Digital Video Magazine

digital
video
Shoot
Edit
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toolS and tEchniquES for thE crEativE PlanEt
February 2015
crEativEPlanEtnEtwork.com
Buyers Guide:
PortaBle
stor aGe
X Tech Focus: Blackmagic Design uRsA, GoPro heRo4 Black, canon eos c300
The moment a de-click makes you a cameraman.

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digital
video
vol. 23 | no. 2
02.2015
editors view
eDitorial
editorial director Cristina Clapp
cclapp@nbmedia.com
managing editor Katie Makal
kmakal@nbmedia.com
Web editor Sarv Kreindler,
skreindler@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
aDvertiSing
east coast sales manager Susan Shores
sshores@nbmedia.com 212. 378. 0400 Ext. 528
West/central sales manager Jeff Victor
jeffvictor@comcast.net 224. 436. 8044
europe sales director Sharifa Marshall
sharifa.marshall@intentmedia.co.uk +44 20 7354 6000
classified ad sales Susan Shores
sshores@nbmedia.com 212. 378. 0400 Ext. 528
art & proDuction

senior art director Nicole Cobban
associate art director Walter Makarucha, Jr.
production manager Davis White
703. 852. 4615 dwhite@nbmedia.com
advertising coordinator Caroline Freeland
cfreeland@nbmedia.com
circulation
group director, audience development Meg Estevez
circulation manager Kwentin Keenan
circulation customer service Michele Fonville
Streaming, Dreaming
he experimental video content thats being produced for online and mobile viewing today is just
amazing. Im so interested to learn about each
new development, new advance, new adventurewhether its an immersive site, a web series, an interactive touchscreen experience, a multiplatform advertising
campaign or a video-centric streaming app.
I think all video professionals should be aware of these advances, both technical and creative,
so Id like to recommend that you visit our sister site (videoedge.net) and subscribe (for free) to our
sister magazine, Video Edge, if youd like to further your education about web and mobile production,
distribution and education.
We produce the site, a weekly newsletter and a quarterly publication, all designed to keep you
informed about the advances in online video, including emerging technologies, groundbreaking projects,
business decisions and industry research.
Subscribe to the newsletter: www.videoedge.net/newsletter
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creativeplanetnetwork.com | 02.2015
Recipients of Second Annual Product

Innovation Awards Announced
recognizing product introductions that serve television, professional video and broadcast/online radio users,
our second annual product innovation awards were presented in december. the products were selected by a
panel of professional users from Digital Video magazine and the creative planet network of sites, as well as TV
Technology, Government Video, Video Edge, Radio World and Radio magazines. the 2014 winners are:
TV/Video:
aspera faspstream api
bitcentral core: news
elemental technologies delta
frontline communications vip vehicle integrated
power system
grass valley k2 dyno replay system
harmonic vos
kessler crane kessler second shooter
multidyne silverback fiber transport solution

pesa xstream c22
pixel power pixel power buzz
rts omneo omi & oki interface cards
sony pxW-x180 xdcam h422 camcorder
triveni digital digital streamscope mt-50 hdt
Radio:
rcs2go rcs
To read more about the winning technologies and download the awards guide, visit http://
goo.gl/6LtXqh
02.2015 | vol. 23 | no. 2
contents
20
looK
20
things Fall apart for Force Majeure Natural Disasters and the Dissolution of a Perfect Family
lust
28
24
ursa major blackmagic Develops a Comprehensive, Cost-Effective Cinema Camera
28
professional-Quality pov video Action Cam Advances in GoPros HERO4 black
learn
38 imaging innovations the Next New Class of Cameras and Sensors
44 epic editing How Director Angelina Jolies Unbroken Was Assembled
48 managing and moving your media tips for Preparing your Files (and
Formats) for Post
feature
38
16 Antarctica: A Year
on Ice
52 tips to clip
Recording the
Remarkable Environment
(and Real life) at the
South Pole
53 Inside Man Capturing the CNN Series with Canons EOS C300 and 5D
Mark iii
58 production diary: transmogrified look What theyve Done to My Studio, Ma
departments
32 buyers guide: Portable Storage

Digital Video (ISSN 2164-0963) 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 2015 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.
3
6
56
57
57
editors view
update
company index
classifieds
advertiser index
C A N O N C O L L A B O R AT I O N S
THE XA25 AS CO N FIGURED BY

THE CREW OF MAKER STUDIOS
SAM MACARONI
PRODUCER/DIRECTOR
// JESSICAH FILIPAS POST-PRODUCTION MANAGER // LAYNE PAVOGGI
IN FR A R E D S HOOT ING
DP/SHOOTER/DIRECTOR
RODE NTG -2 SHOTG UN M I C
BUI LT-I N WI -FI , G P S CO MPATI BI L I TY
M P 4 AND AVCH D CO D ECS

AT U P TO 1 0 8 0 / 60 P
2 0 X HD ZOOM LE N S
5-AXIS IMAGE STA B ILIZ AT ION
DUAL-FORMAT R ECO R D I N G
1/ 2.84 HD C MOS PR O S E N S OR
M ANFROT TO 5 0 3 TR I P O D
PE A R STONE D US M-1
UNIV E R SA L S HOC K MOUNT
Maker Studios is a next-generation media and technology company, home to some of the internets top digital content.
Partnered with over 50,000 content creators, Maker produces and distributes a wide range of content across variousgenres.
With tight turnarounds and unpredictable conditions, the compact XA25 HD Camcorder helps the Maker crew capture
incredible footage without disturbing the scene. Combined with the cinematic style and integrated workflow of the EOS C300
Cinema Camera, Maker is equipped with the tools to produce high-quality content in a fast-paced environment.
Watch the crew of Maker Studios discuss this configuration at: cinemaeos.usa.canon.com/xa25configured
GO WHEREVER THE STORY TAKES YOU

2014 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. All other products and brand names are registered trademarks, trademarks or service marks of their respective owners.
update
The V&A production crew consists of a director/producer, three camera operators, one A/V technician for audio and checking live streaming output, a web technician to help set
up the stream and web pages, plus a presenter for live interviews.
victoria and albert museum expands online video initiatives
he Victoria and Albert Museum

(V&A) in london is continuously working to engage the public and
expand its reach. Our online goal is
to attract and engage with a larger,
global audience, explains Andrew
lewis, V&As acting head of digital
media. We have found video to be
a very valuable tool for improving
interpretation of objects, exhibitions,
special projects and events, both onsite at the museum and online. it provides more in-depth information and
enables our online visitors to have a
live V&A experience, even if they are

not able to visit in person.
Although V&A has been producing
video content for years, including live
events, they had always turned to a
third party for live streaming. Recently,
the Digital Media Department looked
into the possibility of bringing this
function in-house. We needed
something that did as much as
possible in one unit, says Peter
Kelleher, motion media manager,
V&A. He found that the Newtek
triCaster incorporated a lot of the
features we were after, without having

to buy lots of [extra] components.
the V&A team purchased the
triCaster 460 live production
system to live-stream events, such as
fashion shows and talks on current
exhibitions, via the museums video
channels that are embedded on its
various web sites. in addition, the
V&A team uses triCaster to stream
content to projectors and screens
throughout the museum, and to
provide video feeds to external web
sites.
online
read more about the victoria and
albert museum at creativeplanetnetwork.com/current-issue
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update
news
take 2 Films uses

StorageDNA Archive
for Paddington
pseudo echo music video

shoots with blacKmagic
elbourne, Australia, production company Final Focus used the blackmagic Production Camera
4K to shoot a music video for the band Pseudo Echo, the title track off their new album,
Ultraviolet. Explains Adam Haywood, cinematographer and co-owner of Final Focus, We needed a 4K
camera due to the fact that the music video was shot entirely on greenscreen. this not only helped in
regards to the quality of the key, but it also gave us the ability to punch in for a closer shot without quality loss since the delivery was HD. the blackmagic Production Camera 4Ks images are amazing. Even
back in the edit suite i couldnt believe how good the shots looked.
ake 2 Films deployed StorageDNAs DNA

Evolution to manage data on the feature film
Paddington, which was shot in the 4:3 ARRiRAW
format. the films production team generated a
large volume of camera dataapproximately 2 tb
to 4 tb of content per day. the take 2 team used
DNA Evolution to archive, restore and access the
ARRiRAW frames directly from ltO ltFS tape.
in addition to significant performance
increases, DNA Evolution allowed us to do clipbased conforms directly from ltO tape for selected
VFX turnovers, which created some big workflow
advantages, says Adam Shell, post supervisor
for take 2 Films. DNA Evolutions web-based
interface made it simple for us to find exactly the
content needed and restore it directly from the
ltO tape.
in a city Fuses Footage From around the

world
he short film in a City, shot with Samsung NX1 cameras, depicts diverse experiences from
seven cities. Joseph Gordon-levitt, with his open collaborative production company hitRECord, enlisted his community of cinematographers, musicians and lyricists to create the short
film, curating the best crowd-sourced content to feature in the final cut.
We set out to make a film that speaks to a common experience, shared by millions of
people, but set in some of the worlds most diverse cities, Gordon-levitt explains. When
youre creating art, its
important to know
that your tools will
match your ambition
and that you can rely
on the technology
to enable, not limit,
your artistic vision.
Samsungs NX1 is an
awesome camera and
it allowed us to create
something
really
special.
Nicole Kidman as a taxidermist with her eye on

Paddington
online
extended versions of these articles are available at
creativeplanetnetwork.com/current-issue
update
news
Twitter Feed
4@moviemakermag
the safe and warm indoors and the cold
and sinister outdoors are stunning in Nuri
bilge Ceylans Winter Sleep ow.ly/
Hl5yP
4@Videographycom
the co-directors of Still Alice on finding
triumphs among tragedies ow.ly/2totNj
4@vulture
We talked to the Dardenne brothers about
two Days, One Night and how they work
together vult.re/17HyDOH
Bob, Kevin and Stuart star in Universal Pictures and Illumination Entertainments Minions.
4@CStathis7
New Duplass bros. jam! Check it! the first
episode of togetherness is on @youtube
youtu.be/RaMcJ5aSMik
illumination Adds Adderlink infinity for

Minions Workflow
4@rachsyme
So i spent four months watching Abbi
and ilana work and talking to them about
broad City and this is what happened
goo.gl/uAyldb
4@stereogum
Watch Childish Gambinos masterful, Hiro
Murai-directed video for Sober
bit.ly/1x3Hgwg
4@CrAaronHawkins
is this real life? John Waters made a
version of Pink Flamingos with a cast of
children, Kiddie Flamingos
nyti.ms/1xGVJ6w
4@CreatorsProject
Suspended liquids become cosmic
landscapes in Susie Sies new video
bit.ly/14NG8qu
4@bhphotovideo
Gotham from Above, exclusive interview
and in-air btS video with @vincentlaforet
goo.gl/xrN4xd
online
digital videos twitter feed is at twitter.com/
digitalvideomag
10
llumination Entertainment, producers of the Despicable Me films and the upcoming spin-off
Minions, invested in Adder technologys Adderlink infinity to increase its production capacities.
using the Adderlink infinity products, our editors are now able to set up for dailies or a review session on the Avid system in their edit bay and then bring up that system in the review suite without
interrupting any other sessions, explains illumination Entertainment it director Joe Stevano. Adding
Adders digital KVM switching solution to our editorial infrastructure has given us increased flexibility
in working on multiple productions.
FreeFlys movi m10

captures ReMAnd
Footage
hile shooting Remand, a mini-documentary directed by Andy Reale about

ugandas judicial system, cinematographer John
Pope toured ugandas largest maximum security
prison. Employing Freeflys MoVi M10 stabilizer,
he says he was able to capture profound cinematic images. With a Canon EOS C300 camera
and a variety of l-series zooms and primes, i
was able to work quickly with my assistant and
MoVi tech, tyson Vanskiver, to acquire intimate
images in a sea of bright, vivid yellow and orange
uniforms.
the camera stabilizer, Pope explains, allows
him to capture single, long takes, and to quickly
improvise. its small enough to fit in tighter

spaces and allows for extremely fast blocking,
shot composition and b-roll arrangement, he
adds.
Resolution Independence
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update
news
christopher webb creates bmw video with in-camera eFFects
inematographer and VFX technical director Christopher Webb captured the essence
of the bMW i8 with i8 illumination, a 60-second film realized entirely with in-camera visual
effects.
Webb and his team developed optical
mechanics, specialty camera motion rigs and
animated lighting units designed to evoke
the power and momentum of the i8 while it
remained completely stationary. My team
and i wanted to express our love of handmade
visuals, which are at the core of our work, Webb
explains. i feel that images created in-camera
really speak to viewers and awaken the creative
spirit.
Webb and his crew spent about two weeks
creating mechanical rigs and lighting effects
projected onto movable screens. they also
constructed large-scale moving lED units
to sculpt animated light around the vehicle
and send light into custom optics in front of
the camera. We wanted to create a sense of
atmosphere and motion, Webb says, though we had no sets and the car
never moved.
Webb captured both moving and still images of the i8 with a RED Dragon
6K camera. A Canon EOS 5D Mk iii was used for long exposure effects. Optics
included older Nikon specialty lenses. Camera motion was achieved with
gliders and nodal heads built by Myt Works and a motorized P+S technik
Skater dolly. the team also built custom rigs in-house and used motion
control systems from eMotimo and Kessler. Animation was captured with
Dragonframe stop motion software from DZED Systems.
Although we storyboarded and did extensive testing prior, we kept a
freedom to our process, continues Webb. Once we found our light and
12
action, we all worked together to improve the performance. Editor Jessica

Schoen then completed the edit, using original music by thomas Porter.
it was wonderful to create a film featuring the bMW i8, says Webb of the
project, which can be viewed on bMWs youtube channel. it has a unique
design aesthetic that is truly inspiring. im grateful for the opportunity to do
this work using in-camera visual effects, and hope that it inspires others.
Watch a behind-the-scenes look at the

creation of Illumination on Vimeo:
vimeo.com/110313246.
update
news
photo by atsushi nishijima
On the Creative
Planet Network
4ADVENTURE AND TRAVEL
CELEBRATED IN EXPEDIA SPOT

Michael Keaton in
Birdman or (The
Unexpected Virtue of
Ignorance)
rodeo Fx treatment adds (more) magic

to BIRdMAn
sing a combination of practical filmmaking and digital effects, director Alejandro

Gonzlez irritu and director of photography
Emmanuel lubezki, ASC, AMC, managed to make
Birdman appear as one seamless take. to help
realize irritus vision of a (seemingly) continuous
film, more than 75 visual effects artists from Rodeo
FX worked on the material. Rodeo relied on tools

including imagineer Systems mocha Pro and the
Foundrys Nuke to connect the shots. Explains VFX
supervisor Ara Khanikian, We had to make sure
every effect we did would start off seamlessly with
the plates, gradually transition into the effects, and
then return back to the original plates.
tNDV brings Multicamera Production to

Reality tV
s reality tVs ongoing success is tied to

the unusual and unexpected, the nontraditional approach of mobile production specialist
tNDV has proven an ideal match for programs
like The Real Housewives of Atlanta. the tNDV
staff works alongside single-camera production
teams to strategize and enhance diversity in coverage, employing long lenses, jibs, Steadicams
and robotic systemsall recorded independently, along with multitrack audio.
For The Real Housewives of Atlanta, the tNDV
team documented the opening of A Mothers
Love, a play written by Kandi burress, one of
the shows cast members. using a multicamera
production model, Nic Dugger, tNDV president
14
A new campaign for Expedia is designed

to entice viewers to take the trip of their
dreams. Directed by Cap Gun Collective
director tom Haines, the commercials
are set in and around tokyo, as one bold
young traveler has the time of her life
experiencing new foods, meeting new
people and even taking a turn at karaoke.
Says Haines, We wanted to communicate
the feelings of excitement that come when
you are out of your comfort zone.
4SHILO PROMOS NEW SEASON OF
THE WALKING DEAD

Shilo and director Jose Gomez created a
trailer for the return of AMCs The Walking
Dead that features the shows cast fighting
an unknown enemy through a thick fog in
the woods. the show producers came to
us with the idea that they wanted a trailer
that showed conflict without showing
zombies or the other human characters in
the show, explains Gomez.
TNDV also works on the reality show 19 Kids and

Counting, shown here.
and owner, and his team captured the nervous

energyand ultimate successof burress and
the rest of the cast as the play came to life.
online
go online to read more and view additional images
and video: creativeplanetnetwork.com/current-issue
update
news
Q&A
Spotlight:
crystal moselle
Director
The Wolfpack
JON SilbERG
hen filmmaker Crystal

Moselle learned about
the Angulo brothers bizarre circumstances, she was
drawn to make a film about them.
The Wolfpack, which premieres at
the 2015 Sundance Film Festival, is
a documentary about a group of siblings who possess an encyclopedic
knowledge of film but who, when
she met them, had never ventured
beyond the confines of their apartment in the projects of Manhattans
lower East Side, where they spent
their days watching and reading
about movies and staging favorite
scenes with handmade props and
costumes.
How did you come in contact with
the brothers?
Crystal Moselle: it started with me giving them lessons about filmmaking.
When i started learning more about their story and saw their apartment and
how they lived, i knew there was a deeper story there. i had to make a film about
them. then some things happened that changed their world and brought them
places theyd never been. they see the East River for the first time, and the
beachmany things we take for granted that they had never experienced
and i was there to capture it.
The Angulo family
Crystal Moselle
What kind of equipment did you use?

i started shooting with my Canon EOS 7D. its small and easy and it has a very
low profile when you take it out in public. i used the Canon 70-200, 24-70 and
16-35 lenses. And i kept it really simple. Nothing else that would make the
camera bigger.
After i had been shooting for a while, i cut some scenes together so people
could see how fascinating the brothers story is. We eventually received some
money from the tribeca Film institute and the Jerome Foundation. Canon
also helped the production by loaning me an EOS C100. that camera was a lot
better for the kind of documentary work i was doing. it just had a better grip.
it felt better. i shot in log C and the images looked better. And i was able to
record sound in-camera, which was very important to me. With the 7D i had
to record sound separately because the audio from the camera wasnt really
usable except as a guide track. With the C100 i could use wireless lav mics and
an onboard Sennheiser and record it all in-camera.
When you started, you couldnt have had any idea where the story was
going to end up.
i didnt. i knew it would be somethingif not a feature, then maybe just a short
piece. thats the beauty of documentaries. if youve got a camera and a way to
record sound, you can make a film. dv
15
Antarctica
A YeAr on Ice
16
Recording the Remarkable

Environment (and Real
Life) at the South Pole
bY John MerlI
ithout interruption since 1956, Americans have been studying

Antarctica and its interactions with the rest of the planet from
three permanent research stations there. New Zealanders have
been carrying out polar research in Antarctica since 1957. For many years, director/cinematographer Anthony Powell (Frozen Planet) has been conducting his
own Antarctic research, whose results were published theatrically last fall in the
form of the film Antarctica: A Year on Ice from Music box Films. the documentary is slated for blu-ray and streaming distribution this spring.
this cinematic study of life at the South Pole consists of imagery shot
over more than a decade, including over nine grueling winters. Principal
photography took place on Ross island near Antarctica, home to the u.S.
Antarctic Programs McMurdo Station and New Zealands Scott base, operated
by Antarctica New Zealand.
the project is not a nature documentary, per se. instead, it follows the
comings and goings of the men and women working in Antarcticaincluding
the early courtship and marriage of Powell himself to a colleague, Christine.
Powell says, A big part of the motivation for the film is just trying to show it from
the point of view of a regular person who knows the place, so other people can
appreciate what an amazing place it is and why i love it so much.
Powell chose to work with DSlR cameras (primarily Canon), grinding
through several models over the years of production. One of the many
challenges working in temperatures often hovering below -60 F was preventing
his eyelashes from freezing to his equipment, not to mention dealing with
frozen fluid head tripods and lCDs.
My first digital camera was a Minolta DiMAGE 7, Powell says. there are
a couple of shots in the movie that were done with the Minolta. back then,
intervalometers [for counting time intervals] were unheard of commercially, so
i had to design and build my own. After that i upgraded through a long line of
Canon DSlRs, starting with an EOS 20D that lasted about 14 months before i
wore out the shutter. My EOS 5D Mark ii recently had the mirror fail after quite
a few years of abuse, so as a temporary fix i wedged the mirror up with a bit of
plastic so i can at least shoot in live-view mode.
because several goals on Powells production wish list had never been
attempted in such harsh conditions over such a long period of time, the native
New Zealander quickly learned that the simplest solution is often the best.
Filming in the winter, i had to learn how to do it all myself through trial and
error. No one else had done it before, so that is another reason it took so long to
make the film.
He continues, With motion control systems, the very basic ones are the
most reliable. Direct-drive DC motors with metal gearing. Plastic gears become
brittle, rubber drive belts will go solid and snap, and lCD displays will freeze
and become unreadable. For dollies, Powell deployed a cart with large scooter
wheels, pulling it on open tracks (needed to keep them clear of ice build-up)
and using common fishing twine (and very much not nylon).
Antarcticas aurora australis (Southern Lights)
17
Fortunately for Powell, some of the movies

most dazzling scenes did not require a half-frozen
human working behind the lens. the film offers
several visually stunning time lapse segments
including one eight-second sequence where the ice
shelf meets the frozen sea ice that Powell says took
nearly five months to capture. He had to hike out to
the camera every three days to swap out the camera
batteries and memory cards. Another otherworldly
digital capture is the Southern lights, known as
aurora australis, the southern counterpart to the
Northern lights (aurora borealis).
to shelter his fixed cameras from the elements,
he would sometimes slide woolen hats and ski
masks over the units, which looked funny but
usually proved successful. After a while i gave
up trying to heat the cameras, since the power
demands were far too high for remote locations
where you have to manually haul batteries around.
As long as youre not shooting more than about
one frame every few seconds, the cameras kept
working happily down to about -40 F. He adds
that once ambient temps plunged to about -75 F,
things would get a bit weird with exposure values.
the jaw-clenching frigid air did provide at
least one bright spot: Powell found that extreme
cold helps reduce sensor noise in long-exposure
night shots. As for camera power supplies, Powell
typically relied on large 12-volt lead-acid gel cell
batteries running through a voltage converter to
Powell learned that you need to be careful about looking into camera viewfinders when you have ice built up on your
face and eyelashes. It is easy to freeze your eyelashes to the camera.
step down to the right voltage for the camera.

lead-acid may be bulky, but its the most reliable
in the cold, he says.
One significant challenge Powell and other
station staffers faced each winter didnt concern
production equipment, lack of food or fear of
frostbite. Polar t3 syndrome, a condition
Powell says of Antarctica, It is the last pristine wilderness left on the planet. The skies are clear and free of light
pollution, letting you see more stars than you can imagine. The auroras and nacreous clouds can fill the entire sky
sometimes. It is just breathtaking.
18
characterized by a reduced amount of thyroid

hormone t3 in people who spend an extended
time in Antarctica, may exhibit as short-term
memory loss, low energy levels, loss of vocabulary,
zoning out and staring into space, and forgetting
names of people or everyday objects like the salt on
the dinner table, Powell says. t3 is a generic term
we use to describe the symptoms almost all of us
begin to feel later in the winter.
After principal photography, Powell assembled
the film with story editor Simon Price at Park Road
Post in Wellington, New Zealand, using Adobe
Creative Suite. (Park Road was simultaneously
working on the New Zealand-based Hobbit films.)
the post house was responsible for all final online
editing, color grading, narration recording of
Powell with dialogue editor Chris todd, and the
theatrical surround sound mix. Park Road Post also
generated the films DCP.
tom Prebble served as sound designer. Original
music was composed by Plan 9, which performed
much of the original score.
in some ways Antarctica is a bit like living in a
monastery for a while. it gives you a very different
perspective on your life back home, Powell says.
you have very few possessions and its great. All
the clutter, all the noise, all the expectations of
modern society are removed. less can be so much
more. you get to focus on the important things in
life which, ultimately, are other people. dv
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Look
Force majeure
DEbRA KAuFMAN
things Fall apart For FoRce MAjeuRe

Natural Disasters and the Dissolution of a Perfect Family
seemingly perfect familyhandsome

businessman tomas, his beautiful wife
Ebba and their two blond childrenis
stressed to the breaking point in Force Majeure.
On a skiing vacation in the French Alps, the family is dining al fresco when theyre caught in an
avalanchethe force majeure of the title. tomas
instinctual response starts its own avalanche of
emotions and events that threatens the bond that
holds the family together.
Director Ruben stlund saysonly partially
jokingthat one of his two goals in making
this movie is to raise the divorce rate. behind
the provocation is stlunds clear-headed take
on the nuclear family, which he regards as a
dysfunctional artifact of the early 20th century. i
think we have to look at our lifestyle and our gender
expectations, and that lifestyle is so connected
to the wish to be married, he says. the nuclear
family is a much more fragile construction than the
extended, large family.
Winner of the Jury Prize in the Cannes Film
Festivals un Certain Regard section, Force Majeure
is a spot-onand often funnyexamination of
gender roles and family identity.
in his films, stlund has developed a style
that uses the camera as a means of highlighting
the triviality of even a dramatic moment. He first
explored that approach in a film that reconstructed
a robbery he witnessed. All my references for
robberies were American action movies, and what
i saw didnt fit how i thought it would look, he
explains. the robbers went to the wrong entrance,
and when they started shooting, nobody ran away
in panic but got closer to get a look. to capture
that absurdity in a real-time shot without cuts is
a good way to do it. As soon as you cut, you create
a hierarchy between whats important and whats
not. A single take brings a kind of humor, and thats
one aspect of my style.
stlund gravitated to cinematographer Fredrik
20
Wenzel after he heard him interviewed on a radio

program. Fredrik was talking about his earliest
artistic experience, when he was 12 and listening
to Norwegian black metal music, the director
recalls. He took his feelings for that kind of music
so seriously that it made an impression on me. And

then i saw The Burrowing, a film he made, and i
liked his attitude. they met and stlund found
that it was easy to communicate with him almost
immediately.
Left: A seemingly perfect family is stressed to the breaking point

in Force Majeure. On a skiing vacation in the French Alps, the
family is dining al fresco when theyre caught in an avalanche.
With his wife and children in a state of panic, Tomas chooses to
save himself. Although no physical damage is done, the family
bonds are shaken to their core.
Below: Director Ruben stlund says that one of his goals in
making Force Majeure was to create the most spectacular
avalanche scene in history.
21
The family: Tomas (Johannes Bah Kuhnke), Harry (Vincent Wettergren), Vera (Clara Wettergren) and Ebba (Lisa Loven Kongsli)
the deal was sealed on a weeklong location

scout in the Dolomites, a mountain range in
northeastern italy. We decided early on that there
shouldnt be any limitations to the cinematography,
no style or definite approach, recalls Wenzel,
but rather that we try to investigate from within.
So we sat and talked through the script, scene by
scene, going through each scenario, and the form
grew out of those conversations.
i knew shooting 30 to 50 takes of each setting
is common for Ruben, and wed do one or two
settings a day, Wenzel adds. its a slow tempo
but lots of material, and i proposed the [ARRi]
Alexa partly because of the economy of it. but
also i knew we would have an extreme amount
of highlights in the snow, and, in my experience,
the Alexa can handle the transition from light to
dark, and has organic qualities to it. And the Alexa
works well with textures and skin tones. Although
about 85 percent of the movie was shot with the
Alexa, the filmmakers used a RED EPiC for a few
scenes that were shot on skis.
For lenses, Wenzel chose Vantage Films Hawk
Anamorphics. i know many cinematographers
claim its not worth the hassle to go with
anamorphics, but there is a certain closeness to
the human eye in the way it bends in the corner, he
says. i was interested in the sensation of greatness,
bigness. thats a clich with anamorphics because
you usually use them for landscapes, but for me it
was more about the characters, even in an interior
room. its hard to describe, but to me it is so
22
obvious what it does with feeling.

stlund was extremely sensitive to anything
that distorts the image, Wenzel says. i was
concerned about artifacts, especially with the
bending of vertical lines. Ruben wants to shoot on
a 50mm lens; sometimes we had to work to place
the cameras height in relationship to the vertical
lines to minimize the artifacts. Wenzel reports
that he mainly used an 85mm and 55mm, with
occasional use of a 300mm spherical lens for some
zoom shots.
Force Majeure had a 60-day shooting schedule
with the full crew, then two weeks for additional
photography and pick-ups. the movies plot
pivots on an avalanche that threatens the diners
at an outdoor restaurant; that and a couple of
other scenes were shot on a set in Gothenburg,
Swedens second largest city. All the scenes in the
resort hotel were shot at a real Swedish ski resort,
Copperhill Mountain lodge, in the village of re.
the films exterior ski scenes were shot in the
French Alps at les Arcs, and the end scene of the
bus ride was shot in northern italys South tyrol
region.
All the exterior locations were quite
challenging, says stlund. to shoot on a
mountain exposed to the weather with small kids
wasnt easy. it was further complicated by the
fact that stlund wanted to shoot the skiers in
a white-out blizzard, as well as in heavy fog in a
scene in which the family loses track of Ebba, the
mother.
stlund says that his second goal in making

Force Majeure was to create the most spectacular
avalanche scene in history. We put a lot of work
into that scene.
We had to build the whole restaurant in a
studio and light it like it was a sunny day in the
Alps, says Wenzel, who credits the work of his
gaffer, tobias Henriksson. in the u.S., youre so
used to building these huge sets, but we dont
ordinarily have the resources to do so. i think we
had 120,000 watts burning, quite a lot of fixtures,
including four or five 18Ks, a couple of 12Ks and
a couple of 6Ks.
Most of the scene was done in-camera, using
snow cannons, wind machines and scaffolding
connected to hydraulic motors to shake the set.
We did a take and then it took 40 minutes to reset
and wed do it again, says Wenzel. it was seven
days of pre-lighting and a three-day shoot, so we
spent a lot of time on it.
Wenzel notes that shooting the avalanche
wasnt the most complicated part of Force
Majeure, however. the most challenging time, he
says, is when you start a film but before you find
that defining moment when the film really takes
off. We started out shooting the exteriors, but the
more subtle acting takes place mainly indoors.
For both of us, that defining moment came when
we shot the dinner scene. in that moment, it all
came together and we knew, wow, this is the film.
From then on, maintaining that level became the
challenge. dv
LuSt
review
blacKmagic ursa
NED SOltZ
ursa major
Blackmagic Develops a Comprehensive, Cost-Effective Cinema Camera
Quick Take
Product: Blackmagic URSA (EF
mount)
Pros: Exceptional image. Solid
build. Full complement of I/Os.

Global shutter. Slow motion up to
80 fps. Raw and 3:1 compressed raw
recording. ProRes options for either
log or Rec. 709.
i was present at the 2014 NAb Show last April when blackmagic
Design CEO Grant Petty introduced the uRSA 4K camera. While
the announced features and specs were certainly impressive, i was
a little put off by the size. Arent cameras supposed to be getting
smaller? Who is going to buy a 16-pound brick of aluminum with
a 10-inch screen? i wondered if blackmagic Design had made an
uncharacteristic misstep.
Cons: No true 4K, only UHD.

Potential for IR contamination in
bright sunlight with just ND filters.
Size and bulk for some. Cost of
media. Poor low-light capability.
Bottom Line: Image
quality and raw capabilities

far outweigh the negatives. It
is a great camera for shooting
commercials or an indie
feature. An indie shooters
dream, in fact, because its
affordability puts it within
reach of a broad market.
MSRP: $5,995 (EF mount),

$6,495 (PL)
Online: www.blackmagicdesign.
com/products/blackmagicursa
digital
video
Excellence
Award
24
then around thanksgiving 2014 i

was loaned an uRSA for review.
After 10 days of shooting, learning
and testing, i can tell you who
would buy a 16-pound camera
with giant screen: any filmmaker,
independent producer or
commercial shooter who needs
greater quality at a lesser price.
i received the demo camera
within days of blackmagics
introduction of firmware update
1.9.9, which offers support for 80
fps 4K uHD recording and a new
CinemaDNG 12-bit raw format
employing 3:1 compression that makes
raw shooting more storage efficient without
visible loss of quality.
blackmagic is currently shipping uRSA in Pl and
EF mount versions. the company has announced
but not yet shipped uRSA broadcast, which features
an ultra HD sensor and b4 lens mount, and uRSA
HDMi, a camera body without an image sensor
that offers an HDMi 4K input with mounting plate
so that the
user can use any HDMi
camera as a sensor head. My
test camera was the EF mount model.
the Pl and EF models of uRSA use the same
sensor as the blackmagic Production Camera 4K,
a 4K Super 35 image sensor with global shutter. it
supports ProRes HQ, ProRes 422, ProRes lt and
ProRes proxy recording at resolutions up to ultra
HD. it shoots uncompressed CinemaDNG raw
and, with the recent update, 3:1 compressed raw.
uRSA records to dual CFast 2.0 cards. CFast
media is somewhat scarce at the moment but
prices have dropped significantly. A 128 Gb
CFast card can be found for around $800,
about the same price as a comparable Sony
XQD card (also hard to find in stock) but
more expensive than SSD drives used in the
blackmagic 4K camera. Media costs need to
be considered when estimating the cost of a
complete system. blackmagic supplied two
128 Gb cards and a uSb 3.0 CFast reader for
this review.
i had noted excellent skin tones when
shooting with the blackmagic Production Camera
4K; uRSA showed similar strong performance here.
the cameras color science produces very pleasing
images, in fact, and reds actually appear red. i
did note that when shooting in bright sunlight
with external ND filters (uRSA has no built-in
ND), blacks looked a little brownish, indicating
iR contamination. it is easily overcome by using
iRND filters. Additionally, like the 4K camera,

pointing the camera at a bright light source could
produce that infamous black hole at the highest
concentration of light. this is caused by sensor
overload and has been observed in other CMOS
sensor cameras. Again, know that it can happen
and plan your shot accordingly. Or fix it in post.
the lack of internal ND filters is consistent with
the idea of uRSA as a bare-bones cinema camera.
it doesnt have paintbox controls because you
will be doing that work in post. to aid you there,
blackmagic includes a free full license of DaVinci
Resolve, a $1,000 value. (Resolve is included with
all of blackmagics cameras except the Pocket
Cinema Camera.) Within the camera, uRSA has
presets for white balance, iSO from 200 to 800, as
well as film (log) or video (Rec. 709) dynamic range
settings both for recording and viewing.
i spent most of my testing time shooting 4K
raw and 3:1 compressed raw because the greatest
strength of this camera is its raw capability. there
are many cameras that shoot ProRes or AVC
variants at resolutions up to 4K; my interest was
how well uRSA performs as an economical raw
digital cinema camera.
SHOOTING EXPERIENCE
uRSA is designed for multi-operator operationi
was particularly impressed with the viewscreens
25
26
photos by john brawley
on both the operator side (left) and dumb side

of the camerathough it will accommodate the
needs of the single shooter easily. using EF lenses,
iris is either automatic or controlled by buttons on
the camera body. the camera also can autofocus,
though that capability will be used rarely by
professional operators.
there is only one issue with shooting solo, and
its that audio metering is located on the dumb side
of the camera. if youre operating only from the left,
it is very difficult to see levels.
using uRSA as a two-operator camera was
a snap. in a scripted scene, i alternated with a
colleague as operator and first assistant camera. it
was easy to pull focus and monitor audio meters
while the operator got the shot.
And that 10-inch screen! What a pleasure to
compose a shot and check focus visually or with
the aid of zoom and peaking.
in ProRes shooting, there is the option of film
(log) or video (Rec. 709) recording. Only film
mode is available with raw recording. However,
in both raw and ProRes, viewing options are film
or videoi.e., as recorded or with a viewing lut.
uRSA outputs a logarithmic raw similar to ARRis
log C, as opposed to a linear raw. in fact, applying
an ARRi log C lut in DaVinci Resolve produces
very similar results to the blackmagic luts.
Recording 3:1 compressed raw 4K footage
produced an amazing image that did not show
artifacting on a uHD television. uRSAs compressed
raw files are only slightly larger than 4K ProRes HQ.
As an example, at 23.98 fps, a 128 Gb CFast card
holds about 16 minutes of 3:1 raw and 19 minutes
of ProRes HQ. (Check blackmagics site for a list of
recommended CFast 2.0 cards.)
As i mentioned earlier, version 1.9.9 of the
firmware added frame rates up to 80 fps, adjustable
in one-frame increments, when shooting
compressed raw. the slow motion is clean and
does not require appreciably more light than
shooting 60 fps.
like blackmagics 4K camera, uRSA has a
global shutter. No flash banding. i shot moving
vehicles and saw no skew.
the EF mount on my test uRSA worked with
Canon lenses as well as my tamron and tokina
lenses. the tokina 11-16mm, one of my favorite
pieces of glass, performed flawlessly with the
uRSAno vignetting even fully wide.
uRSA has two professional XlR balanced
analog audio inputs with switchable phantom
power. External power is via a standard 4-pin
XlR power cable. On the rear of the camera are

multiple screw mount points for adding V-lock
or Anton/bauer battery mount plates. there are
two SDi outputs: one 12G-SDi 10-bit 4:2:2 and one
3G-SDi downconverted for external monitoring.
Everything is well thought out and solidly
constructed.
POSTPRODUCTION
the postproduction workflow is greatly
facilitated by DaVinci Resolve. Simply copy those
CinemaDNG files to an edit station and import
into Resolve. Apply lut, if desired, and output in
an editing format to your favorite NlE. Edit and
bring back into Resolve for final grading. Working
in raw requires some degree of computing power

(both CPu and GPu), as well as ample fast storage,
but anyone who buys an uRSA would already know
that.
SUMMARY
the strength of the blackmagic solution is that
the company gives you what you need to shoot
4K uHD footage. the camera is well designed. i
think of it as minimalist in design and maximalist
in output quality. it is heavy, but experienced
operators will find it well balanced if mounted to a
third-party shoulder mount. the Pl or EF mounts
are not interchangeable, but blackmagic has said
that the whole sensor and mount assembly is userupgradeable if at some point blackmagic should
release a new sensor. the ability to upgrade the
sensor extends the cameras lifespan.
My skepticism turned to admiration. it is a
camera i would be thrilled to own and one with
which i could create a wide range of work. look
at the specs for yourself. i think blackmagic has
a winner with uRSA. if your work is in features,
commercials or shorts, uRSA is well worth your
consideration. dv
lust
gopro hero4 black
Steve Mullen
professional-Quality poV Video

Action Cam Advances in GoPros HERO4 Black
Quick Take
Product: GoPro HERO4
Black
Pros: Incredibly small and

lightweight. Large collection
of camera accessories
support a huge range of
activities.
Cons: Needs lots of
light to avoid video
noise. Problematic Wi-Fi
connection to GoPro
smartphone app.
Bottom Line: Perfect
for those applications for

which GoPro has gained
fame and built a worldwide
brand.
MSRP: $499.99
Online: shop.gopro.com/
cameras
GoPro is small enough to be mounted on a dog.
digital
video
Excellence
Award
28
Its been a good year for GoPro. First, a segment on 60 Minutes, which
has to be a first for a camera, followed by a $3 billion IPO. Contrary
to much of the companys marketing efforts, GoPro does not sell
POv cameras only to adrenaline junkies capturing their adventures
on skis, skateboards or bikes. Im seeing GoPro cameras used as
tiny HD cameras for reality television, webcasts (e.g., Jerry Seinfelds
Comedians in Cars Getting Coffee) and tv news magazines. GoPro
itself is pursuing new markets with its HeRO4 Black/Music kit.
in the fall of 2014, GoPro released the HERO4

family, which includes HERO4 ($129), HERO4
Silver ($399.99) and HERO4 black ($499.99).
HERO4 Silver and black are similar models, though
black alone offers 4K uHD video at 30 fps, 2.7K at 50
fps and 1080p at 120 fps. While Silver lacks blacks
higher-performance video capture modes, it offers a
touchscreen for camera control.
On one side of the camera, under a cover that
comes completely off and is likely to be lost within
a few hours, are Micro HDMi and Mini uSb ports,
as well as a microSD card slot. Check the GoPro web
site for a list of recommended cards. i purchased a
SanDisk Extreme Plus 32 Gb uHS-i/u3 (80 Mb/s
rating) microSDHC card that supports a write speed
up to 50 Mb/s.
My review HERO4 black shipped with its
traditional waterproofto 131 feetplastic case. i
would prefer it if black shipped with the standard Grading a GoPro clip with flat color in Blackmagic DaVinci Resolve
GoPro frame ($39.99), which provides easy access
to all ports and controls and enables the connection of a GoPro microphone (-2 to +2, in 0.5-step increments). in Protune mode, the HERO4 blacks data
adapter. this $19.99 adapter has a stereo female jack and supportswith the rate is 60 Mb/s.
HERO4 blackpopular mics including the Shure SM57/SM58, Countryman
i recommend the following:
lapel mics and Sony ECM-CS3.
Set a specific white balance color temperature.
When you power on a HERO4 by pressing the front button, information
use GoPro color.
is displayed on an incredibly small b&W screen. i found the information too
small to be readable, so i turned to the obvious solution: set up the camera
using the free GoPro Android or iOS app. Alas, the app required many tries to
register the camera. And only after many more tries did the camera and app
finally pair.
At this point i requested the $79.99 lCD touch bacPac from GoPro.
Frankly, i cant imagine not having a viewfinder on my camera, especially
now that GoPro has enabled photos to be shot using Protune. bacPac was a
joy to use.
the Protune shooting option
available on HERO4
Silver and black offers
a menu of additional
options, such as white
balance (auto, 3,000
K, 5,500 K, 6,500 K,
native), color (GoPro
or flat), video gain
limit (6400, 1600,
400), photo gain
limit (800, 400, 200,
100), sharpness (high,
medium, low), and
exposure compensation
GoPro HERO4 Black in standard

housing
Select a gain limit of 400 (which still yields

Frame rate
Fov setting
a fair amount of image noise. A limit of 200
24/30 fps superview
Wide
should be offered.)
24/30 fps
Wide
Employ high sharpness except when fine
24/30 fps
Medium
detail (like tree leaves) is in a scene. in
24/30 fps
Narrow
60 fps superview
Wide
that case, use medium sharpness to prevent
60 fps
Wide
excess aliasing.
60 fps
Medium
Set an exposure compensation of -0.5 in
60 fps
Narrow
high-contrast situations.
80 fps superview
Wide
the terms native and flat color are GoPro90 fps
Wide
created terminology. Native likely indicates that
90 fps
Narrow
no in-camera white balance color matrix is applied
120 fps
Wide
to the sensor output. GoPro is more definitive
120
fps
Narrow
about the term flat when they state, Due to its
log curve, flat captures more details in shadows
and highlights. (See my article about this in the when i shot at 60 fps, which makes
March 2014 issue of Digital Video.)
sense because NtSC video presents
if you hope to shoot 3840 x 2160 video, then the images (fields) at a rate of 60 per
HERO4 blacks ability to shoot uHD at 24 or 30 fps second. therefore, you have two
makes it an obvious choice over the Silver. both the choices: establish 60 fps as your
Silver and black offer GoPros SuperView function minimum frame rate (although
that works with frame sizes of 4K uHD, 2.7K, for fast motion you can shoot at
1920 x 1080 and 1280 x 720. in SuperView mode, 30 fps) or shoot 24 fps/30 fps by
the capture aspect ratio is 4:3. Non-proportional following these cinematographerhorizontal scaling then distributes pixels into a inspired rules:
recorded 16:9 frame.
1. Select only Wide (or SuperView)
Although it might seem SuperView is a super to keep the motion vector of a
wide mode, it isnt. its really a
super tall mode. Areas near the
edge of the frame are stretched
horizontally more than in the
middle area. Most HDtVs support
a similar function to fill their 16:9
display with 4:3 content. People
and objects become fatter/wider
as they move toward the edge of
the screen.
black can shoot uHD only at
low frame rates (24 or 30 fps). this
raises an issue that is relevant to
the other HERO4 formats. At low
frame rates, scene motion will
stutter unless you use a slow
shutter speed: 1/48th second for
24 fps and 1/60th second for 30 fps.
to prevent stutter, a videographer
first sets the desired shutter speed
and only then dials in the correct
exposure by adjusting the aperture
and, if necessary, gain (iSO).
unfortunately, GoPros cameras do
not have these controls.
i found motion to look smoothest Flat and native video corrected in Resolve
30
35mm Focal length

greater vertical view
14mm
21mm
28mm
14mm
21mm
28mm
14mm
28mm
14mm
28mm
subject moving through the frame at a
minimum.
2. Always use a stable mount
such as a tripodwhich also
dramatically decreases rolling
shutter artifacts.
3. Pan across a scene very
slowly.
4. Strive to keep moving
objects out of shots.
5. When a subject
is moving in a
scene, always
pan with the
subject.
the blacks
1920 x 1080 mode supports the
same 120 fps maximum frame rate
as the 1280 x 720 mode, so there is
no advantage to shooting with less
resolution. For slow motion shots,
choose 90 fps or 120 fps in Wide or
Narrow modes.
Selecting different FOV settings
on a GoPro camera is much like
choosing different focal length
lenses for a DSlR. However, as the
table above shows, the selection of
FOV options is determined by your
frame rate setting.
the HERO4 black performed
well in my testing. As long as there
is adequate light and you want a
very wide FOV, a GoPro camera
is a smart multipurpose choice.
Although GoPro has competition,
their brand name almost assures
continued success. dv
BUYERS GUIDE: PORTABLE STORAGE
Media Goes Mobile
In this months Buyers Guide we examine a number of options for portable storage, products engineered to let you move and manage your media,
whether youre in a remote location or just changing workstations. These systems keep your video stored and secured, whether youre assembling
a project with hundreds of hours of archived footage, recording in the wilderness or trekking through a South American jungle.
CineMatoGrapher takes iosafe

ruGGed portable to extreMes
Pascal DePuhl
In the middle of nowhere, I need my images and

footage to live safely on an indestructible set of
hard drives. There are no do-overs on these projects
and space is always at a premium when traveling
into remote places. The only external hard drives we
travel with are ioSafe drives.
Whether were filming on the Ucayali River after
a 16-hour ride on a banana boat (its nice to know
that the drives are waterproof in up to 30 feet of
water), flying in a small airplane up the Wakhan
Corridor in Afghanistan (resting easily, being sure
that the included data recovery system will enable
us to salvage this once-in-a-lifetime footage should
something happen to the drive) or just traveling with

any airline in the U.S., we are reassured that ioSafe
drives are protected from drops of up to 10 feet and
offer crush protection of 5,000 pounds.
ioSafe rugged drives are bus-powered, eliminating the need to carry a separate power supply. We
routinely bring our equipment into environmental
extremes, and knowing that ioSafe drives will work
as well at -25 and 10,000 feet up as in the 100 percent humidity and 90 heat of a South American
jungle makes them our go-to portable mobile storage solution for road trips, especially if there are
no roads.
Deep in the jungles of Peru, Depuhl downloads footage after

the days shoot to an ioSafe drive. All equipment is being
powered by solar batteries.
Pascal Depuhl is a professional photographer

and commercial cinematographer.
poMp&Clout breathes siGh of relief with

sMall tree storaGe
Pomp&Clout, a Brooklyn-based
design and media production company, recently had the opportunity to
work on a music video (Our Love)
for EDM artist Caribou. We filmed in
Ireland in 48 fps 6K (6144 x 3072) on
a RED EPIC Dragon, taking advantage
of the beautiful scenery that Ireland
provides, but it was a nervous flight
home given the less than stellar drives
we sourced while overseas.
We were able to breathe easier
once back in New York as a result of
our decision to install Small Trees
TitaniumZ-16 Ethernet-based shared
storage system. In the studio, we
blocked out the timing in Adobe Premiere using raw 6K footage directly
from the TitaniumZ-16 via 10 Gb Eth-
32
From Caribous Our Love
ernet connections on two of our workstations.

What was amazing to me was that
my creative director, Aaron Vinton, and
I could both work off of raw 6K footage
simultaneously while experiencing zero
lag. Whats more, other members of our
Ryan staake
TitaniumZ-16 rack
team were working on completely different footage from the TitaniumZ-16

at the same timeagain with zero lag.
The shared storage system works
flawlessly with all of the Adobe
Creative Cloud applications, as was
required at our facility where four
workstations, including an Apple Mac

Pro, two MacBook Pros and a PC
machine, are connected directly the
TitaniumZ without a switch to help
achieve lower latency.
Ryan Staake is executive producer
and director at Pomp&Clout
akitio thunder doCk: a Marvel

of Modern teChnoloGy
Raymond Singer
RaymonD singeR
Just like you probably were, I was pretty stoked to add a nifty Apple iMac to
my editing suite. Even more excited
to plug in a first-generation Mac Pro.
What a screamer. And Thunderbolt?
Wow, love that Promise RAID! But holy
catfish, Batman, what to do
with my trusty SATA RAIDs? Are they

on their way to a garage sale? How
do I get all my files over to the new
Thunderbolt
AKiTiO
Thunder Dock
RAID? Then theres the

material thats coming in
from clients on USB 3.0
drives. Im running out of
ports!
Enter the AKiTiO
Thunder Dock. (Trumpets
blare, drums roll!) This quiet little rectangle plugs into your Thunderbolt port
and gives you a second Thunderbolt
port, two USB 3.0 ports, a FireWire
800 port andheres the kickertwo
independent SATA ports to play your
legacy RAIDs with nary a grumble or
dropped frame! No, wait a minute, the
real kicker is that this little guy actually works the way you expect it to!
And keeps on working. Quietly.
To tell you the truth, I dont know
what else to say about the Thunder

Dock. It works reliably should be
enough (but dont forget the SATA
ports). My experience is that the others dont. Buy it. Its reasonably priced.
Use it. Your drives will hum and youll
be happy. Youll forget its there. Thats
how good it is. Seriously.
Raymond Singer is an actor, editor,
cinematographer and screenwriter.
His production company is called Cut
to the Story.
Skull Bound
TV relies on
nexto di baCkup
in the field
When DP Jim Kinsey is shooting an episode of Skull Bound
TV, a hunting and fishing show on the Sportsman Channel,
often he is in the middle of nowhere with no power (or even
running water) for days at a time. Under these conditions,
having a portable backup device that is fast, reliable and
efficient is critical. His backup system of choice? The
Nexto DI NVS2825 Video Storage-Air. On a recent shoot
in rural Montana, he was in a small pop-up trailer for five
days straight with no power, but he was still able to offload
footage from his Sony a7s, PMW-EX3 and Action Cam to
Jim Kinsey
the Nexto.
What I love about the NVS2825 is that its super fast
and reliable, says Kinsey. Time is money, and with the Nexto, you can just dump and go. The power lasts a long time: 120 minutes with the internal battery and an
additional 180 minutes with the external. The unit also verifies your data bit by bit so you know your footage is safe and secure. It accepts different types of media
and comes with all of the adapters you need. You can back up SxS and P2 directly, and CF, SD, SDXC and SDHC via adapter.
This is the ultimate way to offload all my files in the field. My Nexto never misses a beat!
33
axle video enables

worldwide aCCess to
video arChive
Meg Hanley is an independent filmmaker and video editor based in Long
Island, NY. Recently, Meg found herself
in charge of a video archiving project
involving thousands of hours of footage from a variety of legacy videotape
formats. The footage needed to be
accessible to colleagues around the
world via a web interface. Her hunt for
a solution brought her to axle Video.
Hanley found that an axle appliance, in conjunction with a transportable QNAP storage system, would do
exactly what she needed. Despite having no in-house IT staff and limited
IT technical experience, she created
a comprehensive and reliable archive

that is searchable, browse-able and
available for collaborative access.
Hanley uses axle as part of the aQ-12
bundle, which combines axles media
management solution with QNAPs
storage hardware. The whole system
weighs less than 15 pounds and is the
size of a toaster, yet holds 12 TB of
data. The system uses RAID 6, so failures of any drive, and even two drives,
will not result in data loss. It is connected via gigabit Ethernet to Hanleys
Mac and PC systems.
I love the system because it lets
me tackle a much bigger project than
Meg Hanley
I could otherwise on my own and without any professional help, says Hanley.
The axle browser interface presents
every video clip, music clip, photograph
and document of this extensive archive
in a very easily viewable and playable

format. My colleagues are able to get
their jobs done very simply and systematically from anywhere they can
get online, including mobile devices.
G-TECHNOLOGY
Rugged SeRieS
G-Technology is launching a series of rugged drive solutions they believe will appeal to creative professionals. The
G-DRIVE ev RaW with Rugged Bumper (1 TB) is a USB 3.0 bus-powered drive thats 35 percent lighter than the original
G-DRIVE ev and can survive a 1.5-meter drop. The removable all-terrain case (ATC) newly developed by G-Technology is
compatible with the Evolution Series G-DRIVE ev and G-DRIVE ev SSD; it can be purchased with the G-DRIVE ev RaW
drive as well. The ATC case protects enclosed drives from drops up to 2 meters and floats when dropped in water. (The
drive remains dry in ATCs watertight enclosure.) The case additionally protects from pressure, shock, water and dust.
www.g-technology.com
SAMSUNG ELECTRONICS
PoRtable SSd t1
The Samsung T1 is an external portable solid-state drive available in 250 GB, 500 GB and 1 TB capacities. The drive
has sequential read/write speeds of up to 450 MB/s with a USB 3.0 interface. Samsung reports that the T1 can
transfer a 3 GB movie file in 8 seconds and a 10 GB movie file in 27 seconds. T1 may be password-protected and uses
AES 256-bit hardware encryption. As it is an SSD with no moving parts, it has a greater tolerance for bumps and
drops. The unit is smaller than the average business card and weighs about 1 ounce. www.samsung.com
34
800-323-2325
Check out the new Videoguys.com YouTube Channel!

If youre looking for a video tutorial on the products we sell or
want to learn more about the new software licensing options
and sales then theres a good chance weve got a video for you!
www.videoguys.com
Whether youre a beginner or professional, our knowledgeable team is available to answer all of your questions before, during and after the sale. Well even stand behind our
recommendations with a 30-day money-back guarantee and FREE tech support a customer service policy unmatched in the industry! Check out Videoguys.com for our
complete product catalog, Video Tutorials and Guides, Daily Updates and Sales, System Recommendations for video editing & live production and more.
NEW! Avid Media

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G-Technology G-DOCK ev
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G-DOCK ev s the hub and it ships with two
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64995
vMix GO
Matrox Monarch HD
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99500
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Matrox Convert DVI Plus

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Genlock & Region-of-Interest
99500
Matrox Convert DVI Plus lets you downscale or upscale your

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Portable Live
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ts simple: EDIUS Pro 7 is the fastest and most versatile real time editing software4K,
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7,49500
Roland VR50-HD
Multi-Format HD Video Mixer with:
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Sorenson Squeeze 10 Desktop

Encoding Software
StreamStar WEBCAST LiTE 2
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AJA
Pak Media
Pak Dock with

Pak media
AJAs Ki Pro Quad recorder/player and CION professional camera both rely on SSD-based Pak storage.
Robust, high-speed, compact Pak media allows recording of 4K/UHD and 2K/HD as ProRes 4444,
ProRes 422 (HQ), ProRes 422, ProRes 422 (LT) and ProRes (proxy). Pak is available in 256 GB or 512 GB
capacities. Files saved on Pak can be easily offloaded to a Thunderbolt- or USB 3.0-enabled computer
via AJAs Pak Dock SSD media reader (sold separately). AJAs Pak Dock and Pak media are designed for
field use, featuring a rugged and reliable form factor. Unlike a bare SSD drive, AJA Pak media features
a multi-insertion-rated connector. www.aja.com
SILICON POWER
thundeR t11
Silicon Power has upgraded its Thunder T11 Thunderbolt external solid-state drive to a capacity of 240 GB. With the
update, T11 is newly available in starlight blue. Silicon Powers device delivers transfer rates up to 380 MB/s read
and 340 MB/s write in a slim, 2.3 ounce package. The bus-powered SSD is also available in a 120 GB version.
www.silicon-power.com
SONNET TECHNOLOGIES
Mobile Rack device Mounting kit
xMac Pro Server with Mobile

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Sonnets Mobile Rack Device Mounting Kit enables users to install one full-height or two half-height
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enclosure. Users can install a variety of devices up to 8 in length inside the mobile rack kit (such as
LTO tape drives, Blu-ray Disc burners, Sonnets Qio MR Thunderbolt Pro universal media reader, or
shuttle drive enclosures for 3.5 hard drives or 2.5 SSDs) and connect them to cards installed in the
Echo or xMac Pro Server chassis. An integrated 100W power supply powers the devices, while a quiet
80mm fan cools them. www.sonnettech.com/product/mobilerackkit.html
WESTERN DIGITAL
My PaSSPoRt ultRaMetal edition

This device features an elegant metal exterior, up to 2 TB capacity, content protection and cloud
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protection and remote sharing, the My Passport UltraMetal Edition drive includes WD SmartWare
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the drive and from the drive to the cloud, and retrieve content from their Dropbox account to the My
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36
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Learn
2014 in cameras
OliVER PEtERS
imaging innovations
The Next New Class of Cameras and Sensors
he design of a modern digital video

camera comes down to the physics of the sensor and shutter,
the software that controls colorimetry,
and smart industrial design to optimize
the ergonomics for the operator. Couple
that with a powerful internal processor and
recording mechanism and you are on your
way. Although manufacturing one is not exactly
easy, it no longer requires competencies that are
limited to the traditional camera manufacturers.
As a result, innovative new cameras have been popping up from
many unlikely sources.
the newest of these is aJa,
which delivered the biggest
surprise of the 2014 NAb Show
in the form of the CION 4K/
uHD/2K/HD digital camera.
Capitalizing on a trend started
by ARRi, CiON records directly
to the edit-ready Apple ProRes
format on AJA Pak solid-state
media. CiON features a
4K APS-C sized CMOS
sensor with a global
shutter to eliminate
AJA CION
38
ARRI Amira
ARRI Alexa 65
rolling shutter artifacts. AJA claims 12 stops of

dynamic range. CiON uses a Pl mount for
lenses designed for Super 35mm. CiON is
also capable of outputting AJA camera raw
at frame rates up to 120 fps. it can send out
4K or ultraHD video from its four 3G-SDi
outputs to the AJA Corvid
ultra for replay and
center extraction during
live events.
the darling of the
film
and
high-end
television world continues
to be arrI, with its line
of alexa cameras, which
includes the Alexa Classic as
well as Alexa Xt, Xt Plus, Xt M and Xt Studio

configurations. they vary based on features and
sensor size. Alexa Classic cameras have a maximum
active sensor photosite size of 2880 x 2160, while
the Xt models go as high as 3414 x 2198. Another
difference is that the Xt models allow in-camera
recording of ARRiRAW media. Alexa introduced
ProRes recording; all current Xt models permit
Apple ProRes and Avid DNxHD recording.
Alexa has been joined by the newer, lighter
amira, which is targeted at documentary-style
shooters with smaller crews. Amira is tiered into
three versions, with the Premium model offering
2K recording in all ProRes flavors at up to 200 fps.
ARRi has added 4K capabilities to both the Alexa
and Amira line by utilizing the full sensor size
using their Open Gate mode. in the Amira, this
3.4K image is internally scaled by a factor of 1.2 to
record a uHD file at up to 60 fps to its in-camera
CFast 2.0 cards. Alexa uses a similar technique
but records only the 3.4K signal in-camera, with
scaling to be done later in post.
to leapfrog the competition, ARRi also
introduced the alexa 65, which is available
Right: Canon EOS C300

Below: Canon EOS-1D C
through the arrI rental division. this camera

is a scaled up version of the Alexa Xt and uses
a sensor that is larger than a 5-perf 65mm film
frame. thats an Open Gate resolution of 6560
x 3102 photosites. the signal is captured as
uncompressed ARRiRAW. Currently data is
recorded on Alexa XR Capture Drives at a
maximum frame rate of 27 fps.
blackmagic Design, the
most unexpected camera developer
a few years ago, has since grown its
DSlR-style camera line into four
models: Studio, Production 4K,
Cinema and Pocket Cinema.
these vary in cosmetic style and
size, which formats they are able
to record and the lens mounts they
use. the Pocket Cinema Camera is
essentially a digital equivalent of a
Super 16mm film camera, but in a pointand-shoot, small-camera form factor.
the Cinema and Production 4K cameras
feature a larger Super 35mm sensor. Each
of these three incorporates ProRes and/
or CinemaDNG raw recording. the Studio
Camera is designed as a live production
camera. it features a 10-inch

viewfinder, and housing, accessories
and connections designed to integrate it into a
television studio or remote truck environment.
there is an HD and a 4K version of the Studio
model.
the biggest blackmagic

news of 2014 was the
introduction of urSa .
Compared to the smaller
form factors of the other
blackmagic Design cameras,
uRSA is literally a bear of a
camera. it is a rugged 4K camera
built around the idea of user-interchangeable
parts. you can get EF, Pl and broadcast lens
mounts, but you can also operate it without
a lens as a standalone recording device. its
designed for ultraHD (3840 x 2160) but can
record up to 4,000 pixels wide in raw. Recording
formats include CinemaDNG raw (uncompressed
and 3:1 compressed) and Apple ProRes, with
speeds up to 80 fps. there are displays on both
sides of the cameraa 10-inch fold-out picture
monitor on the left, complemented by two 5-inch
touchscreens, one on each sidethat can be
used for monitoring and operating controls. it
has a built-in liquid cooling system. As part of the
modular design, users can replace mounts and
even the sensor in the field.
Canon was the most successful company out
of the gate when the industry adopted HD videocapable DSlR cameras as serious production
tools. Canon has expanded its
offerings with the Cinema
EOS line of small
Blackmagic URSA PL
39
production cameras, including the C100, C100

Mark ii, C300 and C500, which all have a similar
form factor. Also included in this lineup is the EOS1D C, a 4K camera that retains the DSlR body.
the C300 and C500 both use a Super
35mm sized sensor and come in EF or Pl mount
configurations. the C300 is limited to HD recording
using the Canon XF codec. the C500 adds 2K
and 4K (4096 cinema and 3840 uHD) recording
capabilities, but this signal must be externally
recorded using a device like Convergent
Designs Odyssey 7Q+. HD signals are
recorded internally as Canon XF, just like on the
C300.
the Canon eOS C100 and C100 Mark
II share the design of the C300, but they record to
AVCHD instead of Canon XF. in addition, the Mark
ii can record MP4 files. both C100 models record to
SD cards, whereas the C300/C500 cameras use CF
cards. the Mark ii features improved ergonomics
over the base C100 model.
the Canon eOS-1D C is included here
because it can record 4K video. Since it is also
a still photography camera, the sensor is an
18-megapixel full-frame sensor. it uses a Motion
JPEG codec when recording 4K video, but for
HD, it can also use the AVCHD codec. the big
plus over the C500 is that the 1D C records 4K
to onboard CF cards, so it is better suited to
handheld work.
the EOS 5D and 7D DSlR cameras that
started the craze for Canon continue to be
popular. the range now includes the eOS 5D
Mark III and the new eOS 7D Mark II,
as well as several versions of the consumeroriented eOS rebel DSlR camera. All are
outstanding still photography cameras. the 5D
features a 22.3-megapixel CMOS sensor and
records HD video as H.264 MOV files to
onboard CF cards. thanks to its sensor size
(35.8mm x 23.9mm), the 5D is still popular
for videographers who want shots with an
extremely shallow depth of field from a
handheld camera.
Digital bolex has become
a Kickstarter success story. the
companys out-of-the-box thinkers
coupled the magic of a venerable
name from the film era with innovative
design and marketing to produce the
Digital bolex D16 camera. its
form factor evokes the design of smaller handheld
film cameras from an earlier era, making it ideal for
40
Digital Bolex D16
run-and-gun documentary production. it features

a Super 16mm sized CCD sensor with a global
shutter and a reported 12 stops of dynamic range.
the D16 records in 12-bit CinemaDNG raw to
internal SSDs, but media is offloaded to CF cards
or via uSb 3.0 for media interchange. the camera
comes with a C mount, but EF, MFt and Pl lens
GoPro HERO4 Black
mounts are available. Currently the resolutions

include 2048 x 1152 (S16mm mode), 2048 x 1080
(S16 Eu) and HD (16mm mode). the D16
records 23.98, 24 and 25 fps frame rates; variable
rates up to 32 fps in the S16mm mode are coming
soon.
Digital bolex offers a line of accessories that
complements the D16s retro design aesthetic,
including sets of Kish/bolex 16mm prime
lenses. these fixed aperture f/4 lenses
are C mount for native use with the D16
camera. Digital bolex also offers the
D16 in an MFt mount configuration
and a monochrome version.
the versatility of miniature
GoPro cameras, coupled with their
attractive ratio of quality to price,
has made the HERO line a staple of
many productions. the company
continues to advance the product line:
HerO4 black and Silver models
are the latest additions. the cameras
are similar, though black alone offers
4K video at 30 fps, 2.7K at 50 fps and
1080p at 120 fps. While Silver lacks blacks
higher-performance video capture modes, it
offers a touchscreen for camera control.
As photo cameras, both HERO4 models use
a 12-megapixel sensor and are capable of 30
frames a second in burst mode and time lapse
intervals from 0.5 to 60 seconds. the video signal
is recorded as an H.264 file with a high-quality
mode thats up 60 Mb/s. MicroSD card media is

used. HERO cameras, popular for extreme pointof-video shots, may be outfitted with a waterproof
housing good for 40 meters. the HERO4 series
offers more manual control, new nighttime and
low-light settings, and improved audio recording.
Nikon D810
Nikon actually beat Canon to market with

HD-capable DSlRs but lost the momentum when
Canon capitalized on the popularity of the EOS
5D. Nevertheless, Nikon has its share of supportive
videographers, thanks in part to the quantity of
Nikon lenses in general use. the Nikon range of
high-quality still photo and video-enabled cameras
falls under Nikons D series product family. the
Nikon D800/800E camera has been updated to
the D810. this is the camera of most interest
to professional videographers.
its a 36.3-megapixel still photo camera that can

also record 1920 x 1080 video in 24/30p modes
internally and 60p externally. it can record up to
9,999 images in a time-lapse sequence. A big plus
for many is its optical viewfinder. it records H.264/
MPEG-4 media to onboard CF cards. Other Nikon
video cameras include the D4S, D610, D7100,
D5300 and D3300.
Panasonic used to own the commercial
HD camera market with the original VariCam HD
camera. theyve now reimagined the brand
with the VariCam 35 and
VariCam HS versions. the new
Panasonic
VariCam 35 with
recorder
VariCam uses a modular configuration, with each

of these two cameras using the same docking
electronics back. in fact, a customer can purchase
the VariCam HS head, VariCam 35 head and one
camera back and will essentially own both models
for less than the total cost of two cameras.
VariCam 35 is a 4K camera with wide color
gamut and wide dynamic range (14+ stops are
claimed). it features a Pl lens mount, records
from 1 to 120 fps, and supports dual recording. For
example, you can simultaneously record a 4K log
AVC-intra master to the main recorder (expressP2
card) and 2K/HD Rec. 709 AVC-intra/AVC-Proxy/
Apple ProRes to a second internal recorder
(microP2 card) for offline editing. VariCam
V-Raw camera raw media can be recorded to a
separate Codex V-raW recorder, which can be
piggybacked onto the camera.
the Panasonic VariCam HS is a 2/3-inch
3MOS broadcast/EFP camera capable of up to 240
fps of continuous recording. it supports the same
dual-recording options as the VariCam 35 using
AVC-intra and/or Apple ProRes codecs, but is
limited to HD recordings.
With interest in DSlRs still high, those
considering Panasonic solutions will look at the
Lumix GH4. this camera records 4K (4096)
and 4K uHD (3840) sized images as well as HD. it
uses SD memory cards to record in MOV, MP4 or
AVCHD formats. it features variable frame rates
(up to 96 fps), HDMi monitoring and a professional
4K audio/video interface unit. the latter is a dock
that mounts to the bottom of the camera and
includes XlR audio and SDi video connections
with embedded audio and timecode.
reD Digital Cinema started the push
for 4K cameras and camera
raw video recording with
the
original
RED ONE.
RED camera with 4K Broadcast Module
that camera is now available only in refurbished

models, as RED has advanced the technology
with ePIC and Scarlet cameras. both are
modular designs offered with either the Dragon
or Mysterium-X sensor. Dragon is a 6K,
19-megapixel sensor with 16.5+ stops of claimed
dynamic range, while Mysterium-X is a 5K,
14-megapixel sensor that claims 13.5 stops, but
up to 18 stops using REDs HDRx (high dynamic
range) technology.
the basic difference between EPiC and Scarlet,
other than cost, is that EPiC features more
advanced internal processing, and this
computing power enables a wider range
of features. For example, EPiC can
record up to
300 fps
at 2K, while Scarlet tops out at 120 fps at 1K. EPiC is

sold in two configurations: EPiC-M, which is handassembled using machined parts, and EPiC-X,
which is a production-run camera.
With the interest in 4K live production, RED
has introduced its 4K broadcast Module.
Coupled with an EPiC camera, you could record
a 6K file for archive while simultaneously feeding
a 4K and/or HD live signal for broadcast. RED is
selling studio broadcast configurations complete
with camera, modules and support
accessories as broadcast-ready
packages.
Sony has been quickly gaining
ground in the 4K market. its CineAlta
line includes the F65, PMW-F55, PMWF5, PMW-F3, NEX-FS700R and NEXFS100. All are HD-capable and
use Super
35 mm
Sony PMW-F55
Sony PXW-FS7
42
and low light. It can record up to 1080p/60

(or 720p/120) onboard (50 Mb/s XAVC S) or
feed uncompressed HD and/or 4K (UHD)
out via its HDMI port. It will record onboard
audio and includes such pro features as
Sonys S-Log2 gamma profile.
With any overview, theres plenty that
we cant cover. If you are in the market for
a camera, remember that many of these
companies offer a slew of other cameras ranging

from consumer to ENG/EFP offerings. Ive only
touched on the highlights. Plus there are other
companies, like Grass Valley, Hitachi,
Samsung and Ikegami, that make great
products in use around the world every day.
Finally, with all the video-enabled smartphones
and tablets, dont be surprised if you are recording
your next production with an iPhone or iPad! dv
Sony a7s
sized image sensors, with the lower-end

NEX-FS700R able to record 4K raw
to an external recorder. At the highest
end is the 20-megapixel F65, which is
designed for feature film production.
The camera is capable of 8K raw
recording, as well as 4K, 2K and HD
variations. Recordings must be made on
a separate SR-R4 field recorder.
The PMW-F55 is the high-end
camera appropriate for most users
who choose Sony solutions. It permits
onboard recording in four formats:
MPEG-2 HD, XAVC HD, SR File and
XAVC 4K. With an external recorder, 4K
and 2K raw recording are also available.
Speeds up to 240 fps (2K raw with the
optional external recorder) are possible.
Sonys F5 is the F55s smaller sibling.
Its designed for onboard HD recording
(MPEG-2 HD, XAVC HD, SR File). 4K
and 2K recordings require an external
recorder.
The Sony camera that has caught
everyones attention is the PXWFS7. Its designed as a lightweight
documentary-style camera with a form
factor and rig thats reminiscent of an
Aaton 16mm film camera. It uses a
Super 35mm sized sensor and delivers
4K resolution using onboard XAVC
recording to XQD memory cards. The
PXW-FS7 delivers XDCAM MPEG-2 HD
recording (now) and ProRes (with a
future upgrade). Raw recording will be
possible to an outboard recorder.
Sony has not been left behind by the
DSLR revolution. Its mirrorless a7s
has a 12.2-megapixel, APS-C sized fullframe sensor thats optimized for 4K
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Learn
unbroKen
OliVER PEtERS
epic editing
How Director Angelina Jolies Unbroken Was Assembled
ome films might be hard to believe if it

werent for the fact that the stories are true.
Such is the case with Unbroken, Angelina
Jolies largest studio film to date as a director.
Unbroken tells the amazing true story of louis
louie Zamperini, an American who broke speed
records at the 1936 Summer Olympics in berlin
and went on to serve as a bombardier on a b-24
in the Pacific during World War ii. the plane went
down and Zamperini and two other crew members (one of whom subsequently died) endured
47 days adrift at sea. they were picked up by the
Japanese and spent two years in brutal prisoner of
war camps until the war ended in 1945. Zamperini
came home to a heros welcome, but struggled with
what we now know as post-traumatic stress disorder. With support from his wife and friends, and a
sense of spirituality gained from attending a 1949
billy Graham crusade in los Angeles, Zamperini
was able to turn his life around. He went as far as to
travel back to Japan to make peace with his former
tormenters.
Since Zamperinis full life story could easily
take up several films, Unbroken focuses on his
early years and culminates with his heroic return
home after the war. Jack OConnell (300: Rise
of an Empire, Starred Up) plays the lead role as
louis Zamperini. Jolie pulled in a dream team
of creative professionals to help her realize the
films vision, including Roger Deakins, ASC,
bSC (Prisoners, Skyfall, True Grit), as director of
photography, Alexandre Desplat (The Imitation
Game, The Grand Budapest Hotel, The Monuments
Men) to compose the score and Joel and Ethan Coen
(Inside Llewyn Davis, True Grit, No Country for Old
Men) to polish the final draft of the screenplay.
ilM was the main visual effects facility. Rounding
out this team were tim Squyres, ACE (Life of Pi;
Lust, Caution; Syriana), and William Goldenberg,
ACE (The Imitation Game, Transformers: Age of
Extinction, Argo), who co-edited Unbroken.
44
Above: Zamperini (Jack OConnell) and Capt. Russell Allen Phil Phillips (Domhnall Gleeson) in Unbroken, which
follows the life of Olympian and war hero Louis Louie Zamperini, who survived in a raft for 47 days after a nearfatal plane crash in World War IIonly to be caught by the Japanese Navy and sent to a prisoner of war camp.
Below: In the camp, Zamperini was singled out by prison commander Mutsuhiro Watanabe (Miyavi, pictured at right),
known to the men as The Bird, for particular sadistic acts of mind games and brutality.
AUSTRALIA TO NEW YORK

the film was shot entirely in Australia during a 67day period starting in October 2013. the crew shot
ARRiRAW on Alexa Xt cameras, and dailies were
handled by EFilM in Sydney. Avid DNxHD 115 files
were encoded and sent to New york via Aspera for
the editors. Dailies for the studio were sent via the
PiX system and to Roger Deakins using EC3s eVue
system.
tim Squyres started work on the project in
October 2013, but he was based in New york, after
spending the first week in Australia. According

to Squyres, this was mainly a single-camera
production, although about one-third of the film
used two cameras. Any takes that used two cameras
to cover the same action were grouped in the Avid.
Angie [Jolie] and Roger were very deliberate in
what they shot. they planned carefully, so there
was a modest amount of footage.
While in New york, Squyres and his assistants
used three Avid Media Composer 7 systems
connected to Avid iSiS shared storage. this setup
grew to five stations when the production moved
to the universal Studios lot in los Angeles and
eventually eight when William Goldenberg came
on board in June 2014.
During production, Squyres was largely on his
own to develop the first assembly of the film. He
explains, i really didnt have extensive contact
with Angie until after she got back to l.A. After
all, directing on location is a full-time job, plus
theres a big time zone difference. before i was
hired, i had a meeting with her to discuss some
of the issues surrounding shooting in a wave
tank, based on my experiences with Life of Pi.
this was applicable to the section of Unbroken
when they are lost at sea in a life raft. While they
were in Australia, id send cut scenes and notes
to her over PiX. usually this would be a couple of
versions of a scene. Sometimes id get feedback,
but not always. this is pretty normal, since the
main thing the director wants to know is if they
have the coverage and to be alerted if there are
potential problems.
EDITOR INTERACTION
the first assembly of the film was finished in
February and Squyres continued to work with Jolie
to hone and tighten the film. Squyres says, this
was my first time working with an actor/director.
i really appreciated how much care she took with
performances. that was very central to her focus.
Even though theres a lot of action in some of the
scenes, it never loses sight of the characters. Shes
also a very smart director. this film has hundreds of
visual effects. She quickly picked up on how effects
could be used to enhance a shot and how an effect,
like CG water, needed to be tweaked to make it look
realistic.
William Goldenberg joined the team in June
and stayed with it until October 2014. this was
Squyres first time working with a co-editor. Since
the film was well past the first cut stage when
Goldenberg came aboard, the two handled their
duties differently than two editors might on other
films. Goldenberg explains, Since i wasnt on from
the beginning, we didnt split up the film between
us, with one editor doing the action scenes and
the other the drama. instead, we both worked
on everything very collaboratively. i guess i was
brought in to be another set of eyes, since this was
such a huge film. id review a section and tweak
the cut and then run it by tim. then the two of us
would work through the scene with Angie, kicking
around ideas. Shes a very respectful person and
wanted to make sure that everyones opinion was
heard.
Squyres adds, Each editor would push the
other to make it better.
this is usually the stage at which a film might
be completely rearranged in the edit and deviate
significantly from the script. that wasnt the
case with Unbroken. Goldenberg explains, the
movie is told partly through flashbacks, but these
were scripted and not a construct created during
editing. We experimented with rearranging some
of the scenes, but in the end they largely wound up
back as they were scripted.
THE ART OF CUTTING DIALOGUE SCENES
Editor Tim Squyres, ACE
Editor William Goldenberg, ACE
both editors are experienced Media Composer

users. One unique Avid tool used on Unbroken was
Script integration, often referred to as ScriptSync.
this feature enables the editor to see the script as
text in a bin, with every take synced to the individual
dialogue lines. Squyres says, it had already been
set up when i came on board to cut a previous film
and was handy for me there to learn the footage. So
45
i decided to try it on this film.

Although handy, i didnt find
it essential for me because of
how i go through the dailies. i
typically build a sequence out
of pieces of each take, which
gives me a set of pullsmy
favorite readings from each
setup strung together in script
order. then ill cut at least
two versions of a scene based
on structure or emotionfor
example, a sad version and
an angry version. When ive
cut the first version, i try not
to repeat shots in building the
second version. by using the
same timeline and turning on
dupe detection, its easy to see
if youve repeated something.
Assembling is about getting
a good cut, but its also about
learning all the options and
getting used to the footage.
by having a few versions of
each scene, you are already
prepared when the director
wants to explore alternatives.
Goldenberg approaches
the raw footage in a similar
fashion. He says, i build up my Unbroken was filmed by cinematographer Roger Deakins, CBE, ASC, BSC, with ARRI Alexa XT cameras. Director Angelina Jolie is pictured
initial sequences in a way that with an ARRI camera.
accomplishes the same thing
that ScriptSync does. the sequence will have each common example. We had dozens of those. On the FINDING THE PACE
line reading from each take in scene order, going pure CG shots, we had pre-vis clips in the timeline. in a performance-driven film, the editing is all
from wide to tight. this results in a long sequence As more polished versions of the effects came in, about drama and pacing. Naturally Squires and
for a scene, with each line repeated, but i can these would be replaced in the sequence. Any Goldenberg have certain scenes that stand out
immediately see what all the coverage is for that temp editorial effects were redone in final form by to them. Squyres says, A big scene in the film
scene. When a director wants to see alternates for one of the VFX suppliers or during the films digital is when louis meets the head guard for the first
time. you have to set up that slow burn as they
any reading, i can go back to this sequence and intermediate finishing at EFilM in Hollywood.
in addition to temp effects, the editors also trade lines. later in the film theres a second
then its easy to evaluate the performance options.
used temp music. Squyres explains, At the face-off, but now the dynamic between them is
BUILDING UP VISUAL EFFECTS AND THE beginning, we used a lot of temp music pulled completely different. its a large, complex scene
SCORE
from other scores. this helps you understand without spoken dialogue, so you have to get the
Unbroken includes approximately 1,100 visual what a scene is going to be, especially if its a scene pacing right based on feel, not on the rhythm of
effects shots, ranging from water effects, composites designed for music. As we got farther into the cut, the dialogue. the opening scene is an action air
and set extensions to invisible split screens used we started to receive some of Alexandres temp battle. it was shot in a very measured fashion, but
to adjust performance timing. Squyres explains, cues. these were recorded with synth samples you had to get the right balance between the story
Although the editing was very straightforward, but still sounded great and gave you a good sense and the characters. you have to remember that
we did a lot of temporary compositing. i would of the music. the final score was recorded using the film is personal. you cant lose sight of that.
identify a shot and then my assistant would do an orchestra at Abbey Road Studios, which really
For Goldenberg, the raft sequence was the most
the work in either Media Composer or [Adobe] elevated the score beyond what you can get with difficult to get right. He says, you want it to feel
After Effects. the split screens used for timing is a samples.
epic, but in realitybeing lost at sea on a raft
46
Co-pilot Hugh Cup Cuppernell (Jai Courtney) steadies his plane, on which Army Air Corps 2nd Lt. Zamperini serves as a bombardier.
Breaking record after record across the nation, the 19-year-old Zamperini qualified for the 1936 Berlin Olympics. He had come within seconds of breaking the four-minute mile
when he enlisted for service in the war.
there are long stretches of boredom and isolation,

interrupted by some very scary moments. you have
to find the right balance without the section feeling
way too long.
both editors are fans of digital editing.
Goldenberg puts it this way: Avid lets you
be wrong a lot of the time, because you can
always make another version without physical
constraints. i feel lucky, though, in having

learned to work in the think before you edit
era. the resultmore thinkingmeans you
know where you are going when you start to
cut a scene. you are satisfied that you know the
footage well. i like to work in reels to keep the
timeline from getting too cumbersome, and i do
keep old versions in case i need to go back and
compare or restore something.

the film was produced with involvement by
louis Zamperini and his family, although he died
before the film was completed. Goldenberg sums
up the process: it was a thrill. louie was the type
of person you hope your kids grow up to be. We
were all proud to be part of telling the story for
louie. dv
47
Learn
preparing Files For post
OliVER PEtERS
managing and moving your media

Tips for Preparing Your Files (and Formats) for Post
he modern direction in file-based postproduction workflows is to keep your

camera files native throughout the entire
pipeline. While this might work within a closed
loop, like a self-contained Avid, Adobe or Apple
workflow, it breaks down when you have to move
your project across multiple applications. its common for an editor to send files to an Avid Pro tools
studio for the final mix and to a colorist running
blackmagic DaVinci Resolve, Filmlight baselight
or similar for the final grade. in doing so, you have
to ensure that editorial decisions arent incorrectly
48
Red Giant BulletProof is intended as a central location to organize, color correct and transcode camera media.
translated in the process, because the NlE might

handle a native camera format differently than
the mixer or colorists tool. to keep the process
solid, ive developed some disciplines for handling
media. the applications i mention are for Mac OS,
but most of these companies offer Windows versions, too. if not, you can easily find equivalents.
COPYING MEDIA
the first step is to get the media from the camera
cards to a reliable hard drive. its preferable to

have at least two copies (from the location) and
to make the copies using software that verifies
the backup. this is a process often handled on
location by the lowly data wrangler under less
than ideal conditions. A number of applications
will accomplish this task, such as imagine
Products ShotPut Pro and Adobe Prelude, but my
current favorite is Red Giant Offload. it uses a dirtsimple interface permitting one source and two
target locations. it has the sole purpose of safely

transferring media with no other frills.
PROCESSING MEDIA ON LOCATION

With the practice of shooting footage with a flatlooking log gamma profile, many productions like
the ability see the final, adjusted look on location.
this often involves some on-site color grading to
create either a temporary look or even the final
look. the task of creating the grade usually falls
to a Dit (digital imaging technician). Several
applications are available that will do the job,
including DaVinci Resolve, Pomfort Silverstack
and RED Redcine-X Pro. Some new applications
specifically designed for field use include Red
Giants bulletProof and Catalyst browse/Prepare
from Sony Creative Software. Catalyst browse is
free and designed for all Sony cameras, whereas
Catalyst Prepare is a paid application that covers
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these tools are all powerful, but frankly id
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aforementioned apps work as advertised; however,
bulletProof continues to have issues with proper
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im not a big believer in always using native
media for the edit, unless you are in a situation
with a fast turnaround. to streamline the process
of interchanging files between applications, it is
ideal to end up in one of several common media
formats, if that isnt how the original footage was
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and consistent metadata, including file

names, reel iDs and timecode.
the easiest common media format
is Quicktime using the MOV wrapper
and encoded using either Apple ProRes,
Panasonic AVC-intra, Sony XDCAM or
Avid DNxHD codecs. these files are
readable in most applications running
on Mac or PC. My preference is to first
convert all files into Quicktime using
one of these codecs if they originated as
something else. thats because the file
is relatively malleable at that point and
doesnt require a rigid external folder
structure.
Applications like bulletProof and
Catalyst can transcode camera files into
another format. Of course, there are
dedicated batch encoders like Sorenson
Squeeze, Apple Compressor, Adobe
Media Encoder and telestream Episode.
My tools of choice for transcoding
camera media are Squared 5s MPEG publicspace.net Better Rename is an all-purpose file renaming batch utility.
Streamclip (free) and Divergent Medias
EditReady. both feature easy-to-use batch on VideotoolSheds QtChange. this application from publicspace.net, which is a batch renaming
processing interfaces, but EditReady adds the lets you alter Quicktime files in a number of ways, utility. i use it frequently for adding, deleting or
ability to apply luts, change file names and export but i use it primarily to strip off unnecessary audio changing all or part of the file name for a batch of
to multiple targets. it also reads formats that MPEG tracks and bad timecode, then to embed proper files. For instance, i might append a production job
Streamclip doesnt, such as Canon EOS C300 files reel iDs and timecode. because it does this by number to the front of a set of Canon 5D files. the
(Canon XF codec wrapped as MXF). if you want altering header information, its able to process a point in doing all of this is so you can easily locate
the exact same point within any file using any
to generate a clean master copy, preserving the lot of files quickly.
the second tool in this mix is better Rename application, even several years apart.
log gamma profile as well as a second, lowerSpeed is a special condition.
resolution editorial file with a
Most NlEs handle files with
lut applied, then EditReady is
mixed frame rates within the
the right application.
same sequence and project,
ALTERING YOUR MEDIA
but often such timelines do
i will go to extra lengths to
not correctly translate from
make sure that files have
one piece of software to the
proper names, timecode and
next. Edit lists are interchanged
source/tape/reel iD metadata.
using EDl, XMl, FCPXMl
Most
professional
video
and AAF formats, and each
cameras will correctly embed
company uses its own variation
that information. Others, like
of the format. Some formats,
the Canon EOS 5D Mark iii,
like FCPXMl, require thirdmight encode a non-standard
party utilities to translate the
timecode
format,
allow
list, adding another variable.
duplicated file names, and not
Round-tripping, such as going
add reel iDs.
from NlE A (for offline) to
Once the media has been
color correction system b (for
transcoded, i will use two
grading) and then to NlE C
applications to adjust the file
(for finishing), often involves
metadata. For timecode, i rely VideoToolShed QtChange may be used to add timecode and reel information to QuickTime MOV files. several translations. Apart
50
from effects, speed differences in native

camera files can be a huge problem.
A common mixed frame rate
situation in the edit is combining 23.98
fps and 29.97 fps footage. if both of these
sequences were intended to run in real
time, then its usually OK. However, if the
footage was recorded with the intention
of overcranking for slow motion (59.94
or 29.97 native for a time base of 23.98),
then you start to run into issues. As long
as the camera properly flags the file so
that every application plays it at the
proper time base (slowed), then things
are fine. this isnt true of DSlRs, where
you might shoot 720p/59.94 for use as
slow motion in a 1080p/29.97 or 23.98
sequence.
With these files, my recommendation
is to alter the speed of the file first, before
using it inside the NlE. One way to do
this is with Apple Cinema tools (part of
Red Giant Softwares Offload is a single-purpose backup utility designed for efficient location use.
the defunct Final Cut Studio package,
but it can still be found). you can batchconform a set of 59.94 fps files to play natively the audio tracks using QtChange. they play slow deal with audio tracks in the same fashion. Often
at 23.98 fps in very short order. this should be anyway and so are useless in most cases where you camera files are recorded with multiple mono
audio sources, such as a boom and a lav mic
done before adding any timecode with QtChange. want overcranked, slow-motion files.
on channels 1 and 2. these may be interpreted
Remember that any audio will have its sample
either as stereo or as dual mono, depending on
rate shifted, which ive found to be a problem with AUDIO IN YOUR NLE
FCP X. therefore, when you do this, also strip off the last point to understand is that not all NlEs the NlE. Adobe Premiere Pro CC in particular
sees these as stereo when imported.
if you edit them to the timeline as a
single stereo track, you will not be able
to correct it in the sequence afterwards
by panning. therefore, its important to
remember to set up your camera files
with a dual mono channel assignment
before making the first edit. the same
issue crops up when round-tripping
files through Resolve. it may not
properly handle audio, depending
on how it interprets these files, so be
careful.
these steps add a bit more time
at the front end of any given edit,
but i guarantee they will give you a
better editing experience on complex
projects. the results will be easier
interchange between applications and
more reliable relinking. Finally, when
you revisit a project a year or more
down the road, everything should pop
back up, right where you left it. dv
Catalyst Prepare was designed by Sony for its cameras, but it also supports other camera brands.
51
Learn
tipS to CLip
DiCK REiZNER
Another example of thinking outside

the box was sent to us by police
training officer Dave Donaldson. He
was assigned to shoot a driver safety
video, but the parking lot he needed
had just been repaved and had not
yet been repainted.
Dave got some 3-inch-wide
masking tape from the local paint
store to create the necessary lines.
He says it adhered easily and the
tan color looked white in the final
program.
low-cost
lighting
inside the box

People are always saying we should think outside the box, so this column will share some of your unusual solutions
to common problems. During one of my Princess Cruise seminars, we had been discussing the many ways to
stabilize a camera when you dont have a tripod.
later, on shore, i was amused when one of the students, who was using her cameras self-timer to shoot a selfie,
told me she thought outside by thinking inside the box. She had placed her camera inside a phone box and was
adjusting the tilt by layering the shoulder strap under the lens.
portable sound booth

The Problem: you need to record voiceover narration in the field but your work area has a heavy echo.
The Tip: Craig Richens of Redwood City, Calif., says you can make a portable sound booth from a large foamlined equipment case. Place the case on a table with the hinge running vertically and put the microphone near
the hinge so the talent is speaking into the V of foam. Craig says he was able to get some very acceptable tracks
like this. When i was working as a news cameraman and we needed a quiet spot where the talent could read
voiceovers, we would just have him or her sit in our car with the windows rolled up.
protective
penny
The Problem: you have to attach a
c-clamp to a pipe or piece of truss but
you do not want to damage or scratch
the surface.
The Tip: normal procedure would be
to place a short piece of split pvc pipe
(see insert) around the pipe to protect
it. shawn finkelstein was setting lights
in san francisco and ran out of the
protective pieces. his answer was to
put a penny under the screw. the soft
copper took the hit without damaging
the truss.
52
putting it on
the line
i frequently hear from videographers

who say that they cannot afford
expensive lighting accessories. i say
its not money but imagination that
results in good lighting.
A commercial scrim is just a piece
of metal window screen in a fancy
holder that is put in front of a lighting
instrument to reduce its brightness.
you can easily cut pieces of screen from
the hardware store to fit your lights.
total cost: less than 10 cents.
Commercial lighting flags are
devices that are placed between a
light source and the subject. they
cast a shadow to keep illumination
off certain areas of the shot. you can
make your own by attaching a piece
of cardboard to a wire coat hanger.
the hanger is wrapped around a
light stand or other support and bent
to properly place the shadow. total
cost: free. Share your tip for low-cost
lighting by sending it to DVtips@
nbmedia.com.
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.
Learn
inside man
InsIde MAn
Capturing the CNN Series with Canons EOS C300 and 5D Mark III
osted and produced by documentary

filmmaker Morgan Spurlock, the CNN
series Inside Man is filmed across a wide
range of locations, requiring cameras that are rugged and mobile but also deliver a cinematic look.
Cinematographer David Vlasits chose Canons
EOS C300 and EOS 5D Mark iii cameras to capture
the action. He explains, We chose the Canon
EOS C300 for a number of reasons: the MXF
recording format, which is easy to deal with in
the field; the cameras two CF card slots that let us
record for 160 minutes straight using 32 Gb cards;
and the ability to record in Canon log, which
provided us with better dynamic range than we
could find with any other comparable camera. Also
we were able to get into places with the EOS C300
that we wouldnt have been able to with a larger
camera. its lightweight form factor aided my back
in the long run, considering how much footage we
needed to capture.
because Spurlock is frequently filmed driving
for the series, Vlasits depended on two Canon 5D
Mark iii cameras on rigid mounts inside the car.
this allowed us to get angles on the driver and
passenger sides that we wouldnt have been able
to get with a larger camera, while still maintaining
the cinematic look we were going for, he says.
they also enabled us to get shots from outside the
car without seeing the mounted cameras inside it.
A lipstick or other super-compact camera doesnt
have the dynamic range we needed and would
never match the shows visual quality.
Morgan moves very quickly, adds executive
producer/director Matthew Galkin. Although we
used the EOS C300 camera most of the time, there
were situations where we had to jump into the car
with him with no time to slow down and switch
the camera rig. the EOS 5D Mark iii is super
mobile and it enabled David to instantly hop into
the passenger seat and move around the car very
(continued on page 56)
David Vlasits shoots footage for Inside Man
Morgan Spurlock
53
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Learn
(continued from page 53)
easily. There are tremendous benefits in using both
the EOS 5D Mark III and the EOS C300, and the two
cameras cut together very well.
Another instance in which Galkin and Vlasits
experienced the benefits of having both the C300
and 5D Mk III cameras was during interviews.
When you are dealing with subjects who might
not necessarily be used to having a camera aimed
at them, the smaller the footprint you have, the
better, Vlasits says. The compact size of these
cameras added a lot to reducing our presence as
filmmakers and letting the subjects we interviewed
interact with us naturally.
Galkin and Vlasits cite the low-light capabilities
of both cameras as being essential not only for
interviews but for all aspects of shooting Inside
Man. Whenever you are dealing with vrit or
documentary, the pace of it doesnt necessarily
allow you to spend much time on lighting, Vlasits
notes. Lighting is usually minimal because you
dont want to distract from the interaction between
your subjects.
We put these cameras through their paces, he
continues. We filmed an episode in Nebraska in
tremendous heat and dust you would not imagine,
on a scale like the desert. We had no issues
David Vlasits
whatsoever with getting dust in the camera, or

with the cameras malfunctioning for any reason.
On the other extreme, we basically went from
that desert to what was practically the tundra, zero
degrees with a crazy blizzard in Helsinki, Galkin
adds. I think we had something like 120 shoot

days on this series, and we are probably averaging
eight to ten straight hours of shooting every day.
We got a lot of mileage with these cameras, and the
cameras held up beautifully. dv
company Index
Aaton ...............................................................43
Abbey Road Studios .......................................46
Adder Technology ..........................................10
Adobe ...................................... 18, 32, 46, 48, 58
AJA .............................................................36, 38
AKiTiO .............................................................33
Anton/Bauer ...................................................26
Apple ......................29, 32, 33, 34, 36, 38, 48, 58
ARRI ........................................... 8, 22, 26, 38, 45
Aspera ..............................................................45
Avid ......................................................10, 45, 48
axle Video ........................................................34
Blackmagic Design ......................... 8, 24, 39, 48
Canon U.S.A. ..........10, 12, 15, 17, 26, 39, 49, 53
Cap Gun Collective.........................................14
Christopher Webb Films ................................12
CNN .................................................................53
Codex Digital ..................................................42
Convergent Design .........................................40
Cut to the Story ...............................................33
Digital Bolex ....................................................40
Divergent Media .............................................50
Dropbox...........................................................36
DZED Systems ................................................12
EC3...................................................................45
EFILM ..............................................................45
eMotimo ..........................................................12
FilmLight .........................................................48
Final Focus ........................................................8
Freefly Systems ...............................................10
56
G-Technology ..................................................34
GoPro...................................................28, 40, 49
Grass Valley .....................................................43
Hitachi .............................................................43
hitRECord..........................................................8
Ikegami ............................................................43
Illumination Entertainment ..........................10
ILM ..................................................................44
Imagine Products ...........................................48
Imagineer Systems .........................................14
ioSafe ...............................................................32
Jerome Foundation.........................................15
Kessler Crane ..................................................12
Kickstarter .......................................................40
Larry Jordan & Associates ..............................58
Microsoft .........................................................50
Minolta ............................................................17
Molinare ..........................................................58
MYT Works ......................................................12
NewTek ..............................................................6
Nexto DI ..........................................................33
Nikon .........................................................12, 41
P+S Technik.....................................................12
Panasonic ..................................................41, 50
Park Road Post ................................................18
PIX ...................................................................45
Plan 9 ...............................................................18
Pomfort............................................................49
Pomp&Clout ...................................................32
Promise Technology .......................................33
publicspace.net...............................................50
QNAP Systems ................................................34
RED .......................................... 12, 22, 32, 42, 49
Red Giant.........................................................48
Rodeo FX .........................................................14
Samsung Electronics ............................8, 34, 43
SanDisk............................................................29
Sennheiser ......................................................15
Shilo .................................................................14
Silicon Power ..................................................36
Small Tree .......................................................32
Sonnet Technologies ......................................36
Sony Creative Software ..................................49
Sony Electronics ........................... 25, 33, 42, 49
Sorenson Media ..............................................50
Squared 5 ........................................................50
StorageDNA ......................................................8
Take 2 Films.......................................................8
Tamron ............................................................26
Telestream .......................................................50
The Foundry ....................................................14
Tiffen Steadicam .............................................14
TNDV ...............................................................14
Tokina ..............................................................26
Tribeca Film Institute .....................................15
Universal Studios ............................................45
Vantage Film ...................................................22
VideoToolShed................................................50
Western Digital ...............................................36
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PAGE
WEB SITE
Adder
43
adder.com
Adorama
49
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AJA
11
AKiTiO
Azden
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PAGE
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31
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Future Media Concepts
37
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www.aja.com
Ikan
13
ikancorp.com
www.akitio.com
JVC
19
www.pro.jvc.com
29
www.azdencorp.com
Kino Flo
27
kinoflo.com
www.bhphotovideo.com
NewTek
23
newtek.com
Shutterstock
60 www.footage.shutterstock.com
Videoguys
35
www.videoguys.com
Zeiss
www.zeiss.com
B&H Photo-Video-Pro Audio 54, 55

BeachTek
41
www.beachtek.com
Blackmagic Design
www.blackmagic-design.com
Canon USA
www.usa.canon.com
57
Learn
produCtion diary
StEFAN SARGENt
transmogriFied
Look What Theyve Done to My Studio, Ma
e all love larry Jordan, dont we?

larry is an industry guruwas an
editor, now an Apple FCP X and
Adobe trainer.
We meet up each year at the NAb Show. He
loves my Production Diary. i love his weekly
newsletter. these days he is obsessed with his new
studio, like a 6 year old at Christmas. it used to be
DtS preview theater, now its all his.
TOTALLY SMITTEN
its nice to see a grown man so in love with a new
toy. Of course, ive been there myself.
Way back in 1976, i have four sound studios in
london, called Molinare. like a crazy fool, i order
Ampex VPR-1 videotape recorders. And you know
what? When i order them, i never think about new
premises. 100,000 of video kit and nowhere to put
it but like larry, i am in love.
CAMELOT WITH COBWEBS

tricia and i wander the streets of london looking
for a video studio. One day she comes back, ive
found it and its brill! She is right! A huge, deserted
school building only two blocks away.
We pluck up courage and see the owners, the
Peachey Property Company. Humble and unworthy,
we have the keys to the great cobweb castle.
FOUR FLOORS, A BASEMENT AND A

STOWAWAY CAT
the door creaks open. We wander inside the
deserted building. Spiders run and hide. Papers
scattered up and down the never-ending stairs.
Empty rooms with remains of food and unwashed
coffee cups. Gulp. its dark, cold and scary. 20,000
feet of empty space, save for the mice, cockroaches
and a disheveled cat.
YES, WELL TAKE IT

Peachey quotes us 2 per square foot on a repairing
lease basis, meaning we take full responsibility
for the upkeep of the rundown building. then
the gob smacker: if your take over the adjoining
warehouse, well drop the rent to 1.
We now have 40,000 feet in central london and

a stray cat. Peachey later tells us they wanted the
place occupied and gave it away. they thought
wed last a year. Ha!
CUE THE HORSE

the first thing we do is move in and live in the
fourth floor gymnasium. Alan, our builder from
heaven, sandblasts the walls, floor and ceiling. We
find local kids and pay them cash to clean up the
mess. Mindy the cat has a shampoo and manicure.
Alan builds audio studios, edit suites and turns
the garage into a shiny new video studio.
Click! i take the photo. We buy the red Merc but
not the horse.
NOW N THEN
So here it is 35 years later, 2015. Molinare has
changed hands several times. the new owners,
headed by Steve Milne, have turned my garagecum-video studio into the largest preview theater
in Europe.
And hey, it does 3D stereoscopic color grading
hmmm, maybe i could book it for my 3D tall ship
doc? Just a thought. dv
Above: Then, 1980my

Molinare video studio
Right: Now, 2015same space
but now its a 3D stereoscopic
grading theater
58

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