American Cinematographer - December 2009 - 96

pounds, folds to a length of 40.6", a width of 11.8" and a height of 5.9". When unfolded, the roller measures 65" long; the dimensions allow even a fully extended crane tripod to be mounted to the roller. For more information, visit www.abc-products.de. Digital Vision Updates Product Portfolio Digital Vision has announced updates for its 2009 Film Master and Phoenix product line. The new tools will introduce new features that significantly simplify the creative process as well as integrate support for third-party applications. As part of the 2009 update, Digital Vision has announced its support for Interplay, Avid’s popular production asset management system. This feature will enable editors to share entire timelines with colorists, providing an extra level of automation and streamlining the grading process by enabling metadata transfer and versioning management. Also among the update’s new offerings, a six-vector color-correction application provides fast, accurate and precise color isolation, allowing six simultaneous color-corrections without creating keys. Designed for ease of use and quick setup, this tool also boasts automatic pre-filtering of the key signal, which allows easy isolation of material that has heavy grain structure, noise or compression artifacts. 2009 Update 1 also introduces variable softness on the mask or secondaries. This allows colorists to carry out a pure vortex radius on both sides of a shape, softening the inside and the outside independently for each point. Expanding its support for Red One workflows, Digital Vision has also announced support for Red Rocket, a hardware accelerator card used to decode and de-bayer R3D media in real time. The Update 1 software release also enables native support of many other digital camera formats, including Arri’s D-21, Vision Research’s Phantom 96 December 2009 and Silicon Imaging’s SI-2K. For more information, visit www.digitalvision.se. Media Technology Employs Baselight Kompressor FilmLight has introduced the Baselight Kompressor, which allows Baselight color-grading systems to share direct access to media files with Avid systems. Following Kompressor’s availability, Paris, France-based Medialab Technology integrated the solution into its postproduction workflow, enabling the facility’s colorists — using Baselight systems — and editors — using Avid Media Composer workstations — to collaborate easily and finish projects more quickly. “As a top commercial post house, Medialab has an imperative to complete projects quickly while working at the highest levels of quality and creativity,” says Mark Burton, FilmLight’s European sales manager. “Baselight Kompressor furthers all three of those goals by making color grading an integral part of a true nonlinear workflow. For editors and colorists, this is an exciting and liberating leap forward.” Medialab Technology currently operates three Baselight systems: a Baselight Transfer for processing digitally acquired dailies, a Baselight HD for ingesting media and preparing projects for final grading, and a Baselight Eight for final grading. The three systems are connected via a 10 Gb network now routed through the Baselight Kompressor, which in turn is linked to an Avid Unity storage device shared by the company’s three Avid Media Composer Nitris DX editing systems. “Baselight Kompressor allows us to exchange media directly between editing and color-correcting suites,” says Thierry Calvet, technical manager for Medialab Technology. “It is also connected to our 1 Gb facility network, which allows us to exchange files with other equipment in our fleet such as our Flame stations.” For more information, visit www.filmlight.ltd.uk and www.medial abtechno.com. Final Frame Expands with DCP Services Final Frame, a New York Citybased postproduction service provider, has introduced Digital Cinema Package (DCP) services, providing a complete solution for the encoding, secure-key embedding, encryption, storing, decoding, viewing and packaging of digitalcinema content for delivery to digital cinemas and digital festival screenings. At the heart of its DCP service, Final Frame has invested in a scalable digital-cinema solution from Dolby including Dolby Secure Content Creator (SCC2000) and Dolby Screen Server (DSS200). The Dolby SCC2000 offers a comprehensive set of tools needed to take a Digital Cinema Distribution Master (DCDM) and quickly produce final 2K or 4K DCPs for distribution to cinemas via satellite, fiber or physical media. The DSS200 is a platform that stores, decodes and delivers content to a digital-cinema projector. All DCPs completed at Final Frame follow the recommended specifications of SMPTE and the Digital Cinema Initiative. The Dolby SCC2000 and DSS200 fit seamlessly into the existing Final Frame digital-intermediate workflow. The facility’s screening room is equipped with a Barco digital cinema projector, which is designed with a highend post and digital cinema workflow in mind. “Our goal is to help studios, independent filmmakers and television producers realize their vision,” says Will Cox, co-founder of Final Frame. “Providing DCP services was a logical next step for us, and enables us to provide our customers with a complete solution of editing, DI, digital cinema playback and viewing, as well as DC packaging to create the final digital distribution files for delivery to theaters, festivals or screening rooms. We selected the Dolby DCP platform because of their long history of technical innovations and proven track record of delivering high quality solutions and support.” For more information, visit www.finalframepost.com. I

http://www.digitalvision.se http://www.abc-products.de http://www.filmlight.ltd.uk http://www.medialabtechno.com http://www.finalframepost.com http://www.medialabtechno.com

American Cinematographer - December 2009

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