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A New HD Frontier for Scrubs by Bob Fisher

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A New HD Frontier for Scrubs by Bob Fisher �������������������� A New HD Frontier for Scrubs by Bob Fisher CAPTURING SOUND REVOLUTION A SENSE OF WONDER WILD OCEAN by David Royle by Ian Cheney by Claudia Kienzle contents FEATURE Capturing Wild Ocean 6 by Claudia Kienzle 6 Bringing History to Life 12 by Bob Fisher Nature’s American Eagle 13 by Neil Rettig HD Tips: 3D Images 16 by B. Sean Fairburn 13 Sound Revolution 17 by David Royle Why We Race 18 by David Schaefer 18 High Definition Makeup: The Latest Trend? 19 by Bradley M. Look HDTV Forum: Panasonic 3D Plasma Delivers 20 Full-HD to Each Eye by Steve Sechrist Fireproof with AJ-HDC27H 21 by Brian Cali 22 A Sense of Wonder 22 by Ian Cheney A New HD Frontier for Scrubs 24 by Bob Fisher Direct from the Moon 24 26 by Dara Klatt Front Cover: (L – R) Actor Zach Braff and actress Sarah Chalke in a scene from the “Princess” episode of Scrubs shot by cinematographer John Inwood. Photo by Dean Hendler/NBC. Vol. 10, Issue 6 | HighDef Magazine is published bi-monthly, free for professionals in all areas of video and film production, nationally by American Press Services, 2247 15th Avenue West, Seattle, WA 98119. PUBLISHER: Conrad W. Denke EDITOR: David W. Thompson PRODUCTION: Gina Griffin Hanzsek DISPLAY ADVERTISING: Call David Thompson at 1-888-282-1776 or e-mail [email protected]. Deadline for advertising mechanicals is fifteen(15) days prior to publication date. Current and back issues and additional resources, including subscription request forms, are available on our website: www.HighDef.com. Address changes can also be done online at www.HighDef.com/subscribe or mail changes to: HighDef Magazine, 2247 15th Ave. West, Seattle, WA 98119. PRINTER: RR Donnelley, www.rrdonnelley.com NEWS & PRODUCTS even twins have their own per s onalit ies. STUDY: SCREEN SIZE vs nector in the cover’s rigid front hood QUALITY section anchors and stabilizes it on A new iSuppli consumer survey has camera. At the rear, durable waterproof found that U.S. consumers rate picture rubber fabric surrounds and protects quality -- and then pricing and brand the viewfinder. -- as the most important attributes, according to TWICE Magazine. In fact, the survey, which was conducted dur- ing the second quarter of 2008, found that screen size ranks fifth among con- MIRA SELECTS FUJINON sumers who make between $25,000 Portland, OR-based Mira Mobile and $99,999. Higher income residents Television has acquired a complement ranked screen size even lower. of 12 Fujinon HD lenses for the PANASONIC AVC-INTRA company’s newest high-end, 53-foot CODEC AND AvID HD production truck, M7HD. The new Panasonic Broadcast announced CANON BU-50H HD ROBOTIC lens package for M7HD includes: one that new editing solutions from Avid PAN-TILT-ZOOM SYSTEM XA101x8.9BESM super telephoto field Technology, Inc. offer import and Following on the success of its BU-45H lens with image stabilization, six XA88x native editing support for its AVC-Intra 8.8BESM telephoto field lens with remote-control outdoor robotic pan- codec. AVC-Intra provides high-quality tilt HD 16:9 camera system, Canon stabilization, three HA22 x7.8BERM 10-bit intra-frame encoding utilizing ENG lenses and two HA13x4.5BERM U.S.A., Inc. introduced the BU-50H for the Hi-10 and Hi-422 Intra profiles of indoor POV (point-of-view) applications. ENG super wide angle lens. The H.264 in two modes: AVC-Intra 100 for 53-foot mobile unit will travel with the The BU-50H remote-control robotic full-raster mastering video quality and indoor pan-tilt HD camera system is 12 Fujinon lenses and 10 Sony 1550 AVC-Intra 50 Mbps for DVCPRO HD 1080p HD cameras. The lenses utilize engineered to provide exceptional HD comparable quality at half the bit rate. video imagery and versatile perfor- Aspheric technology (AT2), found These new Avid solutions offer native exclusively on Fujinon lenses. mance in such locations as houses of support for Panasonic camera-based worship, legislative chambers, studio codecs. Avid’s latest editing solu- POV camera positions, indoor security tions enable AVC-I to be mixed and areas, and many other environments. matched in real-time with other codecs The BU-50H is an extremely quiet such as Panasonic DVCPRO HD and P/T system and features a maximum Avid DNxHD (as long as the same noise level of NC30. It is well suited for edit rates are used), enabling high operation in very quiet environments, performance workflows in multi-format including studios, conferences, lectures, environments. and classical music concerts. AvID SUPPORTS XDCAM HD 50 PANASONIC HDV/DV/DVCAM AND PRO DV TAPE Sony XDCam HD MPEG-2 Long GOP 50 Mbps format is now available in Panasonic Broadcast has two new Avid Technology’s Media Composer, Like twins, Panasonic’s new AG-HPX170 and AG-HVX200A full production advancements in its line of professional NewsCutter and Symphony product digital media - the new AMQ-Series quality P2 HD handheld camcorders are as alike as they are different. They lines. The functionality is available via Advanced Master Quality tape for pro- both offer a 13X Leica Dicomar zoom lens; 1080i/p and 720p and 4:2:2 a free software upgrade for all Avid fessional master-quality HDV, DV and customers running Version 3.0 of Media independent-frame recording; variable frame rates; a new, advanced 3-CCD DVCam recording and the new PQUS- Composer and Symphony and Version progressive imager with spectacular quality; and the reliability and fl exibility Series Professional Quality Pro DV tape 7.0 of NewsCutter software. With of a fast, fi le-based workfl ow. for professional miniDV recording. AMQ this release, Avid Media Composer, tapes feature Panasonic’s next genera- NewsCutter and Symphony products tion Super Advanced Metal Evaporation Why might you prefer one over the other? The HVX200A features a DV PETROL RAINCOVER FOR now support the Sony PDW-700 and (S-AME) technology with four times tape drive in addition to two P2 card slots, allowing you to move easily AG-HVX200A AG-HPX170 SONY EX-1 & Z7 PDW-HD1500 cameras for ingest at the magnetic density of the previous from SD to HD and from tape to solid-state. If you have already transitioned Petrol, a Vitec Group brand, intro- all bit-rates (50 Mbps for both 1080i tape generation, providing +1.2dB • 11 variable frame rates • 20 variable frame rates duced the PRC-EX1 transparent and 720p) and frame rates of 1080 to a solid-state fi le-based workfl ow, the two-slot HPX170 offers additional higher output than the competition. Raincover, weather protection for 50i, 59.94i and 720p. Customers must • 4.2mm – 55mm • 3.9mm – 51mm Advancements in Panasonic’s propri- high-end features, including HD-SDI, metadata input, Dynamic Range Sony PMW-EX1 and HVR-Z7 cameras. upgrade to Version 3.0.5 of Media etary Dry-Type lubricant and Diamond- Stretch and a 5-year limited warranty (upon product registration). • Lightweight – 5.5 lbs • Lightweight – 4.2 lbs Constructed largely of clear polyure- Composer and Symphony or Version Like Carbon (DLC) film development • 3.5" fl ip-out LCD • Waveform/Vectorscope thane (PTU) for maximum visibility, 7.0.5 of NewsCutter software to receive boost the tape’s durability for high The HVX200A and HPX170. Distinctly different, yet uniquely alike. the PRC-EX1 offers quick and easy these updates as well as ingest and • 21 HD and SD formats • 3 focus assist functions speed shuttling, still-frame, and profes- Learn more at . access to all camera features and even edit capabilities for the Sony XDCam www.panasonic.com/p2hd sional editing. A surface treatment pro- enables work with the flip out LCD HD 50 Mbps format. HD cess extends VTR head life and reduces screen fully open. A hot shoe con- head clogging and dropouts. when it counts 4 © 2008 Panasonic Broadcast PBTS-0190_Twins_Ad_HD.indd 1 8/11/08 3:13:35 PM Capturing Wild Ocean Photo by Dale Stokes by Claudia Kienzle s the ocean water cools off the coast of South Africa, massive schools of sardines this underwater life and death struggle. migrate along the KwaZulu-Natal Coast in search of food, while dodging predators— As the president of Liquid Pictures in Atlanta, GA, Roller’s DP credits include underwater Asuch as sharks, dolphins, whales, and gannets—who gather to feast on them. cinematography for several episodes for National Geographic Explorer, PBS’ Nova, Deep Sea In the Fall of 2007, as these predators approached from air and sea to eat the sardines— Detectives; as well as Ghosts of the Abyss, a 3D film directed by James Cameron about the these feeding frenzies were captured by Director of Photography D.J. Roller wielding a spe- Titanic. Roller’s filmography also includes many pioneering HDCam production expeditions in cially designed Cameron/Pace Fusion 3D HD camera system with Fujinon HD lenses for the the 1990’s to Antarctica and other harsh, remote locations for National Geographic Channel, IMAX 3D film, Wild Ocean, released by Giant Screen Films in March 2008. With its superior HD Discovery Channel, and Nova. clarity and 3D realism, Wild Ocean gives viewers a sense of what it’s like to be in the midst of 6 7 FNI-4575 HDCine 8.25x10.75 4/28/08 12:29 PM Page 1 C-Series Digital Cinema Lenses E-Series Digital Cinema Lenses Photo by Dale Stokes FUJINON Super Cine E-Series rentals available at: A 3D HD Camera is Born lenses. An additional lens was packed as a While working on Ghosts of the Abyss backup.
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