Shooting Dexter with the Sony F23

an interview with Romeo Tirone and Daniel Applegate

Mad Men: A Ambitious Endeavor Kingdom of the Cinematic Look for For Gm Campaign blue whale HD Broadcast by Bob Fisher by Christie Parell by David Heuring contents

highdef.com

Feature Shooting Dexter with the Sony F23 6 an interview with Romeo Tirone and Daniel Applegate © Kodak, 2009. Kodak and Vision are trademarks. are and Vision Kodak 2009. © Kodak, 6 Ambitious Endeavour for GM Campaign 12 by Bob Fisher

Kingdom of the Blue Whale 14 by Christie Parell

Ski Patrol in High Definition 15 by William Wheeler 12

HDTV Forum: No OLED TV’s from Samsung 16 by Steve Sechrist

RED One Under Water 17 by Michael Piotrowski

19 HD Tips: Exposure 18 by B. Sean Fairburn

Mad Men: A Cinematic Look for HD Broadcast 19 by David Heuring

Decoding Christianity 20 by David Royle 20 High Definition Makeup: A Star is Born 21 by Bradley M. Look

Scientific Discovery in HD 22 by Andrew Scafetta

22

Front Cover: Michael C. Hall as . Photo courtesy of Showtime.

Vol. 11, Issue 1 | 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 david@ highdef.com. 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 98119.          

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

including the HDV(tm), XDCAM® HD optical and XDCAM EX(tm) series. Even with a 10x optical zoom and a built-in microphone, the camera measures only 1 1/2 x 1 11/16 x 3 1/2 inches, allowing it to be attached to various devices such as helmets or cars. The control unit has a 2.7-inch (viewable area, measured diagonally) 210,000-pixel 16:9 LCD panel that uses JVC Final-Cut-Pro-Ready ClearPhoto LCD plus technology. All Camcorders Ikan HDMI monitor menu settings can be done using the JVC further expands its ProHD cam- Ikan released its second generation, touch-screen LCD panel. For example, corder line-up by introducing two high definition monitor, the V8000- set-up during shooting or video professional solid state camcorders, the HDMI. iKan has improved its versatility operation can be carried out simply by industry’s first to store files in the native with additional inputs and more power touching the LCD panel. Quicktime format for Apple’s Final Cut options. The V8000-HDMI has pass Pro onto reliable and inexpensive SDHC through inputs for composite, S-video media cards. The compact hand-held and SD/HD component, enabling you GY-HM100 3-CCD camcorder was intro- to use an array of different devices. duced earlier this month, while the com- Additionally, it features the new HDMI pact shoulder GY-HM700 is scheduled input. HDMI provides the native for introduction in February 2009. Both resolution of the original source and camcorders record 35Mbps high defini- insures the highest quality. The rear tion video and uncompressed audio. of the monitor now features 100mm VESA mounting threads for a variety HDTV Boosts TV Ratings of mounting options. For those using Nielsen Media Research says HDTV prosumer batteries, you can power the TBN & Ikegami HDK-79EXIII’s is boosting TV ratings, particularly for V8000-HDMI with the Sony “L” series The Trinity Broadcasting Network (TBN) sports, according to an article in USA battery and now you can use camera has specified the Ikegami HDK-79EXIII Today. In a recently released study, batteries from Canon, Panasonic and full digital HDTV companion camera Nielsen said roughly 22 percent of Keith Collea others with new DV battery adapter systems for their new Manhattan stu- U.S. households now watch highdef Co-writer and Producer, The Gene Generation plates. Additional features include: dio. Set inside an 1800’s-era 200-seat programming. (The number is less than Supports 480i, 480p, 720p, 1080i and theater in Manhattan’s Union Square, the actual number of people who own 1080p, has a guide feature defining TBN NY (WTBY 54) makes the most high-def sets because some HD owners safe areas for both 16:9 and 4:3, and of its classic but compact space. do not subscribe to cable or satellite push button vertical and horizontal flip. From this facility TBN produces such HD programming packages; more than shows as their flagship Praise the Lord 30 percent of U.S. households are esti- From capture to conversion, Keith Collea’s entire Program, The Dino Show, and numer- mated to own HD sets.) post production workflow relies on AJA at its core. ous specials. With only a 20-ft. by 25-ft. Panasonic P2HD Portable stage and minimal room to maneuver, Recorder With a resumé including work on blockbusters such as ‘Alien: TBN needed to make the most of Resurrection’, ‘Independence Day’ and ‘Pearl Harbor’, the effects and every inch of studio space. “We need- Panasonic’s ed cameras that were physically small AG-HPG20 P2 post production veteran has been a longtime user of AJA products. but visually big,” TBN Director Russell Portable recorder/ Collea’s entire post production workflow depends on AJA products, Hall explains. “The Ikegami HDK- player with AVC- including KONA, Io HD, and Converters. “I’m a huge AJA fan,”says Collea. 70EXIII gives us 1080i 16:9 images in a Intra recording small-body camera.” capabilities sup- On his recent feature, ‘The Gene Generation’, Keith chose Io HD as the ports the 10-bit Sony POV Camera/ centerpiece of a fully portable projection system. “Using the Io HD, an Sony Entry-Level AVC-Intra codec Recording System Apple Intel MacBook Pro and a G-Tech G-DRIVE, we were able to create Camcorder as well as formats Sony introduced a full 1920 x 1080 a system that allowed the film to be shown on a Sony digital cinema Sony is expanding its family of high def- ranging from DVCPRO HD to DV. It high-definition compact point-of- projector without the use of a tape-based VTR for playback,”he view (POV) camera and solid-state inition camcorders for digital cinema- will serve as a master quality deck for • 10-bit, full-resolution SD/HD over FireWire explained. “It saved us time and money, and the picture quality recorder combination, model HXR- tography with a new model, HDW-650F. fast, file-based recording -- bridging content to and from older tape based • Apple ProRes 422 codec in hardware – was better than if it came off of tape. It was just incredible.” MC1 with separate camera head and The new HDCAM® model is designed HD 720/1080, SD NTSC/PAL systems and HD-SDI infrastructures. control unit/recorder. The new camera to offer video professionals a low-cost, • Up/down/cross-conversion, hardware-based and realtime This workflow tool allows users to achieves its balance of compact size, high-performance option for moving • Connect via a single FireWire cable to To find out more about how Keith uses AJA products to enhance playback and review P2 cards on its 3.5- light weight and superb image quality into HD production. The new camcord- MacBook Pro or MacPro his workflow, check out the full details at www.aja.com/keith through the use of solid-state record- provides flexible HD recording capa- inch LCD screen, manage clip files and ing onto Memory Stick PRO(tm) Duo bility in 1080/59.94i, 50i, and 23.98P. It metadata, record content from a wide media using AVCHD compression. The features an array of design enhance- range of cameras via its HD-SDI input, HXR-MC1 can record up to six hours ments, including three newly developed and backup data onto hard disk drives. of high-definition content onto a 16GB 2/3-inch type Power HAD(tm) FX CCDs, Featuring two P2 card slots, the P2 Memory Stick media. This approach is a 14-bit A/D converter, and a state-of- Portable’s solid-state design holds up consistent with Sony’s current line-up the-art LSI DSP. The HDW-650F cam- to the demands of field operation, yet of MPEG professional camcorders, corder is available now, at a suggested it is small and light enough (2.5 lbs) for list price of $42,800. easy transportation. HD Io HD. Because it matters. 4 Shooting Dexter

with the SONY F23 Photo by Peter Iovino/Showtime An interview with Romeo Tirone – Director of Photography and Daniel Applegate – Digital Imaging Technician Q. Romeo, tell us about the production of Dexter and the use of the Sony F23? Q. Daniel you’ve been with the show from the beginning. Were you happy with the switch? (L – R) James Remar as Harry RT: This is my first TV series and first HD project of this scope. It was definitely my decision to DA: It’s frustrating when you are shooting and look at the window and it’s just a white hole, so I Morgan, C.S. Lee as Vince Masuka, Michael C. Hall switch to F23. Last season Dexter was a hybrid show, shooting on HD and film. Sometimes it told them about F23. The producers actually looked into RED but everyone felt it wasn’t ready as Dexter Morgan, Lauren became complicated going back and forth between one and the other so I was looking for a for the television show, so we kept pushing F23. We finally got it through Panavision and we Velez as Lt. Maria Laguerta, new camera. The way F23 looks and the latitude on it is so broad I feel like now I have to light pretty much were able to keep everything the same - just switched the camera. David Zayas as Angel Batista, it more like film, where last year with the first generation 24P camcorder I had to bring my high- Q. How was the post-production process affected? Julie Benz as , lights down, where I would use a 20k I used 10k. It allows for more contrast, the esthetics are RT: If the F23 made it harder for post it would have been a problem. What we do is shoot with and Jennifer Carpenter as more pleasing. It really captures all the information especially in highlights. HDCAM SR tape and dub down to HDCAM, so their post workflow stays exactly the same. Debora Morgan 6 7 er to film. I am curious what behind the camera turning from it. When I got this show the F35 will bring us with being the knob, which is actually it was mandatory to shoot on able to use 35 mm lenses and very helpful, because I’m right HD, but because of all the using film lens language. there with the actors and can speed changes that we do, Michael C. Hall as Dexter Morgan and Q. Do you do any in camera see the line and really hit it. there were times when I’d James Remar as effects? Q. In which areas would you shoot the film camera and HD camera side by side. We Harry Morgan RT: A lot of Dexter’s point-of- like to see improvement? no longer have to do this. views are done with speed RT: With F23, we still have And that’s cost effective for changes, so we’ll go from some physical limitations, the producers. Also, I find you normal speed to 48 fps or hand-held devices are still a really feel the benefits in your sometimes from 12 fps to 48 little awkward, it balances cor- night exteriors or the low light fps, and we’ve been doing rectly with the tape deck on it, work. On the other hand there this with F23 flawlessly. When but when you remove the deck is a little bit more romance we were doing this before all the weight goes forward. in film it makes things look a with a film camera, you’d end On some of the scenes little nicer. Like for example, up doing two or three extra we’ve incorporated the smaller because of HD’s amazing takes, just to make sure you EX1 with the F23, like in an ele- detail, it’s unforgiving to peo- got the right effect. Where vator or car interior. It’s actually ple’s faces and we embrace with this you shoot it, you pretty amazing how well the that. However we do try to play it back and you know you camera cuts with the F23. play with filters to try to help nailed the right moment. I’m I think HD is getting bet- skin tones, but the show is not usually the one who does the ter and better. I embrace HD, a glamour show. It has that speed changes, so I’m right I like it, and I never shy away hard edge to it. Although we Photo by Peter Iovino/Showtime do try to make people on the show look good, that’s not the However, post loves what we are getting, We are shooting hyper gammas and are first priority. Visual storytelling because there is so much more range, so much finding they are working really well for us. It to compliment the script is more detail so they have more wiggle room. took us sometime to learn them. There are our main goal. HD DA: Of the newer cameras, the F23 is the four different ones for different purposes, and Romeo Tirone seized the I think now we have a really good handle on Michael C. Hall as Dexter only one where we can actually burn the look opportunity to go freelance as it. We can look at a situation and know which an Assistant Cameraman on Morgan and Jimmy Smits in without making LUTs, otherwise we would hyper gamma to go to and get the informa- the groundbreaking hit music as Miguel Prado make the LUTs, send them in, and then hope that in dailies, the right LUTs are applied to tion we need. The F23 gives me the freedom video for Run DMC Aerosmith’s the right scenes. We don’t protect the high- to create the look on set rather than have Walk This Way. His commercial lights or the shadows. If we want something someone else do it in the final color correct. reputation for “Tabletop blown out we blow it out. We’ve been told It’s the only place where I can really stamp it in Cinematography” as well as that they want the dailies to look like the and not have to worry about someone doing “Live Action Cinematography” steadily grew, working show is going to look, so that’s what we do. something completely different in post. with nationally recognized I do try to have a little bit more information I try to use color as an emotional under- companies such as Giraldi, there so if they do want to bring it down they line of what is going on in the show. If I Red Tree and Radical Media. have the option, but overall if it’s going to be decide to make a certain scene warm or cool or green, post understands that and uses the Shooting Feature Films remains sunny, we want a hot background. Romeo’s passion. His work has ‘painted in’ look as a basis for color correcting RT: There is a distinctive look to Dexter. I been in the Sundance Film the scene. With night scenes we’ve been turn- describe it as a graphic novel with Scorsese/ Festival (L.I.E. 2001) and The ing down the gain of the camera to -3 rather Cronenberg/Kubrick influence. And we really Toronto Film Festival (Twelve than pushing as we had usually in the past. try to keep it that: low wide angle lenses, lots and Holding 2005). Romeo This of course meant that I have to add more of movement in the camera, the drama of the has always embraced new light, and the result is much richer and more lighting. We really try to create different looks; technologies. detailed shadows, plus reduced noise com- I change the color completely for kill scenes, pared to the normal +3. Daniel Applegate’s recent Digital flashbacks and now for flash-forwards for this Most of the time I shoot wide open Imaging Technician experi- season. In flash-forwards we are using a net ences include: Flirting with Forty because of depth of field. I light by eye not by on the rear of the lenses to create a dream (2008), (2008), meter so it tends to be wide open whether I effect look, but then sharpening it up with the Austin Golden Hour (2008) and like it or not. I think it’s getting closer and clos- shutter. The Riches (2007-2008). Photo by Peter Iovino/Showtime 8 9 Publication: HighDef Magazine Ship Info: HighDef Magazine IO #: None 2247 15th Ave West RDA International - 286970 Issue: 09/Jan-Feb Seattle , WA 98119 Project: Sony December Ad Type: SP4CB Attn: David Thompson Campaign: EX - Leader bleed = 16.75 in X 11 in t: 888.282.1776 f: None Creative: 4088 We Never Leave trim = 16.5 in X 10.75 in AE: Chris DelVecchio safety = 15.75 in X 10 in

Bleed:16.75 in Trim:16.5 in Safety:15.75 in Trim:10.75 in Safety:10 in Bleed:11 in We never leave well enough alone. As we always do, we’ve taken our hottest product and made it better. We started with the 1920 x 1080 recording and SxS PRO™ memory cards of the PMW-EX1 camcorder. Then we added the versatility of interchangeable lenses, the fl exibility of Gen Lock and Time Code jacks and the power of 8-pin interface for full studio remote control. Presenting the EX1’s bigger brother, the PMW-EX3. To see all the other ways Sony is exceeding expectations, visit us online.

click: sony.com/prohdna

© 2008 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifi cations are subject to change without notice. Sony, HDNA, the HDNA logo and SxS PRO are trademarks of Sony.

4088_Sony_HDM_Jan-Feb.v1.indd 1 12/10/08 11:55:03 AM

Fold:8.25 in Fold:8.25 in

Contact Chris Del Vecchio with any questions regarding these materials ph: 973.602.3365 email: [email protected] Ambitious Endeavor for GM Campaign by Bob Fisher

illiam (Bill) Bennett, ASC recently producer, with Nancy Fulton fulfilling line pro- completed shooting his “most ducing duties, and Scott Luhrsen as 1st AD. Wambitious endeavor” for director The Damon Live Action team spent months Tim Damon of Damon Live Action. Bennett planning the effort, and collaborated closely has earned more than 1,000 cinematography with creative directors from ad agencies, credits for shooting television commercials in including Campbell-Ewald, Deutsch, Inc. and collaboration with a who’s who list of directors Leo Burnett. at locations around the world. “Television commercials are about life- Bennett and co-cinematographer Greg styles,” Bennett observes. “You have just 30 Baldi shot 100,000 feet of running footage seconds to connect with individual viewers of General Motors cars and trucks that is on an emotional level. We want them to feel being used to create national, regional and what it’s like to drive these vehicles in beauti- local commercial campaigns introducing 54 ful environments.” Chevrolet (Buick), Saturn (Pontiac) and BPG The running footage was produced at (GMC) vehicles in both HD and standard tele- locations in and around Salt Lake City, Utah, vision formats, and also for video displays at and Denver, Colorado. These locations were Photo by Tim Damon dealerships and DVDs. chosen by Damon because they provided The package was produced by Damon an array of attractive backgrounds, including Live Action, and marked Bennett’s eighth high-density residential and retail neighbor- grass. The agencies also wanted deep blue, visible because the agencies want audiences project for Damon during the past year and hoods in urban settings, and country roads sunlit skies. Production was scheduled dur- to imagine themselves behind the wheel. a half. Caroline von Weyher was executive surrounded by trees, farms and lush green ing mid-mornings and late afternoons when Windows were coated with a 50 percent the sun was low in the sky, yet still above the “transmission” gel that turned drivers into A shot of the Chevy horizon. silhouettes, with the exception of close-ups Colorado for the “It was obvious that we needed the lati- of hands pushing buttons, opening compart- GM running footage tude and nuanced palette of colors, contrast ments, etc. campaign. and textures that film provides,” Bennett says. Bennett recorded images with an “We captured the footage mainly on a 250- ARRIFLEX 435 Xtreme camera mounted with speed (KODAK VISION2 5205) four-perf film, an Angenieux 17-102 mm zoom lens. The which enabled us to use longer and slower camera was on a Technocrane with a Flight (L – R) Director Tim Damon lenses when they were needed. We also shot Head. Baldi’s unit filmed moving cars with and cinematographer some scenes at higher frame rates for slow- an ARRI 435 ES camera mounted with an Bill Bennett, ASC with motion effects. The images were composed in Angenieux 15-40 mm Optimo zoom lens. The gaffer Dennis Wehr (back) 4:3 aspect ratio while protecting for 16:9.” camera was on a Filmotechnics Pro Action contemplate a shot for their Choreographing the shoot was like pro- Arm and Flight Head mounted on Damon GM running footage project. ducing a complex ballet. There were some Live Action’s Porsche Cayenne. The third unit, 120 people involved, including teamsters who headed by Thom Cox, concentrated on film- used 14 tractor-trailers to haul and deliver the ing car interiors with an ARRIFLEX 235 camera picture vehicles to the right places at the right with Zeiss Ultra Prime and Revolution snorkel times. Four camera crews were working simul- lenses on a miniaturized, motorized dolly that taneously. Damon created “shopping lists” of Bennett designed. The fourth unit was shoot- the desired interior and exterior shots, includ- ing cars on Damon’s turntable with a custom, ing instructions for close-up, medium and carbon fiber arm used to place it in a fixed long shots, camera angles and movement. position 10 or more feet from the car. The shopping lists consisted of still images of Front-end lab work was done by exterior and interior shots, including angles FotoKem in Burbank, California. RIOT in that art directors at the agencies requested. Santa Monica handled telecine transfer and HD

Photo by Ambar Capoor Features of people inside the cars aren’t provided dailies. 12 13 Kingdom of the Blue Whale by Christie Parell

lue whales are the largest creatures to used, including the Sony F900, Sony PMW- ever live on our planet – larger than EX1, Panasonic HDX900, Panasonic P2, and Bany of the great dinosaurs. They are so Panasonic Varicam. rare that even experts know little about them. The rare Blues spend virtually all of their National Geographic Channel’s new high-def- lives underwater and surface for only seconds inition special, Kingdom of the Blue Whale, at a time. Regarding access to film them, takes us on a journey over thousands of miles producer Sue Houghton says, “There are only through remote waters to unlock the secrets a limited number of ‘approaches’ for endan- of blue whales and investigate why more are gered whales on each scientific permit, and dying than ever before. the scientists would rather use them for their

Photo credit © Dave Adams / NGT Filmed during sea voyages off the coasts own research… Filming whales is the hardest of California and Costa Rica, and culled from thing I’ve ever done, because they’re so big, hundreds of hours of original spectacular HD so fast, so few, and there are so many limita- photography, the two-hour special follows tions on what film crews can do, and when the crew as they discover where the Eastern and how they do it.” North Pacific Blue Whales mate, calve, and In one season alone, four blue whales Photo by Brooks Werner feed in the winter. were killed by apparent ship strikes. As Using National Geographic’s cutting- whale expert Steve Palumbi says, “It’s prob- ® Ski Patrol edge Crittercam , an integrated video- ably harder to be a whale than it’s ever been camcorder and data logging system that before…I think we have the power to protect in High Definiton attaches to the whale’s back with suction, this them and let them have that chance.” HD by William Wheeler special features the first-ever footage of the Kingdom of the Blue Whale premieres Sunday, blue whale gulping krill – from the whale’s March 8, 2009. perspective. Five other HD cameras were also roducing Ski Patrol: Crystal Mountain, while skiing but also produces excellent a new HDTV “reality” series about the image and sound quality, even though we put Pdaring rescuers of skiers on treacherous them through a pounding for 12 weeks on the alpine slopes, is a current assignment of Los mountain,” says Bryan Stratte, director of the Ski Patrol being shot in HD Angeles-based Varuna Entertainment. The series. “Shooting this type of show doesn’t by DP Chun Ming Huang. Above: Dr. Bruce Mate, series (on truTV) features dramatic HD video give you the luxury of set-up times or second Director of the Marine of avalanches, rescues, and skiiing in extreme takes. It’s all in the moment.” Mammal Institute at environments. Capturing the cinema verité Features of the three-CCD XH G1 Oregon State University, style of the series in HD necessitated the use includes multiple frame rates and industry- and John Calambokidis, of a compact, lightweight camera. standard connections for genlock, HD-SDI/ Research Biologist of “Canon’s XH G1 HD camcorder worked SD-SDI output, and SMPTE time code I/O. Cascadia Research, prepare great for this series,” notes DP Chun Ming “The XH G1’s time code connector is a to tag a whale. Huang. “Its 20x zoom lens is fast. And you life-saver for reality production,” Ball elabo- can start off pretty darn wide and go in pretty rates. “We shoot a tremendous amount of Right: Supported by the darn tight.” footage, and time code gives us the ability National Geographic “Some of the skiing shots were captured to jam-sync multiple cameras. On Ski Patrol: Society, scientists embark by our camera operators holding the camcord- Crystal Mountain we had four camera crews on a revolutionary mission ers on monopods,” explains producer Prema spread out all around the mountain. In an to find, Identify and tag Ball. “Occasionally the operators would fall, emergency they’d all get a call over the radio California blue whales using and it was much better that they were hold- to get to a certain location. If all the XH G1’s DNA samples. ing the lightweight XH G1 than a heavier ENG hadn’t been jam-synced at the beginning of camera, which could cause as much damage the day, they’d all be on different time codes to an operator as the fall itself.” and it would have been a post nightmare.” “The XH G1 is light enough to be held HD Photo credit © Dave Adams / NGT 14 15 Forum by hdtvsteve sechrist

No OLED TV’s from Samsung

Samsung vice president, H.S. Kim in the Flat Panel Development division, announced that they will not bring OLED TVs to market any- time soon. The reason, the technology is cur- rently considered too expensive, and custom- ers would not pay the premium, as OLED sets

would cost 10 times as much as equivalent Digital Photos Studios courtesy of Tampa LCD or plasma HDTVs, Kim says. In a compelling story in Mobile Display Report, display analyst Ken Werner wrote: “The odds against successfully bringing RED One a new display technology to market are immense, if not quite infinite. The problem is Under Water that the entrenched technology – CRTs not Steve Sechrist is too long ago, LCDs and PDPs now – devel- by Michael A. Piotrowski an editor/analyst ops such a massive manufacturing infrastruc- while making them thinner and more efficient. at Insight Media, a ture, such an efficient supply chain, and such This will involve working on integrating 200Hz technology based a wealth of processing know-how for enhanc- panels and LED backlighting into its sets, with lowered into a home pool for the filming of media firm specializing ecently, Jordan Klein Jr., veteran under- ing yields and reducing costs that it’s virtually more advanced local dimming LED backlight- a 30-second spot for Pinch A Penny, a large in large format and water cinematographer, collaborated impossible for a new technology to directly ing and LED edge-lighting to be used in high- with Tampa Digital Studios, a large digi- retail pool supply company in the Southeast. micro display and compete.” er-end sets in order to make them super-thin. R The camera’s underwater housing used three related industries. tal media production company in Florida, to In the large display AMOLED space, we OLED panels can be just 3mm thick, though submerge underwater, for the first time, Red electric motors to control the lenses—focus, may be facing similar odds, and the Samsung the TV itself would need to be 25mm thick Digital Cinema’s RED One to capture swim Iris and Zoom. Klein shot the action using announcement could be the canary in the (just over an inch), which is what LCD HDTVs scenes for a television commercial. an electronic viewfinder, also housed in an coalmine. While small OLEDs have estab- are approaching.” The 10-pound camera was placed inside underwater casing, and electronic camera lished good traction in portable products like Samsung with multi-generational LCD a housing made of 6061 aircraft aluminum. controls. Prototype Canon SED cell phones and personal devices, migrating fabs and billions of dollars already invested, Klein built the red-colored casing, known Because the camera and lens functions the emissive OLED technology up stream has has that luxury to choose between the two Display couldn’t beat as Liquid Red, that weighs 80 pounds. The are electronically controlled, the housing is Above: An underwater proven much more challenging. Adding to technologies; and given the current economic the odds. encased camera was hoisted into a pool set capable of being fully remote controlled. scene from the completed the problem, the life/color and yield require- climate, the safe bet is on making LCD more using a crane device to remotely control the Klein said this makes Liquid Red ideal to 30-second Pinch A Penny ments for large display TVs is much more competitive, and more profitable. camera’s movement from dry land. shoot in hazardous environments or with Pools spot. rigorous than that of small cell phone screens But others like Sony don’t have that “I noticed a need in the industry, and I crane operations. and the like, as evidenced in the recent luxury and are committed to making (large wanted to develop it first,” said Klein, who “The folks at Red Digital helped us with Top: DP Jordan Klein, Jr. Samsung announcement. sized) OLED-TVs a reality in 2009. For Sony’s operated RED One. “From a technology the wiring schematics for the camera control (left, operating camera) So what will Samsung do in the mean- sake let’s hope those process engineers standpoint, I feel that the professional hous- functions,” Klein added. HD and commercial director time? In an Electronista article it was stated, know something about making large OLED ing for the RED One is as important to the Michael A. Piotrowski is a producer and public Rob Tiisler (right, on pool “Instead the electronics giant will continue displays that the Samsung boys haven’t fig- industry as the Steadicam or Technocrane.” relations director at Tampa Digital Studios. www. decking) planning a shot. to focus on developing its current LCD and ured out. Suffice it to say, it’s going to be an In December 2008, the RED One was tampadigital.com, 813.241.2012 plasma TVs, improving their performance interesting year in the display industry. HD 16 17 Tips b y hB. Sean Fairburnd SOC

Exposure

Exposure is a recipe made up can be done with tweaks to and black gamma set at 35% of a variety of ingredients. the black gamma that will give to -40. This will make the scene

Blacks, gammas or mids you a rich contrasty look (low- a bit more colorful and add a Photo by Carin Baer/© 2008 AMC and highlights are the basic ering the level) or by raising bit more contrast. elements. Most people don’t to show you more information Night exterior street ever take a moment to adjust in the dark grey areas of the scene: Expose for brightest the ratios any more than the frame. You must get familiar lights, take gamma up to +30 Mad Men way the camera was set up with how?, when? and in what and black gamma set at 50% when it was purchased. direction? to make these to +50. This will pull out more A Cinematic Look for HD Broadcast To properly take advantage tweaks. Your image will greatly information in the dark areas of the wealth of choices con- benefit from the extra care. and provide an overall brighter cerning exposure, the question For instance bright day scene without gain and exces- by David Heuring to ask yourself is “What do I exterior: Expose for highlights sive noise. want to properly expose?” (sky with a ND.6 Grad) at 103 You have my permission to HD he television phenomenon that is Weiner says. “We want it to look and feel B. Sean Fairburn, SOC The main subject of IRE, take gamma down to -20 experiment. Mad Men was born in fits and starts. cinematic because many people are watching Director of Photography, the shot generally gets the Series creator Matt Weiner wrote the the show on big, high-definition screens.” Role Model Productions, primary consideration, but T LLC. rolemodel@ highlights are what can’t be pilot prior to becoming a key player on The Manley photographs most interior scenes Mad Men star earthlink.net fixed in post. Therefore set Sopranos. After that show’s amazing six-sea- on 500-speed KODAK VISION2 5218 film, in the episode “A Night Seanfairburn.com highlights with the iris keep- son run, Weiner resurrected Mad Men, which and most exterior sequences on 200-speed to Remember.” 818-621-3912 ing whites around 100-103. became the first episodic series to air on the KODAK VISION2 5217 film. “These films give Local 600, Turning on DCC (Dynamic AMC (American Movie Classics) cable channel. us the latitude to record colors, contrast and Agent Steve Jacob, Contrast Control) will help get In its inaugural 2007 season, the show details in highlights and shadows the way 323-460-4767 more information out of your was nominated for 16 Emmys, the third high- the human eye sees them in the real world,” highlights. est total in history, and went on to become Manley says. Actors flesh tones gener- the first basic cable show in history to claim The negative is developed at LaserPacific ally fall in the mids and should top honors in the best drama category. It won in . Mace Johnson transfers the film Day exterior scenes like be considered next. Under five additional Emmys, including one for cin- to 4:2:2 HDCAM SR format using the MTI dai- festival rides properly exposing is safe, but using the ematography. lies system. Color timer Tim Vincent uses the tuned maintain color and gamma dial on the camera to Mad Men is set in 1960’s New York and Lustre color grading system to time the film. contrast. lift or drop the gamma level follows the lives of the men and women at a Weiner, postproduction supervisor Nathaniel takes only a few seconds to cut-throat Madison Avenue ad agency. Chris Smith and producer Blake McCormick super- get what you want it to look Manley, ASC, photographs Mad Men in three- vise the trim pass with Vincent. like exactly. Black pedestal perf Super 35 format, which trims about 25 Mad Men airs in high-definition format on should not be touched after it percent of raw stock and lab costs without the AMC HD channel. The series was picked gets set at 0. sacrificing image quality. up for a third season with new episodes airing However a similar effect “Mad Men airs on a movie channel,” in 2009. HD Photo by B. Sean Fairburn 18 19 A Star is Born

by Bradley M. Look

n October 3rd, 2008 at eleven thirty, the Omost recent star on Hollywood’s Walk of Fame (the 2,370th to be exact) was Left: Michael Westmore unveiled at 1645 Vine Street proudly holds the in Hollywood. Whereas this plaque dedicating the ceremony generally honors Westmore star. an individual, this star paid homage to true Hollywood Below: The Westmore royalty, the Westmore Family. Dynasty finally receives The Westmore family, their star on Hollywood’s Photos by Stephen Rooke / Tile Films, Ltd. as documented in the Walk of Fame. book, “The Westmores of Hollywood,” are considered Decoding Christianity the first family of makeup in Hollywood. George by David Royle Westmore is credited as starting the first makeup department at Selig Studios in 1917. He was paid $25.00 t the television market at MIP in Christianity. Filmed in eleven countries, the a week! George had six sons, Cannes just over two years ago, series decodes the signs, symbols, myths and Mont, Ern and Perc (twins), Awe were preparing to launch the miracles of Christianity. Wally, Bud, and Frank. Soon Smithsonian Channel and I was searching for Decoding Christianity was shot at 25fps there wasn’t a studio that HD programming. I was surprised to discover on the Sony HDW F900R HD Cam using fairly didn’t have a Westmore in that it was a rare commodity. neutral settings. This enabled the greatest charge of it. The Westmores Even in 2006, despite the rapid move- latitude for grading in post-production, allow- defined the very look of ment to HD by a number of prominent ing the blacks to be crushed and the colors beauty and glamour. The American channels, Europe appeared reluc- saturated and enhanced using a Da Vinci 2K 7 Basic Face Shapes was a tant to embrace the new technology. Unlike system, the look Rooke and his cameraman, Westmore creation that was North America, they hadn’t suffered for years Mick O’Rourke, were seeking. adopted by hairstylists and with the second rate NTSC system and so the Tile Films laments the continuing dis- makeup artists alike. Above: Crucifixions in the jump in picture quality was less appreciable. interest by many European broadcasters in During the ceremony, Philippines. Surprisingly, one of the companies pio- HD, but their initiative has paid off. Not only honoring the Westmore Photos by Bradley M. Look neering high definition in Europe was a small have they built a large future-proofed library, family, noted Producer A.C. Top: The Hill of Crosses in Dublin based company, Tile Films. They start- but their programs are selling worldwide. Lyles spoke of his first hand how their father Mont and Lithuania. ed shooting HD nearly four years previously, Decoding Christianity was launched on the accounts of the family mem- uncles shaped not only some as a way to break into the North American Smithsonian Channel this month, and is bers, which, to those who lis- of Hollywood’s famous faces, market. Their managing director, Stephen already scheduled in four other countries. HD tened on from the crowd, was but continue to influence Rooke, recognized the potential of the new has given this small Irish company, a big com- like taking a step back into makeup artistry even today! video format. petitive edge. HD Hollywood’s glory days! It was a wonderful oppor- Tile’s documentaries were beautifully shot David Royle is Executive Vice President for Both Michael and Marvin tunity and I consider myself and the Smithsonian Channel soon decided Programming and Production at the Smithsonian Westmore spoke on behalf very lucky to have had a brush to embark with Tile and VisionTV International Networks. Decoding Christianity premiered in of the family at the ceremony with a makeup dynasty such on a major 6 part series Decoding early January. giving their recollections of as the Westmores! HD 20 21 © 2009 Discovery Communications Scientific Discovery inHD by Andrew Scafetta

Regardless of the important role you play in the creation of content, From big screen to small screen to no screen and beyond, the NAB from conceptualization through production and post-production, the Show is the ultimate venue for exchanging solutions and strategies rom becoming more eco-friendly and to firefighters and victims and helps reduce NAB Show delivers the tools and techniques to give life to your next inventing new products, to seeking often costly property damage. for creating award-winning content to be viewed by local, national cures to disease or famine, science and And the breakthroughs aren’t only award-winning vision. Experience a wealth of hands-on educational and global audiences. Join the world-wide community of professionals F opportunities designed to expand your know-how and abilities. See, who share your passion for entertainment excellence. For more Scientists work on the Silicon scientific discovery is the engine powering coming from elaborate research facilities. Strip Vertex Detector. advancements around the world. On Brink, Science innovation is also coming from touch and test the advancements infl uencing today’s edgiest content, information, visit www.nabshow.com. The Science Channel is examining how this “backyard inventors” who are pushing the from HD to 3D, editing, and the latest in animation, gaming, widgets, engine is changing or will change the way we limits of science in their own way. One such social networking and more. live. group, Illuminati Motor Works, consists of Designed as the source of interactive car enthusiasts who are trying to win the science based information on television, Automotive X Prize by building a practical, Brink is immersing viewers on the frontlines clean car that gets 100-miles-per-gallon. of cutting-edge breakthroughs and mysteries Potential advances in solving several of the scientific world. For instance, physicist problems are also coming from mushrooms. and former astronaut Franklin Chang-Diaz has Researcher Paul Stamets believes mushrooms developed, and is working to perfect, plasma hold the key to cleaning up pollution, rocket propulsion with his company Ad Astra providing fuel for our cars, combating Rocket Company. The plasma technology chemical weapons, treating bacterial could increase the speed of rockets more infections and much more. FREE than three fold, and make the trip from Earth Filmmakers rely on the Panasonic HDX to Mars 39 days as opposed to almost one 900 HD Camera and the Sony HDV HVR-A1 in Exhibits year. Another company has designed a new the field, and the HDC-1500L in the studio to Passport weapon in firefighting. The FIT-5, a grenade- capture vivid detail and inner workings of the Conferences: April 18–23, 2009 / Exhibits: April 20–23 Las Vegas Convention Center / Las Vegas, Nevada USA Use code A510 when like device that uses chemistry to knock down experiments, inventions and research that will registering online flames in small areas rapidly, limits injuries change tomorrow. HD www.nabshow.com 22