HD Video Pro 201402

ARRI PRO CAMERA ACCESSORIES. TRULY CINEMATIC.
IF YOUR CAMERA COULD SMILE,

IT WOULD.
www.arri.com/qr/hdvp/pca

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ARRI ALEXA XT. TRULY CINEMATIC.
THE NEW ALEXA CAMERA RANGE
IN-CAMERA ARRIRAW AT 120FPS | ND FILTER INSERTS | 4:3 SENSOR | NEW VIEWFINDER MOUNTING
ARRIRAW UNLEASHED

Pro surfer Eric Soderquist braves the
icy waters of Iceland near the mouth
of the Jkulsrln Glacier Lagoon
during an expedition looking for
massive waves and new surf breaks.
Photo by Lucas Gilman.

Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. Design by G-Technology in California. G-DRIVE and G-Technology are registered trademarks of HGST,
Inc. and its afliates in the U.S. and other countries. G-DOCK ev is a led trademark of HGST, Inc. and its afliates in the U.S. and other countries. 2013 G-Technology, a division of HGST, Inc. All rights reserved.
Its no secret that creative workows have become more uidbut
until now, the way you capture, transfer and share your work has
been frozen in time. Thats why we designed the Evolution Series
a swappable, expandable dual-bay storage platform that gives creative
pros the speed and exibility they need today.
The hub of the system is the G-DOCK ev
with Thunderbolt
, plus
two stand-alone G-DRIVE
ev USB 3.0 portable drives that each move

up to 1TB seamlessly from capture to post to distribution. Use the
drives out on location. Then, once back at your workstation, insert the
drives into the dock to transfer your work with its ultra-fast Thunderbolt
interface. And the whole solution is RAID 0 and 1 congurable.
Swap in. Swap out. The evolution starts now at g-technology.com
Lucas Gilman, Adventure Photographer and Filmmaker
I SHOOT THE WORLDS TOP
ATHLETES, AND MY WORKFLOW
NEEDS TO BE JUST AS FLUID
AND DYNAMIC AS THEY ARE.
G DOCK

ev
WithThunderbolt
Up to 136MB/s
USB 3.0 Hard Drive
WORKS LIKE A PRO.
g-technology.com/WLAP

Inside Story
For the most
part, the dem-
ocratization of technology has been a
beautiful thing, but with a few conse-
quences. I recently attended a Canon
Media excursion to Japan, where a num-
ber of camera journalists were able to inter-
view Masaya Maeda, Managing Director
and Chief Executive of Canon Imaging. I
asked him a few general questions about 4K
and Cinema EOS lenses, and after the
interview, I was informed by a Canon
executive that I was the only journalist
who didnt bring up smartphones. If you
havent heard, DSLRs, especially entry-level
ones, have seen quite a drop-off in sales
this past year, with projected 2014 sales
severely downgraded. This mainly has
been a result of smartphones.
While there always will be a market for
an ARRI ALEXA, for the average consumer
shooter (or even low-budget lmmaker),
the majority never will get their hands on
one. And, lets face it, the 99% are taking
photos nowadays with the camera they
always have with them: their smartphone.
Camera phones with HD video capa-
bilities also have had an effect on the
video world. An app like FiLMiC Pro on
the iPhone can let you capture 1080p
at up to 47 Mb/s, which nearly doubles
the bit-rate of AVCHD. Were also see-
ing an ecosystem of clip-on glass optics
like the Olloclip, which lets you take
creative sheye, wide-angle or macro still
or motion shots with your camera phone.
Democratization even has found its way
into manufacturing. This issue, we take
a look at a new phenomenon: creating
FEBRUARY 2014 VOL. 8 NO. 1 www.hdvideopro.com
Contents
Features
52 LAST MAN STANDING
Director Peter Berg and
cinematographer Tobias
A. Schliessler, ASC,
re-create a covert Navy SEALs
mission in Lone Survivor
By Iain Blair
58 DAYDREAM BELIEVER
Cinematographer Stuart Dryburgh,
ASC, NZCS, does his best to
capture The Secret Life of Walter
Mitty in-camera on lm
By David Heuring
Special Section
80 CineSoundPro
80 NEWS & VUS
Useful information sound
pros need to know
82 MICS, ADAPTERS AND
AUDIO RECORDERS FOR DSLRS
Soundtrack solutions for achieving
much better audio quality when
capturing video on a DSLR
By David Willis G
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4 Q HDVideoPro | hdvideopro.com

camera accessories from 3D printers. Using
a 3D printer and Kickstarter, lmmaker
David Basulto created the iOgrapher, a
snap case that helps turn your iPad into
a lmmaking device. There are even lm-
makers creating specialty mounts for their
GoPro expeditions with 3D printers.
So with a new ecosystem of acces-
sories for smartphones and tablets, has
the iPhone become the new 5D Mark II?
Well, not quite. Ive yet to see a feature
lm shot with a smartphone, although
Im sure were not too far off.
For lmmakers, digital motion-picture
cameras are getting smaller, simpler and
cheaper. One of the cameras we review in
this issue is the new Blackmagic Design
Pocket Cinema Camera, which was the
big hit at last years NAB. The camera
isnt much larger than an iPhone 5, but
is a true digital cinema camera. Priced
at only $995 and with its 13 stops of
dynamic range, the BMPCC can cap-
ture RAW CinemaDNG les that can be
graded professionally in Blackmagics
DaVinci Resolve. We also take a look at
the FDR-AX1, Sonys rst consumer 4K
camcorder. The AX1 captures real-time 4K
up to 60p and has professional features
like internal ND lters and XLR audio
jacks. Sony has priced the camera at only
$4,499, making 4K attainable for a wider
range of shooters.
Does smaller, simpler and cheaper
equate to better? Absolutely not. But the
range of tools4K and RAW capture, in
particularhas become wider and more
accessible, which is always a great thing.
Neil Matsumoto, Editor
hdvideopro.com | February 2014 Q 5

Equipment
34 ON THE MOVE
A rst look at ARRIs new shoulder-mount,
documentary-style camera, the AMIRA
By Dan Brockett
38 THE 4K CONSUMER SHOOTER
At $4,499, is Sonys FDR-AX1 the most
important camera in the 4K push?
By Neil Matsumoto
42 RAW POWER
Not much bigger than a smartphone, the
Blackmagic Design Pocket Cinema Camera
contains a secret weapon
By Neil Matsumoto
88 AT A GLANCE: SQUEEZE IT!
Sorenson Squeeze 9 simplies the
encoding process
By Michael Guncheon
HD Independents
64 SUBMERGED
Cinematographer Polly Morgan digs
deep into the shadows for The Truth
About Emanuel
By Valentina I. Valentini
Breaking Trends
68 CLOUD CITY ON A SHOESTRING
Comedy Centrals Key and Peele delivers
sketch humor with style and economy
By Kevin H. Martin
72 THE DIGITAL IMAGING TECHNICIAN
Six years in the making, D.I.T.s have
become key components to an
ever-changing set
By Valentina I. Valentini
76 DAWN OF THE REPLICATOR
3D printing stands to disrupt camera
and support gear
By Clint Milby
EDITORIAL
NEIL MATSUMOTO
Editor
MICHAEL GUNCHEON
Tech Editor
MAGGIE DEVCICH
Senior Editor
DAVID WILLIS
ASHLEY MYERS-TURNER
Associate Editors
J. ANA FLORES
Copy Editor
DAN BROCKETT
JEFFREY NIELSEN
Contributing Editors
ART
ERIC BECKETT
Art Director
CANDICE OTA
Graphic Designer
WWW.HDVIDEOPRO.COM
WES PITTS
Online Director
MIKE DECKER
Web Art Director
DAMIAN GREENE
Web Programmer
LISETTE ROSE
Web Production Associate
IMAGING GROUP
STEVEN D. WERNER
Publisher/Editor In Chief
CHRISTOPHER ROBINSON
Imaging Group Editorial Director
KURT R. SMITH
Executive Art Director
EDITORIAL OFFICES
Werner Publishing Corporation
12121 Wilshire Blvd., Suite 1200
Los Angeles, CA 90025-1176
(310) 820-1500
Printed in the U.S.A.
HDVideoPro is published by Werner Publishing Corp. Executive,
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rial matters only) at editors@hdvideopro.com or visit our Website
at www.hdvideopro.com Copyright 2014 by Werner Publishing
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information presented is from many sources for which there can
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the publisher is not engaged in rendering product endorsements
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HDVideoPro (ISSN: 1936-3206)Vol. 8 No. 1is published bimonthly by Werner Publishing Corp. Executive, editorial and advertising ofces: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Single-copy price
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Postproduction
46 POSTING 4K
Although 4K is quickly becoming the
norm for capture, the post world is
playing catch-up
By Neil Matsumoto
Columns
24 MISINFORMATION: THE NEW
PREPRODUCTION
By Iain Blair
26 HELP DESK: SENSORS & CIRCLES
By Andy Shipsides
30 VIDEO ASSIST: RESOLVING DETAIL
By Michael Guncheon
86 AUDIO ASSIST:
SINGLE-SYSTEM SOUND
By Dan Brockett
Departments
4 INSIDE STORY 10 FADE IN
14 RELEASES 90 HDVP
MARKETPLACE 98 PRODUCTION
TAKES: TABLE MANNERS
ADVERTISING/SALES
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SCOTT LUKSH
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Western Advertising Sales Manager
DENINE GENTILELLA
Senior Advertising Sales Manager
CLAUDIA WARREN
Senior Advertising Coordinator
MARKETING
BASAK PRINCE
Marketing Manager
MATTHEW WILKINSON
Marketing Coordinator
PRODUCTION/MANUFACTURING
JESSE GARCIA
Production Director
MAGGIE DEVCICH
Editorial Production Manager
TAMMY REYES
Production Manager
CONSUMER MARKETING
DAN REGAN
Consumer Marketing Director
LIZ ENGEL
Consumer Marketing Manager
SUE C. WILBUR
Web Audience Manager
JOANNA RUTSKOWSKA
Online Advertising Operations Manager
TOM FERRUGGIA
Newsstand Sales Manager
BUSINESS/OPERATIONS
LYNNE IRVINE
General Manager
LORIE SHUMAN
Finance Director
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14
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Twentieth Century Fox

Learn more today www.blackmagicdesign.com/ultrastudio4k
$
995
UltraStudio 4K
Introducing UltraStudio 4K, the worlds rst video product with 6G-SDI
video technology! Now you get an attractive rack mount break out box
style capture and playback solution that switches between SD, HD, 2K,
Ultra HD and 4K! With loads of video and audio connections you can
connect to virtually anything! You also get the latest 4:2:2 and 4:4:4
quality plus dual stream 3D capture and playback, all via the super fast
Thunderbolt
connection to your computer!

Connect to any Deck, Camera or Monitor
UltraStudio 4K lets you connect to virtually
any video device, such as cameras, monitors
and broadcast decks! UltraStudio 4K includes
6G-SDI, HDMI 4K, analog component
video,16 ch SDI audio, balanced analog audio, HiFi audio in, AES/EBU
audio, timecode, reference and serial deck control. UltraStudio 4K
supports two streams of video for stereoscopic 3D workows. You can
even connect Ultra HD devices using a single 6G-SDI or HDMI cable!
Advanced Video Technology
The UltraStudio 4K includes the most
advanced video technologies available! The
built-in 6G-SDI operates at 4 times the speed of a regular HD-SDI
connection for stunning Ultra HD and 4K capture and playback or
even full color resolution 4:4:4 video and dual stream 3D. With 6G-SDI
you get Ultra HD with only 1 BNC cable, instead of the 4 BNC cables
required in the past!
Attractive Machined Metal Design
UltraStudio 4K features a machined aluminum design
for both elegant styling and exceptional durability.
UltraStudio 4K features an integrated color LCD and
front panel video and audio input selection buttons.
UltraStudio 4Ks rack mount design has the space for every type of
audio and video connection available.
More Third Party Software Compatibility
UltraStudio 4K works with the software you love
to use! Use Apple Final Cut Pro X
, Avid Media
Composer
, Adobe Premiere Pro
and many
more! For visual effects, get full compatibility with
Adobe After Effects
, The Foundry Nuke
and Adobe Photoshop
.
For streaming use Flash Media Encoder
, Wirecast
and Livestream
Procaster
. For world leading color correction UltraStudio 4K is perfect

for DaVinci Resolve!
Advanced HDMI
You get the latest HDMI that supports
Ultra HD! Capture from HDMI devices
and playback to big screen TVs.
Fast Input Selection
Set video and audio inputs with the
built in front panel illuminated buttons!
Select input sources quickly!
2
High Speed Thunderbolt
Super fast Thunderbolt lets you capture

and playback SD, HD, 2K, Ultra HD and
4K up to 30 meters away!
Analog Compatibility
Even older analog broadcast decks
and monitors are supported in both
SD and HD! Connect to anything!
1
Worlds First 6G-SDI
Get the latest 6G-SDI video connections
for Ultra HD with a single cable! Switches
between SD, HD, 2K and Ultra HD!
High Quality LCD
The built in display allows instant
conrmation of playback and capture
video, perfect for busy jobs!
3
Analog Audio and Timecode
Connect to outboard audio gear with
professional balanced audio and broadcast
systems with timecode support.
Elegant Rack Design
Machined from solid aluminum, you
get an elegant front panel design
that looks great in your studio!
4
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Lone Survivor
Lone Survivor is an action war film based on the best-selling memoir by Marcus Luttrell. It tells
the story of four Navy SEALs on a covert mission in the mountains of Afghanistan to eliminate
a high-level al-Qaeda operative, but who are, in turn, ambushed by the enemy. The film stars
Mark Wahlberg as Luttrell and Taylor Kitsch, Emile Hirsch and Ben Foster as members of the
SEAL team. The film was directed by Peter Berg (Battleship, Friday Night Lights) and shot in 5K
by cinematographer Tobias Schliessler, ASC, with RED EPICs. According to D.I.T. Jeff Tomcho,
because of location restrictions, they couldnt bring on-set grading tools so the production
customized the EPICs metadata settings to adjust looks for each scene.

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SHOULDER-MOUNT AVCCAM
Ideal for weddings, conferences, documentaries,
events, exhibits and eldwork, the extremely af-
fordable Panasonic AG-AC8PJ camcorder offers a wide
range of le capture at up to 1080/60p in 28 Mbps/
VBR, as well as several compressed formats and
1080/1440 in 60i and 720/60p/i. Intelligent auto (iA)
resolution technology preserves image resolution dur-
ing fast zooms on the wide-angle 28mm F/1.8 lens,
which also offers 5-Access Hybrid Optical Image Sta-
bilization, a 21x optical zoom and a 50x super-high-
resolution mode. The camera is capable of recording to
dual SD cards simultaneously with a Relay Auto Switch
that allows you to capture backups or extend capture
from one card to the other in order to gain extended
shooting time. In-camera features include Dynamic
Range Stretch (DRS) to compensate for extended contrast in a scene, and a Focus in Red
function highlights the sharp edges of a subject to assist during manual focusing. Interfaces
include HDMI, stereo mini-mic, stereo mini-headphones, AV, Video component and USB 2.0, with support for external
portable HDD drives. A Level Function mode automatically detects and corrects for tilt. List Price: $1,450. Contact:
Panasonic Solutions Company, www.panasonic.com.
ALL I NEED IS A HERO
The latest iteration of GoPros HERO camera is available in two editions:
the HERO3+ Black and HERO3+ Silver Editions. The agship of the line, the
HERO3+ Black Edition captures up to 4K video with supported frame rates
and resolutions of 4Kp15/12/12.5, 2.7Kp30/25/24, 1440p48/30/25/24,
1080p60/50/48/30/25/24, 960p100/60/50 and 720p120/100/60/50, as
well as 720p48 fps in SuperView. Its also capable of 12-megapixel stills in
time-lapse sequences of 0.5-, 1-, 2-, 5-, 10-, 30- or 60-second intervals while
the Continuous Photo mode allows for full-resolution stills at 3 fps, 5 fps and
10 fps while holding the shutter. The new SuperView video mode unlocks an
enhanced wide-angle video mode, and the new Auto Low Light mode automati-
cally adjusts to varying light levels in changing conditions. The HERO3+ Black
Edition also sports 33% better image sharpness, 50% less imaging artifacts,
a 20% lighter form factor, 4x faster Wi-Fi, a 30% longer battery and improved
audio capabilities over the previous model. The less expensive HERO3+ Silver
Edition offers resolutions of up to 1080p at 60 fps with 10-megapixel stills
and similar enhancements over the previous generation of GoPro cameras.
(The two new modes arent included.) List Price: $399 (HERO3+ Black Edi-
tion); $299 (HERO3+ Silver Edition). Contact: GoPro, www.gopro.com.
LEARNING TO FLY
Capable of capturing a literal overhead view with full HD video
at 1080p30/60i and 14-megapixel still photos, the Phantom
2 Vision from DJI Innovations offers precision ight and sta-
ble hovering in a helicopter-like camera system with a 2/3-
inch sensor and 4 GB microSD card. With support of multi-
capture, continuous capture or timed capture, the Phantom
2 Vision communicates wirelessly between smartphone app
and dedicated joystick controller (with smartphone mount) at
up to 1,000 feet. Video can be synchronized through Wi-Fi
for direct downloads and uploading from your smart device.
An integrated GPS autopilot system locks altitude and stabi-
lizes the system in-ight with a radar available for displaying
the cameras exact location. The 5200 mAh Lithium Polymer
battery provides 25 minutes of ight time with built-in bat-
tery capacity readout and charge/discharge protection. Field
of view is selectable in
140/120/90, and a
Return-to-Home feature
automatically ies the
Phantom 2 Vision to the
takeoff point if the con-
trol range is exceeded.
List Price: $1,199.
Contact: DJI Innovations,
www.dji.com.

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PRIMO OPTICS
For the past 60 years, Panavision has been manufacturing high-precision
camera systems and lenses. In regard to optics, it can be argued that
Panavisions Primo prime lenses have been the gold standard for the high-end
cinematography world. The lenses contain a nice contrast range, full resolution
and even eld illumination with very little veiling glare, ghosting or distortion.
In short, DPs really love the look and feel of the glass, and today cinematogra-
phers are rejoicing in Panavisions announcement of a new line of Primo lenses
designed for digital cameras, the Primo V Series. Available in focal lengths
of 14.5mm, 17.5mm, 21mm, 27mm, 35mm, 40mm, 50mm, 75mm and
100mm, the lenses include bright apertures of T1.9 and close-focusing dis-
tances of only 24 inches for all lengths. Most of the lenses weigh less than six
pounds with a matching front diameter of 4.44 inches for fast lter changes.
Compatible with P- or Panavision 35-mount systems, the Primo V lenses have
been engineered to correct for digital cameras, which require additional optical
elements, including low-pass lters, IR lters and ND lters that can increase
off-axis aberrations. The resulting image appears more balanced from center
to edge. Primo V lenses will be available to rent exclusively from Panavision.
List Price: N/A. Contact: Panavision, www.panavision.com.
GO FOR THE SILVER
Released as a special limited edition available at Blackmagic resellers or through di-
rect sales via Lock Circle, the PRIME CIRCLE XE Silver Series of cinematic lenses for
the Blackmagic Production Cinema Camera features a special pure aluminum shoot
peening thats matched to the exterior nish of the BPCC. Featuring world-class Zeiss
optics, the retro-future lenses otherwise offer the exact same specs as the PRIME
CIRCLE XE line, which is available in a black matte nish, with 10 focal lengths available
in 15/21/25/28/35/50/85 Apo, 135/50 Makro and 100 Makro. Supporting full-frame
24x36mm coverage, the lenses have double-sided, extended focus scales and an elec-
tronic aperture for full control from camera bodies. Every lens is calibrated in the Lock
Circle optical lab, where the focus gear is engraved to match the true focus distance.
The XE Silver Series is available in Canon EF mount. List Price: Begins at $2,399.
Contact: LockCircle, sales@lockcircle.com, www.lockcircle.com.
MAXIMUM COVERAGE
Offered as a single telephoto solution for features, TV series, documentaries and
commercials, the new Thales Angnieux Optimo DP 25-250mm 10x zoom lens is de-
signed with a complex focus group to minimize breathing and a fast constant ap-
erture of T3.5 throughout the zooming range. The high-quality optics solution for
large-format digital sensors has an image circle that fully covers the RED EPIC M/X
sensors, as well as the EPIC DRAGON sensor on all formats up to 6K resolution. The
lens weighs 16 pounds, with a close-focusing distance of 4 feet. Theres an integrated
rear lter holder for a 41.5mm screw-in lter or ND lter, and included /i Technology
provides a metadata interface. The lens is available in PL or PV mount, as well as an
easy-to-use mount interchange for Canon EF or Nikon F cameras. Its compatible with
1.4x and 2x Optimo extenders. Other lenses in the Optimo DP series include the DP
16-42mm and 30-80mm zooms, which are also available as 3D-matched sets. List
Price: N/A. Contact: Thales Angnieux, www.angenieux.com.

H HHAVE YOU TRIED
CINE XENAR III PRIMES?
T TTh hhe ee next generation of superb digital cinematography primes has arrived.
F FFa aas sst tt, ,, robust, accurate and physically matched for user-friendly operation,
t tth hhey offer a high-resolution telecentric design with even image brightness
and minimum breathing. Due to a brilliant iris blade design, Cine Xenar IIIs
produce a desirable bokeh when imaging with a shallow depth of field.
Whats more, the lenses are capable of ultra-close
focus, down to 11 (25cm) from the sensor plane.
Made in Germany by Schneider-Kreuznach,
Cine Xenar IIIs are priced to own and built to last.
CHECK WITH YOUR
Phone: 818-766-3715 800-228-1254 email: info@schneideroptics.com
For More on Cine Xenar III promos
www. s c h n e i d e r o p t i c s . c o m *Promotions end Midnight 2/28/14
LOCAL RENTAL HOUSE
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A AA k kk f ff t tth hhe new
m mm/T2.2
s or
14m

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LIVE CONTENT PRODUCER
With touch-panel operation, the compact Sony Anycast Touch simplies broadcast and
streaming for live events. The all-in-one system packs a video switcher, streaming en-
coder, video recorder, ve-channel audio mixer, clip player, remote camera controller and
titler with support of 10 languages into a single unit capable of recording 10 hours of
video and audio on the internal 192 GB solid-state drive. Scene lists can be prepared
beforehand to make fast live switches between scenes, and users can also store setup
information of attached video sources, such as the camera input, title data and transition
effects. There are ve video outputs and six video inputs, including HD/SD-SDI, HDMI,
RGB and/or Composite, and real-time web streaming is performed through Flash H.264
with support of 10-bit processing, as well as 1080i/59.94 Hz/50 Hz, 480i/59.94 Hz
and 576i/50 Hz formats. The foldable tilt screen enables use of the unit as one large at
screen, or it can be tilted to utilize two dual screens to separate video, audio and menu
controls. List Price: $19,995. Contact: Sony, www.sony.com.
BIG SCREEN
With support of full 4096x2560 resolution on a 30-inch diagonal screen, the DP-V3010
4K Reference Display from Canon provides a 2000:1 DCI-compliant contrast ratio, uniform
brightness and internal color calibration, as well as several advanced monitoring features for
4K productions. Offering a 16:10 aspect ratio, 1024 shades per color channel and tightly
packed pixel pitch, the high-resolution panel measures only 7.4 inches in depth to meet
minimal space requirements for use in color-grading, digital intermediate workstations, CGI/
VFX and editing/nishing suites. Full-array RGB LED scanning backlight technology with an
IPS (in-plane switching) LCD screen delivers color accuracy and crisp imagery without motion
blur between frames and a wide viewing angle from top to bottom and left to right for multiple
viewers. The Canon DP-V3010 4K Reference Display is compatible with the ve major color
gamut standards: SMPTE-C, EBU, ITU-R BT.709, DCI and AdobeRGB. LUTs and 3D LUTs are
supported. List Price: $40,000. Contact: Canon, www.usa.canon.com.
FAST AS A THUNDERBOLT
As one of the rst drive systems to incorporate
Thunderbolt 2 connections, the Pegasus2 and SANLink2
high-capacity storage solutions deliver blazing data-
transfer rates of up to 20 Gbps, twice the bandwidth
of the previous-generation Thunderbolt. With such quick
transfer rates, the systems allow for 4K streaming,
creative editing workows and operation of large dis-
play environments. SANLink2 is a Thunderbolt 2 to 8G
Fibre Channel bridge that alleviates storage bottlenecks
for desktop and PC systems with direct connectivity
to an external Fibre Channel Storage Area Network
(SAN) for ingest and editing capabilities. The Pegasus2
line of hardware RAID solutions is available in 4-, 6- and
8-bay enclosures, with daisy-chaining of Thunderbolt
or Mini DisplayPort devices and displays. Running bi-
directionally at 20 Gbps, Thunderbolt 2 is capable of
delivering both 4K and 3D content, which often require
a minimum of 15 Gbps. List Price: Begins at $1,499
(Pegasus2 R4 4-bay 2 TB HDD). Contact: PROMISE
Technology, www.promise.com.
BLACKMAGIC DAVINCI RESOLVE 10
Available free of charge for all pre-
vious DaVinci Resolve customers,
DaVinci Resolve 10 from Blackmagic
Design upgrades the software suite
of color-correction tools with new
editing features, heightened on-set
controls, support of OpenFX plug-ins
and more. A new Resolve Live feature
allows color grading from a live video
input to work with on-set dynamic
lighting setups on the y with prima-
ries, secondaries, power windows,
custom curves and more. Grades can
be stored and re-uploaded, and the
timeline now features online nishing
of edits, including support for mul-
tiple le formats and deliveries right
to popular NLE software suites from
the Resolve timeline. Other new editing features include a powerful title tool, multitrack
editing with 16 channels of audio per clip and unlimited video and audio tracks in the time-
line, as well as independent sync, trim and dragging of audio clips, plus extensive ripple,
roll, slide and slip clip trimming support. DaVinci Resolve 10 supports stereoscopic 3D
projects, and upgraded color-correction features include unlimited power windows per
corrector node, a new Gradient PowerWindow for quickly adding a gradient across the
image, copy and paste of tracking data, and motion effects including spatial and temporal
noise reduction and motion blur. Also available for download is the free DaVinci Resolve
Lite edition for both Mac OS X and Windows, which now includes Ultra HD resolution
and additional GPU support. List Price: Free (DaVinci Resolve 10 upgrade/previous cus-
tomers); Free (DaVinci Resolve Lite); $995 (DaVinci Resolve Software/new customers);
$29,995 (DaVinci Resolve with full DaVinci Resolve Control Surface). Contact: Blackmagic
Design, www.blackmagic-design.com.

Unite 4K, QuadHD, 2K and HD
with breakthrough features and quality.
Ki Pro Quad enables breakthrough 4K, QuadHD, 2K and HD workflows combining
the efficiencies of ready-to-edit Apple ProRes files and the flexibility of RAW data in a
compact, solid state recording, monitoring and playback package. For the first time,
a true real time lens-to-post workflow exists for any project from HD to 4K.
Ki Pro Quad records incoming HD or 4K signals as Apple ProRes files on rugged Pak SSD
modules for immediate use in major editing applications. Apple ProRes files are highly
efficient, saving storage space while maintaining pristine image clarity. RAW data from
the Canon C500 is passed over Thunderbolt to compatible computer and storage
systems for recording and post-processing for complete color control.
For on-set monitoring and playback, Ki Pro Quad performs a real time debayer of RAW
camera data to the 4K and HD outputs, allowing you to view the native resolution and
simultaneously down-converted SDI and HDMI outputs for cost-effective monitoring.
Get Ready For 4K
Quality and Flexibility
Pass RAW data via Thunderbolt and record
4K Apple ProRes files for the perfect combination
of the highest quality and manageable file sizes.
Power and Portability
Ki Pro Quad is small enough to mount directly
on most cameras but powerful enough to be
the hub of your 4K solution.
Futureproof
Work at HD resolution now with 4:4:4
quality and have the ability to move up
to 4K projects using the same Ki Pro Quad.
www.aja.com
Find out more information at www.aja.com
B e c a u s e i t m a t t e r s

.

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HDVP
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)
DIGITAL ZOOM
When coupled with the Corvid Ultra hardware system and included external joystick,
the TruZoom software application from AJA captures, scales, plays back and deliv-
ers 4K/UHD, 1080p, 720p or 1080i les alongside native Canon C500 RAW data
through an optional rmware update. For more complete coverage, digital zooming
and reframed shots, TruZoom can extract a Region of Interest portion of the frame
from a 4K image and scale it to HD resolution for use in broadcasts or recording.
Presets can be saved and recalled to mimic the effect of switching between multiple
cameras on the y. You can also create keyframed variable-speed playback and holds
of footage to highlight a particular event or create real-time pan and scan effects for
live broadcast or event production. AJAs Corvid Ultra hardware provides real-time
input, processing and output with extensive I/O connections that can handle 3G, HD-SDI, 4K-SDI and 4K-HDMI with embedded and AES audio capabili-
ties. Theres also support of video formats from SD through 4K at up to 60 fps with color depth of up to 16-bit half-oat RGBA. Incoming video signals
are saved to the local disk array as native-resolution DPX les, and the TruZoom software requires the AJA Corvid Ultra hardware and at least one
TruScale option card. List Price: $9,995 (TruZoom software with external joystick controller); $7,995 (Corvid Ultra); $3,495 (TruScale Option Card);
$1,995 (Canon RAW rmware option). Contact: AJA Video Systems, Inc., www.aja.com.
LOCATION LIGHTING
Including three Croma LED xtures with Diffusion Gels
and adjustable ballhead shoe mounts, the Litepanels
Croma Flight Kit combines everything that youll need for
illuminating eldwork. The 90W tungsten-equivalent
Croma xture houses two arrays of daylight- and
tungsten-balanced LED bulbs, which are mixable through
an easy-to-use dial. Another dial offers 0-100% dimming
on each xture. With an expandable range of 19.3 inches
to 6.2 feet, three light stands and adapters are also
included for placing classic 3-point lighting interview
setups. A Manfrotto Justin Spring Clamp provides
more versatile mounting possibilities, and the whole kit
ts into the included overhead-compatible, trolley-
style hard case with custom foam. The Croma Flight
Kit includes three international AC power adapter
plugs or the lights can be powered for up to 1.5 hours
through six AA batteries. List Price: $2,250. Contact:
Litepanels, www.litepanels.com.
A CERTAIN KIND OF GLOW
With a free trial available for Final Cut Pro X, the very affordable Luminaire
plug-in from Noise Industries provides glows and glints for footage with six avail-
able lighting effects. Several blending modes are offered with onscreen controls
that adjust intensity, hue, saturation, amount of colorization and more. Glow
Matte adds glows and luminance while Highlights is a glint generator that uses
a matte extracted from the lighter areas of footage. The Dazzle Rays module
provides a shine effect that interprets the entire processed image as the matte,
with circular or square shape mattes available for controlling how its applied.
Matte Sweep is a manual sweep of light with an optional luminance matte, while
Light Sweep animates automatically in customizable directions. The Twinkle mode
animates glints with intermittent lights from the brightest parts of a scene. List
Price: $29. Contact: Noise Industries LLC, www.fxfactory.com.
CFAST 2.0 FOR ALEXA
ARRI has released an adapter
that allows CFast 2.0 capture with
ALEXA XT and ALEXA Classic cam-
eras with XR Modules. Currently,
the fastest memory card avail-
able, the new Extreme Pro CFast 2.0
cards from SanDisk are available in 60 GB and 120 GB capacities with blazing
speeds of up to 350 MB/s, enough to support the highest frame rates and
codecs available from current cinema cameras, including ProRes 4444 at up to
120 fps, DNxHD in 16:9 HD, 16:9 2K and 4:3 2K. The card has a pinless design
to remove the largest cause of damage in CompactFlash cards, and it has been
developed to withstand environmental concerns, shocks and vibrations. Video
les are closed continuously so truncated shots will still save as an uncorrupted
le. List Price: N/A. Contact: ARRI, www.arridigital.com.

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NOGA ARM
The NOGA Arm from Matthews supports smaller cameras,
lights, monitors, props and other accessories with precise po-
sitioning on an articulated, triple-jointed support arm. The joints
lock or release immediately to position equipment, modify the
angle, and skew or change height. Available in two lengths, the
Large 22-inch model supports up to 11 pounds while the 10.5-
inch Medium model is capable of holding up to 13.2 pounds.
An optional Quick Release and Head Adapter allow for even
faster changes without screws or threads. List Price: $180
(NOGA Arm/Large); $170 (NOGA Arm/Medium); $98 (Quick
Release); $60 (Head Adapter). Contact: Matthews Studio
Equipment, www.msegrip.com.
RAW POWER
In order to eliminate transcoding and rendering times, Glue Tools has an-
nounced new AVID AMA plug-ins for working with RAW video les from ARRI
and Phantom cine cameras natively. With real-time playback in the Avid
Media Composer timeline, the ARRIRAW AMA plug-in will load native .ari
les with support of import, playback, debayer, white balance and color cor-
rection, as well as metadata readouts. Color Controls include Color Space,
Exposure Index, White Point and White Point Tint. Corrections are nonde-
structive, so you can make changes and color corrections without damag-
ing the original footage. Similarly, the Phantom Cine AMA plug-in will allow
you to work with native .cine RAW les from Phantom camcorders without
rendering or transcoding in the Avid Media Composer suite. Color Controls
in the Phantom Cine AMA plug-in include Brightness, Gamma, Gamma Red,
Gamma Blue, Gain, Gain Red, Gain Green, Gain Blue, Pedestal Red, Green
and Blue, Satura-
tion, Flare and Tone
Map. Both plug-ins
are compatible with
Mac and Windows
versions of Media
Composer 7.0 or
later. List Price:
$499 (ARRIRAW
AMA for Avid);
$399 (Phantom
Cine AMA). Contact:
Glue Tools, LLC.,
www.gluetools.com.
ph: 206-467-8666 toll free: 877-467-8666 www.oppenheimercameraproducts.com marty@oppcam.com
Innovative Accessories for Production
OPPENHEIMER CAMERA PRODUCTS CURRENT OFFERINGS
INCLUDE THE OPPCAM PANHANDLE SYSTEM; MONITOR
YOKE MOUNTS FOR PANASONIC, SONY, TV LOGIC,
MARSHALL & OTHERS; CUSTOM 60MM & 100MM MACRO
LENSES; ARRI ALEXA & SONY F65 OB POWER SUPPLY
SYSTEMS, ZOOM LENS CARRY HANDLE SYSTEMS FOR
ANGENIEUX, ALURA, FUJINON & CANON LENSES.
OppCam has been an innovator of elegant, practical, reliable
camera accessories since 1992. Our products have found
markets across the globe and are used by rental houses,
production companies and camerapersons in more than
30 countries. We strive to provide innovative solutions to
camera/production problems. For 2012, we have
some new 35 format macro lenses coming,
with many ideas and new products currently
on our design board.

ONE-STOP SOLUTION
The Matrox Monarch HD is a portable streaming and recording device that si-
multaneously streams a live event while capturing a master-quality version for
post-event editing. Recording and streaming are separated in the single unit
to meet the needs of popular Content Delivery Networks (CDNs) like YouTube
while maintaining the ultimate possible quality for archival footage. Capable of
working with any HDMI input source like cameras or switchers, the Monarch
HD will generate an H.264-encoded stream thats compliant with RTSP and
RTMP. Simultaneously, an MP4 or MOV le can be captured to an SD card,
USB drive or network-mapped hard drive. The system can be controlled re-
motely from computers or mobile devices with a browser, and it streams at
bit-rates of up to 20 MBps while recording at bit-rates as high as 30 Mbps.
The efcient housing includes one-touch stream and record pushbuttons, low
power consumption, a locking power connector and quiet, fanless design.
Up to three units can t into a single 1RU tray. List Price: $995. Contact:
Matrox, www.matrox.com/video.
AFFORDABLE VIDEO TRIPODS
Competitively priced, two new 3Pod Video Tripods are available
from Flashpoint by Adorama. The 3Pod V2AH is an aluminum,
three-section tripod with uid head, capable of supporting pay-
loads of up to 11 pounds. The leg system will extend to 77
inches and has rubber feet. The 2-way uid metal panhead with
quick release has an adjustable textured handle and a 360
range with dampening, counterbalance and drag functions, as
well as bubble level and individual direction locks. The more
affordable V3AH offers a 2-way uid head with quick-release
plate and a larger maximum capacity of 14.5 pounds. The
three-tier leg segments unfold to a height of 61 inches. A
padded carrying case is included with both models. List Price:
$139 (3Pod V2AH); $109 (3Pod V3AH). Contact: Flashpoint
(Adorama), www.adorama.com.

(
HDVP
Q
Misinformation
)
The New Preproduction
Post should no longer be
the last thing on your list
By Iain Blair
For more than 100 years,
lmmakers have followed the same
three signs on the road to a completed
project: You start at preproduction,
move on to production and nally
end up at postproduction. Its a simple
set of instructions and a timeline that
made perfect sense, whether you were
making a big-budget studio movie or a
small documentary. But over the past
decade, the digital revolutionwhich
tellingly began to impact and reshape
the traditional postproduction process
long before the arrival of digital cam-
eras began to impact shootinghas
changed all that. The truth is, if you
still think that post is always the very
last step in the lmmaking process,
youve been sadly misinformed.
The digital revolution has completely
changed the role and nature of post,
and that change is so radical, some
lmmakers now start post on projects
at the same time as they plan prepro-
ductionor even earlier. In fact, its no
exaggeration to say that post has become
so important that the lmmaking road
map should now read: Start at post and
preproduction, continue with post and
production, and end up with more post.
Case in point is Gravity, the recent
3-D hit thriller cowritten and directed
by Alfonso Cuarn (Y Tu Mam
Tambin, Harry Potter and the Prisoner
of Azkaban). We actually needed to
complete post before we even started
preproduction, reports Cuarn. We
had to do very precise animation for
the whole lm, with perfect lighting and
rendering. Then some of the rendering
started every scenes prep work.
And even though the director started
on post work early for such VFX-driven
lms as Harry Potter, he admits that
front-loading postproduction (all done
at London-based Framestore) onto
a complex shoot like Gravity is the
newif unnervingnormal. I had
never gone through a post experience
like this before, he states. It was totally
unconventional. It was also quite scary
because we developed all the technol-
ogy and had these prototypes, and it
was all theoretical. It wasnt until we
had all the nal renderingmaybe
three years into the processthat we
nally knew that the theory worked.
While Gravity may be an extreme
example, all lms with a heavy VFX
component now routinely start post at
the same time as preproduction. Direc-
tor Justin Lin, who has been driving
the Fast & Furious franchise since 2006s
Tokyo Drift, and who has become the
go-to car-chase and car-stunt lmmaker
of his generation, did exactly that with
Fast & Furious 6. How early did he have
to integrate post into the shoot? Right
from the start of the entire project since
the post aspect was crucial, he notes.
And the changing timeline of post
isnt just conned to movies. The hit
CBS show Under the Dome is a sci-
tale that also gives a glimpse into the
future of post in effects-heavy TV pro-
ductions, and how new approaches
and digital pipelines are helping cin-
ematographers and post teams work
together more closely than ever. Shot
by DP Cort Fey on soundstages and
locations in Wilmington, N.C., the show
is postedon set and back in L.A.by
Encore, with an assist from Mobilabs,
Encores on-set dailies solution, which
offers both coloring and processing.
With the DP shooting on ARRI ALEXAs
(REDs, Canon EOS 5Ds and GoPro 3s
for crash cameras are also used), footage
goes to the Mobilabs that are set up in
the studio near the production ofces.
There, the dailies colorist is able to do
color turnaround very quickly, grading
on Colorfronts Express Dailies system,
and get the dailies to Level 3 Post,
Encores sister company in L.A., using
a MediaXpress 100 Mb secure pipeline.
It probably shouldnt even be called
post anymore, sums up Cuarn. Its
now part of all production. HDVP
According to director Alfonso Cuarn (center, foreground), post had to be completed on Gravity
before they started production due to the precise animation and lighting for the entire lm.
P
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t
o

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y

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See the Expedition Series and over 170 other products.
PHOTO, LUGGAGE & COMPUTER CASES

To see all of the Expedition Series Photo Backpacks,
go online or call for our FREE 80 page Color Catalog 1-800-662-0717
For Your Gear... Your Accessories... and Your Back.
model
5587
model
5587
model
5587

(
HDVP
Q
Help Desk
)
At AbelCine, one of the most com-
mon questions our techs get these days
is about lens coverage with different
cameras. Its no wonder that we get
these inquiries, as theres an endless
stream of new cameras coming out, all
of which have different sensor sizes and
specs. We frequently get questions like
this: Does my 16mm lens cover the
Blackmagic Cinema Camera sensor?
or Does my lens cover 6K on the RED
DRAGON camera? These are both
great questions, which we can generally
answer with a simple yes or no. But they
bring up some really interesting points
that all modern cinematographers need
to understand when choosing a lens,
camera and recording format. So this
column is all about lenses, image circles,
sensor sizes and resolutions. The best
place to start is with the lens image
circle and exactly what that means.
CIRCLES OF CONFUSION
When we talk about a lens, we often
describe it by the lm format or sensor
size that its designed to work with.
Super 35mm lenses are designed to
work with Super 35mm lm or sensors
that are around the same size; Super
16mm lenses are designed to work with
Super 16mm lm or similar sensors,
etc. This can be confusing in itself, as
we talk about lens focal length in mil-
limeters, as well. You can have a 35mm
(focal length) Super 16mm lens, for
instance, and a 16mm (focal length)
Super 35mm lens.
When we describe a lens as being
designed for Super35 or 16mm lm,
were actually talking about the image
circle of a lens. Lenses are designed to
project a circular image onto a sensor
or lm plane. The size of the projected
image circle is based on the design of
a lens. An average Super 35mm lens
has an image circle diameter of around
32mm to 35mm, while an average
Super 16mm lens has an image circle
diameter of around 15mm to 18mm.
Lenses designed for smaller formats,
usually in video cameras, are often
referred to in inches. A 2/3-inch-type
lens has an image circle of around
11mm, and a 1/2-inch lens image circle
is around 8mm.
In the graphic above, you see
Super35, Super16, 2/3-inch and 1/2-
inch image circles on top of each other.
This photo was taken on a 50mm (focal
length) lens. If it were a Super 35-type
lens, we would get the outside image;
if it were Super16, we would get the
image outlined for that and so on.
The focal length of the lens is exactly
the same; we just get more of the image
with the larger image circle. Focal length
is unrelated to image circle, which is
a big point of confusion for many of
us. A 100mm lens has the same focal
length, regardless of its lens type; the
difference is just how big of an image
circle it projects.
COVER ME!
So hopefully you understand the
image circle concept. Now lets discuss
how it plays together with sensor (or
lm) size. Super 35mm lm is standard-
ized at 24.9x18.7mm (31.1 diagonal),
but our modern digital sensors come in
a variety of shapes and sizes. From the
large full-frame 35mm sensors found in
many DSLRs to the small 1/2.5-inch sen-
sors found in many POV cameras, sensor
sizes vary a lot. Below is a graphic with
a variety of camera sensors overlaid in
relative size. As you can see, each sensor
is a bit different.
Sensors & Circles
Will your lens cover your
particular sensor?
By Andy Shipsides
Sensor Overlays
ABOVE: Lenses are designed to project out a circular image onto a sensor or lm plane.
An average Super 35mm lens has an image circle diameter of around 32mm to 35mm.
$
345
Camplex Universal Fiber Mount Bracket

Save thousands over conventional camera mounted fber systems by
ordering the Camplex BLACKJACK camera-back fber interface! The
BLACKJACK utilizes the famous Blackmagic ATEM fber camera con-
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er! The BLACKJACK ruggedizes the ATEM with a heavy duty Neutrik
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Look for the Camplex brand when you desire the most robust & cost effective fber optic accessories for
professional flm and video production. Our modular design philosophy lets you add long length and high
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HELP DESK
We say a lens covers a sensor when
its image circle produces an image over the
full sensor size. So how do we determine
if a lens image projection will cover a
specic sensor? Just overlay the two. Look
at the graphic of the image circle of a Zeiss
CP.2 prime lens (right), which produces an
image circle of 43mm (diagonally), com-
pletely covering every sensor size from full-
frame 35mm down to 1/3-inch sensors.
From the diagram, you can see that a
Zeiss CP.2 will work with a huge variety
of sensors. But what about a Super 16mm
lens with a 15mm image circle?
In this graphic (below, right), the Super
16mm lens doesnt cover anything larger
than the Super16-sensor type. That
makes sense, of course, but notice what
happens to all the larger sensors; they
vignette. This is exactly what you would
see if you put a Super 16mm lens on a
camera like the ARRI ALEXA or Sony F55,
which both have sensors around the size
of Super 35mm lm.
ANOTHER ASPECT
Okay, so lens coverage isnt all that
complicated when you compare sensor
sizes to a lens image circle. But many
modern cameras offer a variety of aspect
ratios and resolution modes, which allow
the camera to record different areas of its
sensor. Cameras that have this option are
effectively altering their sensor size. The
RED DRAGON is a great example of a
camera that has these modes.
In this graphic (opposite page), Ive
overlaid a standard Super 35mm lens
image circle over a DRAGON sensor. The
lines over the sensor indicate different
recording areas and aspect ratios. As you
can see, the area outside the 6K image
isnt covered by the lens, but the inside
areas are all covered just ne. So this lens
doesnt cover the 6K resolution area on
the RED DRAGON.
This brings up another question: What
Zeiss CP.2 Under Sensor Overlays
Super 16mm Under Sensor Overlays
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know they will work. Other Super 35mm
lenses generally wont cover that image
area, but the only way to know for sure
is to test them. AbelCines technical blog
and other online resources are available
that list various image circles, so visit our
site to learn more. HDVP
does resolution have to do with lens
coverage, anyway? The answer: Nothing.
The 6K resolution area of the DRAGON
is physically 30.7x15.8mm (34.5 diago-
nal) in dimension, meaning that each
photosite on the sensor is around 4.9um
(0.0049mm) in size. A different sensor
type could have larger or smaller pho-
tosites in the same area, producing lower
or higher resolutions.
IN CONCLUSION
Lets go back to our original questions:
Does my 16mm lens cover the Blackmagic
Cinema Camera sensor? and Does my
lens cover 6K on the RED DRAGON cam-
era? Super 16mm lenses dont cover the
Blackmagic Cinema Camera sensor, as the
image circle of Super16 glass is 15mm,
and the BMCC sensor has a diagonal area
of 18.4mm. As for the RED DRAGON
at 6K, the answer depends on the lens
image circle. Having a 6K resolution has
nothing to do with lens coverage, but it
does describe a large area of the sensor.
Lenses like the Zeiss CP.2 primes and
CPZ.2 zooms are designed to cover the
larger full-frame-sensor cameras, so we
Andy Shipsides is a N.Y.-based Camera
Technology Specialist and Manager of
AbelCines Training Department. To learn
more about AbelCines Understanding
HD Series, you can visit their website
at training.abelcine.com.
LEFT: The lines
over the sensor
indicate different
recording areas
and aspect ratios.
The area outside
the 6K image
isnt covered by a
Super 35mm lens.
Images courtesy
of AbelCine

(
HDVP
Q
Video Assist
)
DIFFERENT PERSPECTIVES
I recently set up to shoot some interviews
and thought about the concept of what
framing I should use. Usually, I would just
mix up the framing, going from medium
to close-up, etc., so that once the footage
got into edit they wouldnt be hampered
by jump cuts. But as I set up my gear, I
got into a discussion with the interviewer/
director about framing the interviews. He
brought up the point that if the only reason
I changed framing was to avoid jump cuts,
how was I to know which bites would be
cut against other bites? He suggested that
I assumed I knew how things were going to
be cut and that maybe I was actually mak-
ing things worse. It was really an academic
discussion. We both agreed that mixing
things up would provide some options in
edit. If, on the other hand, all the shots
were the same framing, every editnot
just a fewwould be jump cuts.
Fast-forward to my next project with the
same interviewer/director. This time we were
shooting people on a greenscreen. The idea
of shooting the interviews vertically popped
into my head. I gured that since the left
and right sides of the frame were usually
just wasted green, orienting the camera
vertically would ll that space. By lling
more of the screen, there would be more
options for resizing when the people were
composited. Im sure this isnt a new idea,
but Im curious if the lens would cooperate.
Are lenses optimized for shooting horizon-
tally? Or, more simply, is this a good idea?
S.D.
Via email
Shooting vertically isnt a new idea, but
asking about lens orientation is a great
question. A simple answer could be
based on what you might glean from
still photographers. I think if you ask
any professional photographer if they
think twice about shooting vertically
versus horizontally because of lens per-
formance, they would say no.
But lets look at this question a little
more methodically. Discussions about
lens performance inevitably focus on
MTF, the Modulation Transfer Function.
MTF is one of the measures of how well
a lens will reproduce a scene.
If you think about resolving detail
in a scene, youre dealing with con-
trastthe difference between darkness
and brightness and how quickly that
difference occurs across a given amount
of space. This is more than just pixel
count; its really how those pixels are
changed from black to white, depending
on how frequently the detail in the scene
changes from black to white.
Think of poppy seeds on a white
sheet of paper. If the lens presents black
seeds against bright white, the MTF of
the lens is better than if the seeds look
gray. But optical tests dont use poppy
seeds. They use charts lled with black
and white lines that change in size.
The charts use lines in different ori-
entations to measure different MTFs. If
you dive deep into optic specications,
you might see terms like tangential or
meridional and sagittal that relate to
the orientation of the lines.
But rather than pulling out graphs
showing various MTF curves, let me
summarize what Ive learned from a
few lens manufacturers. Theres a dif-
ference in performance depending on
the orientation of the lens. However,
that performance difference is so small
as to be mostly of interest to people
testing lenses. In the real world (by that
I mean subjects that arent test charts
and displays that are for viewing and
not measuring), the difference wouldnt
be noticeable based on lens orientation.
Resolving Detail
Shooting from a different perspective
By Michael Guncheon
ABOVE: For resolving detail, contrast is key, and poppy seeds on a white sheet of paper is a
good illustration. If a lens presents black seeds against bright white rather than gray seeds,
the MTF (Modulation Transfer Function) on that lens is better.
S
h
u
t
t
e
r
s
t
o
c
k
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VIDEO ASSIST
However, the lens is only part of the
equation. Other parts of the equation
include the codec thats being used to
record the image. If your codec uses
chroma subsampling such as 4:2:0, then
youre losing some chroma resolution in
the vertical domain. That loss might be
more apparent depending on the subject
and the viewing screen size. This could
be a problem, particularly because you
mentioned the possibility of a greenscreen.
I cant let this subject go without bring-
ing up some more practical things to think
about if you go this route. One is to make
sure you monitor properly. Youll need to
mount a monitor vertically so you can see
the scene properly. Merely turning your head
sideways not only would be a pain in the
neck, but it might prevent you from seeing
problems. What problems? Well, because
youre using up all the horizontal space
by switching to vertical, that means your
interviewee wont have as much room to
move their hands about. With greenscreen,
you dont want any hands cut off.
Youll also need to have a good con-
versation with the person doing the post,
since they will have to rotate every shot. I
know that discussion seems obvious, and
I think its a good idea with any shoot,
but especially with greenscreen shoots.
Lastly, it wouldnt hurt to test the concept
so you know how much you gain by doing
this. Lets say youre shooting someone at
1920x1080 for delivery at 1920x1080. If
theyre sitting on a stool and you frame
from below the knee to a little headroom,
youll obviously get the full-length shot. But
if you want something a little closer than a
waist-to-head medium shot, youll only get
it if you start scaling up the image beyond
100%. And if youre looking for the type of
close-up that you might frame when you
shoot horizontally, you might have to scale
the image up to 150%. The quality might
not be where you want it to be. Of course,
you could shoot using higher-resolution
capture such as 4K and that would give
you more options, but youd also have
larger les to deal with. HDVP
Send in your video production technical
questions to videoassist@hdvideopro.com
or mail them to Video Assist, HDVideoPro
Magazine, 12121 Wilshire Blvd., Ste. 1200,
Los Angeles, CA 90025.

Adventure flmmaker and photographer Lucas Gilman creates dramatic photos and videos that
show adventurous athletes performing some incredible feats. We had a chance to interview
Gilman to talk about how he works and how he creates his unique adventure-sports projects.
Whats the latest trend in action sports, and how has the demand for your kind
of work grown and changed in recent years?
The demand for adventure and extreme sports has
grown from being a niche industry to going mainstream.
The latest trend in action sports is to continue to push
the envelope and the limits of whats humanly possible,
and you see examples everywhereeven events like
ESPNs X Games making prime-time television.
How do you work with the athletes themselves?
The relationships with athletes are paramount. In a per-
fect world, youll grow together in your respective felds.
Its a team effort. It has to be a win-win relationship, and
theres a lot of trust involved. The athlete is putting their
life on the line, and you have to get the shot. Theres no
take two, no second chance.
What are your clients looking for currently?
I fnd clients are looking for something more from images
and motion. There needs to be a story. It cant just be a
good shot of a guy hucking himself off of a cliff. There
has to be something unique about it to stand apart.
What G-Technology product features are most
important for you when you shoot in the feld?
I love the new Evolution Series drives, which are super-
durable and allow me to plug in via USB 3 in the feld to
back up data. Then I insert the ev drive directly into the
G-DOCK back at the studio and offoad data using the
blazing-fast Thunderbolt connection.
You create an artistic look. How important is
that artistic aspect?
Artistry in action-sports imagery is extremely important,
and its harder to control than in other genres because
generally the action is moving fast, and youre at the
mercy of the outdoor climate.
How does G-Technology gear factor into your
workfow?
G-Technology gear is the cornerstone of my digital workfow and backup strategy. As an inde-
pendent flmmaker and photographer, if Im not able to deliver content to my clients, Im not
going to get paid. And once youve lost the trust of the client, theres no going back. I like the
G-DRIVE ev and G-DOCK for use in the feld. The system allows me to seamlessly download
and back up content in the feld, thus ensuring success.
To learn more about the Evolution Series and other
G-Technology products, go to www.g-technology.com
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Its no secret that the ARRI ALEXA is a well-executed
digital cinema camera that has become a favorite for projects as
diverse as blockbuster theatrical releases and popular television
series over the past few years. The ALEXA is even being used
to shoot commercials and music videos, as well. The cameras
very organic image quality, dynamic range and general look
have proven to be a major hit. Given ARRIs long history and
heritage of creating innovative lm cameras and lighting gear,
its not surprising that the ALEXA has been popular in the cin-
ematography community.
The new ARRI AMIRA was introduced at the 2013 European
IBC Show in Amsterdam. Representing a whole new direction
for ARRI, the camera is intended to tap into markets where
utilizing a camera like the ALEXA, which is designed as a
two-operator digital cinema camera, just isnt practical. A fully
outtted ALEXA for cinema production is a large, heavy camera
setup. ARRI obviously saw an opportunity in the market for a
very high-quality, yet highly portable camera system and acted
upon it. The AMIRA was conceived to be easily utilized by a solo
operator. Its smaller, lighter and presumably will cost less than
the ALEXA (ARRI hasnt yet released an MSRP), yet it still shares
the same sensor and image quality as the ALEXA.
So will the AMIRA just be a smaller ALEXA designed for
handheld shooting? Lets explore some of the more interesting
tidbits ARRI has put out to the press.
IMAGING
Lets cut to the chase. The AMIRA, at least at press time,
wont support any form of 4K image acquisition. I asked
ARRI, and they replied that theyre not able to comment on
potential future camera products. Filmmakers, DPs and other
image-quality watchdogs already have began asking how the
AMIRA will be able to compete with other digital cinema
cameras like the RED EPIC and the Sony F5, F55 and F65, all
of which are capable of capturing at 4K or higher spatial reso-
lutions. AMIRA captures 2K or 1920x1080 les in Rec. 709 or
Log C using ProRes LT, 422, 422 HQ or 444 codecs. More on
this later.
Markus Drr, Product Manager for the AMIRA, is based in
Munich, Germany, at ARRIs headquarters. The design goal for
AMIRA was primarily to get a camera thats perfectly suited for
any kind of documentary-style shooting, he reveals.
While the AMIRA doesnt boast 4K capabilities, ARRI has
included some other specications that are impressive. How
does a camera with a dynamic range that exceeds 14 stops,
low noise levels, subtle highlight handling, natural color and
especially smooth, attering skin tones sound?
While the AMIRA wasnt available for a hands-on review, Ive
shot with the ALEXA, and one of the things that continually
impresses me about that camera is the incredibly smooth and
lifelike skin tones. Other cameras Ive shot with, which shall
A rst look at ARRIs new shoulder-mount,
documentary-style camera, the AMIRA
BY DAN BROCKETT
ON
THEMOVE

remain unnamed, have much higher spatial resolution than
the ALEXA, but all of that resolution really has little to do
with how the footage will look to someone on their computer
screen or on a large movie screen.
The AMIRA also features built-in 3D LUTs, allowing for the
minimization of time spent grading in postproduction. Users
can create their own custom-built 3D LUTs and upload them
to the camera, as well, with the idea being that the AMIRA
will allow users to develop very sophisticated looks without
the extra time and money spent in the color-correction suite.
The AMIRA can also shoot at up to 200 fps using the full
resolution of the sensor, a very handy feature for the produc-
tion that wants some good-looking slow motion without the
expense, time and hassle of renting high-speed cameras to
shoot it.
RECORDING FORMATS
The AMIRA can Rec. 709 and Log C images using ProRes LT,
422, 422 HQ or 444 codecs. The camera utilizes open-format
CFast 2.0 Flash Memory cards. Physically, the CFast cards resemble
conventional CF cards, but theyre a new, recently announced
storage card standard, much faster than regular CF cards,
with a 450 Mbps data rate. Price and release date of the
cards are unknown at the time of writing this article, but
they will be available soon.
SOUND AND OTHER OPTIONS
The press photos of the AMIRA that ARRI issued show
multiple onboard balanced audio inputs. The audio inputs
are 1x XLR 5-pin and 2x XLR 3-pin, which results in four
inputs. The camera also will include integrated WiFi and
Bluetooth interfaces, as well as built-in diversity antennas.
The Bluetooth allows cable-free audio monitoring with a
Bluetooth headset.
DESIGN AND ERGONOMICS
Based upon my experience, ARRIs products are
robustly constructed and utilize simple, dedicated, func-
tional controls for many common operations. ARRI is
a German company, and typically, their products fea-
ture superb design and engineering. The AMIRA looks
as if it will carry on this tradition. The camera also
features integrated, motorized ND
lters, zebras, false color controls
and an advanced peaking function.
ARRI has engineered a new cool-
ing system referred to as Thermal
Core, which promises to allow the
AMIRA to run cooler and quieter with-
out overheating.
The camera also features dedi-
cated multifunction user buttons
that can be customized to have the
most commonly used feature pre-
sets for each operator available at
his or her ngertips. AMIRA fea-
tures an innovative multi-viewnder
that combines a foldaway LCD monitor with a high-resolution
OLED eyepiece. While normal video cameras have had this sort
of setup for years, to see ARRIs implementation of this feature
is a nice example of doing this function right and with very
high quality.
ARRI has also included sliding dovetails on the AMIRA that
allow for perfect shoulder balance, regardless of whether you
have a 15-pound PL-mount cinema lens or a 9-ounce Canon
EOS lens mounted to the camera. With the sliding dovetails for
the camera body, and the entire viewnder assembly, the user
can quickly and easily balance the camera for optimal shoulder
t and feel.
WHAT IT DOESNT HAVE
In sifting through preliminary reviews, press releases and video
from the IBC show oor, were able to divine some interesting
facts about what the AMIRA doesnt have or cant do.
s .O CAPABILITY
s .O ANAMORPHIC
s .O !22)2!7 CODEC RECORDING
s .O !22) !,%8! 0LUS FUNCTIONALITY
The new ARRI AMIRA is
designed to be easily
operated by a single shooter.
Its smaller and lighter than
the ALEXA and has a dynamic
range that exceeds 14 stops.

THE FEEDBACK LOOP
Since AMIRA details about price, delivery date and exact fea-
tures still seem to be somewhat in ux at press time, I thought
it might prove interesting to speak with a few industry-leading
cinematographers about the features and capabilities they hoped
that ARRI was considering for the AMIRA, and the responses
were enlightening.
Ive done test shoots with the ALEXA and have worked on
projects where it was used, says DP Jody Eldred (Medium, NCIS,
JAG). I like that its user-friendly and has a very nice, lmlike
look. AMIRA users will expect no less. I own and use the Sony
F55 and 4K RAW recorder. The camera is one-third the cost of
the ALEXA. I expect that ARRI will have to compete price-wise,
especially as the AMIRA is 2K and the F55 and F5 are 4K. Same
goes for HFR capabilities and 14 stops of dynamic range.
Charles Papert, a Los Angeles-based director of photography,
uses the ALEXA to shoot the Comedy Central series Key and
Peele, as well as other television series, webisodes and feature
lms. My hope is that the AMIRA remains as easy to use and
change basic parameters and settings as on the ALEXA, reveals
Papert. Im also hoping that its signicantly lighter, as I feel
that its a great contender for Steadicam and handheld use.
Smaller, lighter and less costly is a set of win-wins as far as Im
concerned, especially if the sensor remains the same. Id like to
see remote control and viewing of the camera parameters such as
ISO, shutter, frame rate, etc., transmitted via WiFi or Bluetooth
so that a DIT or assistant can make changes remotely, perhaps
from an iPad or iPhone. LUT uploading would be great also.
As we can see, ARRI did do their research; several of the
features that DPs are requesting will be included in the rst
AMIRA release.
ARRIs Drr responds, The experience and the feedback from
ALEXA users was certainly very important, but we also talked to
people who arent necessarily ALEXA users, but use their cameras
in a documentary style.
THE RESOLUTION QUESTION
In response to the questions I heard in speaking with DPs,
ACs and directors about the AMIRA and the fact that it wont,
at least in its initial offering, contain 4K, the market will have
to decide if having very high spatial resolution is more desirable
than having the ARRI look in a smaller, lightweight, lower-cost
and ergonomically well-designed package. Its interesting to note
that the last James Bond megahit Skyfall was photographed with
the ALEXA in 2.8K ARRIRAW to Codex recorders and was then
upscaled to 4K for theatrical release worldwide. Reviews of the
lm often mentioned the outstanding cinematography, so that
fact may make you ponder the importance of 4K acquisition.
THE AMIRA IN THE BALANCE
Kudos to ARRI for trying something unexpected and totally
different with the AMIRA. Based upon my own experience with
the ALEXA, I think the AMIRA will be a winner because it will
have the same incredibly appealing sensor and the same basic
look and feel to the images. ARRI seems to have put a lot of
thought into the design and integrated a considerable amount
of research, as well as communication with users, to be able to
offer most of the features they want. I personally feel that 4K
in the average consumers home is a long way off; it has been
proven that feature lms can be shot in 2K and successfully
uprezed to 4K, and most web content I shoot is screened at
1280x720, so at the present time, I dont care that the AMIRA
will be a 2K-only camera, at least initially.
The big question that Im sure ARRI is mulling over is price
point. Competing cameras offer higher spatial resolution, different
codecs and a whole different camera infrastructure and philoso-
phy, and the success or failure of the AMIRA in the marketplace
will be highly dependent on the way its priced. I look forward
to a hands-on test once the camera is released. HDVP
For more information on the AMIRA, visit www.arri.com.
The AMIRA doesnt capture 4K, but will capture 2K or 1920x1080 in Rec. 709 or Log C using ProRes codecs. All images courtesy of ARRI

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Although the 4K RED ONE was
released way back in 2007, Sony has been
one of the leading companies behind the 4K
push, launching 4K digital cinema cameras
like the F65, F55 and F5 for high-end motion
pictures. But with the exception of JVCs GY-
HMQ10 ($5,500 list) and Sonys own FS700R
($8,686.05, camera body only), most of your
4K cameras are priced north of $10K. Up until
now, 4K wasnt an attainable format for the
majority of shooters.
Announced back in September 2013, the
FDR-AX1 is Sonys rst consumer 4K video
camcorder thats targeted toward the low-
budget lmmaking community. With a retail
price of only $4,499, which includes Vegas
Pro 12 and a 32 GB XQD memory card,
the AX1 denitely could hit a new and wider
4K demographic.
Recently, Sony invited a number of photo
and video journalists to attend their annual
DI Press Tour, which was held in Nashville,
Tenn. For the entire trip, I had access to the
AX1 and was able to shoot 4K footage in vari-
ous environments.
THE AX1 IN A NUTSHELL
- Sloos UIia HD (384ux2l6u icsoIuion)
- Rccoids icaI-imc 4K up o 6up
- Conains a l[2.3-incl, 8.3-mcgapixcI Exmoi
R CMOS sensor
- Has foui nIci scings: Off (CIcai), l[4 nIci,
116 lter and 164 lter
- Conains a huiI-in mic wil 2x PRO XLR
jacks for audio
The

Consumer
Shooter
FIRST IMPRESSIONS
Over the years, cameras have evolved into boxes with lens
mounts, and although Ive grown accustomed to compact and
lightweight DSLRs, the AX1s longer camcorder body was a
welcome return. Unlike a DSLR, its great to alternate between
a high-quality viewnder and an LCD to monitor shots when
alternating between exterior and interior locations.
Unlike a shoulder-mount ENG-style camera system, the
AX1, which weighs 5.38 pounds, can be taxing on your wrists
and biceps if youre shooting for long periods. When shoot-
ing with the camera at eye level, I would typically hold the
camera by using the hand grip with my right hand, with my
left hand on the barrel of the lens, balancing the camera.
For shooting low-angle shots, I would use the cameras top
handle or I would cradle the camera from below. If youve shot
with Sony camcorders before, the AX1 has a similar build to
their popular HXR-NX5U NXCAM camcorder, although its a
tad heavier.
At $4,499, is Sonys FDR-AX1 the most important
camera in the 4K push? | BY NEIL MATSUMOTO
RIGHT: The FDR-AX1 is
Sonys rst consumer 4K
video camcorder. Containing
a small, 1/2.3-inch sensor
and costing just $4,499, the
camcorder captures Ultra HD
(3840x2160) resolution.
BELOW: The AX1 uses the new
XAVC-S codec thats captured
to Sonys new XQD cards.

THE LENS
The AX1 has a nice Sony-branded 20x (35mm equivalent of
29.5-590mm) G Lens with a barrel that contains three rings to
control focus, zoom and iris. For autofocus, the AX1 uses con-
trast AF, which is pretty quick, although not as quick as the dual
phase detect AF found in some of Sonys DSLRs, like the A99.
For manual focus, one function that really comes in handy is
peaking, which is the feature I miss most when shooting with a
DSLR. The AX1s peaking comes in yellow, red or white. Another
great feature on the AX1 is the manual focus assist, which gives
you a magnied display to check your focus more precisely.
Also, for shaky movement, youll probably want to engage the
camcorders Optical Steady Shot when shooting handheld.
The exposure system has an /1.6 to /11 range, and the
variable aperture is /1.6 to /3.4 with six blades. Overall, the
G Lens is a solid, versatile video lens that allows you to shoot
in almost any environment.
FEATURES
Even though the AX1 is being targeted toward both profes-
sionals and consumers, in my opinion, due to the small 1/2.3-
inch sensor, the camera probably will best serve the low-budget
documentary and ENG community. The camera offers a number
of professional cinema features, although not quite what you
would get with the FS700R, much less compared to professional
systems like the F65 or ARRI ALEXA. But if shallow depth of
eld isnt a top priority for your project, the AX1s long lens and
quick AF make it a great run-and-gun camera.
The AX1 offers ve paint functions (white balance, gamma,
detail, skin detail and matrix), which can be used to create a
more cinematic look. For indie lmmakers, if youre looking for a
more neutral or at color space, the AX1 offers a Cinema gamma
setting that lets you choose between two settings: Cinematone 1
and Cinematone 2. Cinematone 1 has more of a at look than
Cinematone 2 (similar to Sony S-Log), although both settings
should give a little more leeway during post. Because I didnt
have a lot of time to color-grade, I chose Cinematone 2, which
dials down the contrast and sharpness, but still has a pleasing
look. Although Cinematone 1 is a bit atter, its still less extreme
than Technicolors CineStyle prole. For white balancing, you can
choose between Auto, One Push, Outdoor, Indoor and dialing
in your color temperature at 100 increments.
Perhaps the biggest advantage the AX1 will give you over
a DSLR is a better viewing system. The camcorder contains a
3.5-inch Xtra Fine LCD 3D display (1229K) with 100% 16:9
coverage. Like many of Sonys camcorders, the LCD is on top
ABOVE: An Ultra HD frame grab of Jeep
Wranglers offroading in Nashville, Tenn. The AX1 uses a Sony-branded 20x (35mm equivalent of
29.5-590mm) G Lens that provides quick contrast AF and peaking for manual focus.

of the body and has a turning angle of 270. Also, once the
LCD is opened, you have access to your menu system, a design
feature Ive liked on previous Sony camcorders. While viewing
shots, youre also able to employ zebras to prevent overexposure.
The other big advantage the AX1 will give you over a DSLR is
professional audio. The AX1 features two external pro-style XLR
connectors, as well as a high-performance internal microphone.
While shooting, I used Sonys ECM-XM1 shotgun microphone,
which worked out nicely. Previous Sony camcorders on the
consumer side didnt contain XLRs.
When compared to a large full-frame or APS-C sensor, shoot-
ing in low light was denitely one of the cameras weaknesses,
although the AX1 did fairly well, performing better than expected.
(Remember, youre packing 8300K pixels into a 1/2.3-inch sen-
sor.) The camera has three ND lter settings that start at zero,
which you can boost up to 27 dB. I had my three settings at
0, 9 dB and 18 dB. For shooting Ben Folds performing inside
the Ryman Auditorium, I had to shoot at +18 dB gain, which
would be the equivalent of ISO 2500+. On a Canon EOS 5D
Mark III, ISO 2500 still looks pretty clean, but with the AX1,
you do get a considerable amount of noise. When I viewed the
Ultra HD (3840x2160) footage on one of the Sony XBR 4K TVs,
the images were usable, although not ideal.
XAVC-S
For 4K capture, Sony was very smart in regard to the AX1s
format. To capture 3840x2160 resolution, the AX1 uses Sonys
new XAVC-S codec, which I believe will dominate 4K acquisi-
tion for the consumer and prosumer market. XAVC-S employs
an efcient MPEG-4 AVC/H.264 Long GOP compression with
an MP4 wrapper, and although XAVC uses less compression and
supports color depths up to 12-bit, the les are monster-sized
and, as of yet, cant be captured to ash memory cards.
XAVC-S is recorded to XQD cards, and you can record almost
two hours of 4K (UHD) video on a 64 GB memory card. There
are two memory slots that can be hot-swapped, which means
you can remove a lled-up card from one slot and, while insert-
ing a new one, continue shooting.
THE 4K FUTURE
All in all, the FDR-AX1 is a gutsy move by Sony because,
without 4K in mainstream distribution (broadcast TV, DVDs,
Internet), the majority of indie lmmakers are still waiting
on the sidelines. But unlike many of their competitors, Sony
has more 4K skin in the game by continuing to spread their
4K SXRD digital cinema projectors into theaters and, more
importantly, their XBR Ultra HDTVs into living rooms. And
just like HDTV before it, the sales numbers of 4K televisions
will be the important gure to track in the 4K transition. With
Sonys XBR Ultra HDTVs coming down in price ($3,499 for a
55-inch set), the AX1 is currently one of the few affordable
ways to appreciate 3840x2160 resolution. So why not create
4K entertainment yourself? And, for this reason, the AX1 is
currently the most important 4K camera on the market. HDVP
Learn more about the Sony FDR-AX1 at www.sony.com.
The DSC-RX10
A doc-style movie camera
in a still camera body
By Neil Matsumoto
Although primarily a digital still camera, Sonys
new DSC-RX10 is an interesting option for
lmmakers. Part of Sonys consumer Cyber-shot
category, I normally would never recommend a
xed-lens consumer camera for lmmakers, but the
RX10 has some unique features for either mirrorless
or single-lens-reex cameras. Compared to a 5D
Mark III, the RX10s sensor is very small at one inch.
For shooters used to capturing cinematic shallow
depth of eld with full-frame or APS-C sensors, a
one-inch sensor can be a dealbreaker, but to make
up for the small sensor, Sony has included a very
long 24-200mm (35mm equivalent) xed Zeiss
Vario-Sonnar T* lens with a constant /2.8 aperture.
But when you examine the one-inch
sensor, which measures 13.2x8.8mm (3:2
aspect ratio), its actually larger than both 16mm
(7.49x10.26mm) and Super 16 (7.41x12.52mm)
lm. And because of its smaller size, for video the
RX10 utilizes all of its photosites, so aliasing and
moir are less of an issue compared with the pixel-
binning or line-skipping performed on most DSLRs.
Video features the RX10 contains (which nearly
every still camera does not) are both zebras to
control overexposure and peaking to control focus.
With its very long lens and without shallow
depth of eld like the AX1, the RX10 could function
as a great documentary-style camera. Because of
its still camera body style, you denitely could
capture some covert-style shots.

For two straight years, Australian-based company
Blackmagic Design stole the show at NAB. In 2012, the announce-
ment of the Blackmagic Cinema Camera rocked the show oor,
with its interchangeable EF mount and the ability to capture
2.5K RAW CinemaDNG and Apple ProRes les for a price less
than $3,000. (The current price has come down miraculously
to $1,995.) In 2013, they announced not one, but two cameras
that disrupted the industry again. The Blackmagic Production
Camera 4K shoots Ultra HD (3840x2160) in RAW CinemaDNG
or Apple ProRes. But unlike the BMCCs smaller-than-4/3s sensor
(15.81x8.8mm), the EF-mount Production Camera 4K contains
a Super 35-sized sensor (21.12x11.88mm).
But generating even more excitement than the Production
Camera 4K was the Blackmagic Pocket Cinema Camera. Crowds
of lmmakers, cinematographers and journalists hovered around
the glass case housing the miniature bar-shaped camera just
for a glimpse. What makes the camera special is that its a true
digital motion-picture camera thats not much larger than an
iPhone 5S. Oh, and by the way, the price of the camera is only
$995essentially, a third of the price of a high-end DSLR. (Its
important to remember that without a mechanical shutter, the
BMPCC doesnt have still photography capabilities.)
TRUE POCKET CINEMA
Youve already read the reports that camera phones have
completely obliterated the consumer point-and-shoot still camera
and palmcorder video marketplace. Although the BMPCC is a
pocket-sized camera that shoots 1920x1080 resolution like most
camera phones today, the ability to record both ProRes and now
RAW CinemaDNG les is what sets this camera apart from any
camera phone, action camera or even DSLR (non-hacked). In
fact, the closest thing I can really compare it to is a miniature
Super 16mm cameraone that will t snugly inside your pocket
(sans lens). The BMPCCs sensor (12.48x7.02mm) is roughly the
size of Super 16mm lm (7.41x12.52mm), and CinemaDNG is
similar to having a digital negative.
POWER
RAW

BMPCC TECH SPECS
- Dimcnsions: 5.u4(L)x2.6(W)xl.5(D) inclcs
- l2.48x7.u2mm scnsoi
- l92uxlu8u icsoIuion
- LossIcss CincmaDNC RAW and
AppIc PioRcs 422 (HQ) a l92uxlu8u
- Sloos 23.98p, 24p, 25p, 29.97p, 3up
- l3 sops of Iaiudc
- 3.5-incl LCD wil 8uux48u icsoIuion
- Mcadaa suppoi foi Iogging camcia daa
FIRST GLANCE
Wilou a Icns aaclcd, lc BMPCC Iooks vciy mucl Iikc
a smaiplonc Icngl- and widl-wisc, and Iikc lc BMCC, lc
hody is vciy modcin, wil smool suifaccs and no wlccIs oi
diaIs. 1lcic aic smaII pIayhack huons la si ncx o a REC
huon on op of lc camcia. 1lcic's aIso IRIS, FOCUS, MENU,
POWER and oggIc huons on lc hack of lc camcia la aIIow
you o makc clangcs. A lc hoom of lc camcia, lcic's a
haciy dooi foi hol lc haciy, an SD caid and a USB poi
o updac lc camcia's nimwaic.
On lc sidc of lc camcia, you lavc nvc connccions, incIuding
LANC Rcmoc ConioI, wlicl uscs lc sandaid LANC pioocoI,
a 3.5mm lcadplonc jack and a 3.5mm scico audio conncc la
acccps micioploncs oi Iinc-IcvcI audio. 1lis is diffcicn, and in
my opinion, an impiovcmcn ovci lc BMCC, wlicl uscs wo
l
4-incl jacks. 1lcic's aIso a u.7mm l2-2uV DC inpu o conncc
youi powci suppIy o claigc lc haciy. AII and aII, hccausc of is
smaII sizc, lc BMPCC las a vciy cconomicaI and cfncicn dcsign.
OPERATION
A l2.52 ounccs (hody onIy), lc BMPCC is ohviousIy casy
foi landlcId slooing, wil no iig icquiicd. Evcn moic lan
a DSLR, you'ic ahIc o capuic slos in Iocaions aImos as if
you'ic opciaing a smaiplonc.
AIlougl lcic aic many piofcssionaI quaIiics in lc BMPCC
la no suh-$l,uuu camcia las a iigl o lavc, lc BMPCC docs
Not much bigger
than a smartphone,
the Blackmagic
Pocket Cinema
Camera contains
a secret weapon
BY NEIL MATSUMOTO
The Blackmagic Pocket Cinema Camera isnt
much larger than an iPhone 5S and offers the
power of RAW CinemaDNG les in the palm
of your hand for less than $1,000.

have its quirks, especially if youre accustomed to shooting with
professional digital cinema cameras. For example, if you want
to change your exposure, instead of dialing a knob, you need
to press the IRIS button and then push up or down arrows to
make adjustments. Like the BMCC, you can set your look to be
either Film Dynamic Range or Video, which is a Rec. 709 prole.
Although unorthodox, one nice feature about this is that if youre
recording in the Film Dynamic Range setting, you only need to
press the IRIS button, and it will automatically set your exposure
to the brightest highlight in the frame so your whites wont clip.
In terms of workow, I captured CinemaDNG les with the
Film Dynamic Range setting to a SanDisk Extreme Pro, with write
speeds of up to 95 MB/s. In DaVinci Resolve Lite (free download
on the Blackmagic website), I added the Blackmagic Cinema
Camera default LUT to the les and transcoded to ProRes (HQ).
Although the 3.5-inch display looks great and has the same
resolution as the BMCCs 5-inch display, one of the big differ-
ences is that the BMPCCs display isnt a touch-screen LCD. If
you want to change your white balance, ISO, etc., you need to go
into the menu system and toggle down to your intended setting
instead of hitting a button or touching a particular area of the
LCD. If youre shooting on the y, or with a variable-aperture
zoom lens where youre changing ISO or color temperatures
constantly, this will slow you down. The ISO range is between
200 and 1600, so youre not going to get the low-light results of
a Canon EOS 5D Mark III. But for night shots, anything captured
at ISO 1600 looked great and had very little noise to the image.
Unlike the BMCC, the BMPCC has a removable and recharge-
able lithium-ion battery that has approximately one hour of
recording time. Like the BMCC, I found the battery reading to
be a little misleading, at times, with it showing 80% or 90%
after a full charge. This could denitely be improved in Version
2, but I can certainly understand how capturing RAW video les
would drain a small battery very quickly.
LENSES
For my review, I used a Panasonic Lumix 14-45mm zoom.
While MFT lenses are improving and growing by the year, there
are limits to using them in terms of speed, number of constant-
aperture zooms and focus throw. Manual MFT prime lenses by
Voigtlnder and Rokinon may make good solutions for lmmak-
ers. This is of no fault of the BMPCC, but trying to obtain critical
focus on a small MFT lens barrel is extremely difcult. There are
numerous adapters on the market you can use if you use Canon,
Nikon or Sony lenses. One function that was essential to the
BMPCC was peaking; you do this by hitting the Focus button
twice. Theres no viewnder so you have to depend on the LCD,
which is decent, but not ideal, especially in exterior daylight shots.
THE RESULTS
The reason youre going to buy the BMPCC is because of its
ability to capture CinemaDNG les. For me, I see it as a great
B-camera to a BMCC. I recently worked on a project in which
I shot with a Canon DSLR in a neutral at setting and a small
action camera that didnt offer a neutral-type setting. In order to
make the two cameras match in post, instead of adding subtle
color to shots from each camera, I found myself adding extreme
contrast and saturation to my DSLRs footage in order to match
the action cameras contrast-heavy look. This problem would be
a non-issue with the BMPCC.
While shooting with the camera, I did have some frustrations
with the workarounds, but after all is said and done, its all about
the images, right? This is where the BMPCC shines, especially when
capturing RAW and taking advantage of the 13 stops of dynamic
range while running through Resolve. For a camera costing $995,
the BMPCC delivers stunning image quality. Not only would it
make an excellent B-camera to a BMCC, but the images even
will cut well within an ARRI ALEXA or a Canon C300 timeline.
If you know the cameras limitations and play on its strengths,
the BMPCC is a powerful and unique lmmaking tool. HDVP
You can learn more about Blackmagic cameras on the website
at www.blackmagicdesign.com.
For color grading,
Blackmagics DaVinci
Resolve has been used on
more feature lms and
television programming than
any other system. In working
with CinemaDNG les shot
with the Film Dynamic Range
look, I added the Blackmagic
Cinema Camera default
LUT and transcoded the les
to ProRes.

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RENT DONT JUST WISH,

How many of you remember the DALSA Origin
camera? Announced in 2003 and released in 2006, the 4K
digital cinema camera, which resembled a mini-refrigerator,
was going to take over professional production. But because
of its size and unyielding workow due to its monster-sized
16-bit 4K RAW les, the camera wasnt accessible to anyone,
including studio lmmakers. In short, it was a decade too early.
Now, 4K is becoming the dominant acquisition format. RED
has been capturing 4K since 2007 with the RED ONE, and has
since released the EPIC, SCARLET and the 19-megapixel 6K
DRAGON sensor. Sony has the top-of-the-line F65, which can
capture 16-bit 4K RAW les, as well as the new F55, F5 and
FS700U 4K cameras. Canons Cinema EOS division has been
targeting Hollywood with the C500 and 1D C cameras, and
Blackmagic is soon to release its rst 4K camera, the Blackmagic
Production Camera 4K. Even on the consumer side, cameras
are transitioning toward higher resolutions with xed-lens 4K
camcorders like the JVC GY-HMQ10U, Sonys new FDR-AX1 and
GoPros HERO3+, which can capture 4K at 15 or 12 fps. The
big holdout is ARRI with its ALEXA and new doc-style camera,
the AMIRA, still capturing 2K or full HD. But even without
ARRI, its safe to say theres no going back to a 1080 world.
THE POWER OF 4K
As you already know, 4K has four times the image informa-
tion over full HD. Most know of its technical specications
through DCI (Digital Cinema Initiatives) projection stan-
dards, which is 4096x2160 (doubling the DCI 2K standard of
2048x1080). Theres also Ultra HD, aka Quad HD or UHD,
which is for 4K television standards. Its resolution is 3840x2160,
which doubles the 16x9 full HD standard of 1920x1080.
There are many advantages in shooting 4K, but at the
present time, the most common one is archival. Since we
all know that higher resolutions are inevitable (4K now, 8K
tomorrow), typical delivery specications for visual effects and
theatrical exhibition are still currently at 2K, and deliverables
for television and the web are 1080 or even 720. But once the
transition to 4K becomes the industry standard for exhibition,
your 1080 footage will need to be upscaled to 4K. When you
upscale footage, you have to use your current pixel resolution
to guess or interpolate values based on the average of the pixels
in your image. Your new upscaled 4K images will more likely
display instances of blur, jagged images, halos, etc.
Another current advantage of shooting 4K is that you can
take advantage of its high resolution and make subtle correc-
POSTING
C
o
u
r
t
e
s
y

o
f

S
h
a
p
e
s
h
i
f
t
e
r

tions in framing or shaky footage when nishing in a lower
resolution. For House of Cards, director David Fincher shot in
5K with RED EPICs and stabilized and tracked every shot in
Adobe After Effects and mocha. Most people shooting with
RED cameras also like to window the sensor in order to cap-
ture stunning close-up shots without having to change lenses.
But before you go out and purchase your next 4K camera,
there are still a few factors to consider before 4K becomes
your workow standard.
COMPUTER HARDWARE & STORAGE
Computer hardware is one of the main barriers of produc-
ing a 4K workow from capture to exhibition. Most of this
is due to data bandwidth requirements, which depend on:
- 1lc codcclc mclod of compicssion of aII lc his
the camera takes into a smaller format for recording.
- 1lc fiamc iacfiamcs pci sccond. Foi cxampIc, using
the Sony F65 in 4K RAW mode (16-bit linear, F65RAW-SQ)
at 24 fps requires approximately 300+ MB/s; 4K ProRes 4444
at 24 fps = 141 MB/s.
According to Jess Hartmann, CEO of ProMAX Systems
(www.promax.com), the issue with most computer worksta-
tions working in 4K is disk storage speed. A typical spinning
disk drive can transfer data at a maximum of about 80 MB/s,
he explains. Considering everything else happening on the
computer, you can count on about 50 to 60 MB/s. So to work
in 4K most of the time, you need an attached RAID array, fast
SAN storage or onboard SSD drives.
We all know that 4K has four times the image information
of full HD, and in terms of data, this also applies. Although
storage prices have come down signicantly over the years, its
still a concern. A workstation without fast disk storage options
still will need to transcode uncompressed 4K down to a smaller,
intermediate format in order to edit. But even when transcoded
to a 422 codec like Apple ProRes or Avid DNxHD, 4K les still
can ll up your hard drive quickly. For example, one minute
of ProRes 422 (1920x1080) HD material yields around 1 GB,
while one minute of 4K ProRes 422 yields roughly 4.25 GB.
1lis is onc of lc main icasons wly piojccs aic siII hcing
delivered in 2K or 1080, for the most part.
As an example, the trailer for The Amazing Spider-Man
is appioximacIy 5uu CB in sizcand la's compicsscd 4K
vidco, cxpIains PliIip Paiian, PROMISE 1cclnoIogy's piod-
uct marketing specialist (www.promise.com). You can only
Although 4K is
quickly becoming the
norm for capture,
the post world is
playing catch-up
BY NEIL MATSUMOTO
4K
OPPOSITE: Post house Shapeshifter works with a broad range of systems in nishing
projects in 4K. ABOVE: PROMISE Technologys Pegasus2 drives are the worlds rst
and fastest Thunderbolt 2 hardware RAID storage solutions.

imagine just how much storage someone whos working
on a full-length movie in uncompressed 4K would need.
With the introduction of Thunderbolt 2 hardware RAID
storage capabilities for prosumers with the Pegasus2 and
the 4K editing and scalable storage features of the PROMISE
VTrak A-Class, prosumers and professionals alike are given
access to all pieces of the 4K workow, from ingestion
to postproduction.
PROMISE Technology is one of the leaders of high-
performance RAID systems in the post-production industry.
Their new Pegasus2 drive is a popular storage drive that many
productions are employing after data is ofoaded from the
cameras recorder. The drive is Thunderbolt 2-enabled, allow-
ing the D.I.T. to transfer 4K content at lightning speeds. The
drives are optimized for 4K because they offer the maximum
amount of throughput for a portable, direct-attached workow.
On average, working with 4K content requires around
15 GB/s connectivity, says Elaine Kwok, product market-
ing manager for PROMISE Technology. With PROMISE
Pegasus2 allowing for the maximum amount of throughput
for Thunderbolt 2, which boasts 20 GB/s connectivity, the
ability to work with 4K is now available to the masses and
not just big production studios.
As 4K becomes more ubiquitous, well see more storage
manufacturers advancing their products to accommodate the
speed and capacity requirements of lmmakers. For example,
G-Technology (www.g-technology.com) is a storage company,
and their stand-alone G-Technology G RAID with Thunderbolt
products (4 TB and 8 TB) were specically conceived for the
needs of professional content creators.
EDITING
The more processing and graphics power a workstation
has, the faster the editing process will be. With more projects
captured in 4K, there has been an increased amount of interest
in native 4K editing. If you have a fast workstation with plenty
of storage, the big three NLEs (Avid Media Composer, Adobe
Premiere Pro, Final Cut Pro X) can handle 4K/UHD material.
Perhaps the most common NLE for working Hollywood
editors is Avid Media Composer (www.avid.com). According to
David Colantuoni, Avid senior director, broadcast, storage
and editor product management, to edit 4K material natively,
Media Composer doesnt require signicant increases in
computer processing power to deal with 4K processing,
but they do recommend an increased amount of RAM.
However, many of our customers still want to edit and
deliver in HD, reveals Colantuoni, and weve merged the
best of both worlds. With FrameFlex, weve used our AMA
functionality to allow customers to acquire 4K material
and seamlessly dene an HD region of interest on that 4K
material for easy editing of HD content and HD delivery. For
customers who wish to nish in 4K, they can easily interop
via AAF with their nishing application.
COLOR GRADING
Post house Shapeshifter (www.shapeshifterpost.com) has
been delivering HD from 4K-shot productions for years, but
TOP: For editing in 4K, Avids Media Composer doesnt require
signicant increases in computer processing power, but they
recommend an increase in RAM. ABOVE: The ProMax One+ is a
workstation that can easily be congured to handle a 4K workow.

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has always tried to maintain the native resolution throughout the
early stages of post. With 4K nal delivery now a reality, their
experience has prepared them for the challenges they now face.
According to Shapeshifter colorist Randy Cooneld, the main
problem is the size of 4K les, which increase demands in stor-
age and processing power. We never want to compromise the
quality of a product to accommodate our systems, so hardware
must be updated as improvements become available, explains
Cooneld. This can be costly, so systems such as DaVinci Resolve
help to keep these costs down by using the latest off-the-shelf
components that can be repurposed as theyre replaced.
For 4K, Shapeshifter works with a broad range of systems,
including Resolve and a Teranex 2D processor. To display 4K
material, they use a Windows-based Resolve equipped with a
Blackmagic Design DeckLink 4K Extreme. They recently completed
work on the documentary, Mel Brooks: Make a Noise, which was
shot in various formats, including 4K, and delivered in 1080.
We were asked to do a lot of resizing, and the advantage
of having full-resolution 4K les proved invaluable during this
process, says Cooneld. Even when we didnt have to resize,
the 4K les produced exceptionally clean, rich images in HD,
but when blowups reached as much as 60%, we really saw the
advantages. The resized images looked so good that they cut
seamlessly with the rest of the footage.
THE NEW POST
In speaking with a number of postproduction professionals,
the consensus is that shooting in 4K is now a common practice,
but posting 4K is still in its infancy since the workow process is
newer and more complicated. Much of this has to do with current
exhibition standardstheaters, broadcast, DVDs, Internet, etc.
One company that has been bullish on 4K workows is L.A.-
and N.Y.-based Light Iron (www.lightiron.com). Delivering 4K
projects for the past six years, starting with the launch of the
RED ONE, the boutique postproduction company specializes in
on-site dailies and digital intermediate, archival and data services
for projects shot on le-based digital cameras.
Recently, they completed work on Canons Project
Imaginat10n, in which ve celebrity directors (Eva Longoria,
Jamie Foxx, Biz Stone, Georgina Chapman, James Murphy) made
a short lm based on 10 storytelling themes from photographs.
Although primarily shot with the 4K Canon C500, lmmakers
also shot in HD with Canon DSLRs.
According to Light Iron CEO Michael Cioni, Canon hired
them because of their extensive experience with 4K workows
and their ability to mix formats. Almost 100% of the ve Project
Imaginat10n pieces we did were shot on the C500, he says.
The C500 has the ability to photograph in both 4K and 1080.
Because we can work primarily in a 4K environment, upscaling
when necessary becomes a fairly easy and straightforward task.
Much like people 10 years ago had to upscale SD into HD,
upscaling HD into 4K is similar. But theres an innate advan-
tage of working this way, which is that 1080 and 4K are both
working in the same progressive frame rates and the same pixel
aspect ratio. This makes scaling cleaner and easier, both to the
computer and to the eye.
For Cioni, the world of 4K is like Halleys cometpredict-
able, but not yet common. The biggest challenge is exhibition
infrastructure, he explains, similar to one of the reasons why
electric cars didnt take off in the late 1990s; you need to have a
way to charge, or fuel, the car before you can start selling them
to the masses. In other words, we need to have lots of venues
in which 4K is visible before content controllers are going to
have the desire to create 4K deliveries.
In the past, people had no choice but to ofine at a lower
resolution and higher compression in order to t media in their
cutting room drives, he continues. But as price-per-gig continues
to dropnow under $0.20 per gigand codecs become more
efcient and widely used, such as ProRes, the option to work
in 4K the entire time will open doors to full-res ofine work in
a way that previously wasnt nancially feasible.
But since the majority of projects are being nished in 2K
or 1080, besides archival and reframing, is there really a benet
of a 4K workow that will offset the current storage/hardware
costs? Cioni rmly believes theres a benet image-wise. First
answer is a rule that will never become untrueoversampling
at the source will always yield better images upon delivery,
he explains. Shooting in 4K creates a better 1080. Likewise,
shooting in 6K will yield a better 4K, and so on. HDVP
TOP: Light Irons mobile processing laboratory, Outpost.
ABOVE: A still from Eva Longorias Project Imaginat10n
lm, Out of the Blue, which Light Iron worked on.
Images courtesy of Light Iron

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In the decade-long hunt for Osama bin Laden and
his al-Qaeda operatives, the United States launched many secret
missions to hunt down and eliminate terrorist leaders. Many were
successful, yet some were not, ending in tragedy. Operation Red
Wings was one of the latter, a mission that went horribly wrong.
A new lm, Lone Survivor, an action-drama starring Mark
Wahlberg, Eric Bana, Taylor Kitsch, Emile Hirsch and Ben Foster,
tells the story of that operation and the four Navy SEALs sent
on a covert mission in 2005 to neutralize a high-level al-Qaeda
operative. While hiding out, they come across some shepherds
and debate whether to kill them in order to maintain their
secret position. Within an hour of letting them go, the SEALs are
ambushed by the Taliban enemy in the mountains of Afghanistan
and surrounded.
Written and directed by Peter Berg, and based on The New
York Times best-selling memoir, Lone Survivor: The Eyewitness
Account of Operation Redwing and the Lost Heroes of SEAL Team
10, by sole-surviving SEAL Marcus Luttrell (played by Wahlberg),
the lm details the sequence of events and examines themes of
heroism, courage and survival in a hostile landscape.
I read the book and felt it was this great combination of
action along with some really strong plot twists, particularly
the moment when the SEALs are compromised and they have
to debate the rules of engagement, says Berg. And then at the
end of the book, the way the surviving SEAL develops a rela-
tionship with the local Afghan villagers who save his life, is just
remarkable, and it was just obvious to me that it would make
a really gripping lm.
The director says hes well aware of the extra responsibility
involved in retelling a true story with a living survivor. Im account-
able to all the families of the SEALs who died in the operation,
as well as the Navy SEAL community, at large, he notes. I didnt
want it to turn into some Hollywood movie where a lot of license
is taken with the facts. I wanted
it to be as accurate as we could
make it, and I wanted to make a
lm that really takes the audience
into this remote battleeld where
our soldiers are getting killed on a
daily basis, and shows you what the
reality of that war is like.
For Berg, the long-running con-
flict in Afghanistan, along with
the war on terror, has left many
Americans desensitized and
fatigued, he says. Couple that
with the accelerated news cycles
and the sheer volume of infor-
mation we get bombarded with
every day about Syria or Egypt or
Iraq or Somalia, and its hard for
people to take a moment and really
empathize with our troops who are
laying their lives on the line, and
to have a meaningful connection.
To make sure he painted an
accurate picture, Berg did a ton
of research and even went to Iraq
and embedded with the SEALs
for a month, near the Syrian borderthe only civilian to ever
do that, he reports. That gave me a comprehensive, complex
sense of who these men actually are. Besides being very effective
soldiers, I saw the dedication, charm, humor and even sweetness
of these warriors. Theyre pretty amazing people.
Berg may have started out as an actor in such shows and lms
as 21 Jump Street and Race for Glory, but it was when he moved
behind the camera that his career really took off, thanks to hits
like Hancock, The Kingdom and Friday Night Lights, which he
Director Peter Berg and cinematographer Tobias A. Schliessler,
ASC, re-create a covert Navy SEALs mission in Lone Survivor
BY IAIN BLAIR
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also turned into the award-winning TV series of the same name.
And on this lm he once again teamed with cinematographer
Tobias Schliessler, ASC, who shot Hancock, Friday Night Lights
and Battleship. Weve worked together so much were really like
brothers, notes Berg. We have a great shorthand, and hes a
great camera operator, a great lighter and very fast. And we have
a very complementary relationship. I tend to get impatient and
he calms me down, so if I want to rush through a scene, hes
more methodical and will force me to slow down. So what I
really value is his temperament.
The team spent about three months on preproduction, and
then had a very tight shoot of just 45 days. The big challenge
was matching the mountain locations of New Mexico where
we shot to the storys setting in the Hindu Kush Mountains in
northeastern Afghanistan, and then physically getting there and
shooting all these scenes, says Berg.
Adds Schliessler, The location we picked was on top of the ski
area above 12,000 feet in Santa Fe, and the high altitude made
it extremely physically demanding. All our equipment had to be
hand-carried into some of our remote locations, which meant
we had to limit ourselves to the bare minimum. Thanks to the
hardest-working crew I ever had, I always had what was needed to
get the work done. No one ever hiked to the set empty-handed,
including our producers. It was one big team effort that made
us a close lm family.
Although Berg also directs many commercials and always
shoots digitally, this was his rst feature lm in the medium,
and along with Schliessler, he opted to shoot with RED EPICs,
mainly because of the budget, he states, which was a reported
$50 million. They were cheaper than using the ALEXA. As for
going digital as opposed to lm, everything Ive done recently is
digital, and Ive been very happy with the look, especially after
Company 3 has worked on the image.
Going digital also suits Bergs style. I do a lot of takes and
different angles and prefer not to cut, so digital works for me in
that way, he explains. Ive shot a lot of lm in the past, but we
To shoot Lone Survivor, director Peter Berg once again teamed with Tobias Schliessler, ASC, who worked with him on Hancock, Friday Night Lights and
Battleship. Lone Survivor was Bergs rst digital feature, and according to the director, digital really ts his style since he does a lot of takes at different
angles and prefers not to cut.
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decided to go all-digital from the get-go. We didnt even bother
doing digital versus lm comparison tests.
Peter and I decided to shoot handheld as much as possible,
with a little use of Steadicam, when necessary, explains Schliessler.
I wanted to give my operators the most compact camera due
to the rough terrain we were going to have to work in. For that
reason, I chose the EPIC due to its compact size and lightweight
body. All cameras were equipped with an HD wireless trans-
mitter, onboard monitor, wireless remote iris and focus control
units, and a lightweight zoom lens (Fujinon Cabrio 19-90mm
or Angnieux Optimo 15-40mm, 28-76mm, 45-120mm).
My rst assistant cameraman Jimmy Jensen custom-designed
bracketing mounts for all the accessories, with the help of Keslow
Camera rental house, to keep the weight down as much as pos-
sible, says Schliessler. We shot with a minimum of three cameras
at all times in a handheld documentary-shooting style, where my
operators were able to freely change angles and reframe on the
y. That meant that the lighting situations sometimes changed
drastically within the shot. Shooting digital with wireless HD
transmitters, I was able to simultaneously watch all images on
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three monitors from my DIT tent, and with the help of my DIT
Jeff Tomcho, I could change the exposure on all cameras during
the takes with single-channel iris units, which would have been
more difcult when shooting on lm.
To present Berg with initial ideas for a lighting and visual
style, Schliessler researched war photography and came across
Tim Hetheringtons book, Indel. The book is an intimate
portrait of a single U.S. platoon, assigned to an outpost in the
Korengal Valleyan area considered one of the most dangerous
Afghan postings in the war against the Taliban, he says. But
its as much about love and male vulnerability, as it is about
bravery and war, and Hetheringtons images in this book repre-
sented a lot of the feeling I got from reading Lone Survivor, and
when I brought it to Peter, we both agreed that it was the tone
of our movie, in terms of lens choice, lighting and color tones.
It became the bible, not only for me, but also for the art and
costume department. I also referenced Tims photography in the
initial lighting and camera tests in preproduction with my DI
colorist Stefan Sonnenfeld at Company 3, where we were setting
the looks for our dailies.
If anything, the DP continues, Peter stressed to me that
Lone Survivor had to feel as real as possible. He wanted the audi-
ence to be as close to our characters and as close to the action
as possible to experience the extreme circumstances our war
heroes had to go through emotionally and physically. For that
reason, we chose to use wide lenses close to the actors and the
action. We also decided to keep the lighting natural and stay
away from overstylizing the images and keep the feel of the
movie as realistic as possible.
Accordingly, there were very few VFX elements that he had to
integrate, as all the action sequences were shot with real special
effects in-camera. For the most part, the VFX were set exten-
sions and location enhancement for some of our sets, such as
the Afghan village that was created outside of Albuquerque,
explains Schliessler. The biggest VFX sequence is the helicopter
crash in the movie and that was created by ILM, and we supplied
them with aerial plates.
Tomcho reports that for the digital workow on set, 5K foot-
age was captured using 256 GB SSD REDMAGs. The media mags
were shuttled straight to the Company 3 trailer for backup and
verication. The les were then processed using the metadata
supplied from their on-set camera settings and Company 3s own
RED log-linear color transferring. Veried copies of the original
REDMAGs were then shipped back to Company 3 in Los Angeles
where the footage was archived to LTO5 tape.
At the point we received LTO5 backup verication of a shot
card, we would return it back into circulation, notes Tomcho.
The verication process of archiving the digital negative unusu-
ally took two to three days. We had three cameras working
full-time on main unit and two-plus cameras shooting almost
every day on second unit. By the end of the shoot, we carried
about 60 REDMAGs to keep us covered during the archiving
turnaround process.
In terms of equipment, the team opted not to use any on-set
grading hardware for the majority of the shoot because of location
restrictions. Instead, we utilized the EPICs internal customiz-
able metadata settings to adjust the proper look for each lighting
Creating Digital
Film Stocks
With the help of Company 3 and EC3, Tobias
Schliessler, ASC, sets the look of Lone Survivor
The development of Lone Survivors look actually began before
the unit embarked for New Mexico. DP Tobias Schliessler, ASC,
and director Peter Berg shot some test footage on a RED
EPIC and brought it to Company 3 in Santa Monica where they
collaborated with colorist Stefan Sonnenfeld pre-building looks
in the same DI theater where the nal grading would occur. It
was like creating different lm stocks, the cinematographer
explains. We had a stock for bright daylight and for dark forest
and for day interiors, for night interiors. On the day, we could
see a look for each scenario.
DIT Jeff Tomcho took responsibility for ensuring the on-set
monitors reected the appropriate look during the shoot and
getting .r3d les (plus the color metadata) to the near-set
facilitythe EC3 Trailer. EC3 is the joint location dailies
offering of Company 3 and EFILM, and the trailer is one of the
companys two specially designed Star Waggons housing a
digital grading theater, digital cinema projector and even the
plush seats one associates with a major facility. There, EC3s
dailies colorist Adrian DeLude rened the look shot to shot as
the material came in.
At lunch and after wrap, Schliessler would sit with DeLude,
watch the colorists renements projected on the seven-foot
screen and provide his input, which DeLude then used for
guidance in further ne-tuning the images. It really helps to
see the cinematographer actually react to the graded dailies,
DeLude reects. It gave me a much better feel for what he likes
and doesnt like than I would have been able to get if we had
tried to communicate from a thousand miles away.
The trailer also became a popular place for department heads
to congregate in order to see how a costume or piece of set
design was reading after grading and projected onto a cinema
screen. Schliessler reports that this workow yielded a fast,
efcient post process, too. We had a very short DI schedule,
says the cinematographer. We hardly even did any windows.
Stefan did one pass, and I literally didnt change a thing.
(Contd on page 92)
EC3 dailies colorist Adrian DeLude

The Secret Life of Walter Mitty had its European
premiere in mid-November in Bydgoszcz, Poland, as the nal
lm of the 21st Camerimage International Film Festival of the
Art of Cinematography. For festival attendees, the lm was a
welcome breath of fresh air after a week of mostly weighty
themes and dark visions.
The cinematic antecedents of The Secret Life of Walter Mitty
include the 1947 Danny Kaye vehicle, shot in Technicolor by Lee
Garmes, ASC, and Billy Liar (1963), a British variation directed
by John Schlesinger. But this time, director/star Ben Stiller,
writer Steve Conrad and cinematographer Stuart Dryburgh,
ASC, NZCS, didnt take any cues from previous screen versions,
instead focusing on a Frank Capra-esque everyman whose rich
imaginary world, like that of James Thurbers original, literary
Mitty, thrives because hes a bit beaten down by life.
The character was tailored for Stiller. I think our Walter Mitty
is a really lovely character, without pushing a lot of emotional
buttons, says Dryburgh. I nd a lot of Hollywood lms do that
to the point where they switch me out of the experience. Here,
you really come to like this guy, and when he goes out into the
real world and is forced into having some massive adventures,
you really want him to succeed. Ben is perfect for the role, and
as a director, he has landed the tone dead-right. Kristen Wiig,
Kathryn Hahn, Shirley MacLaine and Sean Penn, among others,
shine in supporting roles.
According to Dryburgh, the decision to shoot on lm grew
out of two considerations. Ben is a collector of photographs
and a lmmaker who loves cinema, and he feels that lm is
fundamental to much of what we love about cinema, says the
cinematographer. Also, Walter Mitty works in a photo archive.
His whole world is negative and lm print. The character he
goes in search of shoots lm, and the negative is important in
the story. So it seemed appropriate for lm to be the originating
medium. Also, like many actors, I think that Ben has looked at
himself on-screen, seen himself photographed digitally and on
lm, and decided he looks better on lm.
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A key part of Dryburghs assignment was to separate fantasy
from reality in a way that was subtle, yet distinct enough for
the audience to sense. He chose to shoot Mittys normal life
in Super 35 format with spherical Cooke S4 lenses. When the
character steps into his outrageous fantasies, which unfold mostly
in New York, the format switches to 35mm anamorphic with a
2x squeeze accomplished using Hawk V-Lite and V-Plus lenses.
The change is reected in the art direction, as well as in lighting,
color and ltration. Sets depicting Mittys work environment at
the photographic archive and his home apartment tend toward
monochrome, with blues and grays predominant. His ofce is
set at the Time-Life Building, a steel-and-glass monolith in tune
with that aesthetic.
When we switch to anamorphic, it changes the way the world
is seen, including the depth of eld, says Dryburgh. It puts more
emphasis on the foreground action. Its fairly imperceptible, but
theres a denite jump, a visual transition. Hopefully, it works
on a visceral levelthe audience reads it without even knowing
Cinematographer Stuart Dryburgh, ASC, NZCS, does his best
to capture The Secret Life of Walter Mitty in camera on lm
BY DAVID HEURING
DAYDREAM
BELIEVER
Cinematographer Stuart Dryburgh,
ASC, NZCS, and director/star
Ben Stiller map out a shot.
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it consciously, and it helps them understand and experience the
fantasies in a more vivid, more cinematic experience.
Early in the lm, Mittys fantasies are laughably over the top.
Eventually, his quest brings him real-life adventures, leading him
to Greenland, Iceland and Afghanistan. He ghts off a shark,
climbs the Himalayas and more. All these locales were shot on
Iceland over the course of about four weeks, following the initial
eight-week stint in New York.
Iceland, which has very vigorous landscapes, gave us an incred-
ible backdrop, says Dryburgh, mossy plains, barren volcanic ash,
and we were able to create an Afghanistan desert with mountains
behind. The mountains there are actually only 2,000 or 3,000 feet
high, but because theyre really close, they look huge. The sense
of scale works very well for cinema and photography.
The complexity of shooting on rugged Iceland locations gave
Dryburgh pause on the format. We decided to step back from
going all 2x anamorphic for a couple of reasons, he says. One,
Im a big fan of the 1.3x anamorphic format, and there were
some questions from visual effects and others about the natural
focus falloff of anamorphic lenses on edges, and how that would
work with some of the more graphic- and effects-contributed
sequences. So I suggested that when we went to Iceland that we
switch to the 1.3x Hawk V-Lite anamorphics, which I had used
earlier that year on Emperor. I found them to be very sharp and
bright across the whole image, and that made everyone happy.
Visual effects got a little bit more room at the top and bottom
of the frame to play with if they wanted to. Generally, the lenses
made things slightly more manageable all around while still
maintaining the vividness of anamorphic. Digital techniques
make combining the various formats simple. The nal aspect
ratio for the entire lm was 2.40:1.
In their early conversations, Stiller and Dryburgh focused on
identifying the right tone for the lm. On the set, the working
relationship was very normal, according to Dryburgh, despite
Stillers dual role as director and lead actor. The one major dif-
ference was that he would want to review the takes afterward, at
least the takes he felt were good, he says. He has a great ability
to multitask in that world. He can run a scene as the character
and then call cut. Without moving, he can be the directorgive
some notes to the other actor or actors, and say, Okay, lets go
again, and be back in character. I think its a particularly amazing
skill. He has made a lot of movies and been in a lot of movies.
He has a very strong idea of what he likes and what he thinks
works for him. My role was really to support his vision and to
bring what ideas I could to the table. Actually, many of the good
ones ended up in the movie. So, in that regard, it was a very
typical working relationship.
On stages at the historic Kaufman Astoria Studios in Queens,
New York, production designer Jeff Mann built most of an entire
oor of the Time-Life Building. In one of Mittys fantasies, an
Alpine mountainside suddenly appears in the midst of this bland
ofce environment. Dryburgh says that the success of this scene
depended on practical effects, with digital manipulation playing
only a minor role.
We basically rebuilt a section of the ofce set with a cut-
away in the ceiling and oor, as if it had been crashed, with
the physical mountain protruding into it, and with real actors
climbing on it, says Dryburgh. Theres a certain amount of
ABOVE: The Secret Life of Walter Mitty was shot on lm, and according
to Dryburgh, the decision was made because the character works in a
photo archive and director/star Ben Stiller thinks he looks better on lm.
RIGHT: According to Dryburgh, Iceland gave the production an incredible
backdrop of mossy plains and barren volcanic ash, and they were able to
re-create both the Himalayas and an Afghanistan desert.
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visual effectsblowing snow and icebut Id say that about
80% of thats done old school.
To make the incongruous ofce-mountainside combina-
tion convincing, Dryburgh lit the ofce areas with soft uo-
rescents, and added to it a bright, hot Alpine sky using a
mix of daylight and tungsten Kino Flos, balloons and
other strong fixtures mounted in the overhead grid. He
credits the set design, saying that the scene didnt require
much help in the DI, aside from some blowing snow.
Its likely that most viewers wont realize how much of The
Secret Life of Walter Mitty was done real and how little was done
in postproduction and visual effects. In another example, Stiller
jumps into a helicopter and takes off. For that shot, a camera
was bolted to the opposite side of the chopper.
Youre seeing a man actually getting lifted up into the
air, says Dryburgh. It could have been done as a visual-
effects shot. But when hes looking at you, the light changes,
and the flare kicks as the helicopter turns around, the
wind battling its side. As far as possible, if theres a ying scene
with Ben in it, he was in the shot and actually ying.
He was in the ocean on the nal day, in incredibly cold
water, and there were some pretty decent storms, continues
Dryburgh. Ben is a decent skater, and he did much of the extreme
skateboarding himself. You get the advantage of actually having
your actor physically in the situation, and you avoid having to
do a face replacement or greenscreen.
The conventional wisdom holds that comedy generally plays
better in wider framing. But, here, there were signicant dramatic
elements, and much of the comedy came from Stillers reactions,
specically, facial expressions.
We found a balance between being close on Ben and the
other actors, capturing their facial quirks and emotions, and
then cutting widereally wide in some cases, says Dryburgh.
The exceptionally wide shots, with him as a tiny gure crawling
across the bottom of the frame, also contribute to the strange-
ness of the situations. That allowed us to show the drama of the
locations, while at the same time playing the intimate story of
Walter Mittys journey. We really needed to be able to do both.
The Secret Life of Walter Mitty was shot on three different KODAK
VISION3 lm stocks. Because so much of the movie was exterior
or practical daylight interiors, the majority of the lm was done
with 50D Color Negative Film 5203. In daylight situations with
less light, the stock was 250D 5207, and in nighttime or studio
interior situations, the tungsten-balanced 500T 5219.
Dryburgh says that the 50-speed daylight-balanced stock
reminds him of Kodachrome. Kodaks older version of the
50-speed daylight lm, 5245, was extremely like Kodachrome
when it was printed, he says, very strong color saturation, high
contrast and unforgiving in the underexposure. This VISION3
version is much more forgiving and not quite as vivid, something
I can control very easily in DI.
Most of the time when youre shooting exteriors, youre deal-
ing with some sort of atmospheric moisture or vapor or mist,
or you notice that little haze, which is the are of the sun, so
I nd the clarity of that stock to be a benet, he adds. I nd
that the 250 in its current form really complements it, so when
you want to shoot a daylight scene out into the dusk, its just
a matter of changing the magazine and carrying on. And both
lms will take a push very well.
The digital intermediate was done in New York at Company
3, with Stefan Sonnenfeld at the controls. Stefan is a very sup-
portive, very smart colorist who also understands what it is we
like about lm and doesnt turn it into something that looks
like digital video, says Dryburgh. Our approach was to get
the color and tonality right in-camera, on the negative, as far
as possible, so we werent doing a lot of work in the DI suite to
match or change contrast or color. The fantasy sequences got a
little more saturated and contrasty to separate them from Walter
Mittys work-a-day life. For the Iceland scenes, we didnt have to
do much because it just came out of the landscape.
Dryburgh cites several reasons why capturing the look in-
camera, as opposed to nding it in the DI, is the right path. It
means that what youre seeing on the set, even on a little HD
monitor, is at least a pretty good approximation of what your
dailies, and therefore, your end result, is going to look like,
he says. Youre not second-guessing, and youre not saying,
Whatever, well x it later. Youre using the skills of the cin-
ematographer and the equipment and the lighting at the time
to create the image. And, in my opinion, thats almost always
going to lead to a better result than trying to cobble something
together in post from elements that were shot slapdash. There
are denitely things that you can leave. Its no longer a terrible
tragedy if you get a light change halfway through a take, if the
sun goes behind a cloud.
Previous to The Secret Life of Walter Mitty, Dryburgh shot
Emperor, a World War II historical drama, on 35mm lm in the
anamorphic format. Since Mitty, he shot Cyber for director Michael
Mann on ARRI ALEXAs, also anamorphic, with Hawk lenses.
Dryburgh says the cost differential between lm and digital
on a big feature isnt that signicant. The post costs in digital
are higher, he notes. Digital cameras and gear are expensive,
and you have a whole digital department that you never used
to have. I think the studios were keen to have the distributors
switch over to digital, but now that battle has been won, and
shooting lm isnt the hard sell it was a while back. HDVP
For more information on The Secret Life of Walter Mitty, visit
the lms ofcial website at www.waltermitty.com.

Cinematographer Polly Morgan digs deep into the shadows for
The Truth About Emanuel | BY VALENTINA I. VALENTINI
At its heart, The Truth About Emanuel is a
coming-of-age story. But writer-director Francesca Gregorini
made sure that each layer of darkness surrounding the tale of
Emanuelbrilliantly played by Kaya Scodelariodidnt stop at
the usual angst-y teenage bits that often accompany a typical
coming-of-age movie. She worked eye to eye with cinematog-
rapher Polly Morgan to push the story further, going into one
girls struggle to look inside herself and seek her own truths,
while still dealing with the outside issues of her family and a
mysterious new neighbor (Jessica Biel).
Francesca is very much into the visual craft of storytelling,
says Morgan, who has come up through the ranks assisting on
biggies like Inception and V for Vendetta and shooting for American
Horror Story. Initially, we got really excited and tried to push for
35mm, as were both lovers of lm. Due to budget constraints,
we went digital, and the next obvious step was the ARRI ALEXA.
Morgan felt that the color rendition and the latitude range
were the next best thing to 35mm, and even since shooting
Emanuel, she has done side-by-side camera tests with the Sony
F55, RED EPIC and the ALEXA. Its so interesting to see where
cameras excel and where they fall short, and I feel the ALEXA
shines brighter than the rest, she states. It has a true 14-stop
range and is one of the few cameras that lives up to its 800 ISO
rating. I knew going into Emanuel that we had a lot of night
exteriors and that we needed a camera that could really dig deep
into the shadows. On top of its performance with sensitivity, it
also has a soft quality to it because of the low-pass lter, which
I gravitate to, as it reminds me of lm negative.
The second step for Morgan in creating the visual palette for
a lm is choosing the right lenses. They were originally looking

at anamorphics and wanted to pair them with the ALEXA Studio
and its 4:3 sensor (which was just rolling off the shelves at the
time in 2012). But, again, as it was a conservative budget, they
decided to save on springing for the ALEXA Studio and put it
back into things like Technocranes and some bigger lights.
Someone had told Francesca ages ago that she should
shoot with Cookes, recalls Morgan. I asked her why, and she
said simply because someone had told her that they were good
lenses. So, of course, I decided to test ve different sets of glass
Panavision Primos, Master Primes, Super Speeds and then vintage
glass and the Cooke Panchros and the Super Baltarsand have
a blind screening for her and the producers. Every single person
in the blind screening chose the Primos. I was happy because
Ive always loved Panavision glass.
Gregorini, as Morgan tells it, was really into imagery that
was going to dig deep and convey Emanuels emotional journey,
which was a refreshing and exciting challenge when compared
to shooting traditional coverage, she says. They pulled refer-
ences from a wide variety of sources, but their favorites were
the dark and engrossing photography of Bill Henson and the
BELOW: Cinematographer Polly Morgan and director
Francesca Gregorini (left to right) on one of the
lms many night exterior shoots.
TOP: Courtesy of Polly Morgan; BOTTOM: Photo by Annabel Mehran

ethereal poetic work of Ryan McGinley. We gravitated to work
that had real texture to it and really drew us to its subjects,
Morgan adds.
For moving images, they looked at masters such as Roman
Polanski for techniques of creating tension. They wanted to get
people on the edge of their seats without really having them know
why. In prep, we talked a lot about what was going on emotion-
ally with each of the characters, explains Morgan. We dissected
the script scene by scene and looked at it emotionally and then
chose lighting motifs that represented that level of intensity.
Morgan and her team had a basic HMI and Fresnel Tungsten
package, supplemented with some 10Ks and 18Ks. Those bigger
lights were important for Morgan as they helped create a really
gentle touch to keep the three main characters, who were all
women, wrapped in beautifully soft light. They also had an ARRI
LoCaster LED to add a bit more wrap when needed, which they
nicknamed Jos. We pulled Jos out a lot for Jessica Biels
scenes, says Morgan, to smooth out her complexion and help
convey a feeling of innocence and simple beauty.
We did a lot of lighting and makeup tests with the women,
she continues. I wanted to enhance them and convey unique
personalities and, therefore, needed to know how each angle
and style of light affected each of them. Francescas mantra, in
a way, is representing strong feminine women. It was important
to have them come off that way visually.
Morgan was grateful for the 18Ks, explaining that when she
shoots day interiors, it becomes much quicker and simpler to set
up, and it looks much more natural to have a nice, big unit at a
reasonable distance outside the window, as opposed to lighting
from inside with smaller units. It doesnt have that naturalistic
falloff that a bigger unit has, she explains.
Instead of having a color palette for the lights, Morgan kept
them fairly neutral and worked closely with Gregorini and pro-
duction designer Anne Costa to create visual motifs. The motif of
water was ever present in the lm, with a 15-minute underwater
scene toward the end, which Morgan operated herself.
To accompany the water motif, there were a lot of turquoises
and blues. The wallpaper and all the paint inside Emanuels
family house was very dark to create a claustrophobic feel. The
neighbor Lindas house was a little more airy and had more
neutral tones, although Lindas bedroom was blue, representing
the water element and the connection to Emanuels mother. Her
childs nursery was the brightest yellow, which for Morgan was
an interesting choice, as some of the more dramatic high points
take place in that room.
Everything in the rest of the house is pretty neutral or
dark, she says, yet you go into the nursery and its bright.
Thats counterintuitive to how you normally visually represent
dramatic scenes, which have a tendency to be more moody.
We felt that baby Chloe and the nursery represented something
For Morgan, the most challenging
part of shooting the lm was an
underwater sequence during
the last week of production. For
a water tank built in Long Beach,
Calif., the crew built a grid
with hanging lights and rigged
up Canon DSLRs.
Photos this page by Grant Wilsea

very different and powerful to all three women and we wanted
the moments to really stand out and resonate with the viewer.
The primary yellow of the nursery represented the power of the
suna force that can warm and cheer someone up, but that can
also be overbearing and cause disorientation and confusion. It
seemed to t the babys inuence perfectly.
Morgan feels that what set Emanuel apart from the other inde-
pendent lms she has shotlike Junkie and The Pretty Onewas
Gregorinis determination to have the camera move in a way that
really helped to accentuate what was going on within Emanuel
and within the story as a whole. Camera movement can be a
little bit intimidating for indies, admits Morgan. Technocranes,
really big dolly movesthat all takes so much time to set up,
to rehearse, to get the focus and timing right. But [Gregorini]
didnt limit me at all in that respect. Whatever I needed, she
would help get for me.
By far, the most challenging part of shooting Emanuel came in
the last week of productionthe underwater sequence. Toward
the end of the lm, Emanuel has a surreal hallucination, of sorts,
where her bedroom submerges underwater and shes met by her
deceased mother and baby Chloe swimming around with sh
in a blue abyss. Morgan has shot underwater scenes before with
many formats, including 35mm, and has continued to shoot
more since lming Emanuel, but she admits that her crews story
is a bit of an urban legend now in the industry.
We started with the baby underwater sequence, recalls
Morgan, who explains that there were two different setups, one
with babies in a swimming pool and the other in a tank in Long
Beach, Calif. We had three sets of six-month-old twins ready to
go. After hours of rigging and lighting, I get in the water and start
to go under, and Im thinking, Gee, this camera is getting really
heavy, then the screen fogs up, and by that point, the camera is
at the bottom of the pool. My camera assistant had forgotten to
secure the underwater housing, and the ALEXA was destroyed.
Panavision really stepped up and got us another camera within
a couple of hours, though.
We then went to the tank where we had been having problems
constructing the set, Morgan continues. Production hadnt set
aside enough money to build a safe set, and the construction
coordinator sent an email around to the entire crew recommend-
ing not to shoot, saying that it wasnt safe, and if someone was
hurt or killed, that she wasnt responsible. We had a hiatus for a
week, and they had to spend extra money and get a brand-new
construction crew in to assemble the set. Usually, underwater
you have a two- or three-walled set, but because the water had to
rise slowly and in an even way, we had to lower the four-walled
set into the water and cut holes underneath the carpet, allowing
the water to slowly engulf the whole set.
On top of the set, they had a grid built with lights hanging
and some Canon EOS 5Ds and 7Ds rigged up. Therefore, there
were many safety precautions, as the only escape was through
the window.
The rst time they tried to pick up the set with the crane and
then rotate and lower it into the tank, they had to stop because
the crane wasnt big enough to hold the weight. Again, they had
to go home and come back the next day with a bigger crane.
Finally, they were all ready to lower the set into the water,
and Scodelario couldnt equalize her inner ears. They werent
able to submerge to the depth that they needed to get to and
they just had to sink it enough to cover the window where
Scodelario swam out of.
With the challenges that can rear their heads on lm sets,
it was good fortune that the ALEXA workow throughout
the entire production was relatively simple for Morgan. She
didnt create any LUTs and just stuck with the Rec. 709 LUT.
Its interesting because ARRIs generic 709 LUT is actually
quite lifted, says Morgan. Its a bit brighter and it can be
a bit disconcerting for the director and others watching the
monitors, as the image theyre watching is brighter than how
youre exposing the chip. You have to explain that shooting
digital is no different than shooting lm and that the monitor
can look different with different viewing scenarios, different
tweaks with the monitor settings and with different LUTs.
They have to trust the DP and the light meter.
They had a postproduction supervisor, which Morgan sees as a
godsend on indie features, and they were able to nish the color
timing at EFILM with Andrew Francis. Because their post budget
kept getting halved, she was grateful that her history working
with Andrew and EFILM kept their faith in her and the lm, and
helped them to nish it the way they had always envisioned.
Andrew had been part of the process since the camera tests,
and he knew exactly the look and feel I was after, says Morgan.
We based our nishing look on a print stock we both loved with
more neutral highlights and very rich and deep blacks. Francesca
and I wanted the lm to be natural-looking, yet with a richness
that comes with bigger budget productions. Through the careful
prep and collaboration of everyone involved, I think as a team,
we pulled it off. HDVP
Visit www.thetruthaboutemanuel.com to learn more about the lm.
Courtesy of Polly Morgan

Written by and starring MADtv veterans
Keegan-Michael Key and Jordan Peele, Comedy Centrals sketch
comedy series Key and Peele has emerged as something of a
sleeper hit for the network. Already renewed for another season,
just weeks after the third season began airing last fall, the series
features a wide variety of humorous bits (more than 200 thus
far), all directed by Peter Atencio and shot by director of pho-
tography Charles Papert, a cinematographer with an extensive
feature and TV history as camera and Steadicam operator.
Each season, the cinematographer receives a massive bible
of scripts some weeks out from the commencement of produc-
tion, allowing him and the director to begin planning how to
tackle the more elaborate skits. For every large-scale spot, we
compensate by shooting three others very simply, usually just a
master and coverage of each of the guys, he explains. That lets
us keep up with the demands of production while also staying
economy-minded.
Production functions in a cycle, proceeding from a week of
prep to two weeks of shooting and back again, with at least two
sketches being shot each day, and nearly all of them taking place

at different locations. We have no standing stages, no resources
to carry over from one sketch to the next, except when we revisit
the same characters, says the cinematographer. Working on
location exclusively means were going from apartments to trailer
homes and sometimes to stages with existing sets that our art
department can modify and dress up to work for our needs.
Paperts gaffer and key grip accompany him on each location
scout. Well scout on a Monday for the next block of sketches,
so that means looking at about two dozen locations that day,
explains Papert. Well go all over the area, from Whittier to Santa
Clarita. Peter will have done a creative scout and let us know that
his intent is to shoot in a particular direction, letting us know
which walls will be visible, so we know what we need to worry
about. As I take all this in, its a matter of coming up with an idea
for lighting pretty much on the y. I talk it over with my guys in
broad strokes. So Im spending 10 minutes with Pete, another 10
with my guys, and then its back in the van and onto the next.
Papert readily acknowledges that some locations arent 100%
ideal. We might nd our guys on a sofa in front of a white wall
and arent permitted to paint the wall darker. So, in that situa-
tion, I would be subtracting light, taking the wall down, while
at the same time building it up on the actors, reshufing the
values as needed creatively.
Comedy Centrals Key and Peele delivers
sketch humor with style and economy
BY KEVIN H. MARTIN

Written by and starring comedians Keegan-Michael Key and Jordan Peele, Comedy Centrals Key and Peele has become a sleeper hit for the cable
network. ABOVE: DP Charles Papert and crew use a JVC KY-1900 broadcast tube camera to capture a 70s retro look for a sketch. Photo credits
(clockwise from opposite page): Courtesy of Comedy Central, Danny Feld, Danny Feld, Danny Feld, Mike Yarish, Charles Papert

SPRING INTO ACTION
Papert estimates the show is shot 60% on dollies, 30%
handheld and 10% Steadicam. A few years back, when Funny
or Die became very popular, there was an aesthetic that said, the
crappier the thing looks, the funnier it will be, he recalls. That
trend toward rough handheld is something we havent really held
with, as Peter and I prefer the notion of honoring the material.
If were rifng on a particular era of lm when handheld was in
vogue, like a 70s American thriller or a Bourne-type thing, then
yeah, handheld would be the way to go. But it isnt a standard
stylistic go-to for us.
When an unsteady style is mandated for a sustained sequence,
Paperts operators have come to rely on spring heads. Between
the dolly and the camera are four springs, says Papert, and
these allow the operators to create a very convincing rocking
effect, one thats more than just a back-and-forth/up-and-down
motion. It also allows the operators to do their job without killing
themselves trying to create the aberrant motion while framing
the shot. My years as an operator always serve to remind me that
what youre capable of doing at noon isnt going to sustain all
the way to the end of the day; you tire out. Before the spring-
head solution, our attempts at simulating handheld used only
the pan and tilt axes, but the trouble with that is, without the
third axis of motion, you dont get a truly random feel.
Shooting with two cameras on Key and Peele allows the cin-
ematographer to maximize coverage. I know I could make it look
better, lighting for a single camera, Papert admits, but that would
cut into the number of setups we get, which in turn would hurt
us in terms of editorial choices down the line. So I can live with
the sacrice on the lighting not being absolutely ideal if it lets
us get more great stuff of the guys doing their thing on camera.
Papert utilizes ARRI ALEXA Plus cameras, shooting on ARRI/
Fujinon Alura Zooms and Master Primes, capturing ProRes 422
(HQ) les. Part of the workow we set up involved ghting to
get a DIT [Ryan Polack] on set because this isnt a show where
you can rely on a prebuilt set of looks to switch between, says
Papert. Well build the LUT on the day and send that to editorial,
so both the producers and network have a good approximation
of what things are going to look like. Once in the color suite,
theres the occasional instance where we change gears, but most
of the time our rst choice is pretty close to what we go with.
Both DP and director try to remain dialed in to what can be
accomplished in post, especially with respect to matters that will
save time on set. Now that ProMist effects can be handled in
post, Im very happy to let go of that, says Papert. Otherwise,
LEFT: Shooting a Les
Mis sketch on European
Street at Universal
Studios. BELOW:
(camera crew from left
to right): A-camera 1st
AC Emily Mackley,
A-camera operator
Denis Moran, B-camera
operator Nick Franco
and B-camera
AC Doug Oh.
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youre spending time with different lters on each shot to try to
match as you shoot, and that costs you time for additional setups.
For a Miami Vice sketch shot at Sepulveda Dam, a certain
stylization applied in post was the icing on an 80s-era cake. We
did some of our most elaborate coverage, Papert recalls, actu-
ally getting to blow up a car while shooting with two ALEXAs,
three GoPros and a pair of [Canon] 7Ds to get all the angles.
Peter is a huge Michael Mann fan, so for this one, even more
than usual, I wanted to give him everything he wanted, even
though our choices for doing creative work for the palette on
day exteriors are fairly limited. We werent setting out to speci-
cally copy either the series or the movie, though the wardrobe
was period. So the question became, if we dont make it look
specically like the 80s series, what do we do to put across the
idea of the era? There were these light skies throughout, so when
we got to post, I timidly suggested putting the look of a sunset
grad across the sky, which is classic 80s and something nobody
does anymore, where its practically like an orange stripe across
the top of the frame. MTI colorist Steve Porter delivered the
requisite look, which evokes Die Hard and countless commercial
spots from the junk-bond decade.
TOTALLY TUBULAR
Papert credits the ALEXAs exibility for allowing him to create
looks as disparate as 50s-era Technicolor and black-and-white
lms of the 30s, but notes that one particular look seems to elude
replication. Ive found that period video has specic kinds of
artifacting that doesnt seem to be achievable with existing post
workows. In fact, the smear look of old tube camera video
isnt even something that anybody has created a plug-in for, to
the best of my knowledge. There are all sorts of chromatic aber-
ration, misregistered colors and a general funkiness thats very
much its own thing. In Season Two,
we had an Obamas college years
sketch that was supposed to be old
footage, and I pitched Peter on the
idea of using an actual Magnavox
video camera from 1985. Since the
resolution was something like 240
lines, we had to get Comedy Central
to approve, as well, since wed be
cutting that into our HD show.
The Obama sketch was well-
received, and the series has since
featured four more sketches set in
the 70s and 80s that called for a
similar approach. I started looking
for old broadcast tube cameras, and
found you cant even rent them in
L.A., reports Papert, who resorted
to buying several old JVC KY-1900
cameras on eBay, then managed to
cobble together two working units.
It has maybe six stops of dynamic
range, and the chroma bleeds all
over; the only detail it seems to
pick up on is skin imperfections. To complete the illusion of
period visual verisimilitude, the distinctive look of the old 29.97
was retained, differentiating it from todays 24-frame cadence.
A recently aired sketch sends up Star Wars, specically the
character of Lando Calrissian from The Empire Strikes Back. Peter
and I looked at the part of Empire [shot by Peter Suschitzky, ASC,
BSC] featuring the carbon-freezing room, explains Papert. Its
very dramatic stuff, with orange light coming up from below
through grills and blue light elsewhere. So right away we knew
blues and oranges, thats the color schemejust put some Kino
Flos beneath the oor and add smoke and go. The crew shot on
a stage containing sets from the old Power Rangers series, which
Papert has had occasion to utilize more than once over the years.
There were plenty of panels with holes through which light
could be passed, and we had some lighting gags built into the
set, including an elevator effect done with a series of tweenies
atop each other feeding into a chase pattern. I looked into
more vibrant LED stuff, but that might not have had the same
80s look we needed. For tracking shots through the interiors
of Calrissians Cloud City, a LiteCard mounted under the matte
box provided a moving ll for the actors eyes.
Papert has a musical background in jazz, and he likens working
on the show, with its deeply collaborative nature, to that free-form
style. Theres an improvisatory nature to how were working,
and thats not just my crew, but with art, wardrobe, makeup and
hair, as well, he reports. Plus, Jordan and Keegan are naturals
at improv. We dont have time to plan everything out because
things have to keep moving forward. Its really like playing jazz
because you just get up there and do your thing. HDVP
For more information on Key and Peele, visit the shows ofcial
website at www.comedycentral.com/shows/key-and-peele.
ABOVE: Jordan Peele, DP Charles Papert and director Peter Atencio discuss a scene on New York
Street at Universal Studios.
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If there has been one position on the camera
crew that should get the prize for fastest-changing, its the digital
imaging technician, also known as the D.I.T. Six years ago, the
position didnt even exist, at least not in its current state, and
certainly not as a union career option under the International
Cinematographers Guild banner. But as workows went from
lm to tape to le-based, D.I.T.s became more of a necessary
staple on set than ever before, and their role began changing as
fast as the cameras themselves.
HDVP got to sit down with three D.I.T.s from around the
country to discuss their challenges, rewards, responsibilities and
ever-changing roles on set.
Tiffany Armour-Tejada is based in New York City and started
out as a video technician in 2005. By 2007, she had worked her
way up to video engineering, gaining a depth of understanding
in exposure, camera systems, signal management and color sci-
ence. Her position began to shift to D.I.T. in 2008the dawn
of the digital, le-based-systems revolution. Shes currently the
D.I.T. for Netixs second season of Orange Is the New Black, an
opportunity to collaborate with DP Yaron Orbach she calls one
of the greatest experiences Ive had in my career.
Washington, D.C.-based D.I.T. Damon Meledones has worked
on countless commercial campaigns since he became a D.I.T. in
2008, including RadioShack, GEs Olympics campaign, Subway
THE
DIGITAL
IMAGING
TECHNICIAN
Six years in the making, D.I.T.s
have become key components
of an ever-changing set
BY VALENTINA I. VALENTINI
Tiffany
Armour-Tejada
Ali Goldstein

and Verizon. His notable independent features include Night
Catches Us, which went to Sundance in 2010, and more recently
with Olivia Wilde and Sam Rockwell, Better Living Through
Chemistry. But before he was a D.I.T., he was a camera assistant
working almost entirely on RED ONE jobs. My background
is in IT and ne arts, explains Meledones, so when the RED
ONE showed up, you needed to basically understand the inner
workings of a computer in order to operate it, which quickly
turned me into a camera technician.
Mike Halper, who works out of Los Angeles, started out in
postproduction as an editor and colorist, transitioning to D.I.T.
about six years ago like the others. Today, he works a mix of
D.I.T. and color-correction jobs, and still edits once in a while.
Recently, he has worked on commercials for Google, Inniti,
American Airlines, Disney, COVERGIRL, Clorox and MTV, and
his features include the Courteney Cox-directed Just Before I Go
and Adam Goldbergs No Way Jose.
HDVideoPro: The D.I.T. landscape has changed over the last
decade, which must change your role, as well. What are your
basic duties on a set?
Damon Meledones: Quite often, people ask me what
exactly it is that I do. I tell them Im the bridge between
production and post. My primary goal is to make sure
the two sides communicate with each other and all
As workows went from tape-based
to le-based, the role of the Digital
Imaging Technician, or D.I.T., became
a necessary staple on set.
Mike Halper
Damon Meledones
Courtesy of Mike Halper
Jonny Meyer

data makes it smoothly from camera to deliverables.
Tiffany Armour-Tejada: When I started out in 2005, my
duties were signal management and ensuring picture quality by
measuring the exposure and color with scientic instruments
such as waveform monitors and vectorscopes. I also controlled
cameras like the Sony RMB-150 or Panasonic AJ-EC3 remotely.
Now, instead of sending a tape to post with color-corrected foot-
age, we're responsible for data management, and applying color
nondestructively, by creating LUTs, as per the DP.
Mike Halper: Typically, the very basic duties on set are to
data-manage footage from the cameras, check the integrity of
footage, calibrate monitors, make sure settings on the camera
are set to the specs provided by production and postproduction
teams, sync camera settings on multicam shoots and resolve
technical issues that may arise with cameras. Additionally, duties
include on-set color correction, live grading, transcoding dailies
for editorial and director/producer dailies, and even syncing of
sound on set. As more capabilities present themselves as the
technology continues to develop, more and more tasks tend to
get added to the multitude of things a D.I.T. can do.
HDVideoPro: Given that those duties could essentially be
given to a camera assistant or loader, how important is your
position to a production in terms of time and money?
Meledones: The downloading duties could be handled by
an AC or loader. Some of the camera setup could be handled
by the assistants, as well. A lot of the color correction could be
done in post, but the benet of having someone who under-
stands the why and how of a particular setting, not just what
to set, and how that affects other things in the camera system
far outweighs that.
Armour-Tejada: Its about not just having a D.I.T., but a good
D.I.T. on set. Its production and DP knowing the footage and
picture are being handled properly versus risking a chance on
someone unqualied possibly losing media. That could mean
reshootswhich arent even a possibilityand loss of money
and time. Also, the DP and rst assistant have greater responsi-
bilities with the constant change of camera systems, and it can
be hard to remember everything. In the digital world, everything
is being done in real time. Its good to have a D.I.T. to lean on
with questions and the comfort of knowing things are being
handled correctly.
Halper: Its so true. A good D.I.T. can be immensely important
for the budget. On a multimillion dollar production, thats a
huge responsibility, but a qualied and talented D.I.T. will never
lose data. Ive had issues with some cameras where the media
coming off the camera was corrupted and had a lot of difculty
recovering the shots. Because Ive been able to resolve and nd
a solution for these issuescaused, for example, by the camera
losing power while recordingit both saved the production
from a reshoot/pickup and allowed the director to be able to
keep desired shots and takes.
Meledones: Having a D.I.T. is a kind of production insur-
ance. Were there to catch any problems right away, while theres
something that can still be xed relatively easily. Any D.I.T. who
is doing their job well is going to save more in overall value
than what theyre costing production. Were often able to spot
something on set that would end up costing production much
more in post to x.
HDVideoPro: What hardware/software are you coming across
on set? Do you have favorites?
Meledones: About 60% of the jobs Im on are ALEXA, 30%
EPICs and 10% everything else. On ALEXA jobs, Im usually
For ARRI ALEXA shoots, the Codex Onboard S Plus
Recorder is perhaps the most popular ARRIRAW
workow solution.

doing some kind of live color, either with LinkColor, LiveGrade
or DaVinci Resolve. The DPs I work with always love those on-
set color-management systems. They like that immediate result
when they ask me if they can change or x something.
Halper: Im seeing a lot of ALEXA, as wellincluding
ARRIRAW with Codex or Geminiand REDs. Theres also some
Sony F65/F55, even some Canon C300 and C500, and I also
work a lot of 3D shoots working with 3D rigs3aility is the most
common3D monitors, and all the other additional equipment
and tools necessary for stereography. I typically use individual
software applications such as ShotPut Pro and my own logging
software for data management, rather than full suites, so I have
more control over the workow and can customize how I do
anything, as needed. I also use LiveGrade and the new DaVinci
Resolve for on-set color correction and live grading. I typically
render dailies with DaVinci or REDCINE-X Pro for RED cameras.
Armour-Tejada: It takes a lot of time and money to keep up
with the upgrades with all the tools and camera systems that we
come across. Since my days of video engineering, Ive gone to
monitoring off CRTs to OLEDs, paintboxes to LUTs and tapes
to hard drives. Currently, my main focus has been on-set dailies.
Programs like Assimilates SCRATCH and Hackintosh comput-
ers help ensure the DPs vision of color is processed onto the
dailies there on set, bringing picture control back. This on-set
dailies process really saves money and time for productions. It
adds more control in the workow, having accurate color-timed
dailies and meeting editorial deadlines.
HDVideoPro: How much communication/collaboration
goes on with the cinematographer in terms of developing the
look for a movie?
Armour-Tejada: A lot. As a D.I.T., communication is key
to help develop the DPs specic vision. Its important to be
technically supportive and research the style of the DPs work.
Each DP has different requirements, and its important to meet
those requirements, creating a trusting working relationship.
Halper: Especially when live-grading and on-set color correc-
tion is involved, in-depth discussion of the look of the movie
is important, and that always begins during preproduction.
Frequently, well do camera, lens and lter tests together. Gener-
ally, I prefer to set the look after we begin shooting, so that we
can establish that look using footage that will actually appear in
the movie. Camera tests usually dont actually match the same
lighting as the actual production, so I nd this to be the best
solution in the end. Well sit down with actual footage, grade it
and set the look, and then upload look les to the camera, if
possible, or Ill use the grades during rendering of dailies, and
theyll be available during postproduction, as well. Of course,
changes can be made to those grades throughout production and
even replacement dailies rendered and sent to post, as desired,
if the look is rened during production.
HDVideoPro: Are you seeing repeat challenges on set, or are
there new sets of issues with each new workow?
Meledones: I come across this over and over againeducat-
ing producers and production coordinators about what it is Im
able to do for them. Im a below-the-line employee, but Im on
their side. I want it to look good, I want to go home on time,
and I want them to be happy with how much money they spent
to get those things done. In prep conversations, I hear over and
over again, I didnt know you could do that, or I didnt know
that was a possibility!, even sometimes from DPs and directors.
Halper: Every production has a unique workow. Sometimes
there are no deadlines, and its a matter of staying caught up
as best as possible as media comes in. Other times, there are
deadlines and very specic technical requirements that need to
be met, adding to the amount of work that needs to be done.
Armour-Tejada: Yes, each job I come onto has its own
challenges. And every three to six months, a new workow is
introduced. Its important to prepare for each change in workow
practices. Researching and testing equipment helps to prepare for
the challenges ahead. As a D.I.T., being quick in troubleshooting
and able to anticipate any problems is key. If plan A doesnt
work, then you better have a plan B ready to go. HDVP
LiveGrade can assist D.I.T.s in
every aspect related to look
and color management on set,
and supports the exchange
of formats such as ASC-CDL,
ALEXA Looks, 3D LUTs, ICC
proles and more.

Three years ago at CES, pundits of the 3D
printing industry declared that everyone will have a 3D printer in
their home in the near future. Since that time, manufacturers of
these devices switched their R&D and marketing efforts to make
more consumer-friendly printers. Just in the past year, 3D print-
ers have vastly improved, boasting faster speeds and the ability
to use a variety of new raw materials, including various plastics,
steel, silver, brass, bronze, sandstone and ceramics.
Despite all of these changes, most of what weve seen from
these devices are simple household models: soap dishes, orna-
ments and cup holders. Thats not all thats out there, but it
points to 3D printings biggest limitation, which is its inability
to print complex machines and moving parts. If your aim is to
create something with multiple parts, they must be printed one
piece at a time and then assembled.
But even with its limitations, lmmakers have adopted this new
technology to create some impressive imaging tools and accessories.
C
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g
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a
p
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r
3D printing stands to disrupt camera
and support gear | BY CLINT MILBY
OF
THE
DAWN
REPLICATOR

THE iOGRAPHER
3D printing will also be indispensable in prototyping and
design testing, enabling designers to get their nished products
to market a lot faster and with presumably better quality. Such
is the case with the iOgrapher (iographer.myshopify.com). David
Basulto has been in video and lm production in one form or
another his entire life. Working as an actor in feature lms, pro-
ducing and now teaching production, Basulto has maintained a
passion for the industry, with a particular interest in innovations
that can improve workow.
Recently, he found one of the best ways to teach his students
the basics of production is by shooting video with the iPad.
However, he was dissatised with the lack of mounts. What
he really wanted was a simple rig with handles for handheld
situations, and with shoe mounts for accessories such as lights
and microphones. Additionally, he wanted to add lenses to the
iPads camera, as well as have a
1
4-20 screw mount for mount-
ing on a tripod.
After a few sketches, Basulto searched for a mechanical
engineer, but couldnt nd one who would work with him
for less than $5,000. Basulto happened to come by a website,
www.shapeways.com, which is a 3D printing marketplace and
community. There, he was able to nd an engineer to create
a le for a mere $200. He took that le, uploaded it to their
website, and for another $200 he had a 3D printed, working
prototype he was able to put on a tripod. Essentially, this was
the very rst iOgrapher.
After printing a couple of additional models, Basulto created a
Kickstarter campaign to raise the funds necessary to mass-produce
the iOgrapher. Fast-forward to today, and Basulto is now poised
to release a series of products based on the iOgrapher design for
Apples entire line of iOS products, including the iPhone 5S, iPad
All photos on this page courtesy of Clint OConnor
OPPOSITE: Filmmaker and teacher David Basulto used
3D printing to create a working prototype of an
accessory that will help turn your iPad into a lmmaking
device. ABOVE: Inspired by lm photography and using
a Solidoodle 3D printer, computer hardware designer
Clint OConnor created his own pinhole camera.

DAWN OF THE REPLICATOR
Air and iPad mini with Retina display.
According to Basulto, 3D printing was
absolutely essential to getting the product
off the ground.
Although conceptualized and devel-
oped using 3D printing, in truth, the
iOgrapher in its nished state is pro-
duced via injection molding in California.
According to Basulto, this is the most cost-
effective way to produce the product. As
there are 170 million iPads on the streets
today, Basulto has to prepare for the com-
ing storm of demand from a public thats
looking to accessorize.
The applications for the iOgrapher
seem endless, as well. Basulto states theyre
supplying rigs to the University of Oregon
School of Journalism, where students there
are using the iOgraphers for 92 news
shorts. According to Basulto, schools love
them, not just for pro video applications,
but also for sports departments, as well. As
a teacher, Basultos school currently uses
multiple iOgraphers for lming football
games and other events.
PINHOLE, PRINTED
Clint OConnor comes from the world
of computer hardware design. Being hear-
ing impaired, he has always been drawn to
the visual arts, particularly pinhole photog-
raphy, and over the years, he has created
many camera bodies. Although digital
has all but rendered lm into antiquity,
its evident people are still drawn to the
look of lm by their love of Instagram
and all of the other digital lters available.
OConnors passion for lm photography
and desire to introduce it to a new genera-
tion led him to use his designing skills to
create a simple and inexpensive pinhole
camera. This led him not only to develop it,
but also manufacture it using 3D printing.
OConnor bought a 3D printer from
Solidoodle (www.solidoodle.com) and
started out by printing a few things from
www.thingiverse.com, a social-media web-
site for 3D printer users (and sharers).
Looking for something else to design,
OConnor ran across one of his former
pinhole cameras and immediately thought
about how to use the 3D printer to repro-
duce it. Like Basulto, OConnor went to
Kickstarter to fund his project, Pinhole,
Printed (www.pinholeprinted.com). How-
ever, when people buy the camera, they
can buy the le to print it themselves, or
OConnor actually will print a camera for
those who dont have a 3D printer.
There are some parts needed to
ABOVE: Engineer Anthony Todd wanted a
mount for his GoPro camera for a shark
diving expedition, so he created one using
CAD software and a 3D printer.
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Custom PE foam designed
for Canon C300 Video
camera (EF mount),
70-200mm lens and
accessories.
3i 2 2 1 7 1 0 c 3 0
i
C
omplete case soluti ons
I nsi de and Out.

assemble the camera, and to make it easy
for the customer, he has a kit of parts to
go with the les. OConnor offers two
different models: The Flyer, which is a
6x6 camera, and The Clipper, which is a
panoramic camera.
Meeting his funding goals on
Kickstarter and being in business as a
manufacturer via 3D printing, OConnor
still doesnt believe that 3D printing will
change manufacturing as we know it.
Instead, he believes it will disrupt pricing.
He feels that even if one can print all of the
parts of a product, theres still the issue of
assembly. Also, products produced with a
3D printer just arent as nicely nished as
a mass-manufactured part, even if its as
good. Very often, manufacturers overprice
the replacement parts, says OConnor,
and those are ripe for printing. Camera
mounts and accessories are perfect for
3D printing, as there are so many differ-
ent cameras and mounts. According to
OConnor, in many cases, its cheaper to
print an accessory, and you can even tailor
them for specic applications.
GOPRO ACCESSORIES
If 3D printing has done one thing, it
has helped GoPro users in a pinch. For
instance, Michael Gregg is a self-described
hobbyist and GoPro fanatic. He recently
needed a handle for his GoPro camera.
However, he was unable to buy what he
needed due to time constraints and the
lack of local stores carrying any product.
Gregg was able to solve his own prob-
lem, however, by designing exactly what
he needed in a few hours. He initially
thought of taking his ideas to market, but
eventually decided against it, as it would
have required a small investment and a
certain number of units. All in all, it was
simply beyond his initial scope, as his
interest was simply having one for himself.
Another case of 3D printing coming
to the rescue is Anthony Todd. Todd is an
engineer by trade, but his interest in 3D
printing is for the adventure of creating
and expanding his understanding of the
tools and processes involved in this new
technology. As a diver, he also wanted to
shoot his recent shark diving expedition
using a GoPro. The day before he was to
get on the plane to Florida, he purchased
a monopod with no way to mount his
GoPro HERO to it. He knew that adapters
and even dedicated monopods for diving
did exist, but he had no way to acquire
one before his date with the sharks.
With a general idea of what he wanted,
he went to work using CAD software.
According to Todd, 3D printing allows you
to treat physical design a little like soft-
ware and cheaply iterate toward a good
enough solution, discarding Darwinian
failures along the way. With a little trial
and error, he had a printed solution, and a
very successful expedition with the sharks.
You can see more images of Todds
GoPro mount and a video of his shark
diving expedition on his thingiverse page
at www.thingiverse.com/thing:73413.
An aspect of 3D printing thats of real
concern to someone who has spent the
time and resources to make a better mouse
trap is rights protection. What prevents
someone from getting hold of a 3D le
of your product and printing it without
paying for it? Currently, the courts havent
actually caught up with technology, thus
people have to rely on our patent system.
As 3D printing continues to grow, this
will become a key issue. HDVP

SOUND DEVICES 633 MIXER
The new six-input 633 mixer and 10-track
recorder from Sound Devices has a full complement
of I/O connectivity in a compact, portable form
factor. Ins and outs include three high-bandwidth
mic/line XLR inputs with phantom power (+12,
+48 and +10V are available in the system), high-
pass lter and input limiter for mics alongside
three line-level inputs on TA3 (mini-XLR) connec-
tors for exible input options, useful on large pro-
ductions with multiple capture options. All inputs
are assignable to any of the six output buses (Left/
Right and Aux 1/2/3/4) so they can be recorded
individually as tracks. AES digital I/O with support
for AES42 (+10V power)-compliant digital micro-
phones is also available on XLR input 1, with four
channels of AES output on XLR 1 and 2.
The 633 will capture 24-bit, 48 kHz polyphonic
or monophonic broadcast WAV les with 96 kHz
and 192 kHz sampling for up to six tracks, respec-
tively. For broadcast and production use, it can
also record metadata information and timecode-
stamped MP3 les to CompactFlash or SD cards
through a dual card-slot array. Different tracks can
be assigned to capture to either card individually
in a combination of WAV and MP3 les, or both
cards can be used concurrently for an automatic
real-time backup of les as theyre captured.
Offering a two-second startup, PowerSafe tech-
nology powers the device through a combination
of multiple power sources, including external DC
(12-18V) with a Hirose 4-pin locking connection,
two removable L-type Li-Ion batteries or six com-
monly available AA batteries. The unit will auto-
matically detect which power source is available,
and a 10-second failsafe will close down opera-
tions prior to shutdown. Because it can leverage
several of these power sources simultaneously, the
633 can operate for an entire production day on
batteries alone. The metalized carbon-ber chassis
is built for portability at less than a foot in length
(2.2x9.4x5.6 inches). The mixer is also available
in the complete 633 KIT with tted Portabrace
CS-633 bag, cabling, CF and SD memory card
and two XL-B2 Li-Ion batteries. List Price: $3,095
(Sound Devices 633); $3,829 (Sound Devices 633
Compact Field Mixer Kit with Carrying Case); $210
(Portabrace CS-633 bag). www.sounddevices.com
ONE-STOP SHOP
For capturing and editing live events, rehearsals
and performances, the aggressively priced AudioBox
Stereo Recording Kit is a PreSonus-based system
that combines the reliable and simple-to-use two-
channel AudioBox USB audio and MIDI interface
with the Studio One Artist 2 music production
software. The incredibly portable AudioBox USB
audio interface houses two dual-purpose front-
panel mic/instrument inputs with Class A mic pre-
ampliers and 24-bit converters that sample at up
to 48 kHz. At ve pounds, the lightweight chassis
also includes a pair of line-level outputs and head-
phone jack. Theres 48V phantom power for two
SD7 small-diaphragm studio condenser XY stereo
mics that have been included with the system. A
six-foot USB cable is part of the package, and there
are also two 15-foot XLR microphone cables.
Additionally, the HD7 studio-monitoring head-
phones offer a semi-open sound chamber with
high-resolution neodymium drivers, precision-
tuned acoustic chamber and deep lows with
extended bass response. A storage bag is included.
List Price: $299. www.presonus.com
CineSoundPro
C R E AT I V E A U D I O F O R V I S U A L ME D I A WWW. H D V I D E O P R O . C O M
(
CineSoundPro
Q
News & VUs
)
Contents
82 Microphones,
Adapters And
Audio Recorders
for DSLRs
Soundtrack solutions
for achieving much
better audio quality
when capturing video
on a DSLR
By David Willis
86 Audio Assist:
Single-System
Sound
Sound Devices
MixPre-D sound
mixer and Sony MDR-
V6 headphones
By Dan Brockett
80 News & VUs
Useful information
sound pros need
to know
Features
Departments
SPECIAL
SECTION

Innovative coincident capsule confguration for X/Y
stereo image in a compact housing
Operates on battery or phantom power for use with
pro or consumer equipment
Includes balanced (XLR-type) & unbalanced
(3.5 mm TRS) cables
Switchable low-frequency roll-off
FEATURES

Sounds bring images to life. Audio-Technicas AT8022 X/Y stereo condenser microphone
offers pristine sound to match your HDSLR cameras 1080p clarity. Designed for on-camera
use, the AT8022 delivers the total package: natural, articulate sound with the spatial impact of a
live sound feld; easy portability; and durable construction. Whatever your communications
demand, listen for more. audio-technica.com
LISTENING
50
Innovative coincident capsule confguration
for X/ Y stereo image in a compact housing.
HEAR
WHAT YOU SEE.

(
CineSoundPro
)
Soundtrack solutions for achieving much better
audio quality when capturing video on a DSLR
By David Willis
There are a number of new
microphones designed specically for
DSLRs and short-profile camcorders.
These inexpensive, efciently built micro-
phones offer run-and-gun DSLR users
standard features like hot-shoe mounts,
a 3.5mm jack for plugging directly into a
DSLR (also known as
1
8-inch TS (mono)
or TRS (stereo) connections, the same
as most consumer headphone outputs,
and battery-powered operation in a very
light form factor. But for most profes-
sional audio needs, its best to take the
mic off of the camera, and preamps,
audio adapters and dedicated external
audio recorders will give you a way to
power more advanced microphones with
balanced XLR connections. This also
provides other advantages like remote
placement, multiple microphone setups,
redundant audio tracks for backup and to
control clipping, and far superior control
and monitoring over sound levels and
pickup. Multitrack capture with indi-
vidual control over multiple microphones
and lines is even possible when using
more expensive eld mixers from com-
panies like Sound Devices and Azden.
Its also possible to work with a much
larger selection of microphones when
using a DSLR by capturing dual sound,
which will give you much better audio
quality, in general, alongside compat-
ibility with off-camera microphones like
handheld mics and overhead boom solu-
tions. (Most lavaliers require a wireless
receiver so they can be used directly with
a DSLR if theres a 3.5mm mini-jack
output or through an adapter. A few
reliable and popular compact lavalier
systems for DSLRs include the Shure UR5
receiver, the Sony UWP line, the Azden
330LT and the Sennheiser ew G3 series.
Wireless adapters are also available for
transmitting a signal from other types
of mics.) For DSLR users, dual system,
also known as dual track/sound and
separate system audio, will provide far
more leverage in editing. To use dual
sound, youll have to learn basic edit-
ing, and you must purchase an audio
recorder or eld mixer to capture audio
separately from your video le, as well as
a clapper that must be used before each
take to synchronize audio and video.
(There are a few software solutions like
Red Giant PluralEyes 3 and Woowave
Sync Pro that will automatically sync
audio on an editing timeline, as well.)
The biggest downside to using a dedi-
cated external recorder is that you have
another piece of equipment to start and
stop, but on the other hand, dedicated
audio recorders offer verbose support for
compressed and uncompressed audio
le types, like AIFF and WAV, which will
give your dialogue and soundtrack a lot
more dynamic range over the compressed
audio you capture natively to a video le
on a DSLR. Most of these are captured
at 16-bit/48 kHz in comparison to the
higher-delity les you can gain with a
recorder of up to 24-bit/96 kHz (provided
youre using a good microphone). Many
external recorders, preamps
and audio adapters will let you
power and tether multiple micro-
phones through XLR connections for
working with professional-level mics.
These XLR connections are balanced
against signal loss and interference from
other electronics for cleaner audio over
unbalanced solutions, especially neces-
sary for wired mics, which will introduce
interference as the length increases.
For the best of both worlds, many
productions are capturing a scratch track
directly to the camera through a micro-
phone or external recorder while also
capturing another track of audio via a
professional microphone to an audio
recorder, giving two audio tracks to work
with in post. You can also capture to a
DSLR and an external recorder with a
single microphone by splitting a signal
through a line to a microphone attenu-
ator cable. Additionally, a few audio
recorders and adapters offer a 3.5mm
output to the mic jack on the camera.
Mind cost, as well. While adding even a
basic microphone will improve audio a
great deal, with lower-cost microphones,
the noise oor will be higher and delity
lower. Youll often hear an audible back-
Microphones, Adapters And
Audio Recorders For DSLRs
Shure VP83F
Que Audio DSLR-Video PRO Kit
MXL FR-310
RDE VideoMic

ground hiss in the pickup, for example,
while more expensive models eliminate
as much noise as possible for a cleaner
signal-to-noise ratio.
MICROPHONES FOR DSLRS
If choosing to capture sound directly
to a DSLR, a number of affordable and
compact microphone solutions are avail-
able. The very inexpensive and lightweight
3.9-ounce Pro 24-CM mini-shotgun from
Audio-Technica houses a 3.5mm output
and two cardioid microphone capsules in
a stereo X-Y setup, which rejects ambient
noise from the sides while picking up in a
natural blend of forward-facing audio and
frontside ambience. The Pro 24-CM offers
200 average hours of use on a 1.5V LR44
battery, or it can feed from camcorders
that have plug-in powering through the
microphone input. (Most older video-
capable DSLRs dont support this, while
many newer models do.) Estimated Street
Price: $69. www.audio-technica.com
To quickly switch between close-up
shots and longer shots, the 4.8-ounce
mono MXL FR-310 microphone has a
gain switch with -5 dB, 0 dB and +5 dB
settings for reducing or enhancing frontal
sound pickup. (Mono models capture to a
single microphone capsule while stereo mic
solutions incorporate two capsule modules
for more natural sound between channels,
much like your ears.) A 150 Hz bass roll-
off switch reduces low-frequency ambient
noises like the background hum you hear
from electronics. The microphone is also
Audio Technica
Pro 24-CM
Sennheiser
MKE 600
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available as part of MXLs new MM-VE001
Mobile Videographers Essentials Kit, which
includes a smartphone bracket mount and
impedance-matched 3.5mm plug for cap-
turing audio directly to smart devices rather
than a recorder. List Price: $129 (FR-310);
$219 (MM-VE001 Mobile Videographers
Essentials Kit). www.mxlmics.com
With three levels of gain for amplifying
volume, the Q Mini Shotgun PRO micro-
phone from Que Audio is available on its
own or in the DSLR-Video PRO Micro-
phone Kit with windscreen, heavy-duty
shock mount, shock absorber, detachable
cable, leatherette case and WOMBAT wind
muff for use in the eld. A Sniper PRO
Microphone Kit adds a QMB1 mini-boom
pole that will let you hold the microphone
just out of frame. Estimated Street Price:
$249; $329 (Que Audio DSLR-Video PRO
Microphone Kit); $499 (Que Audio Sniper
PRO Microphone Kit). www.queaudio.com
RDEs popular VideoMic solution
now features a more robust Lyre shock
mount. At less than half a pound, the compact
mic with super-cardioid pickup will operate
for up to 100 hours on a 9V battery with two
steps of audio sensitivity, as well as an 80
Hz high-pass lter to reduce low ambient
noises like humming. RDE also offers
the Stereo VideoMic Pro with similar fea-
tures. Its designed to capture more omni-
directional background ambience thanks
to a pair of
1
2-inch condenser capsules in
an X/Y stereo conguration. Just announced,
the VideoMic GO is a simplied plug-and-
Beachtek
DXA-SLR PRO
play version without switches that powers
from a cameras 3.5mm mic input. However,
it requires 2.5V, so its not compatible with
several video DSLRs. Estimated Street Price:
$99 VideoMic GO); $149 (VideoMic); $299
(Stereo VideoMic Pro). www.rodemic.com
Sennheisers MKE 400 small shotgun
mic with 3.5mm cord is a tough, all-metal
model offering side noise rejection,
switchable sensitivity and wind noise lter.
There are up to 300 hours of operation on
a single AAA battery, and it will sit atop the
hot-shoe of DSLRs and cam-corders. At
almost double the length, Sennheisers more
powerful and highly directional MKE 600
shotgun microphone has the same features
as the MKE 400 with an XLR connection.
(Youll need an XLR to 3.5mm adapter if
choosing to run audio into the camera.)
Estimated Street Price: $199 (MKE 400);
$329 (MKE 600). www.sennheiser.com
With a very short prole and low weight,
Shures new Lenshopper VP83F and its less
expensive sibling, the VP83, sit atop a DSLR
to pick up audio in a cardioid mini-shotgun
pattern. The VP83F is unique in this class
of microphone because it features a head-
phone jack for monitoring audio right
from the mic and a built-in micro-
SDHC card slot for capturing dual-track
audio to the card and camera without the
need for an extra audio recorder. The VP83
has an integrated 3.5mm cable, and the
VP83F comes with a detachable gold-plated
cable. Both mics feature the Rycote Lyre
shock-mount system. Estimated Street Price:
$229 (Shure VP83 LensHopper); $349 (Shure
VP83F LensHopper). www.shure.com
AUDIO RECORDERS
For more advanced needs, Beachtek
offers several audio adapter solutions for
DSLRs, starting with the low-cost MCC-2
audio adapter and bracket. The unit will
allow you to channel two self-powered
mono microphones or a single stereo
microphone to the DSLR with wireless
receiver compatibility if working with
lavs or remote mics. On the higher end,
the comprehensive DXA-SLR PRO has
XLR inputs for up to two mics, audio
meters, limiters against unexpected peaks
and pops, headphone monitoring and
phantom power in 12V or 48V. (Choos-
ing a lower voltage with compatible mics
extends the battery life.) They also have just
released the DXA-BMD, a dedicated audio
solution for the Blackmagic Cinema Cam-
era. Estimated Street Price: $89 (MCC-2);
$439 (DXA-SLR PRO). www.beachtek.com
juicedLink makes a number of preamp
and adapter solutions for DSLR cameras,
including the new BMC388 model for the
Blackmagic Cinema Camera. They offer a
number of fully featured models up to
the RA333 Riggy Assist, which incorporates
three XLR inputs, 3.5mm
1
8-inch stereo
output for DSLRs, selectable 48V and 12V
phantom power, and an LED display for
audio metering, as well as an optional
accessory bracket for rigging mics, wire-
less receivers and accessories to a DSLR.
If looking for a less expensive model,
juicedLink also makes the RM333 Riggy
Micro SLR adapter and preamp. The Riggy
Micro is passive, so it wont power a micro-
phone, but it still provides staple features
for DSLR capture like three XLR inputs
with preamps, wireless capabilities for lavs
and a balanced preamp with 3.5mm stereo
output for capturing directly to the internal
video of a DSLR. List Price: $469 (RA333
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Riggy Assist); $399 (RM333 Riggy Micro).
www.juicedlink.com
Available in several kits with or without
microphone, Tascams four-track DR60D
linear PCM recorder is built specically for
DSLRs with a form factor thats meant to
anchor the camera system to a tripod. Two
channels have XLR/TRS combo jacks with
either 24V or 48V phantom power (select-
able by each channel) for microphones or
line signals from audio playback equip-
ment. The other two tracks feed from a
3.5mm stereo input with individual gain
control for adding an additional non-XLR
stereo microphone or other stereo gear.
Battery life can be extended from 5 to 12
hours by adding the optional BP-6AA bat-
tery pack, and a dual safety track mode
captures at -6 dB to -12 dB lower than
the initial take for an automatic backup
track in case initial levels are too high.
Tascams extremely well-selling DR-40 is
a less expensive choice with adjustable
stereo microphones in X/Y or A/B record-
ing patterns and Neutrik Combo jacks for
adding a single XLR or
1
4-inch (6.35mm)
microphone. There are several modes for
controlling distortion, hum and audio
peaking, including the same Dual
Recording mode. Estimated Street
Price: $319 (Tascam DR-60D); $140
(Tascam DR-40). www.tascam.com
Building on the massive success
of the four-channel Zoom H4n
audio recorder as a DSLR solution,
the Zoom H6 Handy is one of the
most versatile recorder solutions
available. The Zoom H6 offers
up to six tracks of simultane-
ous capture and, interestingly,
an interchangeable plug-in
microphone module that can
be switched from the stan-
dard stereo X/Y conguration
(adjustable between 90 to
120) to an MS (Mid-Side) module for
a wider, more ambient pickup pattern. A
hyperdirectional shotgun mic unit is avail-
able, as well as an optional EXH-6 dual-
XLR/TRS Input module with extra mic
inputs (necessary to achieve full six-track
capture in the H6). Four native XLR/TRS
jacks are included with dedicated ultra-
low noise oor preamps, and gain and
pad switches to control volume by
each line. Theres also a 3.5mm stereo
Line Out for DSLRs, three levels of
phantom power and a headphone
port with volume control. The H6
can even be used as a multi-channel
audio interface on computers and
tablets. List Price: $399 (H6 Handy);
$129 (SGH-6 Shotgun Capsule).
www.zoom-na.com
Tascam DR-60D
Zoom H6
juicedLink BMC388

Sound Devices MixPre-D
sound mixer, and Sony
MDR-V6 headphones
By Dan Brockett
SOUND DEVICES MIXPRE-D
Could you offer a suggestion on a small
mixer for maximizing audio quality when
shooting with DSLRs and medium-range
video cameras like the Canon C100? Weve
been using a Zoom H4n, but keeping the
audio organized and syncing in post is
becoming tedious, so we want to maximize
the sound quality from our new microphones
and record sound in-camera and just use
the Zoom for backup. What should we be
listening to and considering?
Marshall S.
Via email
The sound quality that most DSLRs
record is generally not very high qual-
ity. I, too, have been using small audio
recorders like the Zoom H4n and the
Tascam DR-40 to record dual-system
sound for projects that are shot with
DSLRs. The sound quality from the
outboard recorder is better quality.
But from a convenience standpoint,
dual system sound requires a lot more
work than recording audio in-camera.
Not only must you start and stop your
outboard recorder when you start or stop
the camera, but you must then sync that
audio with the cameras reference audio
when the material is edited. If you have
many short takes, it can add quite a bit
of labor and time to the editing process.
If you would like to really maximize
the quality of your DSLRs built-in audio
recording capability, there are usually
a few areas of concern. One would be
how to properly interface professional
microphones, which typically feature a
balanced XLR output, with the input of
the DSLR, which is typically an unbal-
anced 3.5mm input jack. There are
several pro audio interfaces for DSLRs
on the market from companies like
JuicedLink and Beachtek, but most of
these products veer more toward the
audio interface function than the high-
end sound mixer function, even though
some of the upper-line models feature
some mixing capability.
I recently had a chance to try out
an intriguing sound mixer with some
unique and practical functions for doing
exactly what youre seeking to accom-
plish, which is maximize your DSLRs
built-in audio capability. Sound Devices
has a small, multiuse sound mixer called
the MixPre-D (www.sounddevices.com).
I reviewed the MixPre a few years ago,
but I feel this new version has enough
new and unique capabilities to make
it worthy of your consideration. The
MixPre-D is basically a small, two-
channel, battery-powered sound mixer,
but it has some interesting features that
could really t your needs:
s Shares a metal chassis and the same
build quality as larger, more expensive
Sound Devices mixers and recorders.
s High-quality, low-noise microphone
preamps that can accept line or mic
level inputs.
s XLR inputs can supply 48V Phantom
power to professional microphones.
s Includes an optional XL-CAM mount
bracket for mounting DSLRs to a mixer
and a mixer to a tripod or other mount.
s Two separate sets of dual-channel bal-
anced outputs, allowing you to send
one set of outputs to your camera and
one set to your Zoom H4n or other
XLR input recorder.
s Sixteen-segment LED sound level
meters, allowing you to better judge
the audio levels being fed to your
camera and/or recorder.
s High-quality headphone, slate and
return monitoring.
Single-System Sound
Sound Devices MixPre-D
is a small, two-channel,
battery-powered sound
mixer that gives you
XLR inputs to accomplish
single-system sound with
your DSLR.

- AES digiaI audio oupus foi fccding
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piohahIy Ias you Iongci lan youi ncx
licc DSLR hodics mcans you slouId
considciiagoodpocniaIinvcsmcn.
SONY MDR-V6 HEADPHONES
Ive been using decent-quality earbud head-
phones for both recording sound on location
and for video/sound editing for a few years.
While Im satised with the sound quality,
Im not happy with the comfort level of the
earbuds after about 30 minutes. Any recom-
mendations on a new, comfortable pair of
regular headphones? The amount of choice
on the market is overwhelming.
Jenna B.
Via email
Eaihuds,wliIcgicafoiIiscningomusic
oi podcass wlcn jogging, aic oaIIy
unsuicdoaccuiacsoundicpioducion,
Iocaionsoundiccoidingandsoundmix-
ing.Don'confuscaccuiacwilappcaIing
soundquaIiy.EvciycaihudlcadploncI
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cahIconlccaihudsisigloilaspIay,
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minuc,andinnyandalcncxmin-
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aiiiglscaIlcicisaanygivcnmomcn.
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vidco,cdiingoimixingsound.Agoodpaii
offuII-cailcadploncscanpiovidcmucl
liglci-quaIiysoundandpiohahIywiIIhc
moiccomfoiahIcfoiIong-cimwcaiing.
Wlcn you considci fuII-cai lcad-
ploncs,you'IIaIsolavcoclooschcwccn
puiclasinglciiglpaiifoiyouinccds.I
gcnciaIIydividcfuII-cailcadploncsino
oncoflicccacgoiics:
- FuII-cai dcsigns la aic popuIai wil
Iocaionsoundmixcis
- FuII-cai dcsigns la aic popuIai wil
lomc[cdihaysoundmixcis
- FuII-caidcsignslaaicunusuaIinlcii
cclnoIogyandcosaIoofmoncy
1lc mos popuIai lcadploncs wil
Iocaionsoundmixcislavchccnandpioh-
ahIywiIIconinucohclcSonyMDR-V6s
(pio.sony.com). 1lcsc lcadploncs wcic
inioduccd o lc maikc in l985. 1lcy
icaiI foi Icss lan $luu, aic vciy cfncicn
and, lcicfoic, Ioud, cvcn wlcn comhincd
wil Iow-oupu souiccs, and lcy foId up
foi ianspoi and soiagc, icsuIing in a
smaII foopiin. 1lc MDR-V6s aic iuggcd
and lavc hccn lugcIy popuIai foi a Iong
imc. I own wo paiis and lavc uscd lcm
foi ycais. 1lcy'ic piacicaI and cconomicaI.
Foi Iocaion sound mixing, laving
lc mos accuiac and appcaIing sound
icpioducion isn' icaIIy lc mos impoi-
an piioiiy hccausc Iocaion sound is aII
ahou Iiscning foi hackgiound sound and
Iiscning foi micioplonc and mixci issucs
oi piohIcms. You gcnciaIIy aicn' adjus-
ing EQ oi doing Iivc muIiclanncI sound
mixing, you'ic gcnciaIIy 'galciing lc
hcs-quaIiy sound possihIc. Foi lis, lc
MDR-V6s aic cxccIIcn. HDVP
16 CFR Part 255 Disclosure: Neither Sound
Devices nor Sony compensated me to write this
article. Neither company sent me review units
to try out the hardware; I own both products,
bought them both from established retailers
and have been using them in paid work for
a variety of clients. No material connection
exists between the manufacturers mentioned
in the article and myself.
Send questions to audioassist@hdvideo
pro.com or mail them to Audio Assist,
HDVideoPro, 12121 Wilshire Blvd., Ste.
1200, Los Angeles, CA 90025.
C O M P A N Y
Join The Discussion
With Other
Video Enthusiasts!
facebook.com/
hdvideopro

(
HDVP
Q
At A Glance
)
Squeeze It!
Sorenson Squeeze
9 simplies the
encoding process
By Michael Guncheon
Since you spent the time to
make sure your project looks great, its
important to make sure it still looks
great when its compressed. While many
applications let you export or share
your video, they often dont give you
the controls you might need to eke out
the best quality.
Sorenson Squeeze has long been a
go-to tool for achieving high-quality
compressed les. With this new update,
version 9, Sorenson has increased
that quality, added several new work-
ow improvements and ratcheted up
the performance. The new interface is
elegantly designed, making the encod-
ing process straightforward. First, you
import your file. Squeeze will take
almost any le type. Second, choose
your output format by selecting a preset.
Then press the Squeeze It! button, and
away it goes.
However, if you really want to get
the most out of your video, Squeeze
lets you modify those presets. A quick
double-click opens up a whole host
of adjustments. Each preset contains
video, audio, lters, publishing and
notication tabs. Instead of an endless
list of parameters, the preset window
shows the main adjustments youd
normally access. By clicking on the
Advanced button you can quickly get to
the more expert compression settings.
More importantly, Squeeze 9 now
has support for HTML5 encoding, a new
web standard for embedding media in
web pages. It solves a lot of the cross-
platform and cross-browser issues that
have made serving up media difcult
in the past.
Squeeze automatically creates the
two avors of video les needed for
HTML5, a thumbnail JPEG and the
necessary web code that can be copied
and pasted into a web page. It even
creates a fallback to Flash for older
browsers, all contained in the single
piece of code.
Squeeze allows you to create work-
ows, so that if you get your settings
right, you dont have to re-create them
each time you have a new version of
your le. A Squeeze workow includes
a publishing section that denes the
destination (or destinations) where
you want to put your nished encodes.
Destinations can include a local or
network folder, an FTP site, YouTube or
Content Delivery Networks like Akamai
or cloud storage like Amazon S3 or
Sorenson 360.
Included with the application (and
another possible destination) is a free
account with Sorensons 360 service.
This gives you up to 5 GB of storage
along with a password-protected review
and approval site that you can share
with others.
The Sorenson 360 account is also
used to help with notications. As part
of the workow, you can have Squeeze
send you an email or even a text mes-
sage when your le is ready.
Compression takes a lot of comput-
ing power. Squeeze 9 has increased the
speed of processing, in some cases by
a factor of 6. With many compression
jobs, it uses a divide-and-conquer
approach by splitting up the source le
into chunks that it can send to multiple
CPUs if your computer has them.
Sorenson Squeeze is available in
Standard and Pro versions. The Pro
version adds closed captioning, adap-
tive bit-rate formats and the ability to
compress to ProRes (on the Mac) and
Avid DNxHD codecs.
Both versions require Windows XP,
7 or 8 with a Pentium IV or better,
or Mac OS X 10.6 or greater and an
Intel-base processor. The software can
be integrated into workows with Avid,
Final Cut Pro and Premiere. Squeeze
9 Standard is $549; Squeeze 9 Pro is
$749. A trial download is available.
Contact: Sorenson Media, www.
sorensonmedia.com. HDVP
Sorenson Squeeze 9 is a video encoder that can output high-quality compressed les.
Increasing processing speed by a factor of six, Squeeze 9 now supports HTML5 encoding.
C
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9 0

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LAST MAN STANDING
(Contd from page 56)
scenario, says Tomcho. Our on-set monitoring
equipment was slimmed down to three Sony
PVM1741 OLED monitors, one for each camera.
During prep, we calibrated the monitors with a
custom ITU BR.709 setting to match, as close as
possible, to the colorists 2K projector. We could
toggle from our preset Looks in the EPIC, and
then adjust the color metadata for any type of
lter shifts between the cameras. Exposure was
controlled using a single-channel iris control for
each of the three camera bodies. Exposure was set
using Leader 5330 waveform monitors that we
rigged with our Sony 17-inch monitors. We had
the monitors rigged together on one mount that
we could essentially place on any slope we could
rig a stand for. This allowed us to be close to the
action and get an accurate exposure with minimal
amount of setup time.
The team also carried a portable media QC
station that consisted of a Thunderbolt MacBook Pro and con-
nections to use proper media readers. It was a great tool for
the few instances when we would receive a recording error from
the EPIC, notes Tomcho, usually due to overheating on long
takes in the sun. We were able to pull up the footage quickly to
verify whether any of the footage had been compromised. It was
denitely a great tool that t nicely in a handheld rugged case.
The lm was edited by Colby Parker Jr., a key part of my
core team, who has cut every lm of mine, says Berg. Post was
all done at Lantana in Santa Monica, which is great, as you
have most of it under one roof, he adds. Post took about seven
months, and Berg and Parker edited there and did all the sound
and mixing at Todd-AO.
The DI was done at Company 3 with colorist Sonnenfeld.
Stefan had set the look of the movie in our initial camera
tests, and we took that look right through the DI stage, says
Schliessler. Stefan also encouraged me to only manipulate the
image with power windows when absolutely necessary and to
keep the image contrast and color natural to create the realistic
look that Peter was going for. Ive been working with Stefan for
the last 15 years, and I trust his instincts and vision completely,
and Im very happy with the look we achieved for the lm.
I wanted to make an accurate lm about these real-life heroes,
and it did turn out the way I envisioned it, sums up Berg. Im
very happy with it and feel we really did justice to the story
and the SEALs involved in it. Im proud of it. HDVP
Learn more about Lone Survivor at www.lonesurvivorlm.com.
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92 Q HDVideoPro | hdvideopro.com 92

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NewTek TriCaster 40 v2 All-in-one Video Production Solution
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BandH.com/catalog
212-444-6633
Page 1
When in New York,
Visit our SuperStore
420 Ninth Ave.
Corner of 34th Street
New York, N.Y. 10001
Over 70,000 square feet
of the latest gear
The most knowledgeable
Sales Professionals
Hands-on demos
Convenient free parking
available
Prices, specifcations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2014 B & H Foto & Electronics Corp.
HXR-NX5U
3-CMOS NXCAM Flash Memory Camcorder
T||ee 1/8' E/rc| C|0S e|c|,
W||| a C|ea|V|d a||a]
Cap|u|e ue |erc|] S||:| PR0
Ouc / SOHC Ca|d, W||| |e|a]
|e:c|d :apao||||] (cp||c|a| H/R-
||U128 ||a| rerc|] u|||,
20/ W|de e||e |e|
HO-SO| & HO|| cu|pu|, S|PTE
T|re Ccde ||/cu|, Oua| /|R ||pu|
Bu|||-|| PS ]|er 8.2' /||a |||e |CO
#SOHXRNX5U
XA10
Professional HD Solid State Camcord-
er
G4B |||e||a| a|d Oua| SOHC/SO/C
:a|d |c| W||| |e|a] |e:c|d||
1920 / 1080 C|0S |rae Se|c|
Ca|c| 10/ HO V|dec |e|
8.b" H||-|ec|u||c| |cu:| pa|e| |CO a|d EV|
8-B|ade ||| a|d |a|ua| |c:u R||
O||C OV ||| |rae P|c:ec|
24|op Re:c|d|| (AVCHO,
Oua| /|R |e|r||a|
#CAXA10 ..............................$1,699.00
HDR-TD30V
3D Flash Memory HD Camcorder
Oua| 1/8.91 oa:|-|||ur||a|ed
E/rc|-R C|0S e|c|
Re:c|d |c SO/SOHC/SO/C
|S PR0-H Ouc & /C-H red|a
1920 / 1080 |u|| HO 24p/G0p .|dec
Sc|] e||e W|de 10/ 1// e/|e|ded /ccr |e|
8.b" (1G.9, |CO :|ee| & Cc|c| .|eW|||de|
b.1-:| |e:c|d|| 0p||:a| |rae |ao|||/e| W||| A:||.e rcde
wa|:| 8O c| 8.b" (1G.9, |CO W|||cu| pe:|a| |ae
Bu|||-|| PS ||:|cp|c|e & |eadp|c|e ||pu|
#SOHDRTD30VB
HDR-FX7
3 CMOS HDV Camcorder
Ca|| Ze| 20/ Va||c-Sc||a| T |e|
8 1/4" C|0S, 1G.9, C|ea|V|O |e:||c|c] e|c|
H||-Oe||||||c| 1080| |e:c|d||
Supe| S|ead]S|c| cp||:a| |ao|||/a||c|
E/pa|ded |c:u a||
8.b" |CO :|ee| & Cc|c| .|eW|||de|
Zccr a|d |c:u |||
|c:u a|d /ccr p|e:||c| :c|||c|
Bu|||-|| ' & 1/1G \O ||||e|
HO||, ||:|cp|c|e, Headp|c|e, & |A\C :c||e:||.||]
#SOHDRFX7
XA20 / XA25
Professional HD Camcorder 1/2.84' HO
C|0S e|c| W||| RB p||ra|] :c|c| ||||e|
20/ HO Zccr |e| 2 / SO/SOHC/SO/C
:a|d |c| W||| |e|a] a|d dua| |e:c|d||
Ca|c| O||: OV 4 |rae p|c:ec|
Bu|||-|| w|-|| |e:||c|c] W||| |TP ||a||e|
:apao||||] 0p||:a| |rae |ao|||/a||c|
8.b' |CO :|ee| a|d :c|c| .|eW|||de|
2 p|a||cr-pcWe|ed /|R aud|c ||pu|
\a||.e 24p a|d |cW- a|d |a| rc||c| |e:c|d||
XA25 Step-up Features: HO/SO-SO| cu|pu| a|d p|e-|e:c|d 8-e:. ou||e|
#CAXA20 .............................. $2,199.00 CAXA25 . ............................. $2,699.00
VIXIA HF G30
HD Flash memory Camcorder
|u|| HO 1920 / 1080p Re:c|d|| a| G0 |p
Ca|c| 2.91|P 1/2.84' HO C|0S P|c Se|c|
Ca|c| 20/ HO V|dec |e| (8.G/ - /8.4rr,
Re:c|d || |P4 (8b|op, c| AVCHO
(28|op, Oua| SO/SOHC/SO/C
|erc|] Ca|d S|c| Bu|||-||
w|-|| & ||ee |c.|e Up|cade| App
0|EO 8.b' |cu:| Pa|e| d|p|a] &
(c]||:| Cc|c| 0.24' V|eW|||de|
0p||:a| |rae S|ao|||/a||c|
#CAHFG30
PMW-100
XDCAM HD422 Handheld Camcorder
1/2.9" C|0S Se|c| (1920 / 1080,
/OCA| 422 |PE-2 Ccde: a| b0 |o/
10/ Zccr |e| - 40-400rr
(8brr E(u|.,
8.b" |CO S:|ee| (8b2 / 480 P|/e|,
HO-SO| & HO|| 0u|pu|
Oua| /|R ||pu| / T|re:cde & e||c:| |/0
Oua| E/p|eCa|d S/S Ca|d S|c|
Ccrpa||o|e W||| /OCA| O|: & E/
|c|ra| OVCA| Re:c|d||
#SOPMW100
HDR-AX2000
3-CMOS AVCHD Flash Camcorder
T||ee 1/8' C|0S E/rc| e|c|
Re:c|d |c |erc|] S||:| PR0 Ouc,
SO/SOHC Ca|d (Oua| red|a |c|,
1080/G0|, a|d 24p/80p AVCHO
|e:c|d||
20/ /ccr -|e| (29.brr W|de,
Zccr, |c:u, a|d ||| |||
Oua| /|R ||pu| 8.2' /||a |||e |CO
|cW-|||| (1.b |U/, :apao|||||e
C||eraTc|e arra a|d C||eraTc|e Cc|c| Cc|||c|
#SOHDRAX2000H
NEX-VG900
35mm Full-Frame Interchangeable Lens Camcorder
24.8|P |u||-||are 8brr E/rc| C|0S HO e|c|
E-|cu||, a|d A-|cu|| W||| ||:|ude
|A-EA8 A-rcu|| |e| adap|e|
1080/G0|/G0p/24p 0uad :apu|e
r|:|cp|c|e W||| /|R cp||c|
T|u-|||de| 0|EO .|eW|||de| W||| e]e
e|c| C||era|c|e arra W|||
:crp|e|e||.e ra|ua| :c|||c|
U|:crp|eed 1080 HO|| 0u|pu| |erc|] S||:| PR0 Ouc/PR0-H
Ouc, SO/SOHC/SO/C 8.0" |CO :|ee|
#SONEXVG900
HXR-MC2000U
Shoulder Mount AVCHD Pro Camcorder
1/4" 4.2|p, C|ea|V|d E/rc| R C|0S e|c|
Bu|||-|| G4B |a|d d||.e
SO/SOHC/SO/C & |erc|] S||:| |c|
1920 / 1080| AVCHO (24|op,
|PE-2 SO |cde (9|op,
12/ W|de a||e Sc|] |e|
0p||:a| S|ead]S|c| |ao|||/e|
2./" C|ea|P|c|c |CO
|a|ua| |e| ||| W||| a||ao|e
pa|are|e|
#SOHXRMC2000U
XF100 / XF105
HD Professional CF Camcord-
ers
1/8" C|0S 1920 / 1080 C|0S e|c|
Oua| C| :a|d |c|
b0|op |PE-2 |e:c|d||
Ca|c|' |PE-2 4.2.2 :c|c| arp|||
G0p/G0|, 80p, 24p |/| |||e |c|ra|
10/ HO /ccr |e|
8.b" 920| dc| |CO rc|||c|
S|e|ec:cp|: 8-O |e:c|d|| :apao|||||e
Oua| /|R ||pu| wa.e|c|r |c|||c|
XF105 Step-up Features: HO/SO-SO|, S|PTE T|re Ccde, e||c:|
#CAXF100 . ......................... $2,499.00 #CAXF105 ........................... $2,999.00
HXR-NX30
Compact HD Camcorder
S|cc| AVCHO Up |c 1080/G0p
a| 24|op
Bu|||-|| 9GB ||a| |erc|] Capa:||]
P|c Aud|c Cc|||c| & |e.e| Ad(u|re||
E(u|pped W||| Oua| /|R ||pu|
Bu|||-|| P|c(e:|c| & 8.b" |CO |c|||c|
Bu|||-|| S|e|ec S|c|u| ||:|cp|c|e
Supe|-w|de Ca|| Ze| 10/ 0p||:a| |e|
Ba|a|:ed 0p||:a| S|ead]S|c|
|ea|u|e SO c| |erc|] S||:| Ca|d S|c|
#SOHXRNX30U
4
Mega
Pixels
24
Mega
Pixels
20
Mega
Pixels

We Buy, Sell and Trade
Page 2
800-947-9928
212-444-5028
Fax:
212-239-7770
Store & Mail Order Hours:
Sunday 10-6 t Mon.-Thurs. 9-7
Friday 9-1 EST / 9-2 DST
Saturday Closed
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PMW-F5 / PMW-F55
CineAlta Digital Cinema Cameras
8.9MP Super 35mm CMOS Image Sensor
2| a|d HO Re:c|d|| H|||] |cdu|a|
Oe|| 8.9|P Supe| 8brr C|0S
|rae Se|c| S/S P|c+ red|a :a|d
Native FZ-Mount and PL-Mount Adapter O]|ar|: Ra|e Ra|ed a|
14 S|cp 0||.||e |||||ur ||c| P|cp|a|e Ba||e||e 0p||c|a| A/S-
Rb dc:|||
|e:c|de| e|ao|e 4| a|d 2| |ec|u||c| .|dec |e:c|d|| || 1G-o|| RAw
PMW-F55 Step-up Features: 4| /2| /HO Re:c|d||
#SOPMWF5 . .......................$16,490.00 #SOPMWF55 ......................$28,990.00
EOS C300
Cinema EOS/PL Camcorder Body
Super 35mm CMOS sensor
b0 |op |PE-2 E| c| P| |e| rcu||
Oua| C| :a|d |c|
Ca|c| /| Ccde: - 4.2.2 :c|c| arp|||
|u|||p|e |e:c|d|| |c|ra|
H||-|ec|u||c| V| a|d 4", 1.28 |p |CO
HO-SO|, HO||, /|R aud|c
Ca|c| O||C OV ||| |rae p|c:ec|
H||-Speed, S|cW-|c||c|, T|re-|ape a|d S|cp-|c||c|
T|re:cde |/0, e||c:| || & S]|: cu|
#CAC300EF / #CAC300PL
PMW-200
XDCAM HD422 Camcorder
T||ee 1/2" E/rc| C|0S e|c|
|PE HO422 a| b0 |op |e:c|d||
HO422 1080p a| 24 & 80 |p HO422
/20p a| 24, 80 & G0 |p |u(||c|
14/ /ccr (e|.c/ra|ua|, |e|
Oua| S/S rerc|] :a|d |c|
|cu| C|a||e| c| 1G-o|| aud|c
Suppc|| |/| a|d /OCA| E/
Wc||||cW A|||:u|a|ed 8.b" |CO :|ee|
T|re:cde & e||c:| ||pu| Ca:|e |e:c|d|| Up |c 1b
e:c|d
#SOPMW200 . .....................................................$6299.00
Cinema 2.5K / Production 4K
Cinema Interchangable Lens Cameras with EF Mount
Ca|c| E| a|d Ze| ZE rcu|| :crpa||o|e |e| rcu|| 2.b| |rae e|c|
12-o|| RAw, P|cRe, O\/HO, a|d C||eraO\ RAw |c|ra|
b' d|p|a] |/e Va||ao|e ||are |a|e |e:c|d||
Supe| W|de d]|ar|: |a|e SO| .|dec cu|pu|
a|d T|u|de|oc|| Pc|| Re:c|d |c |erc.ao|e
b' SSO d||.e U|:crp|eed a|d
:crp|eed |e:c|d|| ||:|ude OaV||:|
Rec|.e a|d U|||aS:cpe
Production 4K Step-up Features: 4| upe| 8brr e|c|
#BLCINECAM / #BLPRODCAM4K
GY-HM600 / GY-HM650
ProHD ENG Camcorder
T||ee 1/8' (1920 / 1080,
12-B|| C|0S e|c|
Oua| SO/C/SOHC :a|d |c|,
dua|-oa:|up, :c||||ucu |e:c|d||
|PE-2 / AVCHO / H.2G4 Re:c|d||
28/ |u(||c| W|de /ccr |e|
|11 Se||||.||] 0p||:a| |rae |ao|||/e|
8.b' |CO :|ee| W||| |c:u a|| HO-SO| a|d HO|| :c||e:||c|
GY-HM650 Step-up Features: w||| W||| App |c| |0S/A|d|c|d,
||.e ||a|r||c| (||ear||,, Se:u|e |TP |||e up|cad .|a w|||
#JVGYHM600U / JVGYHM650U
PMW-300
3 CMOS XDCAM HD Camcorder
8/ 1/2" E/rc| HO C|0S e|c|
14/ |u(||c| HO Se||e |e| b0|o/
HO |e:c|d|| a| |PE HO422
|||e|:|a|eao|e E/ |e| rcu|| HO-
SO/SO| a|d HO|| cu|pu| Ad.a|:ed
||a| p|c:e|| Re:c|d |c S/S, SO,
|erc|] S||:|,
& /0O :a|d Ser|-|cu|de| |]|e
:ar:c|de| 8.b" :c|c| |CO .|eW|||de|
T|re:cde a|d e||c:| |||e||a:e 0p||c|a| W||e|e adap|e|
#SOPMW300K1 ...................................................$7999.00
XF300 / XF305
3 CMOS Solid State HD Camcorder
Re:c|d HO 1080//20 c||c
Ccrpa:| ||a| :a|d
b0|op |PE-2 4.2.2 |e:c|d||
8 1/8" 2.8/|p C|0S e|c|
18/ Ca|c| HO | e||e |e|
O||C OV ||| |rae p|c:ec|
4" 1.28 |p |CO rc|||c|
1.bb |p Cc|c| EV|
0.e| a|d u|de| :|a||
XF305 Step-up Features: HO-SO| 0u|pu|, e||c:| & S|PTE T|re
Ccde
#CAXF300 ......................$4,999.00 #CAXF305 ......................$5,999.00
AG-AC130A / AG-AC160A
3-MOS HD Handheld Camcorders
8/ 1/8', 2.2 |p C|0S e|c| - 18-o|| dp
22/ cp||:a| /ccr |e|
1080p 1080| G0/p80/p24 & /20pG0
T||ee |||, |a|ua| Zccr, |c:u & |||
Oua| SO/SOHC/SO/C :a|d |c|
AVCHO & OV |e:c|d|| (SO, rcde
AG-AC160A Step-up Features:
HO-SO| & |PC| aud|c |e:c|d||
b9.94 H/ / b0 H/ W||:|ao|e S|cW/(u|:| rc||c| |e:c|d|| rcde
#PAAGAC130A / #PAAGAC160A
AG-HPX250 / AG-HPX255
3-MOS HD Handheld Camcorders
8/ 1/8', 2.2 |p C|0S e|c| - 18-o|| dp
22/ cp||:a| /ccr |e|
1080p 1080| G0/p80/p24 & /20pG0
T||ee |||, |a|ua| Zccr, |c:u & |||
HO-SO| & HO|| cu|pu|
b9.94 H/ / b0 H/ W||:|ao|e
S|cW/(u|:| rc||c| |e:c|d|| rcde
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(
HDVP
Q
Production Takes
)
Table Manners
We should have listened
to the elephant
By Bud Osborne
Several years ago, I was called upon
to shoot a commercial at a manufacturer of
custom billiard tables in the Midwest. The
company had asked their advertising agency
to come up with a concept to illustrate the
strength of the companys line of high-end
tables. The agency decided, after consulting
with the manufacturers engineers, that they
could demonstrate the strength of the tables
by showing a live elephant standing on top of
one. The manufacturer agreed that this would
be a startling and memorable visual.
The manufacturers plant had a beautiful
showroom attached to it, with various grades
of pool tables, including an ornate rosewood
version that would be at home in any royal palace. All the
top management from the billiard table company and the
agency were in attendance.
After completing the required beauty shots, including
several amazing billiard ball tricks by the company pro, it
came time to get the most difcult shot of the day: the live
elephant standing on one of the tables. The agency had
arranged for an animal trainer to be on location with three
of his animals in various sizes. After a discussion with the
engineers, it was decided that the medium-sized elephant
would be our actor for the climactic shot. The elephant was
carefully positioned next to the top-of-the-line rosewood
table. The trainer urged the animal up onto a riser next to
the table and then to put his front right foot on the table.
In hindsight, we all should have listened to the elephant,
because when he put his foot on the top of the table
and it started to sag under his weight, he let out a loud
bellow of resistance. Not to be deterred, the trainer slapped
the elephants rear end with his stick and the elephant
obliged by putting his foot rmly on the top of the table.
In less than a second, the room was covered in rosewood
toothpicks and broken slate, with the elephant still standing
on his riser looking apathetically at the pile of rubble. Wide-
eyed agency people stared silently at one another with open
mouths. After a few seconds, we heard uproarious laughter
coming from the back of the room. The president of the
company was standing with tears running down his cheeks,
as he playfully choked his chief engineer.
After considerable nervous laughter from the agency folks, the
destroyed table was swept up. A smaller elephant was brought
in. The legs of a new table were wired together with some
hastily acquired aircraft-grade cable, and in about 45 minutes,
we had a shot of a cute baby elephant standing proudly on
top of another custom-made rosewood billiard table. HDVP
Albert Bud Osborne is a veteran DP, videographer, still
photographer and educator who owns A-V-A Video Productions
in Indianapolis.
Win A Litepanels
Croma LED Light
Anyone who has spent time in lm and video
production has had a funny experience happen to
them. Odd, quirky things can take place on set, and
we love sharing those stories at the end of a shoot.
We know you have stories like these, so share them with
us and the HDVideoPro audience. Youll get more than just
the satisfaction of seeing your name in print. If your
story is featured in Production Takes, youll receive
a Litepanels Croma on-camera LED lighting xture.
The variable color temperature Croma is a versatile
lighting solution for run-and-gun news shooters, event
videographers and still photographers.
Please send your stories to editors@hdvideopro.com with the
subject line Production Takes.
C
o
u
r
t
e
s
y

o
f

B
u
d

O
s
b
o
r
n
e

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The moment everything
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