Newbay DV 201311

digital
November 2013
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vol. 21 | no. 11
editorial
video
digital
11.2013
editors view
Full Schedule
editorial director Cristina Clapp cclapp@nbmedia.com managing editor Katie Makal kmakal@nbmedia.com tecHnical editor Jay Holben jayholben@gmail.com Web editor Sarv Taghavian, staghavian@nbmedia.com 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 sshores@nbmedia.com 212. 378. 0400 Ext. 528 West/central sales manager Jeff Victor jeffvictor@comcast.net 224. 436. 8044 europe sales director Sharifa Marshall sharifa.marshall@intentmedia.co.uk +44 20 7354 6000 digital video expo sales Contact your Digital Video representative classified ad sales Susan Shores sshores@nbmedia.com 212. 378. 0400 Ext. 528
art & production

senior art director Nicole Cobban associate art director Walter Makarucha, Jr. production manager Davis White 703. 852. 4615 dwhite@nbmedia.com advertising coordinator Caroline Freeland cfreeland@nbmedia.com
circulation
group director, audience development Meg Estevez circulation manager Kwentin Keenan circulation customer service Michele Fonville
SubScriptionS
DV, P.O. Box 221, Lowell, MA 01853 Telephone: 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: newbay@computerfulfillment.com
newbay media video/broadcaSt group

executive 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
d like to invite you to join me at our next Pro Media Conference, which takes place during Government Video Expo in Washington, D.C., December 4 and 5. (You can learn more about the entire Government Video Expo eventthere is a lot happening at the showstarting on page 51.) The Pro Media Conference offers the latest information and techniques targeted to those working in governmentrelated media operations. Our lineup of presentations includes discussions of new technologies, as well as a focus on issues related to creating, managing and delivering content for government agencies. Developed with both government-operated and private production organizations in mind, the Pro Media Conference will explore the media needs of government agencies and demonstrate ways to fulfill those needs. Launching at this years conference is Government Video in the Cloud (GVITC), a track that offers two presentations and four case studies highlighting the latest in cloud-based solutions that are revolutionizing government video. Panels for GVITC include: Update on Cloud Video Services Adoption in the Public Sector Considerations for Cloud Dissemination of Government Video Security & Reliability Concerns Unique to Government Video in the Cloud Case studies for GVITC include: Cloud-Based Management of Government Video Assets Distribution of Government-Owned Video from the Cloud Analysis of Aggregated Government Video Content View the full Pro Media Conference schedule at www.gvexpo.com/pro-media-conference. You may register for Government Video Expo events at www.gvexpo.com. (If youd like a special Digital Video reader discount code, just e-mail me and Id be happy to send you one.) I hope to see you there!
newbay media corporate

president & 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
Editorial Director
Video Edge Live @ Government Video Expo

The Video Edge Live program is designed for professionals who produce and deliver online video for media and entertainment, enterprise, education and government applications. This one-day interactive event consists of four panel discussions, each featuring a mix of industry experts, end users and manufacturers. Our next Video Edge Live summit will be held December 4 in Washington, D.C., during Government Video Expo. Its free to attend, but advance registration is required. Details are available at www.gvexpo.com/ videoedge-live.
Digital Video magazine creativeplanetnetwork.com/dv p: 310-429-8484 e: cclapp@nbmedia.com Twitter: @DigitalVideomag Pinterest: pinterest.com/digitalvideomag
liSt rental
914. 925. 2449 danny.grubert@lakegroupmedia.com
reprintS and permiSSionS publiShed by
Please contact our Reprint Coordinator at Wrights Media: 877. 652. 5295 NeWBAy MeDiA LLC 28 e 28th Street, 12th Floor New York, NY 10016 Tel: 212. 378. 0400 Fax: 212. 378. 0470 Web: www.nbmedia.com
creativeplanetnetwork.com/dv | 11.2013
contents
11.2013 | vol. 21 | no. 11
20
LOOK
20 Suspenseful Storytelling Christopher Rouse Recounts the Planning and Pacing
on Captain Phillips
22 The Creative Minds of MOCAtv Producing the Contemporary Art YouTube Channel 22 26 Extreme Documentary Production On Location with the HBO Series VICE 30 Drinking Buddies Ben Richardson Considers Collaborative Filmmaking
LUST
34 Better Manage Your Media Work and Workflow with Red Giant
Software BulletProof
38 New Perspectives Zacuto EVF Flip Adds Flexibility to Viewing and Reviewing 40 Spiral Symmetry, Superior Sound Recording with K-Teks Nautilus
Mic Suspension Mount
feature
38
42 Effects for Editors Pixelmator Teams Tool Enhances Your Timeline
16 Muhammad Alis
Greatest Fight Integrating Contemporary and Archival Footage for the HBO Movie
LEARN
44 Icon, Inspiration, Innovation Digital Bolexs D16 Camera Becomes A Reality 48 Tablet-Based Teleprompters User-Friendly, Energy-Efficient Options
for Production
53 Tips to Clip 48 58 Production Diary: Mistakes Ive Made A Few A Lot
departments
3 6 56 57 57
Editors View Update Company Index Classifieds 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 postage 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.
DIE IN NEW ORLEANS A music video Artist: Richard Julian Director/Cinematographer: Rick Kaplan
EXPERIENCE THE CANON EOS C300 CINEMA CAMERA
GO WHEREVER THE STORY TAKES YOU.

Cinematographer Rick Kaplan used the EOS C300 to shoot Die in New Orleans on location. You can watch the full music video and see how he shot it on our website. Made for easy mobility, the EOS C300 delivers outstanding cinema quality with multiple recording formats, a 50 Mbps 4:2:2 codec and full compatibility with either EF or PL-mount lenses. Designed to meet the demands of any production, the EOS C300 is ideal for everything from short movies to TV commercials. With it, the world truly is your stage.
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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.
update
photos by universal pictures
Rush Races ThRough PosT wiTh DaVinci ResolVe C

ompany 3 in London used Blackmagic Designs DaVinci Resolve to color grade Ron Howards F1 racing film, Rush. Tracing the true story of drivers James Hunt and Niki Lauda (played by Chris Hemsworth and Daniel Brhl) and their pivotal competition throughout the 1976 F1 World Championship, Rush was shot using a variety of digital formats by cinematographer Anthony Dod Mantle, ASC, BSC, DFF. The filmmakers also wanted to incorporate original race footage from 1976 shot on 16mm and 35mm film, recalls Patrick Malone, director of digital film services at Company 3 London. They felt this would help to re-create the thrilling race sequences and give Rush some real F1 production value. The overall goal during the grade was to create a look that would unify digital and archived film material, giving Rush a seamless look. Our brief was to give the film a 70s period feel with a modern slant, Malone says. Inspiration for the color palette came from a lot of the archived 8mm, 16mm and 35mm footage of the 1976 F1 World Championship. While the traditional look associated with the period is one of desaturated, almost sepia colors, Anthony wanted to push color into the cars so they looked more bold and striking, Malone says. In addition, he wanted each of the
grand prix races given their own unique feel to reflect the drama and dynamics of the 76 championship.
online
Read more about Rush at creativeplanetnetwork.com/dv/Nov2013
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Update
Twitter Feed
4 @banditojacob Kudos to the Cuarn family. #Gravity is a staggering vision of precise timing and execution. Cant wait to see the pre-viz. 4 @Framestore If #Gravity had been rendered on one machine, we would have to have started at the dawn of Egyptian civilization. goo.gl/jwk5Zh 4 @4KTV NBCs CEO endorses 4K: Picture quality takes your breath away. goo.gl/xGTeQ5 4 @FastCoCreate This 360-degree interactive wing suit footage is like your falling dream, but real f-st.co/SmmP7mo 4 @TheReelist The shoot for Captain Phillips was hardly a cake walk; @THR has @tomhanks and director Paul Greengrass explain ow.ly/pdAcI 4 @nateog J.J. Abrams apologizes for overusing lens flare: I know its too much. vrge.co/1701Vpe 4 @melsil Valentine Road director Marta Cunningham on her HBO doc ow.ly/pCymE 4 @VanityFair Oscar-winning director Barbara Kopple recaptures the magic behind the 1939 New York Worlds Fair vnty.fr/1bn5u09 4 @ThePlaylist Watch: Alfred Hitchcocks 10 Hidden Edits in Rope dlvr.it/4634pY
Taylor Kinney as Kelly Severide in Chicago Fire
NEWs
ChiCago Fire Is lIt WIth lItEpaNEls

ost of the fire seen in the NBC series Chicago Fire is real, only occasionally supplemented in post. To capture the intensity of the action in challenging lighting environments, cinematographer Lisa Wiegand relies on the color adjustment capabilities of Litepanels Bi-Color 1x1 and the durable MiniPlus. Shooting fire creates many specific challenges, Wiegand says. We need to expose for very bright
photo by elizabeth morris/nbc
flames, while still being able to dig out details in the shadows. Because of the intense levels of smoke we deal with, we are often shooting in the fire with a handheld ARRI Alexa camera and Angenieux Optimo zooms very close to the actors so we can see their faces. Wiegand says she uses Litepanels in almost every shot: the MiniPlus as handheld eyelight that follows the handheld camera, and the Bi-Color 1x1 panels for key lighting actors faces.
Whitney Presents Immersive, Panoramic Video
online
Digital Videos Twitter feed is at twitter.com/ DigitalVideomag
new exhibition at the Whitney Museum in New York features a panoramic video installation, In the Air by artist T.J. Wilcox, inspired by views of New York City as seen from the artists studio high above Union Square. Six video projections show a continuous image of the city from dawn to dusk. One by one, each projector cuts away from its role in producing the complete panorama and presents a short, poetic narrative film inspired by a view from the studios window. I like my film and video work to appear as the visible record of my own journey through our saturated mediated age, says Wilcox. Film and video provide the page upon which I make
T.J. Wilcox, still from In the Air, 2013. Six-channel panoramic video installation, black-and-white and color, silent.
a collage of the ideas I hold most dear. In the Air can be viewed in the museums second floor Mildred and Herbert Lee galleries through Feb. 9, 2014.
Update
NEWs
CaNoN 5D CapturEs Cold Turkey
inematographer Lucas Lee Graham says that for the independent film Cold Turkey, he wanted an intimate, personal look with a really shallow depth of field and nice portraiture so that the visual emphasis would be on the characters and what they were doing. Graham opted to use a Canon EOS 5D Mark III DSLR with Canon EF L Series prime and zoom lenses, explaining that the cameras large sensor gave us the filmic look we sought. The codec on the Canon cinematographer lucas lee Graham EOS 5D Mark III camera is a great asset, Graham continues. Its ALL-I edit- 5D outputs 1080 or 720 from its HDMI port to friendly intra-frame compression really cleans up your monitor when youre recording, so you can the image, especially when you start transcoding check for critical focus. You dont have to wait for it. Also important is the fact that the Canon playback to be sure that the shot is sharp.
On the Creative Planet Network
Metallicas lars ulrich
4 Hula Post Rocks on
Metallica: through the Never

For Metallica: Through the Never, the bands 3D concert film, Hula Post Production designed and built a complete offline workflow for editor Joe Hutshing and his team that included five Avid Nitris DX Media Composer 6.0.3 systems, each equipped with 3D editing software, and a Unity Media Engine shared storage device with a capacity of 40 TB.
Everyday People Comes to Life with Shutterstock

o announce the release of a new box set of Sly & The Family Stones best-known music, Legacy Recordings (Sony Music) partnered with Shutterstock to create a modern video for the bands song Everyday People. Comprising more than 130 clips from Shutterstocks footage col-
its always suNNy Mixed 4 witH sound devices

George Flores, CAS, uses a Sound Devices 664 field production mixer to capture the comedic dialogue and performances on the FXX series Its Always Sunny in Philadelphia. While the shows creators like to shoot structured, scripted performances, they also like to keep camera angles and setups flexible enough to try new ideas on the fly. The 664 allows us to capture audio that reflects this.
lection and a selection of archival images of the band, the video emphasizes the message of the song by playfully depicting a day in the life of humanity, finding uplifting and surprising threads of commonality across cultures. Its exciting to be able to bring a new visual interpretation to a classic song, says Shutterstock director of footage Adam Sosinsky. Adds Legacy Recordings project director Adam Farber, Using clips of everyday people doing what they do, being who they are, and living life across cultures really drives home the essence of Slys lyrics.
photo by patrick mcelhenney/fx
online
Go online to read more and view additional images and video: creativeplanetnetwork.com/dv/Nov2013
10
Update
Trending Online
photo by scott uchida
News
(Links at creativeplanetnetwork.com/dv/Nov2013)
3Red TX MiXes Morrissey 25

Celebrating 25 years of the singers career, the concert film Morrissey 25 was recorded live at Hollywood High School and mixed in the U.K. by Red TX director Tim Summerhayes. The multitrack arrived back in the U.K. as a disk drive of .wav files, Summerhayes recalls. The recording had been so well done, the band was excellent, and, because it was a small venue, the sound was really honest.
HOAX PROduces VisuAl effecTs fOR WORk BiTcH

HOAX Films created visual effects for the Britney Spears music video Work Bitch, directed by Ben Mor, including sky replacement shots and set extensions. Bens innovative music videos work like films, each with its own unique visual narrative, says HOAX Films executive producer Alexis Nelson. We are excited to have collaborated on such a stunning music video.
Trollbck + Company Launches Al Jazeera America

rollbck + Company (T+Co) created the branding package for the launch of news network Al Jazeera America, including animated logotypes, main IDs and interstitial IDs. It was important that their branding stated We are here in a bold but not brash way, explains Elliott Chaffer, Trollbck + Company creative director.
photo by pam barkentin
Mel Brooks: Make a Noise Completed with Bmd tools
os Angeles post house Shapeshifter used Blackmagic Designs Teranex 2D Processor and DaVinci Resolve color correction software to finish the PBS documentary Mel Brooks: Make A Noise, an episode of the public broadcasters American Masters series. Director Robert Trachtenburgs 4K interview footage was edited into a 29.97 fps project and combined with archival footage taken from more than five decades of Mel Brooks work in film, television and on stage. Archival material was already 29.97 fps.
Shapeshifter colorist Randy Coonfield then converted the 29.97 fps project back to 23.98 fps, re-creating a proper link to the original footage and creating AAF files, allowing him to conform all of the 23.98 fps 4K footage in Resolve to begin color correction. After color correcting and resizing the 23.98 fps material in Resolve, the team used Blackmagic Designs Teranex 2D Processor to perform a render process that created DNxHD media for conversion back to 29.97 fps.
The main IDs incorporate dynamic patterns of light, while the interstitial IDs celebrate the American landscape, positioning Al Jazeera America in the center of it. For the interstitial IDs, T+Co took 360-degree panoramic shots and stitched them together to form a seamless world using a custom lens they created in Autodesk Maya.
12
Update
News
Spotlight:
Q&A
JoN SILBeRG
GreG Freddy Camalier, direCtor riChard lowe, editor

Camalier
Muscle Shoals
reg Freddy Camalier worked in real estate when he passed through Muscle Shoals, Ala., and became fascinated by the rich musical history that came out of the tiny town on the Tennessee River, the site of two competing recording studios that produced enormous hits and new sounds for an extensive roster of musicians, including Gregg Allman, Aretha Franklin, the Rolling Stones, Lynyrd Skynyrd, Paul Simon and many more. We spoke with Camalier and the films editor, Richard Lowe, about cutting Muscle Shoals, a process that started with a short sizzle reel and developed as shooting progressed until they finished the feature-length film one year ago. There are so many different threads in the film: Rick Hall starting a studio out of nothing, the bands, the rivalry with record executives, the history of the region. Did you have a sense of the structure when you started editing? Richard Lowe: We struggled with that. What seemed so unique and outstanding about Muscle Shoals was cumulative: the fact that all these things had happened there within a certain period of time. Getting any one image or sequence to crystallize that was difficult. I hope thats what the movie does overall. Greg Freddy Camalier: We put a fair amount of thought into this before going into the editing room. I think if you just shoot without any planning and then go into the editId hope you could put a good movie together, but I sure wouldnt want to be in that position. You also had a lot of archival material. Did you start editing with that in mind or did you look for things as the story developed? Lowe: Both. The two key elements we had early on, the first was a film made by Swedish filmmakers in 1969, where they went to one of the recording studios and shot a half-hour film in high-quality 16mm black and white. We used some of that for the sizzle reel. The other main source was the Rolling Stones Gimme Shelter [directed by Albert and David Maysles], which was the backbone of the Rolling Stones archival sequence. You worked on this on and off for over two years from different cities. Did you work remotely? Lowe: He lives in Boulder, Colo., and I live in New York. When we did the
Rick Hall and Clarence Carter in Muscle Shoals
sizzle reel, he came to New York for three weeks. For the major part of the editing, we tried to communicate by sending cuts back and forth. What we found, which was no great revelation, was that if we were in the room together, we could communicate things instantly that otherwise would take days to get across. So I said Id come to Boulder. And we put together a cutting room in Boulder and I basically lived there for a year. The film did very well on the festival circuit and has gotten some great reviews. That must be nice for your directorial debut. Camalier: It is! Its great! But its not what I expected. When I started the process, I had this idea the end point would be to finish it and send it off. That was nowhere near close to the end point. When we were done, I nearly keeled over from exhaustion, but then there were the festivals and selling it and promoting and marketing. There were the openings and all that travel. Its been quite a learning experience. dv
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While actors portray most characters in the film, Muhammad Ali appears only via archival material.
MuhaMMad alis Greatest FiGht

Integrating Contemporary and Archival Footage for the HBO Movie
by John Merli
16 creativeplanetnetwork.com/dv | 11.2013
photo by jojo whilden/hbo
(From left) Christopher Plummer (as John Harlan II), Fritz Weaver (Hugo Black), Peter Gerety (William Brennan Jr.), Harris Yulin (William O. Douglas), Frank Langella (Chief Justice Warren E. Burger) and Danny Glover (Thurgood Marshall)
n 1967, when Muhammad Ali was still Cassius Clay and the United States was embroiled in an unpopular war in Southeast Asia, the heavyweight champion of the world found his toughest match taking place outside the boxing ring. After joining the Nation of Islam and adopting the name Muhammad Ali, he was widely denounced for refusing to be drafted into U.S. military service based on his religious opposition to the Vietnam War. He was arrested, found guilty of draft evasion and stripped of his boxing title. In 1971, his appeal reached the United States Supreme Court. HBO captures the dramatic legal repercussions of Clays refusal to serve in Muhammad Alis Greatest Fight, which began airing in October and will receive VOD and Blu-ray distribution. Directed by Stephen Frears and based on a book of the same name by Howard Bingham and Max Wallace, the film focuses on the high courts legal proceedings over a few months in 1971, already a period of social and political upheaval in America. An exceptional cast tapped to portray the nine justices includes Frank Langella (as Chief Justice Warren E. Burger), Fritz Weaver (Hugo Black), Harris Yulin (William O. Douglas), Christopher Plummer (John Harlan II), Peter Gerety (William Brennan Jr.), Barry Levinson (Potter Stewart), John Bedford Lloyd (Byron Whizzer White), Danny Glover (Thurgood Marshall) and Ed Begley Jr. (Harry Blackmun). The script, by Shawn Slovo, called for archival footage to portray Ali. Frears and the other filmmakers agreed with the decision to not cast an actor for the scenes showing the inimitable boxer, who was as bold
In 1964, Cassius Clays knockout victory over Sonny Liston earned him the title of heavyweight champion of world.
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In 1971, while his case was being appealed, Ali was pitted against Joe Frazier in the Fight of the Century at Madison Square Garden. After 15 rounds, Frazier won a unanimous decision, handing Ali his first professional loss.
and outspoken outside the ring as he was inside. According to producer Scott Ferguson, Stephen [Frears] thought it would be much better and more exciting to go with the real Muhammad Ali. (Frears had taken a similar archival-mix approach in 2006s critically acclaimed The Queen.) We shot on the ARRI Alexa. We looked at both 35 [film] and the Alexa, and we liked the ability to see images live on set on the HD monitors. Then we worked with a colorist in the lab. So we shot Alexa, but with more of a film paradigm where the color correcting was being done at night, like with dailies, as opposed to being done live on the set, says Ferguson, whose previous producer credits include The Firm, Temple Grandin and Brokeback Mountain. Muhammad Alis Greatest Fight was shot in New York City, with additional locations in New York State, and the production team went to great lengths to evoke Washington, D.C., in the 1970s.
After extensive behind-the-scenes tours of the Supreme Court, the production built a meticulously detailed central courtroom on a stage at JC Studios in Brooklyn, in addition to filming elsewhere in New York City for scenes of the justices chambers and clerks offices. Seasoned costume designer Molly Maginnis came on board to re-create the fashions of the early 70s, working with robe manufacturer Bentley & Simon, which has outfitted many of the Supreme Court justices since 1918. For our exteriors, after searching sites in Richmond, Pittsburgh and Baltimore, the crew chose to shoot several locations in Manhattan, with all that grand architecture available, says Ferguson. And although we did shoot some brief scenes on the steps of the actual U.S. Supreme Court building in D.C., we used Albany, New York, as a [stand-in] for Washington. We also found a little neighborhood in Schenectady, New York, that was a great substitute for Georgetown.
It was a hodgepodge of sorts because it was almost a one-location moviethe Supreme Court itselfbut we shot at several different locations all designed to replicate Washington, Ferguson adds. (The choice of New York locales was also prompted by generous film rebates administered by the Empire State, he says.) On a day-to-day basis, especially working with Stephen and a great crew, this was one of the most enjoyable shooting experiences Ive ever had, adds Ferguson. Prior to the films HBO premiere, Frears said of the film, Ali is a man who, at the height of his powers and fame and boxing achievement, made the decision to stand by what his conscience and his religion told him was right. He took the consequences, forfeited his heavyweight championship title, lost millions in fees, but never backed down. He is still a hero to millions, not only in America, but all over the world. dv
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suspenseful storytelling
ome of the critics whove been praising the relentless suspense in the Tom Hanks feature Captain Phillips might be surprised to know about the semi-improvisational methods used by director Paul Greengrass. The former documentarian allows actors to break free of the prepared blocking and encourages operators to compose based on their response to whats happening rather than on a pre-staged set of moves. For editor Christopher Rouse, ACE, Greengrass frequent collaborator, the challenge and the exhilaration come from shaping that material into a tight, engaging drama. Rouse explains that Greengrass is equally trusting and encouraging when it comes to cutting, though he stresses that this creative freedom from Greengrass should not be confused with a lack of direction. In fact, he says, the director spends more time than most relaying his vision before the cutting process actually begins. Paul invites me in with the writers and we have long discussions about how we can tell each characters story, the editor says. Before hes started shooting, weve gone through the story piece by piece and we know how the story develops, how each moment relates to the whole and where all the thematic underpinnings are. In this case, the story, based on true events, concerns the titular captain (Tom Hanks), whose ship is boarded by a band of Somali pirates led by a particularly aggressive young man called Muse (Barkhad Abdi). Paul always saw the piece as being about two captains, Rouse explains. It would have been quite easy to portray the pirates as cookie-cutter characters, but Paul wanted to balance the presentation of both of those characters and, beyond that, include the needs and wants of the rest of the characters. That was very much part of the planning process, so by the time I started cutting, I was really anchored in Pauls vision.
Captain phillips
Jon SIlBERG
Christopher Rouse Recounts the Planning and Pacing on Captain Phillips
20
Barkhad Adbi as the Somali pirate Muse in Captain Phillips (Below) Tom Hanks as Captain Phillips
The main unit trotted the globe, shooting in locations including Massachusetts, Malta, stages in London, and off the coasts of both Virginia and Morocco; second unit shot additional material off the coast of San Diego. Rouse and frequent collaborator Mark Fitzgerald, who is credited on the film as additional editor and who oversees the technical layout of Rouses cutting rooms, set up shop on the Sony lot, ready to start editing as soon as the first dailies were available. Cinematographer Barry Ackroyd, BSC, shot on 35 and 16mm film, as well as ARRI Alexa and GoPro HERO 2 cameras. Material came into the editing room over a secure PIX connection, where it was transcoded to DNxHD 36 format (for offline editing) and edited in Avid Media Composer 5.5.3 on 12-core Mac Pros with workstations connected via Avid Unity (updated during the process to Isis). Rouse would begin cutting immediately and send H.264 versions of cut material back to the set over an Aspera connection so Greengrass and the department heads could see how scenes were coming together. Greengrass would cover most scenes with two and sometimes three cameras. Rouse explains, Pauls B-camera might be covering
something wildly different from the A-camera. It might be grabbing a reaction from someone who isnt one of the main characters in the scene. And the blocking might change from take to take. I really want to see everything Ive got and then break the dailies down into discrete sequences. Then Ill often break the shots down beat by beat and string them together and pick out some additional pieces that you could use anywhere in the scene. Then Ill find pieces that just feel like they belong in the movie. The process allows me to soak up the material and start cutting in my head as I go, he continues, and then as I make changes, its easier to find certain pieces when I need them. Paul gives me a lot of freedom when it comes to how to shape the material, and he isnt nearly so concerned about things like continuity as he is about finding the emotional moments that tell the story. But I know what he wants because of all the preparation weve already done. I dont know why more productions dont avail themselves of their editors earlier in the process, he wonders, noting that this sea-bound feature presented little opportunity to go back and reshoot scenes. It is a little more costly, but that cost is negligible compared to the money you could save down the line. dv
photo by hopper stone, smpsp
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MOCAtv
JOn SILBERG
The CreATive Minds Of MOCAtv

Producing the Contemporary Art YouTube Channel
MOCAtvs The Artists Studio: Rocket Blast Off for Cai Guo-Qiang's Mystery Circle
T
22
he people responsible for MOCAtv, the YouTube channel of the Museum of Contemporary Art in Los Angeles, have been very busy in the year since the endeavor went live. As YouTubes first original channel dedicated to fine art, MOCAtv has commissioned music videos from indie rock band io echo and Bjrk as well as short films by Shepard Fairey, Gary Baseman and other artists. While YouTube parent Google has funded much
of the work to date, the plan going forward is that MOCAtv will take a more active role in securing financing and YouTubes financial support will recede. We spoke with John Toba, head of production for MOCAtv, who shares responsibility for running the channel with creative director Emma Reeves. Toba discusses how MOCAtv maneuvers in the rapidly changing environment of streaming channels and where fine art fits in.
How did MOCAtv come about? John Toba: Its funny to talk about starting MOCAtv in the past because weve only been around since October 1, 2012, and it was just about a year before that when Google announced they were going to fund these original channels. At the time there was almost this feeling of a land grab! It was quite competitive about who was going to stake out this territory. There were about 100 or so channels awarded initial funding and given this opportunity
MOCAtvs Art + Music presents Bjrk Mutual Core
to be part of the launch of original premium channels, and we were the only art institution included. As a non-profit educational institution, the idea was for MOCAtv to be a repository of contemporary art where people could go for all things that fall into that category. Googles financial backing is limited, so what are the plans to continue to commission work and do the rest of what MOCAtv does without that funding? Thats what were actively trying to figure out right now. Were deciding how this is going to function in the commercial world, the art world and the non-profit world. This is what were up against at the moment. Are you gravitating toward a particular business structure? Seeking funding from the non-profit world, for example, or a more commercial approach such as an advertising model? Thats the interesting moment were at now. Were beginning to have initial conversations with brands and seeing if theres a way for us to proceed with some kind of commercial relationship or marketing relationship while retaining the integrity of the channel. So far the conversations are going well, and my guess is that well end up with a combination of traditional non-profit
MOCAtvs Art + Music presents Gary Baseman x Die Antwoord Buckingham Warrior
23
eyeballs with so much content available? People will go to respected museums for the same reasons they always did, but why are they going to seek out fine art on YouTube? Of course that is a hugely important question that we look at all the time. We collaborate with well known talents that often lead to people coming to MOCAtv. People like Bjrk and other well known musicians and artists and performers as well as comedy, animation and other kinds of content it all brings people to the channel. Once they discover the channel, they find other things that interest them too. Thats why we sometimes play with YouTube tropes. What sort of YouTube tropes? Explosions, for example. The Chinese contemporary artist Cai Guo-Qiangs Rocket Blast Off, which involves fireworks and explosions. Its an extremely successful YouTube video. It plays into something that has a natural YouTube audience and a natural audience in the art world. The video was produced by MOCA and MOCAtv and has a significant effect on getting people to visit the channel. Provided that a project like this is authentic and done with some of the betterknown names in the art world, they are perfect for bringing in audiences that might not know theyre interested in contemporary art. How does the MOCAtv interface enhance the content discovery process? It isnt in place yet, but we expect to have a whole new interface for that exact purpose up sometime in September. YouTube is wonderful at many things but its not perfect at everything. We love the way it serves video and the deep analytics it offers, but we definitely wanted to go with a more customized, more searchable interface at MOCAtv. Well have tag clouds and various other ways of organizing the hundreds of videos weve produced. It will allow viewers a much more flexible way to explore content and offer more routes to find content that relates to their specific interests. dv
MOCAtvs Art in the Streets: Global Street Art - Tokyo
MOCAtvs Art + Music: The Art of Punk - Black Flag
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Vice
INTERVIEW By MAT GALLAGHER
extreme Documentary ProDuction

On Location with the HBO Series VICE
photo by brendan fitzgerald photo by jake burghart
(Above) Jerry Ricciotti with all the gear: three Canon EOS C300s, two XF305s, two XF105s, three EOS 5D Mk IIIs and all the stuff to make them work (Left) The HBO series VICE is hosted by Shane Smith (at left), who founded VICE magazine in 1994. Holding the camera is cinematographer Jake Burghart.
hooting for the HBO documentary series VICE, cameraman Jerry Ricciotti and cinematographer Jake Burghart travel the globe to film some of the biggest conflicts in the most hostile environments. Where are you at the moment? Jerry Ricciotti: Were in Benghazi, Libya, right now; weve been in Libya for six days. Weve been doing a story for Vice.com and maybe for the HBO show. It was a little exciting getting over here and not knowing, with all the clashes and all the police and military, what we would see, but weve largely been pretty safe, so its been good. Tell us a little bit about the series. Ricciotti: VICE is a newsmagazine show, focusing on a younger demographic, telling stories that are a little bit different, stories that might not get covered
on the nightly news. What cameras do you shoot with? Ricciotti: Primarily we use the Canon C300, and we always go out with a Canon 5D, as well as a Canon XF105 and GoPros. Why did you choose the C300? Jake Burghart: The C300 almost chose us. There really isnt another camera in its class. With two 64 GB CF cards, I can shoot for over 300 minutes straight. I rarely shoot more than that in a day, which means I dont wrangle cards till the end of every day. That completely eliminates a job in the field, making our crew that much smaller. Id love to see another Super 35mm sensor camera meet those storage and battery specs while shooting at 1080 at 50 MB/s in a log gamma. Using Canon zoom lenses on the C300 means iris control is on
the handgrip, and my focal distance and focal length are on the screen. Im changing shots and exposure without taking my eye off the screen or my hand off the grip. Ricciotti: I like how easily it can be broken down to almost a camcorder size. When you strip down to just shoot out of the viewfinder, its a nicely balanced camera. Of course, its really upgradable too. We end up adding a lot of things for shoots. Ergonomically and just practically, having all the buttons and the menu options available is just great. The weatherproofing of it is great too. Ive been really happy being able to take it [into all sorts of environments]. Burghart: The low-light capabilities are off the charts. We shot in existing light on the Niger Delta one night. All we had was a moon, the gas flares in the distance and one red LED. The scene looks amazing and you would have killed it by lighting it.
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So many times I dont have to break a scene to add light. I can just crank the ISO and know its still going to look good. How far have you pushed these cameras? Ricciotti: For as new as the camera was, we didnt really know the durability of it, so we figured out what it could and couldnt do from the nature of our shoots, which are in some pretty extreme terraina lot of outdoor work, hiking, on boats, all that sort of transit stuff. Burghart: We shot with the camera hanging out of helicopters in the freezing Russian winter and spent days in the Sahara during the middle of the summer. We suction-mounted it to trucks in West Africa, hung it out of boats in the Maldives, ran it nonstop on way too many 18-hour days in 90 percent humidity, covered the thing in oil, sand and grime, mounting extra parts anywhere that would take them. The camera stands up to just about anything.
photo by jerry ricciotti
Jake Burghart and Brendan Fitzgerald take cover on the streets of Cairo, shooting handheld with a 70-200mm.
Most of your shooting is handheld, runand-gun style shooting? Ricciotti: It has to be. Youre waking up with the camera in the morning and you dont put it down until the night. We have to eat with it. Having a solid shoulder rig and nothing too big is important.
photo by jerry ricciotti
We dont really bring sliders or glide cams with us on too many shoots. Mostly its just a shoulder rig, all day. What shoulder rig do you use? Burghart: We try to keep moving, stay off the
tripod as much as possible. Everyone has his own shoulder rig. I like to keep mine light and tight. Its a combo of Zacuto, Movcam and some custom stuff. Ricciotti: I have a Redrock Micro cage, with just the rails, and an offset grip that sits on the rails. Thats basically it for me. Just having to be so minimal with it, I put my lavs on the back of the rails on Velcro, behind the battery. Sometimes, depending on my setup, if Im using the EVF, Ill actually put the LCD and the XLR back there also, which is as much of a counterweight as Id ever need. What other gear are you using? Ricciotti: Typically the Litepanels Micro is the only light we bring with us. We use all Canon lenses on the cameras. Our equipment manager, Jaime Chew, started calling them the three wise men: 24-70mm f/2.8, 16-35mm and the 24-105mm. I also bring a 70-200mm f/2.8 and I have a doubler for that, which I find myself not using that often. Burghart: I have a personal set of Zeiss Distagon primes that I use for interviews and really low light, but the [Canon] 16-35mm is my go-to lens. For sound we use Lectrosonics lavs, Sennheiser shotguns, and when we have a sound guy we use a Sound Devices eight-track. We like to run a lot of wires and keep booming to a minimum. Nothing blows intimacy like a boom in your face.
Jake Burghart shoots morning time-lapses in the Sahara with a C300 for a piece on Mauritania.
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We light interviews back home, but in the field we keep it pretty minimal. What are some of the situations youve been in with the cameras that really pushed them to their limits? Ricciotti: We went up the Niger River delta in Nigeria a couple of months ago to do a story about oil pirates. These guys continue to break into Shell Oils pipelines across the delta where they live. Theyll take the oil out of the pipelines and build these large, basically like moonshine stills, where they refine oil themselves. We werent sure if wed have power there so we brought three to four days worth of batteries and cards, and camped up there to go out and find these guys. And we did. We found them in the middle of the night, so we shot with a small Litepanels unit and a shoulder rig on a panga boat as we sped along the river, doing pieces to camera the entire way as we looked for the indication of oil pirates, which are big plumes of smoke flaring from their oil stills. All the time we shot on the 85mm f/1.2, which sometimes well bring if we know were going to be in low-light situations a lot. Shooting on an 85mm at f/1.2 on a moving boat is not the easiest thing to do, but the footage came out great. Its really steady and the audio sounds good on a lav, and the shotgunFuzzy did a really good job picking up the hosts audio. Once we got there, we had to walk through a foot of sludge, which is basically a combination of mud and oil that had been discarded by the guys on a daily basis. Theyll refine gallons and gallons of oil, but a lot of that gets discarded around them, so theyre throwing this oil out all over the place. Youre standing in big, knee-high rubber boots, and as the oil is being refined, its generating a lot of smoke. Its a really dangerous environment because that smoke can catch fire and the whole place can go up in flames. Of course, youd like to have a
tripod but you cant, so you find yourself kind of balancing with one hand out, and the other hand shooting as you move across a pretty explosive terrain, and the whole time monitoring audio and pulling focus. I was really happy with the camera. I dont think it was a situation that a camcorder would have really shined in. You didnt need a heavy rig on your shoulder and you didnt have to look through it all the time. The precision focusing and the low-light capabilities meant it
was the perfect camera for the job. dv VICE launched in 1994 as a punk magazine and has expanded into a multimedia network that includes Vice.com, an international network of digital channels, a television and feature film production studio, a magazine, a record label and a book publishing division. This article was originally published on www. newsshooter.com.
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Drinking BuDDies
DavID HEuRIng
Drinking BuDDies
Ben Richardson Considers Collaborative Filmmaking
Olivia Wilde and Jake Johnson in Drinking Buddies
ast year, Ben Richardsons riveting handheld Super 16 camerawork for director Benh Zeitlin on Beasts of the Southern Wild was the talk of the cinematography world. For his follow-up feature, Richardson teamed with indie director Joe Swanberg on a very different kind of film. Drinking Buddies, which has been called an indie romantic comedy, follows Kate and Luke (Olivia Wilde and Jake Johnson), coworkers at a craft brewery who find themselves alone one weekend, apart from their respective significant others. With Joe, there is no script, Richardson explains. In our first conversations we talked about how we enjoyed filmmaking as creation Cinematographer Ben Richardson in the moment as much as about planning and preparation. For Drinking Buddies, we just had a During production the filmmakers expanded two-page outline describing where the characters that outline with much more detail about the needed to go. It was very loose. scenes and the locations, but there was still nothing
in the way of dialogue, which was left entirely to the actors. Richardson had no trepidation about the improvisatory approach. In Beasts, which was scripted, I found a real energy shooting non-actors and not knowing exactly how the scene might go, he says. It was enjoyable to repeat that in a different situation, watching these actors create in the moment. It was my job to keep up, and thats an exhilarating way to make a movie. The improvisational aesthetic, and the fact that much of the roughly 27-day shoot would unfold in an actual microbrewery in Chicago, led the filmmakers to some of their technical choices. I was interested in exploring the RED Scarlet, says the cinematographer of his first digitally shot feature. I had some consultations with the RED people, and once I understood exactly what the sensor was doing, I knew I could make it
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work. I wanted to be able to light as efficiently as possible, but also make daylight scenes work. We paired our Scarlet with Zeiss Compact Prime CP.2 lenses, which are good looking and very light. It was a nice combination. I could shoot by cutting and manipulating the existing light rather than trying to add light. A 2.40:1 widescreen frame was extracted in post from the 16:9 .r3d files, which allowed for reframing and stabilization of shots where necessary. With digital cameras, careful exposure is the most important thing, Richardson says. Youre
losing a little bit of dynamic range with the Scarlets sensor compared to what I was used to with film, but I think a lot of what makes things feel filmic has to do with the look of the highlights. I rated the camera EI 1250 and metered primarily to preserve highlights, sometimes just letting the darks go, he elaborates. That wasnt a problem because theres so much more detail in the shadows [relative to film negative] than you know what to do with anyway. You typically crush some of that [shadow detail] out in post to give the image a bit more grounding anyway. What I really
wanted was to not just protect the highlights, but to allow the highlights to have the kind of detail and texture that were used to in film work. Like some cinematographers with a film background, Richardson prefers to skip grading on set and to treat the sensor as he would a film stock. His preferred method, he explains, is to learn exactly how that medium is going to see the world, and adjust the world to the medium, rather than trying to adjust the image after the fact. Thats the way I approached it. Then I made occasional printing notes for dailies if we were
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on the edge of exposure or in a weird color temperature scenario. Richardson says he used minimal equipment when it came to lighting, but that doesnt mean he wasnt exacting about illuminating his shots. Im very particular about the way I cut light, he says. Ill spend as much time tweaking and refining the lights as placing them. [In cinematography] youre always trying to bring a three-dimensional feel to a two-dimensional image. The freedom accorded the actors in performance sometimes argued for a handheld camera. In many situations, Richardson would light a set for 360-degree coverage to facilitate this approach. Richardson says that in operating, he was always looking for edit points during a take. There wasnt always continuity to the dialogue, he says. So I would sense that a certain line or moment might be a good place for Joe to cut later and take that opportunity to swing over to the other character. Im getting coverage, but not in the usual sense. Swanberg would subsequently study Richardsons camera moves in his editing to help him piece scenes together from the best performances. Being behind the camera is something that I really enjoy in that situation. Rather than treating a shot as a defined thing and wondering if you executed it correctly, Id get to remain focused and aware, in the moment. I like thinking about how a performance will read to an audience, and what we can do with the camera to support that. If the performance is so strong that we dont want to look away, then Ill just hold on the actor, he explains. Its great to have a director who is supportive and who leaves some of that kind of decision-making to me. Joe is a very good editor also, so when he said, Weve got the scene, you knew we did. It was an efficient, fast, comfortable way to work. In post, Richardson worked with colorist Alex Bickel at Color Collective in New York. Alex is a wonderful colorist who really understood what I was going for, says Richardson. I wanted the process to stay as close to
that of traditional film timing as possible. I find when images are over-DId, they can lose a little bit of life. We stayed mainly in the [Blackmagic Design] DaVinci Resolves printer light settings and used the new log curve tools to open shots up a little and hold soft detail in the highlights. While Beasts look was deliberately stylized, Drinking Buddies has more of a naturalistic feel. Of the new film, Richardson says, It was very
important that the characters and environments feel natural. Everything was a part of that: the costumes, the makeup, the way we lit and the way we shot. The two productions couldnt have been more different, but they were both a tremendous amount of fun, and I think the films complement each other in many ways. Im incredibly grateful to have gotten to do them both at the beginning of my career. dv
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Quick Take
Product: Red Giant Software BulletProof Pros: Ingests footage
quickly and accurately. Import process includes validation and backup to multiple destinations. Use is intuitive. Powerful metadata and keyword capabilities. Color correction and LUT application. Transcode and export to popular editing formats.
review
red giant BulletProof

NED SOLTz
Better Manage Your Media

Work and Workflow with Red Giant Software BulletProof
The folks at Red Giant Software are smart. Not only do they create some amazing tools, they design them for maximum user productivity. The release of BulletProof 1.0 proves the point. For the past several months, Red Giant has put the software through a public beta testing period, soliciting feedback on all features of the media workflow tool. From the stability and usability of the 1.0 release, it would seem they listened to their users.
Currently available for Mac and forthcoming for PC, BulletProof is a solution for ingesting, backing up, organizing, preparing and transcoding footage, bridging the gap between camera and editor. If you shoot compatible cameras and codecs, it could very well be the best $199 you ever spent. (BulletProof is also available as part of Red Giants $399 Shooter Suite, which includes Frames, Instant HD, LUT Buddy and PluralEyes.) The BulletProof workflow is presented in a series of five views, arranged in a left-to-right flow that mirrors what filmmakers do on set. The five components are: import, organize, review, refine and export. BulletProof streamlines the process of getting material recorded on solid-state media to the editing drive. Without BulletProof, you would just drag-copy those files to a hard drive, or possibly use your NLE to ingest the files directly from the card. The first method, the finder copy, is slower and has less error correction than copying through an application. And while importing through your NLE is preferable to a drag-copy, importing through BulletProof is even better. BulletProof will validate and back up your footage to multiple destinations. If you have defined presets for color, metadata or keywords, they may be specified at time of import. At this time, BulletProof is limited to use with footage from GoPro, Canon and Nikon cameras and Apple ProRes files. I am looking forward to Red Giant adding support for AVC formats and MXFwrapped material. While the format is not supported explicitly, I have been able to import .mp4 files from Sony XDCAM SxS footage. BulletProof also recognized Sony PMW-F55 XAVC files as H.264 files and imported them. Once footage is imported, the next step is to organize it: delete clips, rename them, add metadata, add keywords. Nothing esoteric here. Just a logical workflow. Organize view is the most detailed way of viewing and sorting the media in your catalog. (A catalog is a project file, saved to your hard drive, that includes a database and cache files. Most likely you will create a new BulletProof catalog for each project. The software keeps only one catalog open at a time.) You can
Cons: Does not properly read and display clips with embedded timecode. Copies clips into library even if the clips already exist elsewhere on the same drive. Bottom Line: A musthave for DSLR shooters. Securely copies and backs up data while providing straightforward tools to prepare clips for edit.
com/products/all/bulletproof/
MSRP: $199 Online: www.redgiant.
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BulletProof import screen
Imported footage in the thumbnails panel
organize your project by creating new folders and subfolders, moving the clips between folders, and removing clips from the catalog. The next step in the workflow occurs in the review tab, where you look at individual clips to further organize the catalog. Double-click a clip to review it. Identify in/out points, set a poster frame, etc. I found the most compelling part of the software in the refine tab. You can add and edit detailed metadata for each clip, from EXIF settings to markers to client notes. You can autobalance the image, do a one-light correction with Magic Bullet Colorista (in my mind, about the best color plug-in out there), adjust curves and add a lookup table. All metadata and color settings are non-destructive. I reviewed BulletProof with footage shot on a Canon DSLR using the Technicolor CineStyle profile. BulletProof ships with 12 LUTs, including several CineStyle options. Additionally, you may import any 1D LUT you have created or downloaded. Once youve refined your images, export them for use in your favorite NLE. Here again, you can export to multiple destinations and in multiple formats. Codec choices include all flavors of ProRes, MPEG-4 AVC or PJPEG formats. You may also change resolutions, set or ignore in/ out points, or even burn timecode in several formats. For this test, I exported my footage as well as an XML file for Apple FCP X. I likewise could have exported XML or XMP for Adobe Premiere Pro 6 or CC. BulletProof also supports XML for Final Cut Pro 7. The next step is to launch your NLE and begin the edit. You may choose to import individual clips at this point,
35
Adding a LUT
BulletProofs color tools
Exported footage in Final Cut Pro X
but the better bet is to use the XML options in the BulletProof export process. Since I exported an XML file for FCP X, all I needed to do within FCP X was choose Import XML and navigate to the folder in the BulletProof catalog containing the exports. Importing the XML brings all of the footage into FCP X, organized by keyword collections. The same process takes place with Premiere Pro and FCP 7. All the metadatawhether generated by the camera, added by the user or modified in BulletProofis available in the NLE. Depending on the export options specified, color information, markers and trimmed clips will also be present. In my case, the one clip to which I applied a LUT and performed a one-light correction imported with those color corrections intact. BulletProof is not without its limitations. It works with only certain cameras and formats. It would not recognize AVC files from my Sony NEX camera, for example, and could not parse MXFwrapped clips. Additionally, ProRes files recorded on my Sound Devices PIX 240 did not transfer with their embedded timecode. Timecode all started at 1:00:00:00. Importing that footage into FCP X, though, the starting timecode displayed as 55:55:12, meaning that something was interpreting this 23.98 footage as drop frame, which is impossible. Red Giant has acknowledged this issue and has indicated that it will be fixed in a software update. I would position BulletProof as a DSLR or GoPro shooters best friend. The ability to not only ingest files to multiple locations but also to perform basic color correction, add keywords and metadata and export in multiple formats makes BulletProof a valuable tool. Ill reiterate the value of its strong backup workflow. File-based video recording can be a scary proposition; multiple backups are the best insurance policy a filmmaker can buy. This is a solid product. The extensive testing with many thousands of beta users and careful attention to feedback has produced a version 1.0 release far more stable and feature-laden than many other vendors 1.0 offerings. BulletProof 1.0 belongs in the toolkit of every editor who deals with media supported by this application. While I hope that Red Giant expands codec and file format support in future software updates, its still a great product in the interim. Use it and speed up your workflow while protecting your data. dv
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TriCaster
TM
TCXD40 V2.0
HD
PORTABLE SLOW MOTION
LIVE REPLAY
lust
Zacuto EVF Flip
CHuCk GLoMAn
NEw pErspEctiVEs
Zacuto EVF Flip Adds Flexibility to Viewing and Reviewing
Quick Take
Product: Zacuto eVF Flip Pros: Long-lasting battery,
compact size, multiple menu options and the ability to be mounted just about anywhere a portable monitor would be needed.
I cant count the number of times Ive needed to see the cameras viewfinder and I was on the opposite end of a jib. Zacuto offers a solution in its EVF Flip, a portable 3.2 high-resolution monitor that puts the cameras viewfinder where you need it most.
Zacutos EVF system allows a shooter to operate with his camera in line with the rod system and an offset viewfinder in front of his eye. The EVF Flip has a Z-Finder frame built into the unit that can be flipped open to 180 degrees. If a director/ client/producer wants to see into the viewfinder, for example, the camera operator can flip it open instead of having to adjust so he can get his eye to the loupe.
photo by leo lee/fragola productions
Cons: adds too much
weight for handheld shooting. HDMI connection from camera may disable the cameras viewfinder.
Bottom Line: For
Features
At 3.2 , the Zacuto EVF Flip has the same size LCD screen as most DSLRs. A cover latches securely over JJ Kim of Orange Wedding Films with Zacuto eVF Flip the screen to protect its surface from scratches. If youre facing the unit, the right side has two HDMI button activates the main menu, allowing selection of ports, out and in, allowing video to be looped through. screen settings (brightness, contrast and chroma), color The left side has four circular black buttons and a bars, battery level display, scaling, focus assist, zebra, larger red button that turns the unit on and off. The top image flip, zoom, audio meters and function buttons. The second and third buttons scroll up or down within the menu screen, and the fourth selects the highlighted option. A miniscule 7.4V lithium-ion battery in the rear powers the unit. An adjustable mount screws into the bottom of the EVF Flip, allowing the hotshoe to be mounted. At only 800 x 480, the resolution isnt as sharp as some DSLRs, but it will display standard definitions 480i/p, as well as high definitions 720p and 1080i/p. Zacuto quotes an 8.5-hour battery life, but in the real world it lasted only about six.
DsLrs, a must-have to properly frame the shot.
MSRP: $775 Online: store.zacuto.com/

evf-flip/
In use
I quickly teamed the review model EVF Flip with
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Canons EOS 5D Mark II DSLR in a jib shoot project Id lined up. I was unable to see the cameras viewfinder when it was at the end of the extended jib arm, but the supplied HDMI cable was long enough to reach from the Canons output to the input of the Zacuto monitor, providing an accurate representation of what the camera was seeing. A slightly larger screen would have been better, but the only other monitor available was a 9 LCD that couldnt display 1080p, making the EVF Flip a better choice. After selecting the 16:9 aspect ratio, I was ready to shoot in a matter of minutes. The monitor can be swiveled or angled to provide better viewing in sunny situations, and the screen can be closed to transport the unit or to keep it dry in bad weather. The loop-through feature of the HDMI ports permits the director and other members of the crew to view the action from different locations. (As with most cameras, once you use a HDMI port, the viewfinder on the camera is deactivated.) The EVP Flip also proved quite useful on a Steadicam shoot. Our operator aligned the wide tracking shot without needing to see cameras LCD screen. By using the extension cable, the director
EVF Specs
LCD Size Resolution Color Viewing angle View area Power Video I/O Operating temperature Storage temperature Power consumption
and I were able to evaluate the operator shots liveanother great use of the EVP Flip. The only negative is when shooting handheld. If the director wants to view the shot while the DP is shooting, attaching the EVF Flip renders the cameras viewfinder inoperable (at least on the Canon EOS 5D).
3.2 TFT LCD IPS LED 800 x 480 16.7M H: 170 V: 170 70.6mm (H) x 42.76mm (V) 7.2V Canon LP-E6 or equivalent 12V power adapter optional 480i/480p/576p/720p/1080i/1080p -4 F to 158 F -22 F to 176 F 2.5W (8.5 hours with 1,800 mAH battery) Summary
Zacutos EVF Flip is a convenient way to put a multifunctional, portable LCD monitor exactly where you want it. Although its a bit on the expensive side, EVF Flip provides much more control over the viewable image than many other portable LCD monitors on the market. dv
Battery External HDMI
lust
K-TeK NauTilus
CARl MRozeK
spiral symmeTry, superior souNd

Recording with K-Teks Nautilus Mic Suspension Mount
Quick Take
Product: K-tek Nautilus Pros: excellent isolation of
microphone from camera. enables fast and easy mic changes. Lightweight and flexible, yet sturdy, modular and expandable.
I often shoot alone, so its up to me to shoot clean audio, not a boom operator or a sound person. This means I usually handle the micing myself, mostly with the mic mounted on or very near the camera. Mounting the microphone off-camera is the best way to go, but thats really only feasible when youre shooting in a fairly stationary position. When Im using the mic on camera (which is most of the time), I need some kind of shock mount to isolate vibration and handling noise.
Some shock mounts curtail the use of windscreens, or at least require their removal to mount the mic in the suspension. This can make switching mics in the field a cumbersome process, and something to avoid if at all possible. Moreover, some shock mounts are flimsy and vulnerable to damage. Combining stability and suppleness with a rugged design is something of a challenge. K-Tek Boom Poles has met this challenge with the Nautilus microphone suspension mount. (We awarded the K-Tek Nautilus a best-in-show Black Diamond Award at the 2013 NAB Show.)
Cons: Has a somewhat

high profile for on-camera use. requires the camera shoe for attachment to camera. Grips thinnerbarreled mics loosely.
Bottom Line: spiral

suspension coils simplify and accelerate microphone changes in the field, while their movability and modularity provide a secure, balanced suspension mount for most pro mics, including ultralong shotgun mics.
Features
Nautilus form is inspired by the logarithmic spiral, a design found in nature in objects like hurricanes, spiral galaxies and the chambered nautilus, a conchlike shellfish thats widely admired for its graceful K-tek Nautilus with symmetry. The Nautilus spiral was chosen over a two spring Mounts host of other natural and artificial designs after a year of intensive R&D by the K-Tek design team. material that balances strength and flexibility, Nautilus is a universal microphone shock mount allowing the microphone to hang suspended, yet with that is engineered to offer suspension and vibration the strength to support the mics weight. The Spring absorption to any shotgun mic. The mount's spiral Mounts slide along a 4 rail and lock in place. They may design applies an even distribution of force in three be positioned anywhere on the rail to accommodate dimensions. different sized mics. Nautilus floats the microphone in this spiral spring The Nautilus suspension comes standard with four design with horizontal clips to achieve optimal isolation. Spring Mounts: two provide tighter tension for heavy K-Teks Spring Mounts are made from a composite microphones and two offer less tension to suit smaller,
MSRP: $99 Online: www.ktekbooms.

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lightweight mics. There is only one point of contact between the microphone suspension and the mount. Less contact means less vibration. With a spiral design, the force applied to the mount is spread evenly over one long, circular surface, creating even force distribution in three dimensions. The mounts spiral resembles a small letter e, without the horizontal line bisecting its center. A pair of rubberized pincers grasps the shaft of the microphone. These pincers do not lock, but rather flex enough that the microphone shaft pushes past their
doves and sparrows, and even the braying of burros. The gusts were occasionally strong enough to force me to tighten my grip on the camera, yet none of this handling noise found its way onto the soundtrack thanks to Nautilus ability to isolate the mic from the camera body, despite being mounted to it.
sUmmary
K-Teks Nautilus microphone suspension system
takes a fresh approach to isolating field vibration and mic handling noises by employing a spiral coil to spread out forces evenly over one long, circular surface, thus creating an even force distribution in three dimensions. Thanks to meticulous system design and testingincluding the development of lightweight and resilient base materialsthe Nautilus takes microphone suspension to a new level. dv
nautilus with sennheiser mKH 418 shotgun mic
nearly touching tips into the spirals open center. The mount thereby forms a cradle that can accommodate the shaft of most standard shotgun-type microphones.
In Use
I tested the Nautilus with a standardsized shotgun mic, Sennheisers new ENG-style MKE 600, which is 10 long and has a 3/4 shaft. My MKE 600 backed easily into mounting position on the twin coils and then pushed easily into both clamps after a slight bit of initial resistance. Once seated, the MKE 600 couldnt be dislodged from the Nautilus, even with vigorous shaking. In the time that I had the Nautilus for evaluation, I subjected it to daily jarring vibration on several miles of gravel washboard roads in the Black Mountains of Arizona. Even though the mic flexed visibly, it remained attached, enabling me to record some of my best ambient desert audio ever. I was able to capture wind gusts blended with the singing of mockingbirds, thrashers, desert
lust
Pixelmator
OlIVER PETERS
effects for editors

Pixelmator Teams Tool Enhances Your Timeline
Quick Take
Product: Pixelmator Pros: Broad file format
compatibility. Engineered on OS X core technologies. Recognizes third-party core image filters. Built-in vector tools.
Cons: Mac only. Some

Photoshop layer styles are not translated. Limited to 8-bit/channel graphics.
Pixelmator supports multiple layers and includes a wide range of design tools and effects filters.
Bottom Line:
Pixelmator 2.2 Blueberry is a powerful vector and raster-based design and graphics tool at a ridiculously low price.
Over the years, Adobe Photoshop has become the go-to photo and design application for many editors, yet others have simply never warmed to it. For those with an interest in alternative solutions, theres Pixelmator. The company responsible for Pixelmator, called Pixelmator Team, was an early proponent of selling through the Mac App Store, a move that quickly vaulted Pixelmator to the top of the Mac App Stores sales list and earned it the Best of Mac App Store honor in 2011.
The company recently released Pixelmator v2.2 (codenamed Blueberry) to an enthusiastic response of 500,000 software updates in one week. Some of that may have been a reaction to Adobes Cloud-only software announcements or to the $15 introductory price. Also, the new version is a free update through the Mac App Store for existing customers. No matter the reason, Pixelmator is clearly gaining attention. Pixelmator is a paint, design and graphics application built specifically around core OS X technologies. Its 64-bit and taps into Apples Core Image for GPUbased acceleration. By building on the OS technology itself, the Pixelmator team has been able to develop an application that is well integrated and can be sold at a far lower price than would otherwise be the case. The application is new, streamlined and clearly fits into the same interface design aesthetic as Final Cut Pro X or Blackmagic DaVinci Resolve. Previous versions boasted a nice set of paint, effects, retouching and layer tools. Pixelmator 2.2 adds several new shape and vector tools, gradients, shape styles, color popovers and a new light leak effect. If you own Noise Industries FxFactory Pro filters, they will show up as image effects available for use inside Pixelmatora serendipitous byproduct of FxFactory and Pixelmators common use of Core Image. Pixelmator saves files in its own format, but it can open and export a range of standard graphics files, including JPEG, PNG, TIFF, PDF and layered Photoshop file formats. If your main interest is in software that lets
MSRP: $14.99 via the

Mac App Store. Free update for existing owners.
Online: www.pixelmator.
com
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you do sophisticated and artistic design and Pixelmator 2.2 and Photoshop CS6. It was image manipulation, then Pixelmator more actually much better than I expected. Layers than fits the bill. The real question is whether came across in both directions. Layer effects its a viable substitute for Photoshop. The applied in Photoshop were there, but not answer to that question depends on how much with the right look unless I merged the layer of a Photoshop power user you are, and how in Photoshop. For example, a drop shadow much compatibility you need to maintain with would show up, but Pixelmator couldnt read clients who supply Photoshop files to you. the elaborate emboss treatment I applied. On The most recent version of Adobe Photoshop the plus side, the vector font was brought in Extended is a behemoth application in the best as separate clean layer. Pixelmator files that sense. It can do video, a certain level of 3D, and were exported as Photoshop files with shape it has an advanced system of layer styles and styles applied to text layers opened more or effects. Most of these cannot be accomplished Third-party core image filters, such as those from Noise Industries, less correctly in Photoshop. The bottom line is also function in Pixelmator. in Pixelmator, but then most casual users also that there is a reasonable level of interchange never use such functions. to change text into a shape. Once youve done between Photoshop and Pixelmator, as long as you If the most you do is apply some basic layer that, shape styles can be applied. This lets you fill merge or flatten any layers with layer effects. styles to text or a logoadding a drop shadow, text with color or gradients, stroke an outline and Pixelmator is a fun application to use. The 2.2 for examplethen you can get the same look add shadowsall while still in a vector mode. The version has some great features and delivers highin Pixelmator, but via a different route. Think of keyboard shortcut of command-shift-V switches quality final results. Excluding DaVinci Resolve Lite Pixelmators capabilities as a very modern version you into the Vectormator mode, which changes (which is available for free), Pixelmator has to be of Photoshops feature set around the time of the interface configuration to bring forward all of the best bang-for-the-buck of any content creation Photoshop 4.0. There were no layer styles, but you the vector-based shape, text and drawing tools. software. Regardless of whether you use Photoshop could duplicate, darken and blur a layer to create a Effectively this gives you a mini-equivalent of Adobe a lot or not at all, Pixelmator is a good addition to drop shadow. Youd approach it in a similar fashion Illustrator right inside of Pixelmator. your toolkit. The more you use it, the more youll with Pixelmator, but even better is the new ability I tested compatibility in both directions between find it your new go-to design application. dv
www.aja.com
Get Ready For 4K

Unite 4K, QuadHD, 2K and HD with breakthrough features and quality.
AJAs Ki Pro Quad manages HD, 2K, and 4K workflows at 4:4:4 or 4:2:2 with high-quality and efficient Apple ProRes files that are manageable in size and ready to edit immediately. Easily mounted to any compatible camera, Ki Pro Quad can also feed 4K and HD monitors and pass camera RAW data direct to Thunderbolt-enabled computers.
Futureproof
Work at HD resolution now with 4:4:4 quality and have the ability to move up to 4K projects using the same Ki Pro Quad.
Quality and Flexibility

Pass RAW data via Thunderbolt and record 4K Apple ProRes files for the perfect combination of the highest quality and manageable file sizes.
Power and Portability

Ki Pro Quad is small enough to mount directly on most cameras but powerful enough to be the hub of your 4K solution.
B e c a u s e i t m a t t e r s . B e c a u s e i t m a t t e r s .
Find out more at www.aja.com
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Digital Bolexs D16 Camera Becomes A Reality
DIgItal Bolex D16

JAY ANkeNeY
Icon, InspIratIon, InnovatIon
Digital Bolex D16 camera
olex. The name is so iconic that it can separate DPs into their own generational divide: those who remember the famed 16mm film cameras and those who dont. The Bolex company was founded in 1927 by Jacques Bogopolsky, whose name was usually shortened to Bolskyhence the Bolex name for the company he founded. Bolex cameras were springwound clockwork workhorses, originally 16mm, that served both professional documentarians and amateur home movie buffs. While later models adopted electric drives, no film student of the 1960s or early 70s can forget the first
time they loaded sprocket-driven celluloid into a Bolex H-16 camera and wound its crank to start shooting. Now a group of enthusiasts headed by L.A. cinematographer Joe Rubinstein are bringing the style of the original Bolex into the digital cinema era. Rubinstein showed a prototype of the Digital Bolex D16 camera at the 2013 SXSW Film Festival
in March. Since then Ive had the chance to speak with some lucky cinematographers who have been able to test a few preproduction models of the D16 camera. You can see samples of their test footage at www.digitalbolex.com. If everything works out as planned, the Digital Bolex D16 should be shipping by the time you read this article.
Digital Bolexs Elle Schneider and Joe Rubinstein
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Joe wanted a 2K camera that shot raw images at 24 fps for well under $10,000, and it looks like the D16 will sell for $3,299, explains Elle Schneider, creative director at Digital Bolex. With the help of Kickstarter web-based funding, he arranged to be able to use the Bolex name for the camera and decided to partner with the Ienso company of Toronto, Canada, to produce it. A key to Rubinsteins design is that the D16 uses a sensor approximately the same size as a Super 16mm film frame and 16mm lenses with no crop or vignetting. Using its Kodak 1 CCD sensor, the D16 shoots 2K (2048 x 1152) resolution in Super 16mm mode and HD (1920 x 1080) at its 16mm setting. It can record up to 32 fps at 2K, 60 fps at 720p and 90 fps at 480p. It stores images through an internal 400 GB Micron P400e SSD buffer onto dual CF cards; the company recommends using CF cards with transfer speeds of at least 400x for best performance. The D16 shoots raw images as CinemaDNG format stills or TIFF sequences, with 12-bit color depth. The camera supports C mount lenses standard, and EF, PL, M43 and turret mounts with optional modification. Initially there are no compressed formats on board, although some may be added in the future. The D16 sports the original Bolexs iconic teardrop-shaped body and a real hand crank on the right-hand side. Try not to jump to the end of this article to find out what the crank does.
Lan Bui
Director of photography Lan Bui had just finished shooting his first feature, Redemption: The Darkness Descending, with Canon EOS C300s when he heard about the D16. Its the feeling of complete control with the D16 that was very attractive to me, Bui says. Most modern digital cameras give you what is baked in them to produce. The D16 lets me set every parameter so I can shoot a base image and manipulate it later. I think of its recording as a digital negative that can be fully developed in post. And it looks cool too! Bui loves the D16s small size, since it fits easily in his hands. There is a handgrip that attaches to the underside that can easily be removed to mount rails or a baseplate, Bui says. The quality of its raw recordings will let me replace all my DSLRs and still come back with superior images. But the D16 will not be the daily shooter for Bui. The workflow with raw recordings requires transcoding the files to get them into post, although you can do workarounds. Then again, if you use an external recorder and store the images compressed into something like ProRes, what is the point? When used properly on a feature film, the D16 gives me a higher-quality look when I have the time to handle its relatively bigger files during post to create the look I want.
From Lan Buis test shoot of the Digital Bolex D16
Kathryn BriLLhart
Kathryn Brillhart is a working DP who recently completed the made-for-TV feature Miracle at Gate 213, which will air later this year on NBC. She is also a
visual effects specialist, which is worth mentioning since she is involved with a high-profile project for the king of Jordan: the Red Sea Astrarium on the Gulf of Aqaba. Think of it as a multicultural leisure destination you probably cant afford. Joe Rubinstein contacted Brillhart as a cinematographer to test out an early D16 model because shes been shooting 16mm film with a Bolex H-16 camera
45
Kathryn Brillhart shot footage with an early model of the D16 on the L.a. Metro and in downtown Los angeles.
Kurt Lancaster shot a short documentary with breakdancing performers on Venice Beach with a beta preproduction model (it had an uncalibrated sensor) of the Digital Bolex D16. color graded by Michael Plescia with adobe camera raw.
since, as she says, forever. Joe and I took a weekend to shoot with it in downtown Los Angeles at night, she recalls. We rode the L.A. Metro to test the way the camera reacted to high and low lights in different situations, and it felt just like a Bolex film camera. Online D16 at Night (Kathryn Brillhart): www.digitalbolex. com/d16-night/ One feature Brillhart found especially handy is the fact that it has a full-resolution 1080p HDMI port so you can mount a small high-definition monitor on top of the camera. This lets you see your shots in 16:9 on the upper screen while simultaneously zooming in on sections of the footage in a 1:1 pixel ratio on the cameras built-in 320 x 240 display. This lets you shoot at eye level just like a film camera with the HD monitor,
but achieve critical focus on the cameras display, she explains. On most DSLRs you have to switch back and forth on the display to get that information. The D16 lets you concentrate on the image being recorded.
Kurt Lancaster, Ph.D.

Our final D16 beta tester, Kurt Lancaster, Ph.D., is not only a director/ cinematographer but also associate professor at Northern Arizona University School of Communication and author of DSLR Cinema: Crafting the Film Look with Video from Focal Press. Lancaster took a beta preproduction model of the D16 to Southern California, where he found some remarkable eye candy to shoot with vintage 16mm C mount lenses. He turned his footage into a mini documentary about breakdancing performers on Venice Beach.
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Online Venice Beach Breakdance D16 Digital Bolex: www.digitalbolex. com/guest-post-kurt-lancaster/ It has the ability to capture a filmic feel in color and texture that made the images feel un-digital, he says. The ability to adjust its shutter angle gave a smoothness to the skateboarders we captured on the Strand, and there was richness to the colors that is different from the DSLRs Ive used. He also appreciated the cameras built-in XLR connections for audio and the fact that you can remove the front plate to accommodate Canon EF or ARRI PL mount lenses without having to put an adapter on the cameras native C mount thread. The cameras internal SSD buffer lets you record to the CF cards sequentially so you can easily transfer the footage into a post system, he notes. Lancaster has been to Toronto to see the camera under development and credits the Digital Bolex team with being sincerely interested in user feedback. You need to understand a raw workflow, he says, but with the D16, the results are worth it. We shot some beautiful sunsets with the lights coming on over L.A. With the D16s wide exposure latitude and 12-bit color depth, it responds more like a film camera than a DSLR.
develop your creative skillsat
Hand Crank
Now, how about that unexpected hand crank on the right side of the D16s body? Its most remarkable function was not activated on the beta versions of the D16 our early testers were using, unfortunately. Digital Bolex creative director Schneider says, The crank is really my innovation or my fault, depending on how you want to look at it. You can use it to adjust settings such as shutter angle, frames per second, headphone volume or ISO level. But since the D16 records discrete still images in CinemaDNG or TIFF formats, you can determine the frame rate at which those images are recorded by manually grinding the crank at variable speeds. Yes, thats right, you can actually overcrank or undercrank the recordingsby handto achieve slow motion and upspeed shots when footage is played back at 24 fps. Frankly, though, that crank is also a very clever eye-catcher that signifies the dedication and nostalgic enthusiasm responsible for the birth, or perhaps digital rebirth, of a great cinematography tradition in the form of the Digital Bolex D16 camera. dv
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TableT TeleprompTers
CRAIg JOHNSTON
TableT-based TeleprompTers
User-Friendly, Energy-Efficient Options for Production
eleprompters have always existed as a series of components. You had a source of text, whether it was a computer or simply paper scripts being fed under a camera; a display for that text, originally a CRT but now a flat-screen monitor; a prompter assembly to display the copy over or near the cameras lens; and a scrolling controller. Now that nearly every professional has access to a tablet computer of some kind, however, the list of components in the teleprompter chain has shrunk considerably.
No-BraiNer
With everyone having an iPad or Android tablet for work or entertainment, the idea of building a teleprompter frame for them was kind of a nobrainer, says Mike Burdick, sales manager for Mirror Image Teleprompters, in Oshkosh, Wis. Autocue first built a prompter assembly to mount an Apple iPhone. It was pretty clear that the iPhone iOS was going to be an important direction for us to go in, says Aaron Brady, Americas managing director for Autocue in New York. As soon as the iPad came out, we had an iPad prompter ready to go. Autocue currently offers the Starter Series iPad Teleprompter Package with iAutocue app. Listec, a Tiffen company, was also quick to market with a prompter assembly to mount a tablet computer. The nice thing about the tablet is they tend to be very bright, have very good backlighting, so theyre visible outside, says Michael Rubin, senior product manager at Tiffen in Hauppauge, N.Y.
Field teleprompting has come a long way since its origin as a paper roll memory aid in the 1950s. in 1969, autocue introduced the closed-circuit prompter, in which a camera filmed a scrolling paper script and displayed that image on a monitor attached to the camera shooting the speaker.
Built-iN iNtelligeNce
What companies such as Autocue, Listec and Mirror Image bring to the table when they incorporate a tablet into their prompting systems is expertise in providing lightweight but rugged prompting assemblies, high-quality beam-splitter glass, and sophisticated software and controllers.
Tablet prompting assemblies are generally built for the 10-inch tablets, and some companies offer a smaller assembly for the iPad Mini. Some of the companies are making prompters to work with the iPhone, says Burdick, but frankly its too small to allow the cameraman to get very far from the speaker, who needs to be able to read the script. With a tablet, theres some intelligence built in, says Rubin, so youre able to do a bit more and not be tethered to a computer for your source of information. If a field crew is using a tablet for
prompting, they may additionally use the tablet to do additional research on a subject or receive script material from the studio via e-mail or text message. Burdick says that Mirror Image has chosen not to write software for the tablets. The iPad and Android tablets have a large number of apps for prompting, [so for us] theres just really not that much money in doing that. He adds that Mirror Images iPad teleprompter kit, the IP10, will work with any of those prompting apps. Listecs PromptWarePlus software is available
48
Mirror Image IP10 iPad teleprompter kit
Autocue Starter Series iPad Teleprompter Package
Listecs PW-10EB Teleprompter includes an adjustable camera mount
for iOS and Android operating systems, along with a PromptWare Remote Controller. These options augment Listecs PW-10 series of tablet teleprompter solutions. Tablet-based teleprompters are the most portable way of doing prompting, says Brady. Theres no power cable in, theres no video cable in, and if you set up the wireless controller, theres no wires at all. Wireless control of the tablet is often via Bluetooth or Wi-Fi, while some users employ a smartphone as the controller. Rubin points out theres a cost advantage to tablet-based prompters because the computer and the display are combined. And the tablet is
the primary cost; if the camera owner already has a tablet, theres less upfront cost in buying a teleprompting assembly to mount it in front of the lens.
Tablet-based teleprompters are the most portable way of doing prompting.

Aaron Brady, Autocue
Theres also a weight advantage. Today, with the DSLRs and the smaller DV cameras, [using a
tablet] allows you to put a lot less weight on the front of the camera, Rubin says. So certainly if the cameraman is shoulder-carrying, hes very happy, or if hes using a Steadicam, it just makes it a lot lighter, a lot more compact. And while tablet-based teleprompters are well suited to the smallest video cameras, Brady adds, we saw that the different cameras that people were using with it werent restricted to the smallest types of cameras. We saw people with large, professional cameras using tablet-based teleprompters. Tablet computers and teleprompters seem to be a perfect match. dv
49
register now!
The Largest Pro Video, AV/IT Event on the East Coast

Register with code GVE8 for a free exhibit hall pass and $50 off the conference program.
www.gvexpo.com
Conference: December 35, 2013 Exhibits: December 45, 2013 Walter E. Washington Convention Center Washington D.C.
For info on exhibiting or sponsorships contact: Jackie Gospodinoff at: 212.378.0493 or jgospodinoff@nbmedia.com
Co-located with
2013
REGISTER NOW WITh CODE GVE8 TO RECEIVE $50 Off CONfERENCE pROGRam RaTES aND TO CLaIm a fREE EXhIBIT haLL paSS! DC post | production Conference
This three-day training event focuses on the evolving roles and tools in the post production process. Immersion in software and expert training is available. Target Audience: Editors and motion graphics professionals seeking to maximize their creativity and efficiency on their software and tools.
DC post | production Conference: December 3-5, 2013

packages
DC Post | Production Conference Full Pass (3 Days) Tuesday Focus On Workshops + Full Conference Certification Prep Course 2-days Tues. 12/3 & Wed. 12/4 DC Post | Production Conference (1 Day) Pass Choose either Wed., 12/4 or Thurs., 12/5 Tuesday Focus On Workshops Only
pricing
$895 $895 $550 $495
TuESDay, DECEmBER 3RD, 2013

Track 10:30am 4:30pm
Focus On: Full Day

Color Correction & Grading
Focus On: Full Day

Best techniques for Shooting and Lighting Interviews
Focus On: Full Day

Online Video Compression, Distribution, and More
WEDNESDay, DECEmBER 4Th, 2013

Track 9:00 11:45am 11:45am 12:45pm 1:00 2:15pm 2:30 3:45pm 4:00 5:15pm Title Design for Adobe Creative Suite The Best Ingest and Export Strategies with Premiere Pro Using Cinema 4D with Adobe After Effects Adobe Creative Cloud Workshop IN-DEPTH: Getting Better Keys: Green Screen Workflow Video Production IN-DEPTH: Putting the Camera In Motion Lunch Break Time Floats By: Creating Timelapse Footage Essential Gear for Your Next Production Making the Transition from Production to Post Music & Footage Licensing Essentials Budgeting Video Projects Production Gotchas Where Things Can Go Horribly Wrong and How to Avoid Them Producer/Director Workshop IN-DEPTH: The Art of the Interview Premiere Pro for Experienced Editors
Certification Prep Class (Day 1 of 2)
ThuRSDay, DECEmBER 5Th, 2013

Track 9:00 10:15am 10:30 11:45am 11:45am 12:45pm 12:45 2:00pm Audio Class Adobe Audition Adobe Creative Cloud Workshop The Power is in the Trim: Mastering the Trim Tools in Premiere Pro Multi-camera Editing Workflow for Premiere Pro Video Production Lighting Class Audio Class Lunch Break Photoshop for Video Editors - 10 Techniques you Need to Know New & Emerging Formats Post Production Tecniques and Secrets Cutting a Commercial with FCP X Best Media Composer Editorial Tips Premiere Pro for Experienced Editors
Certification Prep Class (Day 2 of 2)
*Note: Schedule subject to change. Visit gvexpo.com for updated session times.
Register at gvexpo.com with code GVE8
REGISTER NOW WITh CODE GVE8 TO RECEIVE $50 Off CONfERENCE pROGRam RaTES aND TO CLaIm a fREE EXhIBIT haLL paSS!
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pro media Conference

The Pro Media Conference is a series of papers, panels, case studies, and networking opportunities giving media pros access to the information and technology that allows them to create, manage, monetize, and deliver compelling content for all video applications, across all platforms and for all customers. Target Audience: Managers and executives interested in learning about trends in the industry and the next big thing.
@GVEXPO
pro media Conference: December 4-5, 2013

packages
Pro Media Conference 2-Day Pass Pro Media Conference 1-Day Pass
pricing
$415 $225
Pro Media Conference Tracks:

pRODuCTION TEChNOLOGy aND TRENDS Stay current on the latest trends in live video capture. Sessions on 4K, lighting, cinematography, acquisition/multi-camera technology, and more will help you make the most of your next shoot. NEW TEChNOLOGy fOR GOVERNmENT VIDEO CONTRaCTORS Want to keep up on the latest new technologies with government video applications? Get the low-down on new up-and-coming technology to add to your portfolio of government-focused solutions. CaSE STuDIES ON GOVERNmENT VIDEO pROjECTS Hear what works and doesnt work for government video projects from seasoned professionals. Nothing is more valuable and instructive than a real-life picture of how the government video world functions. NEXT-GENERaTION VIDEO DELIVERy The landscape for broadcasting video is constantly changing and evolving. See the latest technology and best practices in online streaming, encoding, media storage, DAM, compression, security, mobile content and more.
Government Video Exhibit Hall Only Pass includes exhibits, networking events and all Presentation Theater sessions.
Exhibit hall: December 4 -5, 2013

packages
Exhibit Hall Pass
pricing
FREE WITH CODE GVE8
Register at gvexpo.com with code GVE8
2013
Government Video Expo
Fighting FilterS
DICK REIZNER
If you have ever had a screw-on filter stuck on your lens so tight it seems a pipe wrench is the only thing that will get it loose, read on. Try putting a rubber band around the filter. Or, as the technicians at Fujinons lens repair facility suggested, wear a rubber dishwashing glove to give your fingers a better grip. Another tip is to wrap a piece of cloth tape (like gaffers) around the filter in a clockwise direction, then pull the end to unscrew it.
TIPS TO CLIP
Learn
clOtheS mAke the mAn (Or WOmAn)

When I shared several tips about what people appearing on camera should wear, it brought this important comment from Houston producer Philip Booth. Your comments about dressing talent were right on, but how about the crew? Although they must be comfortable, their dress and personal grooming should reflect a professional attitude and be appropriate to the settingnice shirt, clean pants and good shoes. I have seen shooters show up to cover a college commencement in shorts, grimy T-shirt and sandals. I dont know if I would hire that person for my next project. I know of many producers who share those sentiments. Remember, you have to get hired to do the job before any of the tips we talk about can help you.
empty net
I attended an awards ceremony last week at which large projection screens gave the audience a much better view of the speakers. There was only one camera shooting the event, which normally would not have been a problem. Unfortunately, the producers failed to tell the emcee to stay at the lectern until the next speaker got there, so we were treated to many shots of what hockey fans would call an empty net. Another solution for the problem, besides telling the host to stay at the podium until the next speaker arrived, would have been for the emcee to leave by the same path on which the new speaker was approaching. This would allow the camera to follow him until he passed the speaker, and then follow the new speaker back to the lectern.
Script Security
Scripts can be dropped, jumbled, revised, confused and otherwise mixed upunless, of course, you follow these tips. The most important one is to print a large page number and revision number at the top of each sheet so they be quickly reassembled if (when) they are dropped. You can easily tell whether everyone is using the same version of a script if material is printed on a different colored paper each time the document is revised. Index cards (3x5 or 4x6 sizes) are handy if youre going to be reading at a lectern. Make them drop-proof by punching a hole in one corner of the stack and attaching a beaded keychain. The chain provides more flexibility than the ring many speakers use.
pArt picker
During a recent equipment repair, Jane Borges of Manteca, Calif., knocked over a container of small parts and found herself with a lot of very small non-magnetic parts hiding in the carpeting. Her solution was to put a piece of nylon stocking over the end of her vacuums hose. She then turned the vacuum on to retrieve the parts. Thanks for sharing, Jane.
ShAre yOur tip

Now its your turn to share a favorite shooting or production tip or question with your fellow professionals. Please send e-mails to dvtips@nbmedia.com. All submissions become the property of Reizner & Reizner. None can be returned.
53
XA10 / VIXIA HF G30*

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#CAXA20 ............................. $2,199.00 CAXA25 .............................. $2,699.00
XA20 / XA25
NEX-VG900
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24.3MP full-frame 35mm Exmor CMOS HD sensor E-Mount, and A-Mount with includes LA-EA3 A-mount lens adapter 1080/60i/60p/24p Quad capsule microphone with XLR option Tru-Finder OLED viewfinder with eye sensor Cinematone Gamma with comprehensive manual control Uncompressed 1080 HDMI Output Memory Stick PRO Duo/PRO-HG Duo, SD/SDHC/SDXC 3.0" LCD screen
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PMW-100
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Page 1
Prices, speci cations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2013 B & H Foto & Electronics Corp.
FDR-AX1
Digital 4K Camcorder
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GY-HM600 / GY-HM650
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Three 1/3 (1920 x 1080) 12-Bit CMOS sensors Dual SDXC/SDHC card slots, dual-backup, continuous recording MPEG-2 / AVCHD / H.264 Recording 23x Fujinon wide zoom lens F11 Sensitivity Optical image stabilizer 3.5 LCD screen with focus assist HD-SDI and HDMI connections GY-HM650 Step-up Features: WiFi with Apps for iOS/Android, Live transmission (streaming), Secure FTP File upload via WiFi
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1/2.3" back-illuminated Exmor R(R) CMOS Sensor Dual XQD Memory Card slot Records 4K video resolutions (Up to 3840x2160 60P/50P) 20x Sony G-Series zoom lens Optical image stabilization Cinematone Gamma / Color Records in 2K and 4K: 60p, 50p, 30p, 25p, 24p XLR audio input Video format XAVC S format, MPEG4-AVC/H264 3.5" LCD screen
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NEX-EA50UH
XDCAM 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 Articulated 3.5" LCD screen Timecode & Genlock input Cache recording Up to 15 seconds
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AG-AC160A
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PMW-300
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Page 2
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Statement of ownerShip, management and CirCulation (requeSter publiCationS only)

1. Publication Title: Digital Video 2. Publication No.: 11215 3. Filing Date: 9/20/13 4. Issue Frequency: Monthly 5. No. of Issues Published Annually: 12 6. Annual Subscription Price: Requester 7. Complete Mailing Address of Known Office of Publication: NewBay Media L.L.C., 28 East 28th Street, 12th Floor, New York, NY 10016-7959; Contact Person: Kwentin Keenan 703-852-4604 8. Complete Mailing Address of Headquarters or General Business Office of Publisher: NewBay Media L.L.C. 28 East 28th Street, 12th Floor, New York, NY 10016-7959 9. Full Names and Complete Mailing Addresses of Publisher, Editor and Managing Editor: Publisher: Eric Trabb, 28 East 28th Street, 12th Floor, New York, NY 10016-7959 Editor: Cristina Clapp, 28 East 28th Street, 12th Floor, New York, NY 10016-7959; Managing Editor: Katie Makal, 28 East 28th Street, 12th Floor, New York, NY 10016-7959 10. Owner: NewBay Media L.L.C., 28 East 28th Street, 12th Floor, New York, NY 10016-7959, wholly owned by the Wicks Group of Companies, 405 Park Avenue, Suite 702, New York, NY 10022 11. Known Bondholders, Mortgagees and Other Security Holders: None 12. Tax Status: Has Not Changed During Preceding 12 Months 13. Publication Title: Digital Video 14. Issue Date for Circulation Data: October 2013
15. Extent and Nature of Circulation a. Total # of copies b. Paid and/or Requested Distribution (By Mail and Outside the Mail)
(1) Outside-County Paid/Requested Mail Subscriptions Stated on PS Form 3541 (2) In-County Paid/Requested Mail Subscriptions Stated on PS Form 3541 (3) Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Paid or Requested Distribution Outside USPS (4) Requested Copies Distributed by Other Mail Classes Through the USPS 13,927 12,611
Average # Copies Each Issue During Preceding 12 Months 14,770
Number Copies of Single Issue Published Nearest to Filing Date 13,383
c. Total Paid and/or Requested Circulation d. Nonrequested Distribution (By Mail and Outside the Mail)
(1) Outside County Nonrequested Copies Stated on PS Form 3541 (2) In-County Nonrequested Copies Stated on PS Form 3541 (3) Nonrequested Copies Distributed Through the USPS by Other Classes of Mail
13,927
12,611
402
435
(4) Nonrequested Copies Distributed Outside the Mail e. Total Nonrequested Distribution f. Total Distribution g. Copies Not Distributed h. Total i. Percentage Paid and/or Requested Circulation
243 645 14,572 198 14,770 95.6%
130 565 13,176 207 13,383 95.7%
16. Total circulation does not include electronic copies. 17. Publication of Statement of Ownership for a Requestor Publication is required and will be printed in the November 2013 issue of this publication. 18. Signature of Executive Vice President, Video/Broadcast Division: Carmel King, 9/20/13
Company index
Adobe ......................................................35, 42 American Society of Cinematographers....................................58 Apple ..................................... 21, 34, 42, 48, 58 ARRI ............................................... 8, 18, 21, 47 Aspera ............................................................21 Autocue .........................................................48 Autodesk .......................................................12 Avid ....................................................10, 12, 21 Blackmagic Design ....................... 6, 12, 33, 42 Canon U.S.A. ................... 10, 26, 34, 39, 45, 47 Carl Zeiss .................................................28, 32 Color Collective ............................................33 Company 3 ......................................................6 Digital Bolex ..................................................44 Fujinon ..........................................................53 Google ...........................................................22 GoPro........................................... 21, 26, 34, 58 HBO .........................................................17, 26 HOAX Films ..................................................12 Hula Post Production ...................................10 Ienso ..............................................................45 JC Studios ......................................................18 K-Tek ..............................................................40 Kickstarter .....................................................45 Kodak ............................................................45 Lectrosonics ..................................................28 Legacy Recordings .......................................10 Listec .............................................................48 Litepanels..................................................8, 28 Micron ...........................................................45 Microsoft .......................................................34 Mirror Image Teleprompters .......................48 Movcam.........................................................28 Museum of Contemporary Art ....................22 Nikon .............................................................34 Noise Industries............................................42 Northern Arizona University School of Communication...........................46 PBS.................................................................12 PIX System ....................................................21 Pixelmator .....................................................42 RED Digital Cinema .....................................30 Red Giant Software .......................................34 Red TX ...........................................................12 Redrock Micro...............................................28 Sennheiser ..............................................28, 41 Shapeshifter ..................................................12 Shutterstock ..................................................10 Sony Electronics ...........................................34 Sound Devices ..................................10, 28, 36 Steadicam................................................39, 49 Technicolor ...................................................35 Thales Angenieux ...........................................8 Tiffen..............................................................48 Trollbck + Company ...................................12 VICE ...............................................................26 Whitney Museum of American Art ...............8 YouTube ........................................................22 Zacuto......................................................28, 38
56
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57
production diary
Mistakes
Ive Made A Few A Lot
Learn
STEFAN SArGENT
ow I love American Cinematographer magazine. Next to Digital Video, its my all-time favorite. Every month I open it to the inside back cover, the same as you do with Digital Video, but instead of my stuff, theres an interview with a famous ASC cameraman. And every month theres the killer-diller question that stumps them all: Have you made any memorable blunders? Now if you were earning $XX,000 a day, would you admit to any wrongdoing? No, of course you wouldnt. Don Burgess, ASC: Blunders? Cinematographers dont like that word, but we do like happy accidents, which we take credit for all the time. Nice one, Don. Completely sidestepped the issueshould be a politician. Darius Khondji, ASC: Many, many blunders. Thats it? Just three words? Come on, tell us some mistakes you made on Midnight in Paris or Se7en. Please, we really want to know... Dante Spinotti, ASC: Thirty years ago I was shooting 16mm reversal and pushing to 2000 ASA. Later, all I could see in the shot were the torches the actors darius khondji, asC were holding. Well, I guess it was a mistakebut 30 years ago. Tell us a blunder on X-Men or L.A. Confidential. Something recent... And on and on they go with pathetic, trivial mistakes: I accidentally turned on a smoke machine... I played the piano in front of... I put the film in the wrong way round when I was a clapper-loader 40 years ago...
for itleave the can of precious film on the upturned boat. We fly back to London. Quelle horreur theres a can missing. Of course it would be the 400 ft. can that has all the really important shots. My U.K. client speaks Portuguese and phones the police station nearest the beach. Wonder of wonders, its been handed in. The police overnight the film can back to London and its all there, unopened, intact, perfect.
It was oNly last week

None of this when I was an assistant 40 years was it the beer or the Girl from ago. Ipanema walking past? My good friend Dennis is doing a shoot. He wants me to cover reverse angles. Id do anything for Dennis since my cat bit and peed all over him. So I turn up with not one camera but three. And, would you believe it, all three die, one after the other. The GoPro runs for a while, powered by a USB supply, then locks up, stone-cold dead. Camera two: I thought it had a 64 GB chip; nope, its a partially full 16 GB chip. One hundred percent full and dead after just 30 minutes. The camera Im operating has a battery that says 4.5 hours. It lies. Dead before two hours. I go to get another battery and the hotel staff has kindly put my camera case into Lost and Found ... and the guy with the key is away at lunch. A camera! A camera! My kingdom for a camera. Hey, Ive got an iPhone. I balance it on the tripod and shoot. I feel pretty stupid but it works.
Now Its My turN

Its 1975. Im hired to go to Portugal, where SuperSer butane heaters are made. I shoot their factory, the draftsmen, the cargo ship being loaded, and somehow, dont ask me how, the SuperSer rep and I wind up on a Portuguese beach. I shoot the beach, the sunbathersnice atmospheric stuff. We have a beer and enjoy the view. I reload an clair 16mm magazine on top of an upturned boat, change magazines andwait
Have you Made aNy MeMorable bluNders?

superser gas heater
Yes, many, many. dv
iPhone shoot
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