American Cinematographer - June 2006 - 122
im my
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A
NEW BOOK FROM THE AUTHOR OF
Every Frame
a
Rembrandt
In the world of filmmaking, the
stories don't
always end
best
up
this collection of
onscreen. With
lively anecdotes, cinematographer
Andrew Laszlo, ASC takes viewers
behind the
scenes on a
variety of
projects to illustrate how unforeseen
events can impact even the most
carefully planned production.
TABLE OF CONTENTS:
INTRODUCTION
*
FOREWORD
*
KIDNAPPED
*"...TO SIBERIA!"- FRIENDS ANDTHEIR BOATS
*TENNIS BALLS
*
*
SHOGUN
*
60-FOOT WAVES
REAL COPS, REAL BULLETS,
EXPLOSIONS
*
and
NIGERIA
GARBAGE
*THE COWARDLY LION - THE FIRST CIVILIZED MAN
ON THE SPOT-THE YEAR OF THE BEATLES
*
ACKNOWLEDGEMENTS
*
FILMOGRAPHY
*
-
EPILOGUE
INDEX
Paperback * 6"x9.25" -216 pages * ISBN # 0-935578-23-4
118
set out to achieve."
with
over
2.8GHz of
are running OS X
processing power,
2GB of RAM, and 8GB of flash memory.
The data from the Panasonic's DVX is
fed via dual USB 2.0 connections to two
Seagate SpeedStar 100GB 7200 rpm
micro-drives that slip into holders on the
side of the camcorder; each provides
the capacity for one hour (per camera)
raw
4:4:4 information. The drives
a steady stream of
29MB/sec data. "We're recording 29
/
/
/
we
The Mac Minis
receive and record
55 lb.
Control
achieved what
of
Weighs only
Full
Remote
a
couldn't do without
-
More Stable
Jimmy Jib Ute
lot of electronic
engi¬
destroy¬
ing the Mac Minis. Certainly, we've got
a pile of wasted cameras and comput¬
ers"
FireWire is prone to catching on
fire when wired incorrectly - "but we
neers we
megabytes per second times 2, which is
1,200 percent more data than you can
get from a monoscopic HDV camera,"
says Goodman.
Although the DVX100's 3 CCDs
are 770x492, through a Bayer demosaic
algorithm Andromeda is able to interpo¬
late 1280x720 by treating the three
CCDs as one large hi-def CCD (the three
together make up 1386x990, from
which 1280x720 is extrapolated). This is
a
very similar technique that is
employed by many of the HDV cameras
available on the market today. It's
important to note that although this
algorithm interpolation is taking place,
no color decimation or compression of
the signal is happening - the informa¬
tion is still 4:4:4 10-bit.
"In my mind, in order for 3-D to
fly, every cinematographer needs to say,
'Yeah, I could
use that camera,'" says
Goodman. "When you see a more tradi¬
tional L-shaped configuration with a
beam-splitter on the front, you immedi¬
ately know how restricted you're going
to be; you can't do handheld, you can't
do Steadicam. Cinematographers want
something that's functional, something
they can put on their shoulders. They
want a camera, not a contraption."
21st Century 3D achieved this
run-and-gun camera in three years. The
new 3DVX3, which replaces the 3DVX
American Cinematographer - June 2006
Table of Contents for the Digital Edition of American Cinematographer - June 2006
American Cinematographer - June 2006 - 1
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