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Sept/Oct 2009 $5.95

Braverman Behind-the-Scenes for Bottle Rocket

by Brian Cali

Speed’s open Public Enemies Re-Discovering Requested Service Change

architecture with the F23 Techniscope 98119 WA Seattle,

West Avenue 15th 2247 by Erik Arneson by Jennifer Taylor by Bob Fisher Magazine HighDef where do you draw the line between master quality and affordability?

c o n t e n t s in a fi eld of its own highdef.com F e a t u r e Braverman Behind-the-Scenes for Bottle Rocket 6 by Brian Cali

6 New 11 by David Schafer

HD Tips: The Art of Recommendation 12 by B. Sean Fairburn

Finding the Look for Rolling Rock 13 by Bob Fisher

SPEED’s Open Architecture 14 14 by Erik Arneson

Soul of a People 16 by Mike Mian

Public Enemies with the F23 17 by Jennifer Taylor

One Hundred Ten in the Shade 17 18 by Bradley M. Look

Shooting in Highdef 19 by Sam Adelman

Re-Discovering Techniscope 20 by Bob Fisher

HDTV Forum: 3D Conversion from 2D 22 by Steve Sechrist 20 Shown with optional JVC Camcorder Impresses Film Vet wireless mic receiver. 23 by William Thompson

Bringing the Audience Onstage with Pearl Jam If you dream of shooting 10-bit 4:2:2 master quality but believe you can’t afford it, the new AG-HPX300 P2 HD camcorder 24 by David Heuring

changes your dreams into reality. With a $10,700 list price, the HPX300 is the world’s fi rst affordable 10-bit 4:2:2 Alaska State Troopers Patrol in HD camcorder. And there’s nothing even close. With a standard 17X interchangeable lens and newly-developed three 1/3" 25 by Erin Griffin 26 2.2 megapixel 3-MOS imagers, you can record 1080 and 720 HD as well as SD content using master-quality AVC-Intra, Debacle, an HD Nike SB Project 26 by Mark Goldman DVCPRO HD, DVCPRO50, DVCPRO and DV compression — all with the benefi t of P2’s faster, independent frame, fi le-based workfl ow. As rich in creative features as it is in style, the HPX300’s innovative, low profi le, shoulder-mount design lets you shoot freely through a beautiful, master-quality world. It’s no longer a dream. The HPX300 is here. Front Cover: stars as an inept wannabe criminal in ’s debut feature Bottle Rocket released in 1996. Photo Visit www.panasonic.com/p2hd. courtesy of .

Vol. 11, Issue 5 | 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, when it counts 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 © 2009 Panasonic Broadcast

PBTS-0228_HPX300_HD.indd 1 2/25/09 5:32 PM #25304 - Ki Pro Ad Hi Def:Layout 19/05/2009 17:17 Page 1

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Braverman Behind-the-Scenes for Photo courtesy of Sony Pictures Sony of courtesy Photo b y B r i a n C a l i Bottle Rocket inematographer Barry Braverman, the Director of Photography for the original, 13-min- The trio stage a wildly complex, mildly successful robbery of a small bookstore, then go “on ute black-and-white Bottle Rocket short that was the basis for filmmaker Wes Anderson’s the lam,” where they befriend a real thief, Mr. Henry (Caan). has called Bottle C1996 cult classic, recently shot The Making of Bottle Rocket for the Blu-ray release Rocket, the film that put Anderson (Rushmore, ) and the Wilson broth- (Criterion Collection) of the feature with the Panasonic VariCam 2700 P2 HD VariCam. The ers on the map, “a picture without a trace of cynicism, that obviously grew out of its director’s original behind-the-scenes documentary features interviews with Anderson, producer James L. affection for his characters in particular and for people in general…. a rarity.” Brooks, actors James Caan and Luke and Owen Wilson, among others, and revisits the Texas Braverman, who had previously worked with the AJ-HPX2700 VariCam on wildlife shoots locations where the film was shot. and indie projects, calls it the “ultimate non-fiction camera.” “I never considered anything but Bottle Rocket is a lovingly detailed, visually witty and warm portrait of three young mis- a top-end camera for this project,” Braverman said. “I was dealing with A-list talent who had no fits, best friends Anthony (Luke Wilson), Dignan (Owen Wilson), and Bob (Robert Musgrave). time for do-overs. It makes sense to have a camera like HPX2700 when you’re working at this 6 7 optimo rouge Photo courtesy of Sony Pictures Sony of courtesy Photo

level. Essentially, you’re paying for peace of complexions. This was especially true in this mind and the confidence that the camera can case, given the Blu-ray release.” handle and survive an unpredicted event.” “The HPX2700 creates a distinguished The gang in yellow And The Making of Bottle Rocket was look that can’t be reproduced in a lower- jump suits executes the not without sudden changes of plans. “I was class of camera,” he added. “I don’t confuse imperfect robbery inside shooting the Jim Brooks’ (The Mary Tyler increased resolution with superior images. Hinckley Cold Storage. Moore Show, Broadcast News, ) There are times you don’t necessarily want to interview on the Fox lot, and had 90 minutes see maximum resolution; with portraits and scheduled with him,” Braverman recounted. close-ups, for instance, you actually want less “I had a ground-level office rigged out with resolution, not more. The VariCam 2700, in full-bore HMI lighting. The famously reticent short, is effective as a tool for a working film- Brooks walked in and asked me to turn off the maker at a level far beyond the number of lights and start shooting in five minutes.” pixels in the imager. After all, I can’t remem- wide “I had to wing it with available daylight ber the last production I worked on about a through a window, and a hodge-podge of test chart!” messy office lighting, but the HPX2700 could Designed as a premium-quality, work- pull it out,” he continued. “The HPX2700 is horse HD cinematography camcorder, the clearly a craft-driven and performance-orient- VariCam 2700 combines VariCam’s renowned ed tool that can excel when things change at filmic look with key functions including vari- the last second. It’s not about some potential able frame rates, wide dynamic range and resolution numbers. The P2 VariCam offers advanced master-quality, 10-bit 4:2:2 AVC- resolution appropriate for professionals earn- Intra recording. ing a living: it’s not about imagers the size of Braverman said he makes judicious use a battleship.” of the HPX2700’s full range of variable frame “The HPX2700 produces very flattering rates (from 1 fps to 60 fps in 720p mode). “I Following the tremendous success of the Optimo Rouge 30-80 lens – the first images when working with talent, courtesy of tend to use off-speed in ways that are subtle,” in the Optimo DP series – Thales Angenieux introduces the Optimo Rouge the VariCam cinematic look and the camcord- he noted. “Shooting at 25 or 26fps can lend a 16-42 Wide Angle Zoom. It features a wide angle position of 16mm (75.4 er’s 10-bit capture,” Braverman noted. “Flesh certain gravitas to actors’ reactions, especially degrees), a fast aperture of T2.8, calibrated focus marks, no ramping or tones appear organic with well-modulated if you’re working with non-professionals on an breathing all in a lightweight, compact 4.2 lb package. The Optimo Rouge shadow details. The image processing is indie project. And when I’m shooting with a 16-42 Wide Angle Zoom delivers industry proven features with the performance, extremely sophisticated for capturing the skin long lens on a wildlife doc, you have to shoot functionality and ergonomics that DP’s demand at a cost effective price. Only tones of celebrities, who are understandably overcranked. The HPX2700 does off-speed from Thales Angenieux. images focused on every nook and cranny of their with the most versatility and most robust color 973.812.3858 • [email protected] • www.angenieux.com 8

3212MP Angenieux Optimo Rouge Wide Ad 8.375” x 10.875” facial shadows of the various featured celebs and movie stars,” Braverman said. “The 10-bit workflow also allowed precise color correction in post, another source of confidence when working with image-conscious talent. “The 10-bit AVC-Intra workflow adds no additional data load or storage requirement compared to shooting 8-bit DVCPRO HD or XDCAM HD/EX, further reinforcing the effi- ciency of AVC-Intra recording, especially in higher-end applications.” Braverman outfitted the HPX2700 with the Fujinon HA23x7.6BE HDTV ENG-style lens Screenshot from The Making of Bottle Rocket courtesy of The Criterion Collection with 23X magnification. He edited the behind- the-scenes doc in Final Cut Pro, and Criterion matrix of any camera out there.” finished the piece. “I grew up with film cameras, and I used “Criterion couldn’t believe how good it to feel that I was attached at the hip to my looked,” he said. Actor James Caan recalls Arri,” the DP said. “I never had that kind of Braverman has also used the HPX2700 his role as the flamboyant visceral attachment to any digital camera for time-lapse, night shooting in Los Angeles. con man Mr. Henry. prior to working with the HPX2700.” “This is a very serious camera,” he said. “On “I consider it Panasonic’s best camera,” the one hand, it achieves very subtle shadows Braverman added. “I do a lot of wildlife work, and flesh tones. On the other, it’s terrific for and you can slap the HPX2700 up to your very low light, effects-type shooting. With the eye, and shoot quickly and efficiently. It’s well- HPX2700, you get reliability, absolute preci- Communications © Discovery Images Klimek/Getty Martin by Photo balanced, and you can walk up trails with the sion, 10-bit capture—a combination of fea- camcorder shoved under your arm. It’s not tures that really makes sense for professional Popular Science’s a power hog. It has excellent metadata sup- filmmakers.” port, and the workflow is really, really good.” The Criterion two-disc Blu-ray issue of Braverman shot the 20-minute The Bottle Rocket is a restored high-definition Making of Bottle Rocket in 720/24p in AVC- digital transfer, supervised and approved Intra 100, using 32GB cards. He had the by Anderson and director of photography Future Of HPX2700 fully loaded with five cards, but . The many extras include the offloaded only once a week, never using up The Making of documentary as well as Murita more than three cards. Cycles, a 1978 short film by Braverman that by Andrew Scafetta “AVC-Intra 100 was a huge advantage as Anderson credits as an inspiration for The I could be assured of smooth gradients in the Royal Tenenbaums. HD n five, ten or 25 years, our lives will be sig- Thurston uncovering breakthrough research nificantly different. Advances in the way we and exploring the genius prototypes that Iplay sports, live in our homes, connect with show how our lives will evolve. From a “smart others, fight wars or take vacations will feel as football” that can make Baratunde throw like The host of Popular Barry Braverman is a veteran cinematographer commonplace in the future as viewing high- an NFL quarterback to exoskeletons that will Science’s Future Of – and digital media expert with over thirty definition television or driving to work seem Baratunde Thurston is years experience in television documentaries increase a soldier’s endurance, strength and and feature films. Credits include long-form to us today. communications abilities, Thurston acts as photographed on the set programs for National Geographic, ABC News, But there are astonishing scientific and correspondent of the future bringing perspec- with the car bot during HBO, Discovery and The History Channel. technological innovations being developed tive and understanding to what we can expect taping on the Stanford Recent projects include A One Track Mind: The today by entrepreneurs, researchers and mav- in our lifetimes. Upcoming episodes include University campus. Darjeeling Limited (2008), Café Lebowitz (2007) erick scientists all over the world that are des- examinations of the future of pleasure, con- and music videos for Tangerine Dream, Stevie tined to shape every aspect of our lives tomor- necting, adventure, immortality and habitats. Wonder and Yanni. Braverman writes regularly row. Science Channel and Popular Science To capture the incredible technolo- on camera and craft-related issues. His latest magazine have partnered to bring audiences gies and the details of researchers’ intri- book Video Shooter 2nd Edition (2009) from an extraordinary glimpse at how important cate designs, film crews primarily used the Focal Press explores the art of visual storytelling characteristics of human life will fundamentally Panasonic HDX-900 and the Panasonic with the latest-generation HD cameras. change in the near future with the all-new Varicam for each of the episodes. Popular series Popular Science’s Future Of. Science’s Future Of airs Mondays at 9 PM (ET/ Each episode finds host Baratunde PT) on Science Channel HD. HD 10 11 Tips b y h B . S e a n F ad i rb u r n s o c

The Art of the Recommendation Photo by Stephen Vaughan/Warner Bros. Vaughan/Warner Stephen by Photo

Even though your skills may people that benefited from better others view you when be sharp and you’re available your counsel, the client and you keep the dirty laundry to Finding the Look for for hire, work is often hard the person you suggested yourself. Realize that what you to come by for many. One of they hire. Now two more feel openly say about others will the most effective ways to get good enough about you to be what you openly say about work is to recommend others return the favor. Make recom- the person you are talking with. Rolling Rock that you respect and know can mendations wisely but don’t Resumes and awards handle the job. You might say feel responsible if things go are great but people really by Bob Fisher that sounds completely back- bad. It could just as easily respond to a glowing recom- wards, but I challenge you to have gone south if you were mendation. So set out this look at it a different way. working the job. month to try to get others to ally Pfister, ASC, likens two commer- on KODAK VISION2 5218, a 500T negative Recommending someone Work hard not to speak hire off your recommendations cials that he recently directed and that provided the latitude needed to record else accomplishes far more ill of others just as you would and trust that as hard as you shot to 30-second documentaries nuanced colors, contrast and details in dark W Cinematographer good for you than you think. hope others would keep their try, others will be working just with cinematic values that make an emotional shadows and bright highlights. First it shows you’re mature mouths shut speaking bad as hard for you. Whether from connection with the audience. He credits “It’s voyeuristic, like peeking through a par- Wally Pfister/ B. Sean Fairburn, SOC The Dark Knight. Director of Photography, and confident enough in your about you. Always find some- altruistic or selfish reasons per- Ty Baker and Alonso Davila, creative direc- tially open door to get a glimpse of hip-looking Role Model Productions, LLC work that you can recom- thing good to say if directly fecting the art of the recom- tors for Momentum, the advertising agency people enjoying themselves,” Pfister says. [email protected] mend others. Second it shows asked your opinion of oth- mendation will ultimately serve that developed the concept for their client After Technicolor processed the film, editor Seanfairburn.com the client that you care more ers, I can’t tell you how much you and others very well. HD Anheuser-Busch. Trish Fuller at Whitestone Post Production in 818-621-3912 about them than yourself. “Every successful commercial campaign New York did the final cuts for the two spots in Local 600, Third as you spread goodwill begins with an appreciation for the lifestyles HD format in collaboration with Pfister. He pro- Agent Steve Jacob, toward others it will always and tastes of potential customers,” Pfister vided colorist Stefan Sonnenfeld at Company 3 323-460-4767 come back to you multifold. emphasizes. “The product was Rolling Rock in Los Angeles with selected still photos as visu- Being magnanimous is beer. The theme was ‘Born in a small town.’” al references and asked him to match the look. a valuable trait because it is They shot one spot at McSorley’s Old Ale “When Stefan was ready, we went into a very rare. I can honestly say House in New York’s Greenwich Village. The timing session and found the final look,” Pfister Sean Fairburn on that the biggest and best jobs bar has been at that location since 1854. The says. “There’s a little color saturation, but it is his front porch. I have ever worked on were second spot was filmed in a bar in a small primarily a somewhat monochrome look with offered to me after a friend town with a population of about 3,500. a slight green tone as a nod to the color of the spoke highly of me rather than Pfister shot both spots mainly with a Rolling Rock beer bottle.” HD anything I could have said handheld Panaflex 35 mm camera mounted In addition to his portfolio of commercials, Pfister about myself. with either a 15-40 mm or a 27-68 mm zoom has earned three Academy Award® nominations So your recommendation lens. The zoom lenses enabled him to make for best cinematography in the past four years for of another well suited for the intuitive decisions about composition. Images Batman Begins (2006), The Prestige (2007) and The job will usually lead to two were framed in the 16:9 format and rendered Dark Knight (2009). 12 13 SPEED’s was inclined to allow us to do things the Digital Media Systems’ Open Architecture right way and the folks at FOX NEO have Enterprise Edition, which is an invaluable scope of knowledge,” Miner the overlaying control soft- added. “We were able to take our very specific ware through our IBM LTOs by Erik Arneson workflow needs and their general knowledge for near-line storage of and meld the two and through talking to digital content that is fully each other, figure out the best approach. As accessible and restorable PEED, Fox Cable’s motor sports and tape-driven architecture. The result was the with any business, we had to answer, ‘What in an automated fashion. automotive cable television network, innovative re-purposing of a 78,000-square- are the costs involved? What are the ongoing Along the way the system decided to make the transition to HD foot facility, with more than 56,000 square costs? How long will the technology survive?’ includes a wide array of Master control for Studio A. S last year. “We knew our viewers’ appetite feet operational in six months. The Charlotte, They looked at this project very much as a additional components, for HD programming was rabid,” said Rick N.C.-based facility, which opened for business lab to study how they would build production be it Omneon servers for Miner, SPEED SVP of Production & Network on Dec. 15, 2008, includes two major studios facilities moving forward.” playout and encoding Operations. “A lot of our guys are early (3,600 square feet and 2,400 square feet) It was decided that SPEED would be a of video, Front Porch DIVArchive software Above: Ingest - Quality adopters of new technology -- these are cut- along with a smaller flash studio. Final Cut Pro facility. For the studio equip- for the management of the digital archive, control and point of entry ting edge technology guys.” In that same six-month window, Miner ment decisions -- the cameras, switchers, and DataDirect Networks SAN storage and and encoding for all video to So the first thing the SPEED team, led and the FOX team explored workflow sys- audio boards -- anything that would pass an a Quantum StoreNext SAN file system.” All SPEED servers regardless of by Miner, SPEED VP of Finance Francois tems. “We evaluated what systems were out HD signal to the standards we wanted was have been designed to integrate together to the source. McGillicuddy, FOX Network Engineering & there, asking, ‘Are there any that are turnkey considered,” said Miner. accomplish the work. Operations and an outside architect, did was to accomplish this or would we ultimately The last remaining decisions included “There is good and bad in this obvi- Top: SPEED Studio B is 2,400 determine what the new facility needed to be have to design one ourselves?’ The deci- the engineering architecture and how SPEED ously,” Miner added. “The good is you have square feet and home to the able to do - How would SPEED operate? How sion was that there was no single system that would store, move and edit video throughout the best of breed. The bad is when anybody weekly motor sports news many studios? How many edit rooms? How would provide what we wanted. So we went the plant. “We believe we have a ‘best of does software upgrades. They have to be vet- program The SPEED Report. would workflow be structured? with open architecture, where we could inter- breed’ system, where we integrate multiple ted across every platform with which they will SPEED, now in 78 million homes in face various proprietary software packages to manufacturers’ equipment to achieve the interact.” It looks good so far, but time will tell North America, decided up front that it was make all the different pieces work together.” flexibility, reliability and level of performance if this “open architecture” model does the job not going to invest a single dime in linear, “Our parent company, News Corporation, we want,” Miner said. “That includes a Dalet for SPEED. HD 14 15 Soul of a People

by Mike Mian

hen we started, nobody wanted to seriously document the American scene, hear it,” says Andrea Kalin, produc- along with its compelling narrative, fits well Wer and director of Soul of a People: with Smithsonian Channel’s mission to tell Writing America’s History.“ Kalin’s film has an America’s stories with a distinctive voice. unsettling modern-day resonance. It tells the While filming in HD was a “genuinely story of America during a time of unemploy- enjoyable experience”, the challenge came ment epidemic, widespread home eviction, in reformatting historical footage to HD and economic turmoil. A time, too, when standards. “We found a lot of extraordinary hopes centered on a new president and his footage, but the stock houses would only let ideas for change. us use standard-definition intermediaries,” Soul of a People tells the little-known says Kalin. How could historical footage be story of one of those ideas: the Federal presented alongside stunning HD shots? Kalin Writer’s Project (FWP). This noodle in the continues, “Archival film has been shot in so alphabet soup of the Works Progress many different ways that it’s a dicey venture to Administration tasked over 6,600 individuals create a uniform look. The quality depended Photo courtesy © 2009 Universal Studios Universal © 2009 courtesy Photo with documenting America in the 1930’s. The on the original resolution, which was lim- results were incredible: an unprecedented ited by film grain and frame sizes. We soon

Photo courtesy National Archives series of 48 state guides written, nearly 4,000 learned that just because archival footage life histories recorded, and some of America’s comes from the same source, it won’t neces- Public Enemies finest writers molded. Out of crisis emerged a sarily ‘look’ the same once converted and powerful portrait of our nation. imported. To solve this, we used color washes The film, which received major sup- and filters to even out all the footage.” with the F23 port from the National Endowment of the The end product: a high definition view Humanities, couples historical footage with into landmark American history, with a con- by Jennifer Taylor present-day interviews of former FWP writ- temporary resonance. HD ers. Its focus on the first federal push to niversal Pictures’ recent action-thriller The production team for Public Enemies Public Enemies was shot with Sony also featured an A-list team behind-the- F23 professional high-definition cam- scenes, including two-time Academy Award®- U Johnny Depp stars as eras. Co-writer/director/producer Michael nominated director of photography Dante nd legendary Depression-era Above: Wife and children of Mann and co-producer/2 unit director Bryan Spinotti and digital imaging technician Dave outlaw John Dillinger. a sharecropper in Washington Carroll had specific HD production needs to Canning. The team used the F23 to bring a County, Arkansas. realistically capture the look of 1930s America vivid period in history to life in stunning detail. and overcome the challenges of shooting a About 95 percent of the movie was shot with Right: The last televised period piece. “To do a historical period movie the F23, while the Sony PMW-EX1 camcorder interview with legendary right, you need to push the limits on picture handled shots that required a more mobile oral historian, Studs Terkel. quality, detail, depth of field and exposure,” tool. For example, the compact EX1 camcord- Carroll said. “The F23 was an ace up our er was used to lens the interior of planes and sleeve.” cars during high-speed chases. Mann and Carroll recreated the story of “There’s a combination of a handheld, Depression-era outlaw John Dillinger (played very close approach to the faces of the actors, by Johnny Depp) – the charismatic bank rob- all shot with long lenses,” Spinotti said. ber whose lightning raids made him a folk Complementing the F23’s use to achieve hero to much of the public, and the number- a realistic look was Sony’s HDCAM SR™ one target of J. Edgar Hoover’s fledgling digital videocassettes. These cassettes are FBI and its top agent, Melvin Purvis. Public designed to fully maximize the benefits of Enemies also stars Christian Bale (Purvis) and 4:4:4 RGB recording technology. The PMW- Academy Award® winner Marion Cotillard as EX1 camcorder recorded to Sony SxS PRO™ Dillinger’s girlfriend, Billie Frechette. memory cards. HD Photo courtesy © Smithsonian Networks © Smithsonian courtesy Photo 16 17 One Hundred Ten in the Shade

b y Bradley M. Look

ne of the most common makeup made from 3rd Degree Silicone. needs on set is for a look of exposure Next, as illustrated in the second photo, Oto the elements, one of which is the darker reds were stippled over some areas of look that someone has from being out for the face. I also mixed the hand painted work a long time in severe heat. Many a Western with some airbrush spatter while Clayton has used this look, such as The Good The wrinkled his face. Bad And The Ugly, Deadwood, or while not a Burnt sienna and additional red tones cowboy drama, The Flight of the Phoenix. To were added around the eyes. Grayed purple give the skin a severe sun exposure look, here was also worked around the eyes. The Duo is what I do. Adhesive was pulled in the center and bro- Perret Patti by Photos Like a first-degree burn, I stipple the face ken to a desired size. The center of each and neck with a pale pink tone. For this dem- broken blister was then made up with a pale onstration, I applied Skin Illustrator DT Blush color, followed by a bit of red around the Shooting in using a torn latex sponge. while having my edge. A little K-Y Jelly was painted inside the model, Clayton Stang, wrinkle his face. After blister to enhance the sore appearance. this I stippled two light coats of Duo Adhesive With these simple steps, an artist can Highdef to a few spots on Clayton’s face. While that create a look that holds up even in High was drying, I glued three pre-made blisters Definition. HD by Sam Adelman

n 2002, when the topic first came up to International Film Festival in 2004. switch from shooting on traditional 35mm The dilemma on our next film, Welcome Ifilm to HD for our upcoming film Screen to Academia, was which HD camera to Door Jesus, all I heard was negativity from the choose. David Dunlap, our DP, who also shot old school professional grapevine. I remember Shaun of the Dead, selected the Arri D-20 similar skepticism in post when the Montage camera primarily for its lenses, which allowed was introduced to replace the Moviola back in him to shoot some scenes wide open, throw- 1985. ing foreground and background images out “The decision to shoot HD was primar- of focus, creating depth of field more com- ily economic,” said Director of Photography mon to film, a visual style our Director, Kirk Dan Stoloff. “We knew that we could shoot Davis, had discussed with co-screenwriter and more days, afford a second camera, and have Executive Producer Elzbieta Szoka. a Steadicam, ultimately putting more produc- Kirk Davis, the Director on both films, tion value up on the screen.” summed up shooting on HD by saying, “the Above: (L to R) Actors “The look of the Sony 900 was a bit sharp most pleasant aspect that we discovered in Jess Weixler, Matt for the look we were going for,” stated Stoloff, using Highdef was the ability to move quickly Servitto, Laila Robins. “so after significant testing we found that by from take to take, shot to shot and set-up to placing a Fogal silk stocking on the back of the set-up. This allowed for a continuity of rhythm Top: (L to R) Assistant lens, it softened the hard edges and gave us for the actors, the crew, and my own creative Cameraman Joe Waistell, a more romantic and timeless look, softening process, which greatly benefited the final film Director Kirk Davis, the color saturation giving the highlights a kind as a whole.” HD Director of Photography of glowing halation.” Screen Door Jesus won Photos by Bradley M. Look M. Bradley by Photos Sam Adelman is the Artistic Director of Paradox David Dunlap. for Best Cinematography at the Hampton’s Smoke Productions. www.welcometoacademia.com 18 19 Re-Discovering Techniscope by Bob Fisher

revival of the Techniscope format is Gallowwalker. The independent film features gaining traction in the realm of inde- Wesley Snipes in the role of a gunman in Apendent filmmaking. Techniscope the Old West. It was produced in Namibia, traces it’s roots to the mid-1960s when Sergio Africa, where the landscapes and pristine (L to R) Cinematographer Leone directed A Fistful of Dollars, Once environment provided ideal settings. “Andrew Ben Kufrin and director Lee Upon a Time in the West, The Good, The Bad wanted to emulate the aesthetics of Sergio Madsen discuss a shot from and the Ugly and other “Spaghetti Westerns” Leone’s Spaghetti Westerns,” Hofmann says, Curve of Earth. on two-perf 35 mm film. The format was “so I suggested shooting in Techniscope developed by Technicolor in Italy. It enabled format.” Leone and other directors who were working Panavision modified a couple of 35 mm with sparse budgets to slash negative and G2 cameras with two-perforation movements. front-end lab costs by 50 percent. The edited Hofmann and Goth composed images in negative was optically copied onto four-per- 2.4:1 aspect ratio. Panavision Vice President foration color intermediate film that was used Phil Radin reports that eight other filmmakers to generate release prints for distribution to had followed the trail blazed by Goth cinemas. and Hofmann by mid-2009. The common Photo courtesy of Curve of Earth Productions Henner Hofmann, ASC, AMC sparked denominators are that Techniscope was an the revival when he collaborated with affordable option for producing very low director Andrew Goth on the production of budget movies in wide screen 35 mm format with post production done at HDCAM SR offers was a big advantage.” 4:4:4 resolution. Post production was done at Deluxe Curve of Earth written by director Lee Digital Media. The processed negative was Madsen is another. Madsen explains that the scanned with a Spirit DataCine and trans- (L to R) Actress Zoë Hall and title is a metaphor for how people who live in ferred to a HDCAM SR 4:4:4 digital master actor Shaun Sipos in a scene parallel worlds flow into each other’s lives. file. Kufrin provided colorist Sean Lawrence from Curve of Earth. “During our first meeting, Lee described with digital stills that he used as a reference his vision for producing Curve of Earth in ana- for timing dailies. Some flashback sequences morphic format,” cinematographer Ben Kufrin were shot in Super 8 format with cameras, recalls. “Curve of Earth is a drama that takes film and processing provided by Pro8MM and place in the main character’s home and other Spectra Film & Video in Burbank. The pro- interior settings. Lee envisioned things hap- cessed negative was transferred to an HDCAM pening in backgrounds and foregrounds with SR 4:4:4 at Modern VideoFilm in Burbank. characters on the edges of frames.” At a Techniscope seminar at the 2009 There was a very modest budget, and an Cine Gear Expo, cinematographer Jim ambitious 24-day production schedule. Jim Chressanthis discussed a test he designed Roudebush, at Panavision, suggested shoot- and shot to determine if Techniscope was a ing in Techniscope format using G2 cameras viable option for producing television dramas with spherical lenses. After Madsen and which will air in HD format. “We set up a Kufrin shot a test, they decided to follow that scene with things happening in bright sun- route. Kufrin had KODAK VISION2 5218, a light and dark shadows that called for the full 500T emulsion on his palette for interior and dynamic range that film offers,” Chressanthis night sequences, and KODAK VISION2 5205, said. “We shot it with both two- and three- a 250-speed negative for daylight exteriors. perf 35 mm film. I knew that two-perf is a “We generally used one camera, usually with viable option, but didn’t realize how close the Primo lenses and naturalistic lighting,” he look would come to three-perf film. The dif- says. “Staging was designed for fluid move- ferences are practically transparent on an HD ment rather than cut-aways to shots at differ- screen. Two-perf is a viable option on a tight

Photo courtesy of Curve of Earth Productions Earth of Curve of courtesy Photo ent angles. The latitude and resolution film budget.” HD 20 21 Forum b y hdtvs t e v e s e c h r i s t

3D Conversion from 2D Photo by Parker Thompson Parker by Photo

Now that we are in the throes of a 3D revolution in cinema, stereo conversion has JVC Camcorder become a very hot topic. In this vein, we connected with Impresses Film Vet pioneer film maker and 2D to 3D conversion guru Barry Sandrew (he literally wrote by William Thompson the book on it), Founder of San Diego based Legend Films (www.legendfilms.com). tion of every object in every stereo key frames for every y work in still and the field. With the help of and transfer. And downloading Sandrew cut his teeth on film frame of a film. It’s the same cut,” Sandrew said “using the moving pictures con- Oppenheimer Camera, our directly into Final Cut Pro allows colorization back in 1987 as process for 3D, only in stereo depth score as a reference. tinues in a world no local rental house and JVC for instant review of the work Steve Sechrist is M the original inventor of the conversion we create depth, These key frames are subse- longer dominated by film. In dealer, I have taken these cam- and onsite rough cut editing. William Thompson an editor/analyst digital process. Sandrew con- not color. For example in our quently used to convert the an environment where budgets eras to countries around the Yes, I still love film, but with GY-HM700. at Insight Media, a fessed, “What we produced HP commercial, every detail whole film.” He also told us are minimized, productions are world for clients such as Intel the imagery that I am able technology based for Ted Turner and the majors of every frame is digitally his process avoids expensive downsized and the entire work- and Microsoft. to bring forth with this JVC media firm specializing was cutting-edge at the time, identified, loaded into our “paintbox or compositing flow is digital, it would seem to Its use of SDHC cards – camera is terrific. My only in large format and but rudimentary by today’s proprietary stereo program, approaches” used by other be a difficult transition. It hasn’t which are inexpensive and creative issue is depth of field micro display and standards. manipulated in depth and conversion systems. been for me. The bottom line can be purchased anywhere – a major creative element in related industries. Sandrew has now reconstructed with a true 3D Is it better to just shoot in of good creative work and – allows almost two hours of some of the imaging that I do adapted his latest “ground- perspective.” 3D? For now, Sandrew thinks imagery is content and ideas, continuous shooting with two – so we are preparing to use breaking” digital color effects Sandrew told us their it’s a “no brainer.” Combine and I find digital technology to 16 GB cards. Initially I was some of the tools that allow process to 2D to 3D conver- patented stereo technology entrenched 2D filming prac- be an exciting, albeit different, skeptical, but the images are the use of 35mm lenses to sion. He said, “In the past 7 has an “intuitive interface” tices, limited production way of telling stories. super sharp and we have suc- allow for these effects. HD years we’ve colorized over 140 that offers full “artistic user budgets, and tight production A big change for my work cessfully created videos that Film director and cinematog- feature films on time and on control”. The process calls for timelines with the flexibility, is the new JVC GY-HM700 have been shown on 50-foot rapher William Thompson has budget with a power equa- the Legend team to create a relatively low cost and effi- camcorder, which can be used screens. I am able to shoot been working in TV commercials tion of innovative technology, 3D “depth score” similar to ciency of Legend’s conversion as a studio camera, tethered, without worrying about bud- and film since the 1980’s. www. an experienced creative team a music score, segmenting approach, and you have a or more critically for me, in gets for film stock, developing williamthompson.com. and time-tested production and converting appropriate perfect reason to give Barry pipeline. Colorization requires single frames and sequences Sandrew a call. HD high quality digital segmenta- from the film. “We then create 22 23 Bringing the Audience Onstage with Pearl Jam by David Heuring

hen Pearl Jam decided to release behind the band, looking past the musicians their new album through Target, to capture the excitement of the crowd. On Wthey needed a spot that captured subsequent takes, the operators moved freely the energy and intensity of live perfor- on the stage, at times within inches of the mance. The band and director Cameron band members, moving in harmony with the Crowe turned to cinematographer Phedon performance and the music. Papamichael, ASC, whose recent feature The small formats were chosen for their credits include Walk the Line, 3:10 to Yuma, light weight, portability and because for- W., and The Pursuit of Happyness. mat changes create visual interest designed “Our goal was to capture the essence of to have a spontaneous, documentary feel. the song, ‘The Fixer,’ in less than 30 seconds,” Cameras were loaded with KODAK VISION3 says Papamichael. “We wanted to create the 500T film stock, 5219 in the case of the ARRI atmosphere of a small club, and make the 235 35 mm camera, and 7219 in the ARRI 416 Troopers State © Alaska courtesy Photo audience feel like they are onstage interact- Super 16 cameras. Pro8mm in Burbank pro- ing with the band, seeing those quick but vided the same VISION3 emulsion in Super 8 meaningful glances and gestures between format, and also handled its processing and Alaska band members.” scanning to HD. About 300 club-goers were brought The Super 16 and 35 mm footage was State Troopers Patrol in HD into the Showbox, an intimate rock venue in transferred to HD format at FotoKem. Crowe Seattle. Papamichael employed three camera then edited a 30-second spot from the foot- operators and used a range of Kodak film age. Images will also end up in a documen- b y Erin Griffin formats: Super 8, Super 16 and 35 mm. All tary he is making about the band. A full edit the cameras were handheld, with zoom lenses of the song may also play at Target stores on hey are the first line of defense on an exit plan in case a brown bear comes run- for flexibility. The first take was done from high definition screens. HD the last frontier, the roughly 400 state ning out of the woods at you!” Ttroopers who patrol the rugged and Using a Panasonic Varicam camera with unforgiving terrain of America’s largest state a wide angle Canon 5.7~92mm lens, they — Alaska. National Geographic Channel assembled what is believed to be the largest (NGC) gained rare access to this elite law collection of HD footage of law enforcement enforcement agency for the new series Alaska in remote locations. A variety of camera tech- State Troopers. Filmed over eight months, niques were used to document Alaska’s pris- the series takes a visual journey through the tine beauty — from its snow-covered moun- Alaskan wilderness and into its remote vil- tains to its diverse wildlife. Jones recalls one Photo by © Darren Stewart / PSG Films lages — some of which are accessible only by particular day of filming when they followed an air — to capture a mixture of raw nature and Alaska Wildlife Trooper as a he patrolled the criminal activity in spectacular highdef. wilderness for illegal hunting in a helicopter. Above: Search and rescue is NGC filmmakers traveled to 15 different “We had a chase helicopter with a Tyler Nose one of many missions for the locations to paint an accurate “day-in-the- mount to film his action in the air, and a cam- Alaska State Troopers. life” picture of these troopers. From arresting era with him to capture the interactions with a drunken snowmobiler in bone-chilling nega- hunters.” Top: Wildlife Troopers Cody tive 35 degree temperatures to scouring a fro- From interrogating potential bootleggers Litster and Sgt. Doug Massie zen river on a search-and-rescue mission, crew in villages where alcohol is prohibited, to cruis- ready for patrol on ATVs. members were there for the action. Producer ing down icy highways at 100 mph with the fear Brian Jones explained, “Common sense was of a moose crossing onto the road, the series the name of the game, dress extremely warm, follows the brave men and women who serve don’t get in the way of the trooper, and have and protect America’s new Wild West. HD Photo courtesy of Phedon Papamichael, ASC Papamichael, Phedon of courtesy Photo 24 25 Debacle Humphries Jon by Photos an HD Nike SB Project

by Mark Goldman

ebacle, Nike SB’s second full-length “From the beginning of Debacle it was skateboard video premiered online our goal to push the boundaries of a skate- Dlast June. The video was directed by board video. We shot the entire video in 1080 Jon Humphries and Jason Hernandez and HD, because we wanted to make sure our filmed by Hernandez, Joey Ruiz, and Chris audience saw the video at the best quality Middlebrook. The exciting program was possible,” said director Jon Humphries. filmed in ten countries entirely in HD (the first Sticking with that philosophy, rather than skate video of its kind), using the Panasonic compromising the footage and releasing a HVX200. The video is set to a soundtrack that standard DVD, Debacle is now exclusively matches the intensity and vigor of the young on Blu-ray disc, another first for skate videos. crew’s skating (featuring Bad Brains, Skid Row, Bryce Kanights, editor of Skatedaily.net said, and The Replacements). “Shot entirely in HD and well worth your time Above: Filmer/Director Jason To deliver the video online, Nike SB and attention, this is truly some “next level” Hernandez at the intro shoot. teamed up with Adobe to offer a free stream skateboarding.” HD and download of Debacle for one month Debacle is now available at Nike SB dealers Top: Grant Taylor doing a (June 24th-July 24th). The collaboration was a worldwide, for a complete list of SB dealers Noseblunt slide. success with over 70,000 streams and 65,000 please visit: http://www.nike.com/nikeskate- downloads in one month. boarding/v3/#/storefinder 26 JVC-5687 HM700 8.25x10.75 3/4/09 2:43 PM Page 1

35Mbps SDHC ProHD XDCAM EXTM Final Cut Pro

JVC’s new GY-HM700UXT camera. Now, you can have it all.

The GY-HM700UXT camera creates native QuickTime files at 35 Mbps, 25 Mbps or 19 Mbps for editing in Final Cut Pro and MP4 compatible files for editing on virtually every other major NLE system. Dual card slots allow you to store up to six hours of continuous HD recording on inexpensive, readily available memory cards. Simultaneous recording on high-speed SxS media is also possible.*3 In addition, JVC’s proprietary codec delivers broadcast-standard compression for superb picture quality up to 1920 x 1080 (1080p), 1080i and 720p. You can also count on professional optics and standard features like a bayonet lens mount, a new Canon HD lens, three progressive CCDs, a new 1.22 megapixel LCOS viewfinder and a large 4.3-inch LCD display. Weighing just 10.2 lbs., you’ll find the GY-HM700 is perfectly balanced with the ergonomic design sought after by professionals.

Talk to the Pros at JVC and check out the new ProHD GY-HM700 camera. Call 1-800-582-5825 or visit www.jvc.com/pro

Dual Format Recording

OR

©2009 JVC. Model pictured is the GY-HM700UXT with optional Anton Bauer battery. All trademarks and brand names are the property of their respective proprietors. *1 Play back compatibility not guaranteed on different types of products due to variation of supported recording mode. *2 MP4 is the compliant file format used on the XDCAM EX.™ *3 SxS is a flash memory card designed for professional video cameras with a high-speed PCI Express interface.