LIE TO MEdocshare01.docshare.tips/files/4621/46210035.pdf · Lie to Me, which is posted at Encore...

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JUNE 2010 | VOL. 35 NO. 6

LIE TO MELIE TO MEMoving the FOX Series to a File-Based WorkflowMoving the FOX Series to a File-Based Workflow

insideCombining

Formats and Footage

on the Disney Documentary

WAKING SLEEPING

BEAUTY

The Latest Developments inCAMERAS AND

RECORDING

insideCombining

Formats and Footage

on the Disney Documentary

WAKING SLEEPING

BEAUTY

The Latest Developments inCAMERAS AND

RECORDING

�videography.comCreating theImmersive Stage Set forPETER PAN

�videography.comCreating theImmersive Stage Set forPETER PAN

�REVIEWS |Canon EOS 7D Cinedeck/ExtremeAdobe Premiere Pro CS5

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June 2010 volume 35 | number 6

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I have always had a spot in my heart for Jack Rebney, the subject

of the documentary Winnebago Man (p. 16), as I think will anyone

who works in production.

Rebney was producing and appearing in an infomercial shoot in

the late 1980s for a local RV dealership, and during the course of

the day he had a meltdown. His crew compiled the extremely pro-

fane outtakes into a video that circulated on VHS tape for years and

then eventually appeared online. (You can watch the video at

www.videography.com/Jun2010, though with the caveat that is very

NSFW. But it is amazing.)

I first saw the outtakes from the shoot at the Found Footage

Festival, where the video was titled “The Angriest Man in America,”

and I have watched it a ridiculous number of times since then.

Rebney is so helplessly furious and hilarious, swearing at himself,

the weather, the fly ruining his shot, the wording in the script he’s

written, the Winnebagos themselves—with such wonderful declara-

tions as, “I don’t want any more bull**** any time during the day! From

anyone! And that includes me!”

I think the immense popularity of the video—20 million online

views, and only a portion of that is me—is due in part to the fact that

we can sympathize. There is something so affecting about Rebney’s

growing frustration as he flubs his lines, or trips on the Winnebago

steps, or battles a fly. (In one sweaty, desperate moment, he pleads

to his beleaguered cameraman, “Tony, do me a favor, will you please,

will you, will you do me a kindness?”) It’s just a fact that on a shoot,

things go wrong all the time. And anyone who’s worked in produc-

tion has either had or has wanted to have a Rebney moment.

DO ME A KINDNESS

16 FeatureWhat Ever Happened to the Winnebago Man?Filmmaker Ben Steinbauer Explores Online Celebrity

vviiddeeooggrraapphhyyvviiddeeooggrraapphhyy CCOOVVEERRIINNGG TTHHEE HHDD CCOONNTTEENNTT CCRREEAATTIIOONN CCOOMMMMUUNNIITTYYvolume 35

number 6

34 DialogueBill Romeo, SeniorVice President for EntertainmentTelevision, Ascent Media

Departments6 Independent Film & Video 8 Episodic Television9 Advertising

10 Event Video12 Corporate Video13 Web Video14 Tips to Clip

Stock Footage18 Fishbein Celebrates

Love Affair with New York

Showcases20 Independent Film & Video

Waking Sleeping Beauty: Formats and Footage on the Disney Documentary

21 Independent Film & VideoAnimal Collective Crafts Visual Album ODDSAC

22 Episodic Television Chill-Factor Cinematography: On the Road with Ice Road Truckers

Special Feature24 2010 NAB Show Wrap-Up

Tech Focus28 Rapid Reviews

Canon EOS 7D, Adobe Premiere Pro CS5,Cinedeck/Extreme

30 Short ListNLE and Plug-In Updates

33 ToolkitFrezzi, Litepanels, OConnor

Viewfinder3 Cristina Clapp

Do Me A Kindness

8

6

ins

ide

ON THE COVER: Tim Roth and Kelli Williams in an episode of FOX’sLie to Me, which is posted at Encore Hollywood. See story on page 34.

independentfilm&video

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Editor Chris Gill used EditShare Lightworkson the thriller Centurion, bringing the story-line to life via three Lightworks systemsconnected to a shared RAID over FibreChannel. The edit system yielded a fastcamera-to-edit solution for the film’s epicbattle sequences. “Speed was crucial for my

editing because Centurion’s subject matterrequired multiple cameras to catch allangles of action,” says Gill. “The Lightworkssystem includes advanced multi-cam editingwith unlimited sources and dual-SDI out-puts. Additionally, editors can simultaneouslyview source angles in sync with the edit.”

CENTURION TAKES LIGHTWORKS INTO BATTLE

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yU+co’s title sequence for Hot TubTime Machine features a photo col-lage of the history of hot tubs.Although some of the photos used forthe collage were stock, the bulk ofthem were shot by yU+co designersat what may be the company’s first(and possibly only) hot tub party. All ofthe photos were tweaked digitally to

adjust their color so they resembledold, faded photos with smudges andwatermarks. Additionally, the studiocreated a closing title sequence thatoffers a pitch-perfect parody of theMotley Crüe music video “HomeSweet Home.”

The HushDepends onIntensity ProDirector Vincent Cortez’s artisticvision takes the independent fea-ture The Hush from film noir tohorror to supernatural to actionthriller. “To tell this story,” Cortezsays, “I had to be able to use dif-ferent lighting styles, colorschemes, sounds and a host ofother production and postproduc-tion techniques to keep the audi-ence engaged.” He was able toachieve his vision by addingBlackmagic Design’s Intensity Procard to his filmmaking arsenal, usingit throughout production and post. Toread more about the film, visitwww.videography.com/Jun2010.

yU+co Makes a Splash

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Mid-Life Gangster Shot with Fujinon Lenses CinematographerFrederic Goodich,ASC, recently com-pleted principal pho-tography on the fea-ture Mid-LifeGangster. Employinga quasi-documentarystyle, the film wascaptured withFujinon’s HAe10x10E-Series zoom (10-100mm T1.8) and aset of HAe E-Seriesprime lenses, alongwith the Panasonic

AJ-HPX3700 P2 HD VariCam and AJ-HPX3000 camcorder, and Silicon Imaging’s SI-2KMini. “I like to work with available light and add or subtract light as needed,” says Goodich.“Working in low light levels, the speed of the Fujinon lenses allowed me to shoot wideopen and still maintain the sharpness I need.” To read more about the film’s production,visit www.videography.com/Jun2010.

LOOK Effects recently finished its work onthe ABC television series Lost, delivering350 visual effects shots for the finalepisode. Throughout the season, LOOKprovided Lost producers with effects servic-es that included an on-set visual effects

supervisor, creative and cost-effective solu-tions for effects, and an efficient reviewprocess. To read more about the company’swork on Lost, including its creation of theCG Smoke Monster, visitwww.videography.com/Jun2010.

episodic television

LOOK EFFECTS WRAPS UP LOST

Entity FX EnlivensBreaking BadThe Entity FX visual effects team is help-ing put many of the characters in theAMC series Breaking Bad into precariousphysical situations. In the episode titled “ISee You,” for example, artists digitallyremoved the legs of a professional assas-sin and helped him hop out of a hospitalbed full of wires and monitors and draghimself across the floor.

For “Fly,”Entity createdand animated aprincipal charac-ter: a commonhousefly. EntityFX created a CGinsect that wascapable of play-ing any role, froma barely-visibledot to a frame-filling monster.

Absolute transformed the video for British bandGoldfrapp’s single “Alive” into a psychedelic fantasy.

Singer Alison Goldfrapp now beams white lasersfrom her fingertips, and her dramatic arm ges-

tures leave a rainbow trail. Her collection of “vam-pire dancers” moves with a stuttered halo effect,

and the blood that drips from their mouthsappears as a glittery, multicolored liquid.

Says Absolute’s executive producer Sally Heath, “Itwas challenging, but it was a blast, too. It’s notevery day you get to work with vampire dancers!”

The team at Zoic Studios was engaged byNew Leaf Media to provide effects for aspot promoting the season finale of ABC’sGrey’s Anatomy. Entitled “One Gun Shot,”the promo features a bullet traveling slowlythrough the halls of the hospital.

Headed by creative director Les Ekker,Zoic assisted New Leaf’s production with a

laser, which described the bullet’s path forthe actors and assured a convincing paththrough a panicked crowd. Zoic also shot areal 9mm slug for reference and capturedthe lighting and reflections with HDR photoson set. During post, the Zoic team remod-eled the bullet, enhanced its textures andshaders and created a graphic shock trail.

ZOIC OPENS FIRE ONGREY’S ANATOMY PROMO

advertisingproduction

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Click 3X Gets“Rude” for RihannaThe imagery created by Click 3X forRihanna’s “Rude Boy” music video is toogood to stay on the small screen; the popperformer is also using it for her liveshow. “We started with Rihanna’s vision of a vibrant pop art video in which shechanges personas in almost every scene,” says Click 3X’s Mark Szumski, the project’screative director. “We drew inspiration from pop icons Andy Warhol and Keith Haring,and we created much of the video’s vibrancy with 8-bit video game graphics, hand-drawn animation and scanned Crayola textures.” Production involved Adobe AfterEffects, Autodesk Smoke and Flame, and MAXON CINEMA 4D.

Absolute Takes a Trip with Goldfrapp

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event

PETER PAN SOARS WITH IMMERSIVE STAGETheater designer William Dudley is charting new territory in the combination of digitalscenery and live action in the stage production of Peter Pan. Dudley turned to MAXONCINEMA 4D to create the digital sets, an experience he calls “cinematic theater.” PeterPan is being performed at San Francisco’s threesixty° Theatre—a 360-degree CGI the-ater pavilion—in a light-tight tent that serves as a giant surround projection screen.Working with Matthew “Mash” O’Neill and a team of CG artists, Dudley used CINEMA 4Dto craft virtual sets that live actors interact with and that bring audiences into the action.To read more about the sets, visit www.videography.com/Jun2010.

videoBroadcast Pix PowersLive Idol Event The Television Services Department of thevillage of Mount Prospect, Ill., typically usesits Broadcast Pix Slate 1000 video produc-tion system to produce local programming.But on May 26, the system became thecornerstone of a live American Idol finaleviewing party, where an estimated 5,000people watched hometown hero LeeDeWyze win the competition. The MPTVteam displayed the American Idol feed ona JumboTron, mixed with live images fromits two Sony DSR-400 ENG camcorders.

corporatevideo

Hal Long of production company Henry Films directedthe launch video for the 2010 Cadillac CTS-V coupewith an array of Panasonic P2 HD and AVCCAM cam-eras. His toolkit included a Panasonic AJ-HPX3700 P2HD VariCam, which shot the interiors and served as B-camera when the car was on the road. (A VisionResearch Phantom HD camera shot high-speedfootage of the car.) An AG-HPX170 P2 HD camcorderwas deployed on car mounts and used to shoot interiordetails. The team also used an AG-HMR10 AVCCAMcompact field recorder/player and AG-HPG20 PortableP2 HD recorder for real-time P2 backup.

Panasonic Cameras Deliver Cadillac Video

SACHTLER SOOM SOARS Videographer Ajay Johnson produced Sea to Shining Sea, a documentary fol-lowing 15-year-old Kimberly Anyadike’s dream of piloting a single-engine RedTail airplane from Compton, Calif., to Newport News, Va. The project, completedin conjunction with Tomorrow’s Aeronautical Museum, honors the first black U.S.military pilots, the Tuskegee Airmen. “We shot 600GB of video in five differentcities, plus interviews, footage at museums and shots of the plane in variousstages of flight,” says Johnson. “The Sachtler FSB 6 head and SOOM camerasupport helped me to get some of the most exciting material I’ve ever captured.” n

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webvideo

Superfad Stays Light on Its FeetSuperfad collaborated with 180 Amsterdam to create anonline video that showcases Adidas’ F50 soccer shoe.According to Superfad director Clayton McDermott, “The chal-

lenge was tocreate a spotthat not onlyprovides theviewer with acomprehensiveoverall view ofthe exteriordesign and the

technology that lies within the shoe, but that also conveys thespeed and maneuverability that the design affords the player.”Playing with various speed ramps and bullet-time effects, thevideo does just that. To view the completed project, visitwww.videography.com/Jun2010.

WE ARE PLUS PROMOTES SMART BOARDWe Are Plus completed an engaging brand video showcasing the SMART Board interac-tive whiteboard from SMART Technologies. Entitled “TheMagical Classroom,” the video will be distributed internation-ally via viral seeding and Facebook, and will be featured inother applications and materials by SMART’s marketing team.The project involved combining techniques for live-actionfilmmaking and stop-motion animation to explore a series ofpainted walls representing the process and possibilities oflearning coming to life through the SMART Board. To readmore about the project and view the video, visit www.videography.com/Jun2010.

Stun Creative Goes ViralStun Creative produced and directed anappropriately uncomfortable marketingcampaign for Curb Your Enthusiasm onTV Guide Network. The multimediaeffort includes a viral Web promo inwhich Larry David finds himself in yetanother awkward situation, this timeduring an apparent junket-type inter-view about Curb coming to TV GuideNetwork. Designed to blur the linebetween “real” Larry and “TV” Larry, thevideo leaves viewers wondering if whatthey just saw was scripted or truly cap-tured by cameras between takes. Toview the videos, visitwww.videography.com/Jun2010.

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tips to clip

If you use one of those neatspring-open folding reflec-tors, what do you use as aclamp when there’s no livebody to hold the reflector atthe exact needed angle? Agood question, and MichaelSime of Videoschmideo inCedar Grove, N.J., answers itwith a compact, transportablepackage.

As you can see in thephoto, Michael mounts a pieceof doweling in the head of a C-stand. Two spring clamps hold the reflector inplace. The whole thing is then mounted on a folding light stand. With a small-er reflector, you might be able to use the standard C-stand arm instead of thedowel. If you will be working outside in the wind, it’s a good idea to steady thestand with a sandbag or other weight. You will also want to be sure to adjustthe holder as the sun moves.

Now it’s your turn to share a favoriteshooting or production tip or questionwith your fellow professionals. Pleasesend e-mails to [email protected] submissions become the property of Reizner & Reizner. None can be returned.

DICK REIZNER

»Dull DecorPolished wood-paneled walls look very nice inoffices, but they can cause major glare prob-lems when you photograph someone againstthem. The first thing to try, of course, is mov-ing the lights so the reflection doesn’t bounceinto the camera lens. If that doesn’t work,contact building maintenance and ask forsome liquid furniture polish. Spread a thincoat on the wall and let it dry. This will giveyou the dull surface you need, and the wallwill still look like rich wood. When you’rethrough shooting, simply buff off the polishwith a soft cloth and charge the client extrafor dusting and polishing.

»Steady Shot ReduxLast month’s tip about steadying your cameraby resting it on a loosely filled sandbag orbeanbag brought forth a modification by JohnBarnett of Tampa, Fla. John carries his ACextension cords in a canvas bag that doublesas a beanbag on low-angle or Dutch shots.He says the arrangement isn’t quite as flexi-ble as a sandbag, but “Why carry two piecesof gear when one can do double duty?”

»Go…StayPPrroobblleemm:: Sometimes a shot requires a

nonprofessional to walk to a certain spot and

stay there—so a background element can be

shot over his shoulder, for instance. You don’t

want your talent to have to look down and

shuffle around to get his feet aligned with a

tiny strip of tape.

TThhee TTiipp:: Put a two-foot-square piece of 3/4-inch

plywood on the floor and tell the talent to “Go

stand on it.” Even an amateur can hit this

mark and stay there. The plywood will be thick

enough that the talent will sense when he’s

on it but not so thick that he’ll appear to be

stepping up onto something.

Just In Case When shipping somethingoverseas, use UPPERCASE block letters on all labels.Capital letters are easier to read, and in some coun-tries, lowercase letters are formed differently than

they are in the United States. You also want to be careful to distinguishbetween the numbers 1 and 7, which are frequently confused internationally.The dangers of a misread label range from a slight delay to lost equipment.

SHARE YOUR TIP

Editor’sChoice

�ReflectionFrom aThird Hand

Those of us whofrequently work asone-man bandscan appreciate thishomemade extra-hand gadget fromfreelancer ChrisLagattuta of SanJose, Calif. Chrishas combined amicrophonegooseneck withtwo spring clamps to create a very flexible arm for holding light flags,camera shades or almost any lightweight object. I have used a similargadget to hold a leafy branch or other foreground item in the frame toreduce sky glare and give a shot depth.An

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JON SILBERG

Long before YouTube, years before ad agen-cies and networks opened “viral video” divi-sions, there were underground video clipsthat made the rounds and achieved their ownsmall fan base because they were fascinat-ing or funny in some way. Among them, themash-up of outtakes from a Winnebago pro-motional film approached legendary status.

In the piece, spokesman Jack Rebney—who came to be known as the “WinnebagoMan” and also “the angriest man in theworld”—is driven to distraction and to manystrings of hilariously foul outbursts in his frus-tration at the progress of the day’s taping. Inthe early 2000s, the Found Film Festivalpackaged the piece with similar material togreat success, and when online media shar-

ing took off, the “Winnebago Man” clip wentviral. Now it is the basis of the feature docu-mentary Winnebago Man by Austin filmmak-er Ben Steinbauer.

So what happened to Jack Rebney? Washe still selling RVs? Had he retired? Had hesuccumbed to his rage? Steinbauer, who’dfirst seen the clip as a VHS tape in 2001 andthought it “one of the funniest things I’d everseen,” was curious. And in 2006, when,thanks to the Internet, Rebney’s video hadentertained many millions of people,Steinbauer decided to try to find out.

He put together a small crew and record-ed his search with Panasonic cameras,beginning with a DCR-VX2000 DigitalHandycam and migrating to the AG-HVX200HD camera as soon as it came out. He

worked with cinematographers BradleyBeesley and Berndt Mader, often ridingsound levels himself.

The project began as an exploration ofthe phenomenon of viral video and the con-sequences of the sudden and often unwant-ed fame that can result. Rebney was to bejust one of several examples, with the otherspossibly to include the unfortunate “StarWars Kid,” or the force behind the “History ofDance” bit that was a YouTube sensation. “Iwas interested in the idea that people couldbe famous in ways they never intended andhad no control over,” he recalls. “It’s part ofthe bigger issue that we all have these ‘digi-tal reputations’ we can’t shake.”

Intent on finding out what happened tothe Winnebago Man, Steinbauer approachedan Austin private investigator. “I explained tohim that I was making a documentary and Iwanted to hire him to help me find this per-son I wanted to interview,” Steinbauer recalls.“I told him the person’s name was JackRebney and he was known as the

What Ever Happened to the Winnebago Man?FILMMAKER BEN STEINBAUEREXPLORES ONLINE CELEBRITY

Jack Rebney in 1988

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Winnebago Man. There was a silence, andthen he just burst out laughing and he said, ‘Ilove that video!’ And he ended up finding himfor free!”

In an effort to avoid spoilers, we will revealonly that he does find “the angriest man inthe world” in a remote wooded area; in learn-ing about Rebney’s story, his ideas, and hiscurrent pursuits, the documentarian realizedhe had plenty of material to build his entirefeature-length documentary around Rebneyand the tug of war between filmmaker andsubject over what the documentary

Winnebago Man should be about.With his skeleton crew, Steinbauer shot

interviews of Rebney in and around therecluse’s cabin with the HVX200, as well aswith some 16mm negative in both a very oldCP-16 with Angenieux lenses and an olderBolex with Canon lenses. A fellow Austinfilmmaker who’d had success in the festivalmarket had strongly suggested shootingsome film for the project to add productionvalue and make Winnebago Man stand outfrom all the other all-video docs it might end

up competing against at festivals. “It was afew-thousand-dollar investment,” Steinbauersays, “and I think it was worth it. The scenesshot on film do have a very nice look to them.We recorded all the audio for the filmedsequences on the HVX200 and just dealtwith synching them up in Final Cut Pro later.”

The project came together in a piecemealfashion over a four-year period whileSteinbauer was teaching at the University ofTexas at Austin. San Francisco-based editorMalcolm Pullinger cut the show together inApple Final Cut Pro, ultimately moving down

to Austin for several months for the finalpush to finish. L.A.-based editor Joel Heller,who’d most recently cut the Farrelly Brotherscomedy The Ringer, came on board as a pro-ducer, helping to finish the cut and polish thevoiceover copy.

The film was then mastered at 1080 Postin Austin. The company used a Teranex boxto up-res the various formats—4:3 NTSC forthe earliest shoots and a significant amountof stock footage, 720p from the HVX200—toHDCAM. The 16mm material had been

telecined to HDCAM already at Dallas-basedVideo Post & Transfer. 1080 colorist NickSmith graded the project using the facility’snew Autodesk Lustre system.

With the film completed, Steinbauer paida visit to an entertainment attorney withwhom he had a mutual friend. “I startedtelling her what the movie was about, and assoon as I mentioned the Winnebago Man,she started laughing. She said, ‘You’re notgoing to believe this but that clip got methrough law school!’ It seems that whenevershe was stressed about a class or an exam,

she’d get together with friends, watchRebney in action and die laughing, and thathelped her cope.

“I think this clip has been around so longfor a reason. Since we premiered at SXSW inAustin, we’ve played the film at festivals inAustralia, New Zealand, Canada and someplaces in South America. No matter wherewe are, people say, ‘This reminds me so muchof my uncle’ or ‘my brother.’ Like with all thereally good viral videos, you watch it and youthink, ‘You just can’t make this stuff up.’”

Following a grueling two-week shoot in August 1988 for a Winnebago sales ad, some of the crew edit-ed together outtakes of RV salesman Jack Rebney into a four-minute clip, which eventually becameknown as “Winnebago Man.” Eventually the video fell into the hands of VHS tape collectors, who begancopying and trading it, sparking an underground phenomenon that turned Rebney into a cult hero.

Jack Rebney in 2010

IAIN STASUKEVICH“New York has never ceased to

amaze and inspire me,” says Chuck

Fishbein, director at Crazy Duck

Studios in Weehawken, New

Jersey. For 15 years, Crazy Duck

has produced EPKs, documentaries

(“duckumentaries”), music videos

and industrials for a wide range of

clients.

More recently, Crazy Duck has started con-tributing content to stock footage libraries.No matter what the subject matter, Fishbeinfinds himself returning to his first love: NewYork City.

“I’ve been all over the globe, and NewYork has a life that doesn’t compare to any-place else,” he says. “I just draw energy fromit. It’s never quiet. It’s never still. It’s the kindof place where you can stand on one cornerand get a hundred different shots withoutmoving.”

The Sony PMW-EX3 and EX1 areFishbein’s cameras of choice. He cites theEX3’s interchangeable lenses as a hugeadvantage over other camcorders. “I like touse long lenses. Wide shots of New York canlook flat, and so I try to get the details, to pickapart the city based on its elements.” Maybehe’ll spend all day shooting feet, another day

steam vents or neon signs. One of hisfavorite elements is the Empire StateBuilding, which is visible in many of his stockfootage clips. “At first, I didn’t create them toimpress people,” Fishbein points out. “They’rethe things about the city that turn me on.”

Fishbein’s style is classic New York: it’ssteamy and gritty, blanketed with a romantic,ethereal sheen as golden sunlight breaksthrough and reflects off clouds rolling acrossthe skyline. According to Fishbein, shooting

stock footage involves more than just tak-ing pretty pictures. When he scours stocklibraries for his own projects, he’s lookingfor the very best footage he can find; thisapproach naturally informs the work hedoes as a stock footage contributor.

“We try to bring a high-end look toeverything we do. When I’m shooting, I useneutral density [ND] and grad filters, and

we also do a lot of color correction.”Fishbein and the Crazy Duck team used

to produce all their content in 1080i, but asthey began submitting to the stock libraries,they found that most of the higher-endclients—including the producers of the televi-sion show 24, who purchased a Crazy Duckclip of the Chelsea Hotel—were requestingfootage in 24p.

Even though he remains prolific in bothphotography and videography, Fishbeinprefers to shoot video, licensing his workthrough Shutterstock and Getty Images.“Stock is still new to us, and having donecommercial work, I’d love to turn more of myattention to shooting stock.”

Fishbein was recently featured on theSony VideON network, which is availableonline at http://pro.sony.com/bbsc/video/featured-chuck_fishbein/.

stock footage

Fishbein Celebrates Love Affair with New York


OLIVER PETERSIf you had young kids in the late ’80s or early’90s, then you are no stranger to Disney’s ani-mated blockbusters of those decades, likeThe Little Mermaid or The Lion King. Now youhave a chance to go behind the scenes withthe documentary Waking Sleeping Beauty.

Don Hahn, producer of The Lion King,and Peter Schneider, former head of DisneyFeature Animation, decided this was a storythat needed telling and pitched the idea tothen-Disney Studios chief Dick Cook. Disneyagreed to provide a small budget and letHahn and Schneider produce a candid docu-mentary, “warts and all.”

Hahn and Schneider focusthe film on the decade from1984 to 1994, which Hahndescribes as “the perfect stormof talented executives and cre-atives who came together toreinvent the magic of Disneyanimation.”

Since Don Hahn had beenin the middle of the action, hebecame the ideal choice todirect and even narrate thedocumentary. Not only did heintimately know the storybecause he’d lived through it, he also knewabout many of the available media assets.Much of the documentary comes from newsclips, internal videos and electronic press kitsused to promote the various films. In addition,the animators themselves produced quite afew of their own “home videos” and uniquecaricatures that Hahn used to enhance thevisuals.

Waking Sleeping Beauty took about ayear and a half to post and went through thehands of three editors: Vartan N. Nazarian,John “JD” Ryan and Ellen Keneshea. Hahnexplains, “I had three editors on the film, andit turned out to be a great way to work. Theyeach brought a special talent and perspectiveto the film. Vartan did most of the ‘heavy lift-ing’ to get us to our first cut. I consider JD as

my ‘forensic editor.’ He picked up after Vartanand was the guy who dug in deep to findthose little ‘gems’ of never-before-seenfootage that make this film special. Ellen—with whom I’d worked on other films—came inat the end with a fresh eye, finished the filmand gave it polish.”

Nazarian adds, “We started with about250 hours of archival footage in just aboutevery format, from old VHS, 3/4” and Hi8 toHDCAM and everything in between. Thatnumber actually grew throughout the edit asmore clips were found.”

A huge technical challenge was how tobest deal with the mix of formats. Since thebulk of the footage was standard definition,the decision was made to cut the project as a30i NTSC project using the available SD

sources, regardless of proper timecode. Afterthe cut was locked, clips that were used in thesequence were upconverted to HDCAM1080i masters. Downconverted standard-definition copies of these tapes were used toreplace all the footage by “eye-matching”each clip. Although very time-consuming, thisprocess allowed an edit list to be turned overto the online facility with timecode that wouldmatch the HD sources. Ultimately the 1080iedited masters were converted to 24p for dis-tribution. DigitalFilm Tree assisted in the vari-ous conversions of source footage andFotoKem handled the final online assembly,color correction and digital intermediate work.

To read more about the post process onWaking Sleeping Beauty, visit www.videogra-phy.com/Jun2010.

independent film & videoshowcase

Waking Sleeping BeautyFORMATS AND FOOTAGE ON THE DISNEY DOCUMENTARY

Editor Ellen Keneshea withdirector Don Hahn and producer Peter Schneider

Howard Ashman excori-ates Disney directors KirkWise and Gary Trousdale

during a tough story meeting on Beauty

on the Beast(as drawn by Kirk Wise)

Editor Ellen Keneshea at AvidMedia Composer with Mojo DX

Editor Vartan Nazarian

IAIN STASUKEVICHPart experimental film, part extended musicvideo, ODDSAC is the result of four years ofpiecemeal recording, videotaping, editing andtinkering by director Danny Perez and pop-experimental band Animal Collective. WithODDSAC, they deliberately shied away fromconstructing a narrative, yet relished theopportunity to dabble in their favorite genre:horror films.

Band member David Portner notes, “Wewere always into horror movies like TheShining or The Texas Chainsaw Massacre. Ourmusic is inspired by the scores of those films,and enjoying that music pushed us into theexperimental direction you hear in our music.”

The members of Animal Collective

worked separately, from their home recordingstudios, sometimes scoring Perez’s editedsequences. Conversely, Perez, working withApple Final Cut Pro and Adobe After Effects,sometimes tailored his timeline to whateversounds the band recorded.

“In this way, Danny was like another bandmember,” says Weitz. “When we’re working ona studio album, we try to follow certain guide-lines, like rhythms or the key of the melody.With ODDSAC, the visuals were just anotheringredient in the recipe.”

The entire experience runs nearly an hourlong: in those 54 minutes, time and realitystretch, compress, twist and turn almost asmuch as the visuals. ODDSAC was shot byRyan Samul with a Panasonic AG-DVX100A,

and footage was upresed to 1920x1080.ODDSAC will be available on DVD in July.

independent film & video showcase

Animal Collective Crafts Visual Album ODDSAC

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IAIN STASUKEVICHFor the past three seasons, theHistory Channel reality seriesIce Road Truckers has followeda motley team of grizzled, frost-bitten big rig captains haulingcargo across hundreds of milesof Northern Canada’s icy roadsand frozen lakes under the mostadverse conditions. Since thebeginning, Original Productionshas used Sony technology tocapture the action. The equip-ment roster has been expandedin the fourth season to includemore than 75 cameras, ranging

from XDCAM to HDV models, and plenty ofSony decks and monitors.

Ernie Montagna, the equipment managerfor Original Productions, oversees the initialprep on Ice Road Truckers as well as onOriginal’s other reality shows, DeadliestCatch and Axe Men. When a new season ofIce Road Truckers begins production,Montagna travels from Burbank to theFairbanks, Alaska, production offices tospend a few weeks outfitting the six truckteams with Sony XDCAMs (a combination ofPMW-350, PDW-F355 and PDW-700 mod-els fitted with 11x, 19x and 41x Canon HDlenses), Sony HVR-Z1U, Z5 and Z71/3-inchcamcorders, Sony HVR-A1Us, and various

pieces of riggingequipment like MagicArms, clamps andcold-weather hous-ings.

Each truck teamconsists of a driverand a producer in thebig rig, with a DP and

an associate producer/camera assistant following in a chase vehi-cle. The rigs are mounted with POV and bumper cameras, as wellas crash cameras positioned along the outside of the cab and trail-er. The producer rides shotgun and takes video of the driver withone of the Z-series cameras. In some cases, the gear has justbarely survived another one of Original’s grueling productionsbefore Montagna turns it around and sends it back into the field formore punishment.

One of the main season four DPs is Patrick Kligel: “Without a guylike Ernie who knows the gear and knows his department, we’d bescrewed for sure,” he says.

episodic television showcase

Chill-Factor CinematographyON THE ROAD WITH ICE ROAD TRUCKERS

2244

OLIVER PETERSIf you judged the camcorder market bythe types of camcorders used by videopodcast producers on the NAB Showfloor, then HDSLRs like the Canon EOS5D, 7D and Rebel would be the onlystory. These hybrids have been a hotitem for almost two years, but nothingreally new on that front at NAB fromCanon or Nikon. There were plenty ofDSLR add-ons, rigs and lenses fromvendors including Zacuto, Cinevate andRedrock Micro, though.

The real news for some was thatPanasonic’s broadcast side appears to begetting into the game with the AG-AF1004/3-inch (Micro Four Thirds) camcorder. It’sdue out by the end of 2010 and will recordan AVCCAM signal to SDXC memory cards.This camera is clearly targeted at theHDSLRs, and a mock-up of the camerabody was displayed with a set of Olympusprime and zoom lenses.

RED Digital Cinema has some real chal-lengers in the coming year. Primetime dra-matic TV is 60 percent digitally-acquired thisseason. The bulk of the work is being han-dled by Sony F35 and F23 and PanavisionGenesis cameras, and ARRI and Aaton arejoining the field with the two newest digitalcinema cameras: ARRI Alexa and AatonPenelope-Δ. A new twist is that each records

camera RAW files as well as

compressed files for editing. ARRI records tothe Apple ProRes codec and Aaton uses AvidDNxHD 36 proxies.

The Aaton Penelope-Δ is actually a hybridfilm/digital 35mm camera with interchange-able magazines for each medium. The digital“magazine” houses a custom Dalsa CCDsensor, which fits into the same gate area asthe film loop of the 35mm film magazine. Thisdesign permits the camera to use an optical

viewfinder.

In the case of the ARRI Alexa,recording a simultaneous ProRes filemeans that most TV production willprobably never touch the RAW files.Even so, you have them as a “digitalnegative,” and ARRI is quickly makingRAW plug-ins available to variouscompanies, including Avid andAssimilate.

If you need a mainstream cam-corder, then look to Panasonic andCanon. Panasonic followed up the

successful AG-HPX300 with the AG-HPX370 P2 camcorder. It uses a new1/3-inch, 2.2-megapixel, three-chip imag-er to record full 1920x1080 AVC-Intramedia.

Canon introduced the XF300 andXF305, two models based on the newCanon XF codec (MPEG-2 4:2:250Mb/s). I thought the cameras producedsome very pleasing images, but therecordings on display at NAB showed alot of mosquito noise and macroblock

compression artifacts, typical of MPEG-2.The XF305 model includes an uncom-pressed HD-SDI output, so you have theoption of using an external recorder, like anAJA Ki Pro, Focus Enhancements FireStore,Cinedeck or Convergent Design nanoFlash.

To read an extended version of this articlethat includes information on editing and post,storage and stereo 3D offerings at the NABShow, visit www.videography.com/Jun2010.

2010 NAB Show Wrap-Upspecial feature

NAB SHOW 2010 IN REVIEW:

Cameras and Acquisition

ARRI Alexa

Aaton Penelope-Δ

Canon XF305


Panasonic AG-HPX370

Cinedeck

2288

tech focus

There are aspects of the Canon EOS 7D hybrid DSLR/HD video camerathat I am critical about, but most of my issues with the 7D arise because Iam trying to use the camera for things it wasn’t designed to do. Althoughthe 7D has HD video capabilities—1920x1080 MPEG-4 H.264 AVC formatvia a Super 35mm-sized (APS-C) sensor—this is not a digital video camera.This is a still camera, and as a still camera, it’s fantastic.

My critical comments come from the camera’s shortcomings whenshooting HD video in a production environment—when you use the camerafor what it’s not really designed to be used for, you encounter problems. Butconsidering the cost of the camera and the quality of video it is capable ofacquiring, in addition to the third-party tools and accessories coming to mar-ket for DSLR hybrid cameras, most of my issues quickly become moot.

——JJaayy HHoollbbeenn

Canon EOS 7D

Cinedeck’s direct-to-disk recorder series sets a new standard forwhat is possible with a portable recorder in terms of features,functionality, design and price. Cinedeck/Extreme, the first ofseveral announced models with the same physical shape but dif-ferent recording capabilities, was co-developed with CineFormand uses the platform-agnostic CineForm Digital Intermediatecodec. The Extreme model records up to 2K resolution at 12-bit4:4:4 or 10-bit 4:2:2 quality in .MOV or .AVI format.

Operating Cinedeck is a real pleasure. Mounted on top ofmy rig, I could use it easily for critical focus while shooting andfile-based review during breaks in the action. The LCD screenprovides a wide angle of clear and accurate viewing, and theunit is simple to operate, even in the “live” situation of shoot-ing an event. The recorded files were noticeably sharper andcleaner than the files recorded to my camera’s media cards.

——MMiicchhaaeell HHaanniisshh

Adobe Premiere Pro CS5The big story about Adobe Creative Suite 5 and Premiere Pro CS5is native 64-bit operation, which requires a 64-bit OS (WindowsVista/7 or Mac OS X Snow Leopard) running on a processor thatsupports 64-bit operation. The release offers quite a few “under-the-hood” workflow improvements, but the general editing fea-tures have not significantly changed. If you liked Premiere Probefore, then you’ll really love CS5. If you weren’t a fan, thenimproved performance and the easy integration of RED andHDSLR footage might sway you.

The highlights are the Mercury Playback Engine, more nativefile and camera support and accelerated effects. This is veryhealthy upgrade that provides a number of feature enhance-ments, but it truly delivers on the side of performance. PremierePro’s Mercury Playback Engine contains more than 30 imageprocessing effects that take advantage of the Nvidia GPU’sCUDA processing power, but you’ll enjoy a significant perform-ance upgrade even with a non-CUDA graphics card.

——OOlliivveerr PPeetteerrss

Cinedeck/Extreme

To read extended versions of these articles, visit www.videography.com/Jun2010.

rapid reviews



11ssttVViiddeeoo VeriCorder $19.99

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The first NLE for the iPhone 3GS records video at 640x480 from the built-in camera, or you canimport a movie. Edit, add text and titles. E-mail or upload to YouTube or your Web site. Must beseen to be believed. VeriCorder will also offer 1stVideo Net for workgroup collaboration or news-room/server applications. This is a breakthrough product.

FFiinnaall CCuutt SSttuuddiioo 33 Apple $999

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What’s new at NAB? Nothing. Just a maintenance upgrade prior to the show. But Apple is stillthe 800-pound gorilla in the room even when not in the room. The evidence of Final Cut Studiowas in virtually every booth. Avid will now import ProRes, and the new ARRI Alexa camera has aProRes option. New control surfaces for Color and Soundtrack Pro appeared. One doesn’t need“new” in order to be noteworthy at NAB.

MMeeddiiaa CCoommppoosseerr 55 Avid $2,495

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Media Composer 5, introduced at NAB, includes support for ProRes through AMA, in addition toother codecs. MC 5 breaks the mold of Avid’s exclusive requirement of its own branded hardware.Both PC and Mac users can access video out through the Matrox MXO2 Mini. ProRes ensurescompatibility with Apple’s über-codec. Trim on the timeline. A whole host of new features reas-sures even skeptics that Avid is determined to maintain its position.

AAddoobbee PPrreemmiieerreePPrroo CCSS 55 Adobe Systems $1,899; upgrade

from $599

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Perhaps the most extensive upgrade to Creative Suite ever. In addition to the feature set, themost noteworthy add is 64-bit operation with Mac or PC 64-bit OS. This allows addressing of allavailable RAM and results in considerable speed increases. Premiere handles any files up to 4Kand takes H.264, REDCODE RAW and AVC-Intra (all without rewrapping). With compatibleNvidia graphics card, Premiere accelerates playback via Mercury Playback Engine.

BBoorriiss CCoonnttiinnuuuummCCoommpplleettee 77

Boris FX From $995

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New for NAB 2010, BCC 7 is advertised by Boris as the Swiss Army knife of visual effects. Nowalso 64-bit aware for CS5. New plug-ins in BCC 7 include a real-time color corrector, video noisereduction, complete keying suite, audio-driven keyframe generator, and a spline-based warpingtool, among others. I contend that if you are going to purchase only one plug-in package forApple, Adobe or Avid, BCC is your choice.

LLoocckk && LLooaadd CoreMelt $149

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CoreMelt produces an innovative line of creative visual effects that render quickly and cleanly. Avideo stabilization and rolling shutter reduction for After Effects and Final Cut Studio (FCP andMotion), Lock & Load is particularly important for DSLR shooting. It has saved a few shots for me.Quick rendering. Unlike FCP’s stabilization, which analyzes the entire clip, Lock & Load does notwaste time; it analyzes only from in->out points.

LLuuccaa LLiigghhtt KKiitt Luca Visual FX $49

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These lighting effects for AE, FCP, FCE and Motion work as a component of FxFactory fromNoise Industries, whether the free version or pro version. Consists of nine unique lightingeffects/transitions with gradients, vignettes, flicker and stylized effects. Packs a lot of punch forsomething so reasonable, and renders lightning (so to speak) fast.

RRoolllliinngg SShhuutttteerr The Foundry $500

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Capable of extremely precise correction of rolling shutter effects for AE, PC or Mac, RollingShutter joins Keylight and FurnaceCore for FCP as plug-in offerings from this high-end FX house— which also brought us Nuke, among other industry-standard compositing applications. RollingShutter utilizes a motion estimation algorithm to predict distortions caused by large CMOSimagers to provide extremely accurate correction.

MMoonnsstteerrss GGTT GenArts $99

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An AE plug-in to complement or work independently from Sapphire, Monsters GT previously wasavailable only on Smoke or Flame but now is available for PC/Mac. Includes NightVision, CCTV,Warps and Distorts, Fluid simulations, and particle generators/trails. Another example of how thehighest-end products are finding their way to the desktop. I wrote several years ago that Sapphireis the best effects plug-in package I’ve tested. And I stand by that.

NNooddeess Yanobox $99

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SPEED YOUR WORKFLOWITEM/CONTACT

COMPANY PRICING WHAT THEY OFFER

Final Cut or AE (PC/Mac). Used to build text and graphics into 3D animations, this plug-in workswith either the free or pro version of Noise Industries’ FxFactory. Utilizing GPU acceleration,Nodes creates lines, boxes, bubbles and tubes to create attention-grabbing text effects. Create a“node” and map a symbol, graphic or text to it. A unique product that can help achieve a verystylish look.

NLE AND PLUG-IN UPDATES10tech focus

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tech focusfrezzi | litepanels | oconnor

Frezzi Stable-Cam

11Frezzi’s Stable-Cam support system provides shoulder and wrist support tostabilize DSLR cameras. Stable-Cam balances on three body points, making

a natural body extension. Its ergonomic design—two hand grips, shoulder sup-port rest and counter-balanced battery bracket that eliminates the need foroptional weight accessories—relieves shoulder and wrist stress, allowing extend-ed shooting. The unit accepts AB- and V-mount batteries.Frezzi Energy Systems | www.frezzi.com

Litepanels MicroPro Hybrid

22The MicroPro Hybrid on-camera LED combines capabilities for continuouslight output and flash burst output in a single fixture. The “continuous” mode

provides soft, directional lighting ideal for video-enabled DSLR cameras, while the“flash” mode produces a 400 percent brighter burst. Strobe output is also available.The integrated dimmer offers instant dimming (100% to 0) with minimal color shift. Litepanels | www.litepanels.com

OConnor O-Grips

33O-Grips features smooth-functioning single-handle ball joints with a maxi-mum payload capacity of 44 lb., making it ideal for work with both smaller

and larger cameras. This professional camera handgrip is capable of fitting allstandard rod systems (15mm and 19mm Studio, and 15mm LWS) via the singleO-Grips bridge. Modular O-Grips are stackable for custom applications and canbe configured to create double- or multi-joint handles.OConnor | www.ocon.com

Abe’s of Maine 23

Adorama 19

AJA 5

Autocue-QTV 22

Automatic Duck 12

Azden 9

B&H Photo-Video-Pro Audio 26-27

Blackmagic Design 15

CSI Design 10

Digital Video 2010 Expo 25

LCD4 Video 36

Litepanels 8

Marshall Electronics 21

NewTek 7

Panasonic Broadcast 2

Primera Technology Inc. 11

Samy’s Camera 29

Schneider Optics 13

Shutterstock 18

Sony Electronics 4

Varizoom 31

Videoguys 35

1080 Post 17

180 Amsterdam 13

Aaton 24

Absolute 9

Adobe 9, 21, 28, 30

AJA Video 24

Angenieux 17

Apple 17, 21, 24, 30

ARRI 24, 34

Ascent Media 34

Assimilate 24

Autodesk 9, 17, 34

Avid 20, 24, 30

Blackmagic Design 6

Boris FX 30

Broadcast Pix 10

Canon 17, 22, 24, 28

Cinedeck 24, 28

CineForm 28

Cinevate 24

Click 3X 9

Convergent Design 24

CoreMelt 30

Crazy Duck Studios 18

Dalsa 24

DigitalFilm Tree 20

EditShare 6

Encore Hollywood 34

Entity FX 8

Focus Enhancements 24

FotoKem 20

Frezzi Energy Systems 33

Fujinon 6

GenArts 30

Getty Images 18

Henry Films 12

Litepanels 33

LOOK Effects 8

Luca Visual FX 30

MAXON 9, 10

New Leaf Media 9

Nikon 24

Nvidia 28

OConnor 33

Olympus 24

Original Productions 22

Panasonic 6, 12, 16, 21, 24

Panavision 24

RED Digital Cinema 24, 28

Redrock Micro 24

S.two 34

Sachtler 12

Shutterstock 18

Silicon Imaging 6

Sony 10, 18, 22, 24

Stun Creative 13

Superfad 13

Teranex 17

The Foundry 30

VeriCorder 30

Video Post & Transfer 17

Vision Research 12

We Are Plus 13

Yanobox 30

yU+co 6

Zacuto 24

Zoic Studios 9

AD INDEXCOMPANY INDEX

11

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33

toolkit

Producers of the FOX drama Lie to Mesought to change the show’s look andswitch from film to digital cinematographyfor the show’s second season, whichbegins airing this month. Sidney Sidell tookover cinematography duties, and aftermuch testing at Encore Hollywood, heselected the ARRI D-21 camera for theshow. We spoke with Bill Romeo, seniorvice president for entertainment televisionat Ascent Media, Encore’s parent company,about the show’s new file-based workflow.

WWhhaatt ddiidd EEnnccoorree ddoo dduurriinngg tthhee tteesstt tthhaattwwaass oouutt ooff tthhee oorrddiinnaarryy ffoorr aa ppoosstt ffaacciilliittyy??RRoommeeoo:: Not too long ago, tests like thesemight have been among film stocks, orbetween film and a single flavor of HD.Our tests involved a combination of differ-ent cameras and data formats. We are ableto help the cinematographer customize thebest workflow for the chosen format.

TThheerree aarree ssoo mmaannyy wwaayyss ttoo wwoorrkk wwiitthh tthheeDD--2211.. WWhhaatt ccoonnffiigguurraattiioonn ddiidd tthhee LLiiee ttoo MMeepprroodduuccttiioonn tteeaamm uussee??Sid shoots with the camera in log modeand records directly to [S.two] OB-1 drives.Each day we bring the files into our verylarge SAN from the drives and they stay intheir original form. These log image filesretain all the picture information capturedon set. We don’t “bake in” any kind of colorgrading until it’s time for final delivery.

HHooww iiss tthhaatt aapppprrooaacchh bbeetttteerr tthhaann aa mmoorreettrraaddiittiioonnaall TTVV ppoosstt wwoorrkkffllooww??Traditionally, in telecine dailies followed bytape-to-tape, color picture information islost that otherwise exists in the negative orcamera masters. With our all-data workflow,nothing is lost.

TTeellll mmee aabboouutt tthhee ccoolloorr ggrraaddiinngg..Our colorist, Pankaj Bajpai, works in his[Autodesk] Lustre bay from original files inlog space utilizing the full dynamic range.All grading decisions are added to the filesnon-destructively as metadata, so, again,nothing is “baked in.” In our tapeless data

workflow, you definitely get the most out ofthe D-21 cameras.

HHooww iimmppoorrttaanntt iiss iitt ffoorr aa ccoommppaannyy lliikkeeEEnnccoorree ttoo bbee fflleexxiibbllee aabboouutt wwoorrkkiinngg wwiitthhddiiffffeerreenntt ccaammeerraass aanndd ffoorrmmaattss??It’s absolutely essential to stay competitivein the world of episodic television. You haveto have experience, R&D and the massivefirepower of a facility like Encore. We arealways prepared, should a producer call tosay, “By the way, this week we shot part ofthe episode on a Canon DSLR and anoth-er part with RED’s new camera, and threescenes are on film. Make it all work.”

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BILL ROMEOAAsscceenntt MMeeddiiaa

Director of Photography Sidney Sidell withARRI D-21 camera

LIE TO MEdocshare01.docshare.tips/files/4621/46210035.pdf · Lie to Me, which is posted at Encore...

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Transcript of LIE TO MEdocshare01.docshare.tips/files/4621/46210035.pdf · Lie to Me, which is posted at Encore...