Digital • SHOOT • EDIT • POST • STORE • PRODUCE • DISTRIBUTE TOOLS and TECHNIQUES for the CREATIVE PLANET VIDEOAUGUST 2015 | CREATIVEPLANETNETWORK.COM

digital • SHOOT • EDIT • POST • STORE • PRODUCE • DISTRIBUTE TOOLS AND TECHNIQUES FOR THE CREATIVE PLANET VIDEOAUGUST 2015 | CREATIVEPLANETNETWORK.COM

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ZEISS Compact Prime CP.2 lenses Get the angles you really want. Versatile ZEISS Compact Prime CP.2 lenses can be mounted on all types of cameras, so you can achieve true cinema feel in virtually any situation. Each of the 14 focal lengths offers a large rotation angle for perfect pulls, a 14-blade iris for exceptional bokeh, and the precision build quality you expect from Carl Zeiss. www.zeiss.com/cine/flexibility digital VIDEO vol. 23 | no. 8 08.2015 EDITOR’S VIEW

EDITORIAL EDITORIAL DIRECTOR Cristina Clapp [email protected] MANAGING EDITOR Katie Makal [email protected] WEB EDITOR Sarv Kreindler [email protected] SAVE THE DATE(S), SEE NEW TECH, CONTRIBUTING EDITORS Jay Ankeney, Chuck Gloman, David Heuring, Debra Kaufman, John Merli, Carl Mrozek, Oliver Peters, Geoff Poister, Dick Reizner, Stefan Sargent, Jon Silberg, Ned Soltz, Jennifer Wolfe STRENGTHEN YOUR SKILLS ADVERTISING U.S. NORTHEAST, NEW ENGLAND & CANADA Vytas Urbonas f you’re on the East Coast, I’d like to invite you to a number of events taking place at the convention [email protected] 212. 378. 0400 Ext. 533 center in Washington, D.C., at the beginning of December. All are designed for education, collabora- WEST/CENTRAL SALES MANAGER Jeff Victor [email protected] 224. 436. 8044 tion and conversation. U.S. MID-ATLANTIC & SOUTHEAST Michele Inderrieden [email protected] 212. 378. 0400 Ext. 523 I• Government Video Expo 2015 PRO AUDIO SALES MANAGER Pete Sembler [email protected] 650. 238. 0324 The D.C. Region’s Largest Video, Broadcast and AV/IT Event EUROPE SALES DIRECTOR Steve Connolly Walter E. Washington Convention Center [email protected] +44 (0) 20 7354 6000 PRODUCT SHOWCASE/CLASSIFIED ADS Michele Inderrieden December 1-3, 2015 [email protected] 212. 378. 0400 Ext. 523 • DC Post|Production Conference ART & PRODUCTION Educational and Training Sessions Produced SENIOR ART DIRECTOR Nicole Cobban ASSOCIATE ART DIRECTOR Walter Makarucha, Jr. by Future Media Concepts (FMC) 2015 PRODUCTION MANAGER Lisa McIntosh [email protected] 703. 852. 4616 December 1-3, 2015 ADVERTISING COORDINATOR Caroline Freeland • Video Distance Learning in the Federal Government DECEMBER 2–3, 2015 [email protected] Produced by the Federal Government Distance Learning Association (FGDLA) CIRCULATION GROUP DIRECTOR, AUDIENCE DEVELOPMENT Meg Estevez December 2, 2015 CIRCULATION MANAGER Kwentin Keenan • National Drone Show CIRCULATION CUSTOMER SERVICE Michele Fonville A Conference & Expo Featuring SUBSCRIPTIONS DV, P.O. B ox 221, Lowell, MA 01853 UAS Video Capture Technology DECEMBER 2–3, 2015 Telephone: 888-266-5828 (USA only, 8:30 a.m. - 5 p.m. EST) December 2-3, 2015 978-667-0352 (Outside the US) Fax: 978-671-0460 If you’d like more information about any of these events, you can visit www.gvexpo.com/info. E-mail: [email protected] Government Video Expo is the East Coast’s largest technology event designed for video, broadcast NEWBAY MEDIA VIDEO/BROADCAST GROUP and AV/IT professionals. It features a full exhibit floor, numerous training options, free seminars, EXECUTIVE VICE PRESIDENT | GROUP PUBLISHER Carmel King VP SALES | GROUP PUBLISHER Eric Trabb keynotes, presentations, networking opportunities, and the Briefing Room, an educational series of panel EDITORIAL DIRECTOR - VIDEO Cristina Clapp discussions that’s new this year. EDITORIAL DIRECTOR - BROADCAST Paul J. McLane WEB DIRECTOR Ragan Whiteside-Johnson Attendees can learn about video technologies and techniques at the DC Post|Production Conference; ONLINE PRODUCTION MANAGER Robert Granger distance learning and education technology at the day-long seminar on Video Distance Learning in the NEWBAY MEDIA CORPORATE Federal Government, presented by the FGDLA; and drone operation and production at the National PRESIDENT & CEO Steve Palm CHIEF FINANCIAL OFFICER Paul Mastronardi Drone Show. CONTROLLER Rick Ng Featuring conference programs designed to teach, enlighten and inspire, Government Video Expo VICE PRESIDENT OF DIGITAL STRATEGY & OPERATIONS Robert Ames encourages attendees to get hands-on with the latest video gear in an exhibit hall featuring more than VICE PRESIDENT OF AUDIENCE DEVELOPMENT Denise Robbins 175 suppliers, dealers and distributors. Numerous free special events further our attendees’ knowledge, VICE PRESIDENT OF HUMAN RESOURCES Ray Vollmer VICE PRESIDENT OF PRODUCTION & MANUFACTURING careers and agency mission. Bill Amstutz If you shoot, edit, post, store or distribute video, or use AV solutions, save these dates. I hope you can VICE PRESIDENT OF CONTENT & MARKETING Anthony Savona IT DIRECTOR Anthony Verbanac join us and I look forward to seeing you there!

LIST RENTAL 914. 925. 2449 [email protected] Editorial Director REPRINTS AND PERMISSIONS Please contact our Reprint Coordinator Digital Video magazine at Wright’s Media: 877. 652. 5295 creativeplanetnetwork.com PUBLISHED BY NEWBAY MEDIA LLC p: 310-429-8484 28 E 28th Street, 12th Floor New York, NY 10016 e: [email protected] Tel: 212. 378. 0400 Fax: 212. 378. 0470 Twitter: @DigitalVideomag Web: www.nbmedia.com

creativeplanetnetwork.com | 08.2015 3 08.2015 | vol. 23 | no. 8

CONTENTS 20 LOOK 18 America, Arguments and Archival Material Best of Enemies Revisits a Remarkable Time in Television 20 Ex Machina Artificial Intelligence and Human Innovation Combine for Film’s Production 18 LISTEN 24 Ambient Sound on The Americans Enhancing the Spy Show’s Setting and Subject Matter

LUST 28 Thunderbolt and Throughput Checking Out Blackmagic Design’s UltraStudio 4K and UltraStudio Express feature 32 Putting the “Cloud” in Creative Cloud Adobe Premiere Pro CC 2015 14 Scream Queens: Enhances Color Workflow, Application Interoperability 28 Fright and Delight Cinematographers Michael Goi and LEARN Joaquin Sedillo 40 Tips to Clip Reinvent Scare Tactics 42 Teleprompting Technology New Functionality, Form Factors and Features for the FX Series 42 50 Production Diary: Home Again But There’s an Avid in My Bathroom

36 Buyer’s Guide: Bonded Cellular Streaming departments

Digital Video (ISSN 2164-0963) is published monthly by NewBay Media L.L.C. at 28 E 28th Street, 12th Floor, New York, NY, 10016. Telephone: 212-378-0400. Periodicals post- 3 Editor’s View age paid at New York, New York, and at additional mailing offices. U.S. subscription rate is $29.97 for one year; Mexico and Canada are $39.97 (including GST); foreign airmail 6 Update is $79.97; back issues $7. Prepayment is required on all foreign subscriptions in U.S. funds drawn on a U.S. bank. All rates are one year only. Digital Video, Videography, Digital Content Producer, Millimeter, Digital Cinematography, Cinematographer, 2-pop, Reel Exchange and Creative Planet Network are trademarks of NewBay Media L.L.C. All material 48 Company Index published in Digital Video is copyrighted © 2015 by NewBay Media L.L.C. All rights reserved. Postmaster: Send address changes to Digital Video, Subscription Services, P.O. Box 49 Classifieds 221, Lowell, MA 01853. Return undeliverable Canadian addresses to Bleuchip International, P.O. Box 255542, London, ON N6C 6B2. Digital Video makes every effort to ensure the accuracy of all information published in the magazine; however, it assumes no responsibility for damages due to errors or omissions. Printed in the USA. 49 Advertiser Index

4 creativeplanetnetwork.com | 08.2015 CANON COLLABORATIONS THE XA25 AS CONFIGURED BY THE CREW OF MAKER STUDIOS

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© 2015 Canon U.S.A., Inc. All rights reserved. Canon and EOS are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries. All other products and brand names are registered trademarks, trademarks or service marks of their respective owners. UPDATE

Kelsey (Hilary Duff, left) and Liza at work

Maggie (Debi Mazar, left), Liza’s best friend, convinces Liza to start a new life as a 26 year old.

Liza (Sutton Foster) TV LAND’S YOUNGER COMBINES STYLES AND STORIES he TV Land series Younger cen- the use of several distinct looks Raffaele concentrates on refining finishing editor Mike Nuget on an T ters on Liza Miller, a 40-year- and camera techniques, each light and contrast to draw attention Avid Symphony equipped with old recent divorcee who poses as a highlighting a different aspect of to specific characters, highlight or FilmLight’s Baselight for Avid plug- 26 year old to land a job at a New Liza’s increasingly fragmented life. subdue background elements, and in. This workflow allows Raffaele and York publishing house. The premise The looks are further enhanced shape mood. “Anthony is sensitive Nuget to share elements efficiently serves as a springboard for a thought- by senior colorist Anthony Raffaele to the emotional needs of the script,” and preserves quality by reducing the ful brand of comedy that subverts in grading sessions at Technicolor says Thomas. “He uses the tools need to render. stereotypes surrounding professional PostWorks. “Younger has a cinematic available to him in the color suite to women of all ages. look, with a lot more attention to help us tell the story.” online Cinematographer John Thomas detail than you typically see in Raffaele grades Younger using Read more about Younger at creative- supports Younger’s layered, television comedy,” Raffaele says. a FilmLight Baselight system. planetnetwork.com/current-issue multigenerational story through During the grading sessions, Editorial conforming is done by

6 creativeplanetnetwork.com | 08.2015 Introducing Blackmagic URSA Mini, the lightweight Super 35 4.6K digital film camera with 15 stops of dynamic range!

Introducing URSA Mini, a handheld Super 35 digital film camera Completely Customizable with an incredible 4.6K image sensor, global shutter and a massive Blackmagic URSA Mini is completely customizable so you can create 15 stops of dynamic range! The super compact and lightweight a rig that’s built specifically for your production! Add accessories design is perfectly balanced, making it comfortable enough for like the Blackmagic URSA Viewfinder and Blackmagic URSA Mini all day shooting. URSA Mini lets you shoot at up to 60fps, features Shoulder Kit, or choose from hundreds of third party accessories. a 5" foldout viewfinder, dual RAW and ProRes recorders, and more! URSA Mini has 9 standard ¼" threaded mounting points on the top and bottom of the camera so you can mount it directly to a tripod Incredible 4.6K Sensor as well as add accessories such as rails, matte boxes and more. URSA Mini can capture images at a resolution and dynamic range that goes well beyond that of traditional motion picture film so you Non-Stop Recording can shoot your own epic, cinematic masterpiece! You can capture You never have to stop recording because URSA Mini features two images up to 4608 x 2592, which is larger than 4K DCI, with 15 stops CFast 2.0 recorders! When one card is full, recording automatically of dynamic range so you get incredibly clean pictures with amazing continues onto the next. URSA Mini uses the latest, incredibly fast CFast detail in everything from the darkest shadows to the brightest highlights! 2.0 technology for recording speeds up to 350 MB/s. Wide dynamic URSA Mini can record 4.6K at up to 60fps, or 1080 HD at up to 120fps. range images are saved as 12-bit RAW files, which are perfect for high end grading and effects work, or as broadcast quality ProRes, for easy Lightweight and Portable post production workflows with minimum storage requirements! URSA Mini’s perfectly balanced body is made out of space aged magnesium alloys so it’s rugged, yet lightweight and comfortable enough to be used all day. You get a super bright 5" fold out touch Blackmagic URSA Mini 4K EF $2,995 screen for on-set monitoring, that can also display overlays for Blackmagic URSA Mini 4K PL $3,495 timecode, histograms, audio meters, focus peaking and more! Blackmagic URSA Mini 4.6K EF $4,995 URSA Mini features full size, professional connectors, even Blackmagic URSA Mini 4.6K PL $5,495 12G-SDI, so you don’t need custom cables, plus high quality stereo All models include DaVinci Resolve 12 microphones and a side grip mounted on a standard rosette.

Learn more Electronic Viewfinder, lens and accessories sold separately. UPDATE NEWS

TANGERINE PRODUCTION

PACE DEPENDS ON Mya Taylor Tut (Avan Jogia) addresses the crowd SOUND DEVICES in Tangerine ound mixer Irin Strauss needed compact and the boom operator, I had the most to carry. Tut Delivers Action S and very mobile audio recording equip- Having the mixer and recorder in one machine ment in order to keep up with the film crew on proved invaluable. Since the pace was so fast, with Blackmagic Tangerine, an independent film shot using two there wasn’t time to create sound reports, so I Apple iPhone 5s. “Two cameramen were running really had to rely on the metadata from the 664.” Pocket Cinema around with phones, allowing us to quickly shoot In addition to his 664, Strauss used a in certain locations, almost undetected,” recalls Lectrosonics SMV wireless system for his Cameras Strauss, who chose Sound Devices’ 664 produc- transmitters, along with Sanken COS-11D lavaliers inematographer Chris LaVasseur and section mixer for the project. “As the sound guy and a Schoeps CMIT 5U shotgun microphone. C ond unit director/DP Mark Vargo, ASC, used Blackmagic Pocket Cinema Cameras to capture action scenes for Tut, a six-hour series on Spike TV ONE FINE DAY BRINGS THE BLUES FOR BESSIE PROMO about Egypt’s King Tutankhamun that aired in July. ne Fine Day created the evoca- LaVasseur explains, “We chose the Pocket Cinema O tive promo for HBO’s original film Cameras because we could put them in places that Bessie, which features Queen Latifah as standard studio cameras couldn’t go. We put one legendary blues singer Bessie Smith. of the cameras on a mini monopod and designed The sequence follows feathers gently fight scenes where it was right next to the soldiers falling in an empty theater, where a in battle. [Director David] Von Ancken wanted feather boa lays wrapped around an the audience to be right smack in the middle of antique microphone. Gwen Sarnoff, the action and feel what it was like to be on the executive producer, HBO Marketing/ battlefield 3,000 years ago. Mark designed specific Creative Services, says that the promo creative shots with the Pocket Cinema Cameras, “reflects the deeper themes of Bessie— such as attaching one to a bow and arrow and even where what’s beautiful or glamorous at first glance is not so beautiful as you look closer.” to a soldier’s chest during a battle scene, to give the One Fine Day visual effects director Chris Haak says of the shoot, “We wanted to capture the director unique coverage.” fine-scale, fluid-like undulations that occurred within the feathers, but also to see the larger-scale, aerodynamic motion of the feather as it moved through space. In the end, we struck a balance, shooting around 500 to 700 fps for most shots.” online Extended versions of these articles are available at Watch the Bessie promo online at vimeo.com/124546299. creativeplanetnetwork.com/current-issue

8 creativeplanetnetwork.com | 08.2015

UPDATE NEWS

On the Creative  Planet Network

4ACNE PRODUCES PRADA RAW AVENUE Production company Acne teamed with The Mill and Milan creative agency April to produce Prada Raw Avenue, an immersive digital experience that incorporates both Ondi Timoner shoots Russell Brand fashion illustration and traditional animation techniques. The campaign for Prada Raw Eyewear Model S30 eyeglasses takes the ILLUMINATE POSTS BRAND: A SECOND COMING form of a flipbook that allows users to explore artworks from six illustrators, both as open- lluminate provided online services, color had to be conformed and color corrected in a ended interactive experiences and as individ- correction and a digital cinema package for certain way to help tell the story.” I ual short animated films. To view Prada Raw director Ondi Timoner’s documentary Brand: Timoner says of illuminate, “They’re creative, Avenue, visit http://raw.prada.com. A Second Coming, which follows comedian/ flexible and always willing to roll up their author/activist Russell Brand through the tri- sleeves to tackle the problems that inevitably als of being Russell Brand. Illuminate president arise with a complex film. They always meet the Tal Fiala notes, “This was a complicated project deadline, with the best image quality that can involving footage from numerous sources that be rendered.”

October Three Consulting Chooses 4ENCORE VFX EXPLORES THE JVC’s GY-LS300 Cameras PARANORMAL ON THE WHISPERS evin McCormick served as producer and A mysterious force manipulates children K director for a promotional video October in the ABC series The Whispers, a show Three Consulting shot with two JVC GY-LS300 that features visual effects from Encore 4KCAM Super 35 camcorders. Although the VFX. Encore artists in Vancouver and Los piece was intended to be featured online Angeles contribute anywhere from 30 to 60 and sent to prospective clients via e-mail, effects shots per episode, including a mix McCormick and the client decided to shoot of crucial storytelling visuals (such as a power plant explosion and wreckage from in 4K for the ability to push in on subjects in a plane crash) and invisible effects work. frame without losing resolution in post. The Vancouver and Los Angeles facilities For the interviews, the A-camera was share shots evenly, with up to 30 artists fitted with a Fujinon 19-90mm T2.9 Cabrio PL contributing to complex episodes. cinema lens using a Metabones lens adapter. The B-camera, with a Canon EF 24-105mm f/4L zoom lens and Metabones lens adapter, online was mostly kept tight on a three-quarter profile of the interview subject. Go online to read more and view additional images “The images were beautiful,” reports Steve Herrlin, the project’s director of photography. and video: creativeplanetnetwork.com/current-issue McCormick adds, “The JVC 4K cameras helped us get the shots we needed quickly and efficiently.”

10 creativeplanetnetwork.com | 08.2015 www.aja.com

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TALES BY LIGHT TAKES AUDIENCES ON GLOBAL ADVENTURE solo legs was used on many locations around the

osborn world, as the tripods’ range capacities provided an

intimate perspective.” wayne Working as a crew often as small as four people, by

Joffe and his team had to keep the gear light and photo compact, since weight was a constant concern. They generally carried the majority of the cameras and lenses on their backs, with stabilization equipment, tripods, monopods and sound equipment stored in the haul of the plane during travel. “The lightweight Miller Compass tripods got the job done and were the most practical for travel, as they could easily and quickly transition from setup to breakdown,” Joffe concludes. “Also, as we were shooting in 4K, the resolution was never forgiving for missing focus. The solid build and reliable movement of the Compass fluid heads enabled me Abraham Joffe during filming of Tales by Light to keep my shots solid through the whole project.” inematographer Abraham Joffe documented the lives of five world-class C photographers as they captured incredible images for the National Geographic Channel series Tales by Light, following them through 15 countries over the course of a year. “We filmed in such a diverse array of locations, ranging from the peaks of the Himalayas to the jungles of Uganda,” recalls Joffe. “We filmed grizzlies in Alaska, elephant seals in Antarctica and migration scenes in Kenya. When we were not working with wildlife, we were capturing action sports sequences in Vanuatu, Utah and Colorado, as well as meeting local communities in Papua New Guinea and Ethiopia. It was quite an adventure, and I hope viewers will feel as much a part of the journey as I did in capturing it.” To achieve the variety of creative shots he was after for the series, Joffe relied on a Canon EOS-1D C camera and a range of Miller carbon fiber tripods, including the Compass 12 Solo 75, Compass 15 Solo and Compass 25 Sprinter II. “Filming snow leopards in the Indian Himalaya required a Canon 600mm lens with an extender, and Miller’s Compass 25 was perfect for keeping it rock solid,” he says. “Additionally, most of the wildlife in South Georgia and Antarctica is up-close and low the ground. The low spreading nature of Miller’s

12 creativeplanetnetwork.com | 08.2015 Cineline 70 System was awarded the best of show product in it’s category at NAB 2015. FRIGHT and DELIGHT CINEMATOGRAPHERS MICHAEL GOI AND JOAQUIN SEDILLO REINVENT SCARE TACTICS FOR THE FX SERIES BY DEBRA KAUFMAN

The Chanels on Scream Queens. From left, Ariana Grande (Chanel #2), 14 Emma Roberts (Chanel), Abigail Breslincreativeplanetnetwork.com (Chanel #5) and Billie Lourd |(Chanel 08.2015 #3) cream Queens, a FOX TV series from photos Glee and American Horror Story

creator Ryan Murphy, debuts on steve SSeptember 22. Set at a sorority plagued by a mysterious killer dressed like a devil, the dietl / series stars the “queen of scream,” Jamie Lee Curtis, fox as the university dean; Emma Roberts as Chanel, haughty president of the KKT sorority; and Abigail Breslin, Nasim Pedrad and Niecy Nash, among others. In addition to Murphy, the series features behind-the-scenes writing, directing and producing talent from Glee and American Horror Story including Brad Falchuk, Bradley Buecker, Ian Brennan and Dante Di Loreto. Also an integral part of the series are cinematographers from both of those shows: Michael Goi, ASC, who shot seven episodes of Glee and is now on American Horror Story, and Joaquin Sedillo, ASC, who shot 57 episodes of Glee. Goi shot the first two episodes of Scream Queens, with Sedillo taking over when Goi went back to American Horror Story. Emma Roberts as Chanel Oberlin, Goi says that when he got together with president of the Kappa Kappa Tau sorority Jamie Lee Curtis as university dean Cathy Munsch Murphy to talk about the look of Scream Queens, the conversation initially was about what it would distinctive because there’s a devil who dresses all no matter how evil they were, I wanted each one not look like. “We were going for something that in red.” Another scene takes place in almost total to have a certain level of dignity and confidence.” didn’t look like Glee or any season of American darkness. “All it’s lit by is one character holding a When Sedillo took over for the rest of the season, Horror Story,” he says. “Something with its own flashlight in her hand,” says Goi. “We balanced the he already had a handle on what Murphy and Goi distinctive feel.” That played out as a mix of total darkness with the red devil appearing out of had been shooting in Louisiana. That’s because different looks: some scenes are very, very dark, the shadows.” the production used Prime Focus Technologies’ while others are blazing with bright colors that Goi says the biggest challenge of the show was DAX dailies, which allowed Sedillo, in Los Angeles, pop. Goi says one of his influences was Italian to establish distinctive characters in a “huge cast of to stay on top of the decisions made. “I’d log in director/cinematographer Mario Bava, known for young, talented people.” “We definitely surrounded each evening or wait until the weekend and scroll his work on pioneering horror films including Chanel with glamour, and that extended to her through dailies and see how the look evolved, with Black Sabbath and Blood and Black Lace. minions, the other Chanels, who follow her,” he lens choices, color choices and how the lighting “Balancing the technical issues and trying to says. “I wanted each Chanel to be almost like a was placed,” he says. “What was great was that I create those looks became the next challenge,” cameo in darkness. It was fun mixing up the styles was able to get a candid view of the cast and see says Goi. “It was going to be captured digitally, with things I love about fashion photography, how they act before camera cuts. You could see and most digital cameras are designed to see into which I did for eight years in Chicago.” their personalities and playfulness.” the shadows. Sometimes I like to drop things off Goi also likes to mix up the lighting. Although Sedillo decided to shoot with the ARRI Alexa. “I into complete, total black, which is getting very he had what he calls a “standard package,” lighting was more comfortable with it,” he says. “I’ve shot difficult to achieve.” Goi chose the Sony PMW-F55. interiors with tungsten and very few LEDs, his several series with it, including Glee. It’s a dance “The contrast range and color space were much passion is to never light the same set the same way partner I’m comfortable with and Michael gave me closer to what I felt would be the design of the twice. “That goes against all the rules of TV,” he his blessing. I’m very cognizant of being respectful show,” he says. says, “but lighting the same way doesn’t represent of the look that Michael and Ryan worked so hard Although the Sony F55 is 4K-capable, the show the internal perspective of the characters at that to create.” is shot in Rec. 709 mode. “The 4K transition is moment in time. For lenses, Sedillo relied on Angenieux Optimo still going on, and there is some apprehension “I really wanted this to be a world that didn’t 15-40, 28-76 and 45-120; Panavision PV Compact about the larger data files,” Goi explains. “The exist in reality but that was eye candy nonetheless,” Zoom 19-90; Panavision Primo 10mm, 14.5mm show lent itself to Rec. 709 because of the more Goi adds. “You have these women who do and 17.5mm; and Panavision Primo Zoom 17.5- compressed contrast range and the lack of a huge incredibly evil things to each other, but you just 75 and 24-275, as well as a 6mm fisheye. “We dynamic range and the relative punchiness of love them because they’re so over the top and so tended to shoot a little more wide angle, both with the specific colors. We wanted the reds to be committed to what they believe is right. Visually, masters and close-ups,” says Sedillo. “We wanted

creativeplanetnetwork.com | 08.2015 15 From left, Abigail Breslin, Emma Roberts, Billie Lourd and Ariana Grande the environment looming around the characters, and those wider lenses allow us to bring the environment as a character.” Sedillo describes Scream Queens as “bubble gum horror.” “There are these murders going on, yet we’re doing it in this silly way that makes them more accessible to a comedy audience,” he says. “It’s horrifying and scary, but it also makes people giggle. The audience feeds off of Ryan’s great imagination and extravagant energy.” Although he followed the look created by Goi and Murphy, Sedillo added his own signature. One characteristic was his tendency to use big, soft sources. “I use the biggest light I can fit into a room,” Sedillo says. “Rather than adding skims to get it to the right f-stop, I just add more and more Chanel #5 (Abigail Breslin, left) and new sorority pledges Grace (Skyler Samuels, center) and Zayday (Keke Palmer, right) diffusion. From Veronica Mars to Swingtown and into Glee, I am focused on servicing the story and the needs of Ryan Murphy as well as making the actors—men and women—love how they look.” Sedillo says that the biggest challenge in shooting Scream Queens is “the extraordinary amount of work.” “We have an incredible amount of dialogue and sometimes up to 15 characters,” he says. He credits his crew, which includes his “usual suspects” from Los Angeles—gaffer Shawn Shemanski, A-camera operator Spencer Hutchins, Guest star Nick Jonas Lea Michele as sorority pledge Hester key 1st AC Kenneth Little and A-camera dolly/ crane operator Corey Corona—as well as locals. through the set in such a professional way.” has really taken the edge off of being away from “I was very aware of wanting locals on the crew,” “We’re on a great adventure and it’s a lot of fun,” home. It’s almost like being on a Disneyland ride. he says. “And I ended up with two extraordinary says Sedillo. “The pride of getting through those Every day is a lot of fun, and we get to do it again crews. Every time I make a request, these guys fly six pages with three locations and two murders tomorrow.” dv

16 creativeplanetnetwork.com | 08.2015 Stream Smarter. Sony’s QoS for best-in-class streaming If you can’t wait for the whole world to see what you’re seeing, stream your content with Sony’s XDCam® camcorders. Based on our unsurpassed expertise in digital transmission and encoding, we developed unique Quality of Service (QoS) technology that dramatically improves the clarity that’s possible on a single, affordable cellular channel. You can also stream de facto standard mPeG2-tS. and transfer proxy or full-res files with bit-for-bit accuracy. and control your camcorder, right from a tablet or smartphone. thanks to wireless adaptors, even XDCam® cameras that have been in use for years can take advantage of these powerful possibilities. How smart is that?

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© 2015 Sony electronics Inc. all rights reserved. reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony, XDCam and the Sony logo are trademarks of Sony. all other trademarks are property of their respective owners. BEST OF ENEMIES

LOOK JON SILBERG

AMERICA, ARGUMENTS AND ARCHIVAL MATERIAL Best of Enemies Revisits a Remarkable Time in Television debate Gore Vidal (facing camera) and William F. Buckley Jr. in August 1968

photos

abc

photo

archives / abc

via

getty

images

n the tumultuous summer of 1968, tens of mil- was a very distant third. In an act of desperation to they were also intense battles between two highly lions of Americans learned about the ongoing compete for viewers during the presidential con- intelligent men who truly despised one another. riots and polarizing presidential election sea- ventions, that network decided to give two intellec- The result was a major ratings sweep for ABC and, Ison through the evening news on one of just three tuals 15 minutes of uninterrupted air time to argue according to the documentary Best of Enemies, television networks. CBS and NBC received the about their ideological differences. co-directed by Morgan Neville and Robert Gordon, lion’s share of viewers with star anchormen Walter The debates between National Review editor the beginning of a seismic shift in television news Cronkite and the team of Chet Huntley and David William F. Buckley Jr. on the right and novelist Gore from objective reporting to ideological debate— Brinkley, respectively, while ABC’s ratings position Vidal on the left were certainly upmarket TV, but although today, Gordon notes, the discussions are

18 creativeplanetnetwork.com | 08.2015 William F. Buckley Jr. (facing camera) and Gore Vidal Vidal and Paul Newman far more about shouting heads than about the kind Gordon, Neville and consulting producer Tom change so quickly and rentals are so easy that of serious arguments with which Buckley and Vidal Graves set up interviews with people who could we rent whatever our cameramen”—Memphis- had captivated the nation. offer additional perspective and observations. based David Leonard and New Yorker Graham Gordon was too young to have registered the “Our first round of interviews was a loop through Willoughby—“think will work best for the shoot.” significance of the debates when they occurred, but the Northeast, where we spoke to James Wolcott, They like to keep the crew as simple as possible. roughly five years ago a friend showed him some of Frank Rich, Dick Cavett and [the late] Christopher “Morgan and I always do interviews together,” the footage from those broadcasts, and he felt there Hitchens,” Gordon says. “By the time we’d finished Gordon says. “One of us sits behind the other so might be a wonderful film to be made about the the first one with Wolcott, we knew we had a film. the line of sight for the subject is always the same. debates. “As soon as I saw the material,” he recalls, I could tell because he was able to read so much We explain to our subjects how we work and it’s “I was thinking about culture wars today and how into these two men and the significance of their been very effective for us.” they were being articulated 45 years ago.” encounter. By the time we finished with Hitchens, They brought in editors Eileen Meyer and He approached the rights-holder, ABC News I couldn’t believe how good the film was going Aaron Wickenden and pieced together the feature- VideoSource, and found the rights were available. t o b e .” length piece. The documentary uses small chunks The asking price was way out of the price range Gordon and Neville’s approach to shooting of the debates themselves interspersed with the of an independent producer embarking on a self- documentaries has changed significantly since new interviews and a great deal of ABC News financed exploration to see if there even was a Johnny Cash’s America, which they produced for footage of the era. The four worked in Apple Final potential film there. He managed to negotiate A&E in 2008. “Morgan and I each used to own Cut 7, whittling the massive amount of material a deal whereby he could hold an option on the the same camera. For a while, we each had a they’d gathered into a tight 87 minutes. footage and if someone else came looking for it, he [Panasonic] AG-DVX100, and then we went to the Does Gordon think TV news in general has could buy it then at a preset price. He explained to [Sony] HVR-Z7U,” Gordon says. “But now, cameras gotten any better (or worse) than when he started them that if he did indeed make a documentary, he this project some five years ago? “I certainly don’t would need a huge amount of additional archival think it’s getting any better, but maybe one of the material from the period, which could all come networks will be desperate enough to try something from ABC. “I said, ‘If you work with me now, when unusual before they fold. Maybe they’ll find some I make it, you’ll be the biggest check I write.’ And very smart people and give them time to come on that’s what happened.” and talk about things that matter and have nothing He showed the material to collaborator to do with the Kardashians or another hot non- Morgan Neville, who saw the same potential. topic. And it’s my naive hope that such an act of Enthused, but still not certain there was a feature- Co-director Co-director desperation might just have the same kind of result Robert Gordon Morgan Neville length documentary to be made about the subject, it did for ABC back in 1968.” dv

creativeplanetnetwork.com | 08.2015 19 LOOK EX MACHINA

JOHN MERLI EX MACHINA Artificial Intelligence and Human Innovation Combine for Film’s Production photos

liam

daniel / a 24

Caleb (Domhnall Gleeson, left), a coder at the world’s largest Internet company, wins a competition to spend a week at a private mountain retreat belonging to Nathan (Oscar Isaac, right), the reclusive CEO of the company. But when Caleb arrives, he finds that he will have to participate in an experiment in which he must interact with the world’s first true artificial intelligence, housed in the body of a beautiful robot girl.

espite its futuristic theme and characters, the production team deployed no green- screen or performance capture on the set Dof the elegant psychological thriller Ex Machina. Cinematographer Rob Hardy, director Alex Garland and VFX supervisor Andrew Whitehurst relied on a minimum of digital tools during the shoot. (An exhaustive postproduction schedule was another matter altogether.) The feature film from A24—captured in Sony F65 anamorphic—is closing out its North American theater run and will be released on Blu-ray and VOD on July 14. Kyoka (Sonoya Mizuno) and Ava (Alicia Vikander) The film centers on three primary characters.

20 creativeplanetnetwork.com | 08.2015 Find out more at: sennheiser.com/avx Landscape Hotel (as well as a newly built private residence nearby that filled in as another part of the estate), Hardy deployed tungsten lighting for daylight. “The light in Norway is rather incredible, with a lot of subtle hues as the day progresses— especially during the summer, which was when we were shooting. It’s almost like a permanent ‘magic hour.’ I was using tungsten light to reflect that, and mixing it with natural daylight. And a combination of those when it comes together just gives everything a very gauzy visual effect,” says Hardy, who managed to jerry rig tiny tungsten units onto large configurations so he could more precisely control the lighting elements. Scenes that take place in the subterranean laboratory and living quarters were shot in 360 degrees on the trio of Pinewood soundstages. “The set—the walls and ceilings, Alicia Vikander with director Alex Garland everything—were sealed and they were for real, so stepping into it to Caleb Smith (Domhnall Gleeson), a programmer shoot was very much like stepping at an Internet search giant, wins a competition to into a real [facility],” says Hardy. spend a week at the secluded estate of the search By opting out of performance company’s reclusive CEO, Nathan Bateman (Oscar capture (e.g., Andy Serkis’ Gollum Isaac). Caleb learns the secretive Bateman has character in The Lord of the Rings) chosen him to be the “human component” in a and instead allowing a costumed test to evaluate the human-like capabilities of the glass, reflections, very soft lighting and such. I’ve Vikander to interact with the cast as she would CEO’s latest experiment in artificial intelligence. always loved celluloid and I was looking for an in a typical live-action movie, Hardy was able to The A.I. Ava (Alicia Vikander) soon proves she’s image that would translate in a similar way without work around the blocking choices of the actors more than just a pretty face. needing too much manipulation. I [wanted] a filmic and director, and not the other way around. (This Garland wrote the screenplay for Ex Machina, look, I guess,” Hardy explains. “In the end, the Sony proved especially useful in long takes, where Ava his directorial debut. (He previously wrote the F65 had everything. It picked up on the subtleties was able to walk around a room and seemingly screenplays for 28 Days Later and Sunshine.) of light and other details. I was very surprised—I study Caleb, who was situated inside a glass box The cinematographer wanted to visually wasn’t expecting it.” and studying her, for some psychological one- maximize the lush green forest environment Hardy also tested a range of lenses, “such as upsmanship.) Choosing the technically more outside the starkly beautiful estate deep in the the sharp spherical ones like the [ARRI] Master intricate “body capture” over “performance woods (shot in part at the Juvet Landscape Hotel Primes, down to the Cooke Speed Panchro, as well capture” provided challenges of its own for Hardy in a remote area of Norway). Hardy sought to get as anamorphic lenses like the [Cooke] Xtal Express, and crew, including overcoming anamorphic lens the most of both natural light and contrasts inside all of which have very distinct personalities.” distortion during focus changes while shooting the estate, as well as additional interior scenes shot Indeed, it seems lens choices played a larger role several of the lengthy takes in the film. on three soundstages at Pinewood Studios near in the film’s overall look and feel than is typical. The team at Double Negative, led by visual London. Hardy notes, “With every project I take on, There are five sequences in the movie that mark effects supervisor Andrew Whitehurst, augmented I think it’s important to test out exactly what makes the progression of the relationship between the A.I the footage shot on set to create Ava. Whitehurst the right ingredients for the film, since each one is and Caleb. With the goal of shooting as much as notes that as much as possible of Vikander’s on-set different, right? possible practically, minimizing the use of visual performance was translated into the CGI model. “This was one of those times when I felt a effects, Hardy deployed subtle lens changes over Whitehurst and his team spent untold hours digital format would really lend itself well to the the course of the long takes that make up these matching their animation to the actor’s live-action story, especially when filming the scenes with Ava’s sequences—with each encounter showcasing its movements—a painstaking yet essential process. character. We tested the [ARRI] Alexa and the RED own subtle reflections (sometimes quite literally) In all, it took six months of postproduction to EPIC, and then the [Sony] F65 at the very last minute, and image-laden idiosyncrasies as the story evolves. marry Vikander’s performance with the special because not many people were using it at the time. For exterior shots in the woods at the stark, effects team’s rendering to create the central We replicated a typical scene at Pinewood—lots of Scandinavian-influenced cabins of the Juvet character of Ava. dv

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LISTEN ERIC RUDOLPH

AMBIENT SOUND ON THE AMERICANS Enhancing the Spy Show’s Setting and Subject Matter photo

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Keri Russell and Matthew Rhys as undercover photo KGB spies Elizabeth and Phillip Jennings

he Soviet spies of FX’s The Americans run a Washington, D.C., travel eric

agency, kill to protect the interests of the Soviet Union, raise two chil- rudolph dren, and impersonate CIA agents—all in a day’s work. TIt’s great, outlandish entertainment with a serious core, but it creates a lot of disbelief to suspend. Lead mixer and co-supervising sound editor Ken Hahn, co-producer David Woods and their team skillfully use sound design to bolster the believability of these spies hiding in plain sight in suburbia. (All three seasons of the show have been mixed at New York City’s Sync Sound, owned by Hahn and partner Bill Marino.) At Sync Sound’s Studio B during a mixing session for The Americans, from left: While The Americans is a period show, “It’s so recent, it does not always co-producer David Woods, co-supervising sound editor Neil Cedar, music editor feel like period. We were alive then and the audience remembers it, as they do Tass Filipos, supervising sound editor Ken Hahn and Sync Sound co-owner and re-recording mixer James Redding not remember World War II or Prohibition,” says co-producer Woods, noting

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center, and so forth. Redding thinks this attention to surround is a michael step beyond what is typical in episodic basic cable. by He relishes finding the extra time “to play with

photo more space than we used to have on TV.” He does this knowing that about 75 percent of the audience doesn’t have surround or have it set up correctly, “but for those with surround, it is a bit extra” that helps bring the audience deeply into pivotal story points. He always tries to have cars zooming, sirens blaring and plane-bys mixed into the surround channels rather than just general atmosphere. “I watch at home in 5.1, and it makes me feel good Elizabeth Jennings (Keri Russell) listens to a cassette tape letter from her mother smuggled that we’re using surround for more than just reverb from deep inside the Soviet Union. Carefully crafted low-fi sounds such as the taped letters are key audio elements that solidly root The Americans in the early-1980s. and music.” The team works in Sync’s Studio B on Avid that this makes it somewhat harder to portray the Contrasting with these thin sounds, cars Icon D-Control and Avid ProControl consoles, and period convincingly. sounded much more robust back then. Big block monitors in 5.1 with M&K speakers. Sound design needs to do some heavy lifting engines rumbled and roared. The car sounds are Hahn and partner Marino are, of course, two of to keep the audience involved in The Americans’ another subtle way in which the Cold War era the main people who’ve made TV sound as rich as fantastic fictional universe. And it does. is emphasized. Characters drive down shaded it does today. For more than 30 years, Sync Sound Key elements of the world of spies Philip suburban streets with deep, throaty rumbles that has pioneered good TV sound, and the firm grew and Elizabeth Jennings (Matthew Rhys and Keri underline the ominous tone, while reinforcing the as the art and technology progressed. However, Russell) and the FBI agents hot on their trail are sonic truth of the time period. Sync Sound has worked primarily in niche music the communications devices of the early 1980s. Sound effects re-recording mixer James Redding and documentary programming, Hahn notes, and The plots are often driven by news broadcasts and and Hahn enjoy the challenge of working with he’s enjoying the fact that The Americans is a recap- moved further along by an array of overt and covert the bigger, bolder sounds of the cars of the time. worthy Golden-Age-of-TV sensation that people communications devices. Episodes are filled with “People’s entrenched ideas of what cars sound like are avidly watching and love to talk about. sounds from all sorts of low-fi speakers. are quite different now; cars are simply quieter Hahn’s helped blaze a path that’s now crowded, The design team nails these sounds—everything today,” Redding notes. “Even a new car in the early and he appreciates the rewarding new world of TV from the scratchy, quivering shortwave radios ’80s was loud. The tricky part is finding the right he’s helped create. “What a time to be working in TV. with which the Jennings get encoded orders from old, loud car sound, but then we have to calm it All the best people are there, and you can go between Moscow to audiocassette letters sent secretly to down so a new 1980s car doesn’t sound like an old movies and TV and it is not a problem,” he says. “It’s Elizabeth by her mother from the Soviet Union. We clunker” to today’s ears and distract the audience. good for everyone,” and the explosion in scripted also hear (and see) period audio-bugging devices. Redding and Hahn also find time to work the production “is especially good for New York.” dv

Echoing Woods’ comment about the difficulties surround channels for photo

of re-creating such a recent time period, Hahn (the feature film-like effect. by dialogue and music mixer) says, “The viewer should They did so during michael immediately think, ‘That’s an audiocassette.’ It two major gunfights has to sound right to support the storyline. If involving multiple parmelee they think, ‘A cassette doesn’t sound like that—I shooters, for example. / remember what they sound like,’ then they’re out In both highly charged fx of the story, and we never want that to happen.” scenes, Redding and Hahn uses Audio Ease’s Speakerphone plug-in Hahn plotted out where for Avid Pro Tools to craft and alter the ragged, tinny each shooter was in sounds emitted by the array of communications each camera shot and devices heard in the show. He has compiled some arranged the gun shots 80 Speakerphone presets for The Americans and is so that when a bullet quite happy with the power, ease and versatility of comes from right the tool. surround, it impacts left

26 creativeplanetnetwork.com | 08.2015

review BLACKMAGIC ULTRASTUDIO

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THUNDERBOLT AND THROUGHPUT Checking Out Blackmagic Design’s UltraStudio 4K and UltraStudio Express

Postproduction technology is changing with the shift to file-based  Quick Take workflows, Thunderbolt data paths and adoption of 4K. To address the varied needs of clients ranging from one-man-band shops to large facilities, Blackmagic Design has developed the UltraStudio Product: Blackmagic Thunderbolt product family. The line includes the low-cost Mini UltraStudio Express and UltraStudio 4K Recorder and Mini Monitor modules at one end and UltraStudio Pros: Wide format and 4K Extreme at the other. I tested the UltraStudio 4K and UltraStudio host application support. Simple configuration and Express, which sit in the middle of the product line. operation. Easy installation ULTRASTUDIO 4K DCI, 2K, 1080p, 720p, NTSC and PAL formats and with single Thunderbolt UltraStudio 4K is a rack-mount unit that’s designed frame rates. The back panel connections cover pretty cable. for facility or mobile truck installation. It is 1-RU tall, much everything, including SDI, HDMI, composite and Cons: Power cords not connects to a Mac or PC via a single Thunderbolt cable, component analog video, and AES digital audio, as well included with rack units. and is compatible with Thunderbolt and Thunderbolt as XLRs for timecode and two channels of analog audio. Fans are noisy in rack units. 2 protocols. All connections are on the back plane and If you need more than two channels of audio, then that Bottom Line: An the fan vents through the sides for tight rack spacing. is designed to be passed as embedded SDI or over AES. excellent family of products The sleek front surface features a small confidence There’s a Thunderbolt loop-through as well as two for SD, HD, 2K and 4K LCD display and six illuminated audio/video input SDI loops for the two SDI input connections. Finally, media production and post. selector buttons. UltraStudio 4K supports connection to a VTR, so it Ideal for a wide range of As a 4K unit, it supports numerous 4K UHD, 4K includes a standard 9-pin remote connector. users, from small shops to large facilities. MSRP: UltraStudio Express $495, UltraStudio 4K $995 Online: www. blackmagicdesign. com/products/ ultrastudiothunderbolt

digital VIDEO Excellence Award UltraStudio products are compatible with numerous editing, grading, compositing and graphics applications, including Apple Final Cut Pro X, Blackmagic DaVinci Resolve, Adobe Premiere Pro and Avid Media Composer.

28 creativeplanetnetwork.com | 08.2015 The UltraStudio 4K front panel features a small LCD confidence display and illuminated input selection buttons. UltraStudio 4K includes connectivity for many analog and digital ports.

Like other Blackmagic rack units, UltraStudio UltraStudio 4K is built around a chipset that up- or downconvert between 4K and HD or SD, 4K does not come with a power cord. This is an supports SDI, 3G-SDI and 6G-SDI bandwidths— but if you are working in DCI versus UHD sizes, international, multi-standard system that can be essential for high frame rate 1080p, stereo 3D, UltraStudio will up- or downconvert to the nearest installed into 120-240V/50-60Hz electrical systems. 4:4:4 and 4K workflows—yet these units are still 4K size—up to 4096 or down to 3840 pixels wide. Since power plug configurations vary around the compatible with SD and HD infrastructures. In the UltraStudio product line, the big brother world, Blackmagic has opted to have you provide 6G-SDI (6 Gb/s) is fast enough for Ultra HD video is UltraStudio 4K Extreme, a larger, more powerful your own. In the United States, any standard three- at up to 30 fps to be passed over a single BNC unit with 12G-SDI bandwidth. That’s enough for 4K prong power cord—like the one on the back of cable. In standard HD operation, the two SDI 60p video over a single BNC cable. It features even most monitors—should fit. Thunderbolt cables are outputs can be configured for a full HD signal and more connections, a larger LCD display, dual power also not included. a second downconverted one. This unit doesn’t supplies and built-in hardware encoding for H.265

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Learn more at azden.com/pro-xd and Apple ProRes (on Mac OS X). 4K Extreme not only connects via Thunderbolt, it can also connect to a PCIe host using a small PCIe adapter card. This is the same unit that Avid will be selling as Avid DNxIO. That version will embed hardware encoding of the Avid DNxHR codec and will be sold and supported through Avid and its reseller channels.

ULTRASTUDIO EXPRESS UltraStudio 4K Extreme includes hardware-based ProRes and H.265 encoding If you need something portable, UltraStudio and 12G-SDI bandwidth, which supports up to 4K 60p over a single BNC cable. Express fits the bill. It’s an SD/HD unit connected and powered by a single Thunderbolt line. The and Blackmagic Disk Speed Test. On a Mac, you covered. Check the specs on the web site, but a ton small aluminum housing includes SDI and HDMI access the Desktop Video Utility through System of other applications—including Autodesk Smoke, I/O connectors, and a multi-pin port for everything Preferences to set up the unit. Media Express is a Blackmagic Fusion and Adobe Photoshop—are else. The unit ships with two breakout cables for software application for video capture, playback, also compatible. a variety of analog audio and video connections. mastering and management. This is important for I spent a fair amount of time running both One breakout cable features professional BNC and Final Cut Pro X users, since that NLE is designed Apple Final Cut Pro X and Adobe Premiere Pro CC XLR connectors, while the other uses RCA plugs. only as a file-based editor and does not have its 2015 through both units. These are generally the The “pro” cable also includes a 9-pin VTR remote. own tape capture or output modules. NLEs I work with today. Naturally I expect DaVinci UltraStudio Express is fanless and small, so it’s a Resolve to work, but I was pleasantly surprised that perfect laptop companion. If you need only SDI DIVING IN Adobe SpeedGrade CC 2015 also works. Enabling or HDMI connectivity, then there’s no need to Since these are Thunderbolt devices, I tested Mercury Transmit out of SpeedGrade through connect either of the breakout cables. both the UltraStudio 4K and Express units on my Blackmagic hardware had been a bit of an issue in Like the larger 4K systems, UltraStudio Express Retina MacBook Pro. I connected the output to a the past, meaning that users had to choose between supports a wide range of SD and HD standards and Panasonic 1080p monitor via SDI and later to my working with SpeedGrade and AJA hardware or offers some conversion capabilities. On input, it home Samsung display using HDMI. Thunderbolt Resolve and Blackmagic hardware. For Blackmagic can convert HD to SD or SD to HD; on output, from is hot-swappable, so it was easy to go back and owners, this dilemma is now gone. Finally, with HD to SD or 720 to 1080. UltraStudio 4K adds SD to forth between units. The Blackmagic Desktop current hardware, it all works as expected. 720 or 1080 conversion on output. While there is a Video Utility quickly recognized each unit for fast How each unit handles 4K depends on the good range of conversion options on both systems, reconfiguration of settings if needed. application and what it’s capable of. I have a they don’t cover every combination of frame rates, Both units work with a wide range of Apple, test clip of Sony XAVC 4K footage (4096 x 2160). pull-downs, etc. Adobe, Avid and Blackmagic Design software— When I play it through UltraStudio Express in Both units are driven by Blackmagic Design’s regardless of whether you are using Blackmagic either Premiere Pro CC or Final Cut Pro X, it will Desktop Video software. The installer includes Resolve, Adobe Premiere Pro CC, Apple FCP X display as 1080 even though the sequence is 4K. drivers, the Desktop Video Utility, Media Express or Avid Media Composer, the system has you That’s because the unit can only output 1080. Both applications are savvy enough to downscale the sequence to 1080, and therefore it plays. Naturally, this taxes the computer, although FCP X had far less trouble than Premiere Pro did. This was not the case when I connected the larger UltraStudio 4K. When you use Final Cut Pro X, the video output is determined by the settings in the Desktop Video Utility. If you set it to 1080p (to match the monitor), then FCP X will downscale a 4K timeline to 1080p and happily pipe it to the monitor. This isn’t true in Premiere Pro, which overrides the Desktop Video settings. Even if you set it to 1080p, because the unit is capable of handling 4K, Premiere

UltraStudio Express is the ideal companion for laptop editing operations.

30 creativeplanetnetwork.com | 08.2015 Pro will cause it to be set to match the 4K sequence. If you are working in a 4K sequence, UltraStudio 4K will play it at 4K (one of the 2160p choices). When that happens, the 1080p monitor goes black. So which unit is right for you? You need to take into account the monitors you own and the NLE you cut with. Or you may have to upgrade your monitors. Both units work well. The Thunderbolt loop- through on UltraStudio 4K came in handy by leaving my second MacBook Pro port free. I connected a LaCie Rugged FireWire 800 drive using a FW800- to-Thunderbolt adapter. It was able to play a single stream of 1080p or 4K for a long time without dropped frames or other technical issues. Latency was extremely low over SDI (a bit more over HDMI) and there were no issues with audio sync. The build quality of both units is solid and Blackmagic Design now offers a three-year limited warranty. The only caveat I would offer is that UltraStudio 4K (and I’m sure this goes for Extreme, too) is an item that should only go in a noisy machine room. The The software installer includes Media Express for video capture and print-to-tape functions that are independent of any editing application. fan is very loud—think hair dryer on low. The nice PR images that show a short rack containing one of few short years to establish itself as a key player PCs that employ Thunderbolt, then you’d be hard- these units next to an editor or colorist is not realistic. in broadcast, production and post technology. If pressed to beat these units. They perform well, Blackmagic Design has come a long way in a you are considering any of the new Macs or even handle 4K and set the standard for affordability. dv

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OLIVER PETERS PUTTING THE “CLOUD” IN CREATIVE CLOUD Adobe Premiere Pro CC 2015 Enhances Color Workflow, Application Interoperability

To reinforce the value of the Creative Cloud digital  Quick Take subscription, Adobe continues to improve its core VIDEO video and design products, but the company is Excellence also expanding the implementation of mobile-to- Award Product: Adobe Premiere desktop and cloud workflows. The Creative Cloud Pro CC 2015 2015 video products were previewed at the NAB Show Pros: Continued editing enhancements and two and released this summer. new powerful features: MOBILE-TO-DESKTOP be moved among systems via Creative Cloud Libraries, Lumetri Color panel and Incorporation of mobile products into the production powered by Adobe CreativeSync. With a Creative Cloud Morph Cut. After Effects pipeline has become an important theme for Adobe. subscription, you can access your own library and CC 2015 has also enjoyed a For Premiere Pro CC users, this primarily involves two shared libraries created by other users. major performance boost. products: Premiere Clip and Hue CC. Premiere Clip is a Adobe Hue CC supports the new color workflow Builds on mobile-to-desktop lightweight video editor for smartphones. Shoot a video within Premiere Pro CC. This smartphone application workflows via Creative on your phone and start cutting. Premiere Pro now was previewed at the NAB Show under the code name Cloud. allows you to import Premiere Clip projects so you can “Project Candy.” It is able to analyze the color tonality Cons: SpeedGrade CC continue cutting there. Media assets and projects can of any photo on your smartphone in 3D color space performance is becoming more sluggish on older hardware. Bottom Line: This is a solid improvement for editors. The new Lumetri Color panel covers most of the color correction tasks any editor normally encounters. Dynamic Link to a new and improved After Effects CC will encourage more users to make After Effects part of their effects workflow. MSRP: $19.99/mo. for single application subscription (annual plan), $49.99/mo. for complete subscription (annual plan) Online: www.adobe.com/ products/premiere.html The hue/saturation color wheel lets the editor isolate specific colors for secondary color correction.

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Use Kipon lens adapters to combine many brands of photography cameras and lenses including Canon, Nikon, Sony, Leica, Olympus Pentax and more. Kipon offers a 12-month manufacturing warranty and the largest selection of adapters in the industry. and generate a 3D LUT (color lookup table) from Premiere Pro CC. For example, I was able to easily In actual practice, Morph Cut isn’t a panacea it. Adobe Hue CC displays this analysis in the form access and apply a set of SpeedGrade look files I for all situations. If the frame size and position of floating color bubbles over the image. You can created last May inside Premiere Pro from the new match, if the person remains in the exact same rotate the cloud of bubbles on your smartphone Lumetri Color panel. spot, and if the speaker paused mid-sentence at the screen to change the relative values of the selected cut, then Morph Cut works quite well. However, if colors. When you’re happy with the choice, it is EDITORIAL ENHANCEMENTS the camera has reframed, if the person has his saved as a 3D LUT to your Creative Cloud Library. There are a number of improvements that editors head turned at either the out or in point of the cut Back on your laptop or desktop in Premiere Pro will appreciate. Workspace selections are now but not the other, or if the speaker is still talking CC, access this LUT through the Creative Cloud grouped across the top of the viewers. They are through the cut, then the result isn’t very pleasing. Library and apply it as a “look” using Adobe’s new still available as pull-downs, but by having them Morph Cut requires analysis before being applied, color controls. grouped across the top, it’s easy to change between which can proceed in the background. layouts that have been optimized for editing, color, A few of the less obvious improvements include NEW COLOR WORKFLOW trimming and timeline scrolling. The most visible addition to These came with prior versions, Premiere Pro CC 2015 is the but they are still worth noting. You Lumetri Color panel. If you are can now loop the trim window and familiar with Adobe Lightroom make trim adjustments, which are or SpeedGrade CC, then you’ll dynamically updated. You can also recognize the similarities. It JKL-play the middle of the cut or combines several color grading either side of the cut in the trim functions into a single, multi- window to make a direct “double- tabbed interface panel. These roller” or “single-roller” trim. controls are accessible through The point at which you stop the either the standard Effect Control playback is the point to which the panel or the separate Lumetri cut is then updated. The timeline Color panel. The best part is will scroll smoothly or page as that you can keyframe all of the you play, depending on your functions. With either control preference. Auto-selection of clips panel, you get a set of task-specific is new with Creative Cloud 2015. color wheels and curves. When the As you move through the timeline, color workspace is activated, the the playhead auto-selects the clips display automatically docks the that it is parked over, based on Lumetri Color panel, along with the enabled target tracks. This is a new set of high-resolution real- a handy feature, but it’s always time videoscopes brought over Adobe Hue CC can be used to develop Moving the color bubbles in 3D space lets on, unless you deselect the target from SpeedGrade. creative looks to be applied to shots using you control the dominance of colors selected tracks containing your video clips. the Lumetri Color panel. in Hue CC. There are two points within Lumetri Color to introduce LUTs. In the Basic effects, audio, etc. These presets can be customized INTEROPERABILITY Correction tab’s pull-down menu, you can add a according to your needs. Adobe’s greatest strength has always been the log-to-Rec. 709 color transform LUT. Then in the One new marquee effect is Morph Cut, which is interoperability of its various applications. Creative tab’s pull-down, you can add a stylized intended to make jump cuts in interviews appear Dynamic and/or Direct Links to Adobe After Effects look. Premiere Pro CC comes with a number of seamless. This transition is similar to the Fluid CC, Adobe Audition CC, Adobe Media Encoder CC color transform and custom look files created Morph effect available in Avid Media Composer. and SpeedGrade CC make it easy to use Premiere by Adobe and LookLabs (SpeedLooks). Some of Editors cutting talking-head corporate videos Pro CC as the central hub in your workflow. After these, like the SpeedLooks options, work in two and documentaries are frequently challenged Effects got a huge update with CC 2015. I won’t go steps for the best results. For instance, if you were to assemble cogent soundbites from sentence in depth here, since this is mainly a Premiere Pro applying the SpeedLooks Blue Ice creative LUT to fragments—the so-called “frankenbite.” The review, but the most important thing for editors is an ARRI Alexa Log C file, you would also need to inevitable jump cuts in the interviewee’s video the performance bump. Playback in After Effects use the SpeedLooks profile for ARRI cameras. are either left to jump or are covered with B-roll is now as easy as a spacebar tap. This will be in Both generic .cube and Adobe .look formats cutaway shots. When you apply a Morph Cut near-real time after caching, complete with audio. work, so if you’ve purchased other LUT collections, transition, Adobe’s warp stabilizer technology You can make dynamic changes without stopping like VisionColor Osiris, Rocket Rooster, LookLabs analyzes the video and creates new in-between playback. As you loop the playback, these changes SpeedLooks, Koji or others, they will work with frames for a seamless transition across the cut. are quickly re-cached. The bottom line for editors is

34 creativeplanetnetwork.com | 08.2015 that After Effects is finally becoming an interactive tool that fits with the temperament and workflow of most editors. It’s not new with this version, but another workflow improvement is Premiere Pro’s Render and Replace command. When you send a set of clips from Premiere Pro to After Effects using Dynamic Link, those clips are replaced with an After Effects composition on the timeline. Until rendered, the After Effects composition is always “live” and negatively affects Premiere Pro’s performance. If you have a lot of compositions in the timeline, it can become bogged down. With Render and Replace, the “live” composition is replaced with rendered, “flattened” media. You are no longer having to access dynamic After Effects compositions, thus The Basic Correction tab of the Lumetri Color panel includes slider control of balance, brightness and contrast. returning real-time playback to normal. Thanks to Adobe’s linking, you can still choose to edit that rendered file, which automatically sends you back to the original After Effects composition. Interoperability between Premiere Pro CC and SpeedGrade CC has changed. Adobe had previously added Direct Link, which sends the Premiere Pro timeline to SpeedGrade. In the CC 2014 versions, color corrections applied in SpeedGrade show up as a Lumetri effect applied to the clip or adjustment layer when you send it back to Premiere Pro. The addition of the Lumetri Color panel in CC 2015 creates Lumetri Color effects in the Premiere Pro timeline, but these are not editable inside of SpeedGrade. The same is true going back to Premiere Pro. During the testing period, when I had installed CC 2015 preview versions alongside CC 2014 The Lumetri Color Creative tab includes LUT support to add stylized color correction looks from .cube and .look files. applications, SpeedGrade was extremely unstable on both Macs. Fortunately, now that the release versions are out, these problems have been fixed. It’s noteworthy that the CC 2015 update replaces all previous versions, so maybe they found that running multiple versions caused problems. It now works likes it’s supposed to. Nevertheless, with the Lumetri Color panel covering 90 percent of what nearly any editor would want, there seems less justification to use the SpeedGrade round-trip. You can get nearly everything done right inside Premiere Pro. This release has a number of large and small upgrades that will make editors and compositors quite happy. I like the direction Adobe has taken. It just reiterates that the product designers are working hard to integrate user input and build A new Premiere Pro CC timeline function automatically selects the clip in the sequence over which the playhead is on the professional momentum that Adobe has parked. earned to date. dv

creativeplanetnetwork.com | 08.2015 35 BUYER’S GUIDE: BONDED CELLULAR STREAMING SOLUTIONS FOR LIVE PRODUCTION Bonded cellular equipment manufacturers have been evolving and improving the technologies that allow for reliable live production. In this month's Buyer’s Guide we examine the best options for distributing live signals across cellular networks. TANANA VALLEY TV COVERS BREAKING NEWS WITH LIVESHOT THOMAS BOHNET

At Tanana Valley Television Company to be contacted by the portable in Fairbanks, Alaska, we are host to unit, and it connects to the the CBS, FOX and NBC affiliates, production switcher. An along with two local stations for the operator presses surrounding area (KFXF FOX 7, KTVF a single button NBC 11, K13XD CBS 13, 96.9 KYSC on the camera, and 93.5 KDJF). We were looking for a and video and live newsgathering solution that was audio from the more versatile than our microwave unit appear in our news production police standoff. We successfully cov- It’s nice to not have to roll out the truck and that would work in sub-zero control room. The remote unit has ered the situation, got that crucial truck and set up the mast. Some - temperatures (which is typical for us!). a feedback system to confirm that footage of the hostage walking out times it’s the difference between About a year ago, we found Comrex’s the link was set up, and we get low- of the car, and managed to conduct deciding to do a shot and having to LiveShot and decided to try it. latency IFB back. a cell phone interview with the sus- pass it up. Integrating LiveShot with our We frequently use LiveShot for a pect from the scene, with no advance Thomas Bohnet is the chief engi- studio setup was simple. The base variety of live news situations. Not preparation. (Fortunately, everything neer for Tanana Valley Television unit goes into the stack and waits too long ago we used it to cover a was resolved peacefully.) Company.

TWITCH “BONDS” WITH TERADEK AT E3 As a leading video platform and com- a popular choice for community for gamers, Twitch.tv was one panies with sizeable video of the best places to find comprehen- streaming efforts. Bond II sive coverage of the 2015 Electronic aggregates the bandwidth Entertainment Expo (E3), which from multiple hardline and took place in Los Angeles in June. cellular data connections The Twitch.tv live stream included to ensure a live stream announcements from the most prom- never goes down. Justin inent gaming companies, including Ignacio, Twitch’s broad- Microsoft, Sony and Nintendo. For a cast success engineer, production of this caliber, an unreli- explains the importance of able Internet connection can be the the Bond II’s role for this Achilles’ heel of live streaming, espe- production: “The Teradek cially in an environment as challeng- Bond solution is fantastic for us absolutely necessary.” transmitted a video feed to Core, ing as the colossal E3 show. because of the amount of redun- Since Teradek’s products are por- Teradek’s cloud-based distribution To reliably stream to an audience dancy it provides with sending video table as well as affordable, Twitch platform that allows users to route, of almost 1 million viewers, Twitch over the Internet. Especially for big deployed a Bond II unit at every record and archive their content in chose to depend on Teradek’s Bond II, events like E3, the Teradek Bond is streaming location. Each Bond device real time.

36 creativeplanetnetwork.com | 08.2015 BUYER’S GUIDE: BONDED CELLULAR STREAMING TV5 BROADCASTS LIVE PRE-SHOW COVERAGE OF MAYWEATHER VS. PACQUIAO BONG E. LOPEZ TV5 produced a live HD pre-show for the Mayweather vs. Pacquiao boxing match that took place in Las Vegas in May. We knew there would be many broadcasters on hand to capture the event, so it was important to find a digital newsgathering solution that would be easy to use and LIVE & LOCAL capable of supporting a wide range of networks. Video quality was also a major factor in choosing a solution. We chose AVIWEST’s DMNG PRO180 3G/4G video uplink system because it met all of our requirements. Using the digital mobile newsgathering solution, we were able to transmit HD video about the sporting event—including training preparation, a look at Pacquiao’s daily life in Los Angeles, and interviews from Las Vegas prior to the fight—over 3G/4G networks while maintaining superior signal quality, despite congested network conditions. The DMNG PRO180 features up to 10 cellular connections, including eight 3G/4G internal modems with high-efficiency custom antenna arrays, two USB interfaces, and a built-in Wi-Fi modem. Leveraging © 2015 Comrex Corporation. All rights reserved. © 2015 Comrex AVIWEST SafeStream technology, the system enabled us to deliver live transmis- LiveShot™ Hub sions even in the midst of unpredictable USB Expander Free with every cellular network environments. Each unit LiveShot Portable! also has an H.264 video encoder, allowing us to stream live HD video in the most effi- cient manner possible with minimal delay. LIVE WIRELESS NEWSGATHERING AVIWEST’s live video hybrid contribu- tion platform is portable and lightweight, Two-Way Video and Audio Low Latency Video Over IP weighing only about 1 kg, making it easy to LiveShot™ - A compact, camera mountable device for streaming move around within the tight confines of HD video and audio from the field to the studio using the public a sports arena. By enabling us to send live Internet. Complete with separate return video and IFB channels with full-duplex intercom/cue channel. broadcast-quality video over bonded IP networks, the DMNG PRO180 guaranteed Specially designed to perform on challenging networks. It’s the next generation of video uplink solution for live remote a flawless entertainment experience for ENG. Filipino TV viewers. Bong E. Lopez is head of news engineering at TV5, a television network in the Philippines. GGG G G G. C CGCCG . www.comrex.com 1 800 237 1776 [email protected] 1 978 784 1776 BROADCAST RELIABLE creativeplanetnetwork.com | 08.2015 37 BUYER’S GUIDE: BONDED CELLULAR STREAMING TVUPACK DELIVERS LIVE HD STREAMING SUSAN WRENN At theStream.tv, we stream live and er from the studio, and interactive entertainment every day. We provides a tremendous produce and air custom programming, amount of program- original shows and live interviews to a ming flexibility. variety of video sites including YouTube We’ve used our and other video streaming platforms. TVUPack at movie Our more than 30 regularly scheduled premieres and recently web programs cover a wide range of at the Dolby Theater subjects such as TV, film, sports, tech- in Hollywood for a red nology and healthy lifestyles. carpet event. Thanks to Currently, we’re focused on deliv- TVUPack, we streamed ering live programming tied to events perfect live HD video TheStream.tv uses TVUPack to broadcast from the Need for Speed premiere at Hollywood’s Chinese Theatre. that are important to our viewers. Our of our reporters inter- reporters are able to conduct live, on- viewing the cast of the Starz series lular, Ethernet and Wi-Fi connections. solution. And the company’s customer location interviews with movie and TV Outlander. We would not have been It’s portable, simple to set up and easy support has gone above and beyond stars thanks to TVUPack, a live video able to do that a few years ago, before to use, which is a huge advantage for for us, troubleshooting any issues at mobile uplink solution in a backpack TVUPack. our camera crew. Compared to other any time. from TVU Networks. The cellular With TVUPack, we can stream HD- methods of remote live video stream- Susan Wrenn is managing partner streaming technology helps us unteth- quality live video using multiple cel- ing, TVUPack is a very cost-effective and CEO at theStream.tv.

DEJERO → LIVE+ GOBOX Designed for newsgathering teams and video content contributors on the move, Dejero’s LIVE+ GoBox enables remote video acquisition by transmitting video with high picture quality and low latency over multiple IP networks. The rugged LIVE+ GoBox is designed to work whenever and wherever news is breaking, and in the most challenging of circumstances. Mobile journalists can grab the unit and head to the scene to capture and transmit live reports, or record up to 40 hours of HD video. Using bonded cellular, Wi-Fi and portable satellite connections, the system reliably delivers exceptional picture quality with low latency even when bandwidth is extremely limited. www.dejero.com/products/view/live-gobox

← JVC PROFESSIONAL VIDEO GY-LS300 4KCAM CAMCORDER The flagship camera for JVC’s new 4KCAM product line, the GY-LS300, features JVC’s 4K Super 35 CMOS sensor, an MFT lens mount, and Variable Scan Mapping technology, which electronically adapts the active area of the Super 35 sensor to provide native support of PL and EF mount lenses, among others, with the use of third-party lens adapters. Its built-in HD streaming engine with Wi-Fi and 4G LTE connectivity allows live HD transmission directly to hardware decoders and more. The GY-LS300 supports various streaming protocols including RTMP, so it can also stream directly to Ustream, YouTube and content delivery networks. To compensate for unpredictable Internet access through shared networks, adaptive bit rate technology dynamically adjusts the quality of a video stream based on available bandwidth. As a result, the JVC camera can maintain a live video feed even when data rates are reduced due to increased web activity or fluctuating signal strength. pro.jvc.com

38 creativeplanetnetwork.com | 08.2015 BUYER’S GUIDE: BONDED CELLULAR STREAMING

↑ VISLINK AIRSTREAM 2.0 AirStream is a solution for capturing and transmitting live, high-quality video and audio via 3G/4G LTE public infrastructure, providing a cost-effective alternative to traditional newsgathering. News crews can respond quickly to developing stories and provide first-on-scene reports without the need to dispatch a news van. AirStream 2.0 features TVU Grid interface capabilities. A Vislink receiver ingests AirStream 2.0 transmissions and distributes them to the TVU Grid, providing point-to-point and point-to-multipoint functionality. The Grid network provides a connection to video sources and distribution points that allows users to share live video content instantly to anywhere in the world that has access to a Grid- accessible device. “Live streaming via cellular bonding is a lower- cost and rapidly deployable alternative to microwave or satellite newsgathering, and it provides a viable approach for coverage of non-traditional markets, such as school sporting events, local politics and extreme sports,” says Michael Payne, president, Vislink Americas. “AirStream 2.0 delivers exceptional performance in both stationary and mobile applications, making it easier than ever to produce live, broadcast-quality IP video for distribution anywhere. Additionally, our partnership with TVU Networks increases the distribution capabilities through the TVU Grid.” www.vislink.com

creativeplanetnetwork.com | 08.2015 39 LEARN EMERGENCY DIMMING Need an emergency lighting dimmer? DICK REIZNER Stop by the hardware store and pick up a TIPS TO CLIP router or drill speed control. Mark Currier of Houston says it works. He also reminds us to check the white balance because you may get a color shift toward the red as the SNOWBALL IN light dims. A COAL MINE WHITE BALANCE TARGET “Dynamic range” refers to the ability Speaking of white balance, a sheet of white to hold detail in both the brightest flip chart paper makes an excellent camera and darkest areas of a scene. Although white balance target. It is big enough, if set dynamic range has improved greatly with up horizontally, to put in the shooting area modern equipment, sometimes the folks and still fill the frame from a distance, and who put on the events we cover forget small enough when folded to fit into your that we can make video of a snowball in a work box. snow field but not in a coal mine. That was the case with one of my RTS BATTERY DANGER recent assignments. The producers of a Several years ago I noticed what I consider a worldwide, all-hands corporate meeting safety problem with RTS wireless intercom decided to use a large lectern painted battery packs. There are two types of packs: gloss white to match their company logo one with rechargeable batteries and one (which I blocked in the photo to avoid with AA alkaline cells. Externally, they embarrassing them). We had to stop look almost exactly alike. They are easy down the camera lenses to keep from to confuse in the dark, and both fit into overexposing the video and the dark-skinned speaker almost became a silhouette. the provided charger. Unfortunately, if Fortunately, we discovered the problem during rehearsal. I asked the lighting director to “flag off” (remove) you accidentally place an alkaline pack in almost all the light from the front of the lectern while leaving the rest of the stage as it was. the charger, there is a good chance it will The event’s initial lighting setup violates one of the basic rules of lighting: “Your attention is immediately overheat and possibly cause a fire. drawn to the brightest item in the picture.” That is why, when doing an interview, we try to have the background At the 2005 NAB Show, I told RTS about a stop or two darker than the subject. a producer who told me he accidentally The difficulty could have been completely avoided with some forethought by simply painting the lectern in a left the packs to charge overnight. When flat, light gray paint. It would still have photographed as white, but with much less of a dynamic range problem. he returned in the morning, the charger was a blob of melted plastic. I have reminded them of the problem almost ROLLING MIC every year since and have suggested that they modify the alkaline case by putting STOPPER a small “bump” on the side away from the transmitter. The bump prevents the packs Hand microphones can roll and even fall to from being inserted in the charger, without the floor when you leave them on a backstage interfering with their normal operation. table. Conrad Ziomek of San Jose, Calif., keeps The problem was still there in a newly his in place by putting them on a piece of the purchased system I worked with last week, convoluted foam rubber normally used in cases so I am passing the message on to you. It’s to secure equipment. The foam provides a soft, easy to make any packs in your kit safe by non-damaging resting surface for the mics, and creating your own bump. Just glue the head the bumps keep them in place. of a plastic wire tie to the side of the case.

SHARE YOUR TIP Now it’s your turn to share a favorite shooting or produc-tion tip or question with your fellow professionals. Please send e-mails to [email protected]. All submissions become the property of Reizner & Reizner. None can be returned.

40 creativeplanetnetwork.com | 08.2015

LEARN TELEPROMPTERS

SUSAN ASHWORTH TELEPROMPTING TECHNOLOGY New Functionality, Form Factors and Features

he times, they are a-changin’. Smaller, lighter and on the go. It’s a revolution that’s been occurring all over the professional video industry, but nowhere more significantly than in the realm of camera support. TAs cameras become more agile and less bulky, the teleprompting industry has been compelled to keep pace. The market has responded with solutions that acknowledge the shift, from demands for new functionality to the new requirements of properly load-balancing a prompter on today’s lighter cameras. Add to that the newest customers in the market for teleprompting gear: documentary filmmakers, independent content creators and a host of first-time videographers who have a very specific set of requirements when it comes to teleprompting. It has to be mobile. It has to be light. And it has to be easy to use. The industry has responded with solutions that address these issues and others, including forward-looking I/O connections, integrated units that combine prompter monitor and talent monitor in one, and technology that will literally work right out of the box—important whether you’re an independent filmmaker or working in a studio.

IKAN CORP. It’s not often that the terms “lightweight” and “tough” are conferred on the same device, but these two monikers accurately describe the newest ikan teleprompters, including the PT3500 and PT3700—two through-the-glass teleprompters built on a rod-based system that supports small- to mid-sized cameras. The 15-inch PT3500 and 17- inch PT3700 both feature 70/30 teleprompter glass and an adjustable metal frame. Up next, ikan plans to release a larger rod-based version for heavier cameras before the end of the year. Ikan also has systems that address the travel problem: how to streamline a bulky prompter so it can be slipped easily into a bag. The company recently released the PT-TAB, a frame system that holds a tablet between 7 and 10 inches in size, which can be outfitted with the company’s PrompterPro 3.0 software. “Our goal was to make a lightweight and portable prompter that breaks down to a very small size,” says Dariel Resendez, product manager for ikan Corp., adding that the prompter has been popular Ikan PT3500 with independent filmmakers and documentary shooters, who can transition the folded down prompters, including Bodelin Technologies, whose and the size of the cameras has decreased so prompter into custom-cut foam inserts that fit in ProPrompter HDi Pro2 Mobile accommodates much so that things can be much more portable,” standard hard-sided shipping cases. iPad tablets. Features include a 16:9 ABS hood and says Clay Baker, general manager for Bodelin mirror box, studio-quality beam-splitter glass and Technologies. “Even the biggest news agencies are BODELIN TECHNOLOGIES a standard 15mm rail mounting system. gravitating to having several mobile teleprompting Others are recognizing the need for tablet-run “The quality of cameras has improved so much solutions out in the field.”

42 creativeplanetnetwork.com | 08.2015 800-323-2325 Check out our new & improved web site at www.videoguys.com Whether you’re a beginner or professional, our knowledgeable team is available to answer all of your questions before, during and after the sale. We’ll even stand behind our recommendations with a 30-day money-back guarantee and FREE tech support – a customer service policy unmatched in the industry! Check out Videoguys.com for our complete product catalog, Video Tutorials and Guides, Daily Updates and Sales, System Recommendations for video editing & live production and more.

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Matrox Monarch HD Grass Valley EDIUS Live Streaming Appliance EDIUS Pro 8 Workgroup 8 with Recording $49900 $99900 $99500 A small, easy-to-use appliance designed for video producers who When an editor has to wait for technology, creativity need to simultaneously stream a live event & record the master quality version for post- suffers. That doesn’t happen with EDIUS Pro 8. EDIUS Pro event editing. By separating the task of recording from streaming in a single integrated starting at... 8 means more formats and more resolutions in real time unit, Monarch HD ensures that your CDN is focused on delivering quality video to your for the ability to Edit Anything, Fast. EDIUS Pro 8 is the audience while you control the quality of the archive. $ 00 perfect finishing tool for professional productions, including 7,799 documentary and 4K theatrical productions. With more creative options and real-time, no-render editing of all popular SD, HD and Matrox Convert DVI Plus vMix GO Portable even 4K formats, EDIUS Pro 8 is THE most versatile and fastest nonlinear editing HD-SDI Scan Converter with Portable Live Production & Streaming Solution software available. Genlock & Region-of-Interest $ 00 Compact enough to fit into overhead luggage on a commercial airline. Never before has EDIUS Workgroup 8 means more formats and more resolutions in real-time along with 995 this level of professional capability been provided with this level of portability meaning the ability to connect to network storage and other pro features. Matrox Convert DVI Plus lets you downscale or upscale your less time coordinating logistics & more time to focus on broadcasting your events. Setup region-of-interest to any size and position it anywhere on the output screen over a colored, and produce from start to finish with the vMix GO’s built in display or add production super-white or super-black background to facilitate downstream keying. Ideal for creating Also available: The complete quality monitors via HDMI/DisplayPort for powerful MultiViewer windows and fullscreen broadcast video from computer applications such as Skype, YouTube, Google Earth, video previews. Available in models to support every workflow. vMix GO Jr. features 4 HDMI I/O line of Grass Valley ADVC-G games, and web browsers, as well as citizen journalists’ mobile phone videos. ports. vMix GO and GO Plus feature 8 HD-SDI I/O ports for professional productions. Converters starting at just $599

BUNDLE! SONY Vegas Pro 13 with Pioneer BDR-XU03 Pros are moving from Combine the professional video Mac to Z editing features of the new Vegas Pro 13 with Sony DVD Architect for Blu-ray Disc Authoring and the HP z Workstations optimized $ 00 $ 00 2,195 7,495 Pioneer BDR-XU03. This drive is a for video editing from state-of-the-art magnesium, Slim Videoguys.com Roland VR3-EX Mixer Roland VR50-HD Slot-Loading Blu-ray Disc Burner $ 00 with USB 3.0designed for ultra portability. 429 When it comes to stability, reliability and performance these workstations set the bar • Built-in USB Output for 480i Streaming Multi-Format HD Video Mixer with: Up to 6x write speed to BD-R! by which all others are judged. If you’re building a professional post facility, HP z series • HDMI & Composite Inputs • USB 3.0 for up to 1080p Streaming workstations are the way to go! Intel processors, Thunderbolt 2 & USB 3 connectivity • Standard Definition 16:9 Mixing Engine • 3G-SDI, HDMI, RGB & Composite Inputs Pioneer BDR-XU03 Blu-ray Disc Burner alone just $175.00 with flexible and reliable expandability! • Scaled Output up to 1080p • High Definition Mixing Engine up to 1080p • Advanced 18 Channel Audio Mixer • Advanced 12 Channel Audio Mixer Go to Videoguys.com for our system recommendations, a custom-built • 2.5” Multiview Preview Monitor • 7” Multiview Preview Monitor desktop, laptop or All-in-One, or for more pricing & information • PnP, Key and Video Effects • Powerful PnP and Key Compositions

ProMAX Platform Portable $ 00 Adobe Sorenson Squeeze 10 Desktop Share anything, with anyone, anywhere. 649 Creative Encoding Software The ProMAX Platform Portable is a unique mobile server that allows you to connect Teradek VidiU Cloud for The most trusted encoder and perennial Teams existing storage devices and transform them into a simple but sophisticated shared Live Streaming without a PC Epiphan Pearl Streaming award winner. Great videos, professional editing environment. Content from your USB and FireWire drives can be easily shared output and easy workflow. Squeeze 10 is All of the newest Adobe CC Applications among the workgroup and media streamed directly from the drives over video optimized Get the freedom to broadcast live high Simultaneously live streams & records now up to 6x faster than competitors with including Premiere Pro, Photoshop and 1GbE and 10GbE connections. definition video directly to the Web without 4 HD sources at 30 fps with dedicated multi-core encoding, enhanced quality, After Effects plus Cloud Storage, Behance • Turn Your Hard Drives into Shared Storage for Video a PC. Whether you’re streaming out of inputs for SDI, HDMI and VGA. Pearl and better adaptive bitrate encoding. starting at... a video switcher or wirelessly from your Prosite, Digital captures just about any video content you • Support for Multiple Devices and File Formats Publishing Suite $ 00 give it! $ 00 • Catalog & Search Your Media $ 00 camera, VidiU allows you to go live when 599 1-year $ 00 479 5,995 you want, where you want. & more 4,875 • Ready to Travel, Anywhere You Need to Share Content The company is addressing the entry-level market by creating low-cost—or sometimes out- right free—solutions for the growing independent content creator market. Bodelin recently released the downloadable ProPrompter Studio App that includes the ability to wirelessly control up to three other prompting tablets. Keeping the entry-level market in mind, the company added a universal mount system for legacy tablets, including older iPad models that are no longer actively being sold. “It’s such a spread out market,” Baker says. “There are a lot of people doing video content these days and doing it remotely. It’s all about access.” Bodelin recently introduced ProPrompter Datavideo DVP-100 Desktop, a prompting solution that uses a laptop, desktop computer or iPad as a prompting screen perfect eye-to-eye contact ... for the most convincing with a companion mirror. communication,” says Mel Lindstrom, director of visual assets for Prompter People. PROMPTER PEOPLE Calling it the first prompter specifically Targeting the unmet needs of those lonely designed for robotic cameras, Lindstrom says the Bodelin ProPrompter Desktop with iPad robotic cameras, Prompter People introduced the RoboPrompter’s design completely encloses the RoboPrompter. The system has a wide-format 24- robotic camera. The 22-inch 16:9 LED LCD has company, that creates a Wi-Fi hotspot to connect inch beam-splitter that allows for maximum left- VGA, DVI and HDMI inputs, with optional SDI. devices and begin prompting. to-right movement, the company says. Noting the “Once connected, you can select if a device is importance of looking straight into the audience’s DATAVIDEO to be a controller or a prompter screen, and you eyes, the company also introduced a companion A new wireless prompting control system from can have an unlimited number of controllers or wide-format reversing monitor that allows for Datavideo—the DVP-100—is designed to centrally prompter screens,” says Craig Moffat, managing necessary eye contact. control multiple prompter screens. The controller director of Datavideo U.S. “[It’s] ideal for PTZ cameras being used in studios, can create and load new scripts, control scrolling The controller can also create and load new board rooms and conference rooms [because] the and perform live edits on a screen in real time. The scripts, control scrolling and perform edits on matching wide-format reversing monitor allows for DVP-100 uniquely acts as a server, according to the multiple screens in real time, he says.

AUTOSCRIPT (VITEC GROUP) Three primary problems were solved when Autoscript introduced its E.P.I.C. 19, a 19-inch teleprompter designed for large studios. The system combines a prompter monitor and talent monitor in a single integrated unit, which eliminates the need for additional components and a mounting assembly, according to Aaron Brady, business development manager of prompting for the Vitec Group, Autoscript’s parent company. “It has all the information necessary for creating a seamless on-air broadcast for display on camera,” Brady says, pointing to the integrated monitor, talent feedback, picture-in-picture feature and integrated tally. “It solves three problems,” he says. “From the talent’s perspective, it takes all of the info they need and puts it in one spot. From an engineer’s Prompter People RoboPrompter (front view, without glass) perspective, it takes all the different [items] you

44 creativeplanetnetwork.com | 08.2015 Autoscript E.P.I.C. 19 Autocue Starter Series Lite 17-inch need to integrate and puts them into one chassis.” is designed for independent content creators. the-box technology. It also solves a physical problem, he continues. “In the past, the full range of options [found on “For the lowest end of the market, you get an As today’s cameras get smaller, the load that they most teleprompters] was appropriate for the all-in-one option, which was the best decision that can carry gets smaller as well. E.P.I.C. 19 is able to cameras of its day,” says the Vitec Group’s Brady. Autocue made,” he says. “It means we can provide lower the teleprompter load by about 40 percent, (Vitec produces the Autocue brand in addition to customers technology that isn’t over-engineered.” Brady notes. Autoscript.) “Over the last five years, cameras are The Starter Series includes the on-camera unit, smaller and the requirements are lower, including risers for any camera type, and a baseplate with AUTOCUE (VITEC GROUP) the load requirements, functionality and software.” mounting points that enables users to balance any Targeting a largely untapped market, Autocue offers The Starter Series solutions are designed for first- load, regardless of camera size or weight. an entry-level solution. The Autocue Starter Series time prompter owners who are looking for out-of- (continued on page 48) Shop Conveniently Online Cash in or Trade up B&H Holiday Schedule We Buy, Sell, In the and Trade palm July 26 of your Closed Used hand Equipment

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XA20 / XA25 XF100 / XF105 GY-HM600 / GY-HM650 AG-AC90A Professional HD Camcorder HD Professional CF Camcorders ProHD ENG Camcorder AVCCAM Handheld Camcorder • Native 1920 x 1080, 1/2.84" CMOS Sensor • HDMI • 1/3" CMOS Sensor • 50Mbps MPEG-2 Recording • Superb Low-Light Performance • 2 SDXC/SDHC Slots • Three 1/4.7" Full HD 2.19MP MOS Sensors • 20x HD Zoom Lens • Dynamic Image Stabilization • 4:2:2 Color Sampling • 60p/60i, 30p, 24p • Designed for Fast-Paced ENG • 23x Fujinon AF Wide • 12x Zoom Lens: 29.8 to 357.6mm • Canon Digic DV 4 Image Processor • Composite • Dual CF Card Slots • 10x HD Zoom Lens Zoom Lens • MPEG-2 / AVCHD / H.264 Recording • 1920x1080 60p, 60i, 30p, and 24p • 3.5" Touch LCD • 2x SDHC/XC Media Card Slots • Dual XLR Inputs • HDMI, Component, Composite Outputs • Three 1/3" 12-Bit CMOS Sensors • F11 Sensitivity • 480/60i Mode for Cloud Server Uploading • 5-Axis OIS / Pixel Shifting Technology #CAXA20 �� $1,999.00 #CAXF100 �� $2,499.00 #JVGYHM600U �� • Intelligent 25x Digital Zoom Function • Dual SD Memory Card Slots XA25 Step-up Features: XF105 Step-up Features: GY-HM650 Step-up Features: WiFi with Apps, Live • Two-Channel XLR Audio Inputs • HD/SD-SDI output • Pre-record 3-sec. buffer • HD/SD-SDI, SMPTE Time Code, Genlock transmission (streaming), Secure FTP File upload via WiFi #CAXA25 �� $2,499.00 #CAXF105 �� $2,999.00 #JVGYHM650U �� #PAAGAC90A ��

24 MP

AG-AC130A / AC160A HXR-NX3/1 NEX-VG900 NEX-EA50M 3-MOS HD Handheld Camcorders NXCAM Pro HD Camcorder Full-Frame Interchangeable Lens Camcorder NXCAM HD Interchangeable Lens Camcorder • 1/3" 2.2 MP 3MOS Sensor • Expanded Focus Assist • Three 1/2.8" Exmor CMOS Sensors • 24.3MP full-frame 35mm Exmor CMOS HD sensor • Records Full HD 1080p up to 60 fps • 3.45" LCD • 1080i60 / p30 / p24 / 720p60 Formats • 1920x1080 up to 60p • 40x Clear Image Zoom • MS PRO Duo/PRO-HG Duo, SD/SDHC/SDXC • Exmor APS-C CMOS Sensor • Integrated 22x Lens • Dual SDHC/XC Card Slots • Sony G Lens with 20x Optical Zoom • Tru-Finder OLED viewfinder with eye sensor • Accepts E-Mount Lenses • Two XLR Audio Inputs • Standard Definition DV Recording Mode • Wi-Fi Connectivity and Remote Control • Quad capsule microphone with XLR option • SD/Memory Stick Memory Card Slot • Network-Friendly MP4 720p, 3 Mbps Format • E-Mount, and A-Mount with includes LA-EA3 A-mount • FMU Slot for Flash Memory Unit #PAAGAC130A �� • Dual SD Memory Card Slots lens adapter • 1080/60i/60p/24p • 3.0" LCD • LCD with Touch Focus Function • Uncompressed 8-Bit 4:2:2 via HDMI Out • Uncompressed 1080 HDMI Output • Variable Speed Digital Zoom AG-AC160A Step-up Features: • 59.94 Hz / 50 Hz switchable • Built-In LED Video Light • Cinematone Gamma with comprehensive manual control • Still Photographs at 16 Megapixels • HD-SDI & LPCM audio • Slow/quick motion mode #PAAGAC160A �� #SOHXRNX31 �� #SONEXVG900 �� #SONEXEA50M ��

20 20 MP MP Lens not included

EOS C100 Mark II PXW-X70 PXW-X200 PMW-300 Cinema EOS Camera with Dual Pixel CMOS AF Pro XDCAM Compact HD Camcorder XDCAM Handheld Camcorder 3 CMOS XDCAM HD Camcorder • Super 35mm 8.3MP CMOS Sensor + EF Mount • 1" Exmor R CMOS Sensor • Three 1/2" Exmor CMOS Sensors • 1/2" Exmor Full HD 3CMOS Sensor • 3.5" Color LCD • 1920x1080p 59.94/50/29.97/25/23.98 • Built-In SD Media Card Slots • Resolutions up to 1080p at 60 fps • M PEG HD422 at 50Mbps • Fujinon Lens with 14x • HDMI Output with Timecode & Canon Log • Viewfinder & Flip-Out LCD Screen • 10-Bit 4:2:2 XAVC Intra/Long Codecs Zoom • Interchangeable Lens Mount System • Built-In Dual Pixel CMOS AF Hardware • XAVC, AVCHD, DV File Based Recording • MPEG HD422, HD420, IMX, & DV Codecs • Dual ExpressCard/34 SxS Memory Slots • Dual SDHC/SDXC Media Card Slots • Slow & Quick Motion • 17x Zoom Lens • Dual SxS Memory Card Slots • SD/HD-SDI & HDMI Outputs • ISO 320 to 102,400 • Two XLR Audio Connectors • 3G-SDI & HDMI Output • 3G-SDI Output • Genlock In, Time Code In/Out • Four Channels of 24-bit 48kHz Audio • Canon Log and Wide DR Gamma • Wireless LAN Control • Wi-Fi Remote Control via Included Module • Semi-Shoulder Mount Design • Built-In 2.4 GHz & 5 GHz WiFi Capability • Planned Upgrade To UHD 4K • Timecode, Genlock, USB 2.0 Interfaces Body Only #CAC100AF2 �� #SOPXWX70 �� #SOPXWX200 �� $6,299.00 #SOPMW300K1 �� $7,999.00

Not responsible for typographical or illustrative errors. © 2000-2015 B & H Foto & Electronics Corp. NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906 Visit Our Superstore Over 70,000 square feet Speak to a Sales Professional of the latest gear 420 Ninth Ave. The most knowledgeable 800-947-9939 Corner of 34th Street Sales Professionals 212-444-5039 New York, N.Y. 10001 Hands-on demos Fax: Hours: Sun. 10-5 • Mon.-Thurs. 9-7 Convenient free parking Fri. 9-1 EST/9-2 DST • Sat. Closed available 212-239-7770

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42 22 16 36 MP MP MP MP

Alpha a7RII EOS-5D Mark III Lumix DMC-GH4 D810 Mirrorless System Camera DSLR Camera 4K Mirrorless Micro 4/3 System Camera DSLR Camera • Full-Frame Exmor R BSI CMOS Sensor • Full-Frame CMOS Sensor • Uses Canon EF Lenses • DCI 4K 4096x2160 at 24p • Built-In Wi-Fi Connectivity • FX-Format Full-frame CMOS sensor • 3.2” LCD • BIONZ X Image Processor • 3.0" Tilting LCD • UHD 4K 3840x2160 at 30p/24p • Full HD up to 60p • 3.2" ClearView II LCD / Pentaprism VF • EXPEED 4 image processor • No Optical Low Pass Filter • Internal UHD 4K Video & S-Log2 Gamma • HD 1080 video capture in 30/25/24 fps • 3.0” OLED monitor and OLED Live View finder • HD 1080 video capture in 60/50/30/25/24 fps • 5-Axis SteadyShot INSIDE Stabilization • HD 1280p video capture in 60/50fps • Support for 59.94p, 23.98p, 50p, & 24p • 399 Phase-Detect AF Points & 5 fps Burst • DIGIC 5+ Image Processor • 4:2:2 8-Bit or 10-Bit HDMI Output • Multi-CAM 3500FX 51-Point AF Sensor • ISO 102,400 and Silent Shutter Mode • Built-In HDR & Multiple Exposure Modes • Variable frame rate recording of 2fps to 96 fps capable • Native ISO 12800, Extended to ISO 51200 • Durable Reduced-Vibration Shutter Design • Dual CF, SD Card Slots • 61-Point High Density AF • Magnesium alloy, weather-sealed body • 5 fps Shooting at Full Resolution • Electronic Front • Built-In Wi-Fi Connectivity with NFC • Durable magnesium-alloy construction Curtain Shutter • External mic and headphone inputs Body Only #PADMCGH4B �� Body Only #SOA7R2 �� Body Only #CAE5D3 �� with DMW-YAGH SDI/XLR interface unit #PADMCGH4BK �� Body Only #NID810 ��

Shown with 12 optional Lens MP

Alpha a7S Cinema Camera HC-WX970 HC-X1000 Mirrorless System Camera Cinema Interchangable Lens with EF Mount 4K Camcorder with Twin Video Camera 4K DCI/Ultra HD Camcorder • Full-Frame Exmor CMOS Sensor • 4:2:2 UHD 4K • Canon EF and Zeiss ZE mount compatible lens mount • 1/2.3” Back-Illuminated MOS Sensor • 4K DCI & UHD Video/ 8.8MP Stills • 1/2.3" MOS Sensor Output via HDMI • Full HD Recording in XAVC S • 2.5K image sensor • Variable frame rate recording • Articulating 5.27MP Secondary Camera • 2x Venus Image Processing Engines • BIONZ X Image Processor • Uses Sony E-mount Lenses • Super wide dynamic range • 5" Touchscreen LCD • 20x Optical Zoom / 50x Intelligent Zoom • Leica Dicomar 20x Optical Zoom Lens • Gapless On-Chip Lens Design • Built-In Wi-Fi • Records to removable 5” SSD drives • Capture 4K Frame Grabs from Video • Individual Focus, Zoom & Iris Lens Rings • 3.0" Tilting LCD and Electronic Viewfinder • Includes DaVinci Resolve and UltraScope • HYBRID OIS 5-Axis Image Stabilization • 3.5" LCD Touch Screen • 0.45" Electronic Viewfinder • Pro-workflow with Picture Profile, S-Log2 and time code • 1080p Slow Motion Video up to 240 fps • Power O.I.S, & Hybrid O.I.S. • Wi-Fi / NFC Connectivity • Sony dual XLR microphone kit (optional) Body Only #BLCINECAM �� • HDR (High Dynamic Range) Video Recording • Records MP4, MOV, AVCHD to SDXC Cards • Expandable Sensitivity: ISO 50-409600 • Wi-Fi for Remote Operation and Live View • Simultaneous/Relay/Background Recording Production 4K Step-up Features: • 4K Super 35mm Sensor Body Only #SOA7SB�� #BLPRODCAM4K �� #PAHCWX970 �� #PAHCX1000K ��

15 MP

FDR-AX33 FDR-AX1/PXW-Z100 FDR-AX100 XA10 4K Ultra HD Handycam Camcorder Digital 4K Camcorder 4K Ultra HD Camcorder Professional HD Solid State Camcorder • 4K Ultra HD 24p/25p/30p & 20.6MP stills • R ecord 4K 3840 x 2160p Video at 60 fps • Sony G • 1 " Exmor R CMOS sensor with direct pixel readout • 64GB Internal and Dual SDHC/SDXC card slots with • 29.8mm Zeiss Vario Sonnar T* zoom lens Lens with 20x Optical Zoom • Dual XQD Card Slots for • X AVC S, AVCHD, and MP4 recording options relay recording • DIGIC DV III Image Processor • 10x optical & 20x Clear Image zoom 4K Recording • 1/2.3" Exmor R 8.3MP CMOS Image • 4K ultra HD video at 30 fps • 1920 x 1080 CMOS Image Sensor • Exmor R 1/2.3" CMOS sensor • Bionz X image processor Sensor • XAVC-S Format for 150 Mbps 4K Recording • Zeiss Vario Sonnar T* Lens • 3.5" High-resolution touch panel LCD & EVF • Balanced Optical SteadyShot • 1080p Up to 60fps • 0.39" OLED EVF • 8-Blade Iris and Manual Focus Ring $4,499.00 • 3.0" Touchscreen LCD • 0.24" Color Electronic #SOFDRAX1 �� • 3.5" XtraFine LCD • Canon 10x HD Video Lens Viewfinder • Wi-Fi / NFC connectivity • Wi-Fi / NFC connectivity PXW-Z100 Step-up Features: • 4K XAVC Intra 422 MXF • 24Mbps Recording • Dual XLR terminals • 5.1 channel surround sound microphone • Optical image stabilization • 3G-SDI • Slow & Quick • Wi-Fi Remote #SOFDRAX33 �� #SOPXWZ100 �� $5,499.00 #SOFDRAX100 �� #CAXA10 �� $1,499.00

Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. FREE EXPEDITED SHIPPING on orders over $49* (in the continental US). *Some restrictions may apply; see website for details. LEARN

(continued from page 45)

LISTEC (TIFFEN) Tapping into Ethernet power was Listec’s goal with its newest 15-inch Ethernet teleprompter. Users can power the system over Ethernet, as well as send all scripts in one Cat-5 or Cat-6 cable. Multiple teleprompters can run through one Ethernet switch. “The real beauty of the Listec Ethernet Mirror Image LC-1550 Teleprompter lies in its simplification—no more Company engineers have multiple power and video cables. With just also taken the size of the one Cat-5/Cat-6 cable, you can power up and monitor into account. The send scripts,” says Rick Booth, vice president of LC-1500 models have adjustable marketing for Tiffen, the parent company of Listec. camera mounts to fit smaller cameras, as well as mounts that CueScript MIRROR IMAGE TELEPROMPTERS are adjustable both vertically CSM15 Recognizing the need for flexibility—whether it’s and horizontally, Burdick says. in the monitor itself or the technology running For lower budgets, when the the show—Mirror Image Teleprompters recently plan is to shoot one person in CUESCRIPT introduced the LC-1500 prompters line, a series of a controlled location or small For studio and on-

15- and 19-inch widescreen HDMI monitors. studio, Mirror Image offers Listec 15-inch location use, CueScript “The majority of new laptops and computers the IP-10 tablet prompter, a Ethernet teleprompter offers the CSM15, a have moved away from outputs such as VGA and lightweight system that includes 15-inch prompter with composite video, and are focusing more on HDMI,” an adjustable camera mount and wide-angle mirror. a high-brightness LED screen. All prompters says Mike Burdick, sales manager for Mirror Image, “The system can use your current tripod system in the CSM series have an integrated mounting which is why the company’s newest prompters for good, steady shooting,” Burdick says, and can system and built-in LED cue lights with adjustable include forward-looking I/Os. be read from up to 15 feet away. brightness levels and 180-degree viewing. dv

COMPANY INDEX

A&E ...... 19 Encore VFX ...... 10 RED ...... 22 A24 ...... 20 FilmLight ...... 6 Rocket Rooster ...... 34 ABC ...... 10, 18 FOX ...... 15, 36 RTS ...... 40 ABC News VideoSource ...... 19 Fujinon ...... 10 Samsung ...... 30 Acne ...... 10 FX ...... 24 Sanken ...... 8 Adobe ...... 30, 32 HBO ...... 8 Schoeps ...... 8 AJA ...... 30 ikan Corp...... 42 Sony Electronics ...... 15, 19, 20, 30 Angenieux ...... 15 Illuminate ...... 10 Sound Devices ...... 8 Apple ...... 8, 19, 28, 35, 42 JVC ...... 10, 38 Spike TV ...... 8 April ...... 10 Koji Color ...... 34 Starz ...... 38 ARRI ...... 15, 22, 34 LaCie ...... 31 Sync Sound...... 24 Audio Ease ...... 26 Lectrosonics ...... 8 Tanana Valley Television Company ...... 36 Autocue ...... 45 Listec...... 48 Technicolor PostWorks ...... 6 Autodesk ...... 30 LookLabs ...... 34 Teradek ...... 36 Autoscript ...... 44 M&K ...... 26 The Mill ...... 10 Avid ...... 6, 26, 30, 34, 50 Metabones ...... 10 AVIWEST ...... 37 Miller Camera Support ...... 12 theStream.tv ...... 38 Blackmagic Design ...... 8, 28 Mirror Image Teleprompters ...... 48 Tiffen ...... 48 Bodelin Technologies ...... 42 Molinare ...... 50 TV Land ...... 6 Canon U.S.A...... 10, 12 National Geographic Channel ...... 12 TV5...... 37 CBS ...... 18, 36 NBC...... 18, 36 TVU Networks ...... 38, 39 Comrex ...... 36 One Fine Day ...... 8 Twitch.tv ...... 36 Cooke Optics ...... 22 Panasonic ...... 19, 30 Ustream ...... 38 CueScript ...... 48 Panavision ...... 15 VisionColor ...... 34 Datavideo ...... 44 Pinewood Studios ...... 22 Vislink ...... 39 Dejero ...... 38 Prime Focus Technologies ...... 15 Vitec Group ...... 44 Double Negative ...... 22 Prompter People ...... 44 YouTube ...... 38

48 creativeplanetnetwork.com | 08.2015 CLASSIFIEDS MARKETPLACE

www.myvideoedgemag.com the online community for digital video filmmakers

Call Michele Inderrieden 212-378-0400 x523 or email [email protected]

log on to STAY ONE STEP AHEAD www.2-pop.com and join today! with NewBay Media’s FREE Electronic Newsletters FREE! Sign up today by visiting www.nbmedia.com

ADVERTISER INDEX

COMPANY PAGE WEB SITE COMPANY PAGE WEB SITE

Adorama 33, 39 www.adorama.com JVC 23 www.pro.jvc.com

AJA 11 www.aja.com Miller Camera Support 13 www.millertripods.com

AKiTiO 41 www.akitio.com NewTek 27 www.newtek.com Azden 29, 31 www.azdencorp.com Other World Computing 25 www.macsales.com B&H Photo-Video-Pro Audio 46, 47 www.bhphotovideo.com Sennheiser 21 www.sennheiser.com/avx Beachtek 45 www.beachtek.com Shutterstock 52 www.footage.shutterstock.com Blackmagic Design 7 www.blackmagic-design.com Sony Electronics 17 sony.com Comrex 37 www.comrex.com

Canon 5 www.usa.canon.com Videoguys 43 www.videoguys.com

Duclos Lenses 9 www.ducloslenses.com Zeiss 2 www.zeiss.com

creativeplanetnetwork.com | 08.2015 49 LEARN PRODUCTION DIARY STEFAN SARGENT HOME AGAIN But There’s an Avid in My Bathroom

ear Friends, In February’s Production Diary, I wrote about how my TV studio in London had been “transmogrified” into a bells and whistles 3D Dcolor grading suite. Steve, the 2015 “me,” had kindly offered to do a deal cleaning up my feature documentary and making a DCP. Always the impetuous one and stoked up on thousands of airline miles, I book a flight and, finger in the air, pick a date four months away in the middle of the year. Two people to London and back for $393 plus a zillion air miles— what a deal. Come the magic date, I am not quite ready ... but the flights are almost free and we are staying with friends. We pack our bags and go.

LONDON SIZZLES And hasn’t it changed. Wow, the place is flourishing. Lots of little street cafes, modern tall buildings and even new bridges across the Thames. So unlike 1976, when the country was in trouble. As a regular contributor to Broadcast magazine back then—which was a tad like Digital Video—I was asked to design the front cover as a sort of fun ad for Molinare. These days I’m still waiting for DV editor Cristina Clapp to ask me to do the same for her. Cristina, I have my Arnold Böcklin Letraset at the ready. My old biz in Soho, Central London, is spread across two buildings with five floors on each, just the way I left it. Today, Tricia and I are being taken on the prodigal son grand tour—32 years after we were chucked out by dumb non- execs and an even dumber chairman. “This is Stefan and Tricia, they started Moli way back in ’73.” “Wow, you’re a We go into a preview/dubbing theater somewhere on the second living legend. You lived here with your floor. “We’re mixing our latest feature, but you must promise not to children. I’ve seen the photos.” write about it.” Sworn to secrecy, we meet the director and crew. Where are we in the building? Was this our AV suite? Dazed and confused. A LEGEND ON THE LOO In between the fourth and fifth floors there used to be a men’s With CEO Steve Milne as our guide, loo. Yep, it’s still there. “Would you excuse me?” I climb the half flight off we go. It’s a tour that I used to do so of stairs, find an empty cubicle and sit down on the lid to recover. often in my prime, but of course it has all I get my breath back and enter our old apartment—surprise, no changed. Sound studios are now 4K Avid longer the family home but jammed full of geeks with computers. edit suites. “This where we edited and did the effects on The King’s Speech.” Our We climb the stairs. “Here is our bedroom is now a conference room, our bathroom an edit suite. documentary section. We’ve just finished Moli 1980 house and garden, But, hey, the kitchen is still ... a kitchen. Some things never now Moli’s computer graphics department the Amy Winehouse doc.” change. dv

50 creativeplanetnetwork.com | 08.2015 TOP EXHIBITORS TARGETED TRAINING KEYNOTE SPEAKERS

2015 NETWORKING OPPORTUNITIES WALTER E. WASHINGTON CONVENTION CENTER, WASHINGTON, DC INDUSTRY LEADERS & DAILY PRIZES Conference Dec. 1-3 • Exhibits Dec 2-3

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“GV Expo was excellent! My favorite part of the “I look forward to aending the Gov Expo every year. show consisted of meeting top exhibitors like For free, you can get an NAB experience on the East Blackmagic, Sony, and Panasonic. I also received free Coast..without having to travel far and spend a ton of products from several vendors and even purchased money! You get to sample the latest in technology, a few things! This show offers a great opportunity to face time with vendors, and even see old colleagues if connect as well. I caught up with old friends and even you’re lucky. For the first time, I took classes this year had a chance to network and scout out future jobs.” and found the experience phenomenally beneficial. I wish I had done it sooner! You can’t beat what Gov Director of Photography | GV Expo 2014 Aendee Expo offers, hands down.”

Studio Manager | GV Expo 2014 Aendee

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