gekko Expands Karesslite Range
Gekko Technology has expanded its Karesslite range of fixtures with the Karess 2006.
Prism Reveals Studio.3
Prism Projection has launched the third generation of its Studio LED fixture, the Reveal Studio.3 Fresnel, which works like a traditional Fresnel while producing more lumens and a wider zoom range.
Elation Unveils Pro Wash, Licenses Litepanels Tech
Elation Professional has unveiled the Platinum Wash ZFX Pro RGBW moving-head wash fixture, which boasts more output than comparable wash fixtures thanks to its high-power Quad Color Osram LED chipset and innovative high-output optical lens design.
Philips Introduces PLCyc
Selecon and Strand Lighting, divisions of the Philips Entertainment group, have introduced the PLCyc LED luminaire, which delivers smooth and even color in a compact, lightweight design.

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Kodak Introduces Asset-Protection Film

 

Kodak has introduced Color Asset Protection Film 2332, a color film that is optimized for content owners who originate or finish their productions on digital formats and want to protect their media for the future. The stock offers more than a century of dye stability when stored in recommended conditions (and decades-long performance even in ambient environments), and Kodak’s proprietary Estar base guarantees high-quality physical performance. 

“File-based projects often end up stored on tapes or drives, which need to be continually remastered or migrated and run the risk of format obsolescence,” says ASC associate Kim Snyder, president of Kodak’s Entertainment Imaging Division. “Our goal was to create an affordable film option designed for content owners working on television programs, independent features and documentaries to assure long-term access and preservation of their content.”

Kodak 2332 is designed for exposure on digital film recorders and processing in standard ECP-2D chemistry. The product is built on Kodak Vision Color Print Film 2383 technology with formulation changes incorporated to improve long-term dye stability. Additional features include improved speed for ease of use on film recorders, and consistent image structure with sharpness and grain equivalent to 2383.

“The Digital Dilemma reports published by the Science and Technology Council of the Academy of Motion Picture Arts and Sciences have carefully outlined the risks of digital storage,” says Snyder. “Film is still the one true archival medium, and this new, economical option provides a long-term solution for a variety of content owners.”

Kodak also plans to add a black-and-white separation film to its asset-protection portfolio.

contact info:

 
www.kodak.com/go/archive
Reflex Technologies Moves to Burbank

Reflex Technologies, a developer of archival film cleaning, viewing and scanning technologies, has moved from Alaska to Burbank, Calif. The company offers a full slate of archiving services based on its proprietary Reflex Scanner.

Developed by Reed Bovee, the company’s chief engineer, the scanner has six patents pending for its new technologies. “In building this scanner, I tried to overdo it in every area — more pixels than I needed, wider color gamut than I needed, a higher resolution camera than I needed, a longer zoom than I needed, a gentler drive mechanism, a more reliable software system and so forth,” says Bovee.

“The Reflex Scanner is really seven different systems coexisting together,” he continues. “There is an air-handling system, a self-tensioning system and a film-drive system, an imaging system, an illumination system, a data-output system, all controlled by a software system and all in a durable enclosure with lockable, air-tight doors through which operational components can be accessed and serviced when needed.”

The scanner records each frame of raw, uncompressed data to an onboard hard drive; the scanner’s software can create output files in approximately 50 different formats. “We like to provide an uncompressed AVI file for long-term storage, or we can provide a DPX file for printing back to film,” says Tim Knapp, president of Reflex Technologies. “We also provide working copies in any other formats the customer needs.”

An 8:1 optical zoom lens sits in front of an extremely high-resolution camera with a global shutter, so each pixel is recorded simultaneously. For illumination, the scanner uses a Xenon strobe with a consistent color temperature of 6,400°K that provides flat illumination from edge to edge with no vignetting.

“The hole in the aperture plate is oversized so the film can be overscanned to the very outer edge of the image,” says Bovee. “Also, by overscanning, we can record edge-code information or even soundtrack information, because those are all contextual things that need to be recorded to be faithful to the original film.

“In terms of resolution, we are oversampling,” Bovee continues. “The Reflex scanner captures 8mm and 16mm images at 1920 by 1440, which, for 8mm, is beyond the resolving power of the film, and for 16mm is almost 4.5 times the average resolution of 16mm film. We can capture 35mm film images at up to 6.5K. And, in terms of color … what we’re doing here is up to 14 bits per channel — that’s 42 bits of color depth. That’s 1.5 trillion colors. The human eye can differentiate about 10 million colors.”

The scanner offers gentle film handling, transporting the film with continuous motion and minimal surface tension over self-cleaning silicon O-rings. “We can handle film that has shrunk by up to 20 percent,” Bovee enthuses. “The distance between the perfs doesn’t matter, and it doesn’t even need to be consistent; there could be different amounts of shrinkage within one reel.”

“We’ll handle all aspects of the process, from inspecting and cleaning the film, to scanning it at full resolution, to delivering it in the format or formats the customer needs,” says Knapp. “The scanner is the brains of the process, but knowledgeable, trained operators are the heart. Reflex is not just about scanning yesterday’s media; it’s about delivering the highest quality transfers that can be useful for tomorrow.”

contact info:  
www.reflextechnologies.com
General Dynamics Launches Cineflex Elite

General Dynamics Global Imaging Technologies has introduced the Cineflex Elite. Designed in close collaboration with cinematographers, the Cineflex Elite gyro-stabilized system is a compact, lightweight, Super 35-format digital-production camera system that combines the proven five-axis stability of the Cineflex family of camera systems with Canon Premier lenses and the Arri Alexa-M digital camera.

“The Cineflex Elite is our highest-resolution system yet, expanding the proven quality, versatility and rugged reliability of our systems to motion-picture cinematography,” says Bob McGill, vice president and general manager of General Dynamics Global Imaging Technologies.

Originally designed for helicopters and aerial platforms, Cineflex camera systems deliver superior image quality and are easily integrated onto cable and rail systems, aircraft, automobiles, boats and other mobile platforms. They are compatible with a variety of certified mounts and can be rigged quickly. Image performance is achieved through extended, clean highlights; natural skin tones; excellent color separation; and cinematic depth of field.

contact info:  
www.cineflex.com
www.gd-imaging.com
3am Digital Studios Plugs into Adobe Premiere

3am Digital Studios has unveiled two H.264/AVC video-encoder plug-ins for Adobe Premiere Pro CS5 and CS6: x264 Pro and x264 ProBD.

The x264 Pro plug-in is a general-purpose AVC encoder capable of output from very small to 4K Digital Cinema resolutions. The complementary x264 ProBD plug-in provides a subset of configuration options that are defined in the Blu-ray disc specifications to ensure the resulting video output can pass Blu-ray compliance testing.

“The x264 Pro and x264 ProBD plug-ins are optimized to deliver the best possible video output leveraging the very popular ‘x264' video-encode engine,” says Edward Richards, CEO of 3am Digital Studios. “The x264 encoding engine is popular with highly technical video professionals, but [it] previously required intermediate steps to use with Adobe Premiere Pro. Our plug-ins remove that complexity by integrating it with Adobe Premiere Pro CS6 and Adobe Media Encoder using their familiar menus.”

contact info:  
www.x264pro.com
Reel Apps Releases Shot Lister

Reel Apps has released Shot Lister, an app designed by director Zach Lipovsky for use on iPads and iPhones. The app allows users to digitally build, organize, schedule and share shot lists from preproduction through to the minute-by-minute decisions made on set.

Featuring full Retina Display support, Shot Lister files can be shared on any iOS device. The app allows users to easily organize and store hundreds of scenes and thousands of shots, and create a shooting schedule on a shot-by-shot and minute-by-minute basis. A Live Mode function allows users to track their progress to the minute and reorganize the shooting day in a matter of seconds.

Within Shot Lister, users can customize and order every category to their tastes and needs. Desktop Import functionality allows users to build shot lists in Excel or Numbers using Reel Apps’ website templates, and then import those lists directly into Shot Lister. Users can also export PDFs of their shot lists with or without estimated times, or share the entire Shot Lister project file via email with other crewmembers. Multi-cam support allows users to assign shots to up to 11 different cameras and group them together to shoot simultaneously. Additionally, Calendar View allows the entire shooting schedule to be displayed as a calendar on an iPad.

Shot Lister is available in the iTunes App Store.

contact info:  
www.shotlister.com
Dougmon Supports Handheld Operating

International Supplies, a leading distributer in the photo and video industry, has brought the Dougmon handheld camera-support system to market. Invented by cameraman Doug Monroe, the Dougmon’s adjustable arm support helps reduce wrist and arm fatigue while offering operators the flexibility and support needed for smooth, steady shots with DSLRs and small video cameras.

With the Dougmon system, the camera sits on a patented, adjustable friction ball-head system held in the center of the operator’s palm, imitating the movement of the wrist. The arm of the Dougmon adjusts to fit the length of the user’s arm and a padded cuff with adjustable straps secures it in place. This functional design allows the camera to go wherever the user’s hand or arm goes, enabling the user to shoot high, low, or over his or her shoulder. The Dougmon can even be used as a monopod.

Able to support cameras of up to 5 pounds, the Dougmon weighs 28.5 ounces and is small enough to fit in a camera bag. It features an adjustable, stainless-steel friction ball-head and powder-coated stainless steel and aircraft aluminum sliding arm. Adjustments are easy with industrial-grade knobs and release straps. The Delrin hard plastic handgrip is designed to reduce pressure points in the hand. The Dougmon is sold with a Manfrotto 577-style quick-release head.

The Slingmon, an over-the-shoulder Dougmon support sling, allows for two-handed camera operation and use of slightly heavier cameras.

Street price for the Dougmon is $530. The Slingmon is sold separately for $200. A Dougmon and Slingmon carry bag is available for $30.

contact info:  
www.dougmon.com
www.internationalsupplies.com
Ready Rig Ready for Action

Designed by cinematographer/director Mario Di Leo and further developed by his son, Alessandro Di Leo, Alba Camera Support Systems’ Ready Rig is an upper-body-mounted camera-support system that balances camera weight and offers users hands-free operation of the camera. The Ready Rig is comprised of two adjustable rods attached to a spring-loaded back support; a camera mount with an almost 180-degree tilt head and hand grips, monitor and accessory mounts; and an adjustable corset that evenly distributes all of the camera’s weight throughout the user’s upper body.

Designed for extreme versatility and flexibility in the field or studio, the Ready Rig allows users to quickly and easily adjust a camera’s positioning while still ensuring smooth and stable footage. Users can switch angles instantaneously, push out or pull in, drop low or shoot high, pan from left to right, and tilt and rotate. The rig’s hands-free operation also enables users to zoom and pull focus simultaneously. The camera stays centered and balanced, even with multiple accessories attached. Because the monitor is mounted independent of the camera platform and remains level with the operator’s eye line, the user is able to view the monitor constantly, even while the camera is tilted up or down or to the right or left at a 90-degree angle.

Designed for use with both DSLRs and HDV cameras, the Ready Rig features a suggested load capacity of up to 17 pounds. It is made of high-strength aluminum, weighs 10 pounds and can be assembled in less than 2 minutes. A custom designed backpack that allows users to break the rig down or stow it away fully assembled and an audio-recording accessory plate are also available, but sold separately.

The Ready Rig is distributed by International Supplies. Street price is $1,899.99. All Ready Rig products and parts come with a one-year warranty.

contact info:  
www.internationalsupplies.com
www.albacamerasupport.com
Rift Labs Kickstarts Kick Light

Following a successful funding drive through Kickstarter.com, RiftLabs has introduced the Kick light, a pocket-sized unit for video and photo applications.

The lightweight Kick generates little heat and features adjustable color temperature, any color of light, and built-in lighting effects such as Rainbow, Strobe, Fire and Lightning Storm. In addition to working as an independent light source, the fixture works in conjunction with a free Kick iPhone app, which enables users to control one or more Kick units via a smart phone. When synced with an iPhone, the Kick allows users to “sample” lighting effects by pointing the iPhone’s camera toward the light effect they want the Kick to re-create.

The Kick is available in two versions, the Kick Plus and the Kick Basic. The Plus includes built-in Wi-Fi, white and colored light, built-in effects and iPhone compatibility. The Basic does not include Wi-Fi, colored light, animated effects or iPhone interaction, but it does allow users to adjust brightness and color temperature with buttons on the fixture.

contact info:  
riftlabs.com
Gekko Expands Karesslite Range

Gekko Technology has expanded its Karesslite range of fixtures with the Karess 2006. Measuring approximately 12"x4", the unit is designed to work as a highly portable location fixture and a versatile studio fixture.

Drawing 65 watts, the Karess 2006 can be fitted with traditional single-phosphor tungsten (3,200°K) or daylight-balanced (5,600°K) LEDs, or with remote-phosphor LED technology, which provides an even, soft source of light in either tungsten or daylight balance. (The single-phosphor version boasts slightly more output.) Both versions are color stable when dimmed and are designed to work in ambient temperatures of up to 122°F. Additionally, both can be powered via mains transformer or industry-standard batteries, and they can also accept a range of mounting accessories.

Gekko has also unveiled its Karesslite Dual fixture. Available in both 6012 and 6006 configurations, the Karesslite Dual is tunable between 3,200°K and 5,600°K in 100 Correlated Color Temperature steps, which are controlled by proprietary algorithms to allow consistent color from lamp to lamp. The Karesslite Dual also features switchable sectors, color stability throughout its dimming range, DMX control, built-in RDM and the ability to run on V-lock batteries. The fixture also accepts the wide range of accessories Gekko already offers for the Karesslite family.

contact info:  
www.gekkotechnology.com
Prism Reveals Studio.3

Prism Projection has launched the third generation of its Studio LED fixture, the Reveal Studio.3 Fresnel, which works like a traditional Fresnel while producing more lumens and a wider zoom range. The fixture combines energy efficient and long-lasting solid-state LEDs with Prism’s proprietary projection optics and TrueSource color-control algorithms, which allow the fixture to deliver exact color over its entire lifespan.

Building on the previous generations of the Reveal Studio and responding to customer feedback, Prism has expanded the feature set of the Studio.3 LED Fresnel to make it a true replacement for a comparable tungsten fixture. According to Prism’s photometrics, the Studio.3 produces 9,700 lumens. The fixture also boasts a tunable Correlated Color Temperature of 2,700°K-8,000°K with a CRI above 93, enhanced white +/- correction, and a manual zoom focus mechanism to smoothly and easily cover the fixture’s spot to flood range of 10-90 degrees.

Studio.3 users can get clean cuts with standard barn doors, and the fixture is the same form factor as a traditional 8" Fresnel. With a total power draw of 200-watts, the Studio.3 produces an output comparable to a 2K tungsten Fresnel. Additionally, the unit’s color, Correlated Color Temperature, intensity and magenta/green output can be controlled via local, DMX or Ethernet controls.

contact info:  
www.prismprojection.com
Elation Unveils Pro Wash, Licenses Litepanels Tech

Elation Professional has unveiled the Platinum Wash ZFX Pro RGBW moving-head wash fixture, which boasts more output than comparable wash fixtures thanks to its high-power Quad Color Osram LED chipset and innovative high-output optical lens design. The powerful, fast and compact Platinum Wash ZFX Pro is equipped with 19 10-watt LEDs for a 190-watt LED engine with an output that rivals a 700-watt wash.

“ZFX” stands for Zoom and Effects, features that are new to Elation’s Platinum Wash series. The ZFX Pro features a wide-range, high-speed 9-21-degree beam angle motorized zoom (with a 17-43-degree field angle), as well as controllable LED array Chase and Zone effects.

The Platinum Wash ZFX Pro also features a built-in EWDMX wireless DMX receiver. When used with an Elation EWDMXT wireless DMX transmitter, the unit is capable of receiving DMX signals wirelessly from up to 3,000' away. Additionally, the fixture incorporates a high-speed, flicker-free, smooth electronic dimmer/shutter LED driver, along with built-in macros for variable white color balance from 2,700°K-8,000°K. The unit also features a low-noise operation mode.

Operable in three DMX control modes — 20, 32 and 42 channels — the Platinum Wash ZFX Pro gives users the ability to control all functions of the unit with built-in macros for various color combinations and LED arrays. When running in extended DMX Mode (42 channels), users can enable 16-bit fine resolution on all color channels and fine master dimmer channel, zoom optics, and LED array/ring control, enabling the creation of fully customizable dynamic chase effects. Users can also create up to four of their own User Mode channel setups for customizable control or to mirror/mimic other DMX modes.

The Platinum Wash ZFX Pro can also be operated manually without a DMX controller, in either Standalone or Master/Slave modes, via internal programs or programmable shows. Users can also record live snapshot remote DMX controller programs with the unit’s built-in DMX record function. A battery backup menu display button allows users to address the unit without power to the fixture, and a high-resolution color touchscreen display menu panel makes it easy to scroll through menu options.

The Platinum Wash ZFX Pro’s compact size (14.4"x9"x19.4") and light weight (33 pounds) make it easy to transport and set up. The unit includes 3 and 5-pin DMX in/out, A/C Powercon input and an auto-switching multi-voltage power supply. The Osram LEDs are rated at 100,000 hours, and the fixture consumes just 350 watts of power at maximum use of all LED and motor functions.

Additionally, Elation Professional Lighting has entered into a licensing agreement with Litepanels, Inc. Under the terms of the agreement, Elation has been granted the rights to use Litepanels’ patented LED technology for the primary illumination of subjects for image capturing in film and video. The patented Litepanels technology will be used in Elation lighting fixtures intended for television, film and video production applications, such as the TVL2000.

contact info:  
www.elationlighting.com
Philips Introduces PLCyc

Selecon and Strand Lighting, divisions of the Philips Entertainment group, have introduced the PLCyc LED luminaire, which delivers smooth and even color in a compact, lightweight design.

Capable of illuminating drops up to 16' high, the PLCyc’s RGBW engine offers an infinite choice of colors in addition to supporting color temperatures from 3,000°K to 5,600°K, and color balance remains constant across the fixture’s dimming range. Color presets simplify matching to existing light sources, and the unit offers quick selection of Warm White, Cool White and Daylight. User-defined on-board presets allow users to record their own preferred color compositions.

The PLCyc may be used for top or bottom lighting with fixtures spaced on 4' centers for optimum performance; they can be top or floor mounted with a yoke or kickstand. Additionally, the unit’s field can be shaped using a barn door accessory to provide a clean cutoff line.

Each luminaire can replace the equivalent of a traditional four-color, 500-watt-per-circuit cyc light, and with the convenient PowerCon cabling system, the PLCyc can light a typical cyclorama with a single 20-amp circuit. The PLCyc also features DMX512 input/output with 8- or 16-bit resolution, and a wireless DMX512 option is also available. An on-board LCD menu enables easy set-up and addressing of the fixtures.

contact info:  
www.seleconlight.com
www.strandlighting.com