American Cinematographer - April 2009 - 88

UNDERWATER HOUSINGS for active production environment.” Offhollywood also plans to introduce services in London later in 2009. For more information, visit www.offhol lywooddigital.com. Bi-Color LED Burns Bright Litepanels has introduced the 1x1 Bi-Color LED light, a single fixture capable of generating a color temperature of 3200°K, 5600°K or anything in between. Color temperature can be dialed-in by using the onboard dial, onboard digital color-temperature settings or a built-in DMX controller. The 1x1 Bi-Color LED features Litepanels’ full-range integrated dimmer, enabling instant dimming from 0 to 100 percent with minimum color shifting. The fixture is extremely power efficient, and like other Litepanels units, it generates practically no heat. It can be powered from a variety of 12-30-volt sources, including an optional 1.75-hour onboard lithium-ion battery pack, a car battery or an AC adapter. Measuring only 12"x12"x1.75", the 1x1 Bi-Color is ideal even for tight quarters. Litepanels has also expanded into a larger facility, leaving behind its North Hollywood home and moving into a larger and more efficient space in Van Nuys, Calif. Litepanels, 16152 Saticoy St., Van Nuys, CA, 91406. For more information, call (818) 752-7009 or visit www.litepanels.com. RED ONE and PHANTOM HD NOW AVAILABLE 31 0/301-81 87 www.hydroflex.com Panasonic Intros HD LCD Panasonic’s 25.5" high-resolution BT-LH2550 LCD HD production monitor is now available, boasting a full 1920x1200-pixel In-Plane Switching (IPS) panel and an expanded color gamut, ensuring vivid, true-to-life colors for critical monitoring. The LH2550 offers six color space settings — SMPTE, EBU, ITU-R BT.709, Adobe 2.2, Adobe 1.8 and DCinema — to expand the range of colors that can be viewed onscreen for high-end applications. The monitor’s image-processing engine has a threedimensional look-up table to reproduce content according to the specific color standard selected, and the LH2550 also boasts high contrast and brightness, and a 178-degree horizontal/vertical viewing angle. The monitor is also equipped with valuable production tools, including built-in waveform monitor and vectorscope functions that display all picture lines for signal-level monitoring. It also features pre-installed calibration software, allowing the monitor to be calibrated directly with color analyzers without using a PC. A splitscreen/freeze-frame function permits the simultaneous display of two video sources side-by-side from two different video inputs, and additional monitoring tools include standard markers and blue-only markers, H/V delay display, monochrome display and cross-hatch overlay display. The LH2550 incorporates a lightweight, slim-frame, space-saving design and an aluminum-alloy back panel. The monitor features a full range of professional-level inputs — including DVI-D input, two auto-switching SDI 88
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American Cinematographer - April 2009

Table of Contents for the Digital Edition of American Cinematographer - April 2009

American Cinematographer - April 2009
Contents
Editor's Note
Short Takes: Patiences
Production Slate
Watchmakers
Sum of All Fears
An Epic Endeavor
Sundance 2009: 5 That Thrived
Post Focus: Autodesk Updates Lastre
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Thomas Ackerman
American Cinematographer - April 2009 - American Cinematographer - April 2009
American Cinematographer - April 2009 - Cover2
American Cinematographer - April 2009 - 1
American Cinematographer - April 2009 - 2
American Cinematographer - April 2009 - Contents
American Cinematographer - April 2009 - 4
American Cinematographer - April 2009 - 5
American Cinematographer - April 2009 - 6
American Cinematographer - April 2009 - 7
American Cinematographer - April 2009 - Editor's Note
American Cinematographer - April 2009 - 9
American Cinematographer - April 2009 - Short Takes: Patiences
American Cinematographer - April 2009 - 11
American Cinematographer - April 2009 - 12
American Cinematographer - April 2009 - 13
American Cinematographer - April 2009 - 14
American Cinematographer - April 2009 - 15
American Cinematographer - April 2009 - Production Slate
American Cinematographer - April 2009 - 17
American Cinematographer - April 2009 - 18
American Cinematographer - April 2009 - 19
American Cinematographer - April 2009 - 20
American Cinematographer - April 2009 - 21
American Cinematographer - April 2009 - 22
American Cinematographer - April 2009 - 23
American Cinematographer - April 2009 - 24
American Cinematographer - April 2009 - 25
American Cinematographer - April 2009 - 26
American Cinematographer - April 2009 - 27
American Cinematographer - April 2009 - Watchmakers
American Cinematographer - April 2009 - 29
American Cinematographer - April 2009 - 30
American Cinematographer - April 2009 - 31
American Cinematographer - April 2009 - 32
American Cinematographer - April 2009 - 33
American Cinematographer - April 2009 - 34
American Cinematographer - April 2009 - 35
American Cinematographer - April 2009 - 36
American Cinematographer - April 2009 - 37
American Cinematographer - April 2009 - 38
American Cinematographer - April 2009 - 39
American Cinematographer - April 2009 - 40
American Cinematographer - April 2009 - 41
American Cinematographer - April 2009 - 42
American Cinematographer - April 2009 - 43
American Cinematographer - April 2009 - Sum of All Fears
American Cinematographer - April 2009 - 45
American Cinematographer - April 2009 - 46
American Cinematographer - April 2009 - 47
American Cinematographer - April 2009 - 48
American Cinematographer - April 2009 - 49
American Cinematographer - April 2009 - 50
American Cinematographer - April 2009 - 51
American Cinematographer - April 2009 - 52
American Cinematographer - April 2009 - 53
American Cinematographer - April 2009 - An Epic Endeavor
American Cinematographer - April 2009 - 55
American Cinematographer - April 2009 - 56
American Cinematographer - April 2009 - 57
American Cinematographer - April 2009 - 58
American Cinematographer - April 2009 - 59
American Cinematographer - April 2009 - 60
American Cinematographer - April 2009 - 61
American Cinematographer - April 2009 - Sundance 2009: 5 That Thrived
American Cinematographer - April 2009 - 63
American Cinematographer - April 2009 - 64
American Cinematographer - April 2009 - 65
American Cinematographer - April 2009 - 66
American Cinematographer - April 2009 - 67
American Cinematographer - April 2009 - 68
American Cinematographer - April 2009 - 69
American Cinematographer - April 2009 - 70
American Cinematographer - April 2009 - 71
American Cinematographer - April 2009 - 72
American Cinematographer - April 2009 - 73
American Cinematographer - April 2009 - 74
American Cinematographer - April 2009 - 75
American Cinematographer - April 2009 - 76
American Cinematographer - April 2009 - 77
American Cinematographer - April 2009 - Post Focus: Autodesk Updates Lastre
American Cinematographer - April 2009 - 79
American Cinematographer - April 2009 - 80
American Cinematographer - April 2009 - 81
American Cinematographer - April 2009 - New Products & Services
American Cinematographer - April 2009 - 83
American Cinematographer - April 2009 - 84
American Cinematographer - April 2009 - 85
American Cinematographer - April 2009 - 86
American Cinematographer - April 2009 - 87
American Cinematographer - April 2009 - 88
American Cinematographer - April 2009 - 89
American Cinematographer - April 2009 - 90
American Cinematographer - April 2009 - 91
American Cinematographer - April 2009 - International Marketplace
American Cinematographer - April 2009 - 93
American Cinematographer - April 2009 - Ad Index
American Cinematographer - April 2009 - 95
American Cinematographer - April 2009 - ASC Membership Roster
American Cinematographer - April 2009 - 97
American Cinematographer - April 2009 - Clubhouse News
American Cinematographer - April 2009 - 99
American Cinematographer - April 2009 - ASC Close-Up: Thomas Ackerman
American Cinematographer - April 2009 - Cover3
American Cinematographer - April 2009 - Cover4
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