American Cinematographer - December 2005 - 105

to Medea

Systems and employed the

Medea FCR2/FCR2X Fibre Channel RAID

The Kona2 needed to be installed,
and, of course, the Medea drive required
array.

the

installation

controller.

world

fibre-channel

The New 1.2K

Suddenly, I was back in the PC

of additional

hardware

and

complications.

Flowever,

once you

get those set

up, wade through
Kona2 card and

the settings for the
triple-check your
settings in FCP, the system works like a
charm. I was surprised to learn that HD-

VTP

Sony J-FH3 PIDCam
(generously provided by Alternative

was

amazed to

see

PIDCam

footage play back so cleanly. My 23"
cinema-display monitor wasn't big
enough to show the whole image at full
resolution, which

Visual and tactile focal indicators to determine

Accessories

unique to the DayLite Par:
4-way door, with attached spill guard.
-New lens ring with unrestricted 360° rotation.

Compact with solid lightweight construction.

Rentals) via HD-SDI to the Kona2 card,
selecting to import 23.98-psf 10-bit 4:2:2
uncompressed FID footage to the
Medea RAID array - and selecting a
setting in the User Preferences to ignore
time-code breaks (FCP was seeing phan¬
tom time-code "breaks"). I captured the
footage perfectly.
I

lamp.

-New

of embedded audio (much like FireWire).
Once I figured this out, I was capturing
like

Standard 1 2K SE HMI/CSR

Completely redesigned optics for
maximum efficiency.

lamp position.
*

SDI connectors also have four channels

pro.
I hooked

DayLite Par

was

The New 5K

Tungsten Par

Hollywood's first dedicated
5K Tungsten Par with all the
features of the popular DayLite Par
in conventional 5K incandescent.
*

Specifically designed 5K Tungsten Halogen lamp
intended for axial operation.

Interchangeable lenses for optimum beam control.

Visual and tactile focal indicators to determine

Standard, on-board 5K switch with 60 Amp stage connector

Compact with solid lightweight construction.

for conventional

unfortunate, but I

lamp position.

dimming.

did get close (83 percent), and it looked
beautiful. I was able to play five sepa¬

uncompressed PIDCam video chan¬
once with no problems at all -
very impressive.
Of course, rendering takes a
while in FID. Applying a 10-pixel-radius
Gaussian blur (a notorious render hog) to
a 10-second clip took 1
minute 9
rate

The 12/18K

nels at

seconds to render. In DV, the same filter
on the 10-second clip took just under 11

DayLite Fresnel

12,000/18,000 Watt HMI.

Designed to Meet the Needs of
Film, Television and Event
Professionals Worldwide.

Re-Engineered Lens for Even Field
and Maximum Output.

Spill Protected Enclosure.

Highly Efficient Cooling.

Floating Lamp Sockets Reduce
Vibration and Prolong Globe Life.

Rear Mounted Grab Bar for
Ease-of-Use Handling.

seconds to render.

pushed FCP 5.0 about as far as I
just with PIDCam footage, but
also with DV footage. I used the
program to edit a documentary feature
I'd shot with the Canon XL2 in 24p DV. I
had gathered 180 hours of footage, and
it was my mandate to have all the
footage available for the edit. This
required 2TB of hard-drive space that
was accomplished with five 400GB
FireWire800 drives. During the course of
could not

937 N.

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American Cinematographer - December 2005

Table of Contents for the Digital Edition of American Cinematographer - December 2005