American Cinematographer - December 1999 - 125

The

used to

complete the assembly of
Mary Jane's Last Dance, a Frank
Mancuso, Jr. production, and is currently
in use by Laszlo Kovacs, ASC on Return

was

to Me for

MGM/UA.

The Post

Group, (323) 462-2300,

fax (323) 462-0836, website: www.post-

The Post Group Westside,
(310) 979-4300, fax (310) 979-4320.
group.com.

las. The

rugged, lightweight system is

telescoping poles are adjustable
distance of over 8 meters
(approximately 26') and can be mounted
at any angle or configuration. The
Wallbreaker is exclusively distributed by
Isaia and Company of North Hollywood.
Isaia and Company, 800-5-

constructed from aircraft aluminum and

to span a

features smooth pans

and tilts. The head
be mounted on jibs, remote mounts
and tripods. Movement is controlled
through a joystick. High-torque DC gear
motors allows the unit to be operated at
variable speeds of up to four revolutions
per minute, and can be operated using
both 12v DC and 120v AC inputs.
The Camera Turret Company,
(508) 822-0923, website address:
http://idt.net/~camturrt.
may

CAMERA

3105,

818-752-3104, fax 818-752e-mail:
movies@isaia.com,
or

website: www.isaia.com.

Broadcast Lens
Remote Control

Innovision

Optics has introduced
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video lenses created by Bebob
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five channels can remotely adjust zoom,

Wall

the

Spreader System
Andreas Meyer Company has
released the Filou Wallbreaker, a flexible

Pan-and-Tilt Head
The Camera Turret

Company of
Massachusetts is offering the low-cost
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remote positioning of both video and film
cameras weighing up to 25 lbs.

telescopic spanning system for situa¬
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element can be positioned on a wall
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clamping bolts causes the lightweight
aluminum poles to bend upward to form
an arc. Arching allows the poles to
support heavy lamps, flags and umbrel¬

THE N N

Charly,

a

focus and iris, as well as VTR and Return
functions. The
internal
fore

zoom

requires

Charly works with a lens's
and iris motors and there¬

external supports,
supply.
The remote receiver weighs only
no

motors or power

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121



American Cinematographer - December 1999

Table of Contents for the Digital Edition of American Cinematographer - December 1999

American Cinematographer - December 1999 - 1
American Cinematographer - December 1999 - 2
American Cinematographer - December 1999 - 3
American Cinematographer - December 1999 - 4
American Cinematographer - December 1999 - 5
American Cinematographer - December 1999 - 6
American Cinematographer - December 1999 - 7
American Cinematographer - December 1999 - 8
American Cinematographer - December 1999 - 9
American Cinematographer - December 1999 - 10
American Cinematographer - December 1999 - 11
American Cinematographer - December 1999 - 12
American Cinematographer - December 1999 - 13
American Cinematographer - December 1999 - 14
American Cinematographer - December 1999 - 15
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American Cinematographer - December 1999 - 17
American Cinematographer - December 1999 - 18
American Cinematographer - December 1999 - 19
American Cinematographer - December 1999 - 20
American Cinematographer - December 1999 - 21
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American Cinematographer - December 1999 - 23
American Cinematographer - December 1999 - 24
American Cinematographer - December 1999 - 25
American Cinematographer - December 1999 - 26
American Cinematographer - December 1999 - 27
American Cinematographer - December 1999 - 28
American Cinematographer - December 1999 - 29
American Cinematographer - December 1999 - 30
American Cinematographer - December 1999 - 31
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American Cinematographer - December 1999 - 34
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