Braverman Behind-the-Scenes for Bottle Rocket

Owen Wilson, RobertMusgrave and LukeWilson on the set of thecult classic Bottle Rocket.Braverman Behind-the-Scenes forBottle RocketPhoto courtesy of Sony Picturesb y B r i a n C a l iCinematographer Barry Braverman, the Director of Photography for the original, 13-minuteblack-and-white Bottle Rocket short that was the basis for filmmaker Wes Anderson’s1996 cult classic, recently shot The Making of Bottle Rocket for the Blu-ray release(Criterion Collection) of the feature with the Panasonic VariCam 2700 P2 HD VariCam. Theoriginal behind-the-scenes documentary features interviews with Anderson, producer James L.Brooks, actors James Caan and Luke and Owen Wilson, among others, and revisits the Texaslocations where the film was shot.Bottle Rocket is a lovingly detailed, visually witty and warm portrait of three young misfits,best friends Anthony (Luke Wilson), Dignan (Owen Wilson), and Bob (Robert Musgrave).The trio stage a wildly complex, mildly successful robbery of a small bookstore, then go “onthe lam,” where they befriend a real thief, Mr. Henry (Caan). Martin Scorsese has called BottleRocket, the film that put Anderson (Rushmore, The Royal Tenenbaums) and the Wilson brotherson the map, “a picture without a trace of cynicism, that obviously grew out of its director’saffection for his characters in particular and for people in general…. a rarity.”Braverman, who had previously worked with the AJ-HPX2700 VariCam on wildlife shootsand indie projects, calls it the “ultimate non-fiction camera.” “I never considered anything buta top-end camera for this project,” Braverman said. “I was dealing with A-list talent who had notime for do-overs. It makes sense to have a camera like HPX2700 when you’re working at this6 7

Photo courtesy of Sony Picturesoptimo rougewideThe gang in yellowjump suits executes theimperfect robbery insideHinckley Cold Storage.8level. Essentially, you’re paying for peace ofmind and the confidence that the camera canhandle and survive an unpredicted event.”And The Making of Bottle Rocket wasnot without sudden changes of plans. “I wasshooting the Jim Brooks’ (The Mary TylerMoore Show, Broadcast News, The Simpsons)interview on the Fox lot, and had 90 minutesscheduled with him,” Braverman recounted.“I had a ground-level office rigged out withfull-bore HMI lighting. The famously reticentBrooks walked in and asked me to turn off thelights and start shooting in five minutes.”“I had to wing it with available daylightthrough a window, and a hodge-podge ofmessy office lighting, but the HPX2700 couldpull it out,” he continued. “The HPX2700 isclearly a craft-driven and performance-orientedtool that can excel when things change atthe last second. It’s not about some potentialresolution numbers. The P2 VariCam offersresolution appropriate for professionals earninga living: it’s not about imagers the size ofa battleship.”“The HPX2700 produces very flatteringimages when working with talent, courtesy ofthe VariCam cinematic look and the camcorder’s10-bit capture,” Braverman noted. “Fleshtones appear organic with well-modulatedshadow details. The image processing isextremely sophisticated for capturing the skintones of celebrities, who are understandablyfocused on every nook and cranny of theircomplexions. This was especially true in thiscase, given the Blu-ray release.”“The HPX2700 creates a distinguishedlook that can’t be reproduced in a lowerclassof camera,” he added. “I don’t confuseincreased resolution with superior images.There are times you don’t necessarily want tosee maximum resolution; with portraits andclose-ups, for instance, you actually want lessresolution, not more. The VariCam 2700, inshort, is effective as a tool for a working filmmakerat a level far beyond the number ofpixels in the imager. After all, I can’t rememberthe last production I worked on about atest chart!”Designed as a premium-quality, workhorseHD cinematography camcorder, theVariCam 2700 combines VariCam’s renownedfilmic look with key functions including variableframe rates, wide dynamic range andadvanced master-quality, 10-bit 4:2:2 AVC-Intra recording.Braverman said he makes judicious useof the HPX2700’s full range of variable framerates (from 1 fps to 60 fps in 720p mode). “Itend to use off-speed in ways that are subtle,”he noted. “Shooting at 25 or 26fps can lend acertain gravitas to actors’ reactions, especiallyif you’re working with non-professionals on anindie project. And when I’m shooting with along lens on a wildlife doc, you have to shootovercranked. The HPX2700 does off-speedwith the most versatility and most robust colorFollowing the tremendous success of the Optimo Rouge 30-80 lens – the firstin the Optimo DP series – Thales Angenieux introduces the Optimo Rouge16-42 Wide Angle Zoom. It features a wide angle position of 16mm (75.4degrees), a fast aperture of T2.8, calibrated focus marks, no ramping orbreathing all in a lightweight, compact 4.2 lb package. The Optimo Rouge16-42 Wide Angle Zoom delivers industry proven features with the performance,functionality and ergonomics that DP’s demand at a cost effective price. Onlyfrom Thales Angenieux.973.812.3858 • angenieux@tccus.com • www.angenieux.comimages

Screenshot from The Making of Bottle Rocket courtesy of The Criterion CollectionActor James Caan recallshis role as the flamboyantcon man Mr. Henry.matrix of any camera out there.”“I grew up with film cameras, and I usedto feel that I was attached at the hip to myArri,” the DP said. “I never had that kind ofvisceral attachment to any digital cameraprior to working with the HPX2700.”“I consider it Panasonic’s best camera,”Braverman added. “I do a lot of wildlife work,and you can slap the HPX2700 up to youreye, and shoot quickly and efficiently. It’s wellbalanced,and you can walk up trails with thecamcorder shoved under your arm. It’s nota power hog. It has excellent metadata support,and the workflow is really, really good.”Braverman shot the 20-minute TheMaking of Bottle Rocket in 720/24p in AVC-Intra 100, using 32GB cards. He had theHPX2700 fully loaded with five cards, butoffloaded only once a week, never using upmore than three cards.“AVC-Intra 100 was a huge advantage asI could be assured of smooth gradients in theBarry Braverman is a veteran cinematographerand digital media expert with over thirtyyears experience in television documentariesand feature films. Credits include long-formprograms for National Geographic, ABC News,HBO, Discovery and The History Channel.Recent projects include A One Track Mind: TheDarjeeling Limited (2008), Café Lebowitz (2007)and music videos for Tangerine Dream, StevieWonder and Yanni. Braverman writes regularlyon camera and craft-related issues. His latestbook Video Shooter 2nd Edition (2009) fromFocal Press explores the art of visual storytellingwith the latest-generation HD cameras.facial shadows of the various featured celebsand movie stars,” Braverman said. “The 10-bitworkflow also allowed precise color correctionin post, another source of confidence whenworking with image-conscious talent.“The 10-bit AVC-Intra workflow adds noadditional data load or storage requirementcompared to shooting 8-bit DVCPRO HD orXDCAM HD/EX, further reinforcing the efficiencyof AVC-Intra recording, especially inhigher-end applications.”Braverman outfitted the HPX2700 withthe Fujinon HA23x7.6BE HDTV ENG-style lenswith 23X magnification. He edited the behindthe-scenesdoc in Final Cut Pro, and Criterionfinished the piece.“Criterion couldn’t believe how good itlooked,” he said.Braverman has also used the HPX2700for time-lapse, night shooting in Los Angeles.“This is a very serious camera,” he said. “Onthe one hand, it achieves very subtle shadowsand flesh tones. On the other, it’s terrific forvery low light, effects-type shooting. With theHPX2700, you get reliability, absolute precision,10-bit capture—a combination of featuresthat really makes sense for professionalfilmmakers.”The Criterion two-disc Blu-ray issue ofBottle Rocket is a restored high-definitiondigital transfer, supervised and approvedby Anderson and director of photographyRobert Yeoman. The many extras include theThe Making of documentary as well as MuritaCycles, a 1978 short film by Braverman thatAnderson credits as an inspiration for TheRoyal Tenenbaums. HDPopular Science’sFuture Ofb y A n d r e w S c a f e t t aIn five, ten or 25 years, our lives will be significantlydifferent. Advances in the way weplay sports, live in our homes, connect withothers, fight wars or take vacations will feel ascommonplace in the future as viewing highdefinitiontelevision or driving to work seemto us today.But there are astonishing scientific andtechnological innovations being developedtoday by entrepreneurs, researchers and maverickscientists all over the world that are destinedto shape every aspect of our lives tomorrow.Science Channel and Popular Sciencemagazine have partnered to bring audiencesan extraordinary glimpse at how importantcharacteristics of human life will fundamentallychange in the near future with the all-newseries Popular Science’s Future Of.Each episode finds host BaratundeThurston uncovering breakthrough researchand exploring the genius prototypes thatshow how our lives will evolve. From a “smartfootball” that can make Baratunde throw likean NFL quarterback to exoskeletons that willincrease a soldier’s endurance, strength andcommunications abilities, Thurston acts ascorrespondent of the future bringing perspectiveand understanding to what we can expectin our lifetimes. Upcoming episodes includeexaminations of the future of pleasure, connecting,adventure, immortality and habitats.To capture the incredible technologiesand the details of researchers’ intricatedesigns, film crews primarily used thePanasonic HDX-900 and the PanasonicVaricam for each of the episodes. PopularScience’s Future Of airs Mondays at 9 PM (ET/PT) on Science Channel HD. HDThe host of PopularScience’s Future Of –Baratunde Thurston isphotographed on the setwith the car bot duringtaping on the StanfordUniversity campus.10 11Photo by Martin Klimek/Getty Images © Discovery Communications

hdTipsb y B . S e a n F a i r b u r n S O CB. Sean Fairburn, SOCDirector of Photography,Role Model Productions, LLCrolemodel@earthlink.netSeanfairburn.com818-621-3912Local 600,Agent Steve Jacob,323-460-4767Sean Fairburn onhis front porch.The Art of the RecommendationEven though your skills maybe sharp and you’re availablefor hire, work is often hardto come by for many. One ofthe most effective ways to getwork is to recommend othersthat you respect and know canhandle the job. You might saythat sounds completely backwards,but I challenge you tolook at it a different way.Recommending someoneelse accomplishes far moregood for you than you think.First it shows you’re matureand confident enough in yourwork that you can recommendothers. Second it showsthe client that you care moreabout them than yourself.Third as you spread goodwilltoward others it will alwayscome back to you multifold.Being magnanimous isa valuable trait because it isvery rare. I can honestly saythat the biggest and best jobsI have ever worked on wereoffered to me after a friendspoke highly of me rather thananything I could have saidabout myself.So your recommendationof another well suited for thejob will usually lead to twopeople that benefited fromyour counsel, the client andthe person you suggestedthey hire. Now two more feelgood enough about you toreturn the favor. Make recommendationswisely but don’tfeel responsible if things gobad. It could just as easilyhave gone south if you wereworking the job.Work hard not to speakill of others just as you wouldhope others would keep theirmouths shut speaking badabout you. Always find somethinggood to say if directlyasked your opinion of others,I can’t tell you how muchbetter others view you whenyou keep the dirty laundry toyourself. Realize that what youopenly say about others willbe what you openly say aboutthe person you are talking with.Resumes and awardsare great but people reallyrespond to a glowing recommendation.So set out thismonth to try to get others tohire off your recommendationsand trust that as hard as youtry, others will be working justas hard for you. Whether fromaltruistic or selfish reasons perfectingthe art of the recommendationwill ultimately serveyou and others very well. HDFinding the Look forb y B o b F i s h e rWally Pfister, ASC, likens two commercialsthat he recently directed andshot to 30-second documentarieswith cinematic values that make an emotionalconnection with the audience. He creditsTy Baker and Alonso Davila, creative directorsfor Momentum, the advertising agencythat developed the concept for their clientAnheuser-Busch.“Every successful commercial campaignbegins with an appreciation for the lifestylesand tastes of potential customers,” Pfisteremphasizes. “The product was Rolling Rockbeer. The theme was ‘Born in a small town.’”They shot one spot at McSorley’s Old AleHouse in New York’s Greenwich Village. Thebar has been at that location since 1854. Thesecond spot was filmed in a bar in a smalltown with a population of about 3,500.Pfister shot both spots mainly with ahandheld Panaflex 35 mm camera mountedwith either a 15-40 mm or a 27-68 mm zoomlens. The zoom lenses enabled him to makeintuitive decisions about composition. Imageswere framed in the 16:9 format and renderedRolling Rockon KODAK VISION2 5218, a 500T negativethat provided the latitude needed to recordnuanced colors, contrast and details in darkshadows and bright highlights.“It’s voyeuristic, like peeking through a partiallyopen door to get a glimpse of hip-lookingpeople enjoying themselves,” Pfister says.After Technicolor processed the film, editorTrish Fuller at Whitestone Post Production inNew York did the final cuts for the two spots inHD format in collaboration with Pfister. He providedcolorist Stefan Sonnenfeld at Company 3in Los Angeles with selected still photos as visualreferences and asked him to match the look.“When Stefan was ready, we went into atiming session and found the final look,” Pfistersays. “There’s a little color saturation, but it isprimarily a somewhat monochrome look witha slight green tone as a nod to the color of theRolling Rock beer bottle.” HDIn addition to his portfolio of commercials, Pfisterhas earned three Academy Award® nominationsfor best cinematography in the past four years forBatman Begins (2006), The Prestige (2007) and TheDark Knight (2009).CinematographerWally Pfister/The Dark Knight.12 13Photo by Stephen Vaughan/Warner Bros.

SPEED’sOpen Architectureb y E r i k A r n e s o nMaster control for Studio A.SPEED, Fox Cable’s motor sports andautomotive cable television network,decided to make the transition to HDlast year. “We knew our viewers’ appetitefor HD programming was rabid,” said RickMiner, SPEED SVP of Production & NetworkOperations. “A lot of our guys are earlyadopters of new technology -- these are cuttingedge technology guys.”So the first thing the SPEED team, ledby Miner, SPEED VP of Finance FrancoisMcGillicuddy, FOX Network Engineering &Operations and an outside architect, did wasdetermine what the new facility needed to beable to do - How would SPEED operate? Howmany studios? How many edit rooms? Howwould workflow be structured?SPEED, now in 78 million homes inNorth America, decided up front that it wasnot going to invest a single dime in linear,tape-driven architecture. The result was theinnovative re-purposing of a 78,000-squarefootfacility, with more than 56,000 squarefeet operational in six months. The Charlotte,N.C.-based facility, which opened for businesson Dec. 15, 2008, includes two major studios(3,600 square feet and 2,400 square feet)along with a smaller flash studio.In that same six-month window, Minerand the FOX team explored workflow systems.“We evaluated what systems were outthere, asking, ‘Are there any that are turnkeyto accomplish this or would we ultimatelyhave to design one ourselves?’ The decisionwas that there was no single system thatwould provide what we wanted. So we wentwith open architecture, where we could interfacevarious proprietary software packages tomake all the different pieces work together.”“Our parent company, News Corporation,was inclined to allow us to do things theright way and the folks at FOX NEO havean invaluable scope of knowledge,” Mineradded. “We were able to take our very specificworkflow needs and their general knowledgeand meld the two and through talking toeach other, figure out the best approach. Aswith any business, we had to answer, ‘Whatare the costs involved? What are the ongoingcosts? How long will the technology survive?’They looked at this project very much as alab to study how they would build productionfacilities moving forward.”It was decided that SPEED would be aFinal Cut Pro facility. For the studio equipmentdecisions -- the cameras, switchers,audio boards -- anything that would pass anHD signal to the standards we wanted wasconsidered,” said Miner.The last remaining decisions includedthe engineering architecture and how SPEEDwould store, move and edit video throughoutthe plant. “We believe we have a ‘best ofbreed’ system, where we integrate multiplemanufacturers’ equipment to achieve theflexibility, reliability and level of performancewe want,” Miner said. “That includes a DaletDigital Media Systems’Enterprise Edition, which isthe overlaying control softwarethrough our IBM LTOsfor near-line storage ofdigital content that is fullyaccessible and restorablein an automated fashion.Along the way the systemincludes a wide array ofadditional components,be it Omneon servers forplayout and encodingof video, Front Porch DIVArchive softwarefor the management of the digital archive,and DataDirect Networks SAN storage anda Quantum StoreNext SAN file system.” Allhave been designed to integrate together toaccomplish the work.“There is good and bad in this obviously,”Miner added. “The good is you havethe best of breed. The bad is when anybodydoes software upgrades. They have to be vettedacross every platform with which they willinteract.” It looks good so far, but time will tellif this “open architecture” model does the jobfor SPEED. HDAbove: Ingest - Qualitycontrol and point of entryand encoding for all video toSPEED servers regardless ofthe source.Top: SPEED Studio B is 2,400square feet and home to theweekly motor sports newsprogram The SPEED Report.14 15

Soul of a Peopleb y M i k e M i a nPhoto courtesy National ArchivesAbove: Wife and children ofa sharecropper in WashingtonCounty, Arkansas.Right: The last televisedinterview with legendaryoral historian, Studs Terkel.When we started, nobody wanted tohear it,” says Andrea Kalin, producerand director of Soul of a People:Writing America’s History.“ Kalin’s film has anunsettling modern-day resonance. It tells thestory of America during a time of unemploymentepidemic, widespread home eviction,and economic turmoil. A time, too, whenhopes centered on a new president and hisideas for change.Soul of a People tells the little-knownstory of one of those ideas: the FederalWriter’s Project (FWP). This noodle in thealphabet soup of the Works ProgressAdministration tasked over 6,600 individualswith documenting America in the 1930’s. Theresults were incredible: an unprecedentedseries of 48 state guides written, nearly 4,000life histories recorded, and some of America’sfinest writers molded. Out of crisis emerged apowerful portrait of our nation.The film, which received major supportfrom the National Endowment of theHumanities, couples historical footage withpresent-day interviews of former FWP writers.Its focus on the first federal push toseriously document the American scene,along with its compelling narrative, fits wellwith Smithsonian Channel’s mission to tellAmerica’s stories with a distinctive voice.While filming in HD was a “genuinelyenjoyable experience”, the challenge camein reformatting historical footage to HDstandards. “We found a lot of extraordinaryfootage, but the stock houses would only letus use standard-definition intermediaries,”says Kalin. How could historical footage bepresented alongside stunning HD shots? Kalincontinues, “Archival film has been shot in somany different ways that it’s a dicey venture tocreate a uniform look. The quality dependedon the original resolution, which was limitedby film grain and frame sizes. We soonlearned that just because archival footagecomes from the same source, it won’t necessarily‘look’ the same once converted andimported. To solve this, we used color washesand filters to even out all the footage.”The end product: a high definition viewinto landmark American history, with a contemporaryresonance. HDPhoto courtesy © Smithsonian NetworksPublic Enemieswith the F23b y J e n n i f e r T a y l o rUniversal Pictures’ recent action-thrillerPublic Enemies was shot with SonyF23 professional high-definition cameras.Co-writer/director/producer MichaelMann and co-producer/2 nd unit director BryanCarroll had specific HD production needs torealistically capture the look of 1930s Americaand overcome the challenges of shooting aperiod piece. “To do a historical period movieright, you need to push the limits on picturequality, detail, depth of field and exposure,”Carroll said. “The F23 was an ace up oursleeve.”Mann and Carroll recreated the story ofDepression-era outlaw John Dillinger (playedby Johnny Depp) – the charismatic bank robberwhose lightning raids made him a folkhero to much of the public, and the numberonetarget of J. Edgar Hoover’s fledglingFBI and its top agent, Melvin Purvis. PublicEnemies also stars Christian Bale (Purvis) andAcademy Award ® winner Marion Cotillard asDillinger’s girlfriend, Billie Frechette.The production team for Public Enemiesalso featured an A-list team behind-thescenes,including two-time Academy Award ® -nominated director of photography DanteSpinotti and digital imaging technician DaveCanning. The team used the F23 to bring avivid period in history to life in stunning detail.About 95 percent of the movie was shot withthe F23, while the Sony PMW-EX1 camcorderhandled shots that required a more mobiletool. For example, the compact EX1 camcorderwas used to lens the interior of planes andcars during high-speed chases.“There’s a combination of a handheld,very close approach to the faces of the actors,all shot with long lenses,” Spinotti said.Complementing the F23’s use to achievea realistic look was Sony’s HDCAM SRdigital videocassettes. These cassettes aredesigned to fully maximize the benefits of4:4:4 RGB recording technology. The PMW-EX1 camcorder recorded to Sony SxS PROmemory cards. HDJohnny Depp stars aslegendary Depression-eraoutlaw John Dillinger.16 17Photo courtesy © 2009 Universal Studios

One Hundred Tenin the Shadeb y B r a d l e y M . L o o kOne of the most common makeupneeds on set is for a look of exposureto the elements, one of which is thelook that someone has from being out fora long time in severe heat. Many a Westernhas used this look, such as The Good TheBad And The Ugly, Deadwood, or while not acowboy drama, The Flight of the Phoenix. Togive the skin a severe sun exposure look, hereis what I do.Like a first-degree burn, I stipple the faceand neck with a pale pink tone. For this demonstration,I applied Skin Illustrator DT Blushusing a torn latex sponge. while having mymodel, Clayton Stang, wrinkle his face. Afterthis I stippled two light coats of Duo Adhesiveto a few spots on Clayton’s face. While thatwas drying, I glued three pre-made blistersmade from 3rd Degree Silicone.Next, as illustrated in the second photo,darker reds were stippled over some areas ofthe face. I also mixed the hand painted workwith some airbrush spatter while Claytonwrinkled his face.Burnt sienna and additional red toneswere added around the eyes. Grayed purplewas also worked around the eyes. The DuoAdhesive was pulled in the center and brokento a desired size. The center of eachbroken blister was then made up with a palecolor, followed by a bit of red around theedge. A little K-Y Jelly was painted inside theblister to enhance the sore appearance.With these simple steps, an artist cancreate a look that holds up even in HighDefinition. HDShooting inHighdefb y S a m A d e l m a nPhotos by Patti PerretPhotos by Bradley M. LookIn 2002, when the topic first came up toswitch from shooting on traditional 35mmfilm to HD for our upcoming film ScreenDoor Jesus, all I heard was negativity from theold school professional grapevine. I remembersimilar skepticism in post when the Montagewas introduced to replace the Moviola back in1985.“The decision to shoot HD was primarilyeconomic,” said Director of PhotographyDan Stoloff. “We knew that we could shootmore days, afford a second camera, and havea Steadicam, ultimately putting more productionvalue up on the screen.”“The look of the Sony 900 was a bit sharpfor the look we were going for,” stated Stoloff,“so after significant testing we found that byplacing a Fogal silk stocking on the back of thelens, it softened the hard edges and gave usa more romantic and timeless look, softeningthe color saturation giving the highlights a kindof glowing halation.” Screen Door Jesus wonfor Best Cinematography at the Hampton’sInternational Film Festival in 2004.The dilemma on our next film, Welcometo Academia, was which HD camera tochoose. David Dunlap, our DP, who also shotShaun of the Dead, selected the Arri D-20camera primarily for its lenses, which allowedhim to shoot some scenes wide open, throwingforeground and background images outof focus, creating depth of field more commonto film, a visual style our Director, KirkDavis, had discussed with co-screenwriter andExecutive Producer Elzbieta Szoka.Kirk Davis, the Director on both films,summed up shooting on HD by saying, “themost pleasant aspect that we discovered inusing Highdef was the ability to move quicklyfrom take to take, shot to shot and set-up toset-up. This allowed for a continuity of rhythmfor the actors, the crew, and my own creativeprocess, which greatly benefited the final filmas a whole.” HDSam Adelman is the Artistic Director of ParadoxSmoke Productions. www.welcometoacademia.comAbove: (L to R) ActorsJess Weixler, MattServitto, Laila Robins.Top: (L to R) AssistantCameraman Joe Waistell,Director Kirk Davis,Director of PhotographyDavid Dunlap.18 19

Re-DiscoveringTechniscopeb y B o b F i s h e r(L to R) CinematographerBen Kufrin and director LeeMadsen discuss a shot fromCurve of Earth.Arevival of the Techniscope format isgaining traction in the realm of independentfilmmaking. Techniscopetraces it’s roots to the mid-1960s when SergioLeone directed A Fistful of Dollars, OnceUpon a Time in the West, The Good, The Badand the Ugly and other “Spaghetti Westerns”on two-perf 35 mm film. The format wasdeveloped by Technicolor in Italy. It enabledLeone and other directors who were workingwith sparse budgets to slash negative andfront-end lab costs by 50 percent. The editednegative was optically copied onto four-perforationcolor intermediate film that was usedto generate release prints for distribution tocinemas.Henner Hofmann, ASC, AMC sparkedthe revival when he collaborated withdirector Andrew Goth on the production ofGallowwalker. The independent film featuresWesley Snipes in the role of a gunman inthe Old West. It was produced in Namibia,Africa, where the landscapes and pristineenvironment provided ideal settings. “Andrewwanted to emulate the aesthetics of SergioLeone’s Spaghetti Westerns,” Hofmann says,“so I suggested shooting in Techniscopeformat.”Panavision modified a couple of 35 mmG2 cameras with two-perforation movements.Hofmann and Goth composed images in2.4:1 aspect ratio. Panavision Vice PresidentPhil Radin reports that eight other filmmakershad followed the trail blazed by Gothand Hofmann by mid-2009. The commondenominators are that Techniscope was anaffordable option for producing very lowbudget movies in wide screen 35 mm formatPhoto courtesy of Curve of Earth Productionswith post production done at HDCAM SR4:4:4 resolution.Curve of Earth written by director LeeMadsen is another. Madsen explains that thetitle is a metaphor for how people who live inparallel worlds flow into each other’s lives.“During our first meeting, Lee describedhis vision for producing Curve of Earth in anamorphicformat,” cinematographer Ben Kufrinrecalls. “Curve of Earth is a drama that takesplace in the main character’s home and otherinterior settings. Lee envisioned things happeningin backgrounds and foregrounds withcharacters on the edges of frames.”There was a very modest budget, and anambitious 24-day production schedule. JimRoudebush, at Panavision, suggested shootingin Techniscope format using G2 cameraswith spherical lenses. After Madsen andKufrin shot a test, they decided to follow thatroute. Kufrin had KODAK VISION2 5218, a500T emulsion on his palette for interior andnight sequences, and KODAK VISION2 5205,a 250-speed negative for daylight exteriors.“We generally used one camera, usually withPrimo lenses and naturalistic lighting,” hesays. “Staging was designed for fluid movementrather than cut-aways to shots at differentangles. The latitude and resolution filmoffers was a big advantage.”Post production was done at DeluxeDigital Media. The processed negative wasscanned with a Spirit DataCine and transferredto a HDCAM SR 4:4:4 digital masterfile. Kufrin provided colorist Sean Lawrencewith digital stills that he used as a referencefor timing dailies. Some flashback sequenceswere shot in Super 8 format with cameras,film and processing provided by Pro8MM andSpectra Film & Video in Burbank. The processednegative was transferred to an HDCAMSR 4:4:4 at Modern VideoFilm in Burbank.At a Techniscope seminar at the 2009Cine Gear Expo, cinematographer JimChressanthis discussed a test he designedand shot to determine if Techniscope was aviable option for producing television dramaswhich will air in HD format. “We set up ascene with things happening in bright sunlightand dark shadows that called for the fulldynamic range that film offers,” Chressanthissaid. “We shot it with both two- and threeperf35 mm film. I knew that two-perf is aviable option, but didn’t realize how close thelook would come to three-perf film. The differencesare practically transparent on an HDscreen. Two-perf is a viable option on a tightbudget.” HDPhoto courtesy of Curve of Earth Productions(L to R) Actress Zoë Hall andactor Shaun Sipos in a scenefrom Curve of Earth.20 21

hdtvForumb y s t e v e s e c h r i s t3D Conversion from 2DPhoto by Parker ThompsonSteve Sechrist isan editor/analystat Insight Media, atechnology basedmedia firm specializingin large format andmicro display andrelated industries.Now that we are in thethroes of a 3D revolution incinema, stereo conversion hasbecome a very hot topic. Inthis vein, we connected withpioneer film maker and 2Dto 3D conversion guru BarrySandrew (he literally wrotethe book on it), Founder ofSan Diego based LegendFilms (www.legendfilms.com).Sandrew cut his teeth on filmcolorization back in 1987 asthe original inventor of thedigital process. Sandrew confessed,“What we producedfor Ted Turner and the majorswas cutting-edge at the time,but rudimentary by today’sstandards.Sandrew has nowadapted his latest “groundbreaking”digital color effectsprocess to 2D to 3D conversion.He said, “In the past 7years we’ve colorized over 140feature films on time and onbudget with a power equationof innovative technology,an experienced creative teamand time-tested productionpipeline. Colorization requireshigh quality digital segmentationof every object in everyframe of a film. It’s the sameprocess for 3D, only in stereoconversion we create depth,not color. For example in ourHP commercial, every detailof every frame is digitallyidentified, loaded into ourproprietary stereo program,manipulated in depth andreconstructed with a true 3Dperspective.”Sandrew told us theirpatented stereo technologyhas an “intuitive interface”that offers full “artistic usercontrol”. The process calls forthe Legend team to create a3D “depth score” similar toa music score, segmentingand converting appropriatesingle frames and sequencesfrom the film. “We then createstereo key frames for everycut,” Sandrew said “using thedepth score as a reference.These key frames are subsequentlyused to convert thewhole film.” He also told ushis process avoids expensive“paintbox or compositingapproaches” used by otherconversion systems.Is it better to just shoot in3D? For now, Sandrew thinksit’s a “no brainer.” Combineentrenched 2D filming practices,limited productionbudgets, and tight productiontimelines with the flexibility,relatively low cost and efficiencyof Legend’s conversionapproach, and you have aperfect reason to give BarrySandrew a call. HDJVC CamcorderImpresses Film Vetb y W i l l i a m T h o m p s o nMy work in still andmoving pictures continuesin a world nolonger dominated by film. Inan environment where budgetsare minimized, productions aredownsized and the entire workflowis digital, it would seem tobe a difficult transition. It hasn’tbeen for me. The bottom lineof good creative work andimagery is content and ideas,and I find digital technology tobe an exciting, albeit different,way of telling stories.A big change for my workis the new JVC GY-HM700camcorder, which can be usedas a studio camera, tethered,or more critically for me, inthe field. With the help ofOppenheimer Camera, ourlocal rental house and JVCdealer, I have taken these camerasto countries around theworld for clients such as Inteland Microsoft.Its use of SDHC cards –which are inexpensive andcan be purchased anywhere– allows almost two hours ofcontinuous shooting with two16 GB cards. Initially I wasskeptical, but the images aresuper sharp and we have successfullycreated videos thathave been shown on 50-footscreens. I am able to shootwithout worrying about budgetsfor film stock, developingand transfer. And downloadingdirectly into Final Cut Pro allowsfor instant review of the workand onsite rough cut editing.Yes, I still love film, butthe imagery that I am ableto bring forth with this JVCcamera is terrific. My onlycreative issue is depth of field– a major creative element insome of the imaging that I do– so we are preparing to usesome of the tools that allowthe use of 35mm lenses toallow for these effects. HDFilm director and cinematographerWilliam Thompson hasbeen working in TV commercialsand film since the 1980’s. www.williamthompson.com.William Thompsonwith GY-HM700.2223

Bringing the Audience Onstage withPearl Jamb y D a v i d H e u r i n g24When Pearl Jam decided to releasetheir new album through Target,they needed a spot that capturedthe energy and intensity of live performance.The band and director CameronCrowe turned to cinematographer PhedonPapamichael, ASC, whose recent featurecredits include Walk the Line, 3:10 to Yuma,W., and The Pursuit of Happyness.“Our goal was to capture the essence ofthe song, ‘The Fixer,’ in less than 30 seconds,”says Papamichael. “We wanted to create theatmosphere of a small club, and make theaudience feel like they are onstage interactingwith the band, seeing those quick butmeaningful glances and gestures betweenband members.”About 300 club-goers were broughtinto the Showbox, an intimate rock venue inSeattle. Papamichael employed three cameraoperators and used a range of Kodak filmformats: Super 8, Super 16 and 35 mm. Allthe cameras were handheld, with zoom lensesfor flexibility. The first take was done frombehind the band, looking past the musiciansto capture the excitement of the crowd. Onsubsequent takes, the operators moved freelyon the stage, at times within inches of theband members, moving in harmony with theperformance and the music.The small formats were chosen for theirlight weight, portability and because formatchanges create visual interest designedto have a spontaneous, documentary feel.Cameras were loaded with KODAK VISION3500T film stock, 5219 in the case of the ARRI235 35 mm camera, and 7219 in the ARRI 416Super 16 cameras. Pro8mm in Burbank providedthe same VISION3 emulsion in Super 8format, and also handled its processing andscanning to HD.The Super 16 and 35 mm footage wastransferred to HD format at FotoKem. Crowethen edited a 30-second spot from the footage.Images will also end up in a documentaryhe is making about the band. A full editof the song may also play at Target stores onhigh definition screens. HDPhoto courtesy of Phedon Papamichael, ASCAlaskaState Troopers Patrol in HDb y E r i n G r i f f i nThey are the first line of defense onthe last frontier, the roughly 400 statetroopers who patrol the rugged andunforgiving terrain of America’s largest state— Alaska. National Geographic Channel(NGC) gained rare access to this elite lawenforcement agency for the new series AlaskaState Troopers. Filmed over eight months,the series takes a visual journey through theAlaskan wilderness and into its remote villages— some of which are accessible only byair — to capture a mixture of raw nature andcriminal activity in spectacular highdef.NGC filmmakers traveled to 15 differentlocations to paint an accurate “day-in-thelife”picture of these troopers. From arrestinga drunken snowmobiler in bone-chilling negative35 degree temperatures to scouring a frozenriver on a search-and-rescue mission, crewmembers were there for the action. ProducerBrian Jones explained, “Common sense wasthe name of the game, dress extremely warm,don’t get in the way of the trooper, and havean exit plan in case a brown bear comes runningout of the woods at you!”Using a Panasonic Varicam camera witha wide angle Canon 5.7~92mm lens, theyassembled what is believed to be the largestcollection of HD footage of law enforcementin remote locations. A variety of camera techniqueswere used to document Alaska’s pristinebeauty — from its snow-covered mountainsto its diverse wildlife. Jones recalls oneparticular day of filming when they followed anAlaska Wildlife Trooper as a he patrolled thewilderness for illegal hunting in a helicopter.“We had a chase helicopter with a Tyler Nosemount to film his action in the air, and a camerawith him to capture the interactions withhunters.”From interrogating potential bootleggersin villages where alcohol is prohibited, to cruisingdown icy highways at 100 mph with the fearof a moose crossing onto the road, the seriesfollows the brave men and women who serveand protect America’s new Wild West. HDPhoto by © Darren Stewart / PSG FilmsAbove: Search and rescue isone of many missions for theAlaska State Troopers.Top: Wildlife Troopers CodyLitster and Sgt. Doug Massieready for patrol on ATVs.25Photo courtesy © Alaska State Troopers

Debaclean HD Nike SB ProjectPhotos by Jon Humphriesb y M a r k G o l d m a nAbove: Filmer/Director JasonHernandez at the intro shoot.Top: Grant Taylor doing aNoseblunt slide.26Debacle, Nike SB’s second full-lengthskateboard video premiered onlinelast June. The video was directed byJon Humphries and Jason Hernandez andfilmed by Hernandez, Joey Ruiz, and ChrisMiddlebrook. The exciting program wasfilmed in ten countries entirely in HD (the firstskate video of its kind), using the PanasonicHVX200. The video is set to a soundtrack thatmatches the intensity and vigor of the youngcrew’s skating (featuring Bad Brains, Skid Row,and The Replacements).To deliver the video online, Nike SBteamed up with Adobe to offer a free streamand download of Debacle for one month(June 24th-July 24th). The collaboration was asuccess with over 70,000 streams and 65,000downloads in one month.“From the beginning of Debacle it wasour goal to push the boundaries of a skateboardvideo. We shot the entire video in 1080HD, because we wanted to make sure ouraudience saw the video at the best qualitypossible,” said director Jon Humphries.Sticking with that philosophy, rather thancompromising the footage and releasing astandard DVD, Debacle is now exclusivelyon Blu-ray disc, another first for skate videos.Bryce Kanights, editor of Skatedaily.net said,“Shot entirely in HD and well worth your timeand attention, this is truly some “next level”skateboarding.” HDDebacle is now available at Nike SB dealersworldwide, for a complete list of SB dealersplease visit: http://www.nike.com/nikeskateboarding/v3/#/storefinder

35MbpsSDHCProHDXDCAM EX TMFinal Cut ProJVC’s new GY-HM700UXT camera.Now, you can have it all.The GY-HM700UXT camera creates native QuickTime files at 35 Mbps, 25 Mbps or 19Mbps for editing in Final Cut Pro and MP4 compatible files for editing on virtuallyevery other major NLE system. Dual card slots allow you to store up to six hours ofcontinuous HD recording on inexpensive, readily available memory cards.Simultaneous recording on high-speed SxS media is also possible.* 3 In addition, JVC’s proprietary codec deliversbroadcast-standard compression for superb picture quality up to 1920 x 1080 (1080p), 1080i and 720p. You can alsocount on professional optics and standard features like a bayonet lens mount, a new Canon HD lens, threeprogressive CCDs, a new 1.22 megapixel LCOS viewfinder and a large 4.3-inch LCD display. Weighing just 10.2 lbs., you’llfind the GY-HM700 is perfectly balanced with the ergonomic design sought after by professionals.Talk to the Pros at JVC and check out the new ProHD GY-HM700 camera.Call 1-800-582-5825 or visit www.jvc.com/proDual Format RecordingOR©2009 JVC. Model pictured is the GY-HM700UXT with optional Anton Bauer battery. All trademarks and brand names are the property of their respective proprietors.* 1 Play back compatibility not guaranteed on different types of products due to variation of supported recording mode. * 2 MP4 is the compliant file format used onthe XDCAM EX. * 3 SxS is a flash memory card designed for professional video cameras with a high-speed PCI Express interface.