American Cinematographer - March 2004 - 101

Measuring Distance Just Became Easier

streamlined unit

be

separated for
lamp
head operates above water for extended
periods of time and burns at daylight
color temperature. The lamp beam can
be configured from a clean 70° flood to a
or can

added convenience of. The HMI

5° spot.
Pacific Visions Inc., phone/fax

(805) 966 9819, Web site: www.paci
ficvisionsinc.com.

CINE TAPE MEASURE system
*

Continuously calculates distance between camera's
plane and the subject.

focal
*

Displays accurate measurements in feet/inches

or

meters/centimeters.
*

*

*

Simplifies camera crew's job in focusing lens.
Small, lightweight, and quiet ultrasonic range finder.
Easy mounting and compatible with any film/video
camera

*

and lens.

Optional accessories include
Remote Display.

a

Remote Controller and

a

CNEN/MTGGOTWi
electronics
5321

Derry Avenue, Suite G

*

Agoura Hills, California 91301 * USA * Phone (818) 706-3334 * Fax (818) 706-3335
Web: www.CinematographyElectronics.com

E-Mail: info@CinemaElec.com

"Stimulating,
a

challenging and fun...

culture

that

allows

to

us

say

something in our work, and the education
and practical experience needed to feel
confident about
CASSIE

DESTINO,

Cassie Destino's
in 2003
LFS two-year

Los

Covering All Aspects

six-film

MA FILMMAKING

have

craft"

(0)20

7836

programme

September, January and May

1fs.org.uk
+44

our

2003 Graduate

graduation film Pokermama played festivals
including Augsburg and Last Drop, Hungary

starts in

Alfred Chrosziel and 16x9 Inc.

Angeles,

9642

LONDON

metropolitan
university

;*,**»
*

*

solution to the issues of

shading
and filtering when using front-mounted
a

lens accessories
DVX100

cameras:

on

Panasonic AG-

Chrosziel's

new

411-

53PK Mattebox system. The system
offers a housing that covers both 16x9

and 4x3, a filter stage for two 4x4 filter
holders - one fixed and one rotating
a French flag, a 16x9 mask and even
provision for sidewings.
Chrosziel's solution employs a
lightweight rectangular adapter plate
that conforms to the shape of the
anamorphic attachment and the rear
mattebox opening. The plate's round
cutout interior directly interfaces with
the original camera lens. Various
adapters (85mm-105mm) facilitate the
addition of Century Optics' ,7X Wide

-

a

Converter,

1.6X Tele Converter

Panasonic's

own

,8X

Wide

The filmakers home
for services, resources
and contacts aiorlduiide

or

Angle

Converter.
To

ensure a secure

mount, the

411-53PK system

includes a lightweight
support, mattebox rods and a center
bracket customized to the DVX100.
Shooters have the

option of adding the

Chrosziel DV Studio Rig Follow Focus

system for true cine-style feel and

Putting Production Online

function.

Helping Great Ideas Become Great Movies.

97



American Cinematographer - March 2004

Table of Contents for the Digital Edition of American Cinematographer - March 2004

American Cinematographer - March 2004 - 1
American Cinematographer - March 2004 - 2
American Cinematographer - March 2004 - 3
American Cinematographer - March 2004 - 4
American Cinematographer - March 2004 - 5
American Cinematographer - March 2004 - 6
American Cinematographer - March 2004 - 7
American Cinematographer - March 2004 - 8
American Cinematographer - March 2004 - 9
American Cinematographer - March 2004 - 10
American Cinematographer - March 2004 - 11
American Cinematographer - March 2004 - 12
American Cinematographer - March 2004 - 13
American Cinematographer - March 2004 - 14
American Cinematographer - March 2004 - 15
American Cinematographer - March 2004 - 16
American Cinematographer - March 2004 - 17
American Cinematographer - March 2004 - 18
American Cinematographer - March 2004 - 19
American Cinematographer - March 2004 - 20
American Cinematographer - March 2004 - 21
American Cinematographer - March 2004 - 22
American Cinematographer - March 2004 - 23
American Cinematographer - March 2004 - 24
American Cinematographer - March 2004 - 25
American Cinematographer - March 2004 - 26
American Cinematographer - March 2004 - 27
American Cinematographer - March 2004 - 28
American Cinematographer - March 2004 - 29
American Cinematographer - March 2004 - 30
American Cinematographer - March 2004 - 31
American Cinematographer - March 2004 - 32
American Cinematographer - March 2004 - 33
American Cinematographer - March 2004 - 34
American Cinematographer - March 2004 - 35
American Cinematographer - March 2004 - 36
American Cinematographer - March 2004 - 37
American Cinematographer - March 2004 - 38
American Cinematographer - March 2004 - 39
American Cinematographer - March 2004 - 40
American Cinematographer - March 2004 - 41
American Cinematographer - March 2004 - 42
American Cinematographer - March 2004 - 43
American Cinematographer - March 2004 - 44
American Cinematographer - March 2004 - 45
American Cinematographer - March 2004 - 46
American Cinematographer - March 2004 - 47
American Cinematographer - March 2004 - 48
American Cinematographer - March 2004 - 49
American Cinematographer - March 2004 - 50
American Cinematographer - March 2004 - 51
American Cinematographer - March 2004 - 52
American Cinematographer - March 2004 - 53
American Cinematographer - March 2004 - 54
American Cinematographer - March 2004 - 55
American Cinematographer - March 2004 - 56
American Cinematographer - March 2004 - 57
American Cinematographer - March 2004 - 58
American Cinematographer - March 2004 - 59
American Cinematographer - March 2004 - 60
American Cinematographer - March 2004 - 61
American Cinematographer - March 2004 - 62
American Cinematographer - March 2004 - 63
American Cinematographer - March 2004 - 64
American Cinematographer - March 2004 - 65
American Cinematographer - March 2004 - 66
American Cinematographer - March 2004 - 67
American Cinematographer - March 2004 - 68
American Cinematographer - March 2004 - 69
American Cinematographer - March 2004 - 70
American Cinematographer - March 2004 - 71
American Cinematographer - March 2004 - 72
American Cinematographer - March 2004 - 73
American Cinematographer - March 2004 - 74
American Cinematographer - March 2004 - 75
American Cinematographer - March 2004 - 76
American Cinematographer - March 2004 - 77
American Cinematographer - March 2004 - 78
American Cinematographer - March 2004 - 79
American Cinematographer - March 2004 - 80
American Cinematographer - March 2004 - 81
American Cinematographer - March 2004 - 82
American Cinematographer - March 2004 - 83
American Cinematographer - March 2004 - 84
American Cinematographer - March 2004 - 85
American Cinematographer - March 2004 - 86
American Cinematographer - March 2004 - 87
American Cinematographer - March 2004 - 88
American Cinematographer - March 2004 - 89
American Cinematographer - March 2004 - 90
American Cinematographer - March 2004 - 91
American Cinematographer - March 2004 - 92
American Cinematographer - March 2004 - 93
American Cinematographer - March 2004 - 94
American Cinematographer - March 2004 - 95
American Cinematographer - March 2004 - 96
American Cinematographer - March 2004 - 97
American Cinematographer - March 2004 - 98
American Cinematographer - March 2004 - 99
American Cinematographer - March 2004 - 100
American Cinematographer - March 2004 - 101
American Cinematographer - March 2004 - 102
American Cinematographer - March 2004 - 103
American Cinematographer - March 2004 - 104
American Cinematographer - March 2004 - 105
American Cinematographer - March 2004 - 106
American Cinematographer - March 2004 - 107
American Cinematographer - March 2004 - 108
American Cinematographer - March 2004 - 109
American Cinematographer - March 2004 - 110
American Cinematographer - March 2004 - 111
American Cinematographer - March 2004 - 112
American Cinematographer - March 2004 - 113
American Cinematographer - March 2004 - 114
American Cinematographer - March 2004 - 115
American Cinematographer - March 2004 - 116
American Cinematographer - March 2004 - 117
American Cinematographer - March 2004 - 118
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