Highdef Magazine, May–June 2009

News | Products HD Tech | Reviews Forum | HD Tips

May/June 2009 $5.95

Worldwide Producing Partners

an interview with Valerie and Simon Griffith, Blue Moon Productions

also The Ice Man Cometh by Bradley M. Look

Fly, Camera, Action by Paul Adams

behind the scenes at HBO

by David Heuring

Change Service Requested Service Change

Seattle, WA 98119 WA Seattle,

West Avenue 15th 2247 HighDef Magazine HighDef c o n t e n t s

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F e a t u r e Worldwide Producing Partners 6 an interview with Valerie and Simon Griffith, Blue Moon Productions by David Thompson 6 Expedition Grizzly 13 by Christie Parell

The Ice Man Cometh 14 by Bradley M. Look

HD Tips: A Few Good Tools 13 16 by B. Sean Fairburn

Miami Heat, Moves to Highdef 17 by William Wheeler

Fly, Camera, Action 18 by Paul Adams 18 As if digitAl CApture didn’t HDTV Forum: Sony Drops FED for Good 20 by Steve Sechrist

hAve enough ChAllenges The Real Story 21 by David Royle

AlreAdy. Animal Planet Embraces HD Night Vision KodaK Vision3 250d Color negative Film 5207/7207 22 22 by Erin Pryor is the newest member of the KODAK VISION3 Film platform. Offering the highest resolution available, VISION3 Films continue to raise the bar with unrivaled highlight latitude and reduced grain in shadows Behind the Scenes at HBO 24 by David Heuring for greater flexibility and control in post. Combine that with film’s proven archival capabilities and you have the state-of-the-art image capture medium that others can only aspire to. Why try to emulate Cheech and Chong’s Light Up America Tour 26 by Brian Cali film when you can have the real thing? Film. No compromise. 24 Learn more at www.kodak.com/go/250d

Front Cover: Portrait of a Bambara woman, Mali. © Art Wolfe/www.artwolfe.com

Vol. 11, Issue 3 | HighDef Magazine is published bi-monthly, free for professionals in all areas of video and film production, nationally by American Press Services, 2247 15th Avenue West, Seattle, WA 98119. PUBLISHER: Conrad W. Denke EDITOR: David W. Thompson PRODUCTION: Gina Griffin Hanzsek DISPLAY ADVERTISING: Call David Thompson at 1-888-282-1776 or e-mail [email protected]. Deadline for advertising mechanicals is fifteen(15) days prior to publication date. Current and back issues and additional resources, including subscription request forms, are available on our website: www.highdef.com. Address changes can also be done online at www.highdef.com/subscribe or mail changes to: HighDef Magazine, 2247 15th Ave. West, Seattle, WA © Kodak, 2009. Kodak and Vision are trademarks. 98119. PRINTER: RR Donnelley, www.rrdonnelley.com where do you draw the line between master quality N E W S & PRODUCTS and affordability?

conversion during playback between project for the House Recording Studio in a fi eld of its own 1080i and 720P. Users can record HD located in the new Capitol Visitor’s content (approximately 95 minutes Center in Washington, D.C. The pri- at 50 Mbps) to the dual-layer 50GB mary goal of the system is to record/ version of Sony’s optical Professional archive live events within the House. Disc(tm) media, model PFD50DLA. The The production control room consists camera and deck can also handle con- of a 4 M/E HD production switcher, a 24 tent on PFD-23A single layer discs. channel audio console, two HD charac- Panasonic Lower Cost P2 ter generators, and a multi-image video Cards production monitor system that con- Panasonic announced a new line of P2 sists of 10 57-inch LCD display monitors solid-state memory cards designed to and a video processor. Existing HRS HD significantly reduce the cost of the P2 cameras, remote camera controllers, file based workflow. The new E-Series and microphones are integrated into includes 16GB (model AJ-P2E016X), the control room. 32GB (model AJ-P2E032X) and 64GB (model AJ-P2E064X) P2 memory cards, which provide superior quality recording for an average of five years of nor- mal operation. Incorporating a newly- Anton-Bauer Gold Mount developed technology, E-Series P2 to Sony PMW-EX3 cards transfer recorded content at even The QR-EX3 on-camera Gold Mount higher speeds (up to 1.2Gbps) than allows Sony’s PMW-EX3 model to work Panasonic AV-HS450 current longer life models. Built with with Anton/Bauer’s Dionic 90 or Hytron Switcher an aluminum die cast casing, P2 cards 50 batteries, extending the camera’s Panasonic’s new addition to its popular provide superior durability compared run times and improving balance. The multi-format switcher line-up, the new to plastic-based memory cards. When QR-EX3 also comes standard with an AV-HS450 HD/SD live switcher, is an recorded once daily, at full capacity Anton/Bauer PowerTap connector, expandable, high-performance switcher (100%), the cards are reusable for up to which allows the powering of an on- offering 16 SD/HD-SDI standard inputs five years; when used at half capacity camera light, wireless receiver, or any with a unique built-in, dual-screen (50%), the cards will continue to record other 12V accessory. The 90 Wh, 14.4V MultiViewer, multiple keyers, four aux for up to 10 years. The 16GB and 32GB Lithium-Ion Dionic 90 provides up to busses, two Picture-in-Pictures (PiP), E-Series P2 cards will have a suggested 6.5 hours of run time while the Hytron shot memory, and 3D effects for both list price of $420 and $625 respectively. 50 battery offers up to 3.5 hours. background and key inputs. With 16 The 64GB E-Series P2 card will be built-in frame-synchronizers, four built- available in August at a suggested list in up-converters, four SD/HD-SDI out- price of $998. puts and two scalable DVI outputs all as standard, the HS450 offers a powerful modular platform with expandable capabilities for enhanced performance and ease of operation. The HS450 Shown with optional switcher is designed to provide ver- wireless mic receiver. satile, economical, 10-Bit 4:2:2 HD or Fujinon PL Mount Zoom SD live switching for mid-size studio or Lenses mobile production systems worldwide. If you dream of shooting 10-bit 4:2:2 master quality but believe you can’t afford it, the new AG-HPX300 P2 HD camcorder The Fujinon 18-85mm T2.0 (Model HD Ubiquitous Globally by changes your dreams into reality. With a $10,700 list price, the HPX300 is the world’s fi rst affordable 10-bit 4:2:2 Number HK4.7x18F) are the first of the 2012 PL Mount zoom lenses in the series On a global basis, shipments of HD camcorder. And there’s nothing even close. With a standard 17X interchangeable lens and newly-developed three 1/3" introduced. Three other zoom lenses set-top boxes, HD camcorders, Blu-ray Sony New XDCAM HD422 in the PL series include: the 14.5-45mm Disc players and video game consoles 2.2 megapixel 3-MOS imagers, you can record 1080 and 720 HD as well as SD content using master-quality AVC-Intra, Series T2.0, 24-180mm T2.6, and 75-400mm are expected to triple between now and DVCPRO HD, DVCPRO50, DVCPRO and DV compression — all with the benefi t of P2’s faster, independent frame, The new PDW-F800 CineAlta® cam- T2.8 - T4.0 - with an anticipated delivery 2012, as “HD becomes the ubiquitous corder and PDW-F1600 deck expand of December 2009. Fujinon’s PL Series video standard worldwide,” accord- fi le-based workfl ow. As rich in creative features as it is in style, the HPX300’s innovative, low profi le, shoulder-mount the capabilities of the MPEG HD422 was developed with an advanced ing to iSuppli, a consultancy based in codec, with both offering a frame optics design to maximize image cap- El Segundo, Calif. Global shipments design lets you shoot freely through a beautiful, master-quality world. It’s no longer a dream. The HPX300 is here. rate of 23.98P natively in 1080 mode ture capabilities of current and rapidly of “HD-capable” equipment will rise and multi-format recording flexibil- emerging 35mm motion picture film to 202 million units by 2012-up from Visit www.panasonic.com/p2hd. ity as standard - including standard- and digital cinematography cameras. under 69 million in 2008. The study finds definition recording to support legacy Congress Goes HD that within three years an estimated 53 formats (MPEG IMX®, DVCAM(tm) and percent of STBs, camcorders, video- Professional Products Inc. has com- when it counts 4:2:0 HD content). They also provide disc players and game consoles being pleted Phase I of the U.S. House of multi-format (1080i/720P) recording, as shipped globally will be HD-capable (up well as HD/SD conversion and cross- Representatives high-definition video from under 22 percent in 2008). HD production control room upgrade 4 © 2009 Panasonic Broadcast

PBTS-0228_HPX300_HD.indd 1 2/25/09 5:32 PM WorldwideProducing Partners © John Greengo / www.artwolfe.com Greengo © John an interview with Valerie and S imon Griffith, Blue Moon Productions by D avid Thompson

hey first met in Fiji, re-acquainted in Denver, rendezvoused in London, backpacked are a very small video and television production company here in Seattle, Washington. Most across Africa, married in Italy, moved to New Zealand, relocated to Denver, and recently we’ve been employed by Edge of the Earth Productions for Art Wolfe’s Travels to the T settled in Seattle. That’s how Valerie and Simon Griffith, both avid travelers, became Edge, now in its second season. It’s an HD travel adventure photography program. Art Wolfe on location in husband and wife and currently the producers of two separate PBS world travel series, Art S – (Simon): It is just the two of us and we’re both freelance producers. I also have a pretty the Altiplano, Bolivia. Wolfe’s Travels to the Edge and Rick Steves’ Europe. David Thompson, Editor of HighDef regular gig with Rick Steves doing a European travel series. I’ve been involved with eighty Magazine interviewed them during a brief break in their schedule. some-odd shows and still going strong. I do other freelance work as well and I also help on the Tell me about your company. Art Wolfe series. I help assist Val with some of the technical stuff. V – (Valerie): You are looking at Blue Moon Productions as it consists of Simon and me. We V: We are a very small team. I have a producer role in the pre-production and post production. 6 7          

www.aja.com “AJA makes the whole process easier.”

Keith Collea The only thing that I don’t do is go out ties. He produces 13 new shows every two Co-writer and Producer, The Gene Generation into the field with the crew. I hired the crew years like clockwork. It’s the same tiny little and, with Simon’s assistance, put together team including the cameraman, Rick and Production Crew (left to right: a great team of people. I help set up all the myself. Rick knows where he wants to go and Simon Griffith, Karel Bauer shoots and figure out the complicated travel he knows what he wants to do. In our case it and Rick Steves) on location arrangements. There is a lot of permitting is quite different from the Art Wolfe series. From capture to conversion, Keith Collea’s entire on Amalfi Coast, Italy. to do along with visas. I am greatly assisted We go out with pre-written scripts or at least post production workflow relies on AJA at its core. by Chris Eckhoff who is Art Wolfe’s Business very good guidelines that we shoot from. We Manager. On the series she’s the Executive will often drop elements or add elements, With a resumé including work on blockbusters such as ‘Alien: Producer, wearing lots of hats working directly but it is pretty organized. Because of the way Resurrection’, ‘Independence Day’ and ‘Pearl Harbor’, the effects and post production veteran has been a longtime user of AJA products. with Art. We work very closely together on Rick is and how he runs his business, we are Collea’s entire post production workflow depends on AJA products, the pre-production stuff. On post, I work extraordinarily efficient. We have a very low including KONA, Io HD, and Converters. “I’m a huge AJA fan,”says Collea. with three different editors who edit all of shooting ratio because we know what we’re the shows remotely at their homes. We go to after. On his recent feature, ‘The Gene Generation’, Keith chose Io HD as the various post facilities to finalize each episode. With such a tiny crew, I tend to do every- centerpiece of a fully portable projection system. “Using the Io HD, an I don’t go on location other than vicariously, thing and our roles overlap. We all know what Apple Intel MacBook Pro and a G-Tech G-DRIVE, we were able to create partially because our producing season is so we’re looking for. I carry a ton of gear as well. a system that allowed the film to be shown on a Sony digital cinema projector without the use of a tape-based VTR for playback,”he short based on budgetary constraints. Part of Rick’s travel philosophy is to teach his • 10-bit, full-resolution SD/HD over FireWire explained. “It saved us time and money, and the picture quality S: I’m a freelance series producer for Rick travelers to travel light, something he has us • Apple ProRes 422 codec in hardware – was better than if it came off of tape. It was just incredible.” emulate. Considering that we are shooting in HD 720/1080, SD NTSC/PAL Steves’ Europe and have been with him since • Up/down/cross-conversion, hardware-based and realtime 1999. I got my start with Rick when he asked HD and HDCam with minimal lighting equip- • Connect via a single FireWire cable to To find out more about how Keith uses AJA products to enhance me to go to an area that he was not familiar ment, we are probably one of the lightest MacBook Pro or MacPro his workflow, check out the full details at www.aja.com/keith with which was Egypt and Israel. After that weight crews out there. experience Rick wanted to know if I would What are the similarities and differences in like to do more shows. I’ve been with him your freelance jobs? ever since. It’s been a very interesting process V: The pre-production process for both of us because he’s very consistent and probably is not too dissimilar and the post is very simi- one of Public Television’s favorite personali- lar. Simon works from a fairly tidy script and I o H D . Because it matters. 8 the edit kind of falls into place. For Travels we We were writing as we went, structuring it in take between 25 to 30 hours of footage and the field. We ultimately put together a great watch it all. Then it’s up to us to find some show with extraordinary positive response. kind of rhythm and develop a story by pulling V: The other thing that Simon does with out all the best sound bites. We use music in Rick that’s interesting is something they call a very innovative way. Then there are Art’s still “scrubbing their script”. They’ll shoot and then images which we incorporate into our shows. they will be driving and they will be refining the We have this organic process that just sort of script based on what they shot that day, based happens in the edit. That’s the part of it that on what’s going on in Rick’s and Simon’s brain. I love the most. It’s all a surprise. Because I It’s a constant process of polishing. haven’t been in the field, I don’t know what S: We also include the camera guy. There optimo rouge we’re going to see. Sometimes it’s challeng- is never a down moment for the three of ing and sometimes it is an embarrassment us. You are constantly revising the script. So of riches. It just depends upon the location. when we come home we have a script that we Sometimes the weather has not cooperated. can start editing to. When Val’s tapes come We shot a show up in Northern Australia in home it is just the beginning. Neither Art nor the Kimberly which is very rugged and it con- Rick participate in the editing process. They sists of beautiful deep gorges and red rock, will both view rough cuts and make minor but the light is only good for about an hour suggestions, but generally entrust the post on each side of the day. The crew was travel- process to others. ing everywhere trying to shoot a show in two or three hours. Has Art Wolfe’s Travels to the Edge always been produced in HD? S: Rick Steves’ Europe is more of a formula show. One show that was a bit of an excep- V: From the get-go it has been produced in tion was a one hour special we did on Iran. HDV with Canon H1 cameras. They are small, That was the one case where it was closer to light, rugged and durable which is the reason the manner in which Val produces. Usually we use them. We use an interchangeable Rick is a walking encyclopedia because he wide angle lens along with a regular lens. The knows a place and has been there before. first season we edited native so we stayed in None of us knew what was around the corner. HDV. The second season we reduced render wide

Directors of photography Karel Bauer and Sean White pictured with Art Wolfe while filming the Pantanal episode of Travels to the Edge.

Following the tremendous success of the Optimo Rouge 30-80 lens – the first in the Optimo DP series – Thales Angenieux introduces the Optimo Rouge 16-42 Wide Angle Zoom. It features a wide angle position of 16mm (75.4 degrees), a fast aperture of T2.8, calibrated focus marks, no ramping or breathing all in a lightweight, compact 4.2 lb package. The Optimo Rouge 16-42 Wide Angle Zoom delivers industry proven features with the performance, functionality and ergonomics that DP’s demand at a cost effective price. Only from Thales Angenieux. images

3212MP Angenieux Optimo Rouge Wide Ad 8.375” x 10.875” I was concerned how the HDV would hold up. What we discovered is that if a scene is fairly well lit and well shot, and you are not pushing HDV in terms of wanting to do lots of effects or composites, it does very well. The colorist we use at Victory Studios, Seattle is John Davidson and he has been very impressed with the consistent quality of the HDV footage. With his help, we’ve achieved the gorgeous images that the Art Wolfe series demands. What are the pluses of using Highdef? S: When you see a close up of a flower or other things in nature, the imagery is stun- ning, and wide shots hold up so much better than in standard definition. V: It’s really important when your show is about a photographer and his images. The video has to look as good as the stills. We use a lot of stills in each episode, somewhere between 35 and 40 images. When you are © Rick Smith / Grizzly Creek Films Creek / Grizzly Smith © Rick dissolving off a still to moving footage you want it to be as seamless and beautiful as times by using a small converter box to edit possible and with HD it does. in DVCPro HD. What does the future hold for both shows? Expedition Grizzly How about the Rick Steves’ Europe series? V: There are no guarantees, but Travels has Rick Steves at a winery in S: I was able to convince Rick to change been very well received and we’re looking by Christie Parell Côtes du Rhone, France. to HD about three years ago. We shoot in forward to jumping back into production for HDCam. We have over 40 half-hour shows season three in January 2010. shot in HD and a huge archive of wonderful S: Rick Steves’ just keeps on going and xpedition Grizzly featuring Casey of Casey.” HD footage of Europe. Our workflow is dif- going. He has this extraordinary synergistic Anderson presents the unique story of The biggest challenge for the film crew ferent than Val’s. We shoot HDCam, down relationship between his books, his TV show, E one man who has dedicated himself to was capturing Casey Anderson’s presenter- convert to BetaSP, offline in BetaSp, and his tours and it just all works together. We’re wildlife preservation and a daring approach to driven story along with the classic nature reconform in HD, doing color correction as going to Eastern Europe later this spring understanding grizzlies’ every move — living shots of the wild grizzlies — all in extraordi- Casey Anderson has we output to HDCam. It works really well for to do three shows and then on to several among them in extreme conditions, observ- narily harsh conditions. Winston says, “We raised and taken care us and we’re very happy with the final product Scandinavian countries and the Baltic States ing their behaviors and even tasting some of were able to do this by always shooting on of Brutus since he was five months old. Brutus and the look. after that. HD their favorite foods. two cameras. One captured the grizzly bear On the Art Wolfe series, at the beginning Told in the first person by Casey, the behavior on a long lens, keeping a safe dis- “roars” for the camera. show gives viewers an awe-inspiring glimpse tance from the animals, and the other was deep inside the grizzlies’ wilderness. “We for Casey’s real-time analysis and reaction of shot in HD because for natural history there is the situation. The P2-based Panasonic system Valerie and Simon bring over twenty-five years simply no other choice,” says executive pro- worked great for this and stood up to the of experience in national and international ducer and DP Thomas Winston, who along extreme conditions that included blizzards.” television production. They’ve produced with his partners at Grizzly Creek Films, Leslie Describing his most memorable moments nationally broadcast series and features for the M. Gaines and Mailande Becker Holland, during the shoot, Winston says, “Watching Public Broadcasting Service (PBS), American were the visionaries behind the film. Casey literally ride Brutus, an 800 lb Grizzly he Public Television (APT), Buena Vista Television Winston filmed primarily on the had raised from birth, was incredible, but the (Disney), National Geographic, and the Panasonic HPX500, and paired it with the highlight for me was filming the bears in late Discovery Channel affiliates. Art Wolfe’s Travels Fujinon 42x zoom for the long-lens wildlife summer as they fed on army cutworm moths. It to the Edge and Rick Steves’ Europe have photography in Yellowstone. Also, he says, was a spectacle of nature unlike any other, see- both received the American Public Television “Our B-camera operator took advantage of ing as many as 20 bears in a single day!” HD (APT) Award of Excellence in Programming. the compact size and great image quality of For more information on Casey Anderson, visit the Panasonic HVX200 for the verité footage natgeotv.com/grizzly. 12 13 The Iceman Cometh by Bradley M. Look

ecently, I was asked to participate with the entire face and neck. Using a small 000 pointed brush, broken veins Clayton’s right earlobe. Gafquat squirted onto three other makeup artists to demon- I then used a variety of temporary tattoo were added on top of the stippled areas. The the plastic strip and allowed to drip so as to Rstrate our interpretation of extreme inks (i.e., such as Reel Creations, Premiere face was further enhanced with broken high- form a small icicle. (Photo 4) K-Y Jelly was Model Clayton Stang exposure to the cold for a Makeup Artist Craft Products Skin Illustrator, and Temptu) and lights and airbrush stipple. stippled onto the face and neck, after which undergoes extreme meeting. All four of us came up with such a soft filbert brush to contour the face Moving on, it was now time to seal the Ice Powder was pressed into it. A product exposure to the cold. varying degree of vision when the demonstra- and neck. (Photo 2) I first used a grayed makeup with a light misting of Green Marble called Ultra Ice was then spatulated into the tions were completed. It was a real learning purple that had been mixed with some blue. Sealer. This step was then followed by a hair. Next, hair spray was sprayed over the experience for the audience members to Isopropyl alcohol was mixed with some of light stipple of thinned down Gafquat to the hair so that shredded plastic snow, which was watch as we applied our skills giving each of Telesis Gelled Alcohol. This gave me more entire face and neck using an orange stipple sprinkled, would get affixed to Clayton’s hair. our models personal distinctive touches. working time so that inks could be better sponge. (Photo 3) This application imparts a Clear mascara was brushed into the lashes I decided that the experience was such blended on the skin. To further enhance the chapped skin effect that subtly enhances the before white flocking fibers were carefully an interesting one, that I should recreate blue cast to the skin, Graftobian F/X Aire Teal makeup. added to them. A lace mustache that had a portion of that exposure makeup for this was thinned out with alcohol and applied to Finally, it’s time to add the snow effects. been prepped the day before was glued on. magazine, as the topic comes up so seldom. the skin using a large round brush. Slightly thinned down Gafquat was brushed The makeup was finished with a light spray of First, I cleaned my model’s face with a Further details were stippled on the face into the eyebrows using a disposable mascara water, which caused the Ice Powder to swell mild astringent. (Photo 1) Once this dried, I to create flush marks around the nose, the wand. This was also done to the sideburns. and look as if Clayton had some wet snow applied a light coating of Derma Shield over front of the cheeks, as well as on the ears. A thin strip of clear plastic was glued to stuck to his face. HD Photos by Bradley Look Bradley by Photos 14 15 Tips b y h B . S e a n F a di r b u r n s o c A Few Good Tools

Writing about a few tools to post, remember that it has images don’t look good can be that make capturing images in a strong effect on the images educated on the “dark room HD a bit easier and more con- you help create. So make sure equals better images” concept. sistent provides me the chance your post folks understand Edgewise is where I get my to brag on some equipment I the direction you are going. HDCAM and SR tape, Filmtools use in the field. First, all good After that it always helps to for the expendables and HD begins with a common go see the environment in YesWatch for the wraptime. By Images © of Getty courtesy Photo point of reference. DSC Labs which the DVD’s of your dailies the way, I am not paid for the Chroma Du Mond Chart has will be viewed so the person plugs but I love the products that covered. Next, I enjoy that would fire you when the and I’m happy to share. HD Miami Heat Zeiss and Fujinon for great glass. Behind the glass I prefer F900/3, R, F23, especially the Moves to Highdef F23. The only way to enjoy the by William Wheeler B. Sean Fairburn, SOC great images is with a great Director of Photography, HD monitor. eCinema has Role Model Productions, that covered especially with he media production department for for the HEAT Group. They recently took LLC. rolemodel@ the new Pro-2310 and dare I the National Basketball Association’s delivery of Sony’s newest optical disc cam- earthlink.net say the DPX-2310. Now to the Miami HEAT got its first taste of high- era, the 2/3-inch XDCAM® HD422 PDW-700 Seanfairburn.com T “nitty gritty.” The sword in the definition video this fall during the recent camcorder, and the PDW-HD1500 deck, which 818-621-3912 hand of any good DP or DIT NBA Europe Live Tour, a series of exhibition Filomia said will become the group’s primary Local 600, is the scope, a “must have” games the league organized to expand the HD production system. Agent Steve Jacob, if quality is at all a concern. sport’s visibility to international audiences. The HEAT Group first started using 323-460-4767 Leader’s LV5380 has some Recognizing the opportunity to capture a XDCAM standard-definition technology in amazing new ways to look at unique moment in the franchise’s history, the 2005, during the team’s “Red Zone” playoff an image making you feel like department sent two ENG crews equipped run that season. “We had a camera and a few

Geordi from Star Trek with the with Sony XDCAM® HD and Sony’s HVR-Z1U decks that we used to shoot, archive and pre- Photo © 2009 Miami Heat cool glasses that see unlike HDV camcorders to document the entire trip. serve those games, and we’ve been acquiring anyone else on the bridge. The HEAT played one game in Paris and on the XDCAM platform ever since,” he said. Above: PDW-700 Image from movie shot Now if that’s not available at in London, and the footage that was shot with Filomia said that the workflow benefits camcorder captured the in Paducah, KY where the rental house, likely they will the XDCAM PDW-F355 camcorder was used of the XDCAM system have saved a lot of Miami Heat’s exhibition all products mentioned have the LV5750 that most are as an episode of Inside the HEAT, the team’s production time and resources over the years, tour of Europe in the fall. were used. familiar with. Make sure to ask flagship anthology series that aired on Fox but one of the technology’s biggest benefits if it has the new Cinelite and Sports Net’s regional network in the south- is its long-term archival capabilities. Top: Dwyane Wade of Cinezone tools built-in. eastern region and on NBA TV. “My ticket holders, my premium seat the Miami HEAT drives Nothing moves quite Their positive experience in Europe con- holders, are already living in an HD world,” to the basket. like a camera in the hands vinced the group that HD production was the Filomia said. “So it’s important that we keep of a good team on a Super right move for the future, according to Ed them in that world when they’re here.” HD

Technocrane. When it comes Fairburn Sean B. by Photo Filomia, Senior Director of Broadcast Services 16 17 of a sparkling city. Using a broadcast quality house climbing to a commanding elevation camera mounted on one of Vortex’s remote for a seamless bird’s-eye-view of the property. controlled helicopters, we produced an Promoting a motocross race is a differ- immersive world which showcases the build- ent story altogether. Although the electric ing in relation to all points around, below and choppers are deployable from any terrain and above. For an added interactive feel, the CGI can outmaneuver their full scale counterparts interior of a floor was coupled with exterior without the noise or the prop wash, there is views to create a virtual world in which clients still the issue of real time through-the-lens can fly in and out of a suite. monitoring. Vortex uses real time video down When the proprietor of a golf course linking to wireless body-worn mobile video wanted to showcase his sprawling 18-hole receivers to keep key personnel free to move property, and capture the exhilaration a about while focusing the cameras on their tar- player gets from a well placed strike on a golf gets. This allows the operator control over the ball, he opted for the bird’s-eye-view pack- camera to take horizontal and vertical (and all age. The shoot was taken on a clear day with points in between) tracking shots with maxi- just the right atmospheric conditions. After mum elevations of 400 feet and speeds of up touring the property for best possible angles, to 60 mph. Although this is new, companies Vortex mounted a broadcast quality camera like National Geographic, DISCOVERY, ESPN, to the small remote helicopter and tracked an and SPEED are already using this technology imaginary ball’s trajectory from the tee to the for their programming. HD putting green. Other angles included a soar- For more information contact Paul Adams: ing shot from the interior confines of the club Fly, Camera, Action [email protected]; www.vortexaerial.com

b y P a u l A d a m s

hat does a hummingbird see? To be subject matter. Its only limitation is the length able to view the world from any van- of the boom. Wtage point, to be omnipresent and Stemming from this search for a hum- inconspicuous at the same time, has been a mingbird’s point of view emerged a new Holy Grail. To capture that sensation, filmmak- technology: Low Altitude Remote Controlled ers have been using a variety of technologies (LARC) HD video, consisting of HD cameras over the years. A popular one is the eye-in- mounted on miniature electric helicopters. the-sky where a self-stabilizing, swivel-based Vortex Aerial, spearheaded by Christopher camera is mounted onto a helicopter. While Schuster, is at the forefront of LARC develop- this method produces sweeping panned and ment. Following extensive flight testing and tight shots, the helicopter’s propeller wash powered by the latest innovations in Lithium and noise level prevent the camera from get- Polymer technology, the radio controlled ting us up close and personal. aerial platform units are coupled to Panasonic Another technology widely used is a and Sony HD broadcast cameras. camera tracking system driven by a motor/ When a San Diego real estate developer pulley combination. Essentially, the camera wanted to promote his high rise, he opted for travels along like a cable car as it tracks the Vortex’s aerial 360 degree spherical panorama action below. It’s limited in its range, but there package. He wanted to bring the customer are no downdrafts. Finally, there is the familiar to the building’s interior, exterior, to the sur- boom and crane shot consisting of an articu- rounding cityscape, to the streets below, and lated arm that can raise, lower, and swivel the even to the azure skies above. He wanted camera through all planes in relation to the to showcase his building within the context 18 19 Forum b y hdtvs t e v e s e c h r i s t

Sony Drops FED for Good

Sony officially abandoned plans to purchase a plant and equipment to develop

its Field Emission Display Films Networks/BLINK © Smithsonian (FED) technology in February because it couldn’t locate funding for the equipment. Sony owned 37.8% of Field The Real Story Emission Technologies (FET for short, Tokyo, Japan; www. fe-tech.co.jp). The company by David Royle was spun out of Sony in 2006 and devoted to developing Steve Sechrist is and releasing a commercial thin line exists between quality and for casting and attention to detail.” an editor/analyst 26-inch FED TV by the end of cheesy recreations, and tight docu- Blink’s directors shot with the Sony F900 at Insight Media, a this year. Sony reportedly has mentary budgets mean that non-fic- to create the right atmosphere for each technology based already begun liquidating its technology. At CEATEC-07 Werner pointed out back in A tion filmmakers face considerable challenges film: For The Untouchables, a seedy, smoky The public believed Elliot media firm specializing remaining FED assets. bright screen demonstrations September, “That conclu- to ensure that their imagery falls on the right Chicago in the 1920s; for The Amityville Ness and the Untouchables in large format and The technology itself were given by FET showing sion might surprise Sony’s side. The Smithsonian Channel places great Horror, a spooky setting with shadows and a brought down Capone, but micro display and is superior to LCD in many the FED panels drawing 14 Professional Division, which is emphasis on partnering with producers who sense of the supernatural at play; for James that’s not the real story. related industries. ways, particularly the high watts to the LCD’s +100 watts. energetically promoting and can create dramatic scenes that are convinc- Bond, a sense of espionage and adventure. contrast levels and very fast While the LCD technology widely distributing its BVM- ing but not overblown. HD demands great attention to detail, response times. FED depends has come a long way since L230 23-inch Professional This was particularly important for The particularly for dramatic reconstruction. “On on the light emitted from late 2007, they still rely on Master LCD Monitor, at an Real Story – a new series on Smithsonian HD digi-beta, the camera would be blind to so electrons striking colored a relatively inefficient, back MSRP of $25,000.” that tells the true stories that inspired some of many blemishes in make-up, hair, the set etc.” phosphor, the same principle lighting scheme, and complex So in the end, the dra- Hollywood’s most popular movies. says Chambers. “On HD, the camera picks up as the display bench mark active matrix addressing, not matic improvements in main- Dan Chambers of Blink Films in the UK everything.” standard for half a century, required in FEDs. line flat panel displays may had two main goals: “The first was to shed As the former head of programming at CRTs. This emissive approach The FET team targeted have rendered the CRT-like light on the real story behind the movie. In Britain’s Channel Five, Chambers notes that, to displays is one of PDP and the high-end reference quality technology unable the case of The Untouchables, Eliot Ness, ”Europe has been slow to provide and pro- OLED’s biggest advantages monitor market, the “master” to compete against the LCD wasn’t, in real life, the man who put Al mote HD channels/platforms. But increasing too, and it is an order of mag- monitors used by TV broad- manufacturing juggernaut with Capone behind bars. The real hero of the numbers of high-end production companies nitude faster. casters to evaluate picture control rooms now stuck with day was a publicity-shy accountant, Frank are now embracing HD, with a view to future- Proponents say FETs quality. The company said the choice between relatively Wilson. The second goal was to visualize the proofing their output.” HD should also be cheaper to that neither LCDs nor plasma slower LED backlight based real story so that it could hold its own next David Royle is Executive Vice President for manufacture with fewer total displays can satisfy the high LCDs or PDP emissive tech- to the Hollywood drama. To achieve this, Programming and Production at the Smithsonian components, and be more quality standards required nology, that is until OLED TVs we employed top directors, and provided a Networks. power efficient than rival LCD for such monitors but as Ken hit the scene. HD decent drama budget with preparation time 20 21 22 frighteningitafter dark. himtospot wildlife without flashlightwhich enables backpack,andreda light duskwith hissignature the HostBrandon McMillan in r o y r P n i r E y b HD Embraces Planet Animal A rizonadesert after NightVision neysalttoa lick deep inthe jungle tofind “Ourfirst night inPeru, weset out jouron a inthedark,” said videographer Clint Lealos. theharshest environments onthe planet... big,heavy, shoulder mount cameras through sacrificingthequality ofHD. nightvision andinfrared beacons, without likethermal imaging cameras, military-grade darkness,heand his crew utilize technologies ofnocturnal nature. To navigate through the ingtocatch glimpsea ofthe inner workings istasked with finding these creatures, hop predatorsare nocturnal. In explains,some ofthe world’s most dangerous hostandanimal trainer Brandon McMillan Planet’snewseries alleys.Andas viewers learn from Animal theiractions indark corners anddeserted Criminalsmask themselves init, shrouding N “Filmingtrue HDmeant wewere hauling Okay,maybe notall animals, butas monstrouscreatures under their beds. Childrenare afraid ofit, envisioning ighttimeisthe realm ofthe unknown. Night —animalslove it. Night , McMillan, - - 100s,butwe love tosuffer forour craft.” beenvery happy tobeshooting SDwith DVX- onourbacks. Atthat point, wewould have throughthejungle with Panasonic HDX-900s vampirebats. That meant slashing ourway animalplanet.com Formore information on fieldwith science.” seriesisjust anattempt tolevel theplaying McMillan.“The night vision weuse in the nightvision—including most bigcats,” said son—survival. aestheticsmuchtoa more pragmatic rea theimportance ofthese gadgets goes past ingtoviewers. However, forhost McMillan, mission,creating grittya realism that’s appeal invokethoughts militaryofa reconnaissance withtheseries’ graphics package, often series.Thenighttime technologies, mixed cameras,butall for the aesthetic value ofthe lens,Lealos andthe crew struggled with the ingsixinches tothe length oftheir 400mm Withthenight vision attachment add “Manynocturnal predators have natural .

HD Night please visit www. - - - Discovery Communications, LLC Behind the Scenes at HBO by David Heuring

BO was the big win- HBO’s use of the Super cially the visual effects aspect,” ner at the 60th Annual 16 film format dates to 2001, says Kanner. “The stabilization HPrimetime Emmy when director Frank Pierson technologies as well as some Awards in September 2008. and cinematographer Stephen of the enhancement software Ten of the 28 Emmys present- Goldblatt, ASC, BSC col- and the improvements in film ed went to productions made laborated on Conspiracy. stock have alleviated many by and aired on HBO, and the “The workflow has improved concerns.” individuals who created those significantly since then, espe- Recent examples of HBO programs. The cable channel has been the perennial champ in the nominations race as well. Cynthia Kanner is vice president/head of postpro- duction at HBO Films, with responsibility for original movie and miniseries productions. Kanner says that the quest for quality affects every decision, from hair and makeup to the choice of format and workflow. “Our methods Schiraldi Paul by Photo begin with the decision to Above: Cynthia Kanner, make really good films,” she original projects produced Oftentimes, you have to put miniseries is to deliver a film vice president/head of post says. “So when we’re choosing in the Super 16 format so much effort into making element.” production at HBO Films. the best place to shoot a film, include Walkout, Life Support, HD not look like HD.” Another factor is the for example, the question is, Recount, Elizabeth, and the “The Digital Dilemma potential for future improve- Right: Actors Denis Leary ‘What is going to give us the forthcoming Temple Grandin. report from the Academy ments in display and delivery Queen Latifah (L) and (L) and Kevin Spacey (R) in look that is truest to the story,’ Longford, a biographical film of Motion Picture Arts and systems. “Right now, our Wendell Pierce (R) in a a scene from Recount. as opposed to, ‘Where can we about a controversial British Sciences says that it’s cheaper budgets only allow for 2K scene from Life Support. shoot this the cheapest.’ Of lord in the 1960’s, is one exam- to archive on film than it is scans,” says Kanner. “But as course, budget is a factor, but ple of several recent HBO films to archive in a digital format. 4K televisions and other devic- it’s a balancing act.” that also aired on the BBC. We archive original camera es approach, one wonders “We put a lot of time “We used the same work- negative, DI negative, or inter- whether today’s DIs are going and effort into understanding flow for Recount and Temple postive, and in some cases, to look good enough.” each project, to determine the Grandin,” Kanner reveals. internegative. Until there “We put a lot of care into right format to tell that par- “They were both produced in is a perfect digital archival our projects,” Kanner adds. ticular story,” explains Kanner. Super 16 format, transferred format, how do you know “It’s not just about getting “Generation Kill (2008), for to high definition for editing, if the machine is going to product out there. We really example, was a big miniseries and output to film. Making a exist in seven to 10 years, let get to make films because we with lots of visual effects. We production look spectacular alone 25 or 35? After we go are passionate about them. So shot that on Super 16 because is as much about how you to all the trouble of licensing whether it’s designing a work- that allowed the cinematogra- light it as it is about which music, effects, clips and all of flow, choosing a soundstage, pher, Ivan Strasburg, to bring lenses you use, what your set that, are we going to be able or dealing with a DI house, the cameras and the audience design is, and your costume to access it? That’s why our the ultimate goal is to make inside the Humvees.” design – all of those things. policy with original films and something of quality.” HD Photo by Gene Page/HBO Gene by Photo 24 25 CG_HiDef_09.qxd:CG_ASC_Miami_full 2/18/09 2:58 PM Page 1

JOIN HOLLYWOOD’S PROFESSIONALS IN 2009 For the Pre-Production • Production • Post Production Community Courtesy of mouseROAR of Courtesy Cheech and Chong’s Light Up America Tour by Brian Cali

he Weinstein Company (New York, NY) were set-up in full wireless configuration only will produce a concert film based on four hours before the first show. TCheech and Chong’s current “Light “With the Cheech and Chong project, The VariCam 3700’s wide Up America” reunion tour and shot with our objective was to impart a cinematic scale dynamic range assured Panasonic’s new VariCam 3700 (AJ-HPX3700). to a performance that is essentially two guys optimum performance and Two back-to-back concerts given in San and two chairs,” said Charles. The VariCam latitude, despite lighting Antonio, covered with eight VariCam 3700s 3700 teams VariCam’s renowned filmic-look, extremes and lack of time and two AJ-HPX3000s, will comprise the variable frame rates, and subtle tone control to balance exposure. majority of the finished feature-length doc. with master-quality, 10-bit 4:2:2 AVC-Intra sol- At their peak in the 1970s, Cheech Marin id-state recording and a host of new features, and Tommy Chong represented the main- including the Film Rec 600% gamma setting, Paramount Pictures Studio Lot, Hollywood, CA stream embodiment of the attitudes and life- which allows professionals to fully capture the Exhibition & Premiere Seminars: June 5 - 6, 2009 styles of the underground drug culture. “Light camera’s extensive color range and detail, The Film Series at Cine Gear Expo: June 4 - 6, 2009 Up America” is the duo’s first stage show especially valuable for linear color correction together in a quarter-century. The concert film in post production. Master Class Seminars: June 7, 2009 is directed by Christian Charles, with Shane Jeff Clark, the Digital Imaging Technician Hurlbut, whose credits include Swing Vote on the project, utilized the HPX3700’s Film- CALL FOR ENTRIES! (with Kevin Costner), Semi-Pro (Will Ferrell), Rec 600% gamma to take full advantage of THE FILM SERIES AT CINE GEAR EXPO 2009 We Are Marshall (Matthew McConaughey) the AVC-Intra recording. “I used a DSC chart Independent, Student Short Film & Feature Film Competition and Terminator: Salvation (Christian Bale), as to paint the look and matrix, and was able to ANNOUNCING NEW! Director of Photography. hold really good purples and red brick colors. Contact us @ The Expansion Into Documentary Film Competition All the concert footage was shot (in The colorimetry in most cameras wouldn’t be Deadlines For Submissions Are: 1080/24p in AVC-Intra 100) on March 14 at up to that, but the HPX3700 made them look 310/472-0809 • [email protected] Early 3.15.09 • Regular 4.08.09 • Late 5.01.09 the Majestic Theater in San Antonio. TX. The real pretty.” HD camcorders, rented from Abel Cine Tech, For more information and updates, visit us at: WWW.CINEGEAREXPO.COM 26 JVC-5687 HM700 8.25x10.75 3/4/09 2:43 PM Page 1

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©2009 JVC. Model pictured is the GY-HM700UXT with optional Anton Bauer battery. All trademarks and brand names are the property of their respective proprietors. *1 Play back compatibility not guaranteed on different types of products due to variation of supported recording mode. *2 MP4 is the compliant file format used on the XDCAM EX.™ *3 SxS is a flash memory card designed for professional video cameras with a high-speed PCI Express interface.