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ESPN BLAZES HD TRAIL

PLUS TITANIC DOCKS IN HD an article by Joe Huggins

AFRICA STOCK SHOTS by Paula Lumbard

LAS VEGAS ON A HOLLYWOOD SOUNDSTAGE commentary by David Heuring PBTS-012_HVX200_1pg_HD.qxp 6/23/06 1:14 PM Page 1 KMP_126.HD.FilmVideo.qxd 12/15/05 12:55 PM Page 1

Go everywhere, shoot anything - The 5 lb. HVX200 goes wherever your story takes you – from the highest mountain to the deepest AG-HVX200 DVCPRO HD Camcorder ocean – giving you the portability The perfect hand-held complement and flexibility to capture whatever to full-size cameras (like the Panasonic shot is required, in 720p or 1080i. AJ-HDC27 VariCam) used by movie IMPRESS. crews, TV programs, TV stations and many more. Ultra versatile with the OR capability to record in 21 different modes. COMPRESS. FILM. THE DIFFERENCE. ONLY FILM MAKES THE MOST OF HDTV. Film lets you bring more detail, truer color and wider latitude to the HDTV screen. Most electronic capture is compressed at origination, creating aliasing and permanently deleting image data. Film’s abundant image capacity—10x that of electronic capture—ensures your story will live on no matter how HD evolves. KODAK Motion Picture Film. AG-HVX200 DVCPRO HD Filmmaking independence Make an impression that lasts. To learn more, Shoot in 1080p/24 and 720p/24 for visit www.kodak.com/go/motion. the most dramatic, film-like images that result in higher quality film-outs when affordable or digital projections. Outfit the HVX200 with your favorite matte boxes, filters and other accessories HD production for cine-style shooting. Overcrank or undercrank just like film quality counts. cameras to create mind-boggling fast- or slow-motion effects without No other compact HD camera gives you the full 100 Mbps image the artifacts you get with highly compressed formats. When shooting quality and creative freedom of the AG-HVX200. The HVX200 in 720p, choose one of 11 variable frame rates between 12fps and 60fps delivers DVCPRO HD and 4:2:2 color sampling – twice the chroma including 24fps and 30fps. resolution of MPEG-2, resulting in clean green screen work and lossless compositing. The HVX200 captures images in discrete ademark. ademark. progressive frames, so it simplifies editing and offers faster workflow. SD today, HD tomorrow, this camera has you covered.

For more information visit www.panasonic.com/hvx200 or call 1.800.528.8601 tman Kodak Company, 2006. Kodak is Kodak a 2006. tr Company, Kodak tman

FEATURE ESPN Blazes HD Trail 8 by Ken Kerschbaumer

Exploring Our Universe 8 14 by Patrick Younge

Kagan Shoots Subway on HVX200 16 by Brian Cali

Titanic Docks in HD 18 by Joe Huggins

HD Feature in a Small Lobster Town 18 20 by Dan Coplan, SOC

Eberlein Gets XDCAM HD 22 by Roger Paul

Bell Witch, a Haunting Tale in HD 23 by Amanda Maples

HDTV Forum: CE Meets IT in HD-DVD’s 24 by Steve Sechrist 20 HD Good Enough to Eat 25 by Susan Robertson

Africa Stock Shots 26 by Carol Martin

HD Tips: High Definition Fact Sheet 101 28 by B. Sean Fairburn 26 Las Vegas on a Hollywood Soundstage 30 by David Heuring

Putting Together the HD Pieces 32 by Chris Purse

SuperCoasters on National Geographic 33 by Lindsay Drewel

30 HDTV, the Consumer Front 34 by Dale Cripps

From Stage to Screen 35 by William Conner

Vol. 8, Issue 4 | 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. Send address changes to: HighDef Magazine, 2247 15th Ave. West, Seattle, WA 98119. PRINTER: Banta Publications Group, bantapublications.com NEWS & PRODUCTS

tion post production. The resolution making possible for the first time the than standard cables. The cables utilize co-existent eQ FX comes complete backup of up to 25GB of data on a state-of-the-art cable technology, with 160 minutes of HD workspace; single layer BD-R (recordable) or BD- made with 100% oxygen-free, copper- TimeMagic no-wait hardware; QColor RE (rewritable) disc, as well as image- center conductors, nitrogen gas dielec- in-context color grading package; the to-disc recording and the archive and trics and double-shielding for low-loss, latest Eiger 3.5 software; and a choice playback of hours of high-definition maximum signal transfer. of comprehensive plug-ins. “We need- video content. The software and hard- ed a seriously powerful editing and ware combination will enable a range FUJINON AT THE WORLD CUP compositing system that would also of applications including professional Fujinon provided over 100 HD lenses simply slot into our office network,” pre-mastering, high-definition author- to the mobile truck companies cover- says Adi Leach, Studio Zoo co-founder. INNOVISION OPTICS HD MINI ing and high-capacity storage. ing the 2006 FIFA World Cup—the GRASS VALLEY CHOOSES “That way we could source EDLs direct PROBE LENS SYSTEM Sonic Solutions Roxio® Blu-ray Disc first ever produced entirely in HDTV. ANTON/BAUER from our offline suites and graphics Innovision Optics introduced the HD (BD) software will also power Fujitsu Among the over 100 Fujinon HD lenses Anton/Bauer has been chosen as the direct from our designers’ workstations, Mini Probe, designed especially for the Limited’s DESKPOWER TX95S/D. that these OB vans provided were: 22 thereby maintaining premium resolu- Panasonic AG-HVX200 and DVX100/B, factory-preferred battery system for the Expected to be the first desktop HA13x4.5BERD-S; 10 HA22x7.8BERDs; tion. The eQ FX is the perfect answer.” Sony HVR–Z1U and HDR-FX1, and new Grass Valley Infinity Series digital computer available with an integrated two HA18x7.6BERDs; four similar DV camcorders. This tubular media camcorders, worldwide. Grass Blu-ray Disc drive when it launched KABC “IGNITE”S HD NEWS lens system offers superior optics and HVX 200 ON THE 4400 HA26X6.7BESMs; two HA42x9.7BERDs; Valley will be offering these revolution- in Japan at the end of June, Fujitsu’s KABC-TV in Los Angeles has selected light transmission for work in either Many of the most intense and kinetic and one HA26x6.7BESM with ary cameras equipped with the Gold DESKPOWER TX95S/D ushered in Precision Focus Assist technology. Mount Professional battery Snap-On Grass Valley multiformat HD equipment Standard Definition or HD. The Mini scenes in the new season of the USA a new era of high-definition optical Network’s supernatural series The 4400 The complement of Fujinon lenses by Anton/Bauer, specially configured from Thomson to produce local news Probe’s unique periscope attachment recording on the PC. were captured with Panasonic’s AG- also included: 51 XA87x9.3BESMs; for different customer focused applica- content for HDTV viewers. For the past lets operators shoot from an ultra-low HVX200 DVCPRO HD solid-state cam- nine XA101x8.9BESMs with tions. The broad range of power choic- six months, the station has used an perspective. Featuring a 19” (48.3cm) corder. After rigorous testing, Director Precision Focus Assist technol- es from Anton/Bauer utilizes all three SD version of the Grass Valley Ignite long lens barrel with a diameter of Production System under the control of of Photography Tony Westman and ogy; four XA87x9.3BESMs; major chemistries in a wide variety of just 1.4” (36mm), the HD Mini Probe one operator with full video, audio and Digital Imaging Technician Chris Oben three XA72x9.3BESMs; and two sizes, weights, and performance. These is designed with a 72mm rear thread camera controls--for its morning and integrated the hand-held, production XA87x13.2BESMs. Power Systems consist of one that is to guarantee compatibility with most mid-day weekend newscasts. Based on quality HVX200 camcorder into produc- ideal for a full day of fast-paced ENG, popular DV camcorders. its initial success with the system, the tion of the third season of The 4400. another that is particularly lightweight station’s news department moved to and compact for EFP, and a third that it’sMEdia AND JVC HD full HD production. is tailored for an extra long day of ENG JVC announced that it’sMEdia has cho- or EFP operation. All feature Anton/ GMS DEMOS UNMANNED sen the GY-HD100U ProHD camcorder Bauer digital batteries with the exclu- AERIAL HD CAPTURE RAYCOM CONVERTS TO for its event Cinema-Pictography fran- sive Realtime™ display--on the battery Global Microwave Systems, a sub- DVCPRO P2 chise corporation. it’sMEdia has devel- and in the Infinity Series viewfinder, oped a system that captures, edits and sidiary of The Allied Defense Group Raycom Media, Inc. has purchased Camera Status Display and Color LCD produces video from live sporting and Inc. has successfully completed an DVCPRO P2 camcorders and drives Sidepanel display--so the shooter performance events on-site. At each unmanned aerial vehicle (UAV) flight valued at more than $2.2 million. always knows how much runtime the event, multiple GY-HD100U camcord- demonstration of a HD video wireless Raycom announced its decision to con- battery has left. ers are set up and can be synchronized link. The company said it is the first vert to P2 last May. With the purchase HD CONTROL ROOM FOR to record and capture video into NEW CHROSZIEL 5.65X5.65 HD known successful flight demonstra- of this additional P2 solid state mem- DISCOVERY it’sMEdia’s system where the video files MATTEBOX tion of a HD link on a UAV platform, ory equipment, news operations at 21 National TeleConsultants—the nation- are automatically available to an onsite 16x9 Inc. introduced the Chrosziel which paves the way for real-time HD Raycom stations will utilize DVCPRO P2 wide leader in strategic technology PC for editing. The end result is a cus- 5.65x5.65 HD Mattebox. Designed long-range aerial filming for the film by the end of this year. consulting and engineering design tomized CD, delivered in minutes, that for today’s high definition cameras, and broadcast industries. GMS part- services for the media industry—is allows you to print digital video photos this new system is made especially nered with Flying-Cam of Belgium to pleased to announce that it has recent- on demand, with one click -- Cinema- to work with the new 5.65x5.65 filter complete the demonstration held on April 10 at GMS’s facilities in Carlsbad, ly completed an HD control room for pictography™. size. Its 16:9/4:3 wide angle housing is Discovery Communications’ Technical Calif. The demo included the use of a HDNET COVERS SHUTTLE compatible with zoom lenses as wide Production Center, based in Silver as 4.5mm or primes as wide as 5mm, GMS “High-Definition Messenger Link” LAUNCH (HDML) mounted on a Flying-Cam UAV Spring MD. This project is designed to without vignetting. The unit comes enhance Discovery’s industry leader- HDNet covered NASA’s launch of complete with a filterstage for two platform. GMS’ HDML includes the the Space Shuttle Discovery and its High-Definition Messenger Transmitter ship in high-definition television and independently rotating 5.65x5.65 filters, STUDIO ZOO AND EQ seven-member crew on mission STS- (HDMT), the 6-antenna diversity media technology. making it large enough for ultra-wide South African TV post production com- 121 in July. Utilizing up to 14 cameras Messenger Smart Receiver (MSR), the lenses, yet compact enough for hand- pany Studio Zoo has purchased a sec- SONIC ASSISTS PIONEER AND positioned throughout the Kennedy optional Messenger Antennas Array held work. Chrosziel’s modular design ond eQ - this time an eQ FX which is FUJITSU WITH BLU-RAY DISC NEW HD CABLING Space Center, viewers witnessed the (MAA) for long distance coverage and accepts a series of interchangeable the new addition to the eQ range. eQ DRIVE Comprehensive Inc. launched a new countdown, launch, and follow the an HD MPEG-2 Decoder. filterstages. This allows the mattebox FX is an all-in configuration designed Sonic Solutions is shipping its Roxio® line of XHD™ eXtreme High Definition shuttle as it reaches far into the earth’s to accommodate numerous filter sizes, specifically for post and broadcast BD software with the first commer- cables and accessories. XHD cables atmosphere. HD including 4x5.65 and 5x5 filters, mount- users who need a great value, high- cially available Blu-ray Disc drive from differ from their competitors by offered vertically or horizontally. specification system that will cover Pioneer Electronics. The release ushers ing a patented design, creating a defi- every demand in HD and multi-resolu- in a new era in optical disc recording, nition signal transmission much higher 6 7 ESPN Blazes HD Trail

East Hartford, CT, August 17, 2005, World Cup Soccer Qualifying Match, Rentschler Field. Silvio Spann (in red) and USA player both try to gain control of the ball.

hen ESPN launched ESPN HD on March 30, 2003 the network took a gamble, believ- the passion and pageantry during one of the world’s greatest sports events through our high ing that by blazing a trail the rest of the world would follow. It then took another big definition services,” says Bryan Burns, vice president, strategic business planning and develop- Wstep with the launch of ESPN2 HD in January of 2005, long before most other pro- ment, ESPN. “The combined coverage we provided from Germany reaffirms our commitment grammers were contemplating even a first HD channel. to high definition. An undertaking of this type puts an exclamation point on what we do to More than three years later that belief proved true on the world’s biggest sports stage: make our services a must have for fans and distributors.” the 2006 FIFA World Cup. Not only did ESPN HD and ESPN2 HD carry every telecast in HD When ESPN began its HD telecasts it didn’t take long for the service to become the lead- with sister network ABC (64 games total) but broadcasters in Germany, France, and the UK also ing destination for HD sports content. During year one it delivered viewers 87 events in HD, embraced HD. doubled that to 184 in 2004 and nearly tripled that to 458 in 2005 (with the help of the launch “The 2006 World Cup offered a tremendous opportunity to bring fans closer to the action, of ESPN2 HD). And this year the services expect to provide fans more than 750 events in HD - 8 9 Photo courtesy of ESPN, Inc. ESPN, of courtesy Photo

and that doesn’t even include countless hours Joe Wire, senior director, business operations of studio programs like SportsCenter and and development, ESPN HD. “We made his- Baseball Tonight, which come from the ESPN torical records on location and shipped them Digital Center in Bristol, Connecticut…said back by Federal Express.” by many to be the most advanced television It wasn’t until ESPN opened the doors to production facility in the world. the new 120,000 square foot digital center in A speech by Bryan Burns, Despite all of its experience working in June, 2004 that ESPN really made the leap vice president, strategic HD, ESPN still finds new challenges more technically. Much of its prior HD programming business planning and than three years since its first HD broadcast. simply came in from the field and passed development, on August Topping the list for the World Cup cover- through the facility and straight out to viewers. 17 as he announced that age? Today, ESPN’s digital facility allows edi- ESPN HD, ESPN2 HD and Converting the HD feed provided by tors and personnel to access HD video on ABC HD will present all 64 the World Cup Host Broadcast Service from computers throughout ESPN’s campus and matches of the 2006 FIFA 1080i/50Hz to 720p/60Hz. The progressive around the world. Over 95% of the studio pro- World Cup in Germany. scan format chosen by ESPN has been touted gramming coming from Bristol is now in HD. Burns addressed soccer for its ability to better handle motion inside And it’s all a challenge. writers at ESPN’s state-of- fast-motion sports content. However, it’s the “Going out and doing a 22-camera base- the-art HD Center. conversion from 50 to 60 frames per second ball game on a Sunday night is hard to do,” that posed the biggest risk to image quality. says Burns. “It’s hard to get the lip synch right. The challenge was so unique that ESPN used It’s hard to make everything work. And our a newly-built converter box to ensure opti- people are absolutely great at it. Amazingly, mum quality. we have had to retrain our entire work force in Having special one-of-a-kind devices built HD and an entirely new concept of editing. Of to improve image quality is only one example all the things we have done, I’m most proud of how ESPN’s approach to HD has evolved of our people. The hardware is great, but the over the years. “When we launched ESPN HD key is our people, who have embraced this we could not even record HD in Bristol,” says project with fervor like nothing I’ve ever seen.” 10 ESPN CHRONOLOGY • ESPN airs its 10,000th SportsCenter, the most Cup Games. televised cable program in history. • ESPN2 becomes the fastest network to reach Looking Back, Back, Back… 1989 65 million homes. • ESPN and Major League Baseball agree to a • ESPN and Major League Baseball announce 1978 a six-year multimedia agreement. • Bill Rasmussen, ESPN founder, hosts press four-year contract. conference in Plainville, Conn. to announce • ESPN International debuts live service -- to 2000 Latin America. • ESPN receives its first-ever Peabody Award, preliminary plans for sports television th network. • ESPN celebrates 10 anniversary with a gala for SportsCentury. • Bristol, Conn. site recommended and plans and a 90-minute special. • ESPNEWS hits the 20 million homes plateau. for construction of base of operations are 1990 • ESPN breaks ground on its Digital Center, devised. • Outside the Lines premieres. the company’s largest building. 1979 1991 2001 • The NCAA grants ESPN exclusive rights to • ESPN chronicles Nolan Ryan’s seventh career • ESPN Original Entertainment is announced. telecast collegiate events. no-hitter with live cut-ins. • ESPN and the NCAA announce an 11-year • ESPN is launched at 7 p.m. ET across the • ESPN finalizes its agreement for majority agreement. country with airing of SportsCenter. interest in The European Sports Network. • ESPN2 reaches 80.3 million homes, achieving this milestone faster than any other cable 1980 1992 network. • ESPN televises 23 NCAA Basketball • ESPN Radio Network is launched featuring 16 Tournament games. hours a week of sports news and information. 2002 • ESPN Radio celebrates its 10th anniversary. • ESPN televises live the NFL Draft. • ESPN televises more than 100 live hours of th • Continuous round-the-clock telecasts begin. programming from the 1992 America’s Cup in • SportsCenter airs its 25,000 live edition, San Diego. more than any show in television history. 1981 • The historic first-ever primetime NFL opener • Subscriber count climbs to more than 10 • ESPN and ABC Sports announce an Phil Ellsworth/ESPN Phil agreement to televise the entire 52-game 1994 earns ESPN’s highest rating (9.36). million homes. • The NBA returns to ESPN after 18 years. • ESPN’s first flag-to-flag coverage of a FIFA World Cup. 1993 2003 Photo by by Photo NASCAR race. • ESPN HD debuts as a 24/7 simulcast service 1982 • First ESPY Awards held in New York. • ESPN forms “The V Foundation” with Jim with Baseball Tonight. • ESPN and the NBA agree to a two-year • PLAYMAKERS debuts, ESPN’s first-ever deal. Valvano. Sports have proven to be a key driver very often when you have an HD set. You stick • ESPN2 launches in 10 million households. scripted dramatic series. of HDTV set sales and viewing. By providing with us. In a few short years, programmers • ESPN begins syndicating programming • The fifth biggest audience in cable television internationally. 1994 sports fans compelling viewing options ESPN with HDTV will win the ratings game, and history watches ESPN’s Sunday Night 1983 • The hour-long nightly SportsCenter moves to Football game. will continue to drive adoption of HD sets that’s the game we’re in every day.” 11 p.m. ET. • ESPN televises the first live professional 2004 while also enhancing its premier brand. What’s next for ESPN HD and ESPN2 HD? football game on cable. • ESPN and ESPN2 combine to televise the entire NFL Draft for the first time. • ESPN’s 120,000-square foot Digital Center “We’ve spent the last four years focus- Now that the World Cup is behind it • ESPN becomes the largest cable network, opens – one of the most advanced 1995 ing on high definition television, and it’s ESPN turns its attention to the American ver- reaching 28.5 million homes. production facilities in the world. ESPN’s Sunday Night • ESPNET SportsZone (now ESPN.com) is th been a very, very wild ride,” says Burns. “In sion of football as it gears up for a historic 1984 • ESPN’s 25 Anniversary includes the Baseball featuring the • ESPN awarded its first live college football launched during Final Four Weekend. announcement of ESPNU – a multimedia Oakland Athletics at HD households, 34.5% are watching sporting night at the network: The launch of Monday agreement. • ESPN Radio acquires exclusive broadcast college sports initiative. rights for the NBA. the Los Angeles Angels events with greater frequency. Men 18-34 Night Football on ESPN HD. And once again • ESPN debuts in Hawaii and becomes • ESPN announces ESPN Mobile, the first available in all 50 states. 1996 national U.S. wireless phone service targeted of Anaheim April 24, are listing ESPN HD and ESPN2 HD as the the network will make technology history with • ESPN provides exclusive coverage of the to sports fans. 2005 at 8 p.m. The channels they most want in HD. When you a production truck that promises to be the 1985 • New logo and new corporate name – ESPN, NCAA Women’s Basketball Tournament for the 2005 exclusive telecast was start to tie all the data together, you realize most technically advanced production truck Inc. – adopted. first time. • ESPN2 HD launches with a college also available on ESPN that going forward HDTV will enhance and ever constructed. • ESPN signs a three-year deal with the NHL. • ESPN televises the Major League Baseball basketball tripleheader. playoffs, marking the first time the playoffs are Deportes, ESPN’s increase our audience.” And then there is college football. Wire 1986 • ESPN and the NFL announce that Monday on cable. Night Football will move to ESPN in 2006 Spanish-language And it’s about more than just the viewer. says between ESPN and ABC Sports up to • Expanded coverage of post-season college • ESPNEWS launches. basketball conference tournaments. after 36 years on ABC. network, and in high ESPN affiliates get help driving viewers to nine games will be broadcast in HD every • Extensive Stanley Cup playoff coverage 1997 • ESPN and Major League Baseball announce definition on ESPN HD. embrace HD programming and digital cable, Saturday. begins. • Winter X Games debut in Big Bear Lake, CA. a new agreement through 2013. advertisers are provided a quality environ- “HDTV is the defense against the so- • ESPN’s 12-game inaugural WNBA schedule. • ESPN and NASCAR announce an eight-year, 1987 • ESPN acquires Classic Sports Network (now content-rich agreement beginning in 2007. ment (ESPN is now accepting HD ads 24:7), called demise of good old television that • ESPN provides groundbreaking, innovative ESPN Classic). and retailers can use ESPN HD and ESPN2 everybody seems to be talking about,” says coverage of the America’s Cup. 2006 1998 • ESPN scores its highest-rated week ever, HD programming to demonstrate all that HD Burns. “Good old television is becoming • NFL awards ESPN the first cable television agreement, featuring 13 telecasts and the • ESPN International adds Antarctica, making thanks to three bowl games and two NFL has to offer. great new television…right in front of our ESPN available on every continent. games. Pro Bowl. th “When we’re asked why we are doing eyes.” HD • 20,000 SportsCenter is aired. • ESPN2 HD is added to EchoStar’s DISH 1988 • ESPN and ABC sign an exclusive agreement Network, giving the service a nationwide this - why are we spending the millions of dol- Ken Kerschbaumer is Sports Video Group • ESPN’s 1987-88 NCAA Basketball open with the NHL through 2004. footprint. lars we’ve spent?” says Wire, “it’s really pretty earned ESPN a Sports Emmy award. • All 64 games of The World Cup, including editorial director, www.sportsvideo.org. • ESPN begins 48-game college football 1999 simple. Viewers times time spent viewing Contributor: Catherine Brett, ESPN • ESPN unveils SportsCentury. the championship game are telecast live in schedule - the most games ever on national HD. equals ratings. You don’t change the channel television. • ESPN and ESPN2 televise 30 Women’s World 12 13 NASA & ESA Photo courtesy of of courtesy Photo Exploring Our Universe by Patrick Younge

he beauty and marvel of high-defini- Smith, producer for Discovery HD Theater. tion television is often considered to sit “Exploring our Universe is the ideal way to Tsquarely in the entertainment arena, but showcase these incredible images and NASA’s when teaming up with NASA and its partners, Jet Propulsion Laboratory in Pasadena, Calif Hubble Space Telescope we are now exploring advancements in sci- has been integral in providing Discovery HD image of a face-on spiral ence, education, and technology. Theater with the most breathtaking images. galaxy Messier 101. High-definition has enhanced space Things like the surface of Mars in panoramic exploration as the detail it can provide to 3D, the Rings of Saturn, Comets, new galax- scientists studying the geology, environ- ies, the list is huge. Almost every week, we ment, and physics of the universe around provide our viewers with images never before us is unparalleled. Discovery HD Theater’s seen on television.” Exploring Our Universe segments are weekly NASA and its partners amaze Discovery ongoing three-minute shorts that are in HD Theater viewers with the tremendous dis- essence a living chapter-and-verse chronol- coveries they make. The proof is in the imag- ogy of space exploration headlines. Using es; Exploring Our Universe is a visual journey the latest in Highdef technology, the world’s like no other and Discovery HD Theater is space agencies and their partners provide proud to showcase that work delivering both Discovery HD Theater with some of the most education and entertainment in the highest incredible images ever created. quality available. HD “With robotic spacecraft missions reach- Exploring Our Universe segments wrap ing further and further into space, high defini- Discovery’s signature series and award-winning tion imaging capabilities have given NASA specials. Patrick Younge is EVP & GM, Discovery and the world’s space agencies a chance to HD Theater. see the universe like never before,” said Greg 14 rne by Sid Ho Sid by

Kagan Shoots Photo Subway on HVX200 by Brian Cali

irector/DP Peter Kagan, who heads playback head for a digital deck. Kagan used New York-based Streamline Content, two 8GB and one 4GB P2 cards for the shoot, Dput his new Panasonic AG-HVX200 and kitted the HVX200 with his ARRI 4x5 DVCPRO HD camcorder to prominent use on matte box and Chrosziel follow focus. He shot “Get Inside the Five,” a 30-second national mostly at 24P but shifted to 60fps when Bush Peter Kagan shooting spot for the Subway sandwich chain starring “was flying around the frame.” A Precision with the HVX200 and Heisman Trophy winner Reggie Bush. Optics .6 wide adapter enabled Kagan to give Heisman Trophy winner “Even though this was a national spot the action “a warpy look.” Reggie Bush, the football starring Reggie Bush, the commercial had a Kagan was especially pleased with the player attired in white. very limited shelf life and, therefore, a limited HVX200’s dynamic range. “We had a white budget,” Kagan noted. “I thought it would set, a white uniform and an athlete with deep be a great opportunity to use HD instead of skin tones. But we were able to expose for film.” Reggie and not blow out detail in the high- Kagan has always been an early adopter lights. With Evin, I made very few adjustments of “all things video and digital.” A longtime to the camera - noodling the scene files and user of Panasonic AG-DVX100 series Mini-DV adjusting the knee - and we came up with a 24P cameras, he was excited when he heard really beautiful range of tones.” about the HVX200 and auditioned the camera Despite a limited color palette and con- while he was bidding on the Subway spot. trolled lighting, Kagan said, “The image was Evin Grant joined Kagan as HD techni- gleaming and very seductive. There was never cian and production workflow designer. a moment when I thought, ‘If I’d only shot this Grant’s set-up allowed Kagan to shoot with on 35mm.’” HD one HVX200 while a second acted as record/ 16 for interviews and action shots. To that we In addition to the more artistic enhance- added historic 16mm footage, archival news ments to certain scenes, Anderson had to footage shot on BetaSP, CGI models of the balance the look of dives that took place on Titanic’s impact, and dramatic re-enactments. different days, under different light conditions Left: A close up inside We input all our material at 1080i, 59.94 into and white-balances to maintain continuity the Mir sub of co-host an Avid Adrenaline HD system for the edit when intercut. “Overall our goal was to cre- Richie Kohler. These and final output to DVCProHD.” ate more of a ‘cinematic feel’ as a TV special available light scenes “The challenge for Cinefilm was to weave rather than a flat documentary tone, remarked were captured in HDV this ‘patchwork quilt’ of sources into a seam- Anderson, “Aside from our color work, which format, up-rezzed, and less visual tapestry,” Rauscher adds with a wry should go un-noticed, I think the viewers will color- corrected to smile. “Senior Colorist Ron Anderson took be stunned as I was at the quality and drama match the HDCam the DVCProHD master, using the daVinci 2K of this incredible footage.” HD footage from top side. with Colorist Toolbox, and worked with Jed Joe Huggins can be reached at Cinefilm, on creating the look and moods he wanted. 800-633-1448, [email protected] “The murky waters on the ocean floors tend- ed to absorb the colors of the wreck,” notes Below: Floating like a Anderson, “so we were able to enhance the space ship in a foggy contrast and restore the dynamic range of atmosphere, one of what is a very colorful algae-and-rust-covered the two Russian Mir hull. Jed had some dramatic re-enactments of submersibles approaches passengers trapped in the waters that night the Titanic wreck. The that were shot at a local pool, believe it or remarkable footage they not. We created a ‘day for night’ look and captured uncovered new added an ethereal ‘glow’ to the people that clues to the cause of that added a haunting, dream-like tone of realism.” historic tragedy. TitanicDocks in HD by Joe Huggins

ust how did the “unsinkable” Titanic Kohler. Viewers will be familiar with them meet its fate? New secrets have surfaced from another Lone Wolf series, Deep Sea Jin one of history’s greatest disasters in Detectives. a fascinating new HD special produced by Pre-production began in July and August On the Bottom Productions and Lone Wolf of 2005 followed by eight days at sea on the This HD hull shot from the Documentary Group entitled Titanic’s Final Russian scientific vessel A. M. Keldysh, home History Channel 2-hour Moments: Missing Pieces. The human drama of the MIR submersibles. The goal was to find special shows the challenge and scientific mysteries of that night have evidence to support a new hypothesis on why of color correction in the haunted us for decades and several theories the Titanic sank so fast, and the team was murky depths of the ocean about the sinking have emerged since its surprised when this led to even more startling floor. Cinefilm colorist Ron discovery in 1985. In this two-hour special on discoveries. “Aside from the technical aspects Anderson was able to bring the History Channel, viewers follow a team of filming at such depths, one of the produc- out the amber hues of the of explorers as they uncover previously unex- tion challenges was integrating several media algae and corrosions using plored wreckage from the hull, shedding new into a cohesive look,” Jed Rauscher, Co- the daVinci 2K suite. light on her breakup and sinking. The produc- Producer and Editor on the project continues. tion began with principle HD photography “We used the HDCam 24P cameras provided in the depths of the North Atlantic, with the by the Advanced Imaging and Visualization post based at Lone Wolf’s facility in South Lab at the Woods Hole Oceanographic Portland, Maine, and ended with final color Institution to record all the underwater foot- correction at Cinefilm in Atlanta. age, and small DV ‘lipstick’ cameras to record The on-camera hosts and expedition the crew inside the submersibles. Topside, we leaders are John Chatterton and Richie employed the new Sony HDV 1080i cameras 18 19 have been too jarring, wide beauty shots from compatibility with Panasonic originated mate- a helicopter, and horizon-stabilized shots on rial, Marc Jozefowicz digitized the footage the water. at full online resolution to two 500GB GRaid Island life and lobstering in particular drives and two LaCie 200GB drives using a Cinematographer relies on the surrounding water. As such, a Macintosh Dual 2GHz G5. The final cut (no Dan Coplan, SOC significant portion of the movie was filmed pun intended) was taken to Hollywood-DI travels through in boats and using Penobscot Bay and the for digital intermediate finishing. DI Artist a funeral scene Atlantic Ocean as backdrops. When shooting Tyler Hawes built a proprietary Color FX Steadicam-style. on boats the cameras were handheld when algorithm with FinalTouch 2K and Nattress appropriate and mounted on a Mako head plug-ins to resample the source files directly when necessary to maintain a solid horizon, to 1920x1080 RGB 10-bit. This ‘secret sauce’ typically for boat-to-boat filming. The Mako eliminated chroma artifacts and controlled the head is gyro-stabilized, mounting on top of color palette to deliver a very filmic look. The a tripod and below the camera. Sensors in final results were conformed in Final Cut Pro the head continuously measure the degree of and mastered to HDCAM-SR to retain the full tilt and roll and electronically compensate in 10-bit HD RGB quality in anticipation of a film order to keep the base of the head parallel. print. Some of the most beautiful shots we got were Islander is scheduled to have its premiere traveling around another boat 360 degrees. this Summer in Los Angeles where it was accept- There was no other way we’d be able to do ed into the Los Angeles Film Festival. HD this without making our audience sick to their Dan Coplan is a Los Angeles based cinema- stomachs. tographer, steadicam operator, and DIT. www. Taking advantage of Final Cut Pro’s dancoplan.com. HD Feature SOC Coplan, Dan by Photo in a Small Lobster Town by Dan Coplan, SOC

slander, directed by Ian McCrudden and Originally the plan was to shoot with one shot by Dan Coplan, is a feature length camera and have the other camera roll along- Inarrative about a lobsterman who acci- side when it made sense to get simultaneous Old Man Cole (Larry Pine) dentally kills a boy during a dispute over fish- coverage, and to serve as backup in case contemplates his ing territory. His life is consequently turned our main camera went down. Being on an incarcerated son’s future. upside down as he’s sent to prison for several island, we needed to insure we had our bases years effectively disrupting his personal rela- covered because we couldn’t afford to stand tionships and ties to his small and opinion- down waiting for equipment to be replaced. ated community. Director Ian McCrudden gave life to the Thomas Hildreth stars as Eben, the lead. movie by promoting an intimate, lived-in feel. He is supported by a veteran cast includ- Collaborating with cinematographer and ing Philip Baker Hall, Amy Jo Johnson, Larry Steadicam operator, Dan Coplan, the two Pine, Mark Kiely, and Ron Canada. Production developed a visual style to breathe with the took place in Spring 2005 in Vinalhaven, ME, life and environs of the characters. This was a small fishing community off the coast of accomplished by shooting the majority of the Rockland. The cast and crew had three weeks movie handheld or on “loose sticks” in which to complete principal photography before the the camera is mounted on a tripod with no season opened up to tourists which typically or very little drag. Additional shooting styles doubles the population for the Summer. included Steadicam for scenes that required

The movie was shot with two Varicams. the camera to travel where handheld would SOC Coplan, Dan by Photo 20 21 Eberlein Gets XDCAM HD by Roger Paul

irector/Cameraman Bob Eberlein did Eberlein contacted Amnon Band of Band his homework when long-time client Pro. “I put in an order with Band Pro’s Nir DMediaworks decided that HD was Reches for a camera package and a record/ the way to shoot all future documentaries playback deck. The hitch – we needed deliv- for major defense related clients. “I do a lot ery by the following Thursday, so that I could of research before I choose a camera,” says start an eight-week nationwide location shoot Eberlein, a veteran of projects like Unsolved the following Monday. Mysteries and high-end title and effects “It was a real cliffhanger,” Eberlein sequences for major motion pictures. admits. “But Nir stayed on top of it and the “The bulk of these Mediaworks projects camera arrived on time. The following day, are shot on location, requiring a lot of travel. Michael Bravin set me up with Band Pro’s Neil It’s not uncommon to cover London, Brussels, Staff to further assist with the camera setup. Tokyo and Los Angeles in a week. Michael also worked with our editor to solve “I’d seen the Sony PDW-F350 XDCAM a number of issues when we installed the HD in early March and later at Band Pro and record/playback deck in the cutting room. HD Expo. With this camera, we could move “The camera worked flawlessly on the quickly, and take advantage of its unique shoot, whether we had only available light or Pictures River Big of Courtesy Photo capabilities, like shooting multiple formats used high-end portrait lighting for our interviews. such as 1080I or 720P and using variable “Bottom line – the Sony F350 XDCAM speeds from zero to 60 — even time lapse HD is the perfect camera for these defense photography.” related documentaries.” HD Bell Witch a Haunting Tale in HD by Amanda Maples

he story of the Bell Witch details the running DAT backup, we eliminated the pro- Director/Director of Bell family’s legendary haunting in 19th cess of having to sync dailies. That enabled us Photography Bob Eberlein century Tennessee and culminates in to get to post faster.” with new Sony PDW-F350 T the untimely and unnatural death of family The crew of Bell Witch also found the The Bell Witch XDCAM HD. patriarch John Bell. Producer/Director camera to be extremely reliable. “During the (Emily Brobst) in S. Shane Marr realized that shooting the shoot, it rained 90 percent of the time, but ghost form visits project in HD was the best way to bring “the the camera never faltered. Even in torrential John Bell in Bell witch” to life. He selected the Sony CineAlta downpours the Sony F900 was always stable,” Witch: The Movie F900 camera tricked out cine-style as the prin- says Marr. “It even performed well under- ciple camera on set. ground. We spent a day shooting six hundred Marr began working with High Definition feet underground in a damp cave with limited in 2000. “I like being able to shoot as much as lighting and the camera still delivered excel- I want without worrying about wasting expen- lent picture quality.” sive film stock. That aspect makes it especially Bell Witch is planned for release later this attractive for independent films working on a year. Marr’s company, Big River Pictures, is tight budget like mine.” Additionally, there is currently working on another HD feature film the instant gratification factor. “Not having to set for production in fall 2006. Marr says, “I wait 24 to 36 hours for the dailies to know we will probably never shoot 35mm again”. HD have the shots we need takes a lot of pres- For more information about Bell Witch: The sure off everyone on set,” Marr commented. Movie, please visit www.bellwitchthemovie.com. “Also, with the sound department recording Big River Pictures (865) 429-0941 directly onto the camera while simultaneously 22 23 Forum b y hdtvSTEVE SECHRIST CE Meets IT in HD-DVD’s

Now that HD-DVD players have finally found on a daughter card on the mother- shipped, it didn’t take long (about 20-min- board. The card has a USB 2.0 flash disk con- utes) for the die-hard “videophile” to dissect nector that interfaces directly with a PC with the device to see what makes it tick. We’re remnants of FAT32 entries and even reference not talking your everyday early adopter here, to the RED HAT version of Linux. but cutting-edge engineering types who Don’t get me wrong, the fact that the willingly shell out $560 for a brand new CE HD-1A boasts a PC lineage is not a bad thing. Network Food device. Rather than gleefully plugging it in Remember this box can be purchased for for a first look at the stunning HD images, a cool $500 and the technology is first rate. with screwdriver in hand, and with a “damn Some analysts believe that Toshiba is losing

the warranty full speed ahead” attitude, he money on the low priced HD-1A device and of Courtesy Photos tears into the box exploring the secrets of the tear-down confirms a lot of high priced sili- the new product category HD player. con – not to mention the extensive R&D, mar- Steve Sechrist is What could possibly drive one to such keting and sales support activity that’s gone HD Good Enough to an editor/analyst behavior? For starters: the rumor (that was into this box. at Insight Media, a confirmed) that Toshiba put a 2.5 GHz Our take: Toshiba is betting on first to technology based Pentium 4 CPU and a gig of PC2700 DDR market status, early mind share and rapid media firm specializing RAM in their new $500 high definition set- penetration, not just in the CE space, but next by Susan Robertson in large format and top DVD player. This is the equivalent of generation laptop and desktop drives as well Eat micro display and an early 2003 vintage Compaq Presario as an accessory to the X-Box game console. related industries. (C470CA) or HP Pavilion (754N) that sold at The company knows how to make money sell- t won’t be just the main dishes getting all “By the end of 2006, we will have added the time with 512M of RAM for $1650 and ing laptops and CE devices from HDTVs to of the attention now that Food Network almost 300 more hours of programming, and $2175 respectively. DVD players and market dominance would go Ihas launched in highdef - stoves, refrigera- in 2007 we will add 324 more hours,” said Bill That’s right, the apex in next generation a long way toward Toshiba making that goal. tors and cabinets also will be on display. Kossman, director of program planning. consumer electronic devices, the HD-DVD But rival technology is on the horizon, and for “We will definitely be paying more atten- Most of the shows currently airing on player, is little more than a 3-year old PC now, we’ll have to wait and see if the video- tion to the sets and putting more effort into Food Network HD are shot in studios rather (with a cool new DVD drive) in sheep’s cloth- phile/bloggers tear into the +$1000 Blu-ray the detail on the sets and props now that we than road shows such as Tasty Travels and ing – confirming and perhaps validating the players with equal enthusiasm and acumen. HD are in high definition,” said Tom Killoy, vice Ham on the Street, due to the limitations of complete convergence of CE and IT devices. president of operations for Food Network. some HD equipment. “The equipment is still Want more proof? Our blogger / Food Network launched at the end bulky and less portable, and doesn’t lend CE surgeon Lorin Thwaits (catch his blog of June, joining its Scripps Networks sis- itself to ‘run and gun’ hidden camera shows Toshiba HD-1A shows on http://geekswithblogs.net/lorint/ ter network HGTV HD, which launched in like Ham on the Street,” Kossman said. true PC heritage. archive/2006/04/21/75795.aspx ) pulled the April, in the highdef arena. Food Network The conversion of the Food Network stu- HD-DVD drive, complete with standard HD launched with 190 hours - 25 specials dios to HD is part of a five-year capital plan 40-pin IDE connector, from the box and and 14 series - including Barefoot Contessa, and will be completed in 2008. The post pro- plugged it directly into his XP based PC. East Entertaining, Paula’s Home Cooking, duction operations will be fully converted by Alton Brown hosts Good The drive was identified as “NEC HDDVD Everyday Italian and three series from FINE the end of this summer as will conversion of Eats and Paula Deen (above) HR1100A”. While the XP OS couldn’t access LIVING TV NETWORK. Unwrapped will be the third edit suite, Killoy said. hosts Paula’s Home Cooking, the disk structure, the bloggers speculate added to the Food Network HD lineup in Food Network HD airs daily from 9 a.m. both on Food Network and that the next generation windows OS (Vista) August, and Semi-Homemade with Sandra to 3 a.m. on a three-hour programming Food Network HD. will. Further evidence of the PC heritage Lee and Healthy Appetite with Ellie Krieger wheel. HD

comes from a Disk on Chip USB controller Thwaits Lorin surgeon CE by Photo will be added in October. 24 25 de-interlace the fields (25i to 24P). Any change in frame rate would affect the speed at which objects move in the frame. Although the Teranex adds a 3:2 pull-down, this was nature footage: it had to be real. Under the guidance of DMS, we chose to convert the 50 fields per second to the nearest rate of 23.98 frames per second. Now we faced the larger challenge of de-interlacing the images, which in high definition can prove to be even more risky to image quality. When de-interlacing the fields to create the progressive segmented frame advance, the shot is in jeopardy because if done improperly “combing” or “feathering” artifacts will result. We witnessed this in our two initial unsuccessful conversion tests. What should have been the graceful swing of an elephant’s trunk was more of a stutter. And the spring- boks didn’t leap, they lurched. The Teranex employs several steps to accomplish this conversion. Other Africa more basic format converters sim- Stock Shots ply ignore even fields or evaluate motion frame by frame and add a by Carol Martin 3:2 pull-down. The Teranex exam- ines motion at the pixel level and discards only those pixels that may s the first stock footage library to sive segmented frames per second (24P) or cause artifacts when de-interlaced. specialize in High Definition content, 59.94 interlaced fields per second (1080i). To The Teranex also runs the material AFootageBank HD has had a high make this material successful, we needed to through several other steps to per- demand for HD material of African wildlife. find a way to convert it into one of the two fect the image. A diagonal inter- Raw images such as lions mating or cheetahs American standards. polation, where data at the edges Above: A shot converted stalking prey are of perennial interest in the With HD content, where the camera has of moving objects is reconstructed, from 50i to 23.98psf of world of clip licensing because of the time- captured so much information, the slightest sharpens the image and a unique two aggressive impala. less concepts they represent and the simple wrong manipulation of pixels can cause glar- noise reduction method, which can thrill they incite. Just as we live and breathe ing negative results. There is no longer the distinguish a moving object from Opposite page: HD, we needed to find filmmakers who knew fuzzy margin for error that exists within stan- noise, removes the possibility of Chimpanzee, graceful how to incarnate the African environment dard definition material. We ran two unsatis- a “ghosting” effect which some African elephant and in HD. We were pleased when we found factory tests at post houses in New York and noise reduction tools make. HD sunset in the Bushveld of dozens of hours of excellent material from Los Angeles before Deluxe Media Services South Africa, all converted two South African wildlife filmmakers, Peter (DMS) in Hollywood took on the challenge Teranex and FootageBank have from 50i to 23.98psf. Lamberti of Aquavision/Wildside Productions with their Teranex VC-300 3RU. This robust made a vast collection of African in Johannesburg and Dereck Joubert of universal format converter would need to pull material accessible to the American market. For more information on Wildlife Films in Botswana. However, wildlife off more than a few miracles. We first had to Teranex: www.teranex.com. And cinematographers in Africa are shooting at choose whether to increase the frames per at FootageBank: Carol Martin, the European HD standard of 50 interlaced second significantly so that the fields could Director of Sales and Technology, fields per second (50i). In the US, HD mate- remain interlaced (25i to 30i) or decrease the [email protected] or www. rial is generally shot at either 23.98 progres- frames per second by a smaller margin but footagebankhd.com. 26 27 �� Tips �� b y hd B . SEAN FAIRBURN SOC High Definition Fact Sheet 101 (Updated for 2006)

In an effort to aid production recording devices (which should MYTH: You can’t shoot outside companies in making wise edu- be running at 29.97 NDF). with HD. cated decisions I have compiled 6) Shooting HD is not the same FACT: YES YOU CAN shoot a fact sheet to share the truth as shooting film. It exposes and in day exterior with HD Using and dispel some myths related processes information in a dif- “Dynamic Contrast Control” and to shooting High Definition ferent way. Test it, Test It, Test ND Grads that will help reduce 24P for Features, TV, and It. It is Better to Insure Success contrast that may be out of Commercials. than to Hope for It. range. Another Tip: Use 500 ASA 1) Shoot “23.98P” not “24P”. when exposing for day exterior. Reason is you will have difficulty 7) HD LCD is fine for director downconverting and keeping monitor but DP and DIT should MYTH: You need less Crew to sound in sync. use Reference Grade LCD to shoot HD. see real picture. B. Sean Fairburn, SOC FACT: The same number of crew Director of Photography, 2) You don’t need to offline in HD. Downconvert your foot- 8) Multiple HD Cameras in every department is neces- Role Model available today having differ- sary to do the level of quality Productions, LLC. age to hard drive, DVCam or DVCPro and offline convention- ent capabilities - can record you expect. Only the Camera [email protected] onboard and off board Tape Department has a loss of the Seanfairburn.com ally building a solid EDL for and Hard drive: Sony F-900, F- Loader but the necessary gain of 818-621-3912 online in HD. 950, Viper, Dalsa, Arri D-20 and an HD Engineer or “DIT” Digital Local 600, 3) HD Camera Packages will others should be tested thor- Imaging Technician at a pay rate Agent Steve Jacob, generally be more expensive 323-460-4767 oughly before being put on any between “A” Camera Operator to rent than Film packages. production. Camera crew MUST and the DP. Savings is in HD Tape vs. Rolls be very familiar with choice MYTH: You need fewer lights to of Film purchased, Processing, made. Especially the DP. and Transfer. 1 HD tape = 5,000 shoot HD. 9) HD TV Sets and Digital ft of film run time. HDCAM Tape FACT: I generally rate the HD Cinema Projection is gaining $50.00 vs. 5,000 ft of 35 mm film Camera at 320 ASA for best screens across the country. $2,560.00. performance and I need just as Shows can be seen in multiple much light as if I was shooting 4) Average Cost of 1 HDCAM mediums at higher quality less 320 ASA Film. The same number Tape is $50.00, comes in case expensively. of 10. HDCam-SR 30% more. and type of lights as in film. �� 10) Editing of dissolves, CGI, Running time of HD Tape is 50 MYTH: You need Film Lenses to slow motion effects and titling minutes @ 23.98 even though make HD look like Film. �� the box will say 40 minutes (40 can all be done in the final HD & 22 are available for field). Online session to create Final FACT: HD lenses are made to a �� HDCAM-SR must be labeled HD Master. There the DI or much tighter tolerance than Film 4:2:2 or 4:4:4. (Digital Intermediate) can be as the image sensor is 1/2 the used as a color correction pass size and pixels don’t move in 5) Record the Master Sound and then filmed out to create the gate. Depth of Field can be on the HD camera tape or hard the Film Negative from which the same as film lenses just by www.VictoryStudios.com (206) 282-1776 drive in addition to external your Answer Prints can be struck. opening up ONE STOP. HD www.VictoryStudiosLA.com (818) 769-1776 Los Angeles · Seattle 28 Las Vegas on a Hollywood Soundstage by David Heuring

he opulent casino set format with a Spirit DataCine the way a print timer, who at Culver Studios where at RIOT digital post produc- is working photochemically, Tthe television series Las tion in Santa Monica, with would. He can control each Vegas is filmed is a riot of col- Jason Altman timing the digi- layer independently, as well ors and textures fed by more tal dailies. The control avail- as the mid-range, blacks and than 1,000 dimmer-controlled able is phenomenal. highlights. It’s fascinating how circuits. “Shooting film for high those subtleties work.” “In collaboration with the definition is a joy,” he says. Newby composes images production designer, Richard “The negative, combined with in the 16:9 aspect ratio and Toyon, we chose a variety of post, just keeps getting better. the show airs in that format practical fixtures including We use a da Vinci 2K control- on HD and NTSC channels. point sources, fluorescents ler that has a wonderful set of “Blocking scenes is so much and neon to create interest- tools. I get full secondary color easier in 16:9, especially when ing backgrounds,” says John correction and I can put multi- there are three or four people Newby, ASC. “Finding the ple Power Windows in for fine in a shot,” he explains. “That right bulbs and distances tuning. The way my final timer, happens often since our required a lot of experimenta- Tony Smith, deconstructs the show has an ensemble cast. tion.” image is so different from You don’t need to go to a Newby was one of five cinematographers nomi- nated in the series category for a 2005 American Society DP John Newby, ASC of Cinematographers on the set of Las Vegas. Outstanding Achievement Award. He explains that the sets and lighting are designed to enable him to shoot all the scenes staged in the casino and hotel environment at T2.8 with KODAK VISION2

Expression 500T 5229 film. reserved. rights All Inc. Universal, NBC ©2006 Haaseth, Mitch by Photo “One of the challenges we faced was finding a way to record all the chroma on very wide lens to get a three- have enabled him to light and it’s interesting from many the sets along with the natu- shot. It’s a much more natural the set in a more natural way. different angles,” Newby ral looking skin tones of the aspect ratio than 4:3.” “Everything falls into place,” explains. “I like the way he Las Vegas – NBC Series; actors,” he says. “While all Newby says he uses very he says. “Twenty years ago, looks with a lot of contrast and (LtoR) Vanessa Marcil that extreme color in the envi- little fill but when he does it’s this set would have been so very little fill. I try to get him as Samantha, “Sam” ronment looks cool, it can get often with a cooler tint. He much brighter. With a 500- in situations where the light is Jane, Nikki Cox as Mary tricky with the range of skin usually uses a subtle black dif- speed film, you can light the warm and low—near a desk Connell, Josh Duhamel tones in the cast, which all fusion on the lens. “It gives set like a night interior and to lamp, for example. With male as Danny McCoy, James react differently to the various a little more texture to the the naked eye it looks more or characters, you are able to Lesure as Mike Cannon, colors. You want to embrace light,” he says. “It grabs ahold less like a real casino.” reveal harder, edgier aspects James Caan as Ed those rich colors, not fight of the color and breaks it up in Newby avoids front light of their faces, as well as their Deline, Molly Sims as against them. The (5229) stock a subtle, interesting way.” when photographing the glamorous aspects.” HD Delinda Deline has a very clean response. We Newby notes that show’s star James Caan. “He Las Vegas airs Fridays at 9 p.m. transfer the negative to HD advances in film technology has a great, expressive face, (8 p.m. Central) on NBC. Photo by Chris Haston Chris by Photo 30 31 Putting Together the HD Pieces by Chris Purse

f content is king, then content delivery is it. Content must be translatable and it has the power behind the throne. Reaching to be conceived to translate. Shooting with Ithe audience requires knowledge of not multi-platforms in mind and repurposing it for just what they are watching, but how and mobile, web, cinema, banners, is what agen- where. That’s the message from a panel of cies should be really working towards.” savvy experts, speaking recently at Midwest Christopher Coppola, founder of Ears HDEXPO in Chicago. From traditional tele- XXI and PlasterCity, spoke to the challenges vision, mobile, wireless, pre-show and a facing filmmakers: “You have puzzle pieces; multitude of web-enabled options, the land- one piece might play on TV, one on the inter- scape for viewers is expanding exponentially. net, one in a cinema pre-show. But, they’re Naturally, so are the requirements of content all inter-connected, and you have a great creators. chance to make a clear story for a lot of dif- Advertising visionary David Rolfe has ferent viewers. You may need to redesign the spent the past decade working on new media content for each platform, but that can be and non-traditional delivery options. “For empowering.” Photo by Bilder© Holiday Park (Hassloch Germany) (Hassloch Park Holiday Bilder© by Photo great agencies the currency will always be The Panel was moderated by Mark ideas, and they can be fantastic. But chang- Egmon, AICP Midwest President, and also ing the way we actually do things…we can be featured Christian Robins of Bridges Media behind the curve.” He joined DDB Chicago Group and Don McNeal of Digital Kitchen. last year as Senior Vice President, Director Multi-Purposing Content was produced by SuperCoasters of Branded Production leading all accounts HD EXPO and presented at Midwest HD in new media. “You can’t assume that you EXPO. HD on National Geographic can take a :30 ad and make it fit, put it at Chris Purse is the founder and principal of ignite, the end of something, put it on YouTube , a strategic communications and public relations by Lindsay Drewel get it in a banner or create a website around firm.

ne moment you’re strapped into your take that as a compliment! HD brings us that seat, anxious and nervously waiting. much closer to being able to create real-life OThe next moment you’re screaming experiences and allow the visual element to at the top of your lungs, hurtling down the tell more of the story.” (L to R) Christopher Coppola track, cheeks flapping, eyeballs rattling and Shooting SuperCoasters in high Close up of Tommy Beier - Director, Producer, Writer; every muscle in your body saturated with definition, however, had its challenges for filming from rear of Christian Robins - Vice adrenaline. For thrill seekers nationwide, Dockstader and his crew: “The problem Expedition Ge-Force as President and Creative extreme roller coasters are the ultimate rush. with filming coasters is that it’s hard to do riders pass by on tight curve Director, Bridges Media For the producers of National Geographic them justice. To capture the feeling of ver- in National Geographic Group; David Rolfe - Senior Channel’s SuperCoasters, the ultimate chal- tigo, speed and intensity of these incredible Channel’s SuperCoasters. Vice President, Director lenge was to shoot a show in HD that makes machines, we had to get high enough to get of Branded Production, viewers feel as if they were personally riding on top of the action. We brought in the tall- DDB-Chicago; Don McNeal the mind-blowing roller coasters from the est hydraulic lifts we could find. We spent A - President, Chief Production comfort of their living room. LOT of time in the air wiggling around on the Officer, Digital Kitchen at “It’s a science film, and we go into how end of the boom arm and mounting large the Midwest HD EXPO these rides manipulate our neurochem- cameras on the roller coasters. It involved panel at Columbia College, istry and sensory systems,” commented great amounts of metal speed pipe, welders, “Multi-purposing Content.” SuperCoasters producer Noel Dockstader. ratchet straps and coffee!” “The feedback I’ve had from people who If you missed SuperCoasters, call 1 877- have watched the show is that it made them 77-NGCHD to find out if you can receive feel disoriented and others felt their stomach NGC HD. HD rising up into their throat. Hopefully we can 32 33 From Stage THE CONSUMER FRONT To Screen

by William Conner by hdtvDALE CRIPPS y Lunch with Larry is the first film by make his first film in HD for a wide range of More on HD DVD noted stage director Barry Edelstein. reasons. “Since its roots are in the theater, this MHe adapted the fifteen-minute HD film is dialogue-driven,” Edelstein notes. “I short from a play by an old friend and theater wanted to be able to shoot long takes, to let From the perspective of comparative president of Philips bet his career on the suc- colleague, Erin Cressida Wilson, screenwriter Greg and Lisa really go at one another as they picture qualities, the highdef DVD is only cess of that format. He lost. of the indie hit, Secretary, and the upcoming would on stage. HD allowed me to do that.” modestly more compelling than the standard Highdef DVD will, of course, succeed as Nicole Kidman feature, Fur. “Also, I really loved how the Varicam cap- DVD version. Let me hastily qualify that state- long as huge corporations force their destiny: “After fifteen years in the theater, I tured rich color. The way color works in film ment: HDTV is what we want, but this market the Blu-ray will go into the Sony PlayStation 3, was really hungry to experiment with film,” felt similar to how it works on stage. In some is more democratic than doing just what we while the HD DVD is destined for Microsoft’s Edelstein says. “My manager, agents and all ways, the two forms are not that different,” want. Xbox 360. The computer industry also wants a sorts of other people said, ‘Make a short. See the director says. “I wanted to play with deep, If the spread between the new and the cheap new data storage scheme to be added how it goes.’” saturated tones in the clothes and set, bathed old format is perceived by the public to be soon. On stage, Edelstein has directed a Who’s in crisp, clear white light – something I’ve too slight, it will not have the market power to As a movie lover, I want to see Hollywood Who of American movie stars: Gwyneth done in the theater many times.” overtake the old standard. The CE landscape succeed. As an HDTV owner, I want one of Paltrow, Uma Thurman, John Turturro, David With My Lunch with Larry making its way is strewn with failures these high-def DVD formats to succeed. I Strathairn, Kevin Kline. For Larry, a sexy com- around the Festival circuit, Edelstein is already that did not pass the used to care which one, but now I don’t. The edy similar in tone to Secretary, he turned planning his first feature. “Right after the film 10 JND test (Just highdef DVD can be new and very exciting to small-screen stars Greg Germann, of Ally wrapped, I ran straight back into the theater Noticeable Difference). blood coursing down the veins of Hollywood. McBeal, and Lisa Edelstein of House, (no rela- and did a play. In rehearsal, I kept wanting to Super VHS, while better This same technology will also give Hollywood tion to the director.) turn to the DP to ask if we could move in a bit Dale Cripps is the by most accounts, was (and all other content providers) the room to Cinematographer Alice Brooks shot Larry tighter. That told me: I’ve got the film bug, in publisher of HDTV still not enough so to overcome the price/ invent and introduce to a huge paying audi- on the Panasonic Varicam, and it was edited a big way.” HD Magazine, the first performance value proposition of standard ence new and adventurous products. and finished in Final Cut. Edelstein chose to publication in the VHS. With television monitors getting better Will Hollywood execs mend their ways world dedicated to by the day, as are the signals they process, with the citizens who, in the end, have their the consumer of High the viewing distance becomes critical. If the finger on the “Go, Pause, and Stop” buttons? Definition programming audience is not sitting close enough to the No matter how you see it, we are Hollywood’s and hardware, and monitor the perceived differences in detail business partners. And yet the best they offer the founder and Lisa Edelstein in will go unnoticeable. At four picture heights us on the road ahead is a troubling format president of the High the monitor of the Definition Television one loses all distinction between the HDTV war. Some of us are going to lose money and Varicam on the set of Association of America. signal and DVD standard 480p signal. time (who knows what else) by buying the My Lunch with Larry. hdtvmagazine@ Some say that improved features will wrong thing. “Let the healthy competition be ilovehdtv.com overcome any market impediments if image with the manufacturing and not in formats,” quality will not. That may be an optimistic we will declare. “They have the power to assessment. When Philips introduced the make it happen, and should.” improved image and feature-rich Digital Not only do competing HD disk formats Video Interactive (DVI) in the mid 90’s, rankle the public but the enactment of stri- hundreds of millions went into an educa- dent copyright protection measures destroys tional campaign. Retailers were given exten- the trust between supplier and supplied. This sive training on how to sell the product. is fostering still more negative misinformation Consumers were bombarded night after night about Hollywood’s interpretation of things with infomercials explaining its many virtues. like “fair use.” Movies are no longer the only In all the retail stores I visited during that roll- game in town either. Not only foreign pro- out phase, none of the sales staff were paying duced competition is beckoning but gaming the slightest attention to it. Customers passed and live attractions compete for eyes and by DVI exhibits uninterested, or when curious, dollars. This roll out of Highdef DVD will be