American Cinematographer - March 2003 - 73
colors
because
and
density
are
subjective. We did the final checks
film."
on
After the
the
grading was finished,
were recorded onto
digital files
POWER
NEW PRODUCT:
GE/A5
Powerflo»
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'
»
>
„
f
."s'*
II||
Kodak color intermediate stock with
Arrilaser
an
film
recorder.
FOUR TUBE FLUORESCENT
LAST WITH DMX
Technicolor used the intermediate
film
for
generating
prints. CFI timer Mertens sat
a few digital sessions to get a
a
as
master
Power Gems is
Auto selects 4ft
proud to announce
release
its first Fluorescent Ballast for the
in
film & t.v.
on
sense
of Van Oostrum's intentions.
Later, the
lighting industry for use
with remote luminaires.
75W
max
per
or
tube
2ft tubes
-
local dimming to 1 %
DMX in/out 1%-100%
Tube
running indications
Cut switch per tube
digital files were used
for a variety of
formats, including DVD. Van
Oostrum says the TV version
required a bit of tweaking, but it was
a lot quicker than conducting two
separate timing sessions.
same
Full electronic
to create a master
In
a Unique single ballast design drives 4 tubes
protection for live tube
connect/disconnect
Fused outputs
Unity
power
factor
Rugged design with carry handle/anchor points
all, Van Oostrum spent
about five weeks
timing Gods and
experi¬
ence offers a glimpse into the future
of cinematography, but he cautions
that "some producers are going to be
reluctant to pay us to time films digi¬
tally, because it takes a lot longer and
it costs a lot more. Some people will
be tempted to play with our images
themselves." Still, he likes the possi¬
bilities that a digital intermediate
Generals. He believes that his
UK:
Patrick McGuane
London NW10 7JB
-
Daylight House, Unit 4, Oliver Business Park, Oliver Road, Park Royal,
T: +44 (0) 208 965 0000 E: patrickmcguane@powergems.com
USA: Mike Niehenke
E:
- 7034 Sophia Avenue, Van Nuys, California 91406
T: +1 818 376 1800
mikeniehenke@powergems.com
the perpetual serenity
civilizations past
offers: "We worked at 2K resolution,
which is about half of what
we
have
film
negative, because that's
today. I think the
results look natural. Eventually 4K
will be practical, and that will be a big
step forward."
■
on
a
of
what's affordable
mellow fruitfulness
of harvest-time
iH|
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Panavision, Arriflex and
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'
American Cinematographer - March 2003
Table of Contents for the Digital Edition of American Cinematographer - March 2003
American Cinematographer - March 2003 - 1
American Cinematographer - March 2003 - 2
American Cinematographer - March 2003 - 3
American Cinematographer - March 2003 - 4
American Cinematographer - March 2003 - 5
American Cinematographer - March 2003 - 6
American Cinematographer - March 2003 - 7
American Cinematographer - March 2003 - 8
American Cinematographer - March 2003 - 9
American Cinematographer - March 2003 - 10
American Cinematographer - March 2003 - 11
American Cinematographer - March 2003 - 12
American Cinematographer - March 2003 - 13
American Cinematographer - March 2003 - 14
American Cinematographer - March 2003 - 15
American Cinematographer - March 2003 - 16
American Cinematographer - March 2003 - 17
American Cinematographer - March 2003 - 18
American Cinematographer - March 2003 - 19
American Cinematographer - March 2003 - 20
American Cinematographer - March 2003 - 21
American Cinematographer - March 2003 - 22
American Cinematographer - March 2003 - 23
American Cinematographer - March 2003 - 24
American Cinematographer - March 2003 - 25
American Cinematographer - March 2003 - 26
American Cinematographer - March 2003 - 27
American Cinematographer - March 2003 - 28
American Cinematographer - March 2003 - 29
American Cinematographer - March 2003 - 30
American Cinematographer - March 2003 - 31
American Cinematographer - March 2003 - 32
American Cinematographer - March 2003 - 33
American Cinematographer - March 2003 - 34
American Cinematographer - March 2003 - 35
American Cinematographer - March 2003 - 36
American Cinematographer - March 2003 - 37
American Cinematographer - March 2003 - 38
American Cinematographer - March 2003 - 39
American Cinematographer - March 2003 - 40
American Cinematographer - March 2003 - 41
American Cinematographer - March 2003 - 42
American Cinematographer - March 2003 - 43
American Cinematographer - March 2003 - 44
American Cinematographer - March 2003 - 45
American Cinematographer - March 2003 - 46
American Cinematographer - March 2003 - 47
American Cinematographer - March 2003 - 48
American Cinematographer - March 2003 - 49
American Cinematographer - March 2003 - 50
American Cinematographer - March 2003 - 51
American Cinematographer - March 2003 - 52
American Cinematographer - March 2003 - 53
American Cinematographer - March 2003 - 54
American Cinematographer - March 2003 - 55
American Cinematographer - March 2003 - 56
American Cinematographer - March 2003 - 57
American Cinematographer - March 2003 - 58
American Cinematographer - March 2003 - 59
American Cinematographer - March 2003 - 60
American Cinematographer - March 2003 - 61
American Cinematographer - March 2003 - 62
American Cinematographer - March 2003 - 63
American Cinematographer - March 2003 - 64
American Cinematographer - March 2003 - 65
American Cinematographer - March 2003 - 66
American Cinematographer - March 2003 - 67
American Cinematographer - March 2003 - 68
American Cinematographer - March 2003 - 69
American Cinematographer - March 2003 - 70
American Cinematographer - March 2003 - 71
American Cinematographer - March 2003 - 72
American Cinematographer - March 2003 - 73
American Cinematographer - March 2003 - 74
American Cinematographer - March 2003 - 75
American Cinematographer - March 2003 - 76
American Cinematographer - March 2003 - 77
American Cinematographer - March 2003 - 78
American Cinematographer - March 2003 - 79
American Cinematographer - March 2003 - 80
American Cinematographer - March 2003 - 81
American Cinematographer - March 2003 - 82
American Cinematographer - March 2003 - 83
American Cinematographer - March 2003 - 84
American Cinematographer - March 2003 - 85
American Cinematographer - March 2003 - 86
American Cinematographer - March 2003 - 87
American Cinematographer - March 2003 - 88
American Cinematographer - March 2003 - 89
American Cinematographer - March 2003 - 90
American Cinematographer - March 2003 - 91
American Cinematographer - March 2003 - 92
American Cinematographer - March 2003 - 93
American Cinematographer - March 2003 - 94
American Cinematographer - March 2003 - 95
American Cinematographer - March 2003 - 96
American Cinematographer - March 2003 - 97
American Cinematographer - March 2003 - 98
American Cinematographer - March 2003 - 99
American Cinematographer - March 2003 - 100
American Cinematographer - March 2003 - 101
American Cinematographer - March 2003 - 102
American Cinematographer - March 2003 - 103
American Cinematographer - March 2003 - 104
American Cinematographer - March 2003 - 105
American Cinematographer - March 2003 - 106
American Cinematographer - March 2003 - 107
American Cinematographer - March 2003 - 108
American Cinematographer - March 2003 - 109
American Cinematographer - March 2003 - 110
American Cinematographer - March 2003 - 111
American Cinematographer - March 2003 - 112
American Cinematographer - March 2003 - 113
American Cinematographer - March 2003 - 114
American Cinematographer - March 2003 - 115
American Cinematographer - March 2003 - 116
American Cinematographer - March 2003 - 117
American Cinematographer - March 2003 - 118
American Cinematographer - March 2003 - 119
American Cinematographer - March 2003 - 120
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American Cinematographer - March 2003 - 128
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