scene to screen

scene to screen
issue number 16 spring 2005
the international magazine
for high definition production
broadcast update
Europe ready to launch HDTV
aerial action
high definition
scales new
heights
slow motion
capturing the
action in high
definition
HDV arrives
HD production
now available
for all
news
everything you ever wanted to know about high definition at
www.sonybiz.net/hdv
www.sonybiz.net/hdcam
www.sonybiz.net/hdcamsr
High definition is now affordable for all types
of production
As we report in this issue of scene to screen, high definition production is dramatically
increasing across Europe and the world, as the costs associated with full 1080-line HD are
coming into line with standard definition budgets. Plans by broadcasters in France, Germany,
Belgium, Scandinavia, the UK and elsewhere are well advanced to launch services in the next
12 months and consumers are being enticed with lower cost HD-compatible TV sets that
deliver superb pictures into the home.
Avidia posts with Xpri
Avidia was the first post house in Paris to adopt
the Xpri HD editing system and over 30 hours
of native HDCAM programming has been
created since it was installed last year.
Commercial director Stéphane Viguié says
they decided to take the Sony route to cater
for the growing market in HD post production.
Sony offers three powerful choices for HD production, allowing programme makers to
choose the right tools for the job, whatever the type of production. All three options deliver
a balanced blend of features and performances that are tailored to a wide range of real-world
production needs and budgets. This avoids a “one size fits all” compromise.
At the top end, HDCAM SR offers unparalleled picture quality and ultra-mild signal
compression for the most demanding production applications. Aerial camera specialists are
among the first providers to benefit from HDCAM SR (page 21), as are post houses working
on sophisticated green screen effects and digital intermediate.
HDCAM continues to prove itself as the ideal medium for television drama, documentaries
and commercials, offering superb HD picture performance while offering a convenient
choice of workflow options. Documentaries such as The White Diamond (page 16), dramas
like The Intruder (page 15), and light entertainment such as ProSiebenSat.1’s Oliver Pocher
show (page 6) all benefit from the flexibility and lower costs of HDCAM production.
And, as featured on page 12 and 13, new professional HDV camcorders are already being
used on various productions, offering 1080-lines HD recording onto a standard DV cassette.
Chris Dickinson
editor
contents
cover photo: The White Diamond
2
scene to screen spring 2005
“We didn’t want to lose business from
producers who were starting to work in HD.
The Xpri seduced us because clients can do the
whole post in one room, rather than go here
for special effects, there to conform, and so on.
By synthesising a lot of the problems that
documentaries face in post production, the
Xpri has enabled us to offer HD post
production at a reasonable price,” he says.
Avida’s HD work has mainly been for events
such as a performance of Der Rosenkavalier
opera in Zurich and the La Roque d’Antheron
piano festival in the South of France (above).
Marco Polo Films shot The White Diamond
with HDCAM and posted on Xpri 16
HDCAM is being used to create effective slow
motion at different frame rates 8
Broadcasters such as
TF1, BSkyB, Premiere
and ProSiebenSat.1
are preparing to
launch HD TV
services in Europe 4
Lower cost HDCAM
equipment makes
1080-lines high
definition production
more affordable
than ever 6
Pixcodelics animation
was created at
1080-lines for
international
distribution 5
Gedeon Programmes
makes documentary
Clipperton in HD 11
DoP Lou Berghmans
is shooting thriller
The Intruder with
HDCAM 15
www.sonybiz.net/hdcam
Star Wars: Revenge of
the Sith, which was
shot with Sony
HDC-F950 cameras
and recorded on
HDCAM SR, opens
May 19 2005
worldwide, reportedly
with a screening at the
Cannes Film Festival.
UK hire company
Hyperactive Broadcast
has purchased four
HDC-950 cameras
and the latest top end
4:4:4 HDCAM SR and
HDCAM switchable
recorders. The
company is also
buying fibre to triax
convertors for the
cameras, for stadia
with triax already laid.
Children’s channel Fox
Kids has shot a series
of idents in HDCAM
to relaunch itself as
the Jetix Channel. The
Jetix Challenge
features 12 shorts
lasting up to a minute
and were shot with
HDW-750P
camcorders hired from
London based, The
Cruet Company.
Satoyama: Japan’s
Secret Watergarden is
the latest natural
history production
from NHK shot with
the HDW-750
HDCAM camcorder
with various types of
lenses, including a
periscope lens and
endoscopic lens.
Top Form speeds
HD documentaries
Bulgarian feature on HD focus on great
US film director Michael Cory Davis and
Portuguese writers
Bulgarian facility Top Form Studio have shot one
of the fastest features ever made in HD.
Svetlana’s Journey was filmed in just six
days on an HDW-F900 HDCAM camcorder last
October, followed by six weeks in post.
Most of the filming took place at Top Form
on a purpose-built set, with the remainder shot
on location in the Bulgarian capital, Sofia.
Portuguese independent production company
Panavideo is currently producing four
50-minute documentaries shot with the
HDW-750P HDCAM camcorder about great
Portuguese writers alive today. Another
documentary follows the life of Júlio Pomar, a
celebrated Portuguese painter. All will be
screened on RTP 2 and on International RTP.
“The channel was pleased that we decided
to produce each documentary with an HD
camera that guarantees the best quality for
their archives,” explains António Almeida, the
director. “For each documentary we shot about
30 hours of HD video, and to do this on film
would be financially unbearable. It was basically
a cost/quality issue,” he adds.
“The major advantage of HD is we could
colour grade on set. It saved a lot of time in
post,” says Cory Davis, who estimates four
weeks were saved by using in-camera settings.
Producer Alex Rizov adds: “Without this
camera, we could not have done the movie in
such a short space of time. People were
impressed with the results at the screening.
I think we changed their perception of HD.”
New professional HDV camcorders are already
producing amazing results in 1080-lines 12
Live events and
concerts benefit
from Sony HD 18
HDCAM SR gives
4:4:4 recording for
aerial shoots 21
Sports events will
drive HD coverage in
Europe 19
Extensive updated
production directory
of HD facilities
22, 23 & 24
editor Chris Dickinson [email protected]
contributors Louise Bishop, Pippa Considine, Susanne Gerbert,
Rachel Miller, Andy Stout, Janet Anne West
art editor Karen Painter
executive editors Peter Sykes, Richard Lewis
publishing manager Jillian Chart
editorial offices
26 Carnarvon Road, Bristol BS6 7DU, United Kingdom.
telephone +44 (0)117 942 6977 fax +44 (0)117 907 0717
[email protected]
advertising queries
Please contact Kate Hale or Fiona Beath.
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[email protected]
Laguun GmbH in
Berlin has created an
entire production and
post production
workflow with
HDCAM HDW-750P
camcorders, HDCAM
recorders and Xpri
non-linear editing for
post production.
Jo Flaherty, senior vice
president technology
at CBS and the man
credited with
successfully getting
HDTV started in the
US, used a special
conference in London
in December 2004 to
call on Europe to unite
and agree a broadcast
standard of 1080-lines.
Presteigne builds HD
fly-away for Europe
Leading UK equipment hire company
Presteigne Broadcast Hire is creating Europe’s
first purpose-built high definition fly-away unit
incorporating the latest MVS-8000A multiformat digital switcher and a lightweight 34 x
LMD Series high definition LCD monitor stack.
The system is available with HDCAM VTRs and
the company’s HDC-950 HD cameras.
Presteigne also offers the HDC-T950 camera
head for remote recording.
“Companies are looking for a portable
production system especially for situations
when a full OB truck is not suitable. For
example, in remote locations where there are
no HD trucks, a limited production area, small
camera shoots, or longer term projects.
However, we do expect to hire this system to
OB companies who have specific projects in
mind,” says Mike Ransome, managing director
of Presteigne. “We expect demand to come
from a number of major sporting events in
2006,” he continues. “Also, with live concerts,
because of the sell-though market on DVD,
bands want to record in HD. There is also
demand from big manufacturers who want the
best quality pictures of their products on their
exhibition stand and in presentations. HD is a
growth market and we are supporting the OB
companies who are servicing that.”
Published by Small World Publishing Limited on behalf of
Sony Europe, Jays Close, Viables, Basingstoke, Hampshire
RG22 4SB, United Kingdom.
Contents copyright 2005 Sony Corporation. Reproduction in
whole or part is strictly prohibited. Permission may be granted
by application to Sony Europe, Marketing Communications.
No responsibility for loss occasioned to any person acting or
refraining from action as a result of the material in this
publication can be accepted by the authors or publishers.
Whilst information given is true at the time of printing, small
production changes in the course of our company’s policy of
improvement through research and design might not be
indicated in any specifications. Please check with Sony to
ensure that current specification and features match your
requirements. Sony and all Sony product names are
trademarks of the Sony Corporation. All other trademarks
are the property of their respective owners.
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spring 2005 scene to screen 3
transmission
ProSiebenSat.1 broadcast in HD the epic two-part
movie Die Nibelungen (left) and drama Pride (below)
in special transmissions at the end of 2004.
Broadcasters across Europe
are preparing HD services.
Chris Dickinson reports
“Today, the HDCAM format is, without doubt, the standard used by all
European producers and broadcasters to acquire and broadcast pictures”
Jean-Marc Philbert, TF1
HD takes to the air
In order to meet its high definition production
requirements, French broadcaster TF1 has
equipped itself with HDW-750P HDCAM
camcorders, HDW-M2000P HDCAM VTRs and
J-H3 compact players. The order also includes
HD monitors, with reference
BVM-D24 monitors, together with LMD Series
high definition LCD displays.
“Today, the HDCAM format is, without
doubt, the standard used by all European
producers and broadcasters to acquire and
broadcast pictures,” says Jean-Marc Philbert,
technical director at TF1. “With these recent
purchases of Sony HDCAM camcorders and
recorders, TF1 is confirming its strategy in the
development of HDTV in France”.
TF1 is leading the development of HDTV
services in France as part of the HD Forum,
which consists of French broadcasters,
manufacturers and Government. The HD
Forum recently reported on which standards
would be used, stating that 1920 x 1080-lines
was the preferred standard for production and
transmission.
Elsewhere in Europe, Premiere will start
broadcasting its first programmes in HD from
November 2005 onwards. The Munich-based
pay-TV operator says it will transmit HDTV
content on three dedicated channels for sport,
film and documentaries. The programmes will
be broadcast in digital format via the ASTRA
satellite system and on cable networks.
“Our subscribers are bound to be impressed
by Premiere HDTV. They will discover a new
dimension of TV”, says Premiere’s chief
executive officer, Dr Georg Kofler. “With
4
scene to screen spring 2005
HDTV, fans of cinema and documentaries will
be able to discern details that they would never
have been able to see before, in every sense of
the word. The picture is sharper and more
brilliant than either on DVD or the cinema
screen. Premiere HDTV brings sports
enthusiasts even closer to the heart of the
action during live transmissions. The dynamic
image reproduction reinforces the impression
of actually being there.”
Industry experts expect to see HDTV take
off in Europe in a big way over the next few
years, particularly in Germany, France and the
UK. Euroconsult in Paris forecasts sales of over
15 million HDTV compatible television sets in
Western Europe by 2008. “Until now, Europe
has been seriously trailing behind countries
such as the USA and Japan with regards to the
introduction of HDTV. It is therefore
particularly gratifying to see that Premiere will
be starting to broadcast HDTV programmes
via ASTRA as early as this year. This is an
important milestone in our concerted efforts
to promote the introduction of HDTV in the
most important European market for TV,”
remarks Ferdinand Kayser, president and ceo of
SES ASTRA.
German free-to-air broadcaster
ProSiebenSat.1 Produktion has already been
pioneering HD broadcasts. In October 2004 it
simulcast the innovative wildlife drama Pride in
SD and HD at 1080i/50 on Astra. Pride, made
by Downer Productions for the BBC and
ProSieben, stars a cast of lions.
Then in November, the broadcaster
simulcast Die Nibelungen, an epic two-part
movie about Siegfried, Brunhild and Princess
Kriemhild, played out in HDCAM SR at
1080i/50.
“Gaining practical experience with HDTV is
core to the mission of ProSiebenSat.1
Produktion of applying future-proof
technologies for practical, present-day
purposes,” says Dr Martin Emele, head of
technologies, ProSiebenSat.1 Produktion.
Meanwhile, BSkyB remains on track to
launch a package of HDTV services in 2006.
“We will be building and testing systems
through all of 2005 and as such will require a
number of external partner companies to
purchase equipment and develop systems
throughout the year to support the consumer
launch,” the company says.
for more on broadcasters’ HD plans, please visit
www.sonybiz.net/hdcam
distribution
International distribution and
co-production demands 1080-lines
production. Chris Dickinson reports
the lines have it
Brazil animation company MoP Brasil Digital’s 65
episode animated series Pixcodelics (above) has been
originated at 1080-lines and mastered on HDCAM.
When Brazil animation company MoP Brasil
Digital looked at creating a new 65 episode
animated series aimed at 8-12 year olds with
international appeal, producing at 1080-lines
high definition was an obvious choice.
“First of all, we know HD is the next
generation of TV and we’ve always wanted to
be on the cutting edge of technology and
quality,” says Federico Goldenberg, director of
business development, MoP Brasil Digital.
“When we started discussions with HD
broadcasters they liked the idea of an HD
animation. It meant we had to invest in a new
level of equipment, the render takes longer,
but we’re really happy to do it.”
Pixcodelics, is a series of 65 x 5 minute
episodes featuring a group of cyber-savvy kids
who must fight the evil Dr. Ping to save the
world. The animation is being created at
1920 x 1080 lines using 3D Studio Max,
outputting to HDCAM tape for distribution.
“The 1920 x 1080 format is a prerequisite
for the broadcasters in so much as the more
you can get in HD, the better it looks and the
better it is for us,” Goldenberg says. “Talking to
HD broadcasters, we get a better response at
1080-lines resolution.”
HDCAM 1080-lines resolution is the
accepted production and mastering format for
HD material worldwide. 24P HDCAM can be
played back at 25P, and 25P originated material
shot on an HDW-750P camcorder can be
replayed at 24P.
David Mercer, vice president and senior
analyst at consultants, Strategy Analytics, says
Japan and the US lead the way with
1920 x 1080-lines production. “Of the 30 US
primetime sitcoms in production today, all but
one are being produced electronically in
1920 x 1080-lines,” Mercer says.
Strategy Analytics says the number of
“Of the 30 US primetime sitcoms in production
today, all but one are being produced
electronically in 1920 x 1080-lines”
David Mercer, Strategy Analytics
homes receiving HDTV channels worldwide is
set to grow from 11.9 million at the end of
2004 to 24 million by the end of 2005 and
90 million by the end of 2008.
Paula Lumbard, president of the HD stock
footage company FootageBank in Los Angeles,
says all the demand is for 1080-lines HD.
Speaking at the Wildscreen 2004 wildlife
conference in Bristol, UK, Lumbard said:
“Ninety nine out of 100 people want 24P on
1080-lines. 720-line format is not in demand.”
FootageBank was founded in 2002 by
Lumbard as the first US stock footage company
focusing on HD native content.
Ellen Windemuth, executive producer and
distributor of wildlife programme Off The
Fence, also speaking at Wildscreen, said HD
makes it easier to sell internationally: “The
most important thing for any filmmaker when
considering whether or not to originate in HD
is never let the technology get ahead of the
story. But if that is compatible with what HD
can offer, it’s a wonderful thing to do. From an
international point of view, the film’s chances
of being pre-sold are very definitely enhanced
by originating on HD.”
For Hazel Wright, executive manager,
Television Music at BBC Worldwide, music and
arts programming also has to be shot in
1080-lines HD for international sales. Talking at
Broadcast magazine’s Engaging with HD
conference in London in February, Wright said:
“My job is to make sure that the programmes
the BBC wants to make we can take to the
world. The rest of world doesn’t want anything
that’s not HD anymore. If a programme has
got a shelf-life of more than a few months, it’s
got to be HD.”
Before Christmas, the BBC recorded Carols
From Kings in 1080-lines HDCAM, shooting
with Sony HDC-950 cameras and BBC Outside
Broadcast’s multi-format truck, after Discovery
HD Theater in the US agreed to take the
programme on the condition it could be
supplied in the format. “We were able to turn
it around for Discovery for the same day as the
BBC showed it and it worked and looked really
good,” Wright said.
Anouk Van Hoofstadt, director of
programming at Europe’s first HD broadcaster
HD1, formerly Euro1080, agrees that acquiring
on 1080-lines HD is the only way to go. Also
speaking at the Broadcast conference, Van
Hoofstadt said: “More and more production is
going for 1080i. 720P is going out. There’s no
difference in cost and the quality is less, so 720
is done for right now.”
spring 2005 scene to screen 5
budgets
lowering the barriers
Lower cost 1080-lines high
definition equipment makes HD
production more affordable than
ever. Louise Bishop reports
Comedian Oliver Pocher (top picture, opposite page)
is working with the HDW-730S in Zanzibar for
ProSiebenSat.1. Aquafilm’s In The Middle Of The
Worlds documentary (below and bottom, opposite).
“The HDW-730S will
help us because
international sales
require HD filming,
and on the post
production side the
cost is less than film”
Peter Kreutz,
Aquafilm
6
scene to screen spring 2005
Peter Kreutz of Aquafilm is an independent
film-producer based in Cologne, who develops
feature films and documentaries. As a freelance
he has also worked as a production manager on
international films such as Miramax’s Heaven,
but with his own company he likes to specialise
on smaller, more personal projects. “Working in
both large and small scale productions means
that you have to think differently and stay
flexible,” he comments. “Surprisingly, they do
mix well.”
Recently Kreutz bought the HDW-730S
HDCAM camcorder for Inmitten der Welten
(In The Middle Of The Worlds), a
documentary on Georgian music made for the
German/French TV-station ARTE, currently in
post production. The HDW-730S camcorder
produces high definition images at costs
normally associated with the production of
standard definition images. Its two shooting
modes (50i and 60i) are both interlaced,
shooting at 50 and 60 fields per second
respectively. This produces a clean high
definition picture ideal for programmes with a
lot of movement.
“We did tests and what we found was that
this new camera gives a look which works on
screen,” comments Kreutz. “It is more a matter
of taste which HD camera you prefer. We
compared interlace to progressive when
shooting moving objects and it was very hard
to tell the difference. I personally prefer the
HDW-730S interlace look and additionally
don’t have to deal with the shutter-effect that
occurs on progressive pictures.”
In the case of Kreutz’s most recent film this
look was used to tell the story of Georgian
music, which is amongst the first recorded
polyphonic music in the world. “This amazing
sound is a unique cultural tradition in Georgia.
Basically everyone there can sing, and the
blend of voices singing notes that are very
close together is very touching. Some claim
that it even has healing powers,” comments
Kreutz.
“The director Ruth Olshan was interested
in a wide range of people singing this music:
from eight year old children, to those who
could barely stand. And thanks to the help of
Jana Sardlishvili from Studio 99 in Tblissi, we
worked with all sort of wonderful people.
The cameraman Marcus Winterbauer was
using a very wide dynamic range, and this led
to very beautiful images. Together with a fine
HD colour correction we are hoping for
magical results.”
An advantage of HD, according to Kreutz, is
the ability it gives to future proof its footage.
The Georgian documentary, planned for a
German release, will be completed in May.
“The HDW-730S will help us because
international sales require HD filming, and on
the post production side the cost is less than
film,” he adds.
Of course, the picture quality of high
definition will always attract television and
movie creatives. “High definition is great for
when you produce for the screen,” says Kreutz,
“for instance if you have a dramatic landscape
shot with a background of hills and someone
walking on those hills, on conventional video
the person is just a dot hopping around, while
with HD you would be able to distinguish the
person’s features. It is much more dramatic and
cinematic to work in HD. There is a deeper
range than in video. Our cameraman was also
impressed with the viewfinder on the
HDW-730S which gives a very sharp picture.
I bought the camera rather than hired it
because I see it as ideal for low-budget feature
films as well as documentaries where Aquafilm
has its main focus. HD with the HDW-730S is
an excellent alternative to 16mm.”
On a practical level, Kreutz was also
impressed with how the camera worked with
light.”It is incredible how much light this
camera takes, working with 3dB there are no
problems, 6dB is good and even 9dB still gives
an acceptable picture,” he says. “This is very
important for documentary making when you
go into a house where you don’t know what
the light situation is, and haven’t any chance to
change it.”
Kreutz’s next projects are research for a
documentary in Venice, plus a feature film in a
German TV slot for first-time directors with
ZDF. He is also developing a short film project
with friends which will blend live actors with
CGI images. “We will be trying a new
animation look using interlace,” he says.
Other broadcasters and camera hire
companies across Europe are also investing in
HDCAM production equipment.
ProSiebenSat.1 in Germany is just one who has
acquired the HDW-730S HDCAM camcorder
and is currently using it to produce
The Zanzibar Dream, following the exploits of
comedian Oliver Pocher who has become
temporary official manager of the Zanzibar
national football team in an initiative that
forms part of Red Nose Day.
Michael Schreitel is the director of
budgets
photography of The Zanzibar Dream.
Schreitel says he is shooting in 50i. “I think
the camera is very nice for the broadcast
industry, because you can switch the camera
between European and American standards. So
it is possible to use this camera all over the
world. The handling is similar to Digital
Betacam, so it is pretty easy to understand,”
Schreitel says.
Dr Martin Emele, head of technologies at
ProSiebenSat.1 Produktion says the company is
using the HDW-730S as part of a test phase for
HD and additional purchases will be made
when ProSiebenSat.1 knows its exact demands
for HD. “High definition is important for every
production (or co-production) for the
international market,” Emele says.
for more on interfacing with 1080-lines HD,
please visit www.sonybiz.net/hdcam
spring 2005 scene to screen 7
slow motion
quick quick slow
Shooting wildlife often calls for slow
motions effects. Louise Bishop
explains how HDCAM delivers great
quality images at any speed
8
scene to screen spring 2005
“It is a tradition of natural history film making to
shoot at a faster film rate for slow motion
effects,” says Simon Normanton of
independent film production company,
Lighthouse Films. For example, think of those
familiar high impact shots of birds migrating, or
lions making a kill, where the dramatic action is
slowed right down so that the viewer can see
every move. Often these shots are captured on
35mm film, But now, with the advent of high
definition in the natural history film market,
productions are using HD as well.
In a recent Argentinean shoot for natural
history documentary, Flying with Condors, on
which Normanton supplied and managed
cameras and recorded sound, the production
used the HDW-730S HDCAM camcorder,
which can shoot at 50i or 60i, that is 1080-lines
at 50 or 60 fields per second.
One advantage of high definition is that it
offers the production a choice between
shooting in interlace or progressive mode.
Progressive (available with camcorders such as
the HDW-F900 and the HDW-750P) is the
equivalent of shooting at 25 frames per
second, which is the same frame rate (ie the
number of times the image is captured per
second) as film, with a similar look. Interlace
(50i or 60i) gives similar motion as shooting at
50 or 60 frames per second in film, and is
available with camcorders such as the lower
cost HDW-730S, as well as the
HDW-750P and the HDW-F900. Each mode
has different looks and benefits.
The choice was made to shoot interlace for
Flying with Condors as, according to
Normanton, “Many people prefer the clean
interlace high definition picture. You don’t
have the strobing effect with movement, which
can be distracting in high definition
progressive.” On the shoot, despite not
pre-planning any slow motion effects, the
production realised when shooting in 60i and
later transferring to 50i, a slow motion feel was
achieved. It was, says Normanton, “ideal for
birds flying or the wind blowing in the grass.”
This impressive 52-minute co-production
between the BBC, ZDF and NHK, features Judy
Leden, three times hang-gliding and paragliding
world champion, flying alongside Patagonian
Condors. It was scripted, shot and directed by
film maker Richard Matthews, with additional
slow motion
“Cameramen have always liked to have the option of flying
birds slowed down to a rate of about 29-30 frames. Shooting
in 60i and transferring at 50i is the equivalent of this”
Simon Normanton, Lighthouse Films
directing from Tim Martin, who is also
executive editor at the BBC Natural History
Unit. Natural history cameraman Jim Clare
shot additional footage and the producer was
Heinz von Matthey.
“Cameramen have always liked to have the
option of flying birds slowed down to a rate of
about 29-30 frames. Shooting in 60i and
transferring at 50i is the equivalent of this,”
comments Normanton.
This particular technique also worked for
Tony Osborne, senior editor at broadcast
facility Films@59 in Bristol, who used slow
motion for the promo shoot for Two People by
Jean-Jacques Smoothie. The video, produced
by Plastic Raygun and shot on an HDW-F900
camcorder, featured slow motion shots of two
models playing tennis.
“The production company had been
advised that if they recorded the relevant shots
in 60i and played back at 50i and then
de-interlaced the result, this would be roughly
two-and-a-half times slower than straightforward shooting,” comments Osborne. “It
worked. It was that simple. You’d expect a loss
of quality but the images stood up with the
rest of the sequence and were good enough
quality for subsequent other work to be done
on the shots – for instance the tennis ball
being painted out and extra rain added.”
Other film makers have been doing their
own tests on the slow motion possibilities of
high definition shooting. One who has looked
at this issue extensively is Mark Percival, head
of the in-house film unit at the Royal Society
for the Protection of Birds (RSPB). Percival has
just purchased the HDW-730S. His unit makes
wildlife documentaries, corporate and
promotional films and needed a camcorder
that would future proof their work in terms of
sales (in a world market which demands HD)
whilst achieving the picture quality and
versatility essential to wildlife work.
“Our own tests have shown that you can
get decent slo-mo out of the HDW-730S in
post production”, comments Percival. “The
cheapest way is to simply use the dynamic
tracking function on a HDCAM VTR like the
HDW-M2000P. This gives acceptable slo-mo
up to the equivalent of say 50-60fps. If you’re
prepared to spend a little of your post
production budget in an on-line suite equipped
with something like Smoke, then genuinely
impressive slo-mo results can be achieved —
but it’s vital that the footage is initially shot
interlaced and not progressive. It doesn’t work
out more expensive than the cost of shooting
slo-mo using a variable rate camcorder, for
example, because with that you have to dub all
your rushes via a frame rate converter anyway.”
At London post production house The Mill
they also have experience with this issue. “We
use a slo-mo Furnace spark called Kronos, it
incorporates a morph between frames to slow
things down. Elements can get down to three
or four times slower with good effect,”
explains Flame operator, Giles Cheetham.
High definition opens up a variety of
choices for film makers, both while shooting
and in post production, and the ability to make
use of slow motion effects is one of them. As
Percival says: “We have to produce
programmes of the highest standard and HD
helps us to achieve this.”
for more on shooting slo-mo with HDCAM,
please visit www.sonybiz.net/hdcam
Flying with Condors (opposite page) used slow
motion footage shot with the HDCAM camcorder.
Picture by Richard Matthews. Films @ 59 created a
similar effect with HDCAM footage in post for Two
People promo (this page).
spring 2005 scene to screen 9
wildlife
“We decided to shoot at 25P as we felt this gave
us the look we wanted and the maximum
sell-on potential” Nicolas Zunino, Gedeon
The island of Clipperton is known
as the Mystery Planet. Explorer
Jean-Louis Etienne is living on this
remote atoll with an HD crew,
and together they are producing
an incredible documentary, as
Janet Anne West reports
island life
In 1992, Stéphane Milière — co-founder of
Paris-based production company Gedeon — set
up Gedeon Programmes with a view to
developing prime time documentaries on arts
and science that were destined to enthrall
viewers.
One such documentary, Clipperton, follows
an expedition to the ubiquitous island in the
Pacific Ocean off the coast of Mexico, and
HDCAM was chosen for the high quality
required to capture the detail of some of the
rare and intriguing animals that live there.
Canal +, Gaz de France and Unilever are the
three principal partners for the expedition, with
a to tal budget of 1.8 million euros.
The island of Clipperton ta kes its name from
John Clippington, an English pirate. In 1858, the
island was claimed by the French, then held for
a time by the Americans. By 1897, it wa s
o ccupied by Mexico, but following a conflict
with France in 1908, Mexico surrendered the
island in 1932 to the flag of France.
The explorer, Jean-Louis Etienne, intrigued
by the island’s to tal isolation and remoteness
arrived in December 2004 to spend four
months living and studying the biodive rsity of
the place. An HD production crew also came
with him.
The directors are Pascal Plisson – who is
creating a ninety minute production – and Luc
Marescot is directing six half hour episodes.
The other crew includes Didier Noirot, the
underwater cameraman who has worked on
the BBC’s Blue Planet, and sound engineer
Jean-Baptiste Benoit.
“We are so lucky to have such a great
team,” says Nicolas Zunino, Gedeon executive
producer, “This gives us the opportunity to
exploit all aspects of the production. Shooting
in high definition enables us to capture
hundreds of stunning images. It’s fascinating,
the birds have no fear of man and come up
close to the camera so we don’t have to wait
hours to get a good shot.”
Gedeon are renting two HDW-F900
HDCAM camcorders from Bogard and will
probably add an HDV towards the end of the
shoot. “We are using Super 16mm for some of
the underwater shots as we need to shoot at
150fps.”
“We decided to shoot at 25P as we felt this
gave us the look we wanted and the maximum
sell-on potential,” explains Zunino. “We tested
the cameras for seven days under different
conditions helped by technical consultant
Philippe Ros, who used the latest hypergamma
set-up from himself and Sony France.”
Clipperton, is extremely humid with an
average temperature of 20-32 ºC. “This can
have adverse effects on the cameras if they are
not stored nightly in their own tent with silica
gel to dry their environment. Working on a
remote island you can’t take the risk of a three
day boat ride to Mexico for a replacement.”
Teasers started in December and will be
broadcast on Canal + where each week from
January to April viewers can join his adventure.
The HDW-F900 HDCAM camcorder has been used to
shoot wildlife documentary Clipperton by Gedeon
Programmes. All pictures copyright Gedeon
Programmes.
for more on shooting wildlife with HDCAM,
please visit www.sonybiz.net/hdcam
spring 2005 scene to screen 11
hdv
“It’s very exciting. It cost me no more to use than a DV camera, but the
results I’ve got look spectacularly good” Andy King-Dabbs, BBC
an impressive debut
From a programme commemorating
the battle of Ardennes to a triple bill
of ballet performances at the Royal
Opera House, Pippa Considine
discovers that the first crews to use
the new HDV camcorders are very
impressed with the results
12
scene to screen spring 2005
With Sony HDV, the benefits of high definition
programme production are at last accessible to
everyone. Offering an ideal migration path from
DVCAM to entry-level HD production, HDV
records pictures at 1080-lines resolution onto a
standard DV format cassette.
As well as reducing camcorder size and
weight to around that of ‘prosumer’ formats,
use of this smaller cassette size cuts media
costs. It also allows switchable recording and
playback between HDV and DVCAM with the
same camcorder or VTR editing deck –
reducing hardware inventory requirements,
storage and transportation costs.
Furthermore, it’s easy to incorporate HDV
material into the HDCAM world via an external
converter. A step up in quality from DVCAM,
HDV makes it even more affordable for
programme-makers to experience the benefits
of HD without a big price premium.
In the UK, the BBC has been putting it
through its paces and has already used the
format on the shoot for a classical music
special. UK independent Pioneer Productions is
interested in it for future programming. In
Belgium, the production company Association
CAPE has trialled HDV on one of its most
recent high definition programmes, marking
the commemoration of the battle of Ardennes
at Bastogne. There is also growing interest in
Switzerland, where test footage has been shot
with the format.
hdv
Association CAPE completed the main part
of its production on HDCAM, using an
HDW-750P camcorder. However, the company
was able to get hold of one of the new HDV
camcorders at the end of last year and used it
to take additional images, which were used
together with the HDCAM material for the
final edit. .
Jean-Marie Nicolas, managing director of
Association CAPE, was impressed by the HDV
camcorder and is clear about what he sees as
its advantages: “The choice of using the HDV
camcorder is justified by its ‘go anywhere’
design.” He believes HDV is clearly superior to
DVCAM. “Sony’s experience with DVCAM has
allowed it to put an HDV camcorder on the
market with lots of improvements,” he says. He
is particularly impressed by the position of the
LCD, which allows for a very acceptable and
life-like image.
Given the advantages of the HD format, he
can see that HDV could act as a useful second
camcorder, allowing for shots and sequences
which might be more daring and difficult.
Nicolas has had plenty of experience of using
camcorders to achieve shots in tricky situations.
He cites a couple of moments when the
adaptability of the small camcorders made
them come into their own, such as when he
was recording chimpanzees and hiking across
equatorial forests.
In Switzerland, Tony Schweizer, the ceo of
kit supply and hire company Schweizer AG, has
made demonstration footage using the HDV
camcorder. “We projected it onto a 4 metre
screen and even senior DoP’s of the movie
industry have been stunned by the picture
quality,” he says. Feedback from the Swiss
production community has been enthusiastic.
“People said that some sequences looked like
3D shots. Others were surprised at how it
handles contrast-rich scenes.
“There’s a huge interest, especially from
those in the documentary community with
cinema ambitions. This camcorder allows them
to shoot unnoticed on an extremely light
weight and cheap media when compared to
Super 16 and 35mm. It also has the sort of
picture quality that would seem no different
from film to a normal cinema goer.”
In the UK, the BBC has shown great interest
in the HDV camcorder and has been testing it
for picture quality and practicality. For the
public service broadcaster, it has potential for
use both as a widescreen format that will shoot
standard definition programming and, as the
BBC switches to 100 per cent HD production,
its HD capabilities should come into their own.
The Corporation’s classical music
department used HDV for a recent 140 minute
programme featuring a triple bill of ballet
performances at the Royal Opera House to
celebrate the sixtieth anniversary of the birth
of choreographer Sir Frederick Ashton. The
programme’s executive producer Andy KingDabbs tested one of the HDV camcorders,
using it to take around three hours of
complementary documentary footage behindthe-scenes. He was inspired by the results: “It’s
very exciting. It cost me no more to use than a
DV camera, but the results I’ve got look
spectacularly good.”
At UK independent production company
Pioneer Productions, series producer Stephen
Marsh is used to working with HD, but has yet
to test the HDV camcorder. Given its potential
advantages, he’s considering using it on future
productions, despite some concerns about
being able to match it in with other footage.
“I would use HDV with its small camcorders for
sequences inside cars or on bikes,”’ says Marsh,
“But also when one wanted an intimate
sequence where a large camera and crew
would distract.” And he suspects that it might
The BBC shot footage for Ashton at 100: Fred’s Steps
with the HDV camcorder (opposite page), while
Association CAPE used it for the 60th anniversary of
the battle of Ardennes (all pictures above).
The HVR-Z1E HDV camcorder (below).
come in handy to allow the setting up of time
lapse sequences or fly on the wall shooting that
a large camera and crew would prevent.
HDV certainly seems to be perceived by the
production community as an advanced version
of the much-used DVCAM. Tony Schweizer has
seen an increasing interest in the format since
250 professionals were given a taster of the
format on a big screen at the Mystery Park
Cinema in Interlaken. “I am not a prophet,” he
says. “But I assume that it will have the same
success as DVCAM has had in the past.”
for more on HDV, please visit
www.sonybiz.net/hdv
spring 2005 scene to screen 13
drama
heart of darkness
Lou Berghmans created a tense big screen
atmosphere with the HDW-750P HDCAM
camcorder for thriller De Indringer.
The Intruder is a psychological thriller
set in Ardennes. Louise Bishop
discovers how HD was used on the
shoot and in post production to
achieve a dark, tense atmosphere
“We did tests on the
HDW-750P camera
before the shoot and
the results were good.
The picture quality is
excellent and it is good
for projection too; we
experimented with
blowing up the images
and were impressed”
Lou Berghmans,
director of
photography
De Indringer (The Intruder in English) is a taut,
Dutch-made psychological thriller, set in
Ardennes. “This movie has a very dark mood
and tells the story of a man who tries to find out
why his daughter committed suicide,” explains
director of photography, Lou Berghmans.
The feature was shot in high definition
using an HDW-750P HDCAM camcorder and
the high impact thrills available on the big
screen were seen as ideal for the HDCAM
format. “The idea behind the shoot was to give
the movie that tense big screen atmosphere,
when you know something is going to go
wrong, but you don’t know what or when. A
lot of this was achieved in post production,
where we did grading and CGI,” says
Berghmans. “I knew I could take the style of
the shoot one of many ways, but we were
shooting against time, limited budgets and very
bad weather (Autumn in Ardennes) so I kept
the exteriors very flat, knowing that I could
develop things later in post. I deliberately shot
in 25P to give De Indringer the film look. And
we used fixed focal lenses (Canon Prime
lenses) to reduce the depth of field and add to
a cinematic feel.
“The great thing about high definition is that
the results can be pro j e c ted and not lose
resolution,” adds Berghmans. The HD projection
angle was important too for one of the movie’s
co-producers, Kinepolis, the largest owner of
film venues in Belgium, who have full HD
projection facilities in some venues. “This film is
an experiment for them,” says Berghmans . The
movie, released in March, is being post
pro d u ced at ACE Digital House in Brussels for
both 35mm film distribution and TV.
Stefan Rycken is general manager at ACE.
“We did the offline and online edit for The
Intruder here and we are still busy doing colour
grading,” he says. “HDCAM as a format is quick
and easy to handle, so the post production
goes faster.”
Berghmans had a positive experience
shooting high definition with the HDW-750P.
“I’m from a TV background and have used
everything from Betacam to HD, so I’m used
to the qualities of the video format. We did
tests on the HDW-750P before the shoot and
the results were good,” he comments. “The
picture quality is excellent and it is good for
projection too; we experimented with blowing
up the images and were impressed.”
Another factor for the choice of HD for the
production as a whole was cost. “Here in
Belgium, film is often under-funded so there is
always a problem with money. Shooting in HD
is less expensive and post production is
cheaper too. In addition, you don’t need as
much lighting equipment in HD as you do on a
film set. For instance, at night you can make
use of available light, such as street lamps.
However, it is important to remember that HD
is very sensitive to light and needs a different
approach to film.
“Another important advantage of an HD
shoot is that you see what you get and can
make some adjustments on set. The director
has an idea of where you are going, which is
always very helpful to a DoP.”
De Indringer is part of an increasing
amount of Belgian work being done on
HDCAM, according to Berghmans. “There is a
movement towards it. Every feature drama is in
HD, even the public TV station has bought
high definition and the commercial companies
use it too.”
Rycken agrees. “We have started doing post
production in HD because we do a lot of
feature films and also because all broadcasters
are changing to high definition. Most new
programmes are in HD and so are many
feature films.”
for more shooting tips with HDCAM, please
visit www.sonybiz.net/hdcam
spring 2005 scene to screen 15
xpri docu-drama
floating on air
16
scene to screen spring 2005
Marco Polo Films chose HDCAM to
shoot Werner Herzog’s natural
history docu-drama, The White
Diamond, says Susanne Gerbert. And
the vantage point for this incredible
film was an airship, floating high
above the jungles of Guyana
xpri docu-drama
“We showed that we were able to achieve
the same results with the Xpri as with the
‘larger’ colour correction systems”
Hans Fink, Marco Polo Films
In July 2004, Werner Herzog’s docu-drama,
The White Diamond, was filmed in Guyana,
South America within the space of just four
weeks. In many ways this was an unusual project.
Klaus Scheurich, cameraman and managing
director of Marco Polo Films, flew above the
jungle in his own small, purpose-built, heliumdriven Zeppelin, in order to shoot from a
completely new aspect. The film shows birds,
reptiles, insects and countless other animals
which live in the uppermost canopy of the
treetops and which have, as yet, scarcely been
documented. Breathtaking shots were also
made of the 253 metre high Kilter waterfall. In
the cave behind this waterfall, there were up to
a million swifts nesting. Even the airship, after
which the production has been named, is
unusual. Constructed by British engineer, Dr
Graham Dorrington, the machine is designed to
allow gentle, silent flight manoeuvres so that
images of nature could be captured without the
disturbance of engine noise. This was an
improved version of a small Zeppelin that
Dorrington had developed ten years previously
for the famous naturalist Dieter Plage. The story
of Plage and the Zeppelin is also told in The
White Diamond.
The White Diamond was produced by
Marco Polo Films and co-produced by NDR,
NHK and Werner Herzog films. As this was an
international television project, it was decided
to shoot in a digital high definition format and
in 60i mode.
“We have been doing everything in HD for
years, simply due to the fact that we do a lot of
work for clients in Japan and in the USA, which
are the two largest markets for nature films,”
explains Jürgen Kleinig, managing director of
Marco Polo Archive Productions. “Right from
the outset there was the possibility of
screening it in cinemas. Even in the preliminary
stages, we used to have to choose between
16mm and the very expensive 35mm format,
according to whether the film would also be
shown in cinemas. Now we can keep our
options open as the HDCAM master can be
used universally.”
In November 2004 — just two days after
completion — The White Diamond was shown
as a digital production in the Lux cinema in
Halle. A week later, it was featured at the
opening weekend of the European docuzone,
an initiative of European digital cinema,
allowing the production to be shown in eight
European countries. At the beginning of 2005,
it also went on regular release in German
cinemas.
The crew of up to 14 people had to adapt
to extreme climactic conditions in the South
American jungle. For instance, they could only
shoot between 6.30am and 9.00am as this was
the only time when there was no wind and it
was bright enough. In addition, the high rate of
humidity, which would reach 100 per cent in
the mornings, penetrated everything. Scheurich
was, however, able to keep the equipment dry
and to prevent condensation from forming on
the lenses with the use of various aides,
including a custom-made Pelicase box with a
built-in hot plate, which he had developed
himself. Tropical storms caused additional
problems. On one occasion, the studio tent
was torn down, but surprisingly the Zeppelin
was not damaged. The HDW-F900 and the
HDW-700A really proved their worth under
these most difficult conditions.
“The shooting went fantastically well,” says
Scheurich. “In spite of the damp, the rain, the
heat and storms, we had no problems with the
cameras. For Herzog, shooting with HDCAM
was a completely new but very positive
experience.” According to Scheurich, Herzog
was “initially very sceptical but then
completely convinced.”
For years, Marco Polo Films has also done all
of its editing on HD. Since last year’s IBC the
Dr Graham Dorrington constructed a beautiful,
helium-driven Zeppelin to allow Marco Polo Films to
shoot Werner Herzog’s The White Diamond.
latest version of Xpri, the non-linear editing
system from Sony, has been available with
sophisticated colour correction capabilities.
This is now the fourth time that this system has
been used, but it is the first time it has been
used for a large production which was also
screened in cinemas.
Hans Fink who is an extremely experienced
colourist, was responsible for colour correction
on The White Diamond. He is delighted with
the results.
“The screening at the film premiere went
very, very well. We showed that we were able
to achieve the same results with the Xpri as
with the ‘larger’ colour correction systems. Of
course the Xpri has other capabilities. As we
already had an Avid DS we did not edit with
the Xpri, although, at times it was an advantage
that this system also offers compositing
amongst other things. In this way we were able
to sort out one or two small errors in the
colour correction with little difficulty.”
Another argument in favour of the Xpri is
its unbeatable cost-effectiveness, states Fink. In
this way, the Xpri offers small and mediumsized businesses a fantastic opportunity to get
into HD as it deals with all of the HD workflow,
from camera right through to cinema.
“It’s a great tool,” he says. “Every product
has its advantages and disadvantages and as far
as the results are concerned, the Xpri is right at
the forefront.”
for more on Xpri, including tips on how it
works, please visit www.sonybiz.net/xpri
spring 2005 scene to screen 17
live events
Live events such as concerts, theatre
performances and awards ceremonies
are a natural fit for HDCAM , report
Pippa Considine and Stephen Tate
live and direct
Several major live events have this year opted to
record with high definition. Two of Europe’s
biggest music events – the MTV European
Music Awards and the Brit Awards – are firmly
committed to HD. The MTV European Awards
used HD last Summer and the director, Hamish
Hamilton, a convert to the standard, also
directed the Brits in February 2005.
The Royal Opera House in London,
meanwhile, is installing a complete high
definition production system in its main
auditorium and other performing spaces at
Covent Garden. The system includes five of the
latest HDC-950 camera systems, a MVS-8000A
compact production switcher, HDCAM VTRs
and LMD Series high definition LCD monitors.
John Seekings, director of operations at the
Royal Opera House, says: “Our prime objective
is to get our archive recorded in HDCAM high
definition quality to increase our reach. This
will more effectively use our big screens
outside, and also to be able to capture what
we’re doing on stage in a more useable and
flexible format. We’ve always been at the
forefront of innovation, as has Sony, and we
recognise the power of working together.”
Seekings continues: “Another advantage of
this high definition system is that it will reduce
the disruption outside caused by OB vehicles
and, inside the auditorium, by previously having
large cameras restricting the view for our
audience. The five Sony camera systems we’re
installing will all operate remotely, significantly
reducing the space they occupy.”
Over the past few months, BBC Outside
Broadcast has recorded several performances
at the Royal Opera House, including The Magic
Flute, recorded in high definition using its
multi-format OB truck – kitted out with
HDC-950 cameras.
Separately, BBC Outside Broadcast recently
joined forces with Clear Channel
Entertainment to record a charity concert in
the UK for The Prince’s Trust in high definition.
Eleven HDC-950 cameras were used to record
the concert in 1080-lines format on HDCAM.
The concert, celebrating the career of
legendary record producer Trevor Horn, was
held at Wembley Arena in November 2004 in
the presence of His Royal Highness The Prince
of Wales, President of the Prince’s Trust.
Clear Channel Entertainment hired
television director Janet Fraser-Crook to direct
the concert. Fraser-Crook is one of the most
experienced directors in the UK. She recorded
the main stage at Glastonbury 2004 in HD and
is currently directing the latest series of Later
With Jools in the format. Both projects used
Sony HD equipment.
“My job is to make the concert look as
glamourous as possible and there is no doubt
that Sony cameras produce a good quality
picture,” Fraser-Crook says. “The clarity of HD
is wonderful. As long as the design and lighting
are spot on, it gives you beautiful results.”
Post production used an Xpri non-linear
editing suite at Todd-AO Creative Services.
for more on live events in HD, please visit
www.sonybiz.net/hdcam
18
scene to screen spring 2005
“The clarity of HD is
wonderful. As long as
the design and lighting
are spot on, it gives you
beautiful results”
Janet Fraser-Crook ,
director
Chris Evans hosted the Brits in February 2005 in HD
(far left) and Clear Channel Entertainment recorded
The Prince’s Trust concert in November 2004 (below)
sports
Live football coverage is a prime candidate for high
definition in 2006 (picture courtesy BSkyB).
International football and domestic
games are key drivers for outside
broadcast companies to upgrade to
HD. Pippa Considine and Chris
Dickinson report
ball control
Major sporting events that are expected to
drive the uptake of high definition television in
Europe include the soccer world cup in 2006
and, before that, the European soccer final in
Istanbul in 2005. Both are being shot in HD.
BSkyB announced in March 2005 that it is
still on tra ck with its plans to launch an HDTV
service in 2006 and that it’s channel line-up will
include “a combination of sports, movies,
ente r tainment and documentary programming”.
Another international soccer competition in
Germany in 2005 will be a chance for Host
Broadcast Services (HBS), which is officially
providing the coverage for soccer
internationals in 2005 and 2006, to
demonstrate its HD production in the run up
to its comprehensive HD coverage of the world
cup in 2006. HBS will also use HD at the
fifteenth edition of the Asian games next year.
HBS ceo Francis Tellier believes that such
coverage will have a major impact on HD in
Europe. “Big events have always played an
essential role in the penetration of new
generations of TV sets into the home,” he says.
“In 2006, above all, we will be able to talk about
a big mainstream start-up of HDTV in Europe.”
021 Television Limited, the leading UK OB
company owned by Granada Media Group, has
made a major commitment to HD. The
company, which is headquartered in
Birmingham, is upgrading two of its vehicles
with Sony HDC-950 cameras, HDCAM
recorders and BVM-D Series Grade One high
definition monitors.
Ed Everest, managing director, 021
Television, says: “We are upgrading two of our
trucks to Sony high definition. Our newest
truck, Unit 2, always had an upgrade path for
HD and we’ve now decided the time is right to
upgrade it and another small production truck.
There is now quite a demand for HD and we
need to be in it.”
021 Television has also bought Sony
HDTX-100 and HDFX-100 fibre to triax
convertors, which allow the cameras to be used
in venues which are pre-wired in triax.
“The benefits of fibre far outweigh the
disadvantages,” Everest says. “Fibre is superior
quality to triax and the only issue with fibre is
that, for soccer in particular, all Premier League
grounds are already wired in triax. So the fibre
to triax convertors are a temporary measure in
these venues until they are upgraded. For new
venues, it is not a problem. Fibre can also travel
greater distances than triax.”
Fine Point Broadcast has also bought
HDC-950 high definition cameras, along with
HDCU-900 optical fibre base stations, fibre to
triax convertors and the latest colour
viewfinders. Fine Point Broadcast has also
bought ten Sony LMD Series high definition
LCD displays. All the equipment is being
supplied by leading Sony authorised reseller,
Mitcorp and it compliments the range of
HDCAM and HD lenses which Fine Point
already offers.
Roger Wedlake chief engineer, Fine Point
Broadcast, says the time is right to invest in
Sony high definition: “We see a lot more HD
work just around the corner.”
Wedlake says Sky Sports will be covering
Premiership games in HD, making it “one of
the many driving forces behind the uptake of
HD, though we are equally looking to light
entertainment and certainly anything in the
international market”.
Wedlake says Sony HD equipment was
chosen for a number of reasons. “We chose
Sony HD because the feeling is that Sony kit is
rugged and reliable; you simply plug it in and it
will work. Cost is another factor,” he says. “It is
important to buy at the right price, so we can
“We’ve now decided
the time is right to
upgrade Unit 2 and
another small
production truck.
There is now quite a
demand for HD and
we need to be in it”
Ed Everest, 021
Television
offer the equipment for hire at the right price.
People talk about the driving factors behind
the uptake of HD – that the technology is
improving and HD transmissions are increasing
– but a key driving force is that the equipment
is becoming available at the right price.”
With more HD facilities coming on line in
Europe as well as Japan and the US, it is
becoming easier to shoot major events in HD.
One recent initiative that will boost the HD
facilities in Europe is a strategic partnership in
HDTV between Sony and leading Swiss
production company tpc.
The move starts with tpc’s purchase of an
HD outside broadcast van. “The step from SD
to HDTV is synonymous with the development
from black and white to colour TV. tpc
therefore needs the best possible technical
equipment available in this area,” says Roger
Sidler, managing director of tpc.
for more on covering sports in HD, please visit
www.sonybiz.net/hdcam
spring 2005 scene to screen 19
Congratulations
Dion Beebe, ASC, ACS
& Paul Cameron
on receiving the 2005
Orange British Academy Film Award
for Cinematography
Thank you for using ZEISS DigiPrime® Lenses on
Collateral
WW W .D I G IP R I M
hdcam sr
“I didn’t think I would be seeing that much improvement over HDCAM,
but it’s certainly there, even on a 24 inch CRT, and I can’t wait to see the
material on a big screen” Michael Brennan, Director of Photography
bird’s eye views
HDCAM SR is a perfect format for
aerial shooting. Andy Stout talks to
two camera crews that have taken it
up, up and away
Aerial filming is one of the easiest ways ever
invented to separate production companies
from their budgets. It is expensive – anything up
to 25,000 euros per day’s shoot – and requires
not only the services of a plane or helicopter,
but specialist pilots and equipment such as
gyro-stabilised gimbals that keep the image rock
steady even at extreme zoom range.
As it’s a genre that trades heavily on the
beauty of its images, the move into high
definition has been a fairly natural progression
for the aerial market. Most of the leading
gimbal manufacturers now have versions on
the market that can mount the Sony 4:4:4
camera, and interest from the aerial specialists
is strong.
David Baillie has just set up Wildcat Flying in
the Lake District, using an HDC-F950 coupled
with a Gyron 935 mount and recording up to
4:4:4 onto a hard disk recorder. “I’d already
decided to go HD, so I thought why not go the
whole hog and go 4:4:4?” he says. “One of the
first areas of filming to go HD from 35mm will
be aerial filming. One reason is that it is often
put through a Digital Intermediate process, so
4:4:4 is ideal. The other is that using 35mm
cameras is a bloody pain because you have to
land every ten minutes and change the
magazine.”
Delivery was taken in November 2004 —
unfortunately right at the tail end of the
filming season — though Wildcat has managed
to complete a corporate job for the Eddie
Stobart Rally Team, for which they utilised a
prototype Sony SRW-1 field recorder.
“I think having a tape format is essential,”
says Baillie. “For TV in particular, HDCAM SR is
going to be the winner really. We playback the
images on a variety of HD monitors and the
results are stunning, just stunning.”
Having no problems with winter weather is
DoP Michael Brennan, who has just spent 18
hours over the architectural treasures of Italy
The Coliseum, Rome (above). Shot by Michael
Brennan for Skyworks. Framegrab by AHC Post.
Wildcat Flying (left). Shot by David Baillie.
filming with aerial specialists Skyworks on a
project for Getty Images.
“Skyworks has been looking to ‘step up’ to
HD for a couple of years now in its acquisition
of high end aerial footage and creation of
aerial programmes for broadcasters,”
comments company MD, Damian Keogh. “We
are firmly of the opinion that it is necessary to
shoot HD if we want our programmes and
footage to be of value in the future.”
The shoot used an HDC-950 with remote
head kit provided by New Zealand-based outfit
Heletranz and recording at 4:2:2, also into a
SRW-1 field recorder. Brennan reckons that the
results are unlike anything yet seen.
“We were shooting historical aspects of
Italy,” he says. “The Coliseum at 250 feet is a
bit of a winner and we filmed over Florence,
Rome, Pisa, Capri… basically the full length and
breadth of Italy. It is the highest quality digital
record of the country anyone has ever done.”
Brennan says that the SRW-1 acquitted itself
well. Crucially for the production too, the
shipping weight of the unit and 18 HDCAM SR
tapes was less than that of a typical hard disk
recorder with a mere 50 minutes of 4:2:2
storage.
Most of his praise, though, is reserved for
HDCAM SR itself. “I didn’t think I would be
seeing that much improvement over HDCAM,
but it’s certainly there, even on a 24 inch CRT,
and I can’t wait to see the material on a big
screen with the new SRX-R110 4k projector,”
he says.
“And in respect to the grade, it’s easier to
pick a colour and do something with it. In Italy,
there was a lot of haze and it was impressive
how we could remove the haze and give
ourselves another five miles of visibility.”
for more on HDCAM SR, please visit
www.sonybiz.net/hdcamsr
spring 2005 scene to screen 21
production directory
Continued from the back page. To appear in this listing send your company details to [email protected]
IEC-ASV
+33 (0)1 46 88 2828
www.iec-asv.com
GLS Studios
+49 (0)89 697991340
www.gls-studios.com
ETABETA
+39 06 37 7001
www.etabeta.it
Valkieser Capital Images
+31 (0)20 460 4604
www.valkieser.nl
Spain
Laboratoires ÉCLAIR
+33 (0)1 4940 5900
www.éclair.fr
X
Image Film
+49 (0)89 354 0030
Fotocinema
+39 06 7049 7589
www.fotocinema.com
Norway
ADSA S.L.
[email protected]
Le Fresnoy
+33 (0)3 2028 3807
www.le-fresnoy.tm.fr
LTC/Scanlab
+33 (0)1 49 11 6731
www.ltc-lab.com
MEDIALAB
+33 (0)1 44 13 5050
www.medialabtechno.com
Panavision Alga France
+33 (0)1 4813 2550
www.panavisionalga.fr
SAV
+33 (0)1 53 38 2201
www.sav.tv
Sylicone
+33 (0)1 44 75 1111
www.sylicone.com
Tatou
+33 (0)1 4760 1880
www.tatou.fr
Teletota
+33 (0)1 4511 7000
www.teletota.fr
KOPPFILM
+49 (0)30 283 9250
www.koppfilm.de
KOPPMEDIA
+49 (0)345 209 8958
www.koppfilm.de
Krausser & Co GmbH
+49 (0)89 95 0193
www.krausser-co.de
X
Laguun GmbH
+49 (0)304050 0815
www.laguun.de
Ludwig Kamera
+49 (0)89 689 5920
www.ludwigkameraverleih.de
X
Marco Polo Archive
+49 (0)345 523 593 11
www.marco-polo-archive.de
M Medienproduktion
+49 (0)421 70 7498
www.m-medienproduktionen.de
Ottonia Media GmbH
+49 (0)341 3500 2017
www.ottonia.de
Tigre
+33 (0)1 5677 1500
PostFactoryGmbH
+49 (0)30 616 921 449
www.postfactory.de
Transatlantic Video
+33 (0)1 4437 4437
www.transatlanticvideo.fr
Progressive Pictures
+49 (0)30 88910977
www.progressive-pictures.de
TSF
+33 (0)1 4917 6000
www.tsf.fr
PROVi TV-Produktion
+49 (0)221 31 8023
www.provi.tv
VDM
+33 (0)1 4667 8282
www.vdm.fr
Rudas Studios
+49 (0)211 93 080
www.rudasstudios.de
Video Plus
+33 (0)1 4010 3800
www.videoplusfrance.com
TaurusMediaTechnik
+49 (0)89 9956 1701
www.taurusmediatechnik.de
Videomage
+33 (0)1 4122 6000
www.groupe-image.com
TeleFactory
+49 (0)331 70 62 610
www.telefactory.com
Germany
VCC Perfect Pictures
+49 (0)30 202 0960
www.vcc.de
ARRI Media
+49 (0)89 3809 1888
www.arri.com
Band Pro Munich
+49 (0)89 945 48 490
www.bandpro.de
Cine Licht
+49 (0)40 6549 6078
www.cinelicht.de
Cine Plus
+49 (0)30 26480 402
www.cine-plus.de
Das Werk AG
+49 (0)89 368 1480
www.das-werk.de
Digital Images GmbH
+49 (0)34 521 75130
www.digim.de
Einhorn
+49 (0)651 937 030
www.einhornmultimedia.de
Euro Broadcast Hire
+49 (0)221 250 3700
La Grande Mela
+39 06 332 1821
www.grande-mela.it
Media Technology
www.mediatechnology.it
Mondo TV
www.mondotv.it
Orange
+39 06 37511227
Pixel
+39 09 2259 6998
www.pixelonline.net
Videodata
+49 (0)40 8517 4510
www.videodata.de
Euro Broadcast Hire
+47 (0)23 40 8700
www.ebh.cc
Broadcast Rent
+34 65 556 2444
www.broadcastrent.es
Gunnar Nilsen
+47 (0)7 39 12805
Camara Vision
+34 91 383 3768
www.camaravision.com
ScanCam AS
+47 6752 5350
www.scancam.no
EPC
+34 91 512 0805
www.epc.es
Poland
Genlock
Videoproducciones SA
+34 91 553 6247
www.genlock.com
Tecnel Studio
+39 06 886 2063
www.tecnelstudio.com
Euro Broadcast Hire
+48 (0)22 851 1084
www.ebh.cc
Telerecord
+39 05 5873 9487
www.telerecord.it
Portugal
Virtual Reality
Multimedia Park
+39 011 227 1211
www.vrmmp.it
Latvia
Platforma Filma
+371 775 4647
www.platformafilma.lv
Luxembourg
SES Astra
+352 71072 573
www.ses-astra.com
IBERTELCO
+351 214724010
www.iberteleco.pt
Imagen Line
+34 91 353 2600
www.imagenline.es
PANAVIDEO
+351 21 837 26 62
Info TV
+34 91 311 8029
www.infotvproducciones.com
PixMix
+351 (0)21 303 0880
www.pixmix.tv
Romania
SC Videolink SRL
+44 21 256 9064
www.videolink.ro
BS Graphics
+7 095 143 7920
www.bsgraphics.ru
United Multimedia
Projects
+7 095 449 1312
www.umpstudio.com
Yugra TV
+7 346 719 3706
Serbia & Montenegro
Hungary
HD Budapest
+36 (0)1 387 8187
www.hdbudapest.hu
Italy
Altafilm
+39 02 647 3877
www.altafilm.net
Morocco
Sigma Technologies
+212 (0)65 11 1069
www.sigmatechno.com
The Netherlands
Cam-A-Lot
+31 (0)20 694 0004
www.camalot.nl
Anteprima Video
+39 02 3310 3287
www.anteprimavideo.com
Cameradam
www.cameradam.nl
Atlantis Film & Video
+39 02 869 2819
Kalanos International BV
+31 (0)35 624 9449
www.kalanos.nl
Bondi Brothers
+39 02 34 1697
www.bondibrothers.com
Post Office
+31 (0)20 662 4745
www.postoffice.nl
IJV Producciones
+34 98 117 3342
www.ijv.com
Image Film
+34 3 26 18505
www.imagefilm.com
SANKOM-PRO
+7 095 238 4402
RTL-BCE
+352 42142 7520
www.bce.lu
Ibercin SL
+34 91 879 3915
www.ibercin.com
AMPEREL
+351 21 711 20 90
Russia
Espera
+352 263 0831
www.espera.lu
Dygra
wwwdygrafilms.es
Twentyfourseven AS
+47 (0)2238 0247
www.247.as
TPS Studio Filmowe
++48 (0)22 651 9787
www.tps.com
VIDEOCAM
+39 06 321 9594
Aurea Documentary SL
+34 93 238 7400
Filmteknik
+47 (0)22 02 3600
www.filmteknikk.no
Rumblefish
+39 02 4548 7537
www.rumblefish.it
Videocation
+49 (0)89 958 230
www.videocation.com
Wellen & Nöthen
+49 (0)22 191 560
www.wellen-noethen.de
Chroma TV GmbH
+49 (0)40 888 8840
www.chromatv.com
GUICAR srl
+39 0248 712002
www.guicar.com
Adivina Producciones
www.adivina.com
3D Video Systems
+381 (0)11 403 455
Duke Production
+381 (0)11 324 3574
Magic Box Multimedia
+381 (0)21 616 891
www.magicbox.co.yu
Studio Mapa
+381 (0)81 231 656
www.studio.co.yu
South Africa
Cine Gate
+27 (0)21 4428900
www.cinegate.co.za
Magus Visual
+27 (0)21 461 7965
Mad Pix
+34 91 52 49880
Molinare
+34 91 725 9407
www.molinare.es
Mons TV X
+34 93 284 7780
New Atlantis
+34 91 426 1371
www.newatlantis.net
Ovide Broadcast Services
+34 90 215 1518
www.ovide.com
Telson
+34 91 754 6700
www.telson.es
Trivision
+34 96 34 66292
www.trivision.es
Toma 27 SL (Malaga)
+34 66 000 8727
Video Report
+34 91 544 6989
www.videoreport.es
Videoefecto
+34 93 467 7327
www.videoefecto.com
Videolab
+34 93 200 5400
www.videolab.es
Sweden
Dockhouse
+46.(0)31 65 16 00
www.dockhouse.se
Euro Broadcast Hire
+46 (0)8 528 09220
Filmteknik
+46 (0)8 450 4500
www.filmteknik.se
production directory
Key
Camera/Camcorder hire
Leif Eiranson AB
+46 (0)70 318 8989
Lite Grip
+46 (0)31 19 6555
www.litegrip.se
VTR
X
Sony Xpri
Vipsas
+90 (0)212 243 4051
www.vipsas.com
BBC Post Production
London
+44 (0)208 225 7702
www.bbcresources.com
United Kingdom
Dubbs X
+44 (0)20 7629 0055
www.dubbs.co.uk
Massteknik
+46.(0)31 20 85 00
www.massteknik.se
021 Television
+44 (0)121 327 2021
www.021tv.com
Procam
+46 (0)8 5448 0780
Aerial Camera Systems
+44 (0)1483 426 767
www.aerialcamerasystems.com
Twentyfourseven AB
+46 (0)8 247 247
www.twentyfourseven.se
Videobolaget
+46 (0)8 734 9550
www.videobolaget.com
Switzerland
On Line Video 46 AG
+41 (0)1 305 7373
www.onlinevideo.ch
Schweizer AG
+41 (0)61 956 9050
www.schweizervideo.ch
Swiss Effects
+41 (0)1 307 1010
www.swisseffects.ch
Z&B Video AG
+41 (0)1 871 20 30
www.zubvideo.ch
Turkey
Imaj
+90 (0)212 216 7180
www.imajonline.com
X
Dealer
AHC Post
+44 (0)20 7734 9792
www.ahc.tv
ARRI Media
+44 (0)20 8573 2255
www.arri.com
Ascent Media X
+44 (0)20 7878 0000
www.ascentmedia.com
Axis Films
+44 (0)1932 592244
www.axisfilms.co.uk
Awfully Nice Video
Company
+44 (0)7000 345678
www.awfullynicevideo.com
BBC Post Production
Birmingham
+44 (0)121 567 7029
www.bbcresources.com
BBC Post Production
Bristol
+44 (0)117 974 6666
www.bbcresources.com
Jim Allison Editing
+44 (0)141 334 4888
www.editing.co.uk
Prime TV
+44 (0)20 8969 6122
www.primetv.com
LBV Television
+44 (0)1724 762600
www.lbv.uk.com
Provision
+44 (0)113 222 8222
www.yorkshiretv.co.uk
LighthouseHD
+44 (0)1406 351522
www.lighthouse-films.co.uk
Root 6 X
+44 (0)20 7437 6052
www.root6.co.uk
Metro Broadcast
X
+44 (0)20 7434 7700
www.metrobroadcast.co.uk
Stylus Technical Services
+44 (0)29 2045 1811
www.stylustech.co.uk
Mezzo Studio
+44 (0)113 203 6161
www.mezzostudios.com
The Cruet Company
+44 (0)20 8874 2121
www.cruet.com
MGB
+44 (0)113 243 6868
www.mgbtv.co.uk
The Farm Group
+44 (0)20 7437 6677
www.farmpost.co.uk
Mitcorp UK
+44 (0)20 8380 7400
www.mitcorp.co.uk
The Hospital Group
+44 (0)20 7969 7734
www.thehospital.co.uk
Galaxy Light & Power
+44 (0)20 7437 2020
Molinare X
+44 (0)20 7478 7205
www.molinare.co.uk
The Mill
+44 (0)20 7287 4041
www.mill.co.uk
Gearhouse
+44 (0)20 8795 1866
www.gearhousebroadcast.com
X
On Sight Hire
+44 (0)20 7637 0888
www.onsight.co.uk
Top Teks
+44 (0)1895 82 5619
www.top-teks.co.uk
Hammerhead Television
+44 (0)20 7924 3977
www.hammerheadtv.com
OpTex
+44 (0)20 8441 2199
www.optexint.com
VFG Hire
+44 (0)20 8795 7000
www.vfg.co.uk
HD24
+44 (0)1883 730043
www.hd24.com
Panavision London
+44 (0)20 8839 7333
www.panavision.co.uk
Visual Impact
+44 (0)20 8977 1222
www.visuals.co.uk
Hyperactive Broadcast
+44 (0)1252 519 191
www.hyperactivebroadcast.com
Presteigne Broadcast Hire
+44 (0)20 8336 2345
www.presteigne.co.uk
VMI
+44 (0)20 8922 1222
www.vmi.co.uk
Electra
+44 (0)20 8232 8899
www.electra-tv.com
Elite Television
+44 (0)113 262 3342
www.elitetv.co.uk
Enfys
+44 (0)29 2049 9988
www.enfys.co.uk
Films @ 59
+44 (0)117 906 4300
www.filmsat59.com
Fine Point Broadcast
+44 (0)800 970 2020
www.finepoint.co.uk
free subscription
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register at www.sonybiz.net/s2s
where to find all Sony high definition equipment
Whether you want to hire a camcorder, purchase equipment or are looking for
editing facilities, this listing is your guide to suppliers. To appear in this listing,
please send your company details to [email protected]
Key
Camera/Camcorder hire
Austria
Denmark
Finland
Danish Film Institute/Film
Workshop
+45 (0)33743480
www.dfi.dk
Generator Post
+358 (0)20 123 2300
www.generator.fi
Digital Film Lab
Copenhagen A/S
+45 (0)39274585
www.digitalfilmlab.com
Moving Camera Company
+358 (0)40 049 3728
www.movingcameracompany.fi
Lambeets
+32 (0)49 520 7777
Akademie der bildenden
X
Künste
+43 (0)1 588 16 414
X
Barti
+43 (0)7762 2959
Brains & Pictures
+43 (0)22 335 5323
www.brainsandpictures.com
Cut&Copy
+43 (0)1 523 98 24
ETAS
+43 (0)1 66 55 660
Filmatelier Innsbruck
+43 (0)512 26 38 27
I.B.&C.
+43 (0)1 714 29 39
No Trouble X
+32 (0)22 48 1696
www.no-trouble.com
ACE Digital House
+32 (0)27 35 6020
www.ace-postproduction.com
Outside Broadcast BV
+32 (0)16 23 2752
www.outsidebroadcast.be
Alfacam
+32 (0)34 54 2010
www.alfacam.be
Puzzle Editing
+32 (0)2 732 97 89
www.puzzle-editing.be
ARC Cinevideo
+32 (0)27 70 9630
www.arc-cinevideo.com
Staytuned DVD
+32 (0)71 82 70 00
www.staytuned.be
Athalys – Eye-lite
+32 (0)27 02 1650
www.athalys.com
Studio L’Equipe
+32(0)2 702 1072
X
Belgavox
+32(0)2 375 4489
The Matchbox
+32 (0)22 43 1230
www.thematchbox.be
Broadcast Recording
+32(0)47 56 86651
TV Connections
+32(0)2 230 0147
Klaus Krall
+43 (0)1 586 30 40
BUT
+32(0)38 80 7171
www.BUT.be
VRT
+32 (0)27 41 5901
www.vrt.be
LISTO Videofilm
+43 (0)1 596 151532
www.listo.at
CAPE
+32 (0)4 757 65959
www.cape.be
Videohouse
+32(0)2 254 4870
M&A Juraczka
+43 (0)1 894 2761
www.juraczka.at
Cine & Fx
+32 (0)27 39 1510
www.main-frame.be
X
Muhr TV
+43 (0)732 601 111
Color by Dejonghe
+32 (0)56 35 0710
www.color-by-dejonghe.com
IMAX
+43 (0)1 894 01 01
Interspot
+43 (0)1 801 20
ORF
+43 (0)1 878 78 0
X
PKM Kreuzer
+43 (0) 463 50 00 10
Vogel Audiovision
+43 (0)732 34 82 41
Wurzinger
+43 (0)2243 22 224
Belgium
2 Frame
+32 (0)22 45 3600
www.2frame.be
ES video facilities
+32 (0)16 40 4020
www.esvideo.be
Euro HD/Polygone AV
+32 (0)26 40 7731
www.polygone-av.com
FAC ‘S & Lite’s
+32 (0)2 252 42 82
Grid
+32 (0)9 265 9898
www.grid-vfx.com
Hoverlord
+32 (0)475 489508
Duckling A/S
+45 (0)33470100
www.duckling.dk
Euro Broadcast Hire
+45 (0)35 82 8220
www.ebh.cc
Hokus Pocus
+45 (0)33 32 7898
Nordisk Film
+45 (0)36 18 8200
www.nordiskfilm.dk
Nordisk Film Shortcut
A/S
+45 (0)35876666
www.shortcut.dk
PrimeVision A/S
+45 (0)70253535
www.primevision.dk
VTR
X
Sony Xpri
Twentyfourseven Oy
+358 (0)207 433 247
www.twentyfourseven.fi
France
Agence Planipresse
+33 (0)1 45 71 0909
Amazing Digital Studios
+33 (0)1 4523 0225
AMP
+33 (0)2 5121 1112
www.amp.tv
AV2P
+33 (0)1 41 44 00 00
www.av2p.fr
Avidia X
+33 (0)1 4468 8620
Videoline
www.videoline.be
+32 (0)51 58 2424
XDC
+32(0)4 361 58 49
www.evs-cinema.com
Bulgaria
Top Form Studio’s Inc.
+35 92 96 06619
Croatia
Gama Studio
+385 (0)142 6843
www.gama-studio.com
STORM X
+45 (0)32 84 8035
www.storm.tv
Twentyfourseven AS
+45 (0)44 247 247
www.twentyfourseven.dk
Zentropa Production
+45 (0)36780055
www.zentropa.dk
Eire
Bogard
+33 (0)1 5368 1635
www.bogard.fr
Centaure Production
+33 (0)5 5992 9425
CTM
www.ctmsolutions.com
+33 (0)1 4085 4500
Digimage
+33 (0)1 5538 0210
www.digimage-france.com
Czech Republic
The Farm
+353 (0)1 676 8812
www.thefarm.ie
ACE a.s.
+420 271 722 000
www.ace-prague.cz
Windmill Lane
+353 (0)1 671 3444
www.windmilllane.com
NOVA TV
+420 233 100 150
www.nova.cz
Screen Scene
+353 (0)1 661 1501
www.screenscene.ie
Universal Production
Partners
+420 271 722 121
www.upp.cz
Listing continues on the inside back cover
Duboi
+33 (0)1 5817 5000
www.duboi.com
GTC
+33 (0)1 4511 7000
Histoire d’images
+33 (0)4 7670 5216
www.histoire-images.com
Dealer