A Conversation with Greg Moyer of VOOM HD Networks

ARRI 416 AND HDSR-DI OuR MAN IN IRAQ LIFe SuPPORt IN FOR PARASOMNIA ON HDNet SuPeR 16 MM FOR HD by Bob Fisher by B. Sean Fairburn by David Heuring PBTS-0083_HPX500_ad_HD.qxp 4/18/07 2:50 PM Page 1

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F e a t u r e A Conversation with Greg Moyer, General Manager, 8 VOOM HD NETWORKS by David Thompson 8 Arri 416 and HDSR-DI for Parasomnia 16 by Bob Fisher

MythBusters Moves to HD 18 by Josh Derby

16 Our Man in Iraq on HDNet 20 by B. Sean Fairburn

HDTV Forum: Day of Reckoning for AACS 22 Copy Protection by Steve Sechrist

Inside the Green Berets 20 23 by Dara Klatt

Build it in HD and They Will Come 24 by Marc Dole

Polar Year Doc with P2 Camcorder 26 by Brian Cali 24

HDTV: The Consumer Front 28 by Dale Cripps

Life Support in Super 16 mm for HD 29 by David Heuring

29 HD Tech: Data Centric Post Facility 30 by Lowell Kay

Front Cover: VOOM Portraits by Robert Wilson: Isabelle Huppert. Photo courtesy VOOM HD Networks

Vol. 9, Issue 3 | 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. Send address changes to: HighDef Magazine, 2247 15th Ave. West, Seattle, WA 98119. PRINTER: RR Donnelley, www.rrdonnelley.com NEWS & PRODUCTS

Hi-Def ENG/EFP camera). Replaceable New Optical Media for while continuing to use its existing SD cartridges make IDX Elite batteries XDCAM HD equipment. During CCTV’s live sports more cost-effective to own, significant- Maxell introduced its Pro Disc opti- broadcasts, the Kahuna allows opera- ly lowering the cost of ownership and cal media for Sony XDCAM HD video tors to mix existing SD camera feeds, extending ROI. Elite batteries comply systems. The new re-writable disc has graphics, handheld shots, and archive with virtually all aircraft security regu- 23.3 GB of storage capacity, up to 122 footage directly into an HD production. lations, including both IATA and UN minutes of record/playback time in A45 regulations, and can be brought the HD format (MPEG HD LP mode), on board aircraft. They also comply Anton/Bauer Z’s more than 65 minutes in the HD -for- with European RoHS (Reduction of mat (MPEG HD HQ mode), about 45 JVC 9 and 17-inch Flat Anton/Bauer has created an economi- 16x9 Inc. EX Super Fisheye Hazardous Substances) standards. minutes at 50 Mbps in the SD format Panels cal low weight system of battey, light, EX Super Fisheye is I6x9 Inc.’s pre- (MPEG IMX) and up to 85 minutes JVC Professional Products Company flexible grip and accessory holder. The miere lens accessory for the Panasonic in the SD format (DVCAM). The new enhances its display line-up to include ElipZ system powered the handheld HVX200 and other compact HD cam- XDCAM Professional Disc media also the DT-V9L1D 9-inch and DT-V17L2D Panasonic P2 cameras used by the Ikegami and Toshiba corders. A favorite of skateboarders transfers at 72 Mbps with one optical 17-inch HD flat-panel professional mon- video team capturing the entire 1500 Partner and extreme sports photographers, head and 144 Mbps with two optical itors designed for broadcast, studio, mile Iditarod dog sled race. The ElipZ Ikegami and Toshiba disclosed the fisheyes expand the view of the lens, heads. It has a unique phase-change and field applications. These new moni- 10k battery weights only 20 ounces yet key concept and components of a providing a wide-eyed perspective recording layer that creates a highly tors, along with the recently introduced provides up to 10 hours of runtime for new video production/editing system, that pulls the eye close to the center durable recording surface, low error DT-V20L1DU 20-inch monitor and DT- a typical DV/HDV handheld camera. including its use of semiconductor flash of the action. Images appear convex rate and the ability to capture 1080i V24L1DU 24-inch monitor, incorporate The ElightZ, weighing 6 ounces, deliv- memory as the main storage medium. with exaggerated angles and extreme Aja io hd for 10-bit hd video and four tracks of audio. It also JVC’s high-end digital 1080p 10-bit ers fill light without adding weight to The total system comprises the barrel distortion. With a whopping editing provides file-based recording and fast image processor for superior scaling, the top of the camera. The EgripZ “GFCAM” Hybrid Tapeless Camera; .45X magnification, the new EX Super random access. AJA Video introduced Io HD, the next de-interlacing, and color processing. handheld support flexes into an end- “GFSTATION,” an entirely new central Fisheye is the widest single-element generation of AJA’s Io series, delivering The DT-V9L1D and DT-V17L2D rack- less array of positions enhancing Avid Liquid Chrome Xe video management and recording fisheye adapter on the market. Added HD editing to the MacBook Pro and mountable studio monitors feature camera handling without tethering the Avid Technology, Inc recently unveiled system based on flash memory; and to the HVX200 lens, it delivers a 115- Mac Pro via Firewire 800 (IEEE-1394b) 16:9 aspect ratios, wide viewing angles, camera with belts, tubes or braces. Avid Liquid Chrome(TM) Xe, the new- “GFSTATION PORTABLE,” a portable degree horizontal and 135-degree interface. Io HD is the first device to high-speed LCDs, and precise color The HubZ is a 4 oz. polycarbonate est member of the Avid Liquid family. version of GFSTATION. All image and diagonal field of view. The EX Super natively support Apple’s newly intro- reproduction. base that mounts directly to the cam- With support for the AJA XENA LHe sound data are recorded to “GFPAK,” Fisheye Weighs 13.75 oz. (390g) and duced ProRes 422 post production era base (or the ElipZ battery base) board, the Avid Liquid Chrome Xe a removable medium that can be has a front diameter of 120mm. It format in hardware. This collaboration through the standard 1/4-20 screw system offers customers a powerful, used with all system components. The comes outfitted with a 72:82mm step- enables Final Cut Pro editors to cap- threads. Formable arms (SpokeZ) low-cost SDI I/O option and support network connectivity of all system ele- up ring for attachment to the HVX200. ture full raster HD over FireWire for secure easily to the HubZ to support for uncompressed SD and HD video ments creates a highly efficient, highly Anchored by a single set screw, the real-time editing of 10-bit, 4:2:2 HD accessories which can be mounted in formats. Avid also announced version productive tapeless environment. ring is mounted to the back of the video on a Mac Pro in the studio, or a any number of positions. 7.2 software for all products in the adapter. With the ring removed, the MacBook Pro on location. Super Fisheye’s 72mm rear thread Avid Liquid family, adding support for fits neatly to the front of the Sony Live HD Internet Video a variety of new camera formats from HVR-Z1U, Canon XH A1, XH G1, or 1 Beyond™, Inc. and Tarari® Inc. DALSA 4K Motion Picture JVC, Panasonic, and Canon, as well as Panasonic DVX100B lens. For mount- announced that they have joined Capture 24p support for JVC cameras. Using Avid Liquid products, videographers ing to the Sony HVR-V1U/HDR-FX7, an forces to deliver the industry’s first DALSA Digital Cinema announced can create and output high-quality SD optional 72-62mm step-down ring is workstation class hardware-accelerated recently that it is expanding its 4K and HD video productions in a variety available. system capable of processing Live HD product line to include new 4K camera of formats for tape, DVD, the Web, footage, using Microsoft’s VC1 com- models, an on-board 4K data recorder cell phones, iPods, and PlayStation(R) JVC Wireless ProHD System pression algorithm enabling real time and new 4K anamorphic lenses. The Canon Auto Focus Zooms Portable (PSP) devices. full HD resolution Internet broadcast. new and innovative products, which will Canon has developed an automated JVC Professional Products Company Microsoft’s VC1 encoder software can be rolled out over the next year, build solution to assist in the task of main- Snell & Wilcox Kahuna has introduced a high efficiency Full now take advantage of the unique par- on DALSA’s 25+ year reputation as taining constant and perfect HD lens for Olympics HD microwave equipped camera allel encoding approach that the Tarari system that, for the first time, brings an international leader in high perfor- focus. The new Canon DigiSuper China Central Television has purchased and Intel processors are capable of, affordable HD microwave capabilities mance digital imaging and as a pioneer 100AF and DigiSuper 86AF auto-focus two Snell & Wilcox Kahuna SD/HD where each shares part of the encod- to the ENG/EFP market. The ProHD in 4K, the emerging quality standard long-field HD zoom lenses feature multiformat production switchers to ing workload. While the 1 Beyond HD Libre system provides native 60P HD for image capture and archiving of sophisticated auto-focus capabilities support live HD coverage of sports OctoFlex system’s Dual Quad-Core capture, recording and transmission motion picture content. Rob Hummel, based on a proprietary HD implemen- events including the 2008 Olympic Endura Elite batteries Intel Xeon (a total of eight) proces- through a compact, on board camera- for HD President of DALSA Digital Cinema LA tation of Through-the-Lens Secondary Games in Beijing. CCTV is the princi- sors prepare frames for encoding, commented: “Basically, we’re talking Image Registration Phase Detection back transmitter developed for JVC The Endura Elite battery line is a pal broadcaster for the 2008 Olympic the Tarari® processors handle motion about the ability to shoot at 4K resolu- Method technology. The lenses create by Broadcast Microwave Services, Lithium Ion V-Mount battery system Summer Games, for which the com- estimation and compensation calcula- tion, 16-bit, uncompressed, untethered, an operator-controllable window in the Inc. (BMS). A fully equipped system, with an ultra-high 142Wh capacity, pany is integrating the Kahuna SD/HD tions. Meanwhile, the next frames are using the highest quality anamorphic HD camera’s viewfinder that targets the complete with camera, lens, micro- allowing for long, continuous shooting. multiformat switcher into its first being prepared for processing by the lenses. I think cinematographers will object operators want to focus most wave transmitter and receiver can be It features IDX’s new Power Cartridge Olympic A-level outside broadcast van HD OctoFlex system, thereby taking be particularly thrilled that, for the first sharply on in the scene. Camera opera- configured for under $30,000. Previous system, a unique twin power cartridge in China. Kahuna offers simultaneous full advantage of the workstation’s pro- time, a digital camera will be able to tors can change the window’s posi- systems with this capability began at design that effectively doubles its SD and HD operations in the same cessing power. capture the CinemaScope 2.40:1 aspect tion and size by means of a miniature more than $100,000. HD shooting capability for continuous mainframe with the same control ratio without compromising image joystick on the camera handle’s focus operation up to 3.5 hours (using a 40W panel, so the Beijing-based broadcast- quality.” servo control. er can offer its audiences HD content greg Moyer in the vooM control room.

a conversation with greg Moyer, general Manager, vooM hd nEtworKS

Photo courtesy VOOM HD Networks b y David thompson

dt: describe the vooM and rainbow Media relationship? dt: touch on some recent milestones with vooM. gM: Rainbow is the programming arm of Cablevision, which is the cable company based in gM: One of the most exciting things for VOOM is that we are making so much television in New York and Rainbow operates several standard definition channels that are well distributed High Definition. We’re strong enough to do a fair amount of commissioning and production all on cable and satellite in the United States, as well as the VOOM suite of 15 HD channels. over the world. At last count, we now have 44 series in production in over 65 countries around VOOM is part of Rainbow, with Echostar being our distributor here in the US via Dish Network. the world. Another dimension of the business is that we have been able to concurrently grow Dish Network has a 20% interest in the VOOM venture with 80% being controlled by Rainbow. international distribution for VOOM programming at the same time we’ve been developing the We are not exclusive to Echostar and are seeking distribution through other outlets as well. domestic business. This is largely invisible to people in the United States, but we have already 8 9 Photo courtesy VOOM HD Networks HD VOOM courtesy Photo

launched a service of VOOM HD channel in run the gamut from animation to news to our Europe and we will be launching a VOOM Gameplay HD channel for videogame com- channel in Asia in the second quarter of this petitors. Ultra HD’s Full Frontal year and we have plans as well to move into Other HD channels have generally been Fashion host James Aguiar Latin America. That, coupled with the three a bit more diverse and widespread, trying to interviews fashion designer channels we’ve launched in Canada, puts us cover many different demographic groups Karl Lagerfeld. in North America, Europe and Asia, with 24/7 with one service, rather than being as tar- all HD programming. We’re helping introduce geted as we are. We think that’s consistent High Definition as a viewing experience to with the way people have grown to appreci- people around the world. ate cable television channels and satellite channels and we think that’s the way to go. DT: When you are overseas, are you using We allow no upconverted programming on foreign crews in their native language? the network. We do transfer 35mm film to a GM: It’s a combination of utilizing indig- High Definition master from the film negative, enous crews and sometimes we fly our own so that we retain the clarity of what was in the people in. The base language we produce original negative. When you go to a VOOM in is English and then we dub or subtitle the HD channel at any time of the day, you’re programming depending upon the country in always going to see a true High Definition which it is being shown. image. That is a big difference from the networks that maybe simulcast in SD and HD, DT: Describe how you’re different from and upconvert when necessary when their other cable channels. master is not HD. That will be one of the dis- GM: One of the things we’ve done is taken tinguishing factors of VOOM going forward. the strength of Rainbow, which is to produce As more and more channels are given band- well targeted, niche channels, and bring width to operate an HD simulcast network, that to High Definition. By having 15 ser- and as they begin to transfer their inventory vices, we’ve designed channels that appeal from SD to HD, there will be these networks to every member of the family, be it young where you’re going to bounce around from people, Mom and Dad or a third generation time period to time period, not knowing that might be living in the household. We whether you will get an SD or HD program. 10 Photo © 2007 Ian Serfontein Ian © 2007 Photo

DT: Please describe around the world. We also have one of the the process of largest post-production edit facilities in the building your country with over 50 editing bays at this point. programming, It’s a massive operation, and we keep them especially with busy. Of course, we commission a fair amount the 15 channels, of work from outside production companies, international and bring in a lot of freelance producers on a connections and project-by- project basis. Our intention is to F23: THE ARTOF MOVIEMAKING ADVANCES. planned growth. have aVOOM HD channel available in every country with HDTV in the next few years – or OUTSTANDING TECHNOLOGY Band Pro FULL COMPLEMENT OF ACCESSORIES STRONG SUPPORTING CAST Band Pro GM: Our aim is to sooner. Right now, VOOM programming airs brings you Sony’s latest motion picture Band Pro offers top filmmaking tools from brings it together. Cutting edge camera present the most in 29 countries. It’s a good start. making marvel—the CineAlta™ F23. Designed the finest companies including Chrosziel technology, the finest cine support & original concepts in and built specifically to meet the demands of & Arri matteboxes, follow focus & lens accessories and experienced staff. Band TV programming, DT: What do you see as the future for electronic cinematography, the F23 offers control systems. Geared or fluid heads, a Pro’s industry-recognized professionals like

Photo © 2007 Steve Sands Steve © 2007 Photo utilizing the attributes VOOM HD Networks? full bandwidth 4:4:4 capture with in-camera handgrip system and field tested precision Jeff Cree, Michael Bravin and Nir Reches of producing in the variable frame rates from 1-60fps at 1080P HD monitoring solutions. Add one or all of are on board to help you with the ins and GM: We’re going to continue to grow our HD platform. And, in fact, our production recorded on-board to the SRW-1. Providing the renowned ZEISS DigiPrime® or outs of both the business and technology distribution overseas and around the world. schedule is as international as the marketplace. creative custom gamma control with a DigiZoom™ lenses and you’ll see that digital side as well as the art and craft of motion We hope to distribute our programming with Generally, VOOM HD Networks presents a choice of linear or log style workflows, in a cinematography has reached a new level. picture production. Visit www.bandpro.com a very global point of view to our American Top: Artland, on Gallery diverse range of subjects in non-fiction televi- versatile ergonomic film-style package. The and see how you can get the power of viewers by virtue of our overseas reach. You new CineAlta F23 imaging system delivers Band Pro behind your next production. HD, tours the heartland sion, ranging from documentaries to lifestyle will continue to see us innovate within the the industry’s best picture— in a simple to of America to uncover programming. I’m referring to Ultra HD, our CINE GEAR EXPO digital media space too. We are doing some use, but incredibly powerful package. art like Cadillac Ranch in beauty/style channel, which features the well- early tests that I can’t be too specific about, BOOTH # 110 Amarillo, TX. known Full Frontal Fashion, or Rush HD, which but we are going to be pioneering HD digital shows extreme sports from air races to skiing WWW.BANDPRO.COM • Burbank: 818-841-9655 • Munich: + 49 89 94 54 84 90 Above: Robert Wilson, media. Mobile media and digital media appli- shot all over the world, or Gallery HD, our arts the internationally known cations of High Definition will possibly be this channel which features art programming in an avant-garde director with year’s headline. Greg Moyer, general entertaining venue, such as Art Star, a reality manager, VOOM HD show on how to make it in the New York art DT: What led to the decision to bring Networks. world. Robert Wilson into VOOM as an artist-in- We run the gamut from operating a residence? staple, VOOM’s HD News, to our movie chan- GM: One of the things we clearly intend to nels, culling the best films from Hollywood and do with our opportunity here at VOOM is to 12 extend the medium as far as we can possibly push it. One of the ways we can extend that medium is to put HD television in service of, you might say, finer art than what would normally be considered typical television fare. We connected up with Robert Wilson, who has a long and rich career of designing and choreographing performances, often operas, but oftentimes artwork that is consummately organized The High Definition suite and lit. In this case the audience really has an of 15 channels on VOOM HD exquisite experience with what Wilson is trying to convey through the setting of the models, actors, and NETWORKS includes: singers. So we thought, wouldn’t this be interesting if we gave him the proscenium of High Definition Animania HD – Eye-popping HD animation from the television, a set and a camera and said: “make us groundbreaking to the classic. video portraits of some high profile people.” Well, he’s done just an amazing job. We began this project Equator HD – The first high-definition channel dedicated to exploring the world’s most intriguing in 2004 and we now have amassed over four dozen people and amazing places with intelligent programs portraits that we’ve just recently opened in major art about global adventure and green living. galleries in New York and Los Angeles, and plan to bring to other galleries and museums throughout HDNews – The only HD source for 24/7 news, sports the world. Wilson’s style is to be something of a and weather. minimalist, so the amount of movement is fairly Family Room HD -- Movies and entertainment for the sparse in each of the portraits. They are remarkably whole family. intimate and compositionally exquisite. We opened Film Fest HD -- A non-stop film festival for movie fans, the exhibit to rave reviews and people are shocked at remastered in HD. how powerful the portraits are. They also come with audio beds that are designed to add to the story that Gallery HD -- Stunning imagery and stories from the Wilson is telling. It was an experiment on our part front line of the art world. to try to extend the medium, to press HD into new Gameplay HD – Enter the virtual worlds of video directions and it has been remarkably successful. gaming for the first time in HD. DT: Describe the images. Kung Fu HD -- All martial arts action, all the time. GM: Each is a piece of HD video and the length Monsters HD – TV’s first and only horror channel in varies from portrait to portrait. Generally they run terrifying HD clarity. maybe 10 to 15 minutes and then the loop kicks in. Rave HD – Live music as a whole new experience in HD Each loop is silent, with the exception of the music and 5.1 surround sound. bed. The subjects breathe and blink their eyes, but Rush HD – Life on the edge with adrenaline junkies of have very limited movement. Oftentimes the nar- extreme adventure sports. rative is told with changing light. The portraits are extremely well lit and the very subtle lighting effects Treasure HD – A channel dedicated to pursuing stories actually dramatize aspects of the story. (See Winona about people and their passions. Original, innovative, Ryder and Isabella Rossellini portraits in the HighDef entertaining, it’s a Hi-Definition look at what people Magazine, Mar/Apr 2007 issue, pages 26, 27 at www. treasure in life, from antiques to adventures. highdef.com) Ultra HD – The hottest fashion, styles and insight into the luxe life from around the world. DT: Will they appear on your network? World Cinema HD -- Award-winning and top- GM: We are producing a documentary about how performing movies without borders. Wilson created these video portraits, that will air in the Fall on the series Art In Progress on our Gallery Worldsport HD -- Live sports coverage from premier arenas around the globe. HD channel, our arts channel. We will also begin to use the portraits on air for all sorts of purposes, including some network identity as interstitials. HD 14 Arri 416 and HDSR-DI for Parasomnia by Bob Fisher

hristian Sebaldt, ASC, happened to beautiful young woman he sees sleeping dur- be visiting Munich, Germany while ing a visit to a hospital. Laura is suffering from CARRI was developing a new Super an exotic disease called parasomnia. She only 16 film camera. He was invited to test the awakens for moments, or occasionally hours, prototype model of the new ARRI 416. It was at a time. Danny doesn’t know that Bryon lightweight, compact and quiet, and the view- Volpe, a crazed mass murderer, who is also finder enabled him to accurately judge focus hospitalized, has designs on Laura. and lighting while he was shooting. Parasomnia was primarily produced on Sebaldt was subsequently contacted by three sets at Santa Clarita Studios in Los Bill Malone about a low-budget, indepen- Angeles, and at a few practical locations dent feature that he scripted, and planned to around the city, including a hospital. Sebaldt direct and produce himself. They had previ- notes that they had a 120-page script with ously collaborated on fear dot com in 2002. heavy dialogue and an ambitious 28-day Sebaldt suggested inaugurating the new shooting schedule with a few additional days ARRI 416 camera on Parasomnia, coupled tagged on at the end for pick-up shots. with the new T1.3 Zeiss/ARRI Ultra 16 Prime “Katherine Vallin, production designer, lenses. He explains that the convergence created believable settings with a subdued of advances in Super 16 film and affordable color palette,” he says. “She designed win- HDSR digital intermediate (DI) technologies dows into the sets to motivate backlight and enabled them to produce Parasomnia without sidelight, and also places where we could compromising production values. hide lights. We usually worked with a single The story revolves around a young art camera that was mainly on a Steadicam or the student named Danny who is smitten by a jib arm of a Panther dolly.” Filmworks Stack Short of courtesy Photo

Sebaldt chose to record images on ing and angles of coverage were normal to Kodak Vision2 7217 color negative film, a reflect his personality. Patrick Kilpatrick, who 200-speed emulsion balanced for exposure plays Volpe, wore dark and oversized contact DP Christian Sebaldt, ASC in tungsten light. He slightly overexposed the lenses, which make his character feel spookier Actors Jeffrey Combs and on location preparing film by rating it for an exposure index of 160 without being obvious. Jeff Doucette in a scene to shoot a scene for to record a slightly richer look. Sebaldt shot between 100 and 150 digi- from Parasomnia, shot by Parasomnia. Sebaldt used the new 8, 12, 14 and 16 tal stills to document setups everyday. He DP Christian Sebaldt, ASC. mm prime lenses to frame characters in their chose four to six of them each night, and environments. He added painterly touches spent about an hour manipulating colors, by using Tiffen 1/4 or 1/8 diffusion or 1/4 fog contrast and occasionally adding diffusion filters on the lens. Sebaldt and gaffer Miles on a personal computer. Those images were Anderson also collaborated on the use of rim emailed to Scott Maloney, the dailies colorist light on characters and moving shadows on at Modern VideoFilm in Burbank, California. walls. After FotoKem Labs processed the negative, “Cherilyn Wilson was cast as Laura,” Maloney scanned the negative with a Spirit Sebaldt says. “She is young, beautiful and DataCine and converted the images to HDSR naturally pale. I overexposed her skin tones 1920 by 1080 RGB 4:4:4 digital format, using to make them cooler, and shot from lower Sebaldt’s digital stills as visual references. angles to give her a spookier, more dominant Sebaldt will put final touches on the look. I shot some of her scenes at a higher look during the DI at Modern VideoFilm. The frame rate for a dreamlike effect, and scarier timed digital files will be recorded directly sequences at four frames per second.” onto 35 mm color intermediate film. HD Dylan Purcell portrays Danny. His light- Photo courtesy of Short Stack Filmworks Stack Short of courtesy Photo 16 17 Al Collins, Optical Technician

Stan Glapa, Rental Manager

Dependable, reliable and always available when everything changes.

Photo courtesy of Discovery Channel Discovery of courtesy Photo – Dion Beebe, ASC, ACS MIDWEST Fletcher has helped us out on numerous shoots in the Midwest Representative with great equipment and service. We loved working with ARRI D-20 MythBusters the new ARRI equipment. Moves to HD – Mark Androw, Executive Producer Story by Josh Derby It’s great to see Stan Glapa and Al Collins operating the ﬁ lm rental department at Fletcher. Their experience is the perfect complement✹ s consumers are exposed to the qual- is lighter, smaller, and records great-looking to Fletcher’s state of the art motion picture camera equipment. ity of images shot in HD they begin to HD footage to disc rather than tape. The HDV Aprefer those HD channels over their cameras give the MythBusters crew the ability – Michael Kohnhorst, DP old SD networks. For that reason, Discovery to get into small spaces or to run to keep up has jumped on the fast track to bring some of with Adam and Jamie. The HDV cameras are its signature series into the world of HD. also much more economical, which is a ben- Until recently, our HD productions were efit when you’re shooting a show known for primarily focused on nature and science its love of exploding objects. documentaries. With these types of programs Other programs like Deadliest Catch and MIDWEST’S BEST 16* 35* 24p we’ve been able to use high-end HD filmmak- Dirty Jobs are also moving to HD because Large inventory, 20 years experience and a team of experts led by Stan Glapa and Al Collins ing cameras that can capture the beauty and of the availability of these new cameras, and majesty of the world around us. their ability to work under extreme conditions. Photo by Cameron Glendenning Cameron by Photo Fletcher Chicago MythBusters, a Discovery Channel reality Thanks to the hard work of the engi- Your Film & Digital Production Partner Top: The MythBusters show, follows the curiosity of special effects neers at companies like Panasonic, Sony, and ARRI • Sony • Panasonic Crew of Tory Belleci, gurus Jamie Hyneman and Adam Savage Canon, the technology is quickly evolving and Sales & Rental • 800.635.3824 www.ﬂ etch.com Kari Byron, Adam Savage, as they strive to separate truth from urban becoming more accessible for shooting in Jamie Hyneman and legend. The look and feel of the program tighter spaces and difficult conditions, as well Grant Imahara. requires a “shoot-from-the-hip” style that as making HD more cost effective. As a result, until last year was not possible with the HD Discovery will be able to deliver more of the Above: A pot full of crab cameras available. Now, however, we have series viewers know and love in HD … so stay is brought in on Discovery access to lighter weight, more agile cameras tuned. HD Channel’s Deadliest Catch. like the Sony XDCAM HD line and some of Josh Derby is Director, Production Technical the newer HDV models. The XDCAM system Operations, Discovery Networks 18 Our Man in Iraq on HDNet by B. Sean Fairburn

an Rather, former news Anchor of no team and no gear, so I personally had to CBS, now works his craft on a new get the job done, which was fine with me. Dshow for HDNet called Dan Rather Rather often asked if I was crazy for put- Reports shot exclusively on High Definition. ting myself in harm’s way, standing unpro- His producer called asking if they could do tected in the back of an unarmored Hummer a story on me and the HD footage I shot in shooting HD during tank battles. The fact is the war in Iraq back in the spring of 2003. He that it was my job and I was going to do what- knew that such compelling footage in HD ever it took to get it done. I’m a Marine not a does not exist anywhere else. reporter. If I die, I die doing my job standing I got on a flight to New York to sit for the next to my Marine brothers serving my coun- interview with Dan and we spoke at length try, delivering freedom to a new democracy. Fairburn Sean B. ©2003 Photo about the travels and the technical challenges In combat only an honored few are called to of shooting HD in such a difficult environ- make the ultimate sacrifice for their buddies. politics don’t really matter. Not letting down ment. As a Marine Chief Warrant Officer 2, So I guess “crazy” is just a point of view. the Marines around you is more important specializing in combat camera, it’s my job to The stories told with my footage convey than your own life. train and build teams of talented Marine com- the personal nature of this conflict that is not Dan got emotional when he heard of bat camera warriors to document the efforts unlike any conflict our nation has been in. It is the heroism of a young Lance Corporal of the Corps accomplishing multiple missions. fought with the nation’s young, sharp, willing, Joey Bianchimano and his heroic run into a However due to budget cutbacks there was and capable. To the Marine on the battlefield, minefield to detonate live explosives in the place of his buddy keeping a promise to that Marine’s wife to bring him home safe. And then there was 2nd Lt. Matt Ufford, Platoon Commander, deciding to lead his platoon over the bridge into Baghdad and the thick- est part of the fight so that if the lead tank Dan Rather and would collapse the bridge or detonate the Sean Fairburn, prior explosive still under the bridge, it would be to the taping of his vehicle that would get hit first. That is how Sean’s interview. Marines lead, from the front, no matter how tough the fight gets. Through it all, the Marine providing my force protection, Sgt. Jack Carrillo, was draw- ing the scenes he witnessed on the battlefield while watching my back from enemy attack. O’Keeffe Dan by Photo We were commanded by Capt. Greg Poland who consistently looked for the enemy that this war and to share insight with him and his Top: Line Charge” 1750 Lb never quite materialized in mass as was audience on HDNet. C4 explosion to cut through expected, and was always concerned about Dan asked, “What do you intend to do a Minefield laid in the road. the impending chemical and biological attack with the many hours of HD footage you have April 7, 2003. that was also considered imminent, but never in your stock footage library?” It didn’t make happened. the cut but I told Dan I intend to create a Above: B. Sean Fairburn on Dan Rather was moved and fascinated feature length documentary called Armor set for the HD News Program by the footage and the stories that went Clad Warriors with the footage and the sto- Dan Rather Reports. along with them. I must say it was a pleasure ries. I’m still looking for investors to finish the to have a chance to sit down and talk about editing and move on to the other scripts I what I saw and shot there in the beginning of HD Photo by Dan O’Keeffe Dan by Photo have that are even more compelling. 20 21 Forum b y hdtvs t e v e s e chris t

Day of Reckoning for AACS Copy Protection

We picked up a story on yet a brief time. In essence, the HDCP compliant graphics Photo by Craig Snow Craig by Photo another digital rights manage- hackers are only using tools card and display. ment (DRM) crack in the new given them by the AACS. As for the AACS, they’re HD-DVD and Blu-ray format Arnezami wrote a pro- quiet for now “studying” the Inside the that was published on the inter- gram to dump a small area situation. But make no mis- net. But this time rather than a of memory incrementally, take—their options are few. crack of an individual HD-DVD and examine each stream for The group could resort to or Blu-ray title, the crack was changes. Voila, the media key its “revocation mechanism” Green Berets the single universal crypto- appeared and in that instant— and issue new player keys that graphic key developed by millions of dollars and years of would in effect revoke the by Dara Klatt the AACS (short for advanced software development were keys of all existing players—a access content system) that rendered moot. Adding insult media key block (MKB) as they will decrypt every Blu-ray and to injury—it did not require call it. But this will not solve n a remote outpost in south central Hoggard expected to film primarily in Steve Sechrist is HD-DVD title. More remarkably, reverse engineering or the the flaw in the mechanism. Afghanistan, a National Geographic HD, but the IED blast destroyed the camera Channel crew set out to capture half-way through the shoot. After he and an editor/analyst this “crack” is purportedly done breaking of a controversial Also, it would create for the O at Insight Media, a without intruding on the copy (bad) law—that also must have first time potential injury to the lives of 23 members of the U.S. Special Hill were wounded, soundman John Monte Ryan Hill shoots Forces over two weeks. Shooting in HD for completed the shooting with a surviving SD footage of elder technology based protection scheme and there- cost Hollywood plenty in lob- HD content users who discov- the documentary Inside the Green Berets, camera following Hoggard’s direction from a meeting at media firm specializing fore makes the claim of being bying funds. er legally purchased content the crew entered a war zone in an unforgiving German hospital. firebase COBRA. in large format and perfectly legal. It didn’t take long for no longer working. desert landscape: braving blowing sand, 100 While still on the field, Hoggard says he micro display and Getting around the legal word to get out and the Bottom line, the system degree heat, bulky body armor and mobility had never shot in conditions like the ones related industries. issue of encrypted content crack to go commercial. A that assumes all customers limitations. But the real nightmare was just confronted in Afghanistan. “We’ve never was not that hard. The com- company called SlySoft (www. are thieves wanting to steal beginning. shot in a place where the sand is so fine, it’s promised “media key” as it slysoft.com) that publishes HD content are attracting the On a night surveillance mission, a vehicle more like talcum powder than sand and the is called by AACS Licensing “AnyDVD” software has just very results Hollywood is try- in the crew’s convoy struck a landmine, kill- dust gets into everything.” Carefully choreo- Authority, belongs to the made the move into HD and ing to prevent. The studios ing two soldiers and injuring eight others — graphed beauty shots away from the vehicles player side of the encryption is now selling “AnyDVD HD” may eventually learn it is more including two members of the NGC film crew. were potentially dangerous, for fear of a scheme. The hacker who goes that, according to the compa- profitable to simply focus on Inside the Green Berets writer and director Taliban ambush. by the name Arnezami real- ny, “removes AACS encryption delivering fair-use content at a Steve Hoggard and cinematographer Ryan “Afghanistan is a place of stunning land- ized that since decrypted con- from HD DVDs, allowing users fair (much lower) price rather Hill suffered shrapnel wounds, second degree scapes and the most expressive beautiful tent must reside in memory to play movies on non-HDCP than elaborate protection burns and ruptured ear drums and needed to faces a photographer could wish for. With the at some point in order for compliant hardware.” The schemes that punish the inno- be medevacked out by helicopter. presence of the Green Berets and the guerilla the film to play, the tools for software also allows the user cent along with the guilty, and The documentary, which premieres conflict being waged, you have a setting that decryption must be available to watch movies over a digital inevitably and ultimately fail. Sunday, June 10 at 9:00 PM ET/PT, tells the provides a constant stream of gripping and (addressable) even if only for display connection without But don’t bet on it. HD emotional story of risks faced everyday by the fantastic visual material. It is a place made for crew and soldiers alike. 16x9 aspect ratio and the beauty of HD.” HD 22 23 film festivals in North America started using phone, there is something for every internet Sony HDCam as the ‘official’ video format and guru, filmmaker, and musician. Events and it has been that way ever since. Because Sony parties go from 8 am to 4 am so stock up on was involved at some level at these festivals in Powerbars, water, coffee and end the night Austin’s Sixth Street gears the beginning probably has something to do with Red Bull and vodka. Remember it’s Texas, up for another night of with this, and if Panasonic or another compa- so enjoy a few TexMex meals too. HD partying during SXSW. ny was involved sooner or in a larger fashion Marc Dole is the founder and CEO of Hatchling at these festivals we would all be screening Studios. Located in Portsmouth, NH. Hatchling is on D5 now,” said Neece. an award winning 18 person Creative animation SXSW is a filmmakers festival because and interactive studio with 40 properties in not only does it use some of the best projec- development for Film, Television, web and tion available but it also has great panels. The mobile devices. Contact Marc at HighDef@ festival has three focused courses you can Hatchling.com, 603-436-0056 www.hatchling.com. travel: music, interactive and film, or you can The Toll was created in Softimage XSI 5, Digital combine all three. With this diversity you gain Fusion 4, and After Effects, with some additional insight into many different areas of the enter- modeling and effects in Lightwave 8. The short tainment business and the panels that are was created on 1Beyond workstations, and ren- specific to filmmakers are excellent. dered on Angstrom AMD Blade Servers. The SXSW not only projects some of the best film is rendered at 1080p HD resolution. www. films each year but since it is truly a multime- TheTollMovie.com. dia event, with SMS updates sent to your cell Photo © 2006 Hatchling Studios Inc. Studios Hatchling © 2006 Photo Build it in HD and They Will Come

by Marc Dole

outh by Southwest (SXSW) is one of a animated mockumentary style interview with growing number of festivals that will a bridge troll) was accepted, everyone at our Sonly screen your movie if it’s available in studio was flying high. We created our film in Hatchling’s troll attempts HD (film is still used too). “We standardized 1080p 24fps to get the most we could out of to clear up some of the on HD as our only digital projection format the visuals and still be able to use our HD edit “stereotypes” that plague because we wanted the highest video pro- system and not totally clog our network. him in The Toll. jection quality available,” says Jarod Neece, The Toll had its HD premiere in Singapore Panels & Production manager at SXSW. “We at the Traveling HD Film Fest where it took also wanted to only use one video format, 2nd place to DreamWorks Animation’s First frame rate, and aspect ratio to simplify the Flight for best animated short. SXSW was the digital projectionist’s duties at the festival.” second HD showing of The Toll. Many of the films I saw at SXSW were origi- There are seven venues at SXSW with nally done in other formats but they were Barco Cinema Projectors and Sony HDCam screened in HD. decks. “Sony Broadcast has been a huge sup- Chris Gore’s Ultimate Film Festival porter of the festival and we literally could not Survival Guide, 3rd Edition, rates SXSW as put on the festival without their involvement, a top 5 US Film Fest and one of the top 10 but that is not the only reason we only use in the world, so when our film The Toll (an Sony tape stock. A few years ago the larger Photo by Charlie Llewellin Charlie by Photo 24 25 Polar Year Doc with P2 Camcorder by Brian Cali

ward winning Director of Photography Art AHoward recently shot a documentary project in support of the ongo- ing International Polar Year Art Howard shoots research program with scientists measuring Panasonic’s AG-HVX200 WWHEREHERE HHOLLYWOODOLLYWOOD’’SS ice thickness. DVCPRO HD P2 camcorder. Howard spent a month in the Arctic aboard a Russian icebreaker, where he docu- PPROFESSIONALSROFESSIONALS MMEETEET.. mented scientists studying cli- mate change and its effect on ice thickness. The footage will be used for the North Carolina Museum of Natural Sciences and a WRAL-TV documentary, The 83 North Story. “The HVX200 was a great choice for the icebreaker project,” Howard said. “I needed quality in a small package. I was working by myself, and weight and flexibility were issues. I wanted to be able to Exhibition & Seminars shoot in the tight spaces of the vessel, and the expansive, June 22 & 23, 2007 harsh environment of the Master Class Seminars Arctic. Being able to go inside June 24, 2007 and outside, from hot to cold, dry to moist and not worry Location about head clogging issues Wadsworth Theatre & Grounds was a big consideration.”

Photo by Mike Dunn/ North Carolina Museum of Natural Sciences Natural of Museum Carolina North Dunn/ Mike by Photo Los Angeles, California “The camera was sub- jected to extreme cold tem- peratures and it never failed. I camera is not intimidating.” shot interviews at 720pN to Contact us @ transferred files to a P2 Store Howard shot all B roll maximize shooting time. 310/470-0870 • [email protected] Drive in the same conditions, footage in 1080i using two “I shot some footage and the functionality was flaw- 4GB and one 8GB P2 cards, at 60 frames, and love the less. A shooter on-site for rotating them into the camera’s timelapse feature,” another organization had a Panasonic P2 Store, then Howard said. “I find the cam- tape-based camera, and even transferring the P2 files to era’s review and in-camera with a cover it had head and external hard drives onboard editing functions very useful humidity issues. “I love to the ship using P2 Genie soft- when using a limited number Premiering the Film Series at Cine Gear Expo: June 21-23, 2007 work close to people, and the ware on a Mac laptop. He of cards.” HD For details on Student Filmmaker Competition and Screening Schedule visit: WWW.CINEGEAREXPO.COM 26 A Tribute to the Visual Art of Filmmaking THE CONSUMER FRONT hdtvb y D A L E C R I P P S

Depending upon one’s loyalty your side is and, if any, in the projector or screen (which winning the high definition DVD race, but it’s I made). You can easily detect the difference still a horse race to everyone else. What is mak- between 720p and 1080i or p. ing headway is 1080p—the golden hope of the Of course, the only source we have today 80s and 90s has arrived, though not without for 1080p is Blu Ray or HD DVD. I can tell you controversy over its necessity. that when the film-to-DVD transfer is on the Many of you in the professional ranks will money you have one amazing WOW home say, “Why do we need this 1080p when most experience with either of those formats. Lights people are viewing a out everyone, sit back and be blown away. That display that is 720p is the 1080p experience, which is not quite the

native? Besides, no one same as with 720p, and certainly not with the Schiraldi Paul by Photo can see the difference 480p. I must add in all fairness to your existing in resolutions between DVD collection and your devotion to 720p pro- 720p and 1080i and p duced sports that you may have a very good Dale Cripps is the without sitting far closer to the screen then is experience with those lower resolutions on a publisher of HDTV typical or having a screen much larger (at the big screen but the big WOW is still eluding Life Support Magazine, the first publication in the same viewing distance) than what is now being you. If we are home theater people we are not world dedicated to purchased?” going to settle for second best in performance in Super 16 mm for HD the consumer of High This year I had a little windfall and thus a nor, frankly, in content. We want the best Definition programming budget was formed which provided for some production values we can get to tantalize our by David Heuring and hardware, and HD acquisitions and home remodeling. I human ocular and aural senses. If you produce the founder and decided to outfit all of the living spaces in my a program that fits the world as it is today (720 president of the High house with HD (finally getting rid of all NTSC). dominant) you may have devalued your prod- he HBO film Life Support tells the true-life negative with an ARRI camera. She timed Life Definition Television For my bedroom I chose a 34” tube type HD uct in the world that will be existing tomorrow story of a mother who overcomes an addic- Support in HD format at LaserPacific in Los Association of America. set. For another area of the house I installed (1080p). I thought a big screen home theater tion to crack cocaine, becomes a positive Angeles with colorist Mike Sowa. Briesewitz hdtvmagazine@ an XBR SXRD 1080p 60 inch rear projector. The with 1080p was for the other guy. But I now T role model, and makes a difference in her com- says that upon seeing the transferred HD ilovehdtv.com 34” is pretty bulky, but cost only $1100 and for think it is for every guy and the cost for mak- munity. Queen Latifah leads the cast along images on a large screen during post, she bedroom viewing produced a terrific image, ing this happen is dropping like the proverbial with Anna Deavere Smith and Wendell Pierce. though hardly the big screen experience. The stone. would have been hard-pressed to tell whether sitting room was able to accommodate the The street price for a projector that just a Life Support was directed by Nelson George the images had been shot in Super 16 or 35 larger 60” Sony SXRD. This is a 1080p set that few years ago cost $10,000 is now under $4000 and photographed by Uta Briesewitz, who is mm had she not photographed them herself. does a great job of de-interlacing most of the and rumor has it that we will see perfectly best known for her work on HBO’s The Wire. The small Super 16 cameras were also content and we sit on a couch that is 9 feet working 1080p bright projection systems under Life Support was filmed on practical loca- helpful in group therapy scenes, where Photo by Paul Schiraldi Paul by Photo from the screen. It is absolutely awesome with $2000 – the price millions are paying today for tions in an urban setting. The choice of the Briesewitz followed the dialog with one cam- a high def DVD source or a PS3 game machine. plasmas and LCDs that offer a fraction of the Super 16 film format worked well with the era to render a documentary feel. She lit to Top: (L to R) Actors But the big investment made this year experience which a big screen delivers. As far often tiny New York City environments where underscore the drama and covered other Queen Latifah, Rachel Nicks was on a dedicated home theater. Now that as dedicated rooms (so you can control light) is Life Support unfolds. scenes with a more controlled approach to and Evan Ross in a scene MAKES a huge difference in the viewing expe- concerned….well, all the homes among those “It was tough to get light in and shape it, camera movement. from Life Support, shot by rience. This is no longer TV, but THEATER! I we count as most influential people will find but I’m used to working in small spaces,” says “This story was a beautifully written piece cinematographer again chose a 1080p projector – the Sony VPL- the space and are doing so at record numbers Briesewitz. “If you give me a great environ- for actors,” she says. “Too much camera Uta Briesewitz. VW 50 (Pearl) – which is quite well suited for right now. The day of low cost front projec- ment, I’m more than happy to squeeze myself movement could have been a distraction. My the 12 X 17 foot dedicated space. I have three tion is at hand and with it comes the 1080p into it. The various film formats are just differ- goal was to give the screen to the actors, cap- Above: Cinematographer rows of seating with each row elevated by 4 that you can SEE. ( see http://www.carltonbale. ent brushstrokes. The right format is the one ture their performances, and connect them to Uta Briesewitz on location inches. The screen is 104 inches wide. Now, com/2006/11/1080p-does-matter/) that will best bring the story across.” each other.” preparing to shoot a scene at 9 to 10 feet viewing distance you see every Don’t produce in anything less or your Briesewitz chose to shoot the entire tele- Life Support premiered at the 2007 for Life Support. defect in the source, the transmission path, “masterpiece” will perish like figs in the sun. HD film with KODAK VISION2 500T 7218 color Sundance film festival. HD 28 29 Tech by hdLowell Kay

The Data Centric Post Facility

As we move forward with acquisition, more and more cameras are going to record on hard drives as opposed to tape or film. The new engineer of the future will be more of an IT professional with a video background than the other way around. And the facility of tomorrow (actually already today) is one that will be cen- tered in the manipulation and Lowell Kay is the transfer of digital data on hard founder and president drives. of Hollywood’s top This change is happening post-production and fast and all around us. Once motion picture film we ingest the media at our software, you can now accu- to disk or to a deck. Instead servicing company, post facility, we rarely go back rately capture an entire show of the maze of cables need- The DR Group. to decks. Our equipment pur- without a tape operator. One ed in the past, you are look- www.thedrgroup.com chasing budget has changed live feed or 10, it all happens ing at one to two cables from 323-960-1781 to include more servers and with the click of the button. your final conform station to large fibre drives than tape We should see 1TB drives this the deck. decks. The tech department year at prices that are a frac- It seems we are going spends more time working on tion of an SAS or SCSI 150GB to have to go back to school the SAN and insuring its per- drive. What makes this even and learn new technolo- formance than fixing decks, more exciting is that you can gies to keep up in this new 1Beyond 1st Design video routers, or NLE systems. ingest media to a disk that is area of post-production. IntelliRaid FC-XPRS This is just the beginning and accessible to your editors at Understanding command High Performance as things move forward, I envi- the same time of recording. line, terminal, UNIX and Video Raid Array. sion complete post facilities The video cable infra- Linux are going to be pre- that do not include a single structure of the past is now requisites for acquiring jobs deck, but rather, data transfer reduced to an SDI cable from for video post-production. stations. the camera to the server. Without a clear understand- Take for example live From there, you have fibre ing of these tools, we could acquisition on a controlled set. cables linking the entire facility find ourselves headed the Our clients record directly to a together. Your NLE ties direct- way of the dinosaur. HD disk. With an Apple server and ly to the SAN and laybacks are 30 JVC-3289 HD200-8.25x10.75 4/24/07 2:40 PM Page 1

You asked. We listened. We delivered.

JVC’s new 200 series. JVC’s new 200 series is the result of television networks, news organizations and top cinematographers telling us precisely what they wanted in a production camera. Now you HD/SD-SDI with embedded audio (GY-HD250) Studio-capable can experience high-end performance in a The uncompressed full-resolution 4:2:2 signal can be The highly versatile GY-HD250 output via the built-in HD-SDI and analog terminals, can easily be converted to a compact, professional, high-definition providing an ideal feed to a video server, HD switcher cost-effective studio camera camcorder that’s comparable in cost to or microwave link. with an adapter. the SD equipment you’ve been using. Be first-to-air by using the optional hard drive that records in the native file format that your editing system requires. Add to that benefit, 720/60p capture and recording capabilities, and you’ll see that JVC’s new GY-HD200U and GY-HD250U are perfect for shooting the next generation of HD news, documentaries, multi-camera shows and indies.

More of the features you asked for: • Microwave-ready MPEG-2 HDTV output via IEEE 1394 • Native 1280x720p CCDs • Multiple frame rate recording: 24, 25, 30, 50, & 60p • Record on tape and/or HDD • Studio option with CCU (250 only)

JVC’s ProHD 200 Series. Discover Multiple lens choices Fujinon and Canon provide a wide the new world of HD production. Broadcast-grade Super Encoder range of professional HD lenses JVC’s 200 Series features a built-in and adapters to choose from. For a FREE encoder that can provide a 19.7Mbps application MPEG-2 encoded output for microwave and satellite feeds, eliminating the need brochure and for expensive external encoders – perfect details, call for live HD remotes! High-end image quality 1-800-582-5825 An improved wideband front end or visit us at produces sharper images with www.jvc.com/pro less noise than competing models.