American Cinematographer - December 2004 - 108

THE INFINITER
ASER POINTER

for

payloads ranging from 3.3-11 pounds
(1.5-5 kg) and a yellow spring for 11 -19.8
pounds (5-9 kg). These are easily inter¬
changed with the cameraman's old
friend: the quarter.
The 519 comes with all the

requi¬
quick-release sliding
base plate with secondary safety catch,
W and W camera screws, continuously
variable pan and tilt drag adjustment, a
telescoping bar pan and tilt handle, a
small spirit level for leveling the head,
site features:

and

a

a

a

battery included

(12 hours operating)
♦

Genuine leather

carrying
♦

case

included.

Die-cast metal

construction,

fingerprint-proof
metal plating.
♦ State of the art

design.

Shipping and handling
S5 U.S./S6 foreign

Phone 800.448.0145 (u.s. Only)
♦

323.969.4333

Fax 323.876.4973
or
104

online at www.theasc.com

PostWorks
on

Opens Dl Facility

East Coast

New York

your camera.
The action of the 519 is very

benefits of Dl

elsewhere is threaded holes under

play. The head quickly changed direction
of slip. The
head can tilt completely vertical +/9o°
The only fault I found is that the
quick-release plate seems a little
awkward. The position of the safety latch
sometimes made it impossible to slide
off the plate if it was positioned as far
forward as it could go (to compensate for
a back-heavy camera). In this instance,
the safety latch can be depressed, but its
"unlocked" position actually interferes
with the sliding of the base plate. This
catch also appeared to be the only real
weak part on the head. Although I'm sure
it's fine, I doubted this safety would
really prevent accidental slippage of a
camera at the extreme weight of 19.5
pounds. However, it held up well under
my attempts to make it fail.
With a long tie-down handle, I
was able to quickly adjust level on the
head. Again, for a film cameraman
mostly used to a Panahead, the fact that
both pan and tilt locks were located at
my left hand was very nice. With many
video heads, I often find myself fumbling
around to find the locks at the most inop¬
portune moments. The tilt-lock at the top
of the head has a nicely limited range of
of pan/tilt without any feeling

♦ CR2 #V

products are distrib¬
exclusively in the U.S. by Bogen
Imaging. For more information, call
(201) 818-9500 or visit www.bogen
imaging.com orvwvw.rnanfrotto.com.

the head that allow you to safely store
the camera screw that you use to mount

smooth, without any discernable extra

635nm laser

Manfrotto

uted

facility PostWorks
recently completed construction of the
first theater on the East Coast designed
specifically for digital-intermediate (Dl)
mastering.

seen

(approximately 10
times brighter than
670nm laser).

small-camera work.

standard 75mm and the head is

pretty lightweight, just under 5 pounds
(2.2 kg). A nifty extra feature I haven't

brightest laser
pointer in the world.

than one full rotation to engage the
lock. Overall, however, it is an excep¬
tional head, especially for fast ENG and
more

variable balance control. The ball

head is

♦ The

motion, and I occasionally found this a
little quirky: I sometimes had to spin it

motion of about 180° from

"free"

(forward) to locked (back). The pan lock,
unfortunately, has a much freer range of

"With the artistic and economic

technology making it the
mastering broadcast and
film projects, we have built our clients a
comprehensive, full-service Dl theater
from the ground up," says Billy Baldwin,
PostWorks president.
The 34-seat theater is equipped
with a Digital Projection IS8-2K digital
projector and a Kinoton FP 30E 35mm
film projector. The suite is interconnected
with PostWorks' facility to provide
access to an array of tools, including
standard for

Discreet Inferno and Flame, Quantel IQ,

Spirit DataCine, Pandora MegaDef
Evolution and da Vinci 2K, as well as

and

Arrilaser

Lasergraphics

film

recorders.
the

For

past several

years,

PostWorks has been
with
and

working closely
integrated hi-def solutions for film
broadcast productions and has

created its

own

flows. "The
theater

client-customized work-

ability to

screen

see a project on a
in full resolution while

performing further color correction and
cleanup prior to recording to film is the
final step in giving our clients the most
powerful and precise transition from
digital to film possible," says Baldwin.
PostWorks completed DIs on the
features
Asylum, Capturing the
Friedmans, My Architect, The Fog of
l/l/arand A Decade Under the Influence.

PostWorks, (212) 894-4000, Web
site: www.pwny.com.
American Cinematographer - December 2004

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