American Cinematographer - February 1994 - 81

compiled by Marji Rhea
The Arri 35 Book (1989), as first choice
for

cleaning large filters and second

bilities include

complete cut, copy and
paste editing functions and enhance¬

choice for lenses. This recommendation
came as a result of an Olympic Arri cam¬

ment functions such as

era-cleaning session staged by the

creases

thor and others in which various
men were

asked to eat

a

au¬

camera¬

messy

break¬

fast, handle their camera equipment, and
then clean the

equipment using a variety
of lens-cleaning fluids, solvents, lens tis¬

sues,

blowers, air

cans

and tools. The

Pancro cleaner will not

damage lens

or smear and streak filter sur¬
faces. It is non-residue, non-toxic, non-

coatings

sharpening and
blurring filters, contrast adjustment, in¬
and decreases in value, gray¬
scale conversion, and application of twodimensional transformations such as

scaling, mirroring, shear and rotation to
selected regions of the image.
Titling/Annotation features in¬
clude support of on-line X11 bitstream
fonts in all sizes, and the ability to
specify leading, kerning, justification and
rotation angle of text.
For information: MetaVision,

corrosive

on paint, anti-reflection coat¬
ings, shutter mirrors, and ground glass,
and it is also safe for use on acrylics and
resins. The cleaner was originally formu¬

lated for

Chapman's Pedolly has the
capabilities of the traditional pedestal as
well as the camera dolly and obtains a
low camera mount height of 15 5/s" or
40cm, one of the lowest heights currently
available on the market. The unit shares
the crab and conventional steering and
variable chassis leg features of the Su¬

use on

front surface mirrors,

which the company still makes for scien¬
tific instruments.
For information: Pancro Mir¬
rors,

Inc., 12734 Branford, Unit 7, Arleta,

CA 91331, (818) 834-2926, FAX (818)
834-2027.
SGI Software
MetaVision's Imagination

per

is a
software package for Silicon Graphics
workstations that provides image edit¬

for the different terrains encountered

bilities, avoiding the need for a separate

during the filming of productions. The
maximum standard height of the Pedolly

imaging station. Imagination is designed
for 3-D video production, CAD and archi¬
tectural visualization, graphic design,
printing and publishing, and other appli¬
cations that require still-image editing
and painting capabilities.
The system supports 16 for¬
mats, including Alias Research, Apple
MacPaint, Apple PICT, Adobe PostScript,
SGI ImageLib, Sun rasterfile, Truevision
TARGA, Wavefront and X11 bitmap and
pixmap. Features include a variety of pre¬
defined brush shapes as well as customdesign shapes and a four-channel color
editor that supports RGB, HLS, HSV and

PeeWee while maintaining the abil¬
ity to work on both straight and curved
track. The Pedolly also has various tires

is 55 inches, or 1.42 meters. It can shift
from crab to conventional steering either

electronically or manually
accessories available.

and has

many

For information: Chapman Stu¬
Equipment, 12950 Raymer St., North
Hollywood, CA 91605, (818) 764-6726,

dio

(213)877-5309, FAX (818) 764-2728.
Lens and Filter Cleaner
Pancro Professional Lens & Fil¬
ter Cleaner is made

especially for cam¬
cinematogra¬
phy. It is recommended by Jon Fauer in
era

his

lenses and filters for

guide to the 35BI and 35-3

cameras,

(919)829-9205.

ing, image processing and painting capa¬

CMY color models, with an additional
alpha channel. Image processing capa¬

February 1994

Film

Cleaning Machines
new motion pic¬
film cleaning machines. The Excel
RTI has two

ture

700 and Model 403

remove

dirt, dust and

other debris from the film surface via four

particle-transfer rollers. The film is then
by two soft-nap rotary buff¬
ers treated with a liquid cleaning agent,
including water with surfactant addi¬

wet-cleaned

tives,

or

ozone-safe fluorocarbon fluids.

Following wet-cleaning, the film is gen¬
tly polished, then transported through a
warm-air drying chamber to ensure that
the film is completely dry before being
spooled. Film can be cleaned at speeds
of up to 200 feet per minute.
The unit needs less than eight
square

feet of floor

American

space

Cinematographer

and operates

79



American Cinematographer - February 1994

Table of Contents for the Digital Edition of American Cinematographer - February 1994

American Cinematographer - February 1994 - 1
American Cinematographer - February 1994 - 2
American Cinematographer - February 1994 - 3
American Cinematographer - February 1994 - 4
American Cinematographer - February 1994 - 5
American Cinematographer - February 1994 - 6
American Cinematographer - February 1994 - 7
American Cinematographer - February 1994 - 8
American Cinematographer - February 1994 - 9
American Cinematographer - February 1994 - 10
American Cinematographer - February 1994 - 11
American Cinematographer - February 1994 - 12
American Cinematographer - February 1994 - 13
American Cinematographer - February 1994 - 14
American Cinematographer - February 1994 - 15
American Cinematographer - February 1994 - 16
American Cinematographer - February 1994 - 17
American Cinematographer - February 1994 - 18
American Cinematographer - February 1994 - 19
American Cinematographer - February 1994 - 20
American Cinematographer - February 1994 - 21
American Cinematographer - February 1994 - 22
American Cinematographer - February 1994 - 23
American Cinematographer - February 1994 - 24
American Cinematographer - February 1994 - 25
American Cinematographer - February 1994 - 26
American Cinematographer - February 1994 - 27
American Cinematographer - February 1994 - 28
American Cinematographer - February 1994 - 29
American Cinematographer - February 1994 - 30
American Cinematographer - February 1994 - 31
American Cinematographer - February 1994 - 32
American Cinematographer - February 1994 - 33
American Cinematographer - February 1994 - 34
American Cinematographer - February 1994 - 35
American Cinematographer - February 1994 - 36
American Cinematographer - February 1994 - 37
American Cinematographer - February 1994 - 38
American Cinematographer - February 1994 - 39
American Cinematographer - February 1994 - 40
American Cinematographer - February 1994 - 41
American Cinematographer - February 1994 - 42
American Cinematographer - February 1994 - 43
American Cinematographer - February 1994 - 44
American Cinematographer - February 1994 - 45
American Cinematographer - February 1994 - 46
American Cinematographer - February 1994 - 47
American Cinematographer - February 1994 - 48
American Cinematographer - February 1994 - 49
American Cinematographer - February 1994 - 50
American Cinematographer - February 1994 - 51
American Cinematographer - February 1994 - 52
American Cinematographer - February 1994 - 53
American Cinematographer - February 1994 - 54
American Cinematographer - February 1994 - 55
American Cinematographer - February 1994 - 56
American Cinematographer - February 1994 - 57
American Cinematographer - February 1994 - 58
American Cinematographer - February 1994 - 59
American Cinematographer - February 1994 - 60
American Cinematographer - February 1994 - 61
American Cinematographer - February 1994 - 62
American Cinematographer - February 1994 - 63
American Cinematographer - February 1994 - 64
American Cinematographer - February 1994 - 65
American Cinematographer - February 1994 - 66
American Cinematographer - February 1994 - 67
American Cinematographer - February 1994 - 68
American Cinematographer - February 1994 - 69
American Cinematographer - February 1994 - 70
American Cinematographer - February 1994 - 71
American Cinematographer - February 1994 - 72
American Cinematographer - February 1994 - 73
American Cinematographer - February 1994 - 74
American Cinematographer - February 1994 - 75
American Cinematographer - February 1994 - 76
American Cinematographer - February 1994 - 77
American Cinematographer - February 1994 - 78
American Cinematographer - February 1994 - 79
American Cinematographer - February 1994 - 80
American Cinematographer - February 1994 - 81
American Cinematographer - February 1994 - 82
American Cinematographer - February 1994 - 83
American Cinematographer - February 1994 - 84
American Cinematographer - February 1994 - 85
American Cinematographer - February 1994 - 86
American Cinematographer - February 1994 - 87
American Cinematographer - February 1994 - 88
American Cinematographer - February 1994 - 89
American Cinematographer - February 1994 - 90
American Cinematographer - February 1994 - 91
American Cinematographer - February 1994 - 92
American Cinematographer - February 1994 - 93
American Cinematographer - February 1994 - 94
American Cinematographer - February 1994 - 95
American Cinematographer - February 1994 - 96
American Cinematographer - February 1994 - 97
American Cinematographer - February 1994 - 98
American Cinematographer - February 1994 - 99
American Cinematographer - February 1994 - 100
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