American Cinematographer - April 2008 - 89
speed, secure, shared private network to easily and securely move content locally and globally among Technicolor’s customers, vendors and other post facilities. “This new investment demonstrates Thomson’s commitment to providing filmmakers and producers with state-of-the-art solutions,” says Joe Berchtold, president of Technicolor Theatrical Services. “By relocating to Pinewood, Technicolor will provide customers with the best on-location service and take a key step in our strategy to extend our role in the United Kingdom and worldwide as the leader in endto-end film and digital-media services.” Ivan Dunleavy, chief executive of Pinewood Shepperton, adds, “We are thrilled that Thomson’s Technicolor business has selected Pinewood as the home of its Theatrical Services operations. The presence of Technicolor sends a strong signal to the creative community that London, and Pinewood in particular, continues to be among the world’s top destinations for quality filmmaking.” Technicolor Content Services will move its digital-post services to a new, 14,000-square-foot, seven-story building on Lexington Street in Soho. In the same neighborhood as Thomson subsidiary The Moving Picture Co. (MPC), this new location will allow Technicolor and MPC to bring together their London-based DI work. Other features of Technicolor’s Soho facility include front-end dailies, feature mastering, and digital-restoration services. For more information, visit www.technicolor.com. EFilm Welcomes Arriscan Adding to its 14 Arrilaser film recorders, Hollywood post facility EFilm recently integrated Arriscan film scanners into its workflow. Whereas other scanners use a moving-line array, the Arriscan uses a two-dimensional CMOS area array to sample the film in a fixed position, significantly improving the signal-to- noise ratio as well as the dynamic range. Illumination comes from a precisely tuned LED light source, which improves the color response, lowers illuminant-induced heating of the film, and provides a new level of stability. By integrating the Arriscans into its Colorstream image-management system, EFilm is able to employ the scanners’ fourth-channel infrared detector to apply automatic dust-busting during the scanning process. According to Bill Feightner, EFilm’s vice president and chief technology officer, “Our growing relationship with Arri is the result of their proven reliability and willingness to collaborate with our technical staff on demands that are important to our clients.” For more information, visit www.efilm.com or www.arri.com. I 89
http://www.technicolor.com
http://www.efilm.com
http://www.arri.com
http://www.efd.com.mx
http://www.efd.com.mx
http://www.efd.com.mx
http://www.efd.com.mx
American Cinematographer - April 2008
Table of Contents for the Digital Edition of American Cinematographer - April 2008
American Cinematographer - April 2008
Contents
Editor's Note
Global Village: The Counterfeiters
Short Takes: Milia
Production Slate: Paranoid Park
Production Slate: All the Boys Love Mandy Lane
Card Sharks
Temple of Doom
3-D Cinematography
Sundance 2008: Mining for Movies
Post Focus: Digital Film Tree Gets into Peyote
Post Focus: FotoKem’s 3-D Workflow
Post Focus: Technicolor Digs in at Pinewood
Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - American Cinematographer - April 2008
American Cinematographer - April 2008 - Cover2
American Cinematographer - April 2008 - 1
American Cinematographer - April 2008 - 2
American Cinematographer - April 2008 - Contents
American Cinematographer - April 2008 - 4
American Cinematographer - April 2008 - 5
American Cinematographer - April 2008 - 6
American Cinematographer - April 2008 - 7
American Cinematographer - April 2008 - Editor's Note
American Cinematographer - April 2008 - 9
American Cinematographer - April 2008 - Global Village: The Counterfeiters
American Cinematographer - April 2008 - 11
American Cinematographer - April 2008 - 12
American Cinematographer - April 2008 - 13
American Cinematographer - April 2008 - Short Takes: Milia
American Cinematographer - April 2008 - 15
American Cinematographer - April 2008 - 16
American Cinematographer - April 2008 - 17
American Cinematographer - April 2008 - Production Slate: All the Boys Love Mandy Lane
American Cinematographer - April 2008 - 19
American Cinematographer - April 2008 - 20
American Cinematographer - April 2008 - 21
American Cinematographer - April 2008 - 22
American Cinematographer - April 2008 - 23
American Cinematographer - April 2008 - 24
American Cinematographer - April 2008 - 25
American Cinematographer - April 2008 - 26
American Cinematographer - April 2008 - 27
American Cinematographer - April 2008 - 28
American Cinematographer - April 2008 - 29
American Cinematographer - April 2008 - Card Sharks
American Cinematographer - April 2008 - 31
American Cinematographer - April 2008 - 32
American Cinematographer - April 2008 - 33
American Cinematographer - April 2008 - 34
American Cinematographer - April 2008 - 35
American Cinematographer - April 2008 - 36
American Cinematographer - April 2008 - 37
American Cinematographer - April 2008 - 38
American Cinematographer - April 2008 - 39
American Cinematographer - April 2008 - 40
American Cinematographer - April 2008 - 41
American Cinematographer - April 2008 - Temple of Doom
American Cinematographer - April 2008 - 43
American Cinematographer - April 2008 - 44
American Cinematographer - April 2008 - 45
American Cinematographer - April 2008 - 46
American Cinematographer - April 2008 - 47
American Cinematographer - April 2008 - 48
American Cinematographer - April 2008 - 49
American Cinematographer - April 2008 - 50
American Cinematographer - April 2008 - 51
American Cinematographer - April 2008 - 3-D Cinematography
American Cinematographer - April 2008 - 53
American Cinematographer - April 2008 - 54
American Cinematographer - April 2008 - 55
American Cinematographer - April 2008 - 56
American Cinematographer - April 2008 - 57
American Cinematographer - April 2008 - 58
American Cinematographer - April 2008 - 59
American Cinematographer - April 2008 - 60
American Cinematographer - April 2008 - 61
American Cinematographer - April 2008 - 62
American Cinematographer - April 2008 - 63
American Cinematographer - April 2008 - Sundance 2008: Mining for Movies
American Cinematographer - April 2008 - 65
American Cinematographer - April 2008 - 66
American Cinematographer - April 2008 - 67
American Cinematographer - April 2008 - 68
American Cinematographer - April 2008 - 69
American Cinematographer - April 2008 - 70
American Cinematographer - April 2008 - 71
American Cinematographer - April 2008 - 72
American Cinematographer - April 2008 - 73
American Cinematographer - April 2008 - 74
American Cinematographer - April 2008 - 75
American Cinematographer - April 2008 - 76
American Cinematographer - April 2008 - 77
American Cinematographer - April 2008 - 78
American Cinematographer - April 2008 - 79
American Cinematographer - April 2008 - 80
American Cinematographer - April 2008 - 81
American Cinematographer - April 2008 - 82
American Cinematographer - April 2008 - 83
American Cinematographer - April 2008 - Post Focus: Technicolor Digs in at Pinewood
American Cinematographer - April 2008 - 85
American Cinematographer - April 2008 - 86
American Cinematographer - April 2008 - 87
American Cinematographer - April 2008 - 88
American Cinematographer - April 2008 - 89
American Cinematographer - April 2008 - Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
American Cinematographer - April 2008 - 91
American Cinematographer - April 2008 - 92
American Cinematographer - April 2008 - 93
American Cinematographer - April 2008 - New Products & Services
American Cinematographer - April 2008 - 95
American Cinematographer - April 2008 - 96
American Cinematographer - April 2008 - 97
American Cinematographer - April 2008 - 98
American Cinematographer - April 2008 - 99
American Cinematographer - April 2008 - 100
American Cinematographer - April 2008 - 101
American Cinematographer - April 2008 - 102
American Cinematographer - April 2008 - 103
American Cinematographer - April 2008 - 104
American Cinematographer - April 2008 - 105
American Cinematographer - April 2008 - 106
American Cinematographer - April 2008 - 107
American Cinematographer - April 2008 - 108
American Cinematographer - April 2008 - 109
American Cinematographer - April 2008 - International Marketplace
American Cinematographer - April 2008 - 111
American Cinematographer - April 2008 - Ad Index
American Cinematographer - April 2008 - 113
American Cinematographer - April 2008 - Clubhouse News
American Cinematographer - April 2008 - 115
American Cinematographer - April 2008 - ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - Cover3
American Cinematographer - April 2008 - Cover4
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