Speed Racer Interview with David Tattersall

M ar/Apr 2008 $5.95

Speed Racer interview with David Tattersall

Putting Final Nature Tech: Now you see it, Touches on In High Definition Now you Don’t Pathology by David Royle by Bradley M. Look by David Heuring contents

Feature Speed Racer with David Tattersall 6 interview by David Thompson

6 Beyoncé’s Highdef Spot 16 by Jennie Taylor

Human Footprint 18 by Dara Klatt

Putting Final Touches on Pathology 20 by David Heuring

18 HD Tech: Why 59.94 at Sundance? 22 by Lowell Kay G=C@D7A7=<7A/:E/GA3D=:D7<5A=7A=C@A

HD Studio for Chicago’s Governors State 23 by Brian Cali

Now You See It, Now You Don’t 24 by Bradley M. Look 20 Preserving Today’s Films 26 by Bob Fisher

HDTV Forum: Samsung’s 31-inch OLED-TV 28 by Steve Sechrist

HD Achieving New Heights 29 by Tom Hallman 31

HDTV: The Consumer Front 30 by Dale Cripps

Fields of Fuel 31 by William Wheeler

Nature Tech in High Definition 32 32 by David Royle 7\b`]RcQW\U9=2/9D7A7=WQbc`S4WZ[ObeeeY]ROYQ][U]dWaW]\! distributed by Warner Bros. Pictures. Photo courtesy of Warner Bros. Pictures.

Vol. 10, Issue 2 | 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 9]ROY %9]ROYO\RDWaW]\O`Sb`ORS[O`Ya 9]ROY NEWS & PRODUCTS connect to higher quality HD

popular AG-DVX100 DV-based cam- support, sync output and genlock. The corder, records impressive 1080i, 1080p GHX-10 also features the latest video and 720p high definition images onto technology in the form of dual-link SDI solid-state SD memory cards and fea- and 3Gb/s SDI connectors for 4:4:4 tures 28mm Leica Dicomar wide-angle 2K film resolution. The GHX-10 can zoom lens (35MM equivalent) and pro- be used as a computer DVI to HD-SDI fessional audio (XLR) and video con- converter, a HDMI resolution converter, nections . AVCHD, based on MPEG-4 or as a HD video upconverter or down- AVC/H.264 high profile encoding, converter and much more. ARRILASER HD/DI provides a near doubling of bandwidth Installations efficiency and considerably improved video performance over older MPEG-2 ARRILASER HD/DI has more than compression used in HDV formats. 15 units installed, mainly in Asia and South America. It was designed as an entry-level system in response to the increasing demand of film recording for low-budget productions. The unit Panasonic AK-HC3500 records in 2k at a speed of 3.2 seconds Studio Camera per frame with the full dynamic range Panasonic’s full native resolution, 1080i of 2.04 densities above base onto AK-HC3500 2/3” 2.2M 3-CCD high defi- intermediate material. The ARRILASER nition studio camera is equipped with HD/DI is compatible with options exclusive image processing and color such as ALICE (the interactive image reproduction functions for the high- viewer), ARRICUBE Video Look (color Evertz VIP-X Control Room est quality in 1080/59.94i and 1080/50i management system for linear work- The Evertz VIP-X simultaneously image acquisition. The HC3500 features flow), Camera Negative Module and combines control room routing three 2/3” 2.2-megapixal IT-CCDs with all Geometry options (3-perf, HD and platform with a modular multi-image an advanced single-channel transfer sys- Native Academy Module). display system in one integrated tem, 14-bit A to D converter, an advanced package. Features include: up to 38-bit digital signal processor, LSI and 288 HD, SD inputs with up to 72 spatial offset processing for exceptional multi-image display outputs; auto- sensitivity, resolution (1100 horizontal sensing HD/SD and 3Gbps (SMPTE lines), as well as reduced aliasing. 424M) inputs; Evertz next generation image processing technology; display resolutions of up to 1920x1080p; full screen viewing of any input on any output; support for all display types Sony HD Cameras at Super via DVI, VGA, and HD-SDI outputs; Bowl XLII support for dynamic under monitor displays and tallies; advanced on Mobile production company Game screen graphics; built-in graticule Creek Video used Sony high-definition generator, user defined per window; cameras to cover the action at Super The Chronicle and Canon’s decoding and display of VITC/HD time Bowl XLII. A total of 27 HDC-1500 XH A1 HD Camcorder code; minimal processing delay (~1 With industry-renowned, independent-frame DVCPRO HD and master-quality, full-raster multiformat cameras served as Knowing the importance of the internet The most versatile frame); and real time control of display the primary field-production units, to the future of the news media, the 10-bit 4:2:2 AVC-Intra* compression, Panasonic’s affordable AJ-HPM110 field recorder/ outputs via Maestro. HD field recorder supported by four HDC-3300 3x slow- San Francisco Chronicle’s Photo Dept. player is the perfect choice for IT compatible, multi-format HD and SD production. motion cameras. Two “slow-motion” purchased four Canon XH-A1 HD cam- at any price. systems were placed in each end zone, corders after learning that it not only Whether used with Panasonic P2 cameras or with other cameras or decks with HD-SDI while the other two were free-roaming shoots high-quality widescreen video output (including 23.98/24psf), the HPM110 offers long record times. Using six 32GB P2 handheld units. Sony’s HDC-1500 but also digital still images, which can cards, this workhorse can record for 4 hours in 1080p/24 and 8 hours in 720p/24. It also multiformat camera system captures be captured at full HD (1920 x 1080) offers multiple frame rates, 1080 and 720 support, up/down conversion, 24p pull-down high-definition images in either 1080i resolution in either video color space removal and real-time playback of 720p variable frame rates (over/under cranking). or 720p. The HDC-3300 camera Doremi GHX-10 Cross or digital camera color space. Shooting achieves 3x speed slow motion effects Converter video for the SFGate.com Web site And you’ll benefit from the speed, flexibility and reliability of P2 HD’s solid-state, tapeless in full HD resolution. The GHX-10 from Doremi Labs fea- they frequently capture still frames workflow and the backing of a 5-year warranty.** So get connected to the future of HD tures HDMI, DVI, and SDI connectors simultaneously for the print edition of Panasonic AG-HMC150 production with the HPM110. Handheld that allow for any input to be con- the Chronicle. Using the XH A1 HD verted to any output format or scan camcorder for both tasks has even Extensive AV/IT connections, including HD-SDI, IEEE Panasonic announced the latest addi- 1394 and USB host mode, assure a fast workflow. For more information, please visit us at www.panasonic.com/broadcast. rate. It supports both SD and HD video introduced a new shooting style to the tion to its line of professional AVCHD and employs high quality 12 bit bicubic work. Several stories have run both camcorders - The AG-HMC150 hand- interpolation to ensure the highest online and in the paper using stills from held. The affordable 1/3” 3-CCD cam- when it counts quality picture. Doremi has included the video. HD corder, which has a similar build as the many advanced features such as audio * Full capabilities of optional AJ-YBX200 AVC-Intra board described at www.panasonic.com/broadcast 4 ** 1 year standard warranty plus additional 4 year warranty (if registered within 30 days of purchase) © 2008 Panasonic Broadcast

PBTS-0134_P2Mobile-Ad_HD.indd 1 2/15/08 3:17:06 PM Speed Racer

with David TattersallPhoto courtesy of Warner Bros. Pictures interview by David Thompson

Q. What specific role did you fill during the production of Speed Racer? but two days outside on location. 95% was shot on the stages at Studio Babelsberg in Berlin. A scene from Warner As the cinematographer I’m responsible for all things photographic at the principal photog- Now it’s in post and I am in Vancouver, Canada working on The Day the Earth Stood Still. Because Bros. Pictures’ and Village raphy stage of production. It’s a long list of responsibilities, but chiefly the look of the movie it is such a heavy visual effects production, the brothers (Larry and Andy Wachowski), John Roadshow Pictures’ through lighting and photography. Once principal photography is finished then the baton is Gaeta and Dan Glass are nursing Speed Racer through its incredibly complicated post phase. action adventure Speed Racer, distributed by passed to Visual Effects. For Speed Racer our Visual Effects Supervisors are John Gaeta and Q. Prior to Speed Racer what experience had you had with High Definition? Dan Glass (The Matrix series and many others). They inherited our foundation and then they Warner Bros. Pictures. This was my fourth outing. I was involved early on in HD and cinema with the F-900 camera on and about 500 other digital artists composite and polish the background layers. This is very Star Wars, Episode II and then again on Episode III with the 950. A couple years ago I got to much a layered look, with a lot of green screen photography, mostly on stage. I think we did all use the Panavision Genesis system for a movie called Next. This is my fourth different system 6 7 HDECPanasonic-HighDef 2/27/08 11:29 AM Page 1

Simply Perfect Together Photo by David Appleby

on a different movie and quite a different sort What’s not to like about full rez, 50 inch moni- of set up. I really only have good things to say tors on the set and instant full rez playback about HD. and all the other “pros” that come along with the pipeline. (L to R) Emile Hirsch as Q. How and why was the decision made to Speed Racer, Roger Allam produce Speed Racer in High Definition? Q. Describe the production flow. as Royalton and the DP Did you have a part in that? We recorded on to SR decks as well as a David Tattersall on the set I did, yes I was brought on fairly early in Codex drive. Recording directly onto the hard Panasonic VariCam® shown with Canon HJ11x4.7B KLL-SC HD-EC Zoom Lens. of Warner Bros. Pictures’ the pre-production stage. Larry and Andy drive offers all sorts of advantages, principally and Village Roadshow Wachowski were looking for something new a compression free negative, instant HD play- Pictures’ action adventure and different, as usual. They march to their back and the ability to grab stills at full resolu- Speed Racer, distributed own drum and they have this kind of “sink tion while shooting. We created a huge library ® by Warner Bros. Pictures. or fly” daring when it comes to the photo- of reference stills that all departments could Panasonic’s VariCam and Canon’s HD-EC Lenses graphic look and the aesthetic choice. They use easily. It is possible to finely tune the Panasonic’s acclaimed VariCam® 2/3-inch digital capitalizing on the high MTF optical imagery wanted to do something different to what color timing of a scene on the Codex, a huge HD motion picture camera and Canon’s cost- delivered by Canon’s HD-EC lenses. The superb they had done before and what everyone else advantage for me! After just a little bit of effective HD-EC family of six Prime lenses and black reproduction of these lenses and their was doing at the time. They wanted to go in set up time at the beginning of the day with three Zoom lenses are simply perfect together. well-controlled light distribution ensure the the direction of a very sharp, super saturated, gray scale and Macbeth charts camera set- VariCam®’s innovative CineGamma technology highest contrast across the 16:9 image plane. new glossy look, with deep, deep focus. tings could be locked and I was free to oper- reflects the refinements of many cinematographers And Canon’s innovative ACV-235 Anamorphic You’ve got a fighting chance of getting it with ate the camera, checking light values with and fully exploits the camera’s wide dynamic range. Converter, which optically compresses widescreen HD, especially the way in which we ended an on-board 5” wave form monitor. It wasn’t 2.35:1 aspect ratio imagery to the 16:9 format, up shooting it, by layering foreground, mid- necessary for me to sit with the engineer as I VariCam®’s 720-line 60-progressive-frame digital provides remarkably fine widescreen 35mm ground and background elements separately had on previous HD shoots. It was great to be imagery exhibits remarkable sharpness by fully film-out image quality. against blue and green screens. After a test it back on the floor, close to the action, close to became apparent that was the way to go. the directors and the actors and being able to judge the lighting more clearly. Q. What did Andy and Larry think of their experience with Highdef? Q. What cameras were utilized and how After the initial trepidation they definitely did they perform? For more info: See Us At NAB Booth #SU3020 warmed to the process. With every new show We used Sony F-23 cameras with Zeiss digi- Call 1-800-321-HDTV they are trying something new and differ- primes. We had two parallel units, with each (In Canada: 905-795-2012) ent. Eventually any trepidation went away having two cameras. We had an additional http://www.canonhdec.com and they became very enthusiastic about it. F-23 that was “shared” between the two par-

©2008 Canon U.S.A., Inc. All rights reserved. Canon is a registered trademark of Canon Inc. in the United States and may also be a 8 VariCam® is a registered trademark of Panasonic. registered trademark or trademark in other countries. IMAGEANYWARE is a trademark of Canon. Photo courtesy of Bros. Pictures Warner

allel units, as needed. We tested many cam- space and light with a special camera that eras prior to selecting the F-23. The cameras tiled a 360 degree view of each space. It was came to us from PACE, as he bought them nicknamed “the bubble unit.” These images specifically for this show. They were the first were tiled together to create a virtual 3D Emile Hirsch as Speed five F-23 cameras that Sony made. The cam- bubble where you could put the camera any- Racer in the Mach 5, in a eras performed beautifully. I can only think of where in that space and shoot pretty much scene from Warner Bros. one limitation and that has to do with shoot- any focal length and still retain a sharp, vivid Pictures’ and Village ing at a high frame rate. The limit is 60 frames background plate. The production challenge Roadshow Pictures’ action per second and for extreme high speed we was to get that part of the show completed adventure Speed Racer, had to switch to scientific cameras. We used before principal photography started. We distributed by Warner the Phantom camera that can shoot up to had all of the bubbles in place so that once Bros. Pictures. 1,000 frames per second in HD. This limita- we did start shooting with the actors we had tion did not really affect us on this production. a very good idea of what the backgrounds Image on page 12: The look is noteworthy. It’s a strong, graphic, were going to be when we were shooting on A scene from Warner comic book look with extreme super saturat- green screens. Once the show is all polished Bros. Pictures’ and Village ed color mixes accentuated with deep focus. and dry and all of the backgrounds and the Roadshow Pictures’ action layers have been added, it should be pretty adventure Speed Racer, Q. What was unique about the production extraordinary. distributed by Warner of Speed Racer? Bros. Pictures. It’s a very kinetic show. A lot of mobile camera Q. What advantages did you have by uti- work, including whip pans, crash tracks and lizing Highdef, not only during production, trombone zooms. It’s a pretty lively show. This but as an end result? new idea that John and Dan came up with Most of the advantages will be experienced for creating plate backgrounds was accom- through the visual effects and compositing plished by tiling thousands of digital still shots process during editorial. Our editors, Roger of existing beautiful locations. Then running Barton and Zach Staenberg, are editing on the finished digital files through a series of full rez HD Avids. They had a projector which photoshop filters to accentuate and exagger- could project to 12’ across in the edit space ate colors and hues. We had a stills unit that to give them a better idea of how the movie traveled the world and they shot the most will look. This provided an advantage for beautiful palaces, hotel foyers, post modern judging the pacing of the action and examin- architecture interiors, and anything that was ing the fine details. Usually it is a bit of a sur- visually interesting or unusual in terms of prise once you finally go to film and you get 10 to see the large image. You and shows with an emphasis also get surprises due to focus on, or large percentage of and pacing. visual effects work. It would be Q. What did you like about more difficult to shoot some- using HD overall? thing like Vertical Limit. It was a film I did several years ago It was totally appropriate for in New Zealand and mostly us and the look that Larry and we were shooting over 10,000 Andy were aiming for. The 2/3” feet elevation in blizzard chip digiprime lenses naturally conditions with lightweight create a deeper focus than handheld 35 mm cameras. shooting on 35, plus the HD That was the right choice for aesthetic being smoother and that type of film. I have dif- grain-free was tremendous. ficulty imagining dragging the We actually shot at minus 3 db engineering tent and moni- gain to heighten the sharp- tor assembly through those ness. It was the right choice. Photo by David Appleby kinds of extreme location and Q. Any dislikes or any areas weather conditions. I shoot David Tattersall for improvement with HD? both 35 mm film and HD and Cinematographer I think the format is definitely I am comfortable with both, “there” for some types of and I also see the advantages 1. Speed Racer (2008) movies. The format is stron- and disadvantages of both systems. HD 2. The Hunting Party (2007) gest with stage bound shows 3. Next (2007) (Director of Photography) 4. Star Wars: Episode III - Revenge of the Sith (2005) 5. xXx: State of the Union (2005) 6. The Matador (2005) 7. Lara Croft Tomb Raider: The Cradle of Life (2003) 8. Die Another Day (2002) (Director of Photography) 9. Star Wars: Episode II - Attack of the Clones (2002) (Director of Photography) 10. The Majestic (2001) 11. Vertical Limit (2000) (Director of Photography) 12. The Green Mile (1999) (Director of Photography) 13. Whatever Happened to Harold Smith? (1999) 14. Star Wars: Episode I - The Phantom Menace (1999) (Director of Photography) 15. Soldier (1998) 16. Con Air (1997) (Director of Photography) 17. The Wind in the Willows (1996) 18. Moll Flanders (1996) Photo courtesy of Bros. Pictures Warner 12 Publication: HighDef Magazine Ship Info: HighDef Magazine IO #: None 2247 15th Ave West RDA International - 276366 Issue: 08/Jan/Feb Seattle , WA 98119 Project: RDA - SONY Ad Type: SP4CB Attn: David Thompson Campaign: Sony XDCAM Family - Spread bleed = 16.75 in X 11 in t: 888.282.1776 f: None Creative: 3733_XDCAM trim = 16.5 in X 10.75 in AE: Scott Lifschin safety = 15.75 in X 10 in

B:16.75 in

T:16.5 in

S:15.75 in T:10.75 in B:11 in S:10 in

Perfectly paired: Sony XDCAM® HD and XDCAM EX™ production.

“Without looking at the timeline, there’s no way you could tell which camera was which.” - Jody Eldred To cover a once-in-a-lifetime air show, veteran Director/Cameraman Jody Eldred relied on Sony’s PDW-F350 and 355 optical disc cameras and supplemented them with the ultra-compact PMW-EX1 XDCAM EX solid state camcorder. The XDCAM HD camcorders captured pilot interviews, time lapse sequences and beautiful ground-to-air footage. The EX1 went even further. Eldred says, “We strapped the EX1 into the tight confi nes of Patty Wagstaff’s stunt plane and captured a full 12-minute aerobatic routine at up to 10Gs of force. Amazing footage! And it was easy to color match the cameras so the clips intercut seamlessly in post.” High Defi nition. It’s in our DNA. click: sony.com/xdcam to see all the amazing footage, request a DVD disc set and learn more about special fi nancing offers and promotions.

© 2007 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and speciﬁ cations are subject to change without notice. Sony, XDCAM and XDCAM EX are trademarks of Sony.

3733_HDMag_JanFeb08.v2.indd 1 11/30/07 11:31:28 AM

Contact Jane Fidler with any questions regarding these materials ph: 866.387.5872 email: [email protected] Beyoncé’s Highdef Spot by Jennie Taylor

teele FX, the post-production, visual The challenge, says Jerry Steele, Senior effects and finishing studio based in Creative Director, Visual Effects Supervisor SSanta Monica, recently deployed its and co-owner of Steele FX, was that “our optimo rouge tools and talent to turn a popular Beyoncé work on the music video was for standard-def music video into a TV commercial for DirecTV. delivery. Any commercial about HD would The project’s roots go back to two have to be a highdef spot, and none of the popular Beyoncé music videos that had material we had shipped on SD was usable. been completed a few months earlier, “Suga “There was no way an SD-to-HD conver- Mama” and “Upgrade U,” directed by Melina sion was going to cut it,” explains Steele, Matsoukas of Black Dog Films. Steele per- “The only solution was to re-transfer much of formed beautification and visual effects work the material, converting it from 4x3 to 16x9, on both videos. and re-shoot the footage where Beyoncé Realizing how well the message of delivers her lines.” The producers rebuilt the “Upgrade U” could be applied to its new “Upgrade U” set, brought Beyoncé back HDTV service, DirecTV and its agency, wearing the same outfit, and re-hired the Deutsch LA, decided to use material from same dancers doing the same number. the music video on one of a series of spots Everyone involved was delighted with the that comprised its new TV ad campaign. way the DirecTV commercial turned out. “It all In the spot celebrities turn to the audience came into place and worked out very well,” and praise DirecTV’s new line-up of high-def says Jerry Steele. “And I hear Beyoncé was channels. pleased too.” HD

Only Angenieux delivers the best zoom optics for the new generation of large format digital cinematography cameras. Introducing the Optimo DP (Digital Production) Series – Optimo quality at an affordable price. It delivers industry proven superior optics and the functionality and ergonomics DP pros demand. Like a focal length of 30-80mm, fast aperture of T:2.8, calibrated focus marks, no ramping or breathing. All in a lightweight compact PL mount lens that weighs only 4.2 lbs/1.9 kg. Plus, like all Angenieux lenses, the Optimo DP Series features our unique mechanical design for precise zoom and focus. It images brings the very best of film to the new world of large format Digital Production. 16 973.812.3858 • [email protected] • www.angenieux.com Please visit us at NAB, booth C5323

LRG 3061mp Angenieux Optimo Rouge Ad (High Def) INTRODUCING

NEW CONTENT. NEW DELIVERY. NEW DEVICES. NEW OPPORTUNITIES.

On screen. On air. Online. On the go. And, more importantly, right On Target. That’s Content Central, the new multi-platform content and entertainment experience located in the Central Hall at the NAB Show. Immerse yourself in every stage of the content lifecycle, from creation through delivery, and quickly come up to speed on the latest content outlets, from mobile screen to big screen to small screen to no screen and beyond.

The Content Central experience features: Photo courtesy of National Geographic Channel � CONTENT THEATER Discover how some of the top ﬁ lmmakers use new technologies to make stories come to life. Every session explores new ideas in 3D, Human Footprint Animation, Visual Effects, Digital Workﬂ ows, Broadband or Mobile. COMING SOON: by Dara Klatt For the full Content Theater schedule, visit www.nabshow.com

� IPTV Pavilion � Content Commerce Area � Content Distribution Forum � Leading Companies in ou’ve likely never thought about the soda cans we will get through in a lifetime — What’s hotter on the horizon than If you’re looking to buy or sell Four days, four interactive case Content Central Include: sheer number of sodas you drink, show- or a giant American flag made up from all the this medium? If you’re looking content, partnership opportunities studies on the trends, possi- ers you take or televisions you buy in a bread, hot dogs and hamburgers we’ll eat. for a turn-key solution, or just a abound here. bilities and challenges of content Y component, get the latest word distribution. Tracks include: lifetime. National Geographic Channel’s new- You can really see HD’s extra detail displayed on this new delivery platform. � Mobile Solutions Pavilion • IP Video est high-definition special Human Footprint in shots like this.” IPTV Ofﬁ cial Media Partners: While screens keep getting • Mobility Filmmakers assemble offers a series of revealing visual demonstra- Maltby also stressed the unforgiving smaller, mobile’s reach keeps • Video Outside the Box getting bigger and bigger. The • Into the Digital Home 13,056 pints of milk on the tions displaying what we each consume, from nature of HD, especially in doing massive set- potential is enormous and that’s set of Human Footprint. cradle to grave, using a typical American ups, such as a piece of litter blowing into the reason enough for you to invest Co-produced by: home as the backdrop. shot, or a smudge on a drinking glass. While some time in this exciting forum. Sponsored by: Director Clive Maltby used a Sony F900R each set-up required many hours and dozens to film the demos, which included a river of of hands, extra time and care were required 28,433 rubber ducks flowing down the stairs to clean everything in the frame so that it was of a home and into the neighborhood, each flawless under the scrutiny of the HD format. representing one of the showers we take in Additionally, because of HD’s higher contrast our lifetime, and 43,371 soda cans laid out in range, more extensive and careful lighting the shape of the number 43,371. was required to get the most out of it. “Many of our largest shots in Human Beyond showing the sheer magnitude free access Footprint were ideal subject matter for HD,” of what we consume, the special follows the Experience Content Central, along with the rest of the said Maltby. “Imagine the details in a shot chain of production to find out what goes into NAB Show’s massive exhibit hall, for FREE! Register online which runs uncut for 90 seconds as it tracks making what we use every day, from T-shirts at www.nabshow.com using Guest Pass Code A510. across our lifetime’s consumption of milk — to laptop computers. HD arranged in 13,056 pint cartons and displayed Human Footprint is anchored by ABC News’ across an entire street. Elizabeth Vargas and premieres Sunday, April “Just see how HD deals with the light 13, at 9 p.m. ET/PT on the National Geographic glinting from a 65-foot-wide display of all the Channel. 18 tal timing system while timing Pathology in an hours to time Pathology. “Both the subject interactive environment with Schoelermann matter and the images are very dark,” he and Pollack. The digital images were project- says. “We were able to perfect that dark look ed on a cinema-sized screen in a LaserPacific and yet retain all the detail and information screening room. that is necessary to the story. There was defi- The script called for many shock- nitely a ‘wow’ factor when Marc and Ekkehart ing scenes on the examiner’s table, but saw their images projected. They have consid- Schoelermann and Pollack didn’t want the erable experience creating artful commercials images to be too explicitly gory. The digital and timing them in digital postproduction. timing allowed the filmmakers to fine tune I think they enjoy seeing it’s possible – and each shot. affordable – to do that in the feature realm as Sowa also manipulated a number of well.” scenes that take place in a dark operating The inDI system can also save filmmakers room. “This operating room included almost money by using a single, high-quality scan for no practical light, but Marc and Ekkehart dailies, editorial copies and final digital tim- still wanted the audience to feel the room,” ing. That path also results in higher resolution says Sowa. “They wanted to retain a green, dailies, which can improve communication fluorescent feeling in the low lights. The chal- between collaborators and make for more lenge was to keep the light levels low while accurate expectations through the post pro- maintaining all the detail in the shot. We put cess. the Lustre to the test, creating Windows to “inDI is a great option for independent isolate and track elements within the frame. filmmakers,” says Sowa. “They can take Ekkehart did such a good job of getting the advantage of the creative opportunities that images on the negative, and combined with the DI process offers without breaking the Photo by Saeed Adyani, Courtesy of MGM the 4:4:4 transfer, the final images looked just budget.” HD beautiful. Working with them was a lot of fun.” Pathology is slated for release in the United Putting Final Touches on Sowa says that it took approximately 40 States in early 2008.

Pathology (L to R) Director Marc Schoelermann and Milo Ventimiglia discuss a by David Heuring scene in Pathology before shooting. LaserPacific transferred the filmed irector Marc Schoelermann and cin- extremely talented young doctors in a presti- images with a Spirit ematographer Ekkehart Pollack put gious pathology program. Soon he discovers DataCine telecine at Dfinal touches on the look of Pathology that his colleagues are playing a deadly game HDSR 4:4:4 resolution. in collaboration with Mike Sowa, senior digital in which they compete to commit the perfect Milo Ventimiglia as Ted Gray intermediate colorist at LaserPacific in Los murder. Gray must devise a way to outwit in a scene from Pathology. Angeles. The independent feature was photo- them. The indie film went through graphed on 35 mm in 2.4:1 aspect ratio in the LaserPacific transferred the filmed images LaserPacific’s proprietary Los Angeles area. with a Spirit DataCine telecine at HDSR 4:4:4 inDI™ post process for the “The proprietary inDI™ system was intro- resolution. Sowa explains, “The inDI method digital intermediate. duced by LaserPacific in 2005 to provide an doesn’t use sub-sampled color information. affordable digital intermediate option without It utilizes Kodak color science to transfer the compromising production values for filmmak- full range of image information to the digital ers who are working on lower budget proj- master file. Because they are high resolu- ects,” Sowa says. tion, log-based images, we can apply film MGM’s Pathology is a thriller that takes LUTs (look-up tables) and treat them like data place in the world of forensic science. The scans.” protagonist, Dr. Ted Gray, joins a group of Sowa used the Autodesk® Lustre® digi- Photo by Saeed Adyani, Courtesy of MGM 20 21 Tech b y hLowell Kayd Photos courtesy of Governors State University Why 59.94 at Sundance? HD Studio for Chicago’s Governors State Ian Calderon, Director of Digital Today, more and more projects, including Initiatives for Sundance has been accept- those originating in film, are being completed ing HD for projection for several years now, in a digital format. Film transfers to HD at by Brian Cali allowing a slew of new filmmakers access to 23.98. Low-end prosumer HD cameras can this festival. Projects even shot on mini DV shoot at 24 frames or frames shot over 24fps to Digital Betacam could be upconverted can be flagged for removal at the ingest n keeping with its vision pled with its AJ-RC10 remote “Not only are the cam- to an HD master and projected in the same stage of editing. The future is digital projec- of using technology in and the Telecast Copperhead eras physically more robust theaters as 35mm projects. tion at festivals and at most cinemas. It seems advanced and innovative G2 fiber-optic system, bells and reliable than any tape- Today, Sundance now screens at 17 in the not so near future, the frame rate I ways for instruction, Chicago’s started to go off.” based system will ever be, different locations during the festival. Each accepted will also change to be 23.98. In the Governors State University “We now have three the file-based process creates location is equipped with both 35mm and mean time, expect to submit your HD master recently established a new HPX2000s equipped with greater simplicity and reli- HDCam projection systems. Of the 210 films to Sundance with a 59.94 frame rate. HD high definition studio system. Telecast G2s as main stu- ability in getting material from Lowell Kay is the screened this year, 42 originated on a digital The new HD studio is now dio floor cameras on Vinten the camcorder into the editing founder and president format and 115 were screened from an equipped with four Panasonic pedestals; a fourth HPX2000/ environment,” he continued. st of Hollywood’s top HDCAM master. Sundance screened the 1 AJ-HPX2000 2/3” shoulder- G2 combination is used on a “With the P2 cards, it’s a sim- post-production and 3D project using a digital projection system. mount P2 HD camcorders. CamMate crane in studio and ple file transfer. There’s noth- motion picture film The majority of HD projects finish at Charles Nolley, Director also taken into the field for ing to worry about with black At top: Governor’s servicing company, 23.98 fps, so why would Sundance have a of the Division of Digital EFP work,” Nolley explained. levels, gain, chroma or audio State’s Division of Digital The DR Group. delivery specification of 59.94? I asked Ian Learning, elaborated: “The “The G2s provide HD-SDI levels. All remains exactly as Learning department www.thedrgroup.com this question. In the early days of HD pro- university began the transi- video, multiple monitor feeds, it was captured, and transfer combines broadcast video 323-960-1781 jection, the majority of films accepted were tion to digital several years multiple return video and time is considerably faster with interactive computer- captured and completed on SD formats, ago with a vision of laying prompter feeds, genlock, two than real time.” based learning. groundwork for the move to channels of intercom, multiple which had a frame rate of 29.97. The natural “In terms of work flow HD when the time was right. audio channels, bi-directional integration we can now pro- progression from that SD frame rate was Above: Staff can easily Over a year ago, we had com- serial communications for RCP duce in any standard - from to require all HD masters to be delivered roll the cameras into pleted the transition to 16:9 (CCU) control, as well as sev- SD to 1080i - with no compro- to Sundance at 59.94. This allowed all the virtually any location on standard-definition produc- eral additional data channels mise, and record the mixed playback decks to be set once and reduced campus, plug in the fiber tion and established a tape- that can provide machine con- studio signal to Panasonic’s connectors, and use them the amount of oversight at each location. less workflow for studio-based trol or even an ethernet con- AJ-HPM100 P2 Mobile, a full- This decision has remained in effect since as fully-functional, remote projects. So last April at NAB, nection, all over two strands featured HD recorder/player.” HD studio cameras. Sundance’s introduction of HD. when I saw the HPX2000 cou- of single mode fiber. HD 22 23 Now You See It, Now You Don’t

by Bradley M. Look

ne main objective for makeup artists, model. Before I could begin, I first deter- ent has a lot of body hair, it is necessary to unavailable, then a crème base would be is the artful technique of concealing. mine the most predominate colors in have them remove it, either through waxing stippled over top of the tattoo ink. OThat is, rendering an imperfection Shanna’s tattoo: red and blue. To properly or shaving. Hair will give a textural appear- Finally, to remove the flatness of the invisible to the camera. Today, concealing tat- cancel the tattoo, I will use some color the- ance under the makeup and will read as airbrushing, I lightly patted a water-based toos has become a common task for makeup ory. Looking at a color wheel, you will notice crepey skin on camera. moisturizer on top of the skin to give it a artists. that the opposite color to blue is orange. A synthetic filbert brush was used to little natural halation. While performers may be proud of their The opposite of red is green. These oppos- apply the custom blue neutralizer over If the makeup artist has done their work “tats,” they may not always be appropriate ing colors are known as complements. half of the tattoo. Then a cotton swab well, then the trick will go unnoticed. After for certain roles. Depending on the location Complements neutralize complements. To was dipped in alcohol, and used to lightly all, makeup artists are like magicians in many of the tattoos, it may be difficult to properly neutralize the blue, I pre-mixed color using fade the edges. Then using an orange respects, creating illusions. “Now you see it, conceal them. While makeup may be able to Reel Creation Tattoo Ink’s Sand Beige, Lite sponge, red neutralizer was stippled on and now you don’t.” HD eradicate the color, the multiple ink injections Toner, and orange. For the red, I would use to break up the color. A special thanks to Cinema Secrets for allowing under the skin, will usually create keloid scar- Reel Creation’s Red Neutralizer. Next, several other colors were me to use their beautiful new classroom to shoot ring that can’t be covered. First, the skin needs to be cleaned spattered using an Iwata’s Kustom TH the photos for this article. For this demonstration, Shanna using a little isopropyl alcohol 99% on a cot- airbrush, to replicate the natural coloring Fleishhacker kindly consented to be my ton pad. It should be noted that if your tal- on my model’s arm. If an airbrush were

1. Here is model’s real tattoo 3. Several skin tones are spat- sans any makeup. tered on top of the under-base neutralizer. It’s important to 2. Half of the tattoo has match the skin as close as pos- been covered using the sible for the illusion to work. If product line Reel Creation there is any tell tail signs of the Tattoo Ink. A secondary tattoo, it usually will be that color, Red Neutralizer, was of keloid scar in the outline of stippled over top of the first the artwork. For example, very coat. The edge was faded black tribal tattoos generally into the skin using an alcohol leave very pronounced scarring damped cotton swab. that can read even after being concealed. Usually this can be lessened if the DP flat lights the problem area.

4. To make the tattoo cover less obvious to the camera, remove the “flat” appearance by restoring some of the skin’s natural shine with a light appli- cation of moisturizer. 1 2 3 4 24 25 Preserving Today’s Films by Bob Fisher

he Academy of Motion Picture Arts and TSciences released a comprehensive 75-page report last November sum- ming up current practices Academy Film Archive at and costs for archiving con- the Pickford Center for tent that was produced and/ Motion Picture Study. or mastered in digital format for cinema release. “The Digital Dilemma” report was co-authored by Academy Science and Technology Council Director Andy Maltz and preservationist Milt Shefter. Some 70 archivists, tech- nologists and studio execu- tives were involved. The con- Photo courtesy of © A.M.P.A.S. sensus was that digital media is still a comparatively volatile movies made for the cinema preservation record. However, medium, because the data are originated on film, howev- only that version (the DI or degrades and new formats er it is estimated that as many digital master) is recorded out and standards are constantly as 70 to 80 percent of them to film. All the other digital evolving. are mastered in digital inter- records are left to whatever While preserving a mediate (DI) format at resolu- practices that studio uses.” priceless heritage for future tions ranging from HDTV to Shefter observes, “I generations is a powerful 4K. The film negative, interme- worked for CFI lab in Los incentive, there is also a diate and YCMs are generally Angeles for years early in my substantial financial impera- archived, but Shefter cautions, career. We had edited films tive for effective archiving “It is important to understand from the I Love Lucy and other policies. A recent New York that the DI files are not an Desilu television programs Times article cited a study archival medium that you can in our vaults. Some of those by Global Media Intelligence take off the shelf in five to 10 50-year-old programs are still stating that about one-third years. According to indus- syndicated on television. If you of the $36 billion dollars in try vendors, they should be want today’s TV programs to annual revenues earned by migrated to new files every be seen by audiences 50 years the studios comes from re- four to five years. Current from now, it is important to releasing films to the TV and movie studio practice is to commit to proper archiving of DVD marketplace. record the DI to YCM separa- both the original film and the A vast majority of studio tions and use them as the digital master files.” HD 26 HD Achieving New Forum Heights by hdtvsteve sechrist by Tom Hallman mazing aerial cinema- With only a few days Coincidence? They tography: It’s every- notice, Pictorvision integrated received their second request Samsung’s 31-inch OLED-TV Awhere, from the latest the RED ONE, including both that same week to shoot with reality TV show, to the most the Angenieux HR 25-250mm the RED for Collaboration recently opened blockbuster and the Cooke 18-100mm Factory in the production of a movie. The concept of gyro- zooms into their Wescam promotional video for Stanford Sony gained a lot of attention recently stabilized cameras mounted 36” Film/HD system. Camera University. Once again the sys- with the release and sale of its XEL-1, the first to helicopters dates back to functions were accessible and tem proved flawless. OLED-TV (Organic Light-Emitting Diode), the 70’s. The introduction of fully utilized from within the With RED’s first flights suc- albeit an 11-inch model that sells for $1700 stabilization technology at helicopter to take advantage cessfully logged, the team at in Japan. At their massive booth at CES, that time was about the elimi- of all the amazing features Pictorvision is confident it will Samsung devoted a king’s ransom worth of nation of vibration and the the RED had to offer for experience many more flights real estate to show off its latest OLED-TV need to mount the camera to the production of a Ford in the very near future. HD offerings which includes a 14-inch and a achieve desired angles. Today, commercial. Working with Tom Hallman is President of (now you’re talking) 31-inch AMOLED (Active the evolution of the technol- Spy Films, the RED was easy Pictorvision, www.pictorvision. Matrix OLED) display in the booth. ogy is about achieving the to install and the system com, email: inquires@pictorvi- Both panels were supplied to the EXTREME - pushing steering performed flawlessly. sion.com, 1-800-876-5583. Samsung Electronics America group by limits, incorporating latest Samsung SDI based out of Gyeonggi-do, digital payloads and dealing Korea. We were told by Sr. manager Tae Ill with demanding production Steve Sechrist is Yoon that the panels are currently made at requirements. an editor/analyst the Tong Nang factory, and both sport a The advancement of HD at Insight Media, a whopping full-HD (1920 x 1080) native pixel have for Samsung, the presence of these has offered huge advantages technology based resolution (with an amazing image on the OLED displays go much further in validating for the aerial industry. Not Every good day starts media firm specializing 14-inch that is a strong contender for “best this emissive technology as perhaps the long- only significant savings of time with Pictorvision, the in large format and image of the show”). term future of large display flat panels. and money on production - RED One and a good micro display and Other specs the company was willing to Just a few booths away, the Sharp folks shooting 1 hr tapes instead cup of coffee. related industries. divulge include a contrast ratio of 1M to one, would not entirely agree, as they were show- of film’s max 11 minutes - but a color gamut of 107% of the NTSC standard ing their vision of the “near-future” with their the quality of the stabilized and brightness of 550nit. Most impressive ultra thin 1-inch LCD’s which they say will be images through HD payloads was the less than 2 cm thinness and 40% less integrated into mainstream displays produced has produced some of the weight than comparable sized (current gen- at the 10th generation (10G) fab scheduled to most impressive final images eration LCD’s.) go online in 2010. ever captured from the air. It is safe to say, from the exhibit, that The 1-inch LCD from Sharp is consid- One aerial stabilized Samsung does have some form of mass ered by many to be a direct response to the equipment provider has production process in place. In fact Yoon emissive OLED technology threat and the kept their innovative focus said that his boss, Dr. Dong Hyae Kim will be company is demonstrating the ability to push and has quickly responded presenting a paper at this year’s SID confer- the limits in thickness, brightness, weight and to new developments in the ence on their breakthrough process. He also power consumption. In-short, almost every digital cinema camera mar- confided that it was using a “cell encapsula- area the “emissive” camp claims a com- ket. Pictorvision (formerly the tion method” and not based on Sony’s new petitive advantage over LCD’s “gating-light” Wescam entertainment divi- manufacturing process called “Micro Silicon” technology. And they are doing so with a sion) was able to make the technology. That process uses a diode laser track record of mass production, high yields, necessary modifications to thermal annealing process (dubbed dLTA for and above all profitability. their equipment to accommo- short) to create micro crystalline silicon TFTs. Make no mistake, the future of large display date HD payloads and most But beyond the short-term mass produc- TV is here today. It’s just that no one knows recently the ground breaking tion and OLED material questions we may exactly what that technology will be. HD new RED camera package. 28 29 THE CONSUMER FRONT by hdtvDALE CRIPPS

Oscar Night 2009: Dripping in Deliciousness

I went to a slasher/musical movie tonight ‘Oscar party’ for us in the lobby after the – you know, Sweeney Todd – and you will show. Man, this is going to be fun!”

be happy to know that this is not a review To my bitter disappointment I real- copyright jwmulryan 2008 James Mulryan DP, of that movie. It is a review of the digital ized quickly that the commercial was for theater in which the movie was played. More E Channel’s Red Carpet TV coverage. You accurately, it is about an idea which came know, “tune-in and see Joan Rivers doing to me at a Carmike digital theater here in her thing. Damn! But wait a minute; this idea Fields of Fuel Corvallis, Oregon. (Carmike builds in mid- is too good to just toss away. While I am size communities and all of their auditoriums sure it’s too late to arrange live feeds to the by William Wheeler in Corvallis are equipped 1800 or so digital auditoriums in our country with a Christie DLP this year, I definitely want to see that show motion picture projector hit all 4800 (by then) digital theater screens inning the Audience Award for age, P2 workflows require a more permanent, and very good audio). next year. The theater’s lobby party can lead environmental documentary at the solid & secure storage solution that offers It’s no secret that us in to a late night showing of the Oscar Sundance Film Festival, Fields of high reliability and necessary speed to copy Dale Cripps is the yours truly is a big fan of electronic cinema. awarded movies. It can stack up to be a new W Fuel, turned out to be a huge hit with audi- or backup P2 HD media on location. publisher of HDTV I wrote my first essay on the subject in 1988 annual cultural event for every movie-going ences. Directed by environmental activist “I believe there will be a huge market Magazine, the first and have published extensively on its evo- community. Now, let’s see….should this be Josh Tickell, Fields of Fuel is a film about bio- publication in the for large portable storage in the near future,” world dedicated to lution and potential since then. If you are by formal ‘invitation only’ or something for diesel, a fuel made from vegetable oil such said director James Mulryan. The Studiorack the consumer of High a showman who has considered having a which you buy a ticket…or just free - like a as corn or soybeans but can also be made S4 helped the director store the raw P2 media Definition programming world full of electronic cinemas at your dis- national celebration? I can see the marquee from agricultural product like grass and algae. and backup content all within his backpack. and hardware, and posal, you know how spectacular your cre- now: America is engulfed in an oil war, the environ- Currently, James Mulryan uses two terabytes the founder and ative vision becomes. It’s like the best book Oscar Awards Show Tonight - Live From ment is being destroyed and gas prices have of hard drive space within the Studiorack president of the High you ever read. You can’t put it down. Hollywood…in 3D!! gone through the roof. The main focus in this S4 set up in RAID 5 for added security and Definition Television So, I am sitting there waiting for the If that doesn’t get people back into your movie is that it explores the different possibili- support. Association of America. movie to start. Several hot looking digital theaters, what will? American Idol in 3D? ties for our gasoline crisis, primarily focusing “You are now allowed to take everything hdtvmagazine@ on “bio-diesel”. from desktop to a real travel possibility,” ilovehdtv.com commercials play until the last for this year’s Er…well, now that you mention it, yeah! Oscar Awards show. And, for the after-awards party you just While shooting Fields of Fuel, the direc- states director James Mulryan. HD “Wow,” I thought as a rush swept over might serve up some delicious Miss Lovett’s tor and cameraman James Mulryan used In 2006 James Mulryan field directed and come, “That is absolutely fantastic! I can come Meat Pies made, thank you, from the soul- several 16Gb P2 storage cards and then photographed Inside Supermax, a portrait of downloaded the files to Proavio’s Studiorack all gussied-up to this theater on Oscar night less suits who just can’t believe that a new female prison guards for the Learning Channel. S4 portable storage array as the shoot when and with our movie-loving community watch era of greatness is coming to Hollywood. He is currently directing and shooting a profile along. The Studiorack S4 proved to be a criti- the Awards Show live on a big, big theater Yum, yum! HD of Jack LaLanne for the LaLanne family archives. cal component for Field of Fuel’s P2 HD work- He began shooting Fields of Fuel in 2005. screen! I’ll bet Carmike throws a fabulous flow. With capacity limited to 16GB of stor- 30 31

Nature Tech Photo courtesy of the Smithsonian Channel in High Definition

Photo courtesy of the Smithsonian Channel by David Royle

s we prepared for the launch of the delivers on the promise of new technology, They filmed the slow motion with Super But it’s the specially developed time- new Smithsonian Channel, we had the and of HD, by letting us see our world in a 16, using Vision 2 material that was trans- lapse SEM (Scanning Electron Microscope) opportunity of a lifetime to take one new way. Producers Steve Nicholls and Alfred ferred to HD. For super slow-motion, a A techniques that astonish most. This is the The Goshawk’s of America’s greatest and most loved institu- Vendl used state-of-the-art CGI and ultra high sophisticated system was used that can shoot expertise of Dr. Vendl of the University of Rhinoceros beetles are legendary acrobatic tions off the Mall in Washington and into the speed, time lapse and scanning microscopy up to 40,000 frames a second and stores the Applied Arts in Vienna. It is simply mind-blow- proportionally the strongest skills provide new homes of people across the United States. techniques to explore the cutting edge of this images as jpg’s in HD quality. The system is ing to see what really happens as an otter animals on the planet, able inspiration for aviation One of the first programs we chose for new science in outstanding images. specially designed for extremely fast action. cracks open a shell. An SEM zoom, rotation to lift 850 times their own engineers. our launch came from the remarkable Natural For the first time, you can watch and It captures digital images constantly, so when and track movement captures the action in 4K weight - equivalent to a History unit built by Walter Koehler in Vienna. appreciate the artistry of a goshawk – a bird the record button is pressed it actually saves magnification, generating 500 single frames in human lifting a 65-ton tank! It’s a series called Nature Tech and it features that has perfected the art of aerobatics. The the data from 8 seconds earlier. No moment a range of 1/1000 millimeters. You will never some of the most jaw-dropping images of filmmakers capture the hawk close up as it is lost. view shells the same way again after you’ve natural wonder that you will ever see. swoops and twists in front of the camera, The same wonder is created when the seen the incredible latticework of this simple The program just received the Panda and they slow it down 100 times. No detail viewer sees that much despised, but under- material and understand its complexity. Award for “Best Limited Series” from the is lost, and you get to see, not just told, how rated, creature the cockroach scurry across Such wondrous revelations are exactly Jackson Hole Wildlife Film Festival in Grand the elaborate flying mechanism of birds work. the kitchen table. Its ability to cover 50 times what we hope to bring to the viewers of our Teton National Park, Wyoming. When you watch a barn owl fly, you finally its body length in a second is a marvel of new HD channel. HD ORF’s three-episode series Nature Tech understand how it is able to hover, silently, nature. Just how marvelous is demonstrated David Royle is Executive Vice President for examines a new field, bio-memetics. It’s an as it waits for its prey to emerge in the dark when we watch the cockroach in slo-mo on a Programming and Production at the Smithsonian extraordinary, visually rich exploration of the below. You watch the wings change shape, treadmill and then scientists struggle to emu- Networks. Visit SmithsonianNetworks.com inspiration that scientists and inventors draw and see how these subtle shifts enable this late it with robots – celebrating when they for more information about the Smithsonian from the wonders of nature. bird of prey to hang in the air as it pinpoints create a robot that scuttles at a mere 15 times Channel’s programming. It stands out from the pack because it its target. its body length. 32 33 Tips b y hB. Sean Fadirburn SOC

One User’s Notes on the F23

In the field of HD cameras mode where it’s difficult to digital medium. there have been solid damage the image. Custom The film out will now look improvements over the past 8 mode allows more control of the same as the digital master. years or more that have made the image to get the look you Let’s face it the film can hold the images better and better. want as you shoot. everything I give it but the DCI I must say that the F23 is by I chose custom, “Normal” sets a color standard for all far the biggest leap in quality range (not extended) and digital medium to create accu- and functionality in one form DCDM (instead of wide or racy. The DCDM color looks factor I have ever seen. 709) which is a color space exactly like what my eye sees. I am working on a fea- option built into the new The camera is extremely quiet ture that is shooting F23 in version of software made and noiseless in the blacks Shreveport and although from the DCI (Digital Cinema and throughout the picture. there is a good-sized budget, Initiative) Digital Cinema There is an amazing camera $30 Million, the produc- Distribution Master(DCDM). hiding behind these images B. Sean Fairburn, SOC ers want to maximize every Director of Photography, This insures that the color will and I am having a blast work- Role Model Productions, penny. That started with the look correct on all HD discs ing with this camera on this LLC. rolemodel@ F23 and a good set of Fujinon and HDTV sets as well as pro- feature. I will have more in the earthlink.net Cine Zooms and Primes. Next jection and iTV or any other next issue. HD Seanfairburn.com was the choice to shoot 4:4:4 818-621-3912 and 23.98. Local 600, The Camera gives you Agent Steve Jacob, some basic options. They fall 323-460-4767 into two categories: first, film style using cine mode and SLOG gamma curve; or second, custom mode allowing you to choose other options Hiding in the light is an like color space and hyper amazing camera if you take gamma curves or custom the time to look for it. curves. Now don’t for a second think that if you are film- ing out you MUST use cine mode. That is not the case. Whatever you shoot will film out fine. Cine mode is a very safe 34 JVC-4135 DTV 8.125x10.875 12/27/07 5:16 PM Page 1

24" DT-V24

20" DT-V20

17" DT-V17 portable

9" DT-V9 portable For the most critical eye...yours. JVC HD monitors. When the picture has to be perfect—every time. Flawless. That’s the level of performance delivered by our new JVC High Definition professional video monitors. Equipped with HD-SDI capability and a long list of high performance features, you’ll experience image quality that simply has no equal. Now, in addition to our amazing 20" and 24" Multi-Format Studio Monitors, we’re introducing our new 17" and 9" Flat Panel Monitors. Powered by battery or AC, both portable units feature JVC’s unrivaled image processors and high-speed LCD for picture-perfect reproduction—anywhere, anytime. For more information on our professional broadcast quality display technology, talk to the Pros at JVC. Call 1-800-582-5825 or visit www.jvc.com/pro