Digital Video - December 2013

X Tech Focus: Canon EOS C100, Lumos 300MK, Blackmagic Pocket Cinema Camera

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creativeplanetnetwork.com/dv | 12.2013 3

editor’s view

IntroducIng the 2013 newBay Product InnovatIon awards

W e launched an awards program this year, the Product Innovation Awards, that recognizes tech-nological advancements that serve television and

video organizations. Winners were selected by a panel of professional users. Evaluation criteria included innovation in concept and design, price, and suitability for use in broadcast television and video envi-ronments. I’m pleased to announce the recipients of this year’s Product Innovation Awards. Congratulations on your achievement!

Winners

edItorIaleditorial director Cristina Clapp [email protected]

managing editor Katie Makal [email protected]

tecHnical editor Jay [email protected]

Web editor Sarv Taghavian,[email protected]

contributing editors Jay Ankeney, Chuck Gloman, David Heuring, John Merli, Carl Mrozek, Oliver Peters, Geoff Poister, Dick Reizner, Stefan Sargent, Jon Silberg, Ned Soltz, Jennifer Wolfe, Joy Zaccaria

advertIsIng east coast sales manager Susan Shores [email protected] 212. 378. 0400 Ext. 528

West/central sales manager Jeff Victor [email protected] 224. 436. 8044

europe sales director Sharifa Marshall [email protected] +44 20 7354 6000

digital video expo sales Contact your Digital Video representative

classified ad sales Susan Shores [email protected] 212. 378. 0400 Ext. 528

art & ProductIonsenior art director Nicole Cobban

associate art director Walter Makarucha, Jr.

production manager Davis White 703. 852. 4615 [email protected]

advertising coordinator Caroline Freeland [email protected]

cIrculatIongroup director, audience development Meg Estevez

circulation manager Kwentin Keenan

circulation customer service Michele Fonville

suBscrIPtIons DV, P.O. box 221, lowell, MA 01853Telephone: 888-266-5828 (uSA only, 8:30 a.m. - 5 p.m. EST) 978-667-0352 (Outside the uS) Fax: 978-671-0460 E-mail: [email protected]

newBay medIa vIdeo/Broadcast grouPexecutive vice president | group publisHer Carmel King

vp sales | group publisHer Eric Trabb

editorial director - video Cristina Clapp

editorial director - broadcast Paul J. Mclane

Web director Ragan Whiteside-Johnson

online production manager Robert Granger

newBay medIa corPoratepresident & ceo Steve Palm

cHief financial officer Paul Mastronardi

controller Jack leidke

vice president of digital strategy & operations Robert Ames

vice president of audience development Denise Robbins

vice president of Human resources Ray Vollmer

vice president of production & manufacturing bill Amstutz

vice president of content & marketing Anthony Savona

it director Anthony Verbanac

lIst rental 914. 925. 2449 [email protected]

rePrInts and PermIssIons Please contact our Reprint Coordinator at Wright’s Media: 877. 652. 5295

PuBlIshed ByNEWbAy MEDIA llC28 E 28th Street, 12th Floor New york, Ny 10016 Tel: 212. 378. 0400 Fax: 212. 378. 0470Web: www.nbmedia.com

videodigital

vol. 21 | no. 12 12.2013

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Camera 4K � Dalet Digital Media Systems — Dalet Onecut � Digital Rapids — StreamZ live 8000EX � Dish Networks — Smart box � DSC labs — Xyla test chart � EditShare — XStream

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Editorial DirectorDigital Video magazine creativeplanetnetwork.com/dvp: 310-429-8484e: [email protected]: @DigitalVideomagPinterest: pinterest.com/digitalvideomag

Honorable Mentions

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creativeplanetnetwork.com/dv | 12.20134

12.2013 | vol. 21 | no. 12

feature 16 Inside Llewyn Davis

Final Cut Pro

Post for the Coen

brothers Film

departments 3 editor’s view

6 update

56 company index

57 classifieds

57 advertiser index

Digital Video (ISSN 1541-0943) is published monthly by NewBay Media L.L.C. at 28 E 28th Street, 12th Floor, New York, NY, 10016. Telephone: 212-378-0400. Periodicals post-age paid at New York, New York, and at additional mailing offices. U.S. subscription rate is $29.97 for one year; Mexico and Canada are $39.97 (including GST); foreign airmail is $79.97; back issues $7. Prepayment is required on all foreign subscriptions in U.S. funds drawn on a U.S. bank. All rates are one year only. Digital Video, Videography, Digital Content Producer, Millimeter, Digital Cinematography, Cinematographer, 2-pop, Reel Exchange and Creative Planet Network are trademarks of NewBay Media L.L.C. All material published in Digital Video is copyrighted © 2013 by NewBay Media L.L.C. All rights reserved. postmaster: Send address changes to Digital Video, Subscription Services, P.O. Box 221, Lowell, MA 01853. Return undeliverable Canadian addresses to Bleuchip International, P.O. Box 255542, London, ON N6C 6B2. Digital Video makes every effort to ensure the accuracy of all information published in the magazine; however, it assumes no responsibility for damages due to errors or omissions. Printed in the USA.

looK20 The Punk Singer Tracing the Trajectory of Riot Grrrl Kathleen Hanna

24 bird’s-eye view Penguin “Spy-Cams” Capture Colony Activities

lust28 cinema style, conservative price Capturing Video

with Canon’s EOS C100 Camera

32 lightweight, likeable led Changing Color with lumos’ 300MK Fixture

34 toolkit Showcasing New Gear

learn36 small gets big interest Grows in the blackmagic Pocket Cinema Camera

40 more Functions, better accuracy New Tools for Monitoring the Situation

44 innovation invasion How The Walking Dead Extends

Across Audiences and Screens

48 lens Flare lesson How to Achieve This beautiful “Mistake”

50 tips to clip

52 dv101: the carnet chronicles intelligence on international Production

58 production diary: love hz This is Not A Goodbye, My Darling,

This is A Thank you

24

contentscontents

20

28

36

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Co-located with:

CUPESMAR-13-012_DSize.indd10-30-2013 2:17 PM Lauren Moise / Lauren Moise

1

JobClientMedia TypeLiveTrimBleedPubs

CUPESMAR-13-012_DSizeCanonPrint8.5” x 10.125”9” x 10.875”9.25” x 11.125”Digital Video

Job info

Billing #: CUPESMAR-13-075

Notes

Art DirectorCopywriterAccount MgrStudio ArtistProofreader

Nick DeyringDustin GlickJared GoldwasserLauren MoiseNone

Approvals

FontsProxima Nova (Light, Light Italic, Bold Italic, Regular, Semibold)

Images204605_02a_c100_5_swop3v2.tif (CMYK; 477 ppi; 62.79%), Canon_KO.eps (28.6%), 207903_01a_12495-EOS_LOGO_SWP_300dpi_V1.tif (CMYK; 536 ppi; 55.96%), Cinema_minus_circles.ai (18.96%), 207903_01a_C100_logo.ai (15.6%), 205605_04_emmy-statue.psd (CMYK; 5483 ppi; 5.47%), 204605_03_d163_L_rear_Han-dle_EF_LCD_v2.psd (CMYK; 1403 ppi; 24.93%)

Inks

Cyan, Magenta, Yellow, Black

Fonts & Images

Saved at 100%from nyc01lmoise by Printed At

Canon’s compact, lightweight EOS C100 camera captures feature-quality images in run-and-gun,

single-shooter situations. Using a Super 35mm, 8.3 megapixel image sensor, the EOS C100 originates

exceptional shallow depth of fi eld, 1920 x 1080 HD video.

The EOS C100 gives you greater freedom as an image-maker. It o� ers a superb sensitivity range of ISO

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Internally, record to two readily available, o� -the-shelf media, and with a highly e� cient AVCHD codec,

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The EOS C100 can be paired with your Canon EF L-series, EF-S, and Cinema lenses, giving you the tools

you need to deliver your story.

Find out more at cinemaeos.usa.canon.com/C100

© 2013 Canon U.S.A., Inc. All rights reserved. Canon and EOS are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries. AVCHD and the AVCHD logo are trademarks of Panasonic Corporation and Sony Corporation. Use of the trademarks and service

marks of the National Academy of Television Arts & Sciences (“NATAS”), including the mark EMMY®, requires the prior express written permission of the National Academy of Television Arts & Sciences.

Dual phantom-powered XLR inputs

Emmy© Award for Technology & Engineering for 2012

Improvement to Large Format CMOS Imagers for Use in High Defi nition Broadcast Video Cameras

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S:8.5”S:10.125”

T:9”T:10.875”

B:9.25”B:11.125”

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“I first heard about Gravity at the beginning of 2010,” says visu-

al effects supervisor Tim Webber, a longtime collaborator of direc-tor Alfonso Cuarón—and the man Cuarón approached to help realize a film no one knew how to make. “Alfonso came in and talked us through the movie for 45 minutes and it was gripping.”

As he started work on the film, it was unclear to what extent visual effects and Webber’s team at london’s Framestore would be

needed. “There was a stage initially where it was going to be made with actors in real space suits,” Webber continues. in the end, considerably more of the film is CGi than first discussed—and in fact considerably more of it is computer generated than real. in the majority of shots, the only elements captured with a camera are the faces. The vastness of space, the Earth, the stars, the space shuttles, the Hubble telescope, the international Space Station, the numerous and villainous fragments

of debris, even the space suits: they were all made by visual effects artists at Framestore.

“There are bits that people just assume have been filmed, for instance a mid-range shot when [Stone is] working on the Hubble,” says Weber. “lots of people have seen it and asked us what we did there. They had no idea that it’s basically all CG apart from her face.”

That’s the aim for Gravity: that those years of extremely hard work by more than 400 people went

unnoticed and people walked out of the theater wondering how they got a film crew up into space.

update

Framestore develops groundbreaKing GravITy eFFects

onlineread more about Gravity at creative-planetnetwork.com/dv/dec2013

Sandra Bullock as Ryan Stone in Gravity

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visit the link or see back of this page for details

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4��@5tu Pro tip: if your render has 10 minutes left and you’re impatient, Google image search “platypus.” Poof! your render is done.

4��@FastCoCreate @VWcanada created an interactive video with the indie band “Walk off the Earth.” Watch: f-st.co/Kv4DoyP

4��@Gizmodo This documentary will inspire you to explore your city with a camera — gizmo.do/KFvgXbc

4��@flavorwire “Everybody Street” celebrates New york’s greatest street photographers — flvr.pl/1ana3E6

4��@laughingSquid Wes Anderson’s new short film “Castello Cavalcanti” stars Jason Schwartzman as a race car driver — squid.us/1hGC4gw

4��@Alexbuono if you enjoyed our SNl/Wes Anderson parody, you might dig this explanation of how we did it — bit.ly/HF6Jen

4��@verge How skydiving, surfing and kittens have made GoPro the best-selling camera on the planet — vrge.co/1dXsyka

4��@sonyproeurope Sony, @muse and Serpent Productions produced the world’s largest 4K multicamera concert recording. Check out the bTS: bit.ly/1boyChl

4��@ARRiChannel “Man of Tai Chi” was captured in true anamorphic on an Alexa Studio in ARRiRAW with Codex Digital recorders — fb.me/32O95GaJG

Twitter Feed

onlinedigital video’s twitter feed is at twitter.com/digitalvideomag

update

Supervising senior colorist Todd bochner of Modern VideoFilm relies on blackmagic

Design’s DaVinci Resolve to help deliver the stylized look of the FOX series Sleepy Hollow. “The look of the show is very specific, and we’ve had fun working with the producers to achieve their vision,” the colorist explains. “Resolve makes it possible to stretch the limits on looks.

i never have to say ‘no’ or ‘we can’t do that’ to the client.

“i’m always trying to come up with different looks for different times of day or flashbacks using lens blur effects, adding grain and sculpting lights,” bochner adds. “There are 10 different ways to do everything, which opens up so many creative possibilities.”

loyalKaspar rebrands nat geo wild networK

A s part of its network refresh initiative, Nat Geo Wild called

on entertainment branding agency loyalkaspar to develop a comprehensive brand-ing package. Deliverables included promo tool-kits, print collateral templates, a type identity and a variety of custom logo treatments.

“We created toolkits to give Nat Geo Wild’s in-house team organized structure to create a variety of promo elements, with the added

freedom to develop and augment them as new shows come along and the brand moves forward,” says loyalkaspar creative director Anna Minkkinen. “in addition to several animation style choices, our system allows them to pair colors with textures, which we created to give the brand a stylized photographic quality.”

news

Modern VideoFilm Colors FOX’s Sleepy Hollow

Ichabod Crane (Tom Mison) in “The Sin Eater” episode of Sleepy Hollow

phot

oby

brow

nie

harr

is/f

ox

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On the Creative Planet Network

4�NEP TRIO VIDEO GOES LIVE FOR AUSTIN CITY LIMITS Held over two weekends in October, the Austin City limits music festival offered more than 30 hours of live HD video coverage on its two youTube channels, all of it captured by NEP Trio Video’s trucks and crew. NEP Trio Video provided its Tango, beta and Xl2 mobile units, more than 14 cameras, and engineering support to record the event.

4�SYNDROME PRODUCES LIVE EMINEM MUSIC VIDEO youTube streamed its inaugural youTube Music Awards on November 3. The event, led by creative director Spike Jonze, included “live music videos” and awards presentations in six categories. Directing collective Syndrome was called on to deliver the live video for Eminem’s “Rap God,” the final performance of the show. A crew in a mobile truck cut to predetermined angles throughout the song, delivering the video to the audience as it was captured. Says Syndrome director James larese, “We had no way of knowing what was going to happen, but it was absolutely awesome.”

onlinego online to read more and view additional images and video: creativeplanetnetwork.com/dv/dec2013

update

L ight iron provided on-set color, color work-flow and final color for Ender’s Game,

which light iron CEO Michael Cioni describes as “an amazing science fiction movie, with a behind-the-scenes story as compelling as what’s on the screen.”

Cioni continues, “light iron collaborated with the VFX team at Digital Domain to create

a color pipeline that delivered the vision of director Gavin Hood and cinematographer Don McAlpine. From setting looks on set with our lily Pad System, to managing metadata with our live Play iPad app, to determining multiple color space deliveries of VFX shots, to creating complex branches of scene looks in the Di, our workflow was progressive at every step.”

We Are What We Are Edited with Adobe Premiere Pro

F ilmmaker Jim Mickle used Adobe Premiere Pro for

his independent thriller We Are What We Are. “We have a lot of tricky dolly shots [in the film], and we wanted a really sleek look,” he explains. “i used Warp Stabilizer in Premiere Pro and it was great—it helped smooth everything out. i also like to do a lot of playing around with color. being able to recolor a movie, reassign the iSO and adjust the

color temperature in Premiere Pro was awesome.“The film is a thriller, so there is a lot of

zooming in,” Mickle adds. “We did a lot of reframing and repositioning shots. Working with raw files made it easy to push a shot to 300 percent without losing quality.”

news

light iron manages color pipeline For EnDEr’S GamE

(L-R) Hailee Steinfeld and Asa Butterfield in Ender’s Game

(L-R) Julia Garner as Rose and Ambyr Childers as Iris in We Are What We Are

Delta Rae on ACL’s second weekend

Eminem was named Artist of the Year at the YouTube Music Awards

photo by dave mead

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LonE SurvIvor thrives with ec3C inematographer Tobias Schliessler, ASC, took a brand

new dailies facility-on-wheels for a test drive for the Peter berg-directed, Navy SEAls-themed Lone Survivor. The vehicle, called the EC3 Trailer and constructed in a joint venture between post houses Company 3 and EFilM, brings full digital dailies services to shooting locations. in the case of Lone Survivor, the EC3 trailer was parked high in the moun-tains of New Mexico, which were standing in for Afghanistan.

The EC3 trailer’s exterior came from Star Waggons, and the dailies grading theater inside is the product of EC3’s technology team. “it felt to me like i was going to the lab,” Schliessler recalls of his time in the trailer’s screening room watching graded versions of his work. “i could see what we’d shot, often the day we shot it, projected beautifully onto the 7 foot screen. i think it’s difficult when you have to look at dailies on a small computer screen or television or even an iPad.”

The cinematographer notes that he particularly enjoyed the interactivity with his dailies colorist, Adrian Delude. “Adrian is a very experienced dailies colorist and he understood what i was going for,” Schliessler says. “but it was wonderful to be able to sit and discuss any refinements i wanted together with him in a theater.”

update news

(L-R) Marcus Luttrell (Mark Wahlberg), Danny Dietz (Emile Hirsch) and Mike Murphy (Taylor Kitsch) in Lone Survivor, the story of four Navy SEALs on a covert mission to neutralize a high-level Taliban operative who are ambushed by enemy forces in the mountains of Afghanistan.

photo by greg peters

DV_12_13_v5.indd 12 11/15/13 11:34 AM

With JVC’s 23X Zoom, your shots will take center stage.

©2013 JVC. All trademarks and brand names are the property of their respective proprietors. Camera shown with optional shotgun microphone.

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• Three 1/3-inch 12-bit CMOS sensors (1920 x 1080 x 3)• Produce ready-to-edit HD or SD files in multiple file formats: .MOV (Final Cut Pro™), .MP4 (XDCAM EX™), AVCHD• SDXC/SDHC memory card recording (2 slots for simultaneous or relay recording)• Dual codec recording with WiFi, and broadband connectivity for file transfer and streaming (GY-HM650U)

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JVC-2203 HM600 Ser 9x10.875_JVC-2203 HM600 Ser 9x10.875 9/5/13 4:16 PM Page 1

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Q&A

D irector Alexander Payne first mentioned the script for Nebraska to editor Kevin Tent, ACE, nearly a decade ago when the two

were finishing Sideways. Tent, who’s edited all of Payne’s features, recalls the director’s summary of the project: it would star Bruce Dern, be black and white and have the feel of Peter Bogdanovich films, particularly The Last Picture Show and Paper Moon.

The father/son road picture, which opens on November 22, does star Bruce Dern, along with Saturday Night Live veteran Will Forte. The widescreen black-and-white feature, shot on ARRI Alexa cameras by Phedon Papamichael, ASC, definitely resonates the earlier Bogdanovich film, with its unflinching look at the aging and decaying of the central characters and their way of life.

Nebraska is certainly not the kind of high-concept movie the studios turn out these days. Did you have to get in a certain mind-set to edit the film?Kevin Tent: It’s a deliberately paced drama, so Alexander and I struggle with the need to keep it moving without losing the drama that comes out of the performances. He’s a big believer—and I agree—that if you move too quickly, you lose the nuance and the emotion of the performances. We want to let the actors do their job on screen and not try to manufacture too much in the editing, so we’ll let things play out in long takes if that’s the best way to get the feeling across.

You have a lot of scenes where I think the audience wants a cut, not because they’re bored but because they’re ...Uncomfortable! Yes.

There’s a scene where Will Forte’s character is sort of stuck in that living room in front of the TV surrounded by all those strange, annoying family members and it just feels so claustrophobic. You don’t even cut to another angle. It’s very effective.That’s great! That’s what’s supposed to happen. And then finally you get that comedic release with the cousin’s last remark. That’s the intent: buildup and release.

What was the most challenging part about maintaining the film’s tone?Aside from pacing it enough to let it breathe, I’d say it was certainly hard to find the right music. Alexander didn’t want the music to be commenting too much on the movie, telling people it’s funny or sad or anything like that. He brought in Richard Ford as the music editor, who suggested Mark Orton, and [Orton]

created some pieces that work really well.

Movies today are very often paced for viewers with a limited attention span. Is there a completely different way of thinking about the craft when you’re editing an Alexander Payne film?I think those decisions come from the story and from the actors he casts. The chemistry between director and editor is different on different projects. Some directors don’t like the cutting room. He loves it. He knows how much can happen in the cutting room, and that makes the whole process feel very rewarding. dv

Kevin TenT, ACeEditorNebraska

Update neWs

JON SIlBERg

David Grant (Will Forte) and Woody Grant (Bruce Dern) in Nebraska

film photos by merie w

. wallace

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IInsnsnsIIdededeLLLLewyn ewyn ewyn ewyn ewyn ewyn

ddavavavavIIssFinal Cut Pro Post For

the Coen Brothers FilmBy Oliver Peters

F ans of Joel and Ethan Coen’s eclectic brand of film-making should be thrilled with their latest effort, Inside Llewyn Davis. The story follows a struggling

singer in the Greenwich Village folk scene in the early 1960s, just before bob Dylan’s early career there. llewyn Davis is played by Oscar isaac, who most recently appeared in The Bourne Legacy. The story, though fictional, was inspired by the life of musician Dave Van Ronk, as chronicled in the book The Mayor of MacDougal Street.

Although this is the Coen brothers’ most recent release, the film was actually produced in 2012 in true indie filmmaking fashion: without any firm commitment for distribution. it was picked up by CbS Films earlier this year.

The Coen brothers tackle post with a workflow that is specific to them. i had a chance to dig into that world with Katie McQuerrey, who is credited as an additional editor on Inside Llewyn Davis. McQuerrey started with the Coen brothers as they transitioned into digital post, helping to adapt their editorial style to Apple Final Cut Pro. For many of their films, she’s worn a number of hats—helping to coordinate the assistant editors, acting as a conduit to other departments and, in general, serving as another set of eyes and ears while Ethan and Joel are cutting their films. (As film editors, Joel and Ethan Coen go by the moniker Roderick Jaynes.)

McQuerrey explains, “Ethan and Joel adapted their

Llewyn Davis (Oscar Isaac) is at a crossroads. Guitar in tow, huddled

against the unforgiving New York winter, he is struggling to make it as

a musician on his own terms.

DV_12_13_v5.indd 16 11/15/13 11:35 AM


approach from how they used to cut on film. Ethan would pull selects from film workprint on a Moviola and then Joel would assemble scenes from these selects using a KEM. With Final Cut Pro, they each have a workstation, and they are networked together. No fancy SAN management—just Apple file sharing and a Promise storage array for media. Ethan will go through a project, review all the takes, make marks, add markers or written notes and pass it over to Joel. Ethan doesn’t actually assemble anything to a timeline. He’s only working within the bins of the broader project. All of the timeline editing of these scenes is then done by Joel.” (Although there’s been press about the Coen brothers planning to use Adobe Premiere Pro in the future, this film was edited in Apple Final Cut Pro 7.)

Inside Llewyn Davis was filmed on 35mm over the course of a 45-day production in 2012. it wrapped on April 4 and was followed by a 20- to 24-week post schedule, ending in a final mix by the end of September. Technicolor PostWorks New york provided lab and transfer services for the production. The company scanned all of the raw 35mm negative to DPX files with a 2K resolution and performed a “best light” color correction pass of the DPX files for dailies. in addition, Technicolor synced the sound from the mono mix of production mixer Peter Kurland’s location recordings. These were delivered to the editorial team as synced ProRes files.

McQuerrey says, “Ethan and Joel don’t cut during the shooting. That doesn’t start until the production wraps. Inside Llewyn Davis has a look for many of the scenes reminiscent of the era. [Director of photography] bruno Delbonnel worked closely with [colorist] Peter Doyle to establish a suggested look during the dailies. These would be reviewed on location in a production trailer equipped with a 50” Panasonic plasma that Technicolor had calibrated. Once the film was locked, Technicolor conformed the DPX files and bruno, Ethan and Joel supervised the Di mastering of the film. Peter graded both the dailies and the final version using a [Filmlight] baselight system. Naturally, the suggested look was honed and perfected in the final Di.”

“Inside Llewyn Davis is about a musician, and music is a major component of the film. The intent was to be as authentic as possible. There was no lip-syncing to the playback of a recorded music track. [Production sound mixer] Peter [Kurland] recorded all of these [songs] live on set and that’s what ended up in the final mix. For editing, if we

ever needed to separate tracks, then we’d go back to Peter’s broadcast Wave file [bWF] multitrack recordings, bring those into Final Cut and create ‘merged clips’ that were synced. Since Ethan and Joel’s offices are in a small building, the assistants had a separate cutting room at Post Factory in New york. We mirrored the media at both locations and i handled the communication between the two offices. Often this was done using Mac screen sharing between the computers.”

The Coen brothers approach their films in a methodical fashion, so editing doesn’t present the

kinds of challenges that might crop up with other directors. McQuerrey explains, “Ethan and Joel have a very good sense of script time to film time. They also understand how the script will translate on screen. They’ll storyboard the entire film, so there’s no improvisation for the editor to deal with. Most scenes are filmed with a traditional, single-camera setup. This film was within minutes of the right length at the first assembly, so most of the editorial changes were minor trims and honing the cut. No significant scene lifts were made. Joel’s process is usually to do a rough cut and then a first

Llewyn Davis (Oscar Isaac) and Jim Berkey (Justin Timberlake)

Carey Mulligan and Justin Timberlake as Llewyn’s married Village friends, Jean and Jim Berkey

photosby

alisonrosa

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cut. Skip lievsay, our supervising sound editor, will do a temp mix in [Avid] Pro Tools. This cut with the temp mix will be internally screened for ‘friends and family,’ plus the sound team and visual effects department. We then go back through the film top to bottom, creating a second cut with another temp mix.

“At this stage, some of the visual effects shots have been completed and dropped into the cut,” McQuerrey continues. “Then there’s more honing, more effects in place and finally another temp mix

in 5.1 surround. This will be output to D5 for more formal screenings. Skip builds temp mixes that get pretty involved, so each time we send OMF files and change lists. Sound effects and ADR are addressed at each temp mix. The final mix was done in five days at Sony in los Angeles, with Skip and Greg Orloff working as the re-recording mixers.”

Even the most organized production includes some elements that are tough to cut. For Inside Llewyn Davis, this was the cross-country driving sequence that covers about one-and-a-half reels

of the film. it includes another Coen favorite, John Goodman.

McQuerrey continues, “The driving scenes were all shot as greenscreen composites. There are con-stantly three actors in the car, plus a cat. it’s always a challenge to cut this type of scene because you are dealing with the continuity from take to take of all three actors in a confined space. The cat, of course, is less under anyone’s control. We cheated that a bit using seamless split-screens to composite the shots in a way that the cat was in the right place. All of the windows had to be composited with the appropriate background scenery.

“The most interesting part of the cut was how the first and last scenes were built. The beginning of the movie and the ending are the same event, but the audience may not realize at first that they are back at the beginning of the story. This was filmed only one time, but each scene was edited in a slightly different way, so initially you aren’t quite sure if you’ve seen this before or not. Actions in the first scene are abbreviated, but are then resolved with more exposition at the end.”

Inside Llewyn Davis goes into limited release on December 6. dv

Inside Llewyn Davis takes place over a week in the life of a young singer in the Greenwich Village folk scene in 1961. John Goodman as jazz musician Roland Turner

Llewyn Davis (Oscar Isaac), Jim Berkey (Justin Timberlake) and Al Cody (Adam Driver)

DV_12_13_v5.indd 18 11/15/13 11:35 AM

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K athleen Hanna, lead sing-er of the punk band bikini Kill and dance-punk trio

le Tigre, rose to national attention as the voice of the riot grrrl move-ment, becoming one of the most famously outspoken icons of the third-wave feminist movement of the 1990s and early aughts.

The documentary feature The Punk Singer, directed by Sini Anderson and shot by cinematographers Jennie Jeddry and Moira Morel, details Hanna’s story as cultural lightning rod and private citizen, including her marriage to beastie boy Adam Horovitz and her decision, in 2005, to stop performing.

The Punk Singer premiered earlier this year at the SXSW Film Festival, where it was picked up for distribution by Sundance Selects/iFC Films. The film saw a limited theatrical release beginning in November. With virtually no budget, production was achieved largely through donations of equipment and expertise. The film consists of interviews and archival footage, including live band performances. interviews and b-roll footage were captured using a combination of Panasonic AG-HVX200 and AG-HPX170 cameras outfitted with letus adapters and a set of Zeiss Compact Prime lenses.

“We shot on the HVX and HPX because, at the time, they were the best HD prosumer cameras on the market,” Morel says. “The

ThE Punk SInGErTracing the Trajectory of Riot Grrrl Kathleen Hanna

JENNiFER WOlFE

Look the punK singer

photo courtesy of allison michael oren

stein

DV_12_13_v5.indd 20 11/15/13 11:36 AM


Your headquarters for free creative education.

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DV 1213.indd 3 11/15/13 12:46 PM

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Kathleen Hanna in The Punk Singer

DV_12_13_v5.indd 21 11/15/13 1:43 PM


color space, latitude and lenses were perfect for what we were doing, and the XlR inputs for the microphones made it so much easier to capture and monitor sound while we were shooting—something that the [Canon EOS] 5D and 7D couldn’t match. Also, both of those cameras were capable of shooting 1080, which we knew we needed if the film was ever to be projected on the big screen.”

The Panasonic cameras were augmented by Canon EOS 5D and 7D SlR cameras to shoot a tribute concert at the Knitting Factory in

December 2010, where 20 bands turned out to cover songs from Kathleen Hanna’s extensive catalog. Funding for postproduction—roughly $68,000—was raised on Kickstarter, almost entirely with small donations consisting of $20, $50 and $200.

“it would have been a lot more challenging had we not had so many generous people around us,” says Jeddry, who employed a borrowed lighting kit for the project, “but a lot of people really wanted to see this happen.”

To help organize the material, the director

Tavi Gevinson and director Sini Anderson

Director of photography Jennie Jeddry Director of photography Moira Morel Kathleen Hanna

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“She has this really large fan base underground, but there are still so many people who don’t know who she is. We wanted to present her in a way that makes her accessible to everybody.”—Moira Morel, director of photography, The Punk Singer

DV_12_13_v5.indd 22 11/15/13 11:36 AM


worked closely with the two DPs to create separate looks for each season as they followed Hanna with their cameras over the course of a year, starting in 2010. “Kathleen is a very private person to begin with, so having to follow her around with cameras—it wasn’t always easy,” Morel recounts. “but she was game. She was great about it and we had a really great time.”

Choosing a palette for spring consisting of light greens, pastels and greys, Morel captured beautiful scenery in the Olympia and Portland regions of the Pacific Northwest to use as establishing shots. Those sequences contrast with the super-bright and saturated footage acquired during the summer months. For sequences shot in the fall, including some of Hanna’s more intimate revelations, Jeddry took advantage of the slanted autumn sunlight outside, supplemented with a fire inside that had to be maintained at an even level throughout the lengthy shoot.

“i did boost the lighting with a daylight-balanced Kino Flo and Chimera-type Eco lite, along with some bounces on the inside,” Jeddry recounts. “in addition to the lighting—some of which was natural, some of which was lit—we had these color palettes, and that really helped divide the sections.”

“We talked a lot, more than i usually get to talk on projects, and we really delved into how we wanted to tell this

story,” Jeddry continues. “Kathleen dictated a lot of it because of the content and what she was saying, but Sini also had so many aesthetic ideas she wanted us to run with. She trusted us, and she also had a lot of ideas. Those two things are a good combination.”

“Kathleen embodies so much in terms of the feminist movement and also pop culture, and she’s a personal hero as well,” Morel concludes.

“ultimately the goal was to capture her stories in a beautiful and truthful way that would translate on screen for the audience—particularly for those people who don’t already know her and what she’s about. She has this really large fan base underground, but there are still so many people who don’t know who she is. We wanted to present her in a way that makes her accessible to everybody.” dv

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penguins: waddle all the wayLook

W hen it comes to getting stealthy shots up close and personal, nothing beats a remote-controlled animatronic

penguin outfitted with a hidden HD spy-cam. Of course, the effect is spoiled if you put him in any environment that’s not full of other penguins.

John Downer Productions deployed 50 spy-cams in various penguin configurations to shoot 1,000 hours of intimate behavior for Penguins: Waddle All the Way, a two-hour Discovery

Channel/bbC documentary that premiered in the united States on Nov. 23. These full-size “penguin-cams” are a revolutionary concept: they walk, get back up when knocked over, have cameras in their eyes and can even lay their own “egg-cams.”

Series producer John Downer, whose production company is famous for capturing wildlife in all manner of natural settings using clandestine camera gear, now focuses his customized miniature 1080p cameras on three

markedly different penguin species: the emperor of Antarctica, the rockhopper of the Falkland islands and the Humboldt variety in the seemingly unlikely habitat of Peru’s Atacama Desert. (The Antarctic crew spent more than 330 consecutive days there in the longest continuous shoot of emperor penguins ever conducted.)

Among the varieties of remotely controlled cameras deployed were species-specific full-size models (rockhopper, Humboldt, emperor), as

bird’s-eye viewPenguin “Spy-Cams” Capture Colony Activities

JOHN MERli

photo by frederique olivier

Emperor parents care for their chick in Antarctica.

DV_12_13_v5.indd 24 11/15/13 11:36 AM

Untitled-3 1 11/6/13 12:52 PM


well as chick-cams, snow-cams, egg-cams and an underwater penguin-cam. All of these units were positioned strategically to allow the spy-cams to waddle and roll within inches of the real-life birds on both land and sea.

Pulled out of retirement from 2010’s Polar Bears: Spy on the Ice, snowball-cam fit perfectly into the Antarctic environment. With no visible moving parts, it was able to roll across most terrain, even uphill. it could also film on the roll thanks to a self-leveling HD camera.

“The aim here was to capture a unique view of their extraordinary behavior up close when they don’t know they’re being observed,” Downer says. “Of course, you can still get quite close to some types of penguins, like rockhoppers, but the birds will often stop doing anything when humans are close by. you can’t really approach the emperor

penguin within about 40 meters, and the Humboldt type will run far away if they see a person, but none of them are afraid of another penguin. So the idea was to disguise our tiny cameras. We had different types of ‘penguins,’ including some that simply turned their heads or waddled. One could even lay an egg, where the egg itself was also a camera. This provided some truly incredible aerial footage when one egg was scooped up by a petrel, and she flew it directly over the colony,” adds Downer.

Apart from the robotic elements of the spy-cam units, which were devised in the united States by a Japanese robotics engineer, the penguin mannequins and mini-cam bodies were constructed by a team of craftsmen in bristol, England, where Downer’s company is based.

long-lens shots were captured primarily on RED cameras. “We love RED because of its higher

resolution and its ability to shoot at high speeds. but i’d say maybe 60 percent of the final footage was from the [spy-cams],” Downer says.

Although the smarter penguins seemed to sense a difference between the penguin-cams and real birds, most were fooled. Downer says that at least one bird, upon not seeing his life-mate return after a six-month absence at sea, actually began to woo one of the animatronic penguins.

Things did not always go well socially for the artificial birds, according to producer Phil Dalton. “Some of the larger males among the rockhoppers saw one of our robotic penguins as competition. it became victim to a bit of violence on at least one occasion, and it was generally maltreated, having its head ripped off and slapped around. Penguins can be quite ferocious with one another.”

Other injurious events: a penguin-cam had

One of these emperor penguins is a camera.

Emperor-cam with others of his kind

Six-month-old emperor chicks

Series producer John Downer with rockhoppers

photo by frederique olivierphoto by geoff bell

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its legs broken twice when knocked off a cliff by rockhoppers, one had a flipper ripped off by an albatross, and the underwater penguin-cam was attacked by sea lions and lost a flipper in the process. And there were fatalities as well. Three egg-cams were lost in a blizzard, two were taken by birds and one underwater rock-cam was washed away while filming rockhoppers.

Dalton adds, “The rockhoppers were on the Falklands, which are often very windy, so our robotic birds had to be able to withstand very high winds and stay upright.”

Downer’s production company typically does not provide technical details (or specific brand names) about its miniature spy-cam systems, except to say they are custom-built, provide 1080p quality and relay footage to nearby monitors to allow operation of the animatronic creatures in real time. “The fantastic thing is it’s only been recently we can use these high-grade cameras small enough to fit into the eye of a penguin-cam. This was a big breakthrough for us,” Downer says.

The three-hour documentary that debuted in February on the bbC (called Penguins—Spy in the Huddle) was pared down to the two-hour u.S.

version for Discovery Channel. An Americanized narration track was laid in by actor Jane lynch of Glee. both versions of the doc are expected to be available on blu-ray in 2014. dv

Rockhopper-cam in the rockhopper colony in the Falkland Islands

Emperor chick

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review

cinema style, conservative priceCapturing Video with Canon’s EOS C100 Camera

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The industry-standard AVCHD codec records HD video using H.264 compression at data rates up to 24 Mb/s and integrates easily into postproduction workflows. A single 32 Gb SD card will hold nearly three hours of HD video at 24 Mb/s. Dual SD-format memory card slots enable relay recording for continuous roll time and double-slot recording for enhanced security.

FEATURESSome of the features that differentiate the C100 from other DSlRs include a built-in four-position ND filter, two balanced 3-pin XlR audio connectors (on the removable handle unit), two different record buttons,

batteries that actually last the length of your shoot, and shooting times as long as your media size will allow. (The Canon-supplied Data import utility software will seamlessly recombine video data that was divided when a file exceeded the 2 Gb limit, or join files that were created during relay-recording mode.)

iSO ranges from 320 to 20,000 in 1/3-stop increments. in addition to outputting AVCHD-format files to its dual SD slots, the EOS C100 can deliver HD video signals in uncompressed 4:2:2 format via a standard HDMi digital output for external recording, live viewing or playback on an external monitor. The HDMi output carries multiplexed, 2:3 pull-down

The EOS C100 digital video camera targets a broad range of lower-budget film and video productions with a flexible, modular design that supports a variety of single-operator shooting styles. The EOS C100 weighs 2.2 lb. in its basic configuration. it uses the same Super 35mm imaging system found in the EOS C500 and EOS C300. The camera incorporates Canon’s EF lens mount and is fully compatible with Canon’s line of EF, EF-S and Cinema series lenses.

Product: Canon EOS C100

Pros: High-quality camcorder that looks and feels more like a video camera than a DSLR.

Cons: Viewfinder is difficult to use. Menu joystick too small and seems like it will break quickly.

Bottom Line: The future of the DSLR.

MSRP: $5,499 (body only, EF mount)

Online: cinemaeos.usa.canon.com

Quick Take

videodigital

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markers and SMPTE-format timecode.The video signal is recorded in AVCHD’s MPEG-4 H.264 using 4:2:0 color

space. There are essentially three shooting modes: 24 Mb/s (1920 x 1080) at 60i/30p/24p/50i/25p, 17 Mb/s (1920 x 1080) at 60i/30p/24p/50i/25p and 7 Mb/s (1440 x 1080) at 60i/30p/24p/50i/25p.

The C100 may be configured in a number of different ways. The EOS C100’s main body can be mated with a hand grip or a separate handle unit that includes two XlR audio connectors, a stereo mic and record-tally lamp. To match a user’s preferred shooting style, the C100’s grip handle rotates 360 degrees and includes a joystick for making menu selections.

One area where the C100 really shines is in its custom picture profiles. Professional shooters often desire a specific “look,” and the C100 allows these users to save nine customized profiles in the camera and up to 20 on an SD card. Custom profiles can be adjusted for gamma, black, black gamma, low key saturation, knee, sharpness, noise reduction, skin detail, selective noise reduction, color matrix, white balance, color correction and setup level. The EOS C100 ships with three preset profiles: EOS standard, wide dynamic range and “cinema,” which applies Canon log Gamma and Color Matrix.

The EOS C100 is a fully manual camera, with user control of functions including iris, shutter speed, gain, zoom, focus and audio levels. Sharp focus can be achieved using the high-resolution 3.5” lCD monitor and 1.56 megapixel color viewfinder/EVF. Two peaking modes and a magnify-focus assist that are available in both standby and record modes allow shooters to check critical focus.

IN USEThe Canon EOS C100 is an amazing camera, but using it effectively may take a bit of practice. users will benefit from customizing the camera’s settings for greater control. i found that it takes quite a bit of menu diving to access the setup options, however, and the miniscule thumbwheel/joystick doesn’t help. (The joystick is located on the grip unit on the camcorder’s right side. The grip may be removed, but then you won’t be able to change any camera settings that require the joystick.)

On location, i attached an 8” field monitor to the camera’s hot shoe so everyone could observe the shot. i noticed that when image magnification is selected, the “mag” graphic appears on the camera’s lCD screen but not on the HDMi-connected external monitor, which is a shortcoming.

Regarding image quality, i believe the footage i shot with the C100 has better color separation than that shot with my standby Canon EOS 5D Mark iii. Editing footage from the C100 is slightly more challenging, though. To get footage shot on my 5D Mk iii into Apple Final Cut Pro 7, i’d use Squared 5’s MPEG Streamclip to convert the AVCHD H.264 files to Apple ProRes 422 (HQ), but i wasn’t able to do the same thing with C100 footage. Video files shot on the C100 are not accessible in MPEG Streamclip and must be imported using FCP 7’s log and Transfer. it’s just another step, but old habits die hard.

On the topic of audio, having real XlR connectors speeds field sound production, as it eliminates the requirement for an external audio recorder and means you won’t have to sync everything later in post. The camera also makes it simple to adjust audio levels.

i appreciate the option of shooting in 60i, 30p and 24p and controlling the gammas and black levels. The C100 comes across to me as more “professional”

than a lot of other cinema-shooting DSlRs. Once you get used to the setup and handling of the C100, you may find it difficult to go back to shooting with antiquated DSlRs. The C100 and its siblings are going to be the pathway to the future. All of the best features of a DSlR have survived and you have more capability in audio and video without a much larger footprint. dv

Director Patrick Moreau and the team at stillmotion shot the short documentary “Pulse” in three countries in just over a week with Canon’s EOS C100. (Watch the video online: vimeo.com/55772166) This photo shows Ray Tsang with the EOS C100.

Shooting “Pulse” with the EOS C100

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The form factor is similar to competitive 1x1 lED units. it weighs 4.18 lb. and measures 11.8” x 11.8” x 2.9”.

The fixture came with a set of barndoors, which was surprising to me. i hadn’t dealt with barndoors on a 1x1 lED unit before. it’s a nice touch. The doors are quite robust. They’ll take the abuse of production for sure.

Note that if you mount the fixture on a stand with the yoke vertical and open the doors all the way, you cannot really tilt the fixture at all. in order to get a good tilt with the barndoors open, you have to mount it with a horizontal yoke, which takes up more room and counteracts the benefits of the 1x1’s small size.

Still, i was thankful for the barndoors in a number of situations, not just for their ability to shape light but for providing finer control of the output than the dimmer alone would allow.

The 300MK features a dimmer knob, which is standard fare on lED fixtures. One nice touch here is the “thermometer” scale on the back of the fixture. its 12 small lED indicators show you clearly where you are in the dimming range: all 12 is full bright, none is full dim. i often complain about not having a scale to show where i am on an adjustment. The lumos takes care of it in a classy way.

Although the dimming knob has no “stops” on it—so you can turn it forever—it does have “bumps,” which tell you how many adjustments you’ve made with a slow turn. Although there are 12 lEDs in the indicator, it’s 23 bumps from 0 to 100 percent.

The “MK” in 300MK indicates the unit’s “multiple Kelvin” temperatures. The fixture can transition from 3,200° K to 5,600° K, with many stages in between. The color temperature

adjustment also has a thermometer scale on it, but the scale is labeled “min,” “med” and “max.” That terminology is great for dimming but confusing when describing color temperature. What is “max” color? is that 5,600° or 3,200°? As it turns out, 5,600° is “max.”

This knob doesn’t have final stops either, which is worse than the dimming knob not having stops because here you’re not sure which way to turn the knob. i often found myself fumbling with the color temperature control to get what i wanted.

These are, admittedly, pretty minor complaints. The fixture is well constructed and lightweight. i have no doubt that it will handle the abuses of daily production in the field. The face of the fixture has a diffusion panel in it, which eliminates the harsh exposure of lED bulbs. i had no problem lighting faces

lumos 300mKLust

lightweight, liKeable ledChanging Color with Lumos’ 300MK Fixture

JAy HOlbEN

late last year international Supplies introduced a 1x1 color-changing lED fixture, the lumos 300MK. i recently put the lumos unit through its paces on a shoot.

Product: Lumos 300MK

Pros: Robust, flexible, good design, great color rendition, good size and weight, great indicators.

Cons: Large jumps in illumination level between dimming settings, limited use of barndoors when in vertical mounting position.

Bottom Line: A good fixture that could be great if a few minor issues were addressed.

MSRP: $2,400

Online: www.lumosusa.com/lumos300.htm

Quick Take

Photometrics (at 100 percent intensity)

5,600°k 3,200°k

2’ 270 fc 250 fc

4’ 80 fc 70 fc

6’ 37 fc 32 fc

8’ 21 fc 20 fc

10’ 14 fc 12 fc

12’ 10 fc 9 fc

DV_12_13_v5.indd 32 11/15/13 11:36 AM

with the lumos 300MK directly, with no additional diffusion.

Color rendition on the lumos is excellent. i saw no significant green or magenta cast. My testing found the 5,600° K to be just slightly blue and the 3,200° K was spot on.

Perhaps my biggest issue is the smoothness of the dimming. i found several times that i was getting too little light from the fixture at its lowest dim setting, but

increasing output by one bump resulted in too much light.

i found there’s about a 7x leap in brightness from the lowest dimming setting to the second lowest, which i had to counteract with the barndoors and additional diffusion. That’s a large jump. The nice thing is that you can pinch down the barndoors in some situations to reduce the output. dv

Brightness at lowest dim settingsat 5,600° k at 3,200° k

1 bump 2 bumps 1 bump 2 bumps

2’ 2.1 fc 14 fc 2 fc 13 fc

4’ 0.6 fc 4 fc 0.57 fc 3.7 fc

6’ 0.3 fc 2 fc 0.3 fc 1.7 fc

8’ 0.18 fc 1.1 fc 0.16 fc 1.1 fc

500 Series Head502 Series Head

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External accessories can be supported using the 3/8” Easy Link connector.

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tooLkitSMALL TREETITANIUMZ-5An Ethernet-based portable shared storage solution for video editors who require shared access to media files, Small Tree’s GraniteSTOR TitaniumZ-5 is a five-drive system that may be populated with 2 Tb, 3 Tb and 4 Tb disk drives. TitaniumZ-5 can support up to two ports of 10Gb Ethernet. The system allows users to work across multiple protocols (AFP, SMb, NFS and iSCSi) and platforms, including Adobe Creative Suite, Avid Media Composer, Avid Pro Tools, Apple Final Cut Pro 7 and Apple Final Cut Pro X. www.small-tree.com

PANAVISIONPRIMO V LENSESPanavision’s Primo V series of lenses was designed to “bring the smooth, organic flavor of Primo lenses to the high-fidelity digital image,” according to Panavision vice president of optical engineering Dan Sasaki. The Primo V primes use lens elements from existing Primo lenses and are compatible with any digital camera equipped with Pl or Panavision 35 mount systems. The Primo V set includes 14.5, 17.5, 21, 27, 35, 40, 50, 75 and 100mm focal lengths. www.panavision.com

CANONDP-V3010 4K DISPLAYCanon’s DP-V3010 4K reference display provides a 2000:1 DCi-compliant contrast ratio, uniform brightness, very wide viewing angles in all four directions, internal color calibration and 1024 shades in each color channel. The 10-bit iPS lCD display measures 30” wide (diagonally) and 7.4” deep. Designed for use in postproduction suites as well as in DiT workstations and on-location video villages, the DP-V3010 provides full-screen 4096 x 2560 resolution, a 16:10 aspect ratio and a tightly packed “pixel pitch” of

157.5μm. The display is expected to ship in the first quarter of 2014. www.usa.canon.com

TELESTREAMWIRECAST 5Telestream’s Wirecast 5 live streaming production software adds enhanced encoding and playback options, a more efficient user interface, high-quality screen capture, improved H.264 playback, stream delay and more flexible input/output integrations for streaming. Wirecast 5 permits output of SDi/HDMi program feeds to blackmagic Design intensity and Decklink capture cards, enabling users to send live feeds directly into editing, effects and broadcast design systems. www.telestream.net

New Gear

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B lackmagic Design’s Pocket Cinema Camera was a hit as soon as it was announced at the 2013 NAb Show. The

pint-sized HD camera offers much of the same technology found in blackmagic’s successful 2.5K Cinema Camera in a form factor you can slide into your pocket.

The blackmagic Pocket Cinema Camera is called a Super 16 digital film camera thanks to its Super 16 size 1080 HD sensor. it is designed to record Apple ProRes 422 (HQ) files to inexpensive SD cards. About the size of a cell phone, it features an active Micro Four Thirds lens mount for interchangeable optics and spans 13 stops of dynamic range.

Very early models were reported to demonstrate “blooming,” or hard clipping in the upper regions of exposure, but that issue has apparently been corrected by blackmagic Design engineers. you can select either of two dynamic range settings: Film (log) or Video (Rec. 709 color space). The

small gets bigInterest Grows in the Blackmagic Pocket Cinema Camera

JAy ANKENEy

Learn blacKmagic pocKet cinema camera

Kholi Hicks (twitter.com/kholih) shot the short film “Real Life Horror Movies: The Creepy Doll”

with a Blackmagic Pocket Cinema Camera. Watch it on Vimeo: vimeo.com/78313637

Blackmagic Pocket Cinema Camera

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camera’s promised ability to shoot lossless compressed CinemaDNG raw files to fast SDXC cards should become a reality this month with the release of a firmware upgrade.

“We received a lot of positive response to the blackmagic Cinema Camera we released last year,” says Dan May, president of blackmagic Design. “As we looked toward the other boundaries we could push, it became apparent that a small, flexible secondary camera could also find a ready market. Our blackmagic Pocket Cinema Camera is designed to fill the role of either a main camera for professional HD projects, a b-camera for indie shoots, or an ideal tool for students and prosumers to raise their video capabilities to a higher level.”

When i asked about the delay in the Pocket Cinema Camera’s raw capabilities, May was honest

enough to say, “it’s been one of those ‘any day now’ targets for several months. but we should see it very soon, and of course the firmware upgrade will be free to all users. This should be especially useful to fans of raw recordings, since blackmagic Design provides a free version of DaVinci Resolve lite software on its web site for sophisticated color correction and file transcoding during post.”

Now that some early adopters have gotten their hands on this mighty mini, what can they reveal to other digital cinematographers who are

considering putting this arrow into their quiver?

KHOLI HICKSKholi Hicks, an independent DP and video consultant in los Angeles, received his blackmagic Pocket Cinema Camera in late summer and says he likes it as much as

blackmagic’s Cinema Camera, which he quantifies as “a lot.” Hicks was able to test the Pocket Cinema Camera’s raw capabilities in beta release.

“i’m shooting Adobe’s CinemaDNG raw format at 24 fps or 30 fps, recorded to a 32 Gb SanDisk Extreme Pro [SDHC] card at a 90 Mb/s write and 95 Mb/s read rate, and it looks great,” he says. “The HD images look as good as [from] its larger Cinema Camera brother. Outside of resolution and a hair of dynamic range, it is uncanny how precisely the two match.”

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The flexible MFT lens mount lets Hicks put almost any glass on the camera.

“Right now i’m using a Hot Rod Pl mount attached to a View Factor Studios Pocket Camera cage so i can use cinema lenses, and trading that off with a Canon EF adapter that lets me put Sigma’s new 18-35mm lens on it, which, at f/1.8, is pretty fast,” Hicks says. “i’ve found that most of the small-format cameras being released these days are basically a sensor in a box, but the blackmagic Pocket Cinema Camera is really a filmmaker’s point-and-shoot because i can use it practically anywhere i need a professional HD camera. it’s all about the image quality.”

Hicks suggests employing a pre-amp if you want to record audio on the camera itself. “One area where blackmagic Design has been criticized over the past year is in the audio features of its cameras,” he says. “The onboard microphone is fine as a reference mic, but for production audio i’d recommend using a preamp like the juicedlink RM333 to boost the input.”

JOSH DIAMONDJosh Diamond, half of the filmmaking team the Diamond brothers with his brother Jason, had been testing the blackmagic Pocket Cinema Camera for six weeks when we talked. “it’s basically the same as blackmagic Design’s Cinema Camera—in a reduced form factor with a smaller Super 16 sensor—but it’s still shooting ProRes 422, giving you, for example, about an hour’s recording on an inexpensive 64 Gb SD card,” which costs about $50 on Amazon.

Diamond had taken the Pocket Cinema Camera along on a helicopter shoot for a documentary that benefited from the flexibility of the camera’s small

size. “it’s nice to have something small for behind-the-scenes shots that you can just slam into your pocket,” he notes. “We’re also considering it as a b-camera on some VH1 interstitials we’re planning to shoot.”

it’s the look of the recordings that really impresses the Diamonds. “The blackmagic Pocket Cinema Camera has much better image quality than other small-form cameras,” Diamond says. “but the real magic of this camera is its ability to shoot ProRes 422, which really simplifies the postproduction workflow.”

Diamond appreciates the variety of lenses the camera can accommodate. “The ability to go to any rental house, select an adapter and choose from a wide range of lenses is a huge advantage,” he says. “We had a 32mm anamorphic Elite lens mounted on the Pocket Cinema Camera, and although it was five times the size of the camera, it worked just fine. i really like options, and blackmagic choosing the Micro Four Thirds mount makes this the most versatile camera it can be.”

Diamond could think of just two downsides of the camera, one being the lack of a touchscreen interface. “it’s not that big of a problem—we are accustomed to a touchscreen on the Cinema Camera—but you can quickly get used to the direct button control on the Pocket version. Other than that, i just wish it had audio meters in the display.”

MARCO SOLORIOMarco Solorio, owner of OneRiver Media, a full-featured production and post facility in Walnut Creek, Calif., has calculated that the Pocket Cinema Camera’s raw recordings measure about 2.5 Mb per frame, depending on the content. “The CinemaDNG format is a series of still image

files, but i’ve been told that blackmagic Design is looking to implement a QuickTime wrapper that will give it more of a video sequence. For now i just bring the CinemaDNG files into DaVinci Resolve to create proxies and edit them in my Adobe Premiere or Avid Symphony NlE.”

That’s going to let a lot of digital cinematogra-phers get their first experiences shooting raw, since the blackmagic Pocket Cinema Camera sells for less than $1,000.

Solorio finds that one of the Pocket Cinema Camera’s strongest features is its ability to shoot 10-bit ProRes in either log or Rec. 709 encoding. “To me, that is absolutely huge,” he says. “We are in the middle of a large bMW documentary, and having the ability to intercut shots from the bigger mainstream cameras with the Pocket Cinema Camera has been a significant benefit. We tend to shoot the beauty shots in raw, but for the vast majority of our shooting, 10-bit ProRes blows the doors off of any 8-bit system we have ever used.”

Solorio recommends bringing a lot of extra batteries with you on shoots. “We get about 35 to 45 minutes use with each of the blackmagic Pocket Cinema Camera’s rechargeable lithium-ion batteries. it chews through them, so i’d recommend bringing a pocketful of them—or, as we do, use either internal third-party 1,800 mAh batteries, giving us 45 minutes to an hour each, or an external battery source through the camera’s 12-20V DC port.” dv

Kholi Hicks Josh Diamond Marco Solorio

NoteBlackmagic released a free software update on November 12 that adds 12-bit log CinemaDNG raw recording to the Pocket Cinema Camera.

DV_12_13_v5.indd 38 11/15/13 11:37 AM

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monitor overviewLearn

S eeing is believing, they say, and it’s often true ... though not when you’re referring to film and television production. For even the most routine aspects of production, “seeing” sometimes isn’t enough.

Professional monitors are able to provide accuracy that goes well beyond what can be “eyeballed,” which is important on shoots with multiple monitors or locations. Even if the user is able to judge by eye alone, he won’t necessarily be able to replicate his settings elsewhere.

“Many depend on their eyes for a certain look,” says Russ Walker, director of strategic planning and business development at Marshall Electronics in El Segundo, Calif., “but they want to be able to duplicate that look on another day and likely on another monitor.”

With the market now divided into several segments, including TV and cable production, video production and postproduction, different users are looking at the same professional monitors with very different needs.

“Users require the ability to duplicate monitor settings,” Walker says.

“This is most often done with LUTs [lookup tables], a series of numeric values that describe gamma, brightness, contrast, primary and secondary color points, etc. This kind of functionality is found in so-called Grade 1 monitors. This level of monitor also needs to be capable of field calibration.”

Walker notes that many customers do not need this many features, relying instead on the preset values in the monitor such as gamma settings, brightness and contrast. Budget and customer sophistication are the primary considerations in selecting a monitor.

“Monitors that do it all are more expensive, as the firmware is more sophisticated and the high-grade panels cost more as well,” Walker adds. “We are working to offer choice in price points and capability.”

To ensure that the end user can get just the right picture, Plura Broadcast, a Phoenix-based provider of professional monitors, offers features such as LKFS loudness measurements, built-in waveform and vectorscope, video payload identification (VPID), and 16-channel audio metering with different scales.

more Functions, Better AccurAcyNew Tools for Monitoring the Situation

PETER SICIU

JVC’s RS-840UD Reference Series 4K 84” LCD monitor features an IPS LCD panel with 120 Hz refresh rate and 10-bit color depth.

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The SFP-3G Series, which Plura introduced at April’s NAB Show, further offers a 6 x 6 built-in cross-point switcher, pixel-to-pixel mode, internal pattern generator and digital audio decoding.

JVC’s professional monitors offer features including 3G-SDI input, waveform and vectorscope display and 16-channel audio metering. Its new 17” studio model (DT-V17G15Z) offers mercury-free RGB LED backlights.

The 17” studio monitor offers 10-bit processing capacity, according to Craig Yanagi, JVC’s national marketing and brand manager. “It enables a precise Rec. 709 gamut mode, making it a default monitor for accurate color imagery,” he says. “It also offers a wide gamut mode that covers 110 percent of the NTSC color space.”

Applications for these smaller monitors are not limited to the studio. “Built-in features such as waveform display are really helpful in the

field, where it is not practical to take some of the external calibration tools,” says Nicholas E. Dugger, president of Tennessee Digital Video in Nashville.

TVLogic monitors offer tools to measure exposure and focus. “These tools are fairly ubiquitous across our product line,” says Wes Donahue, director of sales and marketing at Preco, TV Logic’s U.S. distributor. “All of the monitors on the mid to high end offer vectorscope, waveform and focus assist.”

Donahue adds, “There is a lot of choice depending on what the user needs. Audio level metering is enabled on the screen, and that is another feature that can come in handy for many users. Some of the monitors on the higher end offer picture by picture [a side-by-side display of two inputs], which is helpful when matching cameras.”

TVLogic’s monitors can be auto-calibrated, and many of the models feature a built-in 3D lookup table.

As the industry moves toward 4K, the market continues to evolve to meet new needs. The demand for higher resolution is spreading beyond the studio into the field.

George Gonos, president of Leader Instruments, observes, “High-quality 4K cameras are becoming so affordable that the format is being adopted by many digital cinematographers and video production companies.” His company’s LV5490 waveform monitor, he says, “is the ideal production reference both for 4K live shooting and post-shoot refining. It handles all common high-definition and standard-definition signal formats in one compact instrument.” The LV5490 is equipped with four 3G/HD/SD-SDI input channels and a wide-viewing-angle 1920 x 1080 9” flat-panel display, allowing precise matching of studio or outside broadcast cameras.

Steve Mahrer, Panasonic senior technology

Marshall’s QV-2710 has four independent 3G-SDI inputs to enable users to view four channels at once in a quad view mode. Additionally, the QV-2710 can accept an HD, 2K or 4K signal using one or more of the 3G inputs and display a single image full screen.

JVC’s 17” DT-V17G15Z features a 1920 x 1080 IPS panel with 10-bit processing, two gamut modes, 3G/Dual Link HD-SDI inputs, and waveform and vectorscope.

Plura’s SFP-217-3G is a flexible 17” broadcast monitor.

TVLogic’s 17” LVM-173W-3G features 12-bit video processing, 1366 x 768 resolution and two HD/SD-SDI inputs.

DV_12_13_v5.indd 42 11/15/13 2:53 PM

alliance manager, says that “4K is becoming a serious niche for field production and postproduction, but 4K also brings new problems. A simple yet everyday example is the ability of the DP or cameramen to actually see focus. On HD monitors, the DP could see focus on a 7” or 9” HD LCD attached to the camera. These HD LCDs had peaking that provided an indication of camera lens focus. Alas, 4K requires something new and better. A 4K image that is soft or not at critical focus is essentially useless and disappointing.”

Mahrer suggests that Panasonic’s 31” BT-4LH310 LCD production monitor—which features a 4096

x 2160-pixel LCD display with ruggedized construction, multiple professional inputs (3G/HD-SDI and HDMI), true color processing with a 3D LUT, 28V DC operation for field use and mercury-free LED backlighting—could “be the right size to fulfill the field use need.” The BT-4LH310 was designed for the field, including use in a video village for live viewing of 4K cameras, as well as for viewing dailies.

Moreover, Mahrer notes, Panasonic expects that the BT-4LH310 monitor will be compatible with Academy Color Encoding System (ACES) environments. ACES is an initiative spearheaded by the Academy of Motion Picture Arts and Sciences to define a standard, future-proof color space that will enable consistent color rendition in pipelines using any combination of ACES-compliant cameras, processing and display devices.

Mahrer explains that with ACES, “the workflow is defined by the color space and gamma profiles of

the camera, the monitoring display and the final theater projector. The ability to load an ACES 3D LUT on the 31” LCD so that it displays what the customer in a movie theater will see, and adjust the color accordingly, is very important.”

JVC is touting its RS-840UD Reference Series 4K 84” LCD monitor, which was introduced last year and began shipping in June. The RS-840UD has a native screen resolution of 3840 x 2160 and is capable of 60p input and display. It features an

IPS LCD panel with 120 Hz refresh rate and 10-bit color depth.

The greater resolution of 4K allows four 1920 x 1080 HD signals to be displayed on a single monitor where cameras need to be matched, and the large display makes comparing the images easy.

“It has a stunning image,” says Yanagi. “It provides a multiview environment in situations where there is a need for large sizes, especially with 4K production.” dv

Panasonic’s 31” BT-4LH310 LCD production monitor supports a wide color space with a 4K 10-bit IPS panel.


DV_12_13_v5.indd 43 11/15/13 2:54 PM


the walKing dead Learn

AMC ramped up for season four of The Walking Dead with the launch of “The Oath,” a three-part web series directed

by Walking Dead executive producer and special effects makeup wizard Greg Nicotero. The webi-sodes consist of short stories (7 to 10 minutes) that follow minor characters from the broadcast show and are set in other parts of the Walking Dead universe.

The webisodic series has picked up both Streamy and Webby awards, in addition to the Writers Guild of America’s first-ever award for Outstanding Achievement in Writing Derivative New Media, in 2012.

The webisodes are typically released ahead of

the broadcast season premiere, whetting fans’ appetites for more zombie gore. The strategy has paid off in a big way for AMC. The third season finale in April drew the show’s highest ratings to date, with an audience of 12.4 million. by comparison, Breaking Bad’s series finale drew 10.3 million viewers.

but AMC doesn’t stop there. in an era of shrinking real-time audiences, the cable net also bolsters the number of broadcast viewers with what it calls “Story Sync,” mobile content developed to complement the series that’s deployed simultaneously with the broadcast.

“We’re serving up 16 to 30 pieces of content for one hour of television, timed to specific moments in the show,” notes Mac McKean, AMC’s senior vice president of digital media, who has been with the company since 2006.

The content for AMC’s Story Sync, nominated for a Creative Arts Emmy earlier this year, ranges from character profiles and kill stats to trivia questions and opinion polls. it’s available via a free

innovation invasionHow The Walking Dead Extends Across Audiences and Screens

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mobile app that users can access both during and after the show.

This second-screen content allows AMC to direct the focus of the show’s robust fan base while also providing an entry point for new watchers. “We have different groups we’re servicing all at the same time,” McKean says. “First of all we are servicing the fans of the show—especially the most passionate fans, but also the casual fans. Then we’re also

developing content for people who may have never seen the show, keeping in mind that this digital content may be their first taste of the show. So we’re staying true to the super-fans, but we’re doing it in a way that’s acceptable down the chain.”

building a dedicated experience for viewers seeking a network-produced second-screen experience was a natural extension of AMC’s digital strategy, according to McKean. “We

encapsulate the production: the writers, all the executive producers of the show, the prop masters, the various cast and crew members,” he explains. “So there’s a lot of access to information and content that we can serve up during the show to, hopefully, make a better and more engaging experience for those who are using their computer or phone anyway.”

beyond its Story Sync app, AMC offers content

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via social media that’s meant to be experienced outside of the broadcast, including an ultimate Fan Game that tests users’ knowledge of the show with sharable results, and The Walking Dead Social Game, a story-based Facebook game that invites fans to step into the zombie-filled world, where they fight for their lives, help friends survive, and embark on adventures with characters and settings from the show.

With a Walking Dead spin-off series planned for 2015, to be executive produced by Robert Kirkman, Gale Anne Hurd and David Alpert, it’s a safe bet that AMC will be supplying even more sophisticated second-screen content in the future. McKean and his team have already started delivering video content created specifically for the Story Sync app: brief vignettes meant to be viewed during the broadcast itself.

“We kept them very short because they were meant to be squeezed into the margins, so to speak,” McKean says. “i mean, you’re already watching the show. We realize that you may not want to spend time with extra video content right now. So we just serve it up and you can still access and engage with it after the show is over.”

To bring viewers deeper into the world of The Walking Dead, maintaining the integrity of the “fourth wall” is key. “it’s about creating an immersive world,” McKean says. “We’re staying within the fictional world, and i think there are a lot of rich possibilities to combine in that area. We’ve really only scratched the surface. dv

The content for Story Sync ranges from character profiles and kill stats to trivia questions and opinion polls.

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lens Flare Learn

A walk through any film and video trade show will reveal dozens of companies selling matteboxes and lens hoods, products that keep extraneous light off of a camera lens. The lens flares that these

devices prevent are optical malfunctions that occur when a powerful light source (sunlight, for example) strikes the lens and produces visible artifacts. This technical “mistake” may appear in the form of starbursts, rings or circles in a row, or as an all-encompassing haze that washes out the image. but care-fully planned lens flares can be desirable, adding dramatic effect to the shot. The key is in knowing how to channel the power of light to your advantage.

FIVE TIPS FOR CAPTURING DESIRABLE LENS FLARE

1 Check focus and depth of field without extraneous flare-causing light entering the lens. The washed out effect of lens flares can make it difficult

to focus and judge depth, so adjust the focus and DOF before you remove the lens hood or mattebox. (With the lens shielded, zoom in and check focus, then zoom back to the desired focal length and determine if the depth of field is appropriate.)

Depth of field is a function of both focal length and iris, which means that setting it in shots with lens flare can be tricky. Once the iris is set for the desired depth of field, don’t change it; adjust the exposure by adding or subtracting light via ND filters or modifying the camera’s iSO.

2 To ensure a beautiful glow, keep your subjects in the foreground and the sun or other flare-causing light source behind them. When arranged just

so, the light will seem to envelop the subject before it hits the lens.

3 Add camera movement to the shot. The angle at which the flare-causing light source strikes the front element of the lens is what determines how

the flare appears, so panning the camera during the shot will change the qual-ity of the effect. Experimenting as you move with your subjects can lead to a range of stunning results.

4 be creative when staging the shot. Just as a shot may include the subject entering or exiting the frame, shots may be designed with the appear-

ance and disappearance of a lens flare. Try panning during the shot so the flare-causing light source suddenly strikes the front lens element, or the reverse. Another technique is to dolly the camera along a path where objects in the background will interrupt the flare-causing light source, so the flare will

appear and disappear.

5 let the zoom work for you. Zooming the lens with a flare-causing light source striking the

front element will also alter the flare effect. Such zooming, when combined with panning or dolly camera movements, can produce a dramatic shot.

While filmmakers and videographers often go to great lengths to keep extraneous light off the camera lens, experimenting with lens flare can produce some surprising and pleasing results. dv

lens Flare lessonHow to Achieve This Beautiful “Mistake”

Of the millions of high-resolution stock photos, vectors and illustrations available from Shutterstock, many showcase the beauty of lens flares. This image of a woman celebrating the sunrise is from an HD video clip shot at 50 fps with a RED EPIC.

In this still from an HD video clip, two children dance on the beach at sunset.

photo/video by ryan e. walters/shutterstock

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tips to CLip DiCK REiZNER

Learn

travel tipTo avoid getting lost when traveling in a country whose language you do not speak:

1. Always carry a matchbook or business card from the hotel at which you are staying. you can then show it to a cab driver or police officer to let them know where you want to go.

2. Get a map of the area and mark the location of your hotel and any other important spots you will be visiting. Then have someone write on the edge of the map, in the language of the country, “Please point to where i am on this map.” you don’t want to ask “Where am i?” because you won’t understand the answer in the language you don’t speak. Have them show you instead.

And don’t forget, knowing how to say “thank you” in the language will always make you less of an ugly American.

did i maKe that shot?you have just completed shooting a 32-page script. As you look over the crumpled pages, a feeling of doubt comes over you. Did you really complete it? you were shooting out of sequence and now you’re not sure that you got everything.

James Potter of Canton, Ga., keeps track by placing a vertical line in the right margin next to the covered dialogue as he finishes each shot. When he completes the project, he should have a line from the top to the bottom of every page. if there are

any gaps, he missed a shot.

it doesn’t have to be ...One of the best time- and labor-saving tips i ever received came early in my career. it is simply this: “it doesn’t have to be, it just has to look like it is.”

Once i got that through my head, i no longer found it necessary to clean and light a whole office when i was only shooting a talking head against one wall. it was no longer necessary to hide a cable that was visible in the room but not through the camera. it was no longer necessary to wait until the machine i was photographing was actually working, as long as it looked like it was working.

in other words, if it doesn’t show through the camera, it doesn’t matter, so don’t spend time and energy worrying about it.

share your tipNow it’s your turn to share a favorite shooting or production tip or question with your fellow professionals. Please send e-mails to [email protected].

All submissions become the property of Reizner & Reizner. None can be returned.

microphone socKsone of the prime rules when we are on the road is “pack as much as you can into as little space as pos-sible.” among the first “space-takers” to go were the fancy padded boxes for our hand microphones. over time, the microphones began looking as though they had been mistaken for bones and munched by a very large dog.

our solution was to send them back to the fac-tory for resurfacing and then store them in old athletic socks. We still carry them loose in the audio case, but now they are protected from scratches, nicks and large dogs. beat the bright

Sometimes a patch of cement or a stucco wall can be the brightest part of your image. Herman Dorf of Chicago, ill., says those and other porous surfaces can be darkened by dampening them with a light spray of water. The secret is to create an even coating of water without any of the surfaces looking wet. A hand-pressurized garden sprayer will usually accomplish the task.

i was using Herman’s tip to darken some cement when i accidentally wet an unpainted fence post. it brought out the texture of the wood so well that the director said to spray the rest of the fence. He then began experimenting, wetting almost everything in sight.

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dv101

T his month’s DV101 will deviate from my normal technological dia-tribes into logistics. i’m currently producing and directing a reality show called My Hollywood about kids pursuing their dreams to break

into show business. The major leg of home visits for this show has me on the road for 25 days from Alberta, Canada, to Manhattan, Pennsylvania, Ohio, Tennessee and Florida.

Although i’ve shot in Canada once before, i did it a little surreptitiously, flying into New york and driving across the border with an SuV full of equipment, a producer and a cameraman. This show is a bit bigger. i’ve got a crew of six: a DP, camera operator, sound mixer, story producer, my assistant/DiT and our supervising producer. We’ve got a substantial amount of equipment (16 checked bags for each flight) and i’ve learned a ton while trying to negotiate the logistics of moving the crew and equipment across the border.

My first concern: Did i need to get permits for my crew to enter and work in Canada? in short, no. As a television production from America, with an American crew being paid by an American production company, we were free to enter Canada without a permit. Section 187 of the immigration and Refugee Protection Regulation lays out the general criteria for entry as a business visitor.

As was explained to me by a representative of the Canadian General Consulate in New york, the general criteria is as follows: “There must be no intent to enter the Canadian labor market, that is, no gainful employment in

Canada. The activity of the foreign worker must be international in scope, that is, there is the presumption of an underlying cross-border business activity. There is the presumption of a foreign employer: the primary source of the worker’s remuneration remains outside Canada, the principal place of the worker’s employer is located outside Canada, and the accrual of profits of the worker’s employer is located outside Canada.”

basically, since my crew is American, they are paid by an American company, and they aren’t attempting to take Canadian jobs, they don’t need a permit. For some businesses in Canada, you have to apply for a labor Market Opinion, which evaluates your impact on the Canadian business market. if you’re a benefit or are judged to have no impact, you’re allowed to operate with the lMO.

i was elated to learn i didn’t need an lMO or a work permit for my crew. What i didn’t know was that i needed a carnet (pronounced kar-nay).

it was actually my sound mixer, Kevin bellante, who asked me, “Are we doing a carnet?” just two days before we were getting on a plane. He asked that and sirens went off in my head. i knew i had heard that word before. i knew it had significance, but i couldn’t remember what. A quick Google search revealed that we were potentially in trouble.

A carnet is commonly known as a “merchandise passport.” it is, more or less, a passport for your equipment. Countries frown on individuals traveling

JAy HOlbEN

the carnet chroniclesIntelligence on International Production

Learn

Returning home from Canada. From left, camera operator Rachel Lippert, story producer Brittany Flickinger, producer’s assistant/data wrangler/DIT McKena Maltby and (bending over) director of photography Benjamin Molyneux

Loading the van with gear. We needed to remove two rows of seats from a 15-passenger van to fit 16 checked bags and 10 carry-ons—the sum total of our personal and production equipment for the trip.

DV_12_13_v5.indd 52 11/15/13 11:38 AM

abroad, purchasing expensive items like jewelry and electronics, not paying sales tax, and then bringing those items back into their home country.

The carnet, a customs document, helps smooth the process of bringing professional equipment temporarily into another country. The carnet declares the ownership of equipment that is crossing borders—proof that you had all the equipment before you left the country, when you entered the new country, when you left the new country and when you re-entered the home country.

Carnets facilitate international business by helping travelers avoid extensive customs procedures and eliminating the payment of duties and value-added taxes (minimum 20 percent in Europe, 27 percent in China) on ineligible items.

While researching the carnet process, i was fortunate to find a wonderful service: CarnetsXpress.com, run by Tiffany Peterson. She was able to facilitate a carnet for me same-day. i provided a list of the equipment we were traveling with, along with serial numbers and monetary value.

The carnet consists of a folder of paperwork that lists all of the equipment that is going to travel

with you. before you leave, take the carnet and the equipment to your local Customs and border

Patrol office, where an officer reviews the carnet and examines the goods to ensure they match the carnet list. The officer then validates the carnet document. i recommend doing this at least one day before you travel.

A carnet is valid for one year from the date of its issuance. Merchandise listed on a carnet can be imported to and exported from any of the member countries as many times as needed during this time. The carnet can include more items than you’re traveling with. if you are making several trips within the year that the carnet is valid—one is a big trip, others are smaller—you should list all of the equipment necessary for the big trip on the carnet and then note the items that are on the list but not included on a specific trip.

Equipment covered by carnets includes commercial samples, professional equipment, and items for tradeshows and exhibitions, as well as ordinary goods such as computers, tools, cameras and video equipment, industrial machinery, automobiles, clothing, and gems and jewelry.

basic processing fees are determined by the value of the shipment. Fees range from $225 to

(continued on page 56)

Sign at the U.S. customs office in Edmonton, Alberta, Canada. Be aware of the operating hours of the customs office with regard to your flight time. Customs officials won’t open the office early to accommodate your early flight.

DV_12_13_v5.indd 53 11/15/13 11:38 AM

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XF300 / XF3053 CMOS Solid State HD Camcorder

•Record HD 1080/720 onto Compact Flash cards

•50Mbps MPEG-2 4:2:2 recording•3 1/3" 2.37Mp CMOS sensors•18x Canon HD L series lens•DIGIC DV III image processor•4" 1.23 Mp LCD monitor •1.55 Mp Color EVF•Over and under crankXF305 Step-up Features: HD-SDI Output, Genlock & SMPTE Time Code

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EOS C300Cinema EOS/PL Camcorder Body

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Lens Optional

AG-AC130A / AG-AC160A3-MOS HD Handheld Camcorders

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AG-AC160A Step-up Features:•HD-SDI & LPCM audio recording•59.94Hz/50Hzswitchable•Slow/quickmotionrecordingmode

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AG-HPX250 / AG-HPX2553-MOS HD Handheld Camcorders

•3x 1/3”, 2.2 Mp CMOS sensor - 18-bit dsp•22x optical zoom lens •1080p 1080i 60/p30/p24 & 720p60•Three rings; Manual Zoom, Focus & Iris •HD-SDI & HDMI output•59.94 Hz / 50 Hz switchable•Slow/quickmotionrecordingmode•P2 card and DVCPRO mode recording

AG-HPX255 Step-up Features:•Remote terminal for studio control

#PAAGHPX250 / #PAAGHPX255

NEX-EA50UHHD Shoulder Mount Interchangeable Lens Camcorder

•Exmor APS-C CMOS sensor (AVCHD / MPEG2-SD)•Supplied18-200servopowerzoom•E-mountinterchangeable lenssystem•Addlenseswithoutbeing locked on a lens brand or lens mount

•Use Alpha A-mount lenses with 15‐point phase detection AF

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PMW-200XDCAM HD422 Camcorder

•Three 1/2" Exmor CMOS sensors•MPEG HD422 at 50 Mbps recording•HD422 1080p at 24 & 30 fps HD422

720p at 24, 30 & 60 fps Fujinon 14x zoom (servo/manual) lens

•Dual SxS memory card slots•Four Channels of 16-bit audio•Supports MXF and XDCAM EX workflows•Articulated3.5"LCDscreen

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EOS C100EF Cinema Camcorder

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dynamic range •DIGIC DV III image processor •High resolution EVF and integrated LCD screen•Dual XLR audio connectors

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Lens Optional

PMW-F5 / PMW-F55 CineAlta Digital Cinema Camera’s

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Cinema 2.5K / Production 4KCinema Interchangable Lens Camera’s with EF Mount

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Production 4K Step-up Features: 4K super 35mm sensor

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GY-HM600 / GY-HM650 ProHD ENG Camcorder

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•MPEG-2 / AVCHD / H.264 Recording •23x Fujinon wide zoom lens •F11Sensitivity•Opticalimagestabilizer•3.5”LCDscreenwithfocusassist•HD-SDIandHDMIconnections

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PMW-3003 CMOS XDCAM HD Camcorder

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FDR-AX1Digital 4K Camcorder

•1/2.3"back-illuminatedExmorR(R) CMOS Sensor

•DualXQDMemoryCardslot•Records4Kvideoresolutions

(Up to 3840x2160 60P/50P)•20xSonyG-Serieszoomlens•Opticalimagestabilization•CinematoneGamma/Color•Recordsin2Kand4K:60p,50p,30p,25p,24p•XLRaudioinput•VideoformatXAVCSformat,MPEG4-AVC/H264•3.5"LCDscreen

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AG-AC160A

Lens and Equipment Optional

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56

Academy of Motion Picture Arts and Sciences ..43Adobe ...............................................10, 17, 34, 37Altec Lansing .................................................... 58AMC ................................................................... 44Anton/Bauer ....................................................... 3Apple ................................................16, 30, 34, 36ARRI ................................................................... 14Avid .............................................................. 18, 34BBC .................................................................... 24Blackmagic Design ..............................3, 9, 34, 36Canon U.S.A. ....................................22, 28, 34, 38Carl Zeiss ........................................................... 20ClearCom ............................................................ 3Communications Specialties ............................. 3Company 3 ........................................................ 12Comrex ................................................................ 3Dalet Digital Media Systems .............................. 3Decimator Designs ............................................. 3Diamond Brothers ............................................ 38Digimetrics .......................................................... 3Digital Domain ................................................. 10Digital Rapids ...................................................... 3Discovery Networks.......................................... 24Dish Networks .................................................... 3DSC Labs ............................................................. 3EditShare ............................................................. 3EFILM ................................................................ 12FilmLight ........................................................... 17Framestore .......................................................... 6

Gefen ................................................................... 3Harmonic ............................................................ 3Hot Rod Cameras ............................................. 38International Supplies ..................................... 32John Downer Productions ............................... 24juicedLink ......................................................... 38JVC ..................................................................... 42K-Tek .................................................................... 3Kickstarter ......................................................... 22Kino Flo ............................................................. 23Leader Instruments ..........................................42Letus Direct ...................................................... 20Light Iron .......................................................... 10LiveU ................................................................... 3Loyalkaspar ........................................................ 9Marshall Electronics ........................................ 40Matrox ................................................................. 3Modern VideoFilm ............................................. 9Nagra ................................................................. 58Nat Geo Wild ...................................................... 9NEP Trio Video ................................................. 10Nexidia ................................................................ 3OneRiver Media ............................................... 38Optica Elite ....................................................... 38Panasonic ............................................. 17, 20, 42Panavision ........................................................ 34Peerless AV ......................................................... 3Plura Broadcast ................................................ 42Post Factory ...................................................... 17

Preco.................................................................. 42Promise Technology......................................... 17RED Digital Cinema ................................... 26, 48SanDisk ............................................................. 37Shure ................................................................... 3Shutterstock ...................................................... 48Sigma Corp. of America ................................... 38Small Tree ......................................................... 34Softron Media Services ...................................... 3Sony Pictures Studios ....................................... 18Squared 5 .......................................................... 30Star Waggons .................................................... 12Streambox ........................................................... 3Syndrome .......................................................... 10Technicolor PostWorks .................................... 17Telestream......................................................... 34Tennessee Digital Video .................................. 42Teradek ................................................................ 3The Switch ........................................................... 3Thomson Video Networks ................................. 3Tiffen ................................................................... 3TVLogic ............................................................. 42Video Clarity ....................................................... 3View Factor Studios .......................................... 38Vislink .................................................................. 3Wohler Technologies ......................................... 3YouTube ............................................................ 10

$380. Standard processing time is between one and two working days, if the application and security deposit are received according to the service provider’s guidelines.

We needed to take all of our equipment and the carnet to the U.S. customs office at the airport before we checked in at the gate. This was a struggle: we were flying out of terminal 2 at Los Angeles International Airport and the customs office is in terminal 4. The customs officer needs to see all of the equipment so he can certify that it’s in your possession when you leave the country.

When you arrive in the new country, that country’s customs officer needs to sign the counterfoil, a document in the carnet, to acknowledge that the equipment entered the country.

When you leave that country, take the equipment to the local customs office so officers there can inspect your equipment and sign the counterfoil. One final signature is required by U.S. customs when you re-enter the country—although this step was done for me in Canada by a U.S. customs officer and I didn’t have to do it after landing in the United States.

It’s a somewhat confusing process the first time,

but if you understand why it’s necessary, following the steps will be a lot easier. The alternative is that the foreign country may make you post a bond (up to 50 percent of the value of your goods) on entering their country; that bond is, theoretically,

returned to you on your departure.If you’re planning on traveling abroad with

expensive equipment, be sure to look into a carnet for your gear. Having one will save you a lot of headache. dv


(continued from page 53)

company Index

DV101

The carnet. The front includes the holder information (owner of the goods) and lists the ATA carnet countries. It must not be altered or amended in any way. The back is a general list of merchandise and equipment. This list cannot be amended, but it is possible to travel with partial shipments.

DV_12_13_v5.indd 56 11/15/13 2:54 PM


Classifieds Marketplace

advertiser index

Adorama 21, 31, 49 adorama.comAJA 37 aja.comAzden 23 azdencorp.comB&H Photo-Video-Pro Audio 54, 55 bhphotovideo.comBeachTek 53 beachtek.comBlackmagic Design 11 blackmagic-design.comCanon 5 usa.canon.com/camcorderConvergent Design 15 convergent-design.comDell 59 dell.comEdelkrone 7, 8 edelkrone.comFull Compass 46 fullcompass.comGlidecam 43 glidecam.comJVC 13 pro.jvc.com

Kino Flo 12 kinoflo.comLeader Instruments 41 LeaderAmerica.comManfrotto 33 manfrotto.usOwl Dolly 35 owldolly.comPixel Flow 51 pixelflow.comSafe Harbor 39 sharbor.comShure 25 shure.comShutterstock 60 footage.shutterstock.comSmall Tree 27 small-tree.comSony Creative Software 29 sonycreativesoftware.comVideoguys 19 videoguys.com Zeiss 2 zeiss.comZoom 45 zoom-na.com

Company page Web site Company page Web site

STAY ONE STEP AHEADwith newbay media’s FRee electronic newsletters

Sign up today by visiting www.nbmedia.comFREE!

the online community for

digital video filmmakers

Call Susan Shores 212.378.0400 Ext. 528

Email: [email protected]

log on to www.2-pop.com and join today!

www.myvideoedgemag.com

DV_12_13_Class.ID5.indd 57 11/14/13 5:33 PM


produCtion diary

R emember your first GF or bF? Of course you do. Mine is Christina McWilliams, a vision of 16-year-old loveliness. She gives me her school pin. i give her mine. We hold hands, kiss and cuddle. i’m tak-

ing it slowly and then, poof, it’s over. She wants her school pin back. i cry for a week. i’m through with girls.

FOR THE LOVE OF MIKEin 1956 i am working at Radio 2uE. We have a new Altec 21b condenser mic. While her Saarinen curves might break your heart, she is flat from 20 to 15,000 Hz—the perfect blend of form and function. i am in love.

Kicking and screaming, i am conscripted into National Service and taken away for military training. by chance, i see a classified ad for my Altec princess. On my day off, while my Air Force mates are pub crawling, i’m catching a bus to meet the seller, bill Armstrong. i spend every penny i have buying her. She is my first professional equipment purchase.

When I come home at night, she will be waiting.She’ll be the truest gal in all this world.I’d rather have an Altec 21B to call my own,Than a fickle-minded real live girl.

THERE WILL BE BLOODMy love sleeps under my pillow in the Air Force Nissen hut. My fellow conscripts think i’m weird.

One night they try to take her away. i lash out and break the ringleader’s nose. There’s a lot of blood. After that no one dares to touch her or me.

HEY PRESTOOut of the Air Force, i buy a Presto 1C cutting head, turntable and lathe and build a mini Abbey Road in my mother’s laundry. i specialize in cutting copies of impossible-to-get lPs.

My biggest hit is The Songs of Tom

Lehrer. lehrer sings of drugs, sexual diseases and poisoning pigeons: all the things that make life worthwhile.

JAZZ ME BLUESin 1959, the princess, my friend Robert Parker and i drive to the Cootamundra Jazz Convention. While Robert is recording the jazz using my Altec, i’m filming the event with a new bolex H16.

A week later i marry wife #1. big mistake. i should have stayed true to my princess.

EIGHT YEARS LATERWife #1 is gone but i have my loyal techie family: Altec, Presto, bolex, Éclair and Nagra.

i make TV spots, pop videos and full-length documentaries. i haven’t dated a girl for six months.

Mike Pearce is a close friend. “Come on, Stefan, you’ve got to start taking girls out again.” Nope, it Hz.

“Snap out of it. Ask the next girl who comes to the door. you can do it.”

On cue, knock knock. i fling open the front door. “My darling! At last i’ve found you. i know i sound crazy but i’d like to ask you out.”

“Oh dear, no. I’m here to meet my daughter, Tricia. She wants some modeling work. You should ask her out.”

LOVE ME, LOVE MY NAGRATwo months later, Tricia and i are in london. i’m shooting TV interviews, Tricia is recording the sound.

We meet Aussie friends. “Have you got a sound studio? We want to record The bee Gees Story.” “No, but i can build one. i have a great microphone, an Altec 21b.”

Robert, Tricia and i build Molinare. Twelve years later we have 40,000 sq. ft. and 100+ employees, but my darling Altec has vanished, gone forever.

Princess, thank you: thank you for showing me that there would come a time when i could eventually let you go. dv

STEFAN SARGENT

love hzThis Is Not A Goodbye, My Darling, This Is A Thank You

Learn

Stefan and Tricia, 1968

Altec 21B condenser mic

Presto 1C cutting head

DV_12_13_v5.indd 58 11/15/13 11:38 AM

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Documents

Digital Video - December 2013