Digital Video - December 2013

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digital
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vol. 21 | no. 12
12.2013
editors view
edItorIal
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
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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

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creativeplanetnetwork.com/dv | 12.2013
IntroducIng the 2013 newBay

Product InnovatIon awards
e launched an awards program this year, the

Product Innovation Awards, that recognizes technological advancements that serve television and
video organizations. Winners were selected by a panel of professional
users. Evaluation criteria included innovation in concept and design,
price, and suitability for use in broadcast television and video environments. Im pleased to announce the recipients of this years Product Innovation
Awards. Congratulations on your achievement!
Winners
Anton/bauer Gold Spectrum Wireless Series
blackmagic Design blackmagic Production
Camera 4K
Dalet Digital Media Systems Dalet Onecut
Digital Rapids StreamZ live 8000EX
Dish Networks Smart box
DSC labs Xyla test chart
EditShare XStream
Gefen GefenPRO 32x32 HDFST

Nexidia Dialogue Search
Shure VP83F lensHopper microphone
The Switch Switch-IT
Tiffen Steadicam Solo camera stabilizer
Wohler Technologies Multiscreen MPEG
monitors
Peerless-AV PeerAir Pico broadcaster

Peerless-AV Ciil Xtreme display
Softron Media Services Multicam logger
Streambox StreamboxME Pro
Teradek Clip H.264 encoder
Thomson Video Networks VibE EM4000
encoder
Tiffen Steadicam Curve for GoPro HERO
cameras
Tiffen Variable ND Filter
Video Clarity ClearView Extreme 4K
Vislink NewStream multi-mode mobile
transmit system
Honorable Mentions
blackmagic Design ATEM Production Studio 4K
Clear-Com HelixNet
Communications Specialties Fiberlink SDI
beamer
Comrex liveShot IP Video Codec
Decimator Design DMON-10S
Digimetrics Aurora File-based QC
Digital Rapids Transcode Manager 2.0 with
Kayak
Harmonic ProMedia Xpress file-based
transcoder
K-Tek Nautilus microphone suspension mount
liveu Xtender
Matrox Monarch HD
Editorial Director
Digital Video magazine
creativeplanetnetwork.com/dv
p: 310-429-8484
e: cclapp@nbmedia.com
Twitter: @DigitalVideomag
Pinterest: pinterest.com/digitalvideomag
12.2013 | vol. 21 | no. 12
contents
24
looK
20 The Punk Singer Tracing the Trajectory of Riot Grrrl Kathleen Hanna
24 birds-eye view Penguin Spy-Cams Capture Colony Activities
20
lust
28 cinema style, conservative price Capturing Video
with Canons EOS C100 Camera
32 lightweight, likeable led Changing Color with lumos 300MK Fixture

34 toolkit Showcasing New Gear
28
learn
36 small gets big interest Grows in the blackmagic Pocket Cinema Camera
40 more Functions, better accuracy New Tools for Monitoring the Situation
feature
44 innovation invasion How The Walking Dead Extends
16 Inside Llewyn Davis
Across Audiences and Screens
Final Cut Pro

Post for the Coen
brothers Film
48 lens Flare lesson How to Achieve This beautiful Mistake

50 tips to clip
52 dv101: the carnet chronicles intelligence on international Production
58 production diary: love hz This is Not A Goodbye, My Darling,
This is A Thank you
36
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.
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Col
ocat
edwi
t
h:
Record to readilyavailable SD cards

Many lensing options
One-Shot AF and Push
Auto Iris
Modular, lightweight
design
Dual phantom-powered XLR inputs
Canons compact, lightweight EOS C100 camera captures feature-quality images in run-and-gun,
single-shooter situations. Using a Super 35mm, 8.3 megapixel image sensor, the EOS C100 originates
exceptional shallow depth of field, 1920 x 1080 HD video.
The EOS C100 gives you greater freedom as an image-maker. It offers a superb sensitivity range of ISO
320 to ISO 20,000 that facilitates shooting over a wide range of scene illumination. Three glass ND filters
dramatically extend that range, while One-Shot AF and Push Auto Iris give you control over the shot.
Internally, record to two readily available, off-the-shelf media, and with a highly efficient AVCHD codec,
fit up to three hours on a single 32GB SD card. For long takes, the EOS C100 supports relay recording
between dual SD cards. An uncompressed 4:2:2 HD output via HDMI supports external recording.
The EOS C100 can be paired with your Canon EF L-series, EF-S, and Cinema lenses, giving you the tools
you need to deliver your story.
Find out more at cinemaeos.usa.canon.com/C100
Emmy Award for Technology

& Engineering for 2012
Improvement to Large Format CMOS
Imagers for Use in High Defi nition
Broadcast Video Cameras
2013 Canon U.S.A., Inc. All rights reserved. Canon and EOS are registered trademarks of Canon Inc. in the United States and may also be registered
trademarks or trademarks in other countries. AVCHD and the AVCHD logo are trademarks of Panasonic Corporation and Sony Corporation. Use of the trademarks and service
marks of the National Academy of Television Arts & Sciences (NATAS), including the mark EMMY, requires the prior express written permission of the National Academy of Television Arts & Sciences.
update
Sandra Bullock as Ryan Stone in Gravity
Framestore develops groundbreaKing

GravITy eFFects
I
first heard about Gravity at the

beginning of 2010, says visual effects supervisor Tim Webber,
a longtime collaborator of director Alfonso Cuarnand the man
Cuarn approached to help realize
a film no one knew how to make.
Alfonso came in and talked us
through the movie for 45 minutes
and it was gripping.
As he started work on the
film, it was unclear to what extent
visual effects and Webbers team
at londons Framestore would be
needed. There was a stage initially

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

were all made by visual effects artists
at Framestore.
There are bits that people
just assume have been filmed, for
instance a mid-range shot when
[Stone is] working on the Hubble,
says Weber. lots of people have seen
it and asked us what we did there.
They had no idea that its basically all
CG apart from her face.
Thats the aim for Gravity: that
those years of extremely hard work
by more than 400 people went
unnoticed and people walked out of

the theater wondering how they got a
film crew up into space.
online
read more about Gravity at creativeplanetnetwork.com/dv/dec2013
visit the link or see back of this page for details
update
photo by brownie harris/fox
news
Twitter Feed
4@5tu
Pro tip: if your render has 10 minutes left
and youre impatient, Google image search
platypus. Poof! your render is done.
4@FastCoCreate
@VWcanada created an interactive video
with the indie band Walk off the Earth.
Watch: f-st.co/Kv4DoyP
4@Gizmodo
This documentary will inspire you to
explore your city with a camera
gizmo.do/KFvgXbc
Ichabod Crane (Tom Mison) in The Sin Eater episode of Sleepy Hollow
Modern VideoFilm Colors FOXs Sleepy Hollow
upervising senior colorist Todd bochner

of Modern VideoFilm relies on blackmagic
Designs DaVinci Resolve to help deliver the
stylized look of the FOX series Sleepy Hollow.
The look of the show is very specific, and weve
had fun working with the producers to achieve
their vision, the colorist explains. Resolve
makes it possible to stretch the limits on looks.
i never have to say no or we cant do that to

the client.
im always trying to come up with different
looks for different times of day or flashbacks
using lens blur effects, adding grain and sculpting
lights, bochner adds. There are 10 different
ways to do everything, which opens up so many
creative possibilities.
4@Alexbuono
if you enjoyed our SNl/Wes Anderson
parody, you might dig this explanation of
how we did it bit.ly/HF6Jen
4@sonyproeurope
Sony, @muse and Serpent Productions
produced the worlds largest 4K
multicamera concert recording.
Check out the bTS: bit.ly/1boyChl
4@laughingSquid
Wes Andersons new short film Castello
Cavalcanti stars Jason Schwartzman as a
race car driver squid.us/1hGC4gw
4@verge
How skydiving, surfing and kittens have
made GoPro the best-selling camera on
the planet vrge.co/1dXsyka
loyalKaspar
rebrands
nat geo wild
networK
s part of its network refresh
initiative, Nat Geo Wild called
on entertainment branding agency
loyalkaspar to develop a comprehensive branding package. Deliverables included promo toolkits, print collateral templates, a type identity and
a variety of custom logo treatments.
We created toolkits to give Nat Geo Wilds
in-house team organized structure to create
a variety of promo elements, with the added
4@flavorwire
Everybody Street celebrates New yorks
greatest street photographers
flvr.pl/1ana3E6
freedom to develop and augment them as

new shows come along and the brand moves
forward, says loyalkaspar creative director Anna
Minkkinen. in addition to several animation
style choices, our system allows them to pair
colors with textures, which we created to give the
brand a stylized photographic quality.
4@ARRiChannel
Man of Tai Chi was captured in true
anamorphic on an Alexa Studio in
ARRiRAW with Codex Digital recorders
fb.me/32O95GaJG
online
digital videos twitter feed is at twitter.com/
digitalvideomag
update
news
On the Creative
Planet Network
photo by dave mead
Delta Rae on ACLs second weekend
4NEP TRIO VIDEO GOES LIVE
FOR AUSTIN CITY LIMITS

(L-R) Hailee Steinfeld and Asa Butterfield in Enders Game
light iron manages color

pipeline For EnDErS GamE
ight iron provided on-set color, color workflow and final color for Enders Game,
which light iron CEO Michael Cioni describes
as an amazing science fiction movie, with a
behind-the-scenes story as compelling as whats
on the screen.
Cioni continues, light iron collaborated
with the VFX team at Digital Domain to create
a color pipeline that delivered the vision of

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

the Austin City limits music festival
offered more than 30 hours of live HD
video coverage on its two youTube
channels, all of it captured by NEP
Trio Videos trucks and crew. NEP Trio
Video provided its Tango, beta and Xl2
mobile units, more than 14 cameras, and
engineering support to record the event.
Eminem was named Artist of the Year

at the YouTube Music Awards
4SYNDROME PRODUCES LIVE
EMINEM MUSIC VIDEO
We Are What
We Are Edited
with Adobe
Premiere Pro
ilmmaker Jim Mickle used

Adobe Premiere Pro for
his independent thriller We Are
What We Are. We have a lot of
tricky dolly shots [in the film], and we wanted
a really sleek look, he explains. i used Warp
Stabilizer in Premiere Pro and it was greatit
helped smooth everything out. i also like to do
a lot of playing around with color. being able to
recolor a movie, reassign the iSO and adjust the
10
(L-R) Julia Garner as Rose and Ambyr

Childers as Iris in We Are What We Are
color temperature in Premiere Pro was awesome.

The film is a thriller, so there is a lot of
zooming in, Mickle adds. We did a lot of
reframing and repositioning shots. Working with
raw files made it easy to push a shot to 300
percent without losing quality.
youTube streamed its inaugural youTube

Music Awards on November 3. The event,
led by creative director Spike Jonze,
included live music videos and awards
presentations in six categories. Directing
collective Syndrome was called on to
deliver the live video for Eminems Rap
God, the final performance of the show. A
crew in a mobile truck cut to predetermined
angles throughout the song, delivering the
video to the audience as it was captured.
Says Syndrome director James larese, We
had no way of knowing what was going to
happen, but it was absolutely awesome.
online
go online to read more and view additional images
and video: creativeplanetnetwork.com/dv/dec2013
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update
news
LonE SurvIvor thrives with ec3

inematographer Tobias Schliessler, ASC, took a brand
new dailies facility-on-wheels for a test drive for the
Peter berg-directed, Navy SEAls-themed Lone Survivor. The
vehicle, called the EC3 Trailer and constructed in a joint
venture between post houses Company 3 and EFilM, brings
full digital dailies services to shooting locations. in the case of
Lone Survivor, the EC3 trailer was parked high in the mountains of New Mexico, which were standing in for Afghanistan.
The EC3 trailers exterior came from Star Waggons, and
the dailies grading theater inside is the product of EC3s
technology team. it felt to me like i was going to the lab,
Schliessler recalls of his time in the trailers screening room
watching graded versions of his work. i could see what wed
shot, often the day we shot it, projected beautifully onto the 7
foot screen. i think its difficult when you have to look at dailies
on a small computer screen or television or even an iPad.
The cinematographer notes that he particularly enjoyed the
interactivity with his dailies colorist, Adrian Delude. Adrian is
a very experienced dailies colorist and he understood what
i was going for, Schliessler says. but it was wonderful to be
able to sit and discuss any refinements i wanted together with
him in a theater.
photo by greg peters
(L-R) Marcus Luttrell (Mark Wahlberg), Danny Dietz (Emile Hirsch) and Mike Murphy (Taylor Kitsch)
in Lone Survivor, the story of four Navy SEALs on a covert mission to neutralize a high-level Taliban
operative who are ambushed by enemy forces in the mountains of Afghanistan.
14X vs. 23X
With JVCs 23X Zoom, your shots will take center stage.
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Innovation Without Compromise
Update
neWs
Q&A
Kevin TenT, ACe

Editor
Nebraska
JON SIlBERg
film photos by merie w. wallace
irector Alexander Payne first mentioned the script for Nebraska

to editor Kevin Tent, ACE, nearly a decade ago when the two
were finishing Sideways. Tent, whos edited all of Paynes features,
recalls the directors summary of the project: it would star Bruce
Dern, be black and white and have the feel of Peter Bogdanovich
films, particularly The Last Picture Show and Paper Moon.
The father/son road picture, which opens on November 22,
does star Bruce Dern, along with Saturday Night Live veteran Will
Forte. The widescreen black-and-white feature, shot on ARRI Alexa
cameras by Phedon Papamichael, ASC, definitely resonates the
earlier Bogdanovich film, with its unflinching look at the aging and
decaying of the central characters and their way of life.
Nebraska is certainly not the kind of high-concept movie the
studios turn out these days. Did you have to get in a certain
mind-set to edit the film?
Kevin Tent: Its a deliberately paced drama, so Alexander and I
struggle with the need to keep it moving without losing the drama
that comes out of the performances. Hes a big believerand I David Grant (Will Forte) and Woody Grant (Bruce Dern) in Nebraska
agreethat if you move too quickly, you lose the nuance and the
emotion of the performances. We want to let the actors do their job
on screen and not try to manufacture too much in the editing, so
well let things play out in long takes if thats the best way to get the
feeling across.
You have a lot of scenes where I think the audience wants a cut,
not because theyre bored but because theyre ...
Uncomfortable! Yes.
Theres a scene where Will Fortes character is sort of stuck in that
living room in front of the TV surrounded by all those strange,
annoying family members and it just feels so claustrophobic.
You dont even cut to another angle. Its very effective.
Thats great! Thats whats supposed to happen. And then finally you get that
comedic release with the cousins last remark. Thats the intent: buildup and
release.
What was the most challenging part about maintaining the films tone?
Aside from pacing it enough to let it breathe, Id say it was certainly hard to find
the right music. Alexander didnt want the music to be commenting too much
on the movie, telling people its funny or sad or anything like that. He brought
in Richard Ford as the music editor, who suggested Mark Orton, and [Orton]
14
created some pieces that work really well.

Movies today are very often paced for viewers with a limited attention span.
Is there a completely different way of thinking about the craft when youre
editing an Alexander Payne film?
I think those decisions come from the story and from the actors he casts.
The chemistry between director and editor is different on different projects.
Some directors dont like the cutting room. He loves it. He knows how much
can happen in the cutting room, and that makes the whole process feel very
rewarding. dv
Llewyn Davis (Oscar Isaac) is at a

crossroads. Guitar in tow, huddled
against the unforgiving New York
winter, he is struggling to make it as
a musician on his own terms.
Ins
nsIIde
LLewyn
dav
avIIs
Final Cut Pro Post For
the Coen Brothers Film
By Oliver Peters
16
ans of Joel and Ethan Coens eclectic brand of filmmaking should be thrilled with their latest effort,
Inside Llewyn Davis. The story follows a struggling
singer in the Greenwich Village folk scene in the early 1960s,
just before bob Dylans early career there. llewyn Davis is
played by Oscar isaac, who most recently appeared in The
Bourne Legacy. The story, though fictional, was inspired by
the life of musician Dave Van Ronk, as chronicled in the
book The Mayor of MacDougal Street.
Although this is the Coen brothers most recent release,
the film was actually produced in 2012 in true indie
filmmaking fashion: without any firm commitment for
distribution. it was picked up by CbS Films earlier this year.
The Coen brothers tackle post with a workflow that is
specific to them. i had a chance to dig into that world with
Katie McQuerrey, who is credited as an additional editor
on Inside Llewyn Davis. McQuerrey started with the Coen
brothers as they transitioned into digital post, helping
to adapt their editorial style to Apple Final Cut Pro. For
many of their films, shes worn a number of hatshelping
to coordinate the assistant editors, acting as a conduit to
other departments and, in general, serving as another set
of eyes and ears while Ethan and Joel are cutting their films.
(As film editors, Joel and Ethan Coen go by the moniker
Roderick Jaynes.)
McQuerrey explains, Ethan and Joel adapted their
photos by alison rosa
approach from how they used to cut on film. Ethan

would pull selects from film workprint on a Moviola
and then Joel would assemble scenes from these
selects using a KEM. With Final Cut Pro, they each
have a workstation, and they are networked together.
No fancy SAN managementjust Apple file sharing
and a Promise storage array for media. Ethan will go
through a project, review all the takes, make marks,
add markers or written notes and pass it over to
Joel. Ethan doesnt actually assemble anything to
a timeline. Hes only working within the bins of
the broader project. All of the timeline editing of
these scenes is then done by Joel. (Although theres
been press about the Coen brothers planning to
use Adobe Premiere Pro in the future, this film was
edited in Apple Final Cut Pro 7.)
Inside Llewyn Davis was filmed on 35mm over
the course of a 45-day production in 2012. it
wrapped on April 4 and was followed by a 20- to
24-week post schedule, ending in a final mix by
the end of September. Technicolor PostWorks New
york provided lab and transfer services for the
production. The company scanned all of the raw
35mm negative to DPX files with a 2K resolution
and performed a best light color correction pass
of the DPX files for dailies. in addition, Technicolor
synced the sound from the mono mix of production
mixer Peter Kurlands location recordings. These
were delivered to the editorial team as synced
ProRes files.
McQuerrey says, Ethan and Joel dont cut
during the shooting. That doesnt start until the
production wraps. Inside Llewyn Davis has a
look for many of the scenes reminiscent of the
era. [Director of photography] bruno Delbonnel
worked closely with [colorist] Peter Doyle to
establish a suggested look during the dailies. These
would be reviewed on location in a production
trailer equipped with a 50 Panasonic plasma that
Technicolor had calibrated. Once the film was
locked, Technicolor conformed the DPX files and
bruno, Ethan and Joel supervised the Di mastering
of the film. Peter graded both the dailies and the
final version using a [Filmlight] baselight system.
Naturally, the suggested look was honed and
perfected in the final Di.
Inside Llewyn Davis is about a musician, and
music is a major component of the film. The intent
was to be as authentic as possible. There was no
lip-syncing to the playback of a recorded music
track. [Production sound mixer] Peter [Kurland]
recorded all of these [songs] live on set and thats
what ended up in the final mix. For editing, if we
Llewyn Davis (Oscar Isaac) and Jim Berkey (Justin Timberlake)
Carey Mulligan and Justin Timberlake as Llewyns married Village friends, Jean and Jim Berkey
ever needed to separate tracks, then wed go back

to Peters broadcast Wave file [bWF] multitrack
recordings, bring those into Final Cut and create
merged clips that were synced. Since Ethan and
Joels offices are in a small building, the assistants
had a separate cutting room at Post Factory in New
york. We mirrored the media at both locations
and i handled the communication between the
two offices. Often this was done using Mac screen
sharing between the computers.
The Coen brothers approach their films in a
methodical fashion, so editing doesnt present the
kinds of challenges that might crop up with other

directors. McQuerrey explains, Ethan and Joel
have a very good sense of script time to film time.
They also understand how the script will translate
on screen. Theyll storyboard the entire film, so
theres no improvisation for the editor to deal with.
Most scenes are filmed with a traditional, singlecamera setup. This film was within minutes of the
right length at the first assembly, so most of the
editorial changes were minor trims and honing
the cut. No significant scene lifts were made. Joels
process is usually to do a rough cut and then a first
17
Inside Llewyn Davis takes place over a week in the life of a young singer in the Greenwich Village folk scene in 1961.
Llewyn Davis (Oscar Isaac), Jim Berkey (Justin Timberlake) and Al Cody (Adam Driver)
cut. Skip lievsay, our supervising sound editor, will

do a temp mix in [Avid] Pro Tools. This cut with the
temp mix will be internally screened for friends
and family, plus the sound team and visual effects
department. We then go back through the film
top to bottom, creating a second cut with another
temp mix.
At this stage, some of the visual effects shots
have been completed and dropped into the cut,
McQuerrey continues. Then theres more honing,
more effects in place and finally another temp mix
18
in 5.1 surround. This will be output to D5 for more

formal screenings. Skip builds temp mixes that get
pretty involved, so each time we send OMF files and
change lists. Sound effects and ADR are addressed
at each temp mix. The final mix was done in five
days at Sony in los Angeles, with Skip and Greg
Orloff working as the re-recording mixers.
Even the most organized production includes
some elements that are tough to cut. For Inside
Llewyn Davis, this was the cross-country driving
sequence that covers about one-and-a-half reels
John Goodman as jazz musician Roland Turner
of the film. it includes another Coen favorite, John

Goodman.
McQuerrey continues, The driving scenes were
all shot as greenscreen composites. There are constantly three actors in the car, plus a cat. its always
a challenge to cut this type of scene because you are
dealing with the continuity from take to take of all
three actors in a confined space. The cat, of course,
is less under anyones control. We cheated that a bit
using seamless split-screens to composite the shots
in a way that the cat was in the right place. All of the
windows had to be composited with the appropriate
background scenery.
The most interesting
part of the cut was how
the first and last scenes
were built. The beginning
of the movie and the
ending are the same
event, but the audience
may not realize at first
that they are back at the
beginning of the story.
This was filmed only
one time, but each scene
was edited in a slightly
different way, so initially you arent quite sure if
youve seen this before or not. Actions in the first
scene are abbreviated, but are then resolved with
more exposition at the end.
Inside Llewyn Davis goes into limited release on
December 6. dv
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Look
the punK singer

JENNiFER WOlFE
ThE Punk SInGEr

Tracing the Trajectory of Riot Grrrl Kathleen Hanna
20
photo courtesy of allison michael orenstein
athleen Hanna, lead singer of the punk band bikini

Kill and dance-punk trio
le Tigre, rose to national attention
as the voice of the riot grrrl movement, becoming one of the most
famously outspoken icons of the
third-wave feminist movement of
the 1990s and early aughts.
The documentary feature
The Punk Singer, directed by
Sini Anderson and shot by
cinematographers Jennie Jeddry
and Moira Morel, details Hannas
story as cultural lightning rod
and private citizen, including her
marriage to beastie boy Adam
Horovitz and her decision, in 2005,
to stop performing.
The Punk Singer premiered
earlier this year at the SXSW Film
Festival, where it was picked up for
distribution by Sundance Selects/
iFC Films. The film saw a limited
theatrical release beginning in
November. With virtually no budget,
production was achieved largely
through donations of equipment
and expertise. The film consists of
interviews and archival footage,
including live band performances.
interviews and b-roll footage were
captured using a combination
of Panasonic AG-HVX200 and
AG-HPX170 cameras outfitted with
letus adapters and a set of Zeiss
Compact Prime lenses.
We shot on the HVX and HPX
because, at the time, they were
the best HD prosumer cameras
on the market, Morel says. The
photo courtesy of dusty lombard
photo courtesy of lindsay brice
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Kathleen Hanna in The Punk Singer
Scan to go
straight to video
photo courtesy of alesia exum
Tavi Gevinson and director Sini Anderson
Director of photography Jennie Jeddry
color space, latitude and lenses were perfect for

what we were doing, and the XlR inputs for the
microphones made it so much easier to capture
and monitor sound while we were shooting
something that the [Canon EOS] 5D and 7D
couldnt match. Also, both of those cameras were
capable of shooting 1080, which we knew we
needed if the film was ever to be projected on the
big screen.
The Panasonic cameras were augmented by
Canon EOS 5D and 7D SlR cameras to shoot
a tribute concert at the Knitting Factory in
22
Director of photography Moira Morel
She has this really large

fan base underground, but
there are still so many people
who dont know who she is.
We wanted to present her
in a way that makes her
accessible to everybody.
Moira Morel, director of
photography, The Punk Singer
Kathleen Hanna
December 2010, where 20 bands turned out to

cover songs from Kathleen Hannas extensive
catalog. Funding for postproductionroughly
$68,000was raised on Kickstarter, almost
entirely with small donations consisting of $20,
$50 and $200.
it would have been a lot more challenging had
we not had so many generous people around us,
says Jeddry, who employed a borrowed lighting
kit for the project, but a lot of people really
wanted to see this happen.
To help organize the material, the director
worked closely with the two DPs to create separate

looks for each season as they followed Hanna
with their cameras over the course of a year,
starting in 2010. Kathleen is a very private person
to begin with, so having to follow her around with
camerasit wasnt always easy, Morel recounts.
but she was game. She was great about it and we
had a really great time.
Choosing a palette for spring consisting of
light greens, pastels and greys, Morel
captured beautiful scenery in the
Olympia and Portland regions of the
Pacific Northwest to use as establishing
shots. Those sequences contrast with
the super-bright and saturated footage
acquired during the summer months.
For sequences shot in the fall, including
some of Hannas more intimate
revelations, Jeddry took advantage of
the slanted autumn sunlight outside,
supplemented with a fire inside that
had to be maintained at an even level
throughout the lengthy shoot.
i did boost the lighting with
a daylight-balanced Kino Flo and
Chimera-type Eco lite, along with
some bounces on the inside, Jeddry
recounts. in addition to the lighting
some of which was natural, some of
which was litwe had these color
palettes, and that really helped divide
the sections.
We talked a lot, more than i usually
get to talk on projects, and we really
delved into how we wanted to tell this
story, Jeddry continues. Kathleen dictated a lot

of it because of the content and what she was
saying, but Sini also had so many aesthetic ideas
she wanted us to run with. She trusted us, and she
also had a lot of ideas. Those two things are a good
combination.
Kathleen embodies so much in terms of the
feminist movement and also pop culture, and
shes a personal hero as well, Morel concludes.
ultimately the goal was to capture her stories in

a beautiful and truthful way that would translate
on screen for the audienceparticularly for
those people who dont already know her and
what shes about. She has this really large fan
base underground, but there are still so many
people who dont know who she is. We wanted to
present her in a way that makes her accessible to
everybody. dv
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Look
penguins: waddle all the way
JOHN MERli
birds-eye view
Penguin Spy-Cams Capture Colony Activities
photo by frederique olivier
Emperor parents care for their chick in Antarctica.
hen it comes to getting stealthy shots

up close and personal, nothing beats
a remote-controlled animatronic
penguin outfitted with a hidden HD spy-cam. Of
course, the effect is spoiled if you put him in any
environment thats not full of other penguins.
John Downer Productions deployed 50 spycams in various penguin configurations to shoot
1,000 hours of intimate behavior for Penguins:
Waddle All the Way, a two-hour Discovery
24
Channel/bbC documentary that premiered in the

united States on Nov. 23. These full-size penguincams are a revolutionary concept: they walk, get
back up when knocked over, have cameras in their
eyes and can even lay their own egg-cams.
Series producer John Downer, whose
production company is famous for capturing
wildlife in all manner of natural settings using
clandestine camera gear, now focuses his
customized miniature 1080p cameras on three
markedly different penguin species: the emperor

of Antarctica, the rockhopper of the Falkland
islands and the Humboldt variety in the seemingly
unlikely habitat of Perus Atacama Desert. (The
Antarctic crew spent more than 330 consecutive
days there in the longest continuous shoot of
emperor penguins ever conducted.)
Among the varieties of remotely controlled
cameras deployed were species-specific full-size
models (rockhopper, Humboldt, emperor), as
Six-month-old emperor chicks
Emperor-cam with others of his kind
well as chick-cams, snow-cams, egg-cams and an

underwater penguin-cam. All of these units were
positioned strategically to allow the spy-cams to
waddle and roll within inches of the real-life birds
on both land and sea.
Pulled out of retirement from 2010s Polar
Bears: Spy on the Ice, snowball-cam fit perfectly
into the Antarctic environment. With no visible
moving parts, it was able to roll across most terrain,
even uphill. it could also film on the roll thanks to a
self-leveling HD camera.
The aim here was to capture a unique view of
their extraordinary behavior up close when they
dont know theyre being observed, Downer says.
Of course, you can still get quite close to some
types of penguins, like rockhoppers, but the birds
will often stop doing anything when humans are
close by. you cant really approach the emperor
26
photo by geoff bell
One of these emperor penguins is a camera.
Series producer John Downer with rockhoppers
penguin within about 40 meters, and the Humboldt

type will run far away if they see a person, but none
of them are afraid of another penguin. So the idea
was to disguise our tiny cameras. We had different
types of penguins, including some that simply
turned their heads or waddled. One could even lay
an egg, where the egg itself was also a camera. This
provided some truly incredible aerial footage when
one egg was scooped up by a petrel, and she flew it
directly over the colony, adds Downer.
Apart from the robotic elements of the spycam units, which were devised in the united
States by a Japanese robotics engineer, the
penguin mannequins and mini-cam bodies were
constructed by a team of craftsmen in bristol,
England, where Downers company is based.
long-lens shots were captured primarily on
RED cameras. We love RED because of its higher
resolution and its ability to shoot at high speeds.

but id say maybe 60 percent of the final footage
was from the [spy-cams], Downer says.
Although the smarter penguins seemed to
sense a difference between the penguin-cams and
real birds, most were fooled. Downer says that at
least one bird, upon not seeing his life-mate return
after a six-month absence at sea, actually began to
woo one of the animatronic penguins.
Things did not always go well socially for the
artificial birds, according to producer Phil Dalton.
Some of the larger males among the rockhoppers
saw one of our robotic penguins as competition. it
became victim to a bit of violence on at least one
occasion, and it was generally maltreated, having
its head ripped off and slapped around. Penguins
can be quite ferocious with one another.
Other injurious events: a penguin-cam had
photo by philip dalton
Rockhopper-cam in the rockhopper colony in the

Falkland Islands
its legs broken twice when knocked off a cliff by

rockhoppers, one had a flipper ripped off by an
albatross, and the underwater penguin-cam was
attacked by sea lions and lost a flipper in the
process. And there were fatalities as well. Three
egg-cams were lost in a blizzard, two were taken by
birds and one underwater rock-cam was washed
away while filming rockhoppers.
Dalton adds, The rockhoppers were on the
Falklands, which are often very windy, so our
robotic birds had to be able to withstand very high
winds and stay upright.
Downers production company typically does
not provide technical details (or specific brand
names) about its miniature spy-cam systems,
except to say they are custom-built, provide 1080p
quality and relay footage to nearby monitors to
allow operation of the animatronic creatures in
real time. The fantastic thing is its only been
recently we can use these high-grade cameras
small enough to fit into the eye of a penguin-cam.
This was a big breakthrough for us, Downer says.
The three-hour documentary that debuted in
February on the bbC (called PenguinsSpy in
the Huddle) was pared down to the two-hour u.S.
Emperor chick
version for Discovery Channel. An Americanized

narration track was laid in by actor Jane lynch of
Glee. both versions of the doc are expected to be
available on blu-ray in 2014. dv
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canon eos c100

CHuCK GlOMAN
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Capturing Video with Canons EOS C100 Camera
The EOS C100 digital video camera targets a broad range of lower-budget film and video
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Quick Take
Product: Canon EOS
C100
Pros: High-quality
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Cons: Viewfinder is
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joystick too small and
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Bottom Line: The future
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MSRP: $5,499 (body only,

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The industry-standard AVCHD codec records HD

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FEATURES
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(The Canon-supplied Data import utility software
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were created during relay-recording mode.)
iSO ranges from 320 to 20,000 in 1/3-stop
increments. in addition to outputting AVCHD-format
files to its dual SD slots, the EOS C100 can deliver
HD video signals in uncompressed 4:2:2 format via a
standard HDMi digital output for external recording,
live viewing or playback on an external monitor. The
HDMi output carries multiplexed, 2:3 pull-down
need. want. desire.

Whether you need streamlined video production, want expanded content delivery options, or desire the
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Copyright 2013. Sony Creative Software Inc. All rights reserved. SONY and make.believe are trademarks of Sony.
markers and SMPTE-format timecode.

The video signal is recorded in AVCHDs MPEG-4 H.264 using 4:2:0 color
space. There are essentially three shooting modes: 24 Mb/s (1920 x 1080)
at 60i/30p/24p/50i/25p, 17 Mb/s (1920 x 1080) at 60i/30p/24p/50i/25p
and 7 Mb/s (1440 x 1080) at 60i/30p/24p/50i/25p.
The C100 may be configured in a number of different ways. The EOS
C100s main body can be mated with a hand grip or a separate handle unit
that includes two XlR audio connectors, a stereo mic and record-tally
lamp. To match a users preferred shooting style, the C100s grip handle
rotates 360 degrees and includes a joystick for making menu selections.
One area where the C100 really shines is in its custom picture profiles.
Professional shooters often desire a specific look, and the C100 allows
these users to save nine customized profiles in the camera and up to 20
on an SD card. Custom profiles can be adjusted for gamma, black, black
gamma, low key saturation, knee, sharpness, noise reduction, skin detail, Director Patrick Moreau and the team at stillmotion shot the short documentary Pulse in
selective noise reduction, color matrix, white balance, color correction three countries in just over a week with Canons EOS C100. (Watch the video online: vimeo.
and setup level. The EOS C100 ships with three preset profiles: EOS com/55772166) This photo shows Ray Tsang with the EOS C100.
standard, wide dynamic range and cinema, which applies Canon log
Gamma and Color Matrix.
The EOS C100 is a fully manual camera, with user control of functions
including iris, shutter speed, gain, zoom, focus and audio levels. Sharp
focus can be achieved using the high-resolution 3.5 lCD monitor and
1.56 megapixel color viewfinder/EVF. Two peaking modes and a magnifyfocus assist that are available in both standby and record modes allow
shooters to check critical focus.
IN USE
The Canon EOS C100 is an amazing camera, but using it effectively may
take a bit of practice. users will benefit from customizing the cameras
settings for greater control. i found that it takes quite a bit of menu diving
to access the setup options, however, and the miniscule thumbwheel/
joystick doesnt help. (The joystick is located on the grip unit on the
camcorders right side. The grip may be removed, but then you wont be
able to change any camera settings that require the joystick.)
On location, i attached an 8 field monitor to the cameras hot shoe so
everyone could observe the shot. i noticed that when image magnification
is selected, the mag graphic appears on the cameras lCD screen but not
on the HDMi-connected external monitor, which is a shortcoming.
Regarding image quality, i believe the footage i shot with the C100
has better color separation than that shot with my standby Canon EOS
5D Mark iii. Editing footage from the C100 is slightly more challenging,
though. To get footage shot on my 5D Mk iii into Apple Final Cut Pro 7,
id use Squared 5s MPEG Streamclip to convert the AVCHD H.264 files
to Apple ProRes 422 (HQ), but i wasnt able to do the same thing with
C100 footage. Video files shot on the C100 are not accessible in MPEG
Streamclip and must be imported using FCP 7s log and Transfer. its just
Shooting Pulse with the EOS C100
another step, but old habits die hard.
On the topic of audio, having real XlR connectors speeds field sound
production, as it eliminates the requirement for an external audio recorder than a lot of other cinema-shooting DSlRs. Once you get used to the setup
and means you wont have to sync everything later in post. The camera also and handling of the C100, you may find it difficult to go back to shooting with
makes it simple to adjust audio levels.
antiquated DSlRs. The C100 and its siblings are going to be the pathway to
i appreciate the option of shooting in 60i, 30p and 24p and controlling the the future. All of the best features of a DSlR have survived and you have more
gammas and black levels. The C100 comes across to me as more professional capability in audio and video without a much larger footprint. dv
30
Lust
lumos 300mK
JAy HOlbEN
lightweight, liKeable led

Changing Color with Lumos 300MK Fixture
Quick Take
Product: Lumos 300MK
Pros: Robust, flexible,
good design, great color
rendition, good size and
weight, great indicators.
Cons: Large jumps in

illumination level between
dimming settings, limited
use of barndoors when in
vertical mounting position.
Bottom Line: A good
fixture that could be great
if a few minor issues were
addressed.
MSRP: $2,400
Online: www.lumosusa.
com/lumos300.htm
Photometrics
(at 100 percent
intensity)
32
5,600k
3,200k
270 fc
250 fc
80 fc
70 fc
37 fc
32 fc
21 fc
20 fc
10
14 fc
12 fc
12
10 fc
9 fc
late last year international Supplies introduced a 1x1 color-changing

lED fixture, the lumos 300MK. i recently put the lumos unit through
its paces on a shoot.
The form factor is
similar to competitive
1x1 lED units. it weighs
4.18 lb. and measures
11.8 x 11.8 x 2.9.
The fixture came
with a set of barndoors,
which was surprising to
me. i hadnt dealt with
barndoors on a 1x1 lED
unit before. its a nice
touch. The doors are
quite robust. Theyll take
the abuse of production
for sure.
Note that if you
mount the fixture on
a stand with the yoke
vertical and open the
doors all the way, you
cannot really tilt the fixture at all. in order to get a good
tilt with the barndoors open, you have to mount it
with a horizontal yoke, which takes up more room and
counteracts the benefits of the 1x1s small size.
Still, i was thankful for the barndoors in a number of
situations, not just for their ability to shape light but for
providing finer control of the output than the dimmer
alone would allow.
The 300MK features a dimmer knob, which is
standard fare on lED fixtures. One nice touch here is
the thermometer scale on the back of the fixture. its
12 small lED indicators show you clearly where you are
in the dimming range: all 12 is full bright, none is full
dim. i often complain about not having a scale to show
where i am on an adjustment. The lumos takes care of
it in a classy way.
Although
the
dimming knob has no
stops on itso you
can turn it foreverit
does have bumps,
which tell you how many
adjustments
youve
made with a slow turn.
Although there are 12
lEDs in the indicator, its
23 bumps from 0 to 100
percent.
The MK in 300MK
indicates the units
multiple
Kelvin
temperatures. The fixture
can transition from
3,200 K to 5,600 K, with
many stages in between.
The color temperature
adjustment also has a thermometer scale on it, but
the scale is labeled min, med and max. That
terminology is great for dimming but confusing when
describing color temperature. What is max color? is
that 5,600 or 3,200? As it turns out, 5,600 is max.
This knob doesnt have final stops either, which
is worse than the dimming knob not having stops
because here youre not sure which way to turn the
knob. i often found myself fumbling with the color
temperature control to get what i wanted.
These are, admittedly, pretty minor complaints.
The fixture is well constructed and lightweight. i
have no doubt that it will handle the abuses of daily
production in the field. The face of the fixture has
a diffusion panel in it, which eliminates the harsh
exposure of lED bulbs. i had no problem lighting faces
with the lumos 300MK directly, with no

additional diffusion.
Color rendition on the lumos is excellent.
i saw no significant green or magenta cast.
My testing found the 5,600 K to be just
slightly blue and the 3,200 K was spot on.
Perhaps my biggest issue is the
smoothness of the dimming. i found several
times that i was getting too little light from
the fixture at its lowest dim setting, but
Brightness at lowest dim settings

at 5,600 k
at 3,200 k
1 bump
2 bumps
1 bump
2 bumps
2.1 fc
14 fc
2 fc
13 fc
0.6 fc
4 fc
0.57 fc
3.7 fc
0.3 fc
2 fc
0.3 fc
1.7 fc
0.18 fc
1.1 fc
0.16 fc
1.1 fc
increasing output by one bump resulted in

too much light.
i found theres about a 7x leap in
brightness from the lowest dimming
setting to the second lowest, which i had
to counteract with the barndoors and
additional diffusion. Thats a large jump.
The nice thing is that you can pinch down
the barndoors in some situations to reduce
the output. dv
INSPIRE
YOUR
IMAGINATION
THE NEW MANFROTTO 500 FLUID VIDEO HEAD
COMPLETES THE BRIDGING TECHNOLOGYTM FAMILY
Smooth movement and

precise control thanks to
real fluid cartridges and
a counterbalance system.
Manfrottos 4 Bridging Technology Pro Video Heads are designed for use with the latest HDSLRs,
interchangeable lens video cameras, standard video cameras and for use on sliders and jibs.
The professional fluid cartridges and inner ball-bearings ensure that all Bridging Technology heads provide the smooth
and precise movement required for todays pro video cameras. The longer sliding plate and wider platform make each
head more adaptable to different balance requirements and different camera configurations. The 4 Bridging Technology
Pro Video Heads each have a different maximum payload and are also available in combination with Manfrotto aluminum
and carbon fiber tripods and bags.
500 Series Head
502 Series Head
Longer sliding plate with

quick release offers extra
balancing control.
Available in flat-based
or half-ball versions.
External accessories can

be supported using the 3/8
Easy Link connector.
509 Series Head
504 Series Head
manfrotto.us
info@manfrotto.us
tooLkit
PANAVISION
New Gear
SMALL TREE
PRIMO V LENSES
Panavisions Primo V series of lenses was designed to
bring the smooth, organic flavor of Primo lenses to the
high-fidelity digital image, according to Panavision vice
president of optical engineering Dan Sasaki. The Primo V
primes use lens elements from existing Primo lenses and
are compatible with any digital camera equipped with Pl
or Panavision 35 mount systems. The Primo V set includes
14.5, 17.5, 21, 27, 35, 40, 50, 75 and 100mm focal lengths. www.
panavision.com
TITANIUMZ-5
An Ethernet-based portable shared storage
solution for video editors who require
shared access to media files, Small Trees
GraniteSTOR TitaniumZ-5 is a five-drive
system that may be populated with 2 Tb, 3
Tb and 4 Tb disk drives. TitaniumZ-5 can
support up to two ports of 10Gb Ethernet.
The system allows users to work across
multiple protocols (AFP, SMb, NFS and
iSCSi) and platforms, including Adobe
Creative Suite, Avid Media Composer, Avid
Pro Tools, Apple Final Cut Pro 7 and Apple
Final Cut Pro X. www.small-tree.com
CANON
DP-V3010 4K DISPLAY
Canons DP-V3010 4K reference display provides a 2000:1
DCi-compliant contrast ratio, uniform brightness, very
wide viewing angles in all four directions, internal color
calibration and 1024 shades in each color channel. The 10bit iPS lCD display measures 30 wide (diagonally) and
7.4 deep. Designed for use in postproduction suites as
well as in DiT workstations and on-location video villages,
the DP-V3010 provides full-screen 4096 x 2560 resolution,
a 16:10 aspect ratio and a tightly packed pixel pitch of
157.5m. The display is expected to ship in the first quarter of 2014.
www.usa.canon.com
TELESTREAM
WIRECAST 5
Telestreams Wirecast 5 live streaming production software adds enhanced encoding and
playback options, a more efficient user interface, high-quality screen capture, improved
H.264 playback, stream delay and more flexible input/output integrations for streaming.
Wirecast 5 permits output of SDi/HDMi program feeds to blackmagic Design intensity
and Decklink capture cards, enabling users to send live feeds directly into editing, effects
and broadcast design systems. www.telestream.net
34
Learn
blacKmagic pocKet cinema camera

JAy ANKENEy
small gets big

Interest Grows in the Blackmagic Pocket Cinema Camera
Kholi Hicks (twitter.com/kholih) shot the short

film Real Life Horror Movies: The Creepy Doll
with a Blackmagic Pocket Cinema Camera.
Watch it on Vimeo: vimeo.com/78313637
lackmagic Designs Pocket Cinema

Camera was a hit as soon as it was
announced at the 2013 NAb Show. The
pint-sized HD camera offers much of the same
technology found in blackmagics successful 2.5K
Cinema Camera in a form factor you can slide into
your pocket.
The blackmagic Pocket Cinema Camera is
called a Super 16 digital film camera thanks to its
Super 16 size 1080 HD sensor. it is designed to
record Apple ProRes 422 (HQ) files to inexpensive
SD cards. About the size of a cell phone, it
features an active Micro Four Thirds lens mount
for interchangeable optics and spans 13 stops of
dynamic range.
Very early models were reported to demonstrate
blooming, or hard clipping in the upper regions
of exposure, but that issue has apparently been
corrected by blackmagic Design engineers. you
can select either of two dynamic range settings:
Film (log) or Video (Rec. 709 color space). The
36
Blackmagic Pocket Cinema Camera
cameras promised ability to shoot lossless

compressed CinemaDNG raw files to
fast SDXC cards should become a reality
this month with the release of a firmware
upgrade.
We received a lot of positive response
to the blackmagic Cinema Camera we
released last year, says Dan May, president
of blackmagic Design. As we looked toward
the other boundaries we could push, it became
apparent that a small, flexible secondary camera
could also find a ready market. Our blackmagic
Pocket Cinema Camera is designed to fill the
role of either a main camera for professional HD
projects, a b-camera for indie shoots, or an ideal
tool for students and prosumers to raise their
video capabilities to a higher level.
When i asked about the delay in the Pocket
Cinema Cameras raw capabilities, May was honest
considering putting this arrow into their

quiver?
KHOLI HICKS
enough to say, its been one of those any day

now targets for several months. but we should see
it very soon, and of course the firmware upgrade
will be free to all users. This should be especially
useful to fans of raw recordings, since blackmagic
Design provides a free version of DaVinci Resolve
lite software on its web site for sophisticated color
correction and file transcoding during post.
Now that some early adopters have gotten
their hands on this mighty mini, what can they
reveal to other digital cinematographers who are
Kholi Hicks, an independent DP and video

consultant in los Angeles, received his
blackmagic Pocket Cinema Camera in late
summer and says he likes it as much as
blackmagics Cinema Camera, which he quantifies
as a lot. Hicks was able to test the Pocket Cinema
Cameras raw capabilities in beta release.
im shooting Adobes CinemaDNG raw format
at 24 fps or 30 fps, recorded to a 32 Gb SanDisk
Extreme Pro [SDHC] card at a 90 Mb/s write and
95 Mb/s read rate, and it looks great, he says. The
HD images look as good as [from] its larger Cinema
Camera brother. Outside of resolution and a hair
of dynamic range, it is uncanny how precisely the
two match.
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The VTR alternative
Kholi Hicks
Josh Diamond
Marco Solorio
The flexible MFT lens mount lets Hicks put

almost any glass on the camera.
Right now im using a Hot Rod Pl mount
attached to a View Factor Studios Pocket Camera
cage so i can use cinema lenses, and trading
that off with a Canon EF adapter that lets me put
Sigmas new 18-35mm lens on it, which, at f/1.8, is
pretty fast, Hicks says. ive found that most of the
small-format cameras being released these days
are basically a sensor in a box, but the blackmagic
Pocket Cinema Camera is really a filmmakers
point-and-shoot because i can use it practically
anywhere i need a professional HD camera. its all
about the image quality.
Hicks suggests employing a pre-amp if you
want to record audio on the camera itself. One
area where blackmagic Design has been criticized
over the past year is in the audio features of its
cameras, he says. The onboard microphone is
fine as a reference mic, but for production audio
id recommend using a preamp like the juicedlink
RM333 to boost the input.
size. its nice to have something small for behindthe-scenes shots that you can just slam into your
pocket, he notes. Were also considering it as a
b-camera on some VH1 interstitials were planning
to shoot.
its the look of the recordings that really
impresses the Diamonds. The blackmagic Pocket
Cinema Camera has much better image quality
than other small-form cameras, Diamond says.
but the real magic of this camera is its ability
to shoot ProRes 422, which really simplifies the
postproduction workflow.
Diamond appreciates the variety of lenses the
camera can accommodate. The ability to go to any
rental house, select an adapter and choose from a
wide range of lenses is a huge advantage, he says.
We had a 32mm anamorphic Elite lens mounted
on the Pocket Cinema Camera, and although it
was five times the size of the camera, it worked just
fine. i really like options, and blackmagic choosing
the Micro Four Thirds mount makes this the most
versatile camera it can be.
Diamond could think of just two downsides of
the camera, one being the lack of a touchscreen
interface. its not that big of a problemwe are
accustomed to a touchscreen on the Cinema
Camerabut you can quickly get used to the direct
button control on the Pocket version. Other than
that, i just wish it had audio meters in the display.
files, but ive been told that blackmagic Design is

looking to implement a QuickTime wrapper that
will give it more of a video sequence. For now i just
bring the CinemaDNG files into DaVinci Resolve to
create proxies and edit them in my Adobe Premiere
or Avid Symphony NlE.
Thats going to let a lot of digital cinematographers get their first experiences shooting raw, since
the blackmagic Pocket Cinema Camera sells for
less than $1,000.
Solorio finds that one of the Pocket Cinema
Cameras strongest features is its ability to shoot
10-bit ProRes in either log or Rec. 709 encoding.
To me, that is absolutely huge, he says. We are
in the middle of a large bMW documentary, and
having the ability to intercut shots from the bigger
mainstream cameras with the Pocket Cinema
Camera has been a significant benefit. We tend
to shoot the beauty shots in raw, but for the vast
majority of our shooting, 10-bit ProRes blows the
doors off of any 8-bit system we have ever used.
Solorio recommends bringing a lot of extra
batteries with you on shoots. We get about 35
to 45 minutes use with each of the blackmagic
Pocket Cinema Cameras rechargeable lithiumion batteries. it chews through them, so id
recommend bringing a pocketful of themor, as
we do, use either internal third-party 1,800 mAh
batteries, giving us 45 minutes to an hour each, or
an external battery source through the cameras
12-20V DC port. dv
JOSH DIAMOND
Josh Diamond, half of the filmmaking team the
Diamond brothers with his brother Jason, had been
testing the blackmagic Pocket Cinema Camera
for six weeks when we talked. its basically the
same as blackmagic Designs Cinema Camera
in a reduced form factor with a smaller Super 16
sensorbut its still shooting ProRes 422, giving
you, for example, about an hours recording on an
inexpensive 64 Gb SD card, which costs about $50
on Amazon.
Diamond had taken the Pocket Cinema Camera
along on a helicopter shoot for a documentary that
benefited from the flexibility of the cameras small
38
MARCO SOLORIO
Marco Solorio, owner of OneRiver Media, a fullfeatured production and post facility in Walnut
Creek, Calif., has calculated that the Pocket
Cinema Cameras raw recordings measure about
2.5 Mb per frame, depending on the content.
The CinemaDNG format is a series of still image
Note
Blackmagic released a free software update on
November 12 that adds 12-bit log CinemaDNG
raw recording to the Pocket Cinema Camera.
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INNOVATIVE SOLUTIONS FOR VIDEO PRODUCTION SINCE 1987
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products replaced promptly. RMA number required for all merchandise returns. Returns accepted within 20 days, in
original packaging, postage prepaid, undamaged. Opened software not returnable. Shipping charges not refundable.
Returns subject to a 18% restocking fee. Not responsible for typos. Prices subject to change.
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Learn
monitor overview
PETER SICIU
more Functions, Better AccurAcy

New Tools for Monitoring the Situation
eeing is believing, they say, and its often true ... though not when
youre referring to film and television production. For even the most
routine aspects of production, seeing sometimes isnt enough.
Professional monitors are able to provide accuracy that goes well beyond
what can be eyeballed, which is important on shoots with multiple monitors
or locations. Even if the user is able to judge by eye alone, he wont necessarily
be able to replicate his settings elsewhere.
Many depend on their eyes for a certain look, says Russ Walker, director
of strategic planning and business development at Marshall Electronics in El
Segundo, Calif., but they want to be able to duplicate that look on another day
and likely on another monitor.
With the market now divided into several segments, including TV and
cable production, video production and postproduction, different users are
looking at the same professional monitors with very different needs.
Users require the ability to duplicate monitor settings, Walker says.
40
JVCs RS-840UD Reference Series 4K 84

LCD monitor features an IPS LCD panel with
120 Hz refresh rate and 10-bit color depth.
This is most often done with LUTs [lookup tables], a series of numeric values
that describe gamma, brightness, contrast, primary and secondary color
points, etc. This kind of functionality is found in so-called Grade 1 monitors.
This level of monitor also needs to be capable of field calibration.
Walker notes that many customers do not need this many features,
relying instead on the preset values in the monitor such as gamma settings,
brightness and contrast. Budget and customer sophistication are the primary
considerations in selecting a monitor.
Monitors that do it all are more expensive, as the firmware is more
sophisticated and the high-grade panels cost more as well, Walker adds. We
are working to offer choice in price points and capability.
To ensure that the end user can get just the right picture, Plura Broadcast, a
Phoenix-based provider of professional monitors, offers features such as LKFS
loudness measurements, built-in waveform and vectorscope, video payload
identification (VPID), and 16-channel audio metering with different scales.
JVCs 17
DT-V17G15Z
features a 1920
x 1080 IPS panel
with 10-bit
processing, two
gamut modes,
3G/Dual Link
HD-SDI inputs,
and waveform
and vectorscope.
Marshalls QV-2710 has four independent 3G-SDI inputs to enable users to view four
channels at once in a quad view mode. Additionally, the QV-2710 can accept an HD, 2K or
4K signal using one or more of the 3G inputs and display a single image full screen.
Pluras SFP217-3G is a
flexible 17
broadcast
monitor.
The SFP-3G Series, which Plura introduced at

Aprils NAB Show, further offers a 6 x 6 built-in
cross-point switcher, pixel-to-pixel mode, internal
pattern generator and digital audio decoding.
JVCs professional monitors offer features
including 3G-SDI input, waveform and vectorscope
display and 16-channel audio metering. Its new
17 studio model (DT-V17G15Z) offers mercuryfree RGB LED backlights.
The 17 studio monitor offers 10-bit processing
capacity, according to Craig Yanagi, JVCs national
marketing and brand manager. It enables a precise
Rec. 709 gamut mode, making it a default monitor
for accurate color imagery, he says. It also offers
a wide gamut mode that covers 110 percent of the
NTSC color space.
Applications for these smaller monitors are
not limited to the studio. Built-in features such
as waveform display are really helpful in the
42
TVLogics 17
LVM-173W-3G
features 12-bit
video processing,
1366 x 768
resolution and
two HD/SD-SDI
inputs.
field, where it is not practical to take some of the

external calibration tools, says Nicholas E. Dugger,
president of Tennessee Digital Video in Nashville.
TVLogic monitors offer tools to measure
exposure and focus. These tools are fairly
ubiquitous across our product line, says Wes
Donahue, director of sales and marketing at Preco,
TV Logics U.S. distributor. All of the monitors on
the mid to high end offer vectorscope, waveform
and focus assist.
Donahue adds, There is a lot of choice
depending on what the user needs. Audio level
metering is enabled on the screen, and that is
another feature that can come in handy for many
users. Some of the monitors on the higher end offer
picture by picture [a side-by-side display of two
inputs], which is helpful when matching cameras.
TVLogics monitors can be auto-calibrated, and
many of the models feature a built-in 3D lookup table.
As the industry moves toward 4K, the market

continues to evolve to meet new needs. The
demand for higher resolution is spreading beyond
the studio into the field.
George Gonos, president of Leader Instruments,
observes, High-quality 4K cameras are becoming
so affordable that the format is being adopted
by many digital cinematographers and video
production companies. His companys LV5490
waveform monitor, he says, is the ideal production
reference both for 4K live shooting and post-shoot
refining. It handles all common high-definition
and standard-definition signal formats in one
compact instrument. The LV5490 is equipped with
four 3G/HD/SD-SDI input channels and a wideviewing-angle 1920 x 1080 9 flat-panel display,
allowing precise matching of studio or outside
broadcast cameras.
Steve Mahrer, Panasonic senior technology
alliance manager, says that 4K is becoming

a serious niche for field production and
postproduction, but 4K also brings new problems.
A simple yet everyday example is the ability of the
DP or cameramen to actually see focus. On HD
monitors, the DP could see focus on a 7 or 9 HD
LCD attached to the camera. These HD LCDs had
peaking that provided an indication of camera lens
focus. Alas, 4K requires something new and better.
A 4K image that is soft or not at critical focus is
essentially useless and disappointing.
Mahrer suggests that Panasonics
31 BT-4LH310 LCD production
monitorwhich features a 4096
Panasonics 31 BT-4LH310 LCD production

monitor supports a wide color space with
a 4K 10-bit IPS panel.
x 2160-pixel LCD display with

ruggedized construction, multiple
professional inputs (3G/HD-SDI and
HDMI), true color processing with a
3D LUT, 28V DC operation for field use
and mercury-free LED backlighting
could be the right size to fulfill the
field use need. The BT-4LH310 was
designed for the field, including use
in a video village for live viewing of 4K
cameras, as well as for viewing dailies.
Moreover, Mahrer notes, Panasonic
expects that the BT-4LH310 monitor
will be compatible with Academy
Color Encoding System (ACES)
environments. ACES is an initiative
spearheaded by the Academy of
Motion Picture Arts and Sciences to
define a standard, future-proof color
space that will enable consistent
color rendition in pipelines using
any combination of ACES-compliant
cameras, processing and display
devices.
Mahrer explains that with ACES,
the workflow is defined by the
color space and gamma profiles of
the camera, the monitoring display and the final

theater projector. The ability to load an ACES 3D
LUT on the 31 LCD so that it displays what the
customer in a movie theater will see, and adjust the
color accordingly, is very important.
JVC is touting its RS-840UD Reference Series
4K 84 LCD monitor, which was introduced last
year and began shipping in June. The RS-840UD
has a native screen resolution of 3840 x 2160 and
is capable of 60p input and display. It features an
IPS LCD panel with 120 Hz refresh rate and 10-bit

color depth.
The greater resolution of 4K allows four 1920 x
1080 HD signals to be displayed on a single monitor
where cameras need to be matched, and the large
display makes comparing the images easy.
It has a stunning image, says Yanagi. It
provides a multiview environment in situations
where there is a need for large sizes, especially with
4K production. dv
Learn
the walKing dead
JENNiFER WOlFE
innovation invasion
How The Walking Dead Extends Across Audiences and Screens
MC ramped up for season four of The

Walking Dead with the launch of The
Oath, a three-part web series directed
by Walking Dead executive producer and special
effects makeup wizard Greg Nicotero. The webisodes consist of short stories (7 to 10 minutes) that
follow minor characters from the broadcast show
and are set in other parts of the Walking Dead
universe.
The webisodic series has picked up both
Streamy and Webby awards, in addition to the
Writers Guild of Americas first-ever award for
Outstanding Achievement in Writing Derivative
New Media, in 2012.
The webisodes are typically released ahead of
44
the broadcast season premiere,

whetting fans appetites for
more zombie gore. The strategy
has paid off in a big way for
AMC. The third season finale
in April drew the shows highest
ratings to date, with an audience of 12.4 million. by
comparison, Breaking Bads series finale drew 10.3
million viewers.
but AMC doesnt stop there. in an era of
shrinking real-time audiences, the cable net
also bolsters the number of broadcast viewers
with what it calls Story Sync, mobile content
developed to complement the series thats
deployed simultaneously with the broadcast.
From The Walking Dead

webisodic series
The Oath
Were serving up 16 to 30 pieces of content for

one hour of television, timed to specific moments
in the show, notes Mac McKean, AMCs senior
vice president of digital media, who has been with
the company since 2006.
The content for AMCs Story Sync, nominated
for a Creative Arts Emmy earlier this year, ranges
from character profiles and kill stats to trivia
questions and opinion polls. its available via a free
Were For Creators

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Something that is entirely you for the world to experience.
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mobile app that users can access both during and

after the show.
This second-screen content allows AMC to
direct the focus of the shows robust fan base while
also providing an entry point for new watchers. We
have different groups were servicing all at the same
time, McKean says. First of all we are servicing the
fans of the showespecially the most passionate
fans, but also the casual fans. Then were also
developing content for people who may have never

seen the show, keeping in mind that this digital
content may be their first taste of the show. So were
staying true to the super-fans, but were doing it in a
way thats acceptable down the chain.
building a dedicated experience for viewers
seeking a network-produced second-screen
experience was a natural extension of AMCs
digital strategy, according to McKean. We
encapsulate the production: the writers, all the

executive producers of the show, the prop masters,
the various cast and crew members, he explains.
So theres a lot of access to information and
content that we can serve up during the show
to, hopefully, make a better and more engaging
experience for those who are using their computer
or phone anyway.
beyond its Story Sync app, AMC offers content
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The content for Story Sync ranges from

character profiles and kill stats to trivia
questions and opinion polls.
via social media thats meant to be

experienced outside of the broadcast,
including an ultimate Fan Game that
tests users knowledge of the show with
sharable results, and The Walking Dead
Social Game, a story-based Facebook
game that invites fans to step into the
zombie-filled world, where they fight
for their lives, help friends survive, and
embark on adventures with characters
and settings from the show.
With a Walking Dead spin-off series
planned for 2015, to be executive
produced by Robert Kirkman, Gale Anne
Hurd and David Alpert, its a safe bet
that AMC will be supplying even more
sophisticated second-screen content in
the future. McKean and his team have
already started delivering video content
created specifically for the Story Sync
app: brief vignettes meant to be viewed
during the broadcast itself.
We kept them very short because
they were meant to be squeezed into
the margins, so to speak, McKean says.
i mean, youre already watching the
show. We realize that you may not want
to spend time with extra video content
right now. So we just serve it up and you
can still access and engage with it after
the show is over.
To bring viewers deeper into the
world of The Walking Dead, maintaining
the integrity of the fourth wall is
key. its about creating an immersive
world, McKean says. Were staying
within the fictional world, and i think
there are a lot of rich possibilities to
combine in that area. Weve really only
scratched the surface. dv
C
CM
Surround yourself with creative geniuses and

enhance your skills with advanced training in post,
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Learn
lens Flare
lens Flare lesson

photo/video by ryan e. walters/shutterstock
photo/video by spotmatik/shutterstock
How to Achieve This Beautiful Mistake
Of the millions of high-resolution stock photos, vectors and illustrations available

from Shutterstock, many showcase the beauty of lens flares. This image of a woman
celebrating the sunrise is from an HD video clip shot at 50 fps with a RED EPIC.
In this still from an HD video clip, two children dance on the beach at sunset.
walk through any film and video trade show will reveal dozens of
companies selling matteboxes and lens hoods, products that keep
extraneous light off of a camera lens. The lens flares that these
devices prevent are optical malfunctions that occur when a powerful light
source (sunlight, for example) strikes the lens and produces visible artifacts.
This technical mistake may appear in the form of starbursts, rings or circles
in a row, or as an all-encompassing haze that washes out the image. but carefully planned lens flares can be desirable, adding dramatic effect to the shot.
The key is in knowing how to channel the power of light to your advantage.
To ensure a beautiful glow, keep your subjects in the foreground and the
sun or other flare-causing light source behind them. When arranged just
so, the light will seem to envelop the subject before it hits the lens.
Add camera movement to the shot. The angle at which the flare-causing
light source strikes the front element of the lens is what determines how
the flare appears, so panning the camera during the shot will change the quality of the effect. Experimenting as you move with your subjects can lead to a
range of stunning results.
be creative when staging the shot. Just as a shot may include the subject
entering or exiting the frame, shots may be designed with the appearance and disappearance of a lens flare. Try panning during the shot so the
flare-causing light source suddenly strikes the front lens element, or the
reverse. Another technique is to dolly the camera along a path where objects
in the background will interrupt the flare-causing light source, so the flare will
appear and disappear.
let the zoom work for you. Zooming the lens
with a flare-causing light source striking the
front element will also alter the flare effect. Such
zooming, when combined with panning or dolly
camera movements, can produce a dramatic shot.
While filmmakers and videographers often
go to great lengths to keep extraneous light
off the camera lens, experimenting with lens
flare can produce some surprising and pleasing
results. dv
FIVE TIPS FOR CAPTURING DESIRABLE LENS FLARE
Check focus and depth of field without extraneous flare-causing light

entering the lens. The washed out effect of lens flares can make it difficult
to focus and judge depth, so adjust the focus and DOF before you remove the
lens hood or mattebox. (With the lens shielded,
zoom in and check focus, then zoom back to the
desired focal length and determine if the depth
of field is appropriate.)
Depth of field is a function of both focal
length and iris, which means that setting it in
shots with lens flare can be tricky. Once the iris
is set for the desired depth of field, dont change
it; adjust the exposure by adding or subtracting
light via ND filters or modifying the cameras
iSO.
48
2
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LEARN
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Learn
tips to CLip
DiCK REiZNER
travel tip
To avoid getting lost when traveling in a country whose
language you do not speak:
1. Always carry a matchbook or business card from the
hotel at which you are staying. you can then show it to a cab
driver or police officer to let them know where you want to go.
2. Get a map of the area and mark the location of your
hotel and any other important spots you will be visiting. Then
have someone write on the edge of the map, in the language
of the country, Please point to where i am on this map.
you dont want to ask Where am i? because you wont
understand the answer in the language you dont speak. Have
them show you instead.
And dont forget, knowing how to say thank you in the
language will always make you less of an ugly American.
beat the bright

Sometimes a patch of cement or a stucco wall
can be the brightest part of your image. Herman
Dorf of Chicago, ill., says those and other porous
surfaces can be darkened by dampening them
with a light spray of water. The secret is to create
an even coating of water without any of the
surfaces looking wet. A hand-pressurized garden
sprayer will usually accomplish the task.
i was using Hermans tip to darken some
cement when i accidentally wet an unpainted
fence post. it brought out the texture of the wood
so well that the director said to spray the rest of
the fence. He then began experimenting, wetting
almost everything in sight.
50
you have just completed shooting a

32-page script. As you look over the
crumpled pages, a feeling of doubt
comes over you. Did you really
complete it? you were shooting out
of sequence and now youre not sure
that you got everything.
James Potter of Canton, Ga.,
keeps track by placing a vertical
line in the right margin next to the
covered dialogue as he finishes each
shot. When he completes the project,
he should have a line from the top to
the bottom of every page. if there are
any gaps, he missed a shot.
it doesnt
have to be ...
microphone socKs
one of the prime rules when we are on the road is
pack as much as you can into as little space as possible. among the first space-takers to go were the
fancy padded boxes for our hand microphones. over
time, the microphones began looking as though they
had been mistaken for bones and munched by a very
large dog.
our solution was to send them back to the factory for resurfacing and then store them in old athletic
socks. We still carry them loose in the audio case,
but now they are protected from scratches, nicks and
large dogs.
did i maKe
that shot?
One of the best time- and laborsaving tips i ever received came early
in my career. it is simply this: it
doesnt have to be, it just has to look
like it is.
Once i got that through my head, i
no longer found it necessary to clean
and light a whole office when i was
only shooting a talking head against
one wall. it was no longer necessary
to hide a cable that was visible in the
room but not through the camera. it
was no longer necessary to wait until
the machine i was photographing
was actually working, as long as it
looked like it was working.
in other words, if it doesnt show
through the camera, it doesnt
matter, so dont spend time and
energy worrying about it.
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.
Video, teamwork
anywhere, anytime
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Learn
dv101
JAy HOlbEN
the carnet chronicles

Intelligence on International Production
Returning home from Canada. From left, camera operator Rachel Lippert, story
producer Brittany Flickinger, producers assistant/data wrangler/DIT McKena Maltby
and (bending over) director of photography Benjamin Molyneux
his months DV101 will deviate from my normal technological diatribes into logistics. im currently producing and directing a reality
show called My Hollywood about kids pursuing their dreams to break
into show business. The major leg of home visits for this show has me on the
road for 25 days from Alberta, Canada, to Manhattan, Pennsylvania, Ohio,
Tennessee and Florida.
Although ive shot in Canada once before, i did it a little surreptitiously,
flying into New york and driving across the border with an SuV full of
equipment, a producer and a cameraman. This show is a bit bigger. ive
got a crew of six: a DP, camera operator, sound mixer, story producer, my
assistant/DiT and our supervising producer. Weve got a substantial amount of
equipment (16 checked bags for each flight) and ive learned a ton while trying
to negotiate the logistics of moving the crew and equipment across the border.
My first concern: Did i need to get permits for my crew to enter and work
in Canada? in short, no. As a television production from America, with an
American crew being paid by an American production company, we were free
to enter Canada without a permit. Section 187 of the immigration and Refugee
Protection Regulation lays out the general criteria for entry as a business visitor.
As was explained to me by a representative of the Canadian General
Consulate in New york, the general criteria is as follows: There must be no
intent to enter the Canadian labor market, that is, no gainful employment in
52
Loading the van with gear. We needed to remove two rows of seats from a
15-passenger van to fit 16 checked bags and 10 carry-onsthe sum total of our
personal and production equipment for the trip.
Canada. The activity of the foreign worker must be international in scope, that
is, there is the presumption of an underlying cross-border business activity.
There is the presumption of a foreign employer: the primary source of the
workers remuneration remains outside Canada, the principal place of the
workers employer is located outside Canada, and the accrual of profits of the
workers employer is located outside Canada.
basically, since my crew is American, they are paid by an American
company, and they arent attempting to take Canadian jobs, they dont need a
permit. For some businesses in Canada, you have to apply for a labor Market
Opinion, which evaluates your impact on the Canadian business market. if
youre a benefit or are judged to have no impact, youre allowed to operate
with the lMO.
i was elated to learn i didnt need an lMO or a work permit for my crew.
What i didnt know was that i needed a carnet (pronounced kar-nay).
it was actually my sound mixer, Kevin bellante, who asked me, Are we
doing a carnet? just two days before we were getting on a plane. He asked
that and sirens went off in my head. i knew i had heard that word before. i
knew it had significance, but i couldnt remember what. A quick Google search
revealed that we were potentially in trouble.
A carnet is commonly known as a merchandise passport. it is, more or
less, a passport for your equipment. Countries frown on individuals traveling
abroad, purchasing expensive items like jewelry

and electronics, not paying sales tax, and then
bringing those items back into their home country.
The carnet, a customs document, helps smooth
the process of bringing professional equipment
temporarily into another country. The carnet
declares the ownership of equipment that is crossing
bordersproof that you had all the equipment
before you left the country, when you entered the
new country, when you left the new country and
when you re-entered the home country.
Carnets facilitate international business
by helping travelers avoid extensive customs
procedures and eliminating the payment of duties
and value-added taxes (minimum 20 percent in
Europe, 27 percent in China) on ineligible items.
While researching the carnet process, i
was fortunate to find a wonderful service:
CarnetsXpress.com, run by Tiffany Peterson. She
was able to facilitate a carnet for me same-day. i
provided a list of the equipment we were traveling
with, along with serial numbers and monetary
value.
The carnet consists of a folder of paperwork
that lists all of the equipment that is going to travel
Sign at the U.S. customs office in Edmonton, Alberta,

Canada. Be aware of the operating hours of the
customs office with regard to your flight time. Customs
officials wont open the office early to accommodate
your early flight.
with you. before you leave, take the carnet and

the equipment to your local Customs and border
Patrol office, where an officer reviews the carnet

and examines the goods to ensure they match the
carnet list. The officer then validates the carnet
document. i recommend doing this at least one
day before you travel.
A carnet is valid for one year from the date of
its issuance. Merchandise listed on a carnet can be
imported to and exported from any of the member
countries as many times as needed during this
time. The carnet can include more items than
youre traveling with. if you are making several
trips within the year that the carnet is validone
is a big trip, others are smalleryou should list all
of the equipment necessary for the big trip on the
carnet and then note the items that are on the list
but not included on a specific trip.
Equipment covered by carnets includes
commercial samples, professional equipment, and
items for tradeshows and exhibitions, as well as
ordinary goods such as computers, tools, cameras
and video equipment, industrial machinery,
automobiles, clothing, and gems and jewelry.
basic processing fees are determined by the
value of the shipment. Fees range from $225 to
(continued on page 56)
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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
V ideo format XAVC S format, MPEG4-AVC/H264 3.5" LCD screen
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,
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PMW-200
HD Shoulder Mount Interchangeable Lens Camcorder
XDCAM HD422 Camcorder
Exmor APS-C CMOS sensor (AVCHD /

MPEG2-SD) Supplied 18-200 servo
power zoom E-mount interchangeable
lens system Add lenses without being
locked on a lens brand or lens mount
Use Alpha A-mount lenses with
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Mechanical shutter Still Picture
3.5LCD Panel Record onto Memory Stick/SD/SDHC/SDXC/HXRFMU128 (Optional) Records on media card and FMU128 Simultaneously
Three 1/2" Exmor CMOS sensors

MPEG HD422 at 50 Mbps recording
HD422 1080p at 24 & 30 fps HD422
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14x zoom (servo/manual) lens
Dual SxS memory card slots
Four Channels of 16-bit audio
Supports MXF and XDCAM EX
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18x Canon HD L series lens
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Over and under crank
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Canon XF Codec - 4:2:2 color sampling
Multiple recording formats
Lens Optional
High-resolution VF and 4", 1.23 Mp LCD
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Page 2
DV101
(continued from page 53)
$380. Standard processing time is between one and
two working days, if the application and security
deposit are received according to the service
providers guidelines.
We needed to take all of our equipment and
the carnet to the U.S. customs office at the airport
before we checked in at the gate. This was a
struggle: we were flying out of terminal 2 at Los
Angeles International Airport and the customs
office is in terminal 4. The customs officer needs to
see all of the equipment so he can certify that its in
your possession when you leave the country.
When you arrive in the new country, that
countrys customs officer needs to sign the
counterfoil, a document in the carnet, to
acknowledge that the equipment entered the
country.
When you leave that country, take the
equipment to the local customs office so officers
there can inspect your equipment and sign the
counterfoil. One final signature is required by U.S.
customs when you re-enter the countryalthough
this step was done for me in Canada by a U.S.
customs officer and I didnt have to do it after
landing in the United States.
Its a somewhat confusing process the first time,
The carnet. The front includes the holder information (owner of the goods) and lists the ATA carnet countries. It must
not be altered or amended in any way. The back is a general list of merchandise and equipment. This list cannot be
amended, but it is possible to travel with partial shipments.
but if you understand why its necessary, following

the steps will be a lot easier. The alternative is that
the foreign country may make you post a bond
(up to 50 percent of the value of your goods) on
entering their country; that bond is, theoretically,
returned to you on your departure.

If youre planning on traveling abroad with
expensive equipment, be sure to look into a carnet
for your gear. Having one will save you a lot of
headache. dv
company Index
Academy of Motion Picture Arts and Sciences ..43
Adobe ...............................................10, 17, 34, 37
Altec Lansing .................................................... 58
AMC ................................................................... 44
Anton/Bauer ....................................................... 3
Apple ................................................16, 30, 34, 36
ARRI ................................................................... 14
Avid .............................................................. 18, 34
BBC .................................................................... 24
Blackmagic Design ..............................3, 9, 34, 36
Canon U.S.A. ....................................22, 28, 34, 38
Carl Zeiss ........................................................... 20
ClearCom ............................................................ 3
Communications Specialties ............................. 3
Company 3 ........................................................ 12
Comrex ................................................................ 3
Dalet Digital Media Systems .............................. 3
Decimator Designs ............................................. 3
Diamond Brothers ............................................ 38
Digimetrics.......................................................... 3
Digital Domain ................................................. 10
Digital Rapids...................................................... 3
Discovery Networks.......................................... 24
Dish Networks .................................................... 3
DSC Labs ............................................................. 3
EditShare ............................................................. 3
EFILM ................................................................ 12
FilmLight ........................................................... 17
Framestore .......................................................... 6
56
Gefen ................................................................... 3
Harmonic ............................................................ 3
Hot Rod Cameras ............................................. 38
International Supplies ..................................... 32
John Downer Productions ............................... 24
juicedLink ......................................................... 38
JVC..................................................................... 42
K-Tek.................................................................... 3
Kickstarter......................................................... 22
Kino Flo ............................................................. 23
Leader Instruments ..........................................42
Letus Direct ...................................................... 20
Light Iron .......................................................... 10
LiveU ................................................................... 3
Loyalkaspar ........................................................ 9
Marshall Electronics ........................................ 40
Matrox ................................................................. 3
Modern VideoFilm ............................................. 9
Nagra ................................................................. 58
Nat Geo Wild ...................................................... 9
NEP Trio Video ................................................. 10
Nexidia ................................................................ 3
OneRiver Media ............................................... 38
Optica Elite ....................................................... 38
Panasonic ............................................. 17, 20, 42
Panavision ........................................................ 34
Peerless AV ......................................................... 3
Plura Broadcast ................................................ 42
Post Factory ...................................................... 17
Preco.................................................................. 42
Promise Technology......................................... 17
RED Digital Cinema ................................... 26, 48
SanDisk ............................................................. 37
Shure ................................................................... 3
Shutterstock ...................................................... 48
Sigma Corp. of America ................................... 38
Small Tree ......................................................... 34
Softron Media Services ...................................... 3
Sony Pictures Studios....................................... 18
Squared 5 .......................................................... 30
Star Waggons .................................................... 12
Streambox ........................................................... 3
Syndrome .......................................................... 10
Technicolor PostWorks .................................... 17
Telestream......................................................... 34
Tennessee Digital Video .................................. 42
Teradek................................................................ 3
The Switch ........................................................... 3
Thomson Video Networks ................................. 3
Tiffen ................................................................... 3
TVLogic ............................................................. 42
Video Clarity ....................................................... 3
View Factor Studios .......................................... 38
Vislink.................................................................. 3
Wohler Technologies ......................................... 3
YouTube ............................................................ 10
Marketplace
Classifieds
the online
community for
digital video
filmmakers
www.myvideoedgemag.com
Call Susan Shores

212.378.0400 Ext. 528
Email: sshores@nbmedia.com
STAY ONE STEP AHEAD
log on to www.2-pop.com
and join today!
with newbay medias FRee electronic newsletters
FREE!
Sign up today by visiting www.nbmedia.com
advertiser index
Company
Adorama
page
Web site
21, 31, 49
adorama.com
Company
page
Web site
Kino Flo
12
kinoflo.com
Leader Instruments
41
LeaderAmerica.com
AJA
37
aja.com
Azden
23
azdencorp.com
Manfrotto
33
manfrotto.us
bhphotovideo.com
Owl Dolly
35
owldolly.com
Pixel Flow
51
pixelflow.com
Safe Harbor
39
sharbor.com
Shure
25
shure.com
Shutterstock
60
footage.shutterstock.com
Small Tree
27
small-tree.com
Sony Creative Software
29
sonycreativesoftware.com
Videoguys
19
videoguys.com
B&H Photo-Video-Pro Audio 54, 55

BeachTek
53
beachtek.com
Blackmagic Design
11
blackmagic-design.com
Canon
usa.canon.com/camcorder
Convergent Design
15
convergent-design.com
Dell
59
dell.com
Edelkrone
7, 8
edelkrone.com
Full Compass
46
fullcompass.com
Glidecam
43
glidecam.com
Zeiss
zeiss.com
JVC
13
pro.jvc.com
Zoom
45
zoom-na.com
57
Learn
produCtion diary
STEFAN SARGENT
love hz
This Is Not A Goodbye, My Darling, This Is A Thank You
emember your first GF or bF? Of course you do. Mine is Christina

McWilliams, a vision of 16-year-old loveliness. She gives me her
school pin. i give her mine. We hold hands, kiss and cuddle. im taking it slowly and then, poof, its over. She wants her school pin back. i cry for a
week. im through with girls.
FOR THE LOVE OF MIKE

in 1956 i am working at Radio 2uE. We have a new Altec
21b condenser mic. While her Saarinen curves might break
your heart, she is flat from 20 to 15,000 Hzthe perfect
blend of form and function. i am in love.
Kicking and screaming, i am conscripted into National
Service and taken away for military training. by chance,
i see a classified ad for my Altec princess. On my day off,
while my Air Force mates are pub crawling, im catching a
bus to meet the seller, bill Armstrong. i spend every penny
i have buying her. She is my first professional equipment
purchase.
When I come home at night, she will be waiting.
Shell be the truest gal in all this world.
Id rather have an Altec 21B to call my own,
Than a fickle-minded real live girl.
THERE WILL BE BLOOD
Lehrer. lehrer sings of drugs, sexual diseases and poisoning pigeons: all the
things that make life worthwhile.
JAZZ ME BLUES
in 1959, the princess, my friend Robert Parker and i drive to the Cootamundra
Jazz Convention. While Robert is recording the jazz using my Altec, im filming
the event with a new bolex H16.
A week later i marry wife #1. big mistake. i should have stayed true to my
princess.
EIGHT YEARS LATER
Altec 21B
condenser mic
My love sleeps under my pillow in the Air Force Nissen hut. My fellow
conscripts think im weird.
One night they try to take her away. i lash out and break the ringleaders
nose. Theres a lot of blood. After that no one dares to touch her or me.
Wife #1 is gone but i have my loyal

techie family: Altec, Presto, bolex,
clair and Nagra.
i make TV spots, pop videos and
full-length documentaries. i havent
dated a girl for six months.
Mike Pearce is a close friend. Come
on, Stefan, youve got to start taking
girls out again. Nope, it Hz.
Snap out of it. Ask the next girl who
comes to the door. you can do it.
On cue, knock knock. i fling open
the front door. My darling! At last ive
found you. i know i sound crazy but id
like to ask you out.
Oh dear, no. Im here to meet
my daughter, Tricia. She wants some
modeling work. You should ask her out.
HEY PRESTO
Out of the Air Force, i
buy a Presto 1C cutting
head, turntable and
lathe and build a mini
Abbey Road in my
mothers laundry. i
specialize in cutting
copies of impossibleto-get lPs.
My biggest hit
is The Songs of Tom
58
LOVE ME, LOVE MY NAGRA
Presto 1C cutting head
Two months later, Tricia and i are in Stefan and Tricia, 1968
london. im shooting TV interviews,
Tricia is recording the sound.
We meet Aussie friends. Have you got a sound studio? We want to record
The bee Gees Story. No, but i can build one. i have a great microphone, an
Altec 21b.
Robert, Tricia and i build Molinare. Twelve years later we have 40,000 sq. ft.
and 100+ employees, but my darling Altec has vanished, gone forever.
Princess, thank you: thank you for showing me that there would come a
time when i could eventually let you go. dv
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Intel Corporation in the U.S. and/or other countries.

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toolS and tEchniquES for thE crEativE PlanEt

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