HD supplement 21

With two BBC series and a pop promo under his belt, DAN MULLIGAN is well versed on the benefits of high def. His top tips: trust the camera and don’t skimp on your lens

A view to a thrillINTERVIEW: THE CINEMATOGRAPHER

20 BROADCAST HD Stories

CASE STUDY: LAST OF THE SUMMER WINE

BROADCAST HD Stories 21

Freelance camera owner/operator Dan Mulligan of Rogue Element Films has compiled considerable

experience in HD cinematography notching up a recent Liberty X promo, shot uncompressed 4:4:4 against greenscreen, and two seasons of Last of the Summer Wine plus BBC detective drama Mayo all in high def.

“HD has become a pretty broad term,” he observers. “There are plenty of people who think HDV is HD. It’s nothing of the sort. At least with

film there’s a clear understanding of the level of production required. HDV is fine for sports or news, but it shouldn’t be anywhere near a drama.”

Mulligan prefers to categorise high-end high-def as digital film-making. “You’re using exactly the same level and type of crew as you would for film. A first and second assistant director, a DoP and director,” he says. “Most DoPs have used DigiBetas so they’re already clued up on video cameras. From then on it’s a case of trusting the camera to work just as for

film. There should be no change to the way you’d approach lighting. You need to meter, although I’d advise not reading off the monitor, and the only difference is that instead of film stock you can dial in the stock in post.”

The main change, he says, lies in the digital workflow that allows you to see rushes the instant they’re shot. “You get an immediate feel. You can see what’s been lit and whether an area requires more or less fill light.”

For Mulligan, digital film-making can only be truly achieved with

uncompressed capture from cameras like the Genesis, Viper and Arri D-20. The Viper, for example, captures information straight to the CCD, bypassing all in-camera processing. “Whether you output to disk or tape, that’s a pure unprocessed chip that buys you an extra stop and a half of exposure range,” he claims. “You’re not converting colour temperature, gamma correction or highlight control. The DoP has exposure control straight from the lens. With more exposure latitude, and more picture data captured to the system, it gives you the ability to hold light levels.”

HD cameras of whatever flavour don’t carry the same dynamic range as film and are more likely to reveal an under or over exposure. Mulligan dislikes HD cameras that tweak this gamma range in-camera and out of the hands of the operator.

“The digital negative system, which captures straight to the chip, gets nearest to a film aesthetic. It holds the highlights and rolls into the blacks gracefully. Essentially you’re operating a digital workflow in a film-capture mode so the skill of the DoP can be concentrated on focus, framing and exposure rather than tinkering with 72 sub-menus.”

He finds the Achilles heel of all HD cameras to be the viewfinder. “Black-and-white viewfinders are better for focusing, I guess colour viewfinders will always be an issue. They’re not perfect, but I can’t think how they can be made better.

“For me the most important piece of equipment is the lens. I will usually recommend Zeiss Digi Primes but, at around £500 a day, they are expensive. As such, it’s important that a producer understands the technical aspects that affect image quality.”

“There’s always a tipping point with formats and you can either start a trend or react to it. A lot of HD owner/operators are too scared to plump for new formats if the work isn’t there. But if you don’t have the kit no one will hire you.”

‘Colour viewfinders will always be an issue, but I can’t think how to make them better’

Why the first is Last

TX: December 2006Length: 10 x 30 minutesProduction Company: BBC EntertainmentBroadcaster: BBC1

Proving it’s not just the preserve of Hollywood blockbusters such as Miami Vice, Thomson’s Viper Filmstream is getting a decent turn around the town of

Holmfirth, West Yorkshire, home of evergreen BBC sitcom Last of the Summer Wine. It’s the first UK sitcom to be shot with the system.

“We recognise this isn’t as glamorous as it would be on, say, Hustle or Silent Witness, and you could say it’s over-engineered,” says camera operator Dan Mulligan. “But if we can prove HD workflow on a slow-burning well-loved series with a normal budget we can demonstrate that you don’t have to be at the cutting edge of feature film to get involved with cutting-edge technology.”

Mulligan, who supplies and operates the HD equipment, advised DoP Pat O’Shea and director Alan J W Bell on the Viper’s application for the 28th series of the comedy classic. He had performed a similar role for the pensioners’ previous outing, which was the first to move from 16mm to HD.

“Every drama the BBC does needs to be shot in HD by 2010, but over and above that the director and DoP were happy to research HD, work with it and trust the camera,” says Mulligan. “There was no inherent reason to change from 16mm, but I got them to look at my HD demo reels and understand the workflow advantages which HD gave them, and

it became obvious to them that this was the way the world was headed.”

Production of the 27th series, shot on the Sony HDW-750, was a success, but Mulligan had already begun to research the digital-negative concept, and before last Christmas opted to purchase the £65,000 Viper camera. He approached Bell and demonstrated the camera and some sample grades over a two-week period in February. In doing this, he gained the team’s trust to deploy it for this year’s four-month shoot of 10 x 30-minute episodes plus one Christmas special.

“By hiring someone who knows the way the camera functions, it softens the blow of new

formats for the production,” he adds. “There was no point in using the Viper if it wasn’t right. But I felt it fitted my approach to cinematography – an approach that was right for this production.”

Footage is captured as 4:4:4 files at Sony Cine-tal. Rushes are down converted to DVcam for editing on Avid Media Composer in-house at the BBC. Says Mulligan: “We could almost get away with shooting just off monitor since we were trusting the camera so much. That allows the director to watch the performances by eye and trust the camera to capture the scene.”

With around three quarters of series shot outdoors (the interiors are shot at Pinewood) Mulligan advised O’Shea to light as he would for film. “Even if we open the lens up in the evening it will hold the balance and not lose any colour information,” he says.

He adds: “The actors don’t feel threatened by it either. If anyone knows anything about HD in acting it’s that it can show make-up, warts and all. But the cast were able to see us lighting as we would for film, using the same sets and carrying on as normal, so they had no problems.”

Slow-burning well-loved sitcom Last of the Summer Wine’s use of HD shows that a series need not be at the cutting edge to lead the way in technological advances

HD supplement 21

With two BBC series and a pop promo under his belt, DAN MULLIGAN is well versed on the benefits of high def. His top tips: trust the camera and don’t skimp on your lens

A view to a thrillINTERVIEW: THE CINEMATOGRAPHER

20 BROADCAST HD Stories

CASE STUDY: LAST OF THE SUMMER WINE

BROADCAST HD Stories 21

Freelance camera owner/operator Dan Mulligan of Rogue Element Films has compiled considerable

experience in HD cinematography notching up a recent Liberty X promo, shot uncompressed 4:4:4 against greenscreen, and two seasons of Last of the Summer Wine plus BBC detective drama Mayo all in high def.

“HD has become a pretty broad term,” he observers. “There are plenty of people who think HDV is HD. It’s nothing of the sort. At least with

film there’s a clear understanding of the level of production required. HDV is fine for sports or news, but it shouldn’t be anywhere near a drama.”

Mulligan prefers to categorise high-end high-def as digital film-making. “You’re using exactly the same level and type of crew as you would for film. A first and second assistant director, a DoP and director,” he says. “Most DoPs have used DigiBetas so they’re already clued up on video cameras. From then on it’s a case of trusting the camera to work just as for

film. There should be no change to the way you’d approach lighting. You need to meter, although I’d advise not reading off the monitor, and the only difference is that instead of film stock you can dial in the stock in post.”

The main change, he says, lies in the digital workflow that allows you to see rushes the instant they’re shot. “You get an immediate feel. You can see what’s been lit and whether an area requires more or less fill light.”

For Mulligan, digital film-making can only be truly achieved with

uncompressed capture from cameras like the Genesis, Viper and Arri D-20. The Viper, for example, captures information straight to the CCD, bypassing all in-camera processing. “Whether you output to disk or tape, that’s a pure unprocessed chip that buys you an extra stop and a half of exposure range,” he claims. “You’re not converting colour temperature, gamma correction or highlight control. The DoP has exposure control straight from the lens. With more exposure latitude, and more picture data captured to the system, it gives you the ability to hold light levels.”

HD cameras of whatever flavour don’t carry the same dynamic range as film and are more likely to reveal an under or over exposure. Mulligan dislikes HD cameras that tweak this gamma range in-camera and out of the hands of the operator.

“The digital negative system, which captures straight to the chip, gets nearest to a film aesthetic. It holds the highlights and rolls into the blacks gracefully. Essentially you’re operating a digital workflow in a film-capture mode so the skill of the DoP can be concentrated on focus, framing and exposure rather than tinkering with 72 sub-menus.”

He finds the Achilles heel of all HD cameras to be the viewfinder. “Black-and-white viewfinders are better for focusing, I guess colour viewfinders will always be an issue. They’re not perfect, but I can’t think how they can be made better.

“For me the most important piece of equipment is the lens. I will usually recommend Zeiss Digi Primes but, at around £500 a day, they are expensive. As such, it’s important that a producer understands the technical aspects that affect image quality.”

“There’s always a tipping point with formats and you can either start a trend or react to it. A lot of HD owner/operators are too scared to plump for new formats if the work isn’t there. But if you don’t have the kit no one will hire you.”

‘Colour viewfinders will always be an issue, but I can’t think how to make them better’

Why the first is Last

TX: December 2006Length: 10 x 30 minutesProduction Company: BBC EntertainmentBroadcaster: BBC1

Proving it’s not just the preserve of Hollywood blockbusters such as Miami Vice, Thomson’s Viper Filmstream is getting a decent turn around the town of

Holmfirth, West Yorkshire, home of evergreen BBC sitcom Last of the Summer Wine. It’s the first UK sitcom to be shot with the system.

“We recognise this isn’t as glamorous as it would be on, say, Hustle or Silent Witness, and you could say it’s over-engineered,” says camera operator Dan Mulligan. “But if we can prove HD workflow on a slow-burning well-loved series with a normal budget we can demonstrate that you don’t have to be at the cutting edge of feature film to get involved with cutting-edge technology.”

Mulligan, who supplies and operates the HD equipment, advised DoP Pat O’Shea and director Alan J W Bell on the Viper’s application for the 28th series of the comedy classic. He had performed a similar role for the pensioners’ previous outing, which was the first to move from 16mm to HD.

“Every drama the BBC does needs to be shot in HD by 2010, but over and above that the director and DoP were happy to research HD, work with it and trust the camera,” says Mulligan. “There was no inherent reason to change from 16mm, but I got them to look at my HD demo reels and understand the workflow advantages which HD gave them, and

it became obvious to them that this was the way the world was headed.”

Production of the 27th series, shot on the Sony HDW-750, was a success, but Mulligan had already begun to research the digital-negative concept, and before last Christmas opted to purchase the £65,000 Viper camera. He approached Bell and demonstrated the camera and some sample grades over a two-week period in February. In doing this, he gained the team’s trust to deploy it for this year’s four-month shoot of 10 x 30-minute episodes plus one Christmas special.

“By hiring someone who knows the way the camera functions, it softens the blow of new

formats for the production,” he adds. “There was no point in using the Viper if it wasn’t right. But I felt it fitted my approach to cinematography – an approach that was right for this production.”

Footage is captured as 4:4:4 files at Sony Cine-tal. Rushes are down converted to DVcam for editing on Avid Media Composer in-house at the BBC. Says Mulligan: “We could almost get away with shooting just off monitor since we were trusting the camera so much. That allows the director to watch the performances by eye and trust the camera to capture the scene.”

With around three quarters of series shot outdoors (the interiors are shot at Pinewood) Mulligan advised O’Shea to light as he would for film. “Even if we open the lens up in the evening it will hold the balance and not lose any colour information,” he says.

He adds: “The actors don’t feel threatened by it either. If anyone knows anything about HD in acting it’s that it can show make-up, warts and all. But the cast were able to see us lighting as we would for film, using the same sets and carrying on as normal, so they had no problems.”

Slow-burning well-loved sitcom Last of the Summer Wine’s use of HD shows that a series need not be at the cutting edge to lead the way in technological advances

DAN MULLIGAN Investigates How Films Like Zodiac Are Using Data As A Capture Medium

ith the recent release of David Fincher’s Zodiac and his filming of current project The Curious Case of Benjamin Buttons starring Brad Pitt, data capture for films is coming to the fore.

Fincher used Thomson’s Viper FilmStream camera recording to Stwo DFR (Digital Film Recorder) for his projects. RED’s new offering looks like a mostly data only camera, albeit using Wavelet codecs to compress the image and help storage capabilities.

This story will explore the benefits of data capture, to look into if it can really benefit a production as opposed to tape based capture. What are its real capabilities? Is it reasonable to expect this technology to be easily accepted by the filmmaking community or is it a technical step too far?

By using examples of films captured to disk I will explain some of the theories and on-set realities of shooting to disk and investigate to find out if it does indeed benefit productions?

By reflecting on what data capture has to offer, productions can make a measured assessment to its usability or feasibility for their shoot. It’s important to remember that disk-based capture is not the preserve of the elite, so to speak. Sony Z1, DVCAM, and in fact any format can be recorded to disk. The amount of hardware needed is determined by the signal recorded. So DVCAM is a lesser amount of data compared to say uncompressed HD. So for the sake of this story we will concentrate on uncompressed HD 1080x1920 images.

Zodiac Director, David Fincher has somewhat written a new rule book as far as data capture to disk drives for movies is concerned. He took the approach in 2005 to shoot his new film entirely to disk. A risky proposal? With a little hindsight no, but its fair to say some gnashing of teeth at the studios may have ensued when this proposal was first mentioned. Zodiac, however was not the first film to shoot entirely to disk. Silence Becomes You, a British film shot in Lithuania using Viper FilmStream cameras and Stwo DFR recorders was the world’s first feature film recorded entirely using data. This was followed by Zodiac and most recently Mutant Chronicles as well as Fincher’s new project.

A similar path was taken a while ago with data capture to disk employed on some advertising spots shot by DP Claudio Miranda with David Fincher, most famously a US Superbowl spot featuring Brad Pitt , the Paparazzi Heineken spot.

So what is data recording?Essentially this is a process in which, for high end capture, individual DPX frames (full 8MB frame examples, from a Viper, somewhat similar to a movie negative single frame) are captured and stored to high-speed hard drives. If shooting at 25fps, 25 individual frames (full frame and uncompressed) are captured to the recorder.

This means that the full information that the sensor is seeing is being captured to disk. This method of capture is not exclusive to the Viper, though its FilmStream mode does lend itself to this type of recording, the Genesis, Arri D20, Dalsa and RED can

it has been shot. A commonly recognised route for this is to LTO tape. These tapes can record the same uncompressed material that the DFR has recorded giving an exact copy of the shot rushes.

The reason these tapes are not employed as direct capture tapes is the speed in which the information is being captured. Hard drives can work at very high speeds to read the data being

all be recorded this way, with varying levels of compression, to disk.

By recording to disk whilst on location or on-set, the full output of cameras CCD is being securely recorded and thus enabling instant review of shots. The DP has the knowledge that re-recording over these shots is highly unlikely. Access to these individual frames is also possible, enabling on-set correction to be applied to each frame thus easing the route to grading in post.

Workflows and Post ProductionThis could be perceived as a contentious subject due to digital’s design of an individual workflow approach. As many productions have shown it’s possible to tailor an approach that works for each individual project. But the main data workflow would still be the camera to disk and would include the following:

Viper FilmStream to Stwo DFR with DmagsDmags to LTO data tape for backing upLTO tapes ingested into a post chain (devise post from here)

As Fincher has shown it’s possible to develop a workflow that works for each project. His approach was Viper to Dmags, Dmags to LTO back-up, store rushes on SAN, deliver DVCProHD1080i derived rushes for editorial from the uncompressed HD original DPX files.

A major consideration of the data capture approach is the back up procedure. It’s essential to back up captured data once

www.definitionmagazine.com/blogger.html issue 25 | 3736 | issue 25 www.definitionmagazine.com/blogger.html

Zodiac used the Grass Valley Viper camera recording on to STwo Digital Magzines

W

DATA MINING

Director DAVID FINCHER and MARK RUFFALO (Det. Dave

Toschi) on the set of director David Fincher’s Zodiac.

© Warner Bros. Pictures 2007.

• Fully uncompressed 1080x1920 images at 8 MB each file/image• No image degradation throughout the workflow chain• Instant access to the rushes on-set for viewing/playback• Instant access to individual DPX files for on-set correction/viewing• Ability to delete takes if required• Re-usable digital magazines means no stock on-set• Quicker ingesting to post• Workflows tailored to individual requirements• Avoid any potential data headaches• Backup is essential• Ensure data management is on-set with one extra pair of hands to look after the data • Refreshing shot magazines for re-use• Workflow organisation and understanding• Implications for post with uncompressed Data Files

data recording basics

DAN MULLIGAN Investigates How Films Like Zodiac Are Using Data As A Capture Medium

ith the recent release of David Fincher’s Zodiac and his filming of current project The Curious Case of Benjamin Buttons starring Brad Pitt, data capture for films is coming to the fore.

Fincher used Thomson’s Viper FilmStream camera recording to Stwo DFR (Digital Film Recorder) for his projects. RED’s new offering looks like a mostly data only camera, albeit using Wavelet codecs to compress the image and help storage capabilities.

This story will explore the benefits of data capture, to look into if it can really benefit a production as opposed to tape based capture. What are its real capabilities? Is it reasonable to expect this technology to be easily accepted by the filmmaking community or is it a technical step too far?

By using examples of films captured to disk I will explain some of the theories and on-set realities of shooting to disk and investigate to find out if it does indeed benefit productions?

By reflecting on what data capture has to offer, productions can make a measured assessment to its usability or feasibility for their shoot. It’s important to remember that disk-based capture is not the preserve of the elite, so to speak. Sony Z1, DVCAM, and in fact any format can be recorded to disk. The amount of hardware needed is determined by the signal recorded. So DVCAM is a lesser amount of data compared to say uncompressed HD. So for the sake of this story we will concentrate on uncompressed HD 1080x1920 images.

Zodiac Director, David Fincher has somewhat written a new rule book as far as data capture to disk drives for movies is concerned. He took the approach in 2005 to shoot his new film entirely to disk. A risky proposal? With a little hindsight no, but its fair to say some gnashing of teeth at the studios may have ensued when this proposal was first mentioned. Zodiac, however was not the first film to shoot entirely to disk. Silence Becomes You, a British film shot in Lithuania using Viper FilmStream cameras and Stwo DFR recorders was the world’s first feature film recorded entirely using data. This was followed by Zodiac and most recently Mutant Chronicles as well as Fincher’s new project.

A similar path was taken a while ago with data capture to disk employed on some advertising spots shot by DP Claudio Miranda with David Fincher, most famously a US Superbowl spot featuring Brad Pitt , the Paparazzi Heineken spot.

So what is data recording?Essentially this is a process in which, for high end capture, individual DPX frames (full 8MB frame examples, from a Viper, somewhat similar to a movie negative single frame) are captured and stored to high-speed hard drives. If shooting at 25fps, 25 individual frames (full frame and uncompressed) are captured to the recorder.

This means that the full information that the sensor is seeing is being captured to disk. This method of capture is not exclusive to the Viper, though its FilmStream mode does lend itself to this type of recording, the Genesis, Arri D20, Dalsa and RED can

it has been shot. A commonly recognised route for this is to LTO tape. These tapes can record the same uncompressed material that the DFR has recorded giving an exact copy of the shot rushes.

The reason these tapes are not employed as direct capture tapes is the speed in which the information is being captured. Hard drives can work at very high speeds to read the data being

all be recorded this way, with varying levels of compression, to disk.

By recording to disk whilst on location or on-set, the full output of cameras CCD is being securely recorded and thus enabling instant review of shots. The DP has the knowledge that re-recording over these shots is highly unlikely. Access to these individual frames is also possible, enabling on-set correction to be applied to each frame thus easing the route to grading in post.

Workflows and Post ProductionThis could be perceived as a contentious subject due to digital’s design of an individual workflow approach. As many productions have shown it’s possible to tailor an approach that works for each individual project. But the main data workflow would still be the camera to disk and would include the following:

Viper FilmStream to Stwo DFR with DmagsDmags to LTO data tape for backing upLTO tapes ingested into a post chain (devise post from here)

As Fincher has shown it’s possible to develop a workflow that works for each project. His approach was Viper to Dmags, Dmags to LTO back-up, store rushes on SAN, deliver DVCProHD1080i derived rushes for editorial from the uncompressed HD original DPX files.

A major consideration of the data capture approach is the back up procedure. It’s essential to back up captured data once

www.definitionmagazine.com/blogger.html issue 25 | 3736 | issue 25 www.definitionmagazine.com/blogger.html

Zodiac used the Grass Valley Viper camera recording on to STwo Digital Magzines

W

DATA MINING

Director DAVID FINCHER and MARK RUFFALO (Det. Dave

Toschi) on the set of director David Fincher’s Zodiac.

© Warner Bros. Pictures 2007.

• Fully uncompressed 1080x1920 images at 8 MB each file/image• No image degradation throughout the workflow chain• Instant access to the rushes on-set for viewing/playback• Instant access to individual DPX files for on-set correction/viewing• Ability to delete takes if required• Re-usable digital magazines means no stock on-set• Quicker ingesting to post• Workflows tailored to individual requirements• Avoid any potential data headaches• Backup is essential• Ensure data management is on-set with one extra pair of hands to look after the data • Refreshing shot magazines for re-use• Workflow organisation and understanding• Implications for post with uncompressed Data Files

data recording basics

output by the cameras, LTO cannot, but for archiving and using after capture to store the rushes and ingest they are perfect. That LTO tape, is now the master tape, or digital negative, and once verified the Dmag can be re-used for the next set of takes.

Given the recent fact that a majority of post production work is now file based (ingesting tapes to post, converting to files for edit) it would naturally follow that capturing data files on-set should make the path to post a lot simpler?

Well, the fact is that a lot of data is now captured on-set and it’s the size of this data and the speed with which it needs to be accessed which creates the need for sophisticated tools.

Zodiac captured uncompressed images straight from the Vipers unprocessed imaging CCD. This helped render DPX files to the Stwo disk recorder as fully uncompressed frames at 8mb per frame. Given 24 frames per second, it’s easy to see how much actual data needs to be captured. Picture streams for Viper is 2.2gb/s in 444 mode, a massive leap which needs very quick hard drives to store. Add to this the speed of data throughput needed to capture these files and it’s possible to see why expensive DFR machines are needed to capture all this information.

Then this data needs to be backed up for protection and bonding issues. This solution was addressed by using

LTO data tape libraries. The information stored on the digital magazines is transferred via SCSI to LTO data tapes. These tapes store the same information which includes uncompressed images from the Viper, which is stored on the DFR and once verified the magazines can be erased and re-used on-set.

By shooting digitally there is no degradation of the images captured, ever, thus preserving the film forever at the same captured format. On-set playback of the images is also achievable as recording over the shot frames is nigh on impossible.

What this means for the route into post is fully understanding the amount of data captured, how much storage is needed to look after this information, compression techniques for the offline to help storage solutions and so on.

So for data file capture a certain amount of knowledge is required in understanding what can be done with all this information, hence the need for a data manager on-set (or DFT, Digital Film Technician) someone who can look after the captured images on-set, back up to LTO and deliver these images to post. Once established, data becomes an extremely fast and efficient way of working. All post departments can access the same images, at the same quality level, quickly and efficiently, making cross departmental discussions as instant as the phones will allow.

Have things moved on already?At the time uncompressed data capture to disk was considered the best way to capture information from high end digital cameras. The full amount of information was recorded to disk according to what the cameras sensor would allow, giving more image data to play with hence better quality images were produced when going to print. Fincher loved this idea and it gave him control over the shoot, reviewing rushes instantly on-set, deleting unwanted takes and never losing a single frame by accidentally recording over a pervious take.

Since these halcyon days (well last year actually) we already see and sense a move back to compression to calm down the capture of very high resolution images (4K as against 2K/1080 HD) at extremely high levels of information. These higher rates of capture at uncompressed levels would make current capture technology almost redundant due to the large amount of image data needed to be captured, and the speeds needed to do so.

So compression comes back into play to help store these images at acceptable and controllable levels. Well as we can see, this is still an emerging technology.

Data conclusionsHigh-end data capture really is the way that a lot of productions are, and will be going. It’s essentially shooting DI on-set, with instant processing using digital cameras. Instant playback of the rushes, from any point at the same resolution shot is fabulous and every DP knows that the shots will never be recorded over or suffer from degradation during the process. Metadata information can be added to each image for lenses, filters, location etc giving the editor all the technical information that he or she requires to cross reference. The ability to organise a workflow that suits the post path can be seen as an advantage, although a standardised way to do this would possibly help too?

The main advantage of data capture is the efficiency it can introduce into production. Given the natural caveats of understanding and knowledge of computer based equipment married with a dose of self learning, file based capture will offer any production an extremely quick and efficient way of

working.It’s a unique way of digitally photographing movies and

by making images instantly accessible and delivering offline in an efficient tape less way we are now at a point in which theatrically released movies can be captured at the touch of a button making workflows extremely efficient and therefore, as we all know, more cost effective.

www.definitionmagazine.com/blogger.html issue 25 | 39

DATA MINING

38 | issue 25 www.definitionmagazine.com/blogger.html

There are many ways you can try to quantify the quality trade-offs when comparing a digital shoot and its results to that of a 35mm film shoot. The problem is to try and match like for like and to see what has real bearing on the what comes off the screen from the final film out. The first suggestion is this, don’t take for granted what anybody tells you, test first and make your own judgments based upon your own experience. You would do that if using a new film stock and shooting digital is exactly the same. It is a new film stock in your armoury.

So What about the quality? Current Digital Cinematography cameras output a picture in 1:77 aspect ratio at 1920 (pixels) x 1080 (lines). The bit depth is 12 bits and the colour is RGB. A 2K scan of a 1:85 aspect ratio film would give a scan that is 2048 x 1106. A 2K scan of a super 35mm film frame at 1.33 aspect gives a scan of 2048 x 1556. Lets look at the S35mm scan, 2048 x 1556, this scan is edge to edge (sprocket hole to sprocket hole) and frame bar to frame bar. The scan is 12 bit or 16 bits RGB depth. Typically this scan is then cropped to allow for the edges and frame bars to 1848 x 1536 and eventually an extraction is made for a 2.35:1 aspect.

The result is a real scan of 1848 x 785 for a spherical 2.35:1 aspect ratio film. In the Viper FilmStream Digital camera an electronic anamorphic technique is used that allows via pixel shape manipulation a 2.37:1 aspect to be recorded with the full line count of HD giving resolution of 1920 x 1080 using spherical lenses. If a hard 2.35:1 was required in a normal HD video camera then you end up with 1920 x 810. So Digital Cinematography cameras with electronic anamorphic has 270 lines more than HD video and 295 lines more than a film scan extraction. So the resolution is absolutely there. The colour is 12 bits (carried in a 10 bit log) and RGB so it is the same as a film scan.

A Viper camera has three 9.2 million pixel sensors feeding into 12 bit analog to digital converters running at full range into 10 bit log RGB dual link outputs. The signal to noise ratio is how we equate electronic sensors to latitude in film. The Viper has a 66dB S/N which is roughly 11.5 stops. In practice as the noise (think film grain) would overwhelm you (as if pushing a stock too far) allow for 8.5 stops (we have tested +5.5 –3 stops many times). The camera is nominally rated at 320ASA. The picture produced by the

camera is very similar to a low contrast reversal stock. It looks at little flat and has a green coloration. This is because the sensors are un-amplified in any way and produce a signal in direct response to the light falling on them. To correct the picture we have several ways of doing it, using filters, using look up tables (LUT) in the monitor path, or colour correcting them. The full range pictures have deep blacks and detailed whites that have natural fall offs and very highly detailed edges along with good tonal separation.

The raw data (think OCN) can be colour corrected where the log data is recovered back to linear space by adding an anti log gamma curve and the colour then balanced.

This is all very well, but; do I have to abandon my set to a bunch of technicians in white coats telling what to do? Simply put, No. The camera is pretty much turn on, focus and expose properly. The monitors show exactly what you are recording and the waveform monitor shows if the material is clipped or not.

Again, light and expose it as if film. It’s not necessary to spend time playing with camera setups and menus. The reason is that everything is recorded so it can be manipulated later in post where you can really push things around, just as you do with film. Use filters, lights and work as normal, except you see your answer print there and then.

The recorder is the S.two DFR, an uncompressed portable magazine loading disk system. It creates industry standard DPX files when recording the material, ready to be mounted in any computer and application. Stop start is from the camera, a handheld PDA or a laptop (any type you like). It has timecode, audio and multiple network connections for multiple uses. The magazines are removable so that when one is filled (36 minutes uncompressed 10 bit RGB at 24FPS), put in the next one and keep going. The material is instantly available for playback. There is random access capability to review any of the takes. The takes are organised into scenes that match the names from the slates. There are a range of docking stations for using the material after the shoot for dailies, post and DI. The DFR runs on 24V DC standard camera batteries and can be used on practical sets, aircraft, helicopters, trailers, boats, submersibles -- in fact anywhere.

The Heady, Brave New World of Digital Cinematography - By Steve Roach vp S.two Corp.

Dan Mulligan’s Data Recording set-up above and right www.rogueelementfilms.com/

output by the cameras, LTO cannot, but for archiving and using after capture to store the rushes and ingest they are perfect. That LTO tape, is now the master tape, or digital negative, and once verified the Dmag can be re-used for the next set of takes.

Given the recent fact that a majority of post production work is now file based (ingesting tapes to post, converting to files for edit) it would naturally follow that capturing data files on-set should make the path to post a lot simpler?

Well, the fact is that a lot of data is now captured on-set and it’s the size of this data and the speed with which it needs to be accessed which creates the need for sophisticated tools.

Zodiac captured uncompressed images straight from the Vipers unprocessed imaging CCD. This helped render DPX files to the Stwo disk recorder as fully uncompressed frames at 8mb per frame. Given 24 frames per second, it’s easy to see how much actual data needs to be captured. Picture streams for Viper is 2.2gb/s in 444 mode, a massive leap which needs very quick hard drives to store. Add to this the speed of data throughput needed to capture these files and it’s possible to see why expensive DFR machines are needed to capture all this information.

Then this data needs to be backed up for protection and bonding issues. This solution was addressed by using

LTO data tape libraries. The information stored on the digital magazines is transferred via SCSI to LTO data tapes. These tapes store the same information which includes uncompressed images from the Viper, which is stored on the DFR and once verified the magazines can be erased and re-used on-set.

By shooting digitally there is no degradation of the images captured, ever, thus preserving the film forever at the same captured format. On-set playback of the images is also achievable as recording over the shot frames is nigh on impossible.

What this means for the route into post is fully understanding the amount of data captured, how much storage is needed to look after this information, compression techniques for the offline to help storage solutions and so on.

So for data file capture a certain amount of knowledge is required in understanding what can be done with all this information, hence the need for a data manager on-set (or DFT, Digital Film Technician) someone who can look after the captured images on-set, back up to LTO and deliver these images to post. Once established, data becomes an extremely fast and efficient way of working. All post departments can access the same images, at the same quality level, quickly and efficiently, making cross departmental discussions as instant as the phones will allow.

Have things moved on already?At the time uncompressed data capture to disk was considered the best way to capture information from high end digital cameras. The full amount of information was recorded to disk according to what the cameras sensor would allow, giving more image data to play with hence better quality images were produced when going to print. Fincher loved this idea and it gave him control over the shoot, reviewing rushes instantly on-set, deleting unwanted takes and never losing a single frame by accidentally recording over a pervious take.

Since these halcyon days (well last year actually) we already see and sense a move back to compression to calm down the capture of very high resolution images (4K as against 2K/1080 HD) at extremely high levels of information. These higher rates of capture at uncompressed levels would make current capture technology almost redundant due to the large amount of image data needed to be captured, and the speeds needed to do so.

So compression comes back into play to help store these images at acceptable and controllable levels. Well as we can see, this is still an emerging technology.

Data conclusionsHigh-end data capture really is the way that a lot of productions are, and will be going. It’s essentially shooting DI on-set, with instant processing using digital cameras. Instant playback of the rushes, from any point at the same resolution shot is fabulous and every DP knows that the shots will never be recorded over or suffer from degradation during the process. Metadata information can be added to each image for lenses, filters, location etc giving the editor all the technical information that he or she requires to cross reference. The ability to organise a workflow that suits the post path can be seen as an advantage, although a standardised way to do this would possibly help too?

The main advantage of data capture is the efficiency it can introduce into production. Given the natural caveats of understanding and knowledge of computer based equipment married with a dose of self learning, file based capture will offer any production an extremely quick and efficient way of

working.It’s a unique way of digitally photographing movies and

by making images instantly accessible and delivering offline in an efficient tape less way we are now at a point in which theatrically released movies can be captured at the touch of a button making workflows extremely efficient and therefore, as we all know, more cost effective.

www.definitionmagazine.com/blogger.html issue 25 | 39

DATA MINING

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There are many ways you can try to quantify the quality trade-offs when comparing a digital shoot and its results to that of a 35mm film shoot. The problem is to try and match like for like and to see what has real bearing on the what comes off the screen from the final film out. The first suggestion is this, don’t take for granted what anybody tells you, test first and make your own judgments based upon your own experience. You would do that if using a new film stock and shooting digital is exactly the same. It is a new film stock in your armoury.

So What about the quality? Current Digital Cinematography cameras output a picture in 1:77 aspect ratio at 1920 (pixels) x 1080 (lines). The bit depth is 12 bits and the colour is RGB. A 2K scan of a 1:85 aspect ratio film would give a scan that is 2048 x 1106. A 2K scan of a super 35mm film frame at 1.33 aspect gives a scan of 2048 x 1556. Lets look at the S35mm scan, 2048 x 1556, this scan is edge to edge (sprocket hole to sprocket hole) and frame bar to frame bar. The scan is 12 bit or 16 bits RGB depth. Typically this scan is then cropped to allow for the edges and frame bars to 1848 x 1536 and eventually an extraction is made for a 2.35:1 aspect.

The result is a real scan of 1848 x 785 for a spherical 2.35:1 aspect ratio film. In the Viper FilmStream Digital camera an electronic anamorphic technique is used that allows via pixel shape manipulation a 2.37:1 aspect to be recorded with the full line count of HD giving resolution of 1920 x 1080 using spherical lenses. If a hard 2.35:1 was required in a normal HD video camera then you end up with 1920 x 810. So Digital Cinematography cameras with electronic anamorphic has 270 lines more than HD video and 295 lines more than a film scan extraction. So the resolution is absolutely there. The colour is 12 bits (carried in a 10 bit log) and RGB so it is the same as a film scan.

A Viper camera has three 9.2 million pixel sensors feeding into 12 bit analog to digital converters running at full range into 10 bit log RGB dual link outputs. The signal to noise ratio is how we equate electronic sensors to latitude in film. The Viper has a 66dB S/N which is roughly 11.5 stops. In practice as the noise (think film grain) would overwhelm you (as if pushing a stock too far) allow for 8.5 stops (we have tested +5.5 –3 stops many times). The camera is nominally rated at 320ASA. The picture produced by the

camera is very similar to a low contrast reversal stock. It looks at little flat and has a green coloration. This is because the sensors are un-amplified in any way and produce a signal in direct response to the light falling on them. To correct the picture we have several ways of doing it, using filters, using look up tables (LUT) in the monitor path, or colour correcting them. The full range pictures have deep blacks and detailed whites that have natural fall offs and very highly detailed edges along with good tonal separation.

The raw data (think OCN) can be colour corrected where the log data is recovered back to linear space by adding an anti log gamma curve and the colour then balanced.

This is all very well, but; do I have to abandon my set to a bunch of technicians in white coats telling what to do? Simply put, No. The camera is pretty much turn on, focus and expose properly. The monitors show exactly what you are recording and the waveform monitor shows if the material is clipped or not.

Again, light and expose it as if film. It’s not necessary to spend time playing with camera setups and menus. The reason is that everything is recorded so it can be manipulated later in post where you can really push things around, just as you do with film. Use filters, lights and work as normal, except you see your answer print there and then.

The recorder is the S.two DFR, an uncompressed portable magazine loading disk system. It creates industry standard DPX files when recording the material, ready to be mounted in any computer and application. Stop start is from the camera, a handheld PDA or a laptop (any type you like). It has timecode, audio and multiple network connections for multiple uses. The magazines are removable so that when one is filled (36 minutes uncompressed 10 bit RGB at 24FPS), put in the next one and keep going. The material is instantly available for playback. There is random access capability to review any of the takes. The takes are organised into scenes that match the names from the slates. There are a range of docking stations for using the material after the shoot for dailies, post and DI. The DFR runs on 24V DC standard camera batteries and can be used on practical sets, aircraft, helicopters, trailers, boats, submersibles -- in fact anywhere.

The Heady, Brave New World of Digital Cinematography - By Steve Roach vp S.two Corp.

Dan Mulligan’s Data Recording set-up above and right www.rogueelementfilms.com/

Digital Cinematography ‘Year One’t is maybe as a result of the slickness of the RED camera marketing that Sony’s launch of their significant F35 digital cinematography camera has slipped by

almost unnoticed even with the combined marketing skills of Band Pro and Rogue Ele-ment Films. In fact Dan Mulligan of Rogue Element, buyers of the first F35 in Europe, has found himself defending his purchase of the Sony camera: “People have been saying ‘Why did you buy that, why didn’t you buy a RED?’”.

SO DAN, WHY DID YOU BUY THE F35?“We buy kit like Vipers and F35s for the longevity of the products and the company. The RED is obviously an exciting product but extremely flawed for all sorts of reasons. If you’re prepared to put up with it you will get some nice results but nothing more than a F900 that’s set up properly.

“I buy kit that tends to be the right product for the right job and the clients come to me because we offer almost a niche service. We treat it in an adult fashion, we look at real results using a hardware based delivery. The Viper is a 4k camera delivering a 2k deliverable on-set, for real, to SR tape. Yet everyone shooting with a RED recently are saying ‘The best way to shoot with RED is to get the 4k images, de-bayer them and dump them on to SR for 2k mastering’. I was shooting Vipers to SR in 2001!

“There’s still a lack of awareness of what digital is out there and nobody gets it really. The loss leader price of a RED at $17,000 is such a massive red herring because by the time you spec it properly you’re looking at the same sort of rental costs as a decent F23 system. The F23 image quality is better but nobody will believe you.

The democratising that the RED brings is actually splitting digital apart and I find myself defending my purchase of the F35. The camera wipes the floor with RED on any test on any workflow option. It’s got 14 stops, the RED’s only got 10, the F35 is a stunning camera. What’s damaging about the RED is that there will come a time in two or three years when everybody will be

saying what a piece of crap that was. “The F35 is the best digital camera bar

none, the only one which will come close is the Dalsa but that camera now seems to be nearing an agreement with Arri for them to develop it. The F35 is clearly the best imaging device out there, we bought Vipers when they weren’t exactly flavour of the month with anybody.

“Our talent is making it simple with these cameras, stripping away the mystery of digital. We tell people not to get bogged down with the technology. Think of the lens, think of the chip, think of it as film, think log, think digital negative. Treat it like a film camera, the only difference is you’re capturing a digital negative not a film neg. Once you get your head around that it becomes so easy. Things like the RED are just over complicating the issue.

“The F35 is a 5k chip sub-sampling down to 2k to give you a usable delivery format. You’ve got 14 stops, 14 bit dynamic range, the same as film. We hook up the F35 to the STwo DFRs to capture that DPX frame at source so we’re treating it as a digital nega-tive.

“You know when you buy from companies like Band Pro that your partnering with a support structure that will help when

anything goes wrong. You know that Sony are continually working on getting the camera better and you’re buying a camera body that will last at least five or six years before it is superseded.

“Focus pullers aren’t working anymore on REDs, they’re all being self operated like an ENG camera, so the actual craft of making a film is being lost. We’re approaching our digital shoots as if it was a film shoot with the difference being a digital camera. So its digital neg, DPX frames as film neg, we offline, we telecine, we colour time the images, and we archive as you would do with inter-positives and inter-negatives. When we talk to producers we are saying this is exactly how you would have shot a film with the disciplines and the people in place and with a tried and tested workflow. The difference is that your telecine machine is a now a machine you can have in your hotel or near the set, the archive can happen close to the location and we can also process on-set. Which means we can bring someone from editorial on-set, not a data guy but an editor who can log shots and the people driving the DFR machines are camera assistants. We’re taking a very film centric approach to shooting digitally.”

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W h y D a n M u l l i g a n f r o m R o g u e E l e m e n t F i l m s H a s B o u g h t E u r o p e ’ s F i r s t S o n y F 3 5

Purchase Order

Dan Mulligan with his F35

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TAPELESS TIMES – P2 IN CINEMA

P2 For Dramahe acceleration of HDTV delivery and the need for that type of quality image capture has led Rogue Element Films to investigate other avenues of recording

images for TV Productions. The costs of recording for some productions, allied to the rental of certain equipment for that style of recording, have proven to be somewhat prohibitive, although it’s probably the best way to capture the highest quality images

possible along with uncompressed data via DPX frames. Other ways to capture these images have been seen to offer the most rounded solution for certain content delivery environments.

Most high end TV productions will be looking at

two cameras per show for shooting which can double the stock purchase and also doubles the rental for equipment.

How do we reduce those costs but keep the quality of the images intact while delivering a cheaper and perhaps more efficient workflow option? These questions prompted us to look at the Panasonic P2 workflow usually reserved for ENG practices.

By using its AVC Intra 100 codec the P2 cards, via the HPG20 unit, we can record full 10bit 4.2.2 images from SDI cameras such as the Sony F35 and Thomson Vipers thus giving us the image quality but allowing us a much more cost effective data recording solution.

In this article I will explain the P2 workflow and show examples and explanations of why we at Rogue have adopted the P2 for such work.

Introduced by Panasonic in 2004 the P2 format is based around solid state media to capture varying levels of image data with differing codec values. By using the AG-HPG20 recording system we at Rogue are able to capture from the F35 full 10bit 4.2.2 1080 25p images into the AVC-Intra 100 codec.

Being only 1kg in weight we are able to attach the recorder to the camera allowing for an un-tethered recording system. Being a data workflow allows certain time efficiencies within your workflow and gives the production time and costs savings. So for HDTV content delivery we can capture amazing images from the F35 but retain a cost effective data workflow throughout saving time and money.

P2 HardwareAs the images show you here the HPG20 recording unit can be integrated into the F35 and thus create a completely self contained shooting and recording environment with a relatively small footprint. The P2 recorder can run from local power that is powering the F35 at the same time and enables as best we can a similar recording and power delivery system as the F900 keeping everything running of one battery and a self contained recording environment.

The HPG20 has a small LCD screen that can be used for verifying shots that have been captured and recording is controlled via a record button on the unit itself. P2 cards are needed to insert into the recorder and it has two available slots, allowing for a full card to be removed and then archived while a second card continues recording. Once the P2 recorder is set up then it’s a simple case of recording your takes all in 4.2.2 10bit 1080 25p.

P2 SoftwareAny data/card/hard drive recording system naturally relies on the software to drive the workflow from point A to B. In the case of the P2 system Panasonic have created a full software suite that caters for not only the capture codec but also the archive and delivery requirements needed.

The P2CMS (Content Management Software) caters for this. It’s a library for the rushes taken and each shot is issued a unique identifier that will enable a clip to be easily selected and viewed during conform. The CMS also allows the layout of each clip at full resolution and the ability to re-save any metadata that may have been missed during the actual shoot.

Archiving the rushes is simply a case of formatting an external drive into the P2 environment and then transferring the shot rushes across to the external drive using the actual HPG unit you have recorded from.

To re-cap then the P2 software and workflow revolves, in this example, around the AVC Intra 100

Panasonic P2 and Rogue Element Films look at 4.2.2 HDTV content delivery using Sony’s F35 and Thomson’s Viper

SONY F35 with P2 recorder on-top

The P2 recorder can run from local power that is powering the camera at the same time

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TAPELESS TIMES – P2 IN CINEMA

“Being only 1kg in weight we are able to attach the recorder to the camera allowing for an un-tethered record-ing system. Being a data workflow allows certain time efficiencies within your workflow and gives the produc-

tion time and costs savings.”

HD MAGAZINE | 21

TAPELESS TIMES – P2 IN CINEMA

P2 For Dramahe acceleration of HDTV delivery and the need for that type of quality image capture has led Rogue Element Films to investigate other avenues of recording

images for TV Productions. The costs of recording for some productions, allied to the rental of certain equipment for that style of recording, have proven to be somewhat prohibitive, although it’s probably the best way to capture the highest quality images

possible along with uncompressed data via DPX frames. Other ways to capture these images have been seen to offer the most rounded solution for certain content delivery environments.

Most high end TV productions will be looking at

two cameras per show for shooting which can double the stock purchase and also doubles the rental for equipment.

How do we reduce those costs but keep the quality of the images intact while delivering a cheaper and perhaps more efficient workflow option? These questions prompted us to look at the Panasonic P2 workflow usually reserved for ENG practices.

By using its AVC Intra 100 codec the P2 cards, via the HPG20 unit, we can record full 10bit 4.2.2 images from SDI cameras such as the Sony F35 and Thomson Vipers thus giving us the image quality but allowing us a much more cost effective data recording solution.

In this article I will explain the P2 workflow and show examples and explanations of why we at Rogue have adopted the P2 for such work.

Introduced by Panasonic in 2004 the P2 format is based around solid state media to capture varying levels of image data with differing codec values. By using the AG-HPG20 recording system we at Rogue are able to capture from the F35 full 10bit 4.2.2 1080 25p images into the AVC-Intra 100 codec.

Being only 1kg in weight we are able to attach the recorder to the camera allowing for an un-tethered recording system. Being a data workflow allows certain time efficiencies within your workflow and gives the production time and costs savings. So for HDTV content delivery we can capture amazing images from the F35 but retain a cost effective data workflow throughout saving time and money.

P2 HardwareAs the images show you here the HPG20 recording unit can be integrated into the F35 and thus create a completely self contained shooting and recording environment with a relatively small footprint. The P2 recorder can run from local power that is powering the F35 at the same time and enables as best we can a similar recording and power delivery system as the F900 keeping everything running of one battery and a self contained recording environment.

The HPG20 has a small LCD screen that can be used for verifying shots that have been captured and recording is controlled via a record button on the unit itself. P2 cards are needed to insert into the recorder and it has two available slots, allowing for a full card to be removed and then archived while a second card continues recording. Once the P2 recorder is set up then it’s a simple case of recording your takes all in 4.2.2 10bit 1080 25p.

P2 SoftwareAny data/card/hard drive recording system naturally relies on the software to drive the workflow from point A to B. In the case of the P2 system Panasonic have created a full software suite that caters for not only the capture codec but also the archive and delivery requirements needed.

The P2CMS (Content Management Software) caters for this. It’s a library for the rushes taken and each shot is issued a unique identifier that will enable a clip to be easily selected and viewed during conform. The CMS also allows the layout of each clip at full resolution and the ability to re-save any metadata that may have been missed during the actual shoot.

Archiving the rushes is simply a case of formatting an external drive into the P2 environment and then transferring the shot rushes across to the external drive using the actual HPG unit you have recorded from.

To re-cap then the P2 software and workflow revolves, in this example, around the AVC Intra 100

Panasonic P2 and Rogue Element Films look at 4.2.2 HDTV content delivery using Sony’s F35 and Thomson’s Viper

SONY F35 with P2 recorder on-top

The P2 recorder can run from local power that is powering the camera at the same time

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TAPELESS TIMES – P2 IN CINEMA

“Being only 1kg in weight we are able to attach the recorder to the camera allowing for an un-tethered record-ing system. Being a data workflow allows certain time efficiencies within your workflow and gives the produc-

tion time and costs savings.”

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Elstree Studios.For the BBC show Last of the Summer Wine we

recorded the 2010 series on the Viper connected to an SRW1 HDCAM SR field recorder. To test the viability of the P2 format we connected a P2 HPG20 recording device to the SRW1 4.2.2 output and recorded the same rushes we were recording to the SR format (see pictures of deck with SRW1). This enabled a true comparison to the SR masters and to see how easily the P2 system could be integrated into a real shoot on set.

The HPG20 recorder performed flawlessly and we had zero issues recording the images on set. In fact the size of the recorder itself gave us certain freedoms by enabling us to attach the recorder to the Viper camera head instead of being tethered to the SRW1 deck as normal. This gives recording control back to

the DP/Operator and perhaps reduces the need for certain dedicated operations now seen on digital sets in such circumstances?

The images looked fantastic given the compression employed by the AVC Intra codec and looking at the results and given the ability to have un-tethered recording capability we would have no problem recommending the P2 to any production giving a real choice and a true alternative.

Final AnalysisBy using the P2 card system and the HPG20 recording unit productions have the ability to capture high dynamic range images from the Viper or F35 in 4.2.2 colour space at full 10bit capture and as the delivery requirements would be for 16mb/s TV then its entirely viable given the delivery requirements. Data workflows using the P2 software and codecs then introduces significant cost and time savings and also retains the high image quality that the F35 delivers, it really is a fantastic way to save you time and money and give you the exceptional image quality that high end TV dramas now rightly insist on.

codec. This is the capture codec that best supports the F35/Vipers 10bit output at 4.2.2. This captured codec is then archived and then pushed through Panasonics CMS software suite to create your dailies and deliver the content to editorial to create your EDL. One major advantage of the native P2 format is its ability to be ingested into your edit suite in its native format thus removing the need to downconvert to another format to edit from and giving editorial the ability to see the same rushes in HD that you shot on set and removes another task from the workflow thus creating time and cost savings during production.

Testing On Set WorkflowWe tested the workflow for the P2 thoroughly on a recent BBC show using the Viper and also the F35 workflow on a recent test for another HDTV show at

Part of the BBC’s test on Last Of The Summer Wine with Sony SRW1 and P2

TAPELESS TIMES – P2 IN CINEMA

Rogue Element Fims is a pioneer of data workflows for Features and TV. Based at Elstree Studios in a brand new Digital Technology Centre they develop new workflow tools and offer full consultancy and rental including now a brand new 3D system based on the SI2K mini recording heads with a Cineform and .SIV workflow.

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At Rogue Element Films, we had no hesitation about investing in the F35 because of its outstanding imaging ability. This move is merely continuing our already established approach, which is all about capturing the very best digital image possible at any given time. We have had the Grass Valley Viper for some time and it is still a stunning camera (see Dan’s article about the Viper in Zerb Issue 64). Now we have added to this by investing in the F35, a true 35mm digital film camera system.

With the advancement of new techniques and the fact that there is a growing understanding of how digital works, these digital systems will become increasingly popular. The F35, for us, represents the very best currently available now, as the Viper did previously, hence our investment

is not based on any kit bias but on what is best in the field at the moment. The price of such kit is the burden we are happy to carry given our desire to provide the very best digital film images possible.

The F35 started shooting as soon as it arrived and has already been used on a number of commercials around the world. It has just wrapped photography on a TV series in Germany as well as a full feature film shooting anamorphically with the new Hawk 1.3x squeeze lenses, so it’s clear the demand is out there. Used correctly and efficiently, the total cost of shooting with this system will ultimately prove cheaper than other systems and this was also a factor in our decision. The choice was based not just on the F35’s fantastic imaging capabilities but also on other unique touches, such as the ability to capture up to 50/60 frames per second and play these images instantly back on set, with no waiting. Add in the extra processing power enabling the camera to capture 14 stops of

dynamic range and we felt this was the perfect camera for our rental operation.

Below, I will briefly go over the capabilities of the F35, explain loosely the terminology involved and hopefully answer some early questions relating to the system.

The cameraThe F35 has been designed as a digital film camera for film production people. It records in the LOG (Logarithmic curve; a curve that maps the image information in a similar way to a scanned image from a piece of film) format in order to retain as much image information as possible. Technically, the camera is a huge step forward having 14-bit analogue/digital signal processing with advanced DSP (digital signal processing) outputting a 10-bit LOG image

from a Super 35MM sized CCD. This means that the F35 captures the image information at 14 bits and then turns it into a deliverable 10-bit 4:4:4 1080 LOG image. The increase to 14 bits on the CCD gives it the extra processing power to produce the incredible14 stops of dynamic range (which is the same as film). Minimal processing is applied in its Cine mode for both 3200K and 5600K colour temperature adjustments but that’s primarily it. The potential mage quality is also optimised by the fact that the F35 takes 35mm PL mount film lenses making it compatible with the very best prime lenses.

As mentioned above, the F35 camera’s output is in an unprocessed (10-bit LOG) format, commonly referred to as Raw (raw meaning clean image data unhindered by in-camera gamma settings), so you record all of the F35’s CCD image information without the need for gamma and knee controls. Of course you can still record with those menus switched on for a more tuned-up in-camera balance

and gamma setting, but for most post applications the LOG image is preferable as it will give much more image information to play with later in post.

One potential downside to this approach is that the LOG image looks pretty flat and dull on set, essentially lacking any contrast, which is why the use of LUTs (Look Up Tables) is now becoming more widespread, to enable the viewing experience on set to be that bit more pleasurable. These viewing LUTs are not being baked into the digital negative (raw image information from the CCD)

but are merely for on set viewing via HD monitors. You will find that once you as the DoP and your director get confident with viewing the flat images you can relax and concentrate on the more important aspects i.e. exposing/framing and operating the camera, much more in line with the approach of a film camera. Taking this more film-centric

approach frees you up to focus on the main aim of the exercise, creating fantastic images.

You do have two settings for the camera, one utilising knee and gamma controls and the other stripping them away for a more film-style approach: Cine and Custom. In Cine mode most of the knee and gamma menus are turned off (inactive) and the camera pre-sets the extended mode of image capture. In Custom you have more control of the in-camera knee and gamma controls, enabling more correction and ‘painting’ at the camera head.

WorkflowsAlthough this camera is clearly aimed at the feature film production market, the F35 will quite rightly also find itself being used for high end HDTV production. Producers will not only be tempted by the 35mm look (shallow depth of field) but also the two very clear workflow paths, one of which is fully

“the F35, for us, represents the very best currently available now, as the Viper did previously”

digital film on the F35With all the commotion surrounding the RED camera, an extremely significant new top end camera from Sony has rather slipped through the publicity net. Building on the solid platform established with the F900 and built on with F23, Sony’s latest digital cinematography offering is the F35. GTC member Daniel Mulligan of digital film rental specialists Rogue Element Films, based at Pinewood Studios, explains his company’s decision to invest in the very first F35 camera in Europe, listing some of this exciting new camera’s features and the workflow options it brings.

F35 CameraThe F35 is Sony’s 35mm motion picture digital camera. It has a 14-bit analogue/digital Super 35mm-sized CCD recording a 10-bit LOG/Lin image. One unique option is the ability to record both 50/60P images at full 4:4:4 colour space and then play back these images in slow motion straight away live on set. It has 14 stops of dynamic range, matching film visually in this regard. Variable frame rates up to 50fps in 4:4:4 mode, 35mm depth of field control, 14 stops dynamic range, instant feedback of what has been shot, ISO/ASA 450(T10) with no grain.

The Best ofBoth Worlds: Live outside broadcast in action Live outside broadcast in action

Live outside broadcast in action

52 Spring 2009 ZERB Spring 2009 ZERB 53

www.gtc.org.uk F35F35 www.gtc.org.uk

At Rogue Element Films, we had no hesitation about investing in the F35 because of its outstanding imaging ability. This move is merely continuing our already established approach, which is all about capturing the very best digital image possible at any given time. We have had the Grass Valley Viper for some time and it is still a stunning camera (see Dan’s article about the Viper in Zerb Issue 64). Now we have added to this by investing in the F35, a true 35mm digital film camera system.

With the advancement of new techniques and the fact that there is a growing understanding of how digital works, these digital systems will become increasingly popular. The F35, for us, represents the very best currently available now, as the Viper did previously, hence our investment

is not based on any kit bias but on what is best in the field at the moment. The price of such kit is the burden we are happy to carry given our desire to provide the very best digital film images possible.

The F35 started shooting as soon as it arrived and has already been used on a number of commercials around the world. It has just wrapped photography on a TV series in Germany as well as a full feature film shooting anamorphically with the new Hawk 1.3x squeeze lenses, so it’s clear the demand is out there. Used correctly and efficiently, the total cost of shooting with this system will ultimately prove cheaper than other systems and this was also a factor in our decision. The choice was based not just on the F35’s fantastic imaging capabilities but also on other unique touches, such as the ability to capture up to 50/60 frames per second and play these images instantly back on set, with no waiting. Add in the extra processing power enabling the camera to capture 14 stops of

dynamic range and we felt this was the perfect camera for our rental operation.

Below, I will briefly go over the capabilities of the F35, explain loosely the terminology involved and hopefully answer some early questions relating to the system.

The cameraThe F35 has been designed as a digital film camera for film production people. It records in the LOG (Logarithmic curve; a curve that maps the image information in a similar way to a scanned image from a piece of film) format in order to retain as much image information as possible. Technically, the camera is a huge step forward having 14-bit analogue/digital signal processing with advanced DSP (digital signal processing) outputting a 10-bit LOG image

from a Super 35MM sized CCD. This means that the F35 captures the image information at 14 bits and then turns it into a deliverable 10-bit 4:4:4 1080 LOG image. The increase to 14 bits on the CCD gives it the extra processing power to produce the incredible14 stops of dynamic range (which is the same as film). Minimal processing is applied in its Cine mode for both 3200K and 5600K colour temperature adjustments but that’s primarily it. The potential mage quality is also optimised by the fact that the F35 takes 35mm PL mount film lenses making it compatible with the very best prime lenses.

As mentioned above, the F35 camera’s output is in an unprocessed (10-bit LOG) format, commonly referred to as Raw (raw meaning clean image data unhindered by in-camera gamma settings), so you record all of the F35’s CCD image information without the need for gamma and knee controls. Of course you can still record with those menus switched on for a more tuned-up in-camera balance

and gamma setting, but for most post applications the LOG image is preferable as it will give much more image information to play with later in post.

One potential downside to this approach is that the LOG image looks pretty flat and dull on set, essentially lacking any contrast, which is why the use of LUTs (Look Up Tables) is now becoming more widespread, to enable the viewing experience on set to be that bit more pleasurable. These viewing LUTs are not being baked into the digital negative (raw image information from the CCD)

but are merely for on set viewing via HD monitors. You will find that once you as the DoP and your director get confident with viewing the flat images you can relax and concentrate on the more important aspects i.e. exposing/framing and operating the camera, much more in line with the approach of a film camera. Taking this more film-centric

approach frees you up to focus on the main aim of the exercise, creating fantastic images.

You do have two settings for the camera, one utilising knee and gamma controls and the other stripping them away for a more film-style approach: Cine and Custom. In Cine mode most of the knee and gamma menus are turned off (inactive) and the camera pre-sets the extended mode of image capture. In Custom you have more control of the in-camera knee and gamma controls, enabling more correction and ‘painting’ at the camera head.

WorkflowsAlthough this camera is clearly aimed at the feature film production market, the F35 will quite rightly also find itself being used for high end HDTV production. Producers will not only be tempted by the 35mm look (shallow depth of field) but also the two very clear workflow paths, one of which is fully

“the F35, for us, represents the very best currently available now, as the Viper did previously”

digital film on the F35With all the commotion surrounding the RED camera, an extremely significant new top end camera from Sony has rather slipped through the publicity net. Building on the solid platform established with the F900 and built on with F23, Sony’s latest digital cinematography offering is the F35. GTC member Daniel Mulligan of digital film rental specialists Rogue Element Films, based at Pinewood Studios, explains his company’s decision to invest in the very first F35 camera in Europe, listing some of this exciting new camera’s features and the workflow options it brings.

F35 CameraThe F35 is Sony’s 35mm motion picture digital camera. It has a 14-bit analogue/digital Super 35mm-sized CCD recording a 10-bit LOG/Lin image. One unique option is the ability to record both 50/60P images at full 4:4:4 colour space and then play back these images in slow motion straight away live on set. It has 14 stops of dynamic range, matching film visually in this regard. Variable frame rates up to 50fps in 4:4:4 mode, 35mm depth of field control, 14 stops dynamic range, instant feedback of what has been shot, ISO/ASA 450(T10) with no grain.

The Best ofBoth Worlds: Live outside broadcast in action Live outside broadcast in action

Live outside broadcast in action

54 Spring 2009 ZERB Spring 2009 ZERB 55

F35 www.gtc.org.uk

Advert

Just before I finished my National Service stint in the fifties, I wrote to the BBC asking about trainee jobs in camerawork. They suggested I contact them when next in London. Demob day arrived and I noticed an advert in a national daily inviting anyone interested to attend an open interview at Langham Place. Along with hundreds of other hopefuls I attended and was put through a gruelling interview by a very dour senior engineer who wanted me to draw block schematics of transmitters. My radar electronic knowledge was pretty good but broadcast transmitters were not part of it. He failed me citing ‘lack of technical’ expertise. Undaunted, I cheekily took up the previous BBC invitation and was interviewed by a completely different group of BBC TV engineers. I stressed that I wanted a trainee cameraman position and was able to demonstrate some knowledge of camerawork mainly by identifying the innovations of Gregg Toland’s cinematography in Orson Welles’ Citizen Kane. I received a letter offering a job as a technical operator as my electronic knowledge ‘would be wasted’ in the camera department. ‘Technically challenged’ in the first interview, I was now overqualified for the job I passionately wanted!

I accepted the technical traineeship and in 1958 started in the Telecine section running the opening titles for What’s My Line. Within three weeks I knew I was in the wrong job and desperately wanted to work in the studios. I saw my Head of Department and stated I wanted a transfer to camerawork otherwise I would resign. It was incredibly cheeky of me and I could easily have found myself out on my ear before my life in broadcasting had properly begun. I was told there were over 4000 applications for trainee jobs at BBC TV that year. Fortunately my bluff was not called and I was transferred to Ted Langley’s camera crew. Ted had been one of the world’s first TV cameramen working at Alexandra Palace in 1936 and had more than once shot a live two-hour play continuously on one camera. He was a hard man to track but that experience and the many attachments to the BBC training crew and the residential courses at Wood Norton formed a unique camera apprenticeship.

Fact FileDetails to come

I would urge any young trainee hopeful if they have not been on a media training course to equip themselves with some basic knowledge before attending job interviews:

• Havesomeideaofthe job of a cameramen and why you think you have the potential to fit the requirements. There are plenty of textbooks on the subject. I have written seven myself.

• Knowtherangeofprogrammemakingofthecompanyyou wish to work for. Do them the courtesy of knowing what they are about.

• HavetheabilitytotalkaboutandanalyseyourfavouriteTV programmes, particularly the camerawork rather than the front of camera personalities. Watch TV in a different way. Forget content and concentrate on camera technique before advancing to how technique matches content.

• Getyourhandsonavideocameraandcomputerediting software and experiment with the use of lenses, framing, lighting and editing. This at least should reveal to you the knowledge gap between the professional and the layman who simply enjoys watching TV.

• Answertruthfullyifyouarepreparedtoworklongirregular hours, in sometimes appalling weather giving 100% attention often with little acknowledgement of what you have achieved. Just to keep a roof over your head you will need to work on many more ‘bread and butter’ prosaic and undemanding programmes than BAFTA winners. After fifty years in broadcasting I wouldn’t have chosen any other job.

Peter Ward

tapeless. With budgets so tight at the moment, the ability of the F35 to deliver the final LOG image (negative) and process this on set will save productions both time and money, with no time-consuming software rendering needed for the final image.

The F35 records onto either HDCAM SR via Sony’s SRW1/SRPC1 portable field recorder or a data disk recorder such as the Stwo Take2 DFR as uncompressed 2K image data. Each system has its plus and minus points but keeping the whole shoot data-based will introduce certain workflow efficiencies that tape cannot employ. On the flipside, naturally tape capture is a slightly easier workflow to handle and you benefit by handing over a full SR tape with all your image and timecode/audio information intact.

Shooting digitallyIn exposing the F35, you need to think along the lines of reversal stock. Film has a tremendous amount of latitude and can easily recover a couple of stops of under- or over-exposure.

Digital is a little bit harsher in this regard and so exposure needs to be much more accurate. Don’t forget though that you will have, if required, the full advantage of using a waveform and HD monitors as well as your trusty exposure meter. Exposing and lighting correctly will give you the same dynamic range as film on the screen.

To run the images accurately you will require calibrated monitors on set and, as such, probably negate the idea of taking a laptop to the hotel to ‘grade’ your images. In the end though, the approach chosen on a fully digital shoot, be it workflow options or LUTs and colour pipeline needs, can be as effective and expensive as you like or as cheap as just renting a camera and lens. Digital toolsets now offer the user a tremendous amount of information that can be gathered while shooting, and by employing these tools effectively and smartly, any production can save huge amounts on their budget. It’s truly a false economy to think that renting a cheap system will itself be cheaper in the long run. Think about the whole process, work smartly and you will reap the rewards.

For me, the start of any digital shoot is the lens followed by the chip, then the recording device. Each digital camera really is as different from the next one as one film stock is from the next. It’s also vitally important that you ensure that everyone involved, from crew to

distribution, fully understands and appreciates the workflow being adopted for the shoot.

The bar has been raisedTo me, the F35 is now the standard the rest will have to follow. Our purchase is born out of our desire to capture at the very highest level possible, and the F35 currently represents that

approach. By finally achieving the full dynamic range of film, we now have real alternatives to 35mm film production but with the inherent cost savings that digital can bring to the table. If the whole production takes on board the need to blend both camera and post budgets and to treat the shoot accordingly, then an average saving of 20–30% is entirely possible on the whole budget.

LensesThe F35 uses 35mm PL mount lenses. This will mean most productions using Zeiss Master Primes or Cooke S4i primes as well as Angenieux long and short zooms. This approach gives certain artistic advantages especially shallow depth of field.

New anamorphic lenses from Hawk now employ a 1.3x squeeze giving full resolution anamorphic images on the F35’s CCD without the need to extract the anamorphic frame thus losing resolution (800 lines vs 1080).

Fact FileSony F35 Digital Film Camera System: Daniel Mulliganwww.rogueelementfilms.comwww.f35pinewood.com

Recording devices/workflowsHDCAM-SR is a tape format similar to DigiBeta and HDCAM but with much more information recorded to the SR tape via the use of two heads spinning at once. The SRW1/SPRC1 combined unit is used for field use and is Sony’s default recorder for the F35.

Stwo DFRs capture fully uncompressed images from the F35 as DPX frames onto hard drives. This records 24 DPX frames per second giving an individual image, or DPX, per frame, similar to a full film frame. This affords a fully tapeless workflow into post, gaining advantages for post houses familiar to DPX, as well as certain efficiencies on set.

Workflow for digital cinematography

“by finally achieving the full dynamic range of film, we

now have real alternatives to 35mm film production but with inherent cost savings”

Live outside broadcast in action

Live outside broadcast in action

“the LOG image looks pretty flat and dull on set … which is why the use of LUTs (Look Up Tables) is now becoming more widespread”

54 Spring 2009 ZERB Spring 2009 ZERB 55

F35 www.gtc.org.uk

Advert

Just before I finished my National Service stint in the fifties, I wrote to the BBC asking about trainee jobs in camerawork. They suggested I contact them when next in London. Demob day arrived and I noticed an advert in a national daily inviting anyone interested to attend an open interview at Langham Place. Along with hundreds of other hopefuls I attended and was put through a gruelling interview by a very dour senior engineer who wanted me to draw block schematics of transmitters. My radar electronic knowledge was pretty good but broadcast transmitters were not part of it. He failed me citing ‘lack of technical’ expertise. Undaunted, I cheekily took up the previous BBC invitation and was interviewed by a completely different group of BBC TV engineers. I stressed that I wanted a trainee cameraman position and was able to demonstrate some knowledge of camerawork mainly by identifying the innovations of Gregg Toland’s cinematography in Orson Welles’ Citizen Kane. I received a letter offering a job as a technical operator as my electronic knowledge ‘would be wasted’ in the camera department. ‘Technically challenged’ in the first interview, I was now overqualified for the job I passionately wanted!

I accepted the technical traineeship and in 1958 started in the Telecine section running the opening titles for What’s My Line. Within three weeks I knew I was in the wrong job and desperately wanted to work in the studios. I saw my Head of Department and stated I wanted a transfer to camerawork otherwise I would resign. It was incredibly cheeky of me and I could easily have found myself out on my ear before my life in broadcasting had properly begun. I was told there were over 4000 applications for trainee jobs at BBC TV that year. Fortunately my bluff was not called and I was transferred to Ted Langley’s camera crew. Ted had been one of the world’s first TV cameramen working at Alexandra Palace in 1936 and had more than once shot a live two-hour play continuously on one camera. He was a hard man to track but that experience and the many attachments to the BBC training crew and the residential courses at Wood Norton formed a unique camera apprenticeship.

Fact FileDetails to come

I would urge any young trainee hopeful if they have not been on a media training course to equip themselves with some basic knowledge before attending job interviews:

• Havesomeideaofthe job of a cameramen and why you think you have the potential to fit the requirements. There are plenty of textbooks on the subject. I have written seven myself.

• Knowtherangeofprogrammemakingofthecompanyyou wish to work for. Do them the courtesy of knowing what they are about.

• HavetheabilitytotalkaboutandanalyseyourfavouriteTV programmes, particularly the camerawork rather than the front of camera personalities. Watch TV in a different way. Forget content and concentrate on camera technique before advancing to how technique matches content.

• Getyourhandsonavideocameraandcomputerediting software and experiment with the use of lenses, framing, lighting and editing. This at least should reveal to you the knowledge gap between the professional and the layman who simply enjoys watching TV.

• Answertruthfullyifyouarepreparedtoworklongirregular hours, in sometimes appalling weather giving 100% attention often with little acknowledgement of what you have achieved. Just to keep a roof over your head you will need to work on many more ‘bread and butter’ prosaic and undemanding programmes than BAFTA winners. After fifty years in broadcasting I wouldn’t have chosen any other job.

Peter Ward

tapeless. With budgets so tight at the moment, the ability of the F35 to deliver the final LOG image (negative) and process this on set will save productions both time and money, with no time-consuming software rendering needed for the final image.

The F35 records onto either HDCAM SR via Sony’s SRW1/SRPC1 portable field recorder or a data disk recorder such as the Stwo Take2 DFR as uncompressed 2K image data. Each system has its plus and minus points but keeping the whole shoot data-based will introduce certain workflow efficiencies that tape cannot employ. On the flipside, naturally tape capture is a slightly easier workflow to handle and you benefit by handing over a full SR tape with all your image and timecode/audio information intact.

Shooting digitallyIn exposing the F35, you need to think along the lines of reversal stock. Film has a tremendous amount of latitude and can easily recover a couple of stops of under- or over-exposure.

Digital is a little bit harsher in this regard and so exposure needs to be much more accurate. Don’t forget though that you will have, if required, the full advantage of using a waveform and HD monitors as well as your trusty exposure meter. Exposing and lighting correctly will give you the same dynamic range as film on the screen.

To run the images accurately you will require calibrated monitors on set and, as such, probably negate the idea of taking a laptop to the hotel to ‘grade’ your images. In the end though, the approach chosen on a fully digital shoot, be it workflow options or LUTs and colour pipeline needs, can be as effective and expensive as you like or as cheap as just renting a camera and lens. Digital toolsets now offer the user a tremendous amount of information that can be gathered while shooting, and by employing these tools effectively and smartly, any production can save huge amounts on their budget. It’s truly a false economy to think that renting a cheap system will itself be cheaper in the long run. Think about the whole process, work smartly and you will reap the rewards.

For me, the start of any digital shoot is the lens followed by the chip, then the recording device. Each digital camera really is as different from the next one as one film stock is from the next. It’s also vitally important that you ensure that everyone involved, from crew to

distribution, fully understands and appreciates the workflow being adopted for the shoot.

The bar has been raisedTo me, the F35 is now the standard the rest will have to follow. Our purchase is born out of our desire to capture at the very highest level possible, and the F35 currently represents that

approach. By finally achieving the full dynamic range of film, we now have real alternatives to 35mm film production but with the inherent cost savings that digital can bring to the table. If the whole production takes on board the need to blend both camera and post budgets and to treat the shoot accordingly, then an average saving of 20–30% is entirely possible on the whole budget.

LensesThe F35 uses 35mm PL mount lenses. This will mean most productions using Zeiss Master Primes or Cooke S4i primes as well as Angenieux long and short zooms. This approach gives certain artistic advantages especially shallow depth of field.

New anamorphic lenses from Hawk now employ a 1.3x squeeze giving full resolution anamorphic images on the F35’s CCD without the need to extract the anamorphic frame thus losing resolution (800 lines vs 1080).

Fact FileSony F35 Digital Film Camera System: Daniel Mulliganwww.rogueelementfilms.comwww.f35pinewood.com

Recording devices/workflowsHDCAM-SR is a tape format similar to DigiBeta and HDCAM but with much more information recorded to the SR tape via the use of two heads spinning at once. The SRW1/SPRC1 combined unit is used for field use and is Sony’s default recorder for the F35.

Stwo DFRs capture fully uncompressed images from the F35 as DPX frames onto hard drives. This records 24 DPX frames per second giving an individual image, or DPX, per frame, similar to a full film frame. This affords a fully tapeless workflow into post, gaining advantages for post houses familiar to DPX, as well as certain efficiencies on set.

Workflow for digital cinematography

“by finally achieving the full dynamic range of film, we

now have real alternatives to 35mm film production but with inherent cost savings”

Live outside broadcast in action

Live outside broadcast in action

“the LOG image looks pretty flat and dull on set … which is why the use of LUTs (Look Up Tables) is now becoming more widespread”

22 | HD MAGAZINE

Elstree Studios.For the BBC show Last of the Summer Wine we

recorded the 2010 series on the Viper connected to an SRW1 HDCAM SR field recorder. To test the viability of the P2 format we connected a P2 HPG20 recording device to the SRW1 4.2.2 output and recorded the same rushes we were recording to the SR format (see pictures of deck with SRW1). This enabled a true comparison to the SR masters and to see how easily the P2 system could be integrated into a real shoot on set.

The HPG20 recorder performed flawlessly and we had zero issues recording the images on set. In fact the size of the recorder itself gave us certain freedoms by enabling us to attach the recorder to the Viper camera head instead of being tethered to the SRW1 deck as normal. This gives recording control back to

the DP/Operator and perhaps reduces the need for certain dedicated operations now seen on digital sets in such circumstances?

The images looked fantastic given the compression employed by the AVC Intra codec and looking at the results and given the ability to have un-tethered recording capability we would have no problem recommending the P2 to any production giving a real choice and a true alternative.

Final AnalysisBy using the P2 card system and the HPG20 recording unit productions have the ability to capture high dynamic range images from the Viper or F35 in 4.2.2 colour space at full 10bit capture and as the delivery requirements would be for 16mb/s TV then its entirely viable given the delivery requirements. Data workflows using the P2 software and codecs then introduces significant cost and time savings and also retains the high image quality that the F35 delivers, it really is a fantastic way to save you time and money and give you the exceptional image quality that high end TV dramas now rightly insist on.

codec. This is the capture codec that best supports the F35/Vipers 10bit output at 4.2.2. This captured codec is then archived and then pushed through Panasonics CMS software suite to create your dailies and deliver the content to editorial to create your EDL. One major advantage of the native P2 format is its ability to be ingested into your edit suite in its native format thus removing the need to downconvert to another format to edit from and giving editorial the ability to see the same rushes in HD that you shot on set and removes another task from the workflow thus creating time and cost savings during production.

Testing On Set WorkflowWe tested the workflow for the P2 thoroughly on a recent BBC show using the Viper and also the F35 workflow on a recent test for another HDTV show at

Part of the BBC’s test on Last Of The Summer Wine with Sony SRW1 and P2

TAPELESS TIMES – P2 IN CINEMA

Rogue Element Fims is a pioneer of data workflows for Features and TV. Based at Elstree Studios in a brand new Digital Technology Centre they develop new workflow tools and offer full consultancy and rental including now a brand new 3D system based on the SI2K mini recording heads with a Cineform and .SIV workflow.

HD

What better place to enjoy Acqua di Parma’s stunning products than at sumptuous Cliveden in Berkshire?

Fast ForwardClockwise from far left: Out and about in London with the Panasonic HDC-SD5 on the London Eye, in Covent Garden, at Borough Market and speeding down the River Thames. Far left: The camcorder’s compact size is perfect for everyday use

The new generation of high definition camcorders is set to change the way we record, edit and store those precious, quick-fire moments in our lives

THE EXPERTS SAY...Five filmmaking experts took the HDC-SD5 for a quick test-drive.

Adam Garstone (director of film/post-production, BlaknBlu) I’m really impressed by its size and total ease of use.

Daniel Mulligan (di-rector of photography, Rogue Element Films) I love the fact you can record to a memory card. You don’t have to go through hours of tape.

Ed Holdsworth (film director, music videos and short promos) Incredibly small and high-quality, I was impressed with its stability too.

Mike Brennan (edi-tor, HD magazine) On an HD television, the three chips offer out-standing colour quality.

Tom Urbye (direc-tor of post-production, The Look) The HDC-SD5 is a future-proof format for prosumers.

Perfect for the fast pace of modern life, it combines the latest technology with its compact size, light weight and ease of use, to give you professional quality footage in your hand. Small and light enough to be tossed into a bag, the Panasonic high definition camcorder uses smart technological know-how to produce pictures of near-professional broadcast standard. The bar has been raised and, just as digital cameras changed the way we take our snaps beyond the usual wedding and holiday clichés, so the new wave of high definition camcorders will see us more comfortable with recording moving images to capture moments, whether extraordinary or everyday.

Who knows, this high definition camcorder could become as iconic as the laptop or mobile phone. The revolution will not be televised? Maybe not, but you can download coverage on your mobile, or laptop, or BlackBerry, or iPod nano. With Panasonic's new high definition camcorder you can create vignettes of your own life, shot like a professional.

For more information, please call 0844 844 3852, or visit www.panasonic.co.uk/sd5

We’re all film-makers now. Using mobile phones, camcorders, digital cameras and live web links, we have the power to create, edit, distribute and broadcast moving images like never before. If e-mails and texting can be said to have breathed new life into the written word, digital technology has opened up whole new ways to capture memories and moments, both personal and public. We want to be able to retain the significant days of our lives, be they the traditional wedding video or a great night out larking about with our mates.

And we can’t get enough of it. Next time you’re trawling your way through YouTube trying to find that mid-Seventies footage of David Bowie on Soul Train, have a look through the Featured Videos section, where everything from mini-docs filmed in Darfur refugee camps, to morphing kittens and Songs Of Praise parodies, boast anything up to 500,000 viewings within weeks of being posted.

Doubtless somewhere a post-grad student is busily preparing a thesis dissecting our global obsession with moving and still-image sharing, filtering it all through a post-Barthesian theory of mass-media ennui. And the best of luck to them. For most of us, however, the sheer fun of capturing the moment by shooting film and using increasingly sophisticated kit to retain it for posterity, is reason enough to develop an abiding passion for pics.

In a three-month period from July to September last year we sent 88 million picture messages. Recording an image has become part of our everyday lives, while the rise in the market of all the associated paraphernalia (tripods, specialist lenses) points to a growing keenness to produce images close to a professional standard. We want to capture the vignette, to star in our own movie, but we want it to be suitably sleek and sexy, not shaky and grainy.

A new high definition camcorder is changing the traditional view of video cameras and is set to be a major player in the image-capturing market. Panasonic's new HDC-SD5 camcorder is the smallest high definition camcorder in the UK, which uses a memory card instead of all that bulky tape, making it completely user-friendly.

CAMCORDER KEY FACTS■ The Panasonic HDC-SD5 high definition camcorder uses an SD memory card rather than tape, allowing you to copy straight from the card to a DVD at the touch of a button.■ The 3CCD system offers superb colour reproduction. The camera’s noise-shap-ing filter and intelligent contrast control ensures the user can produce noiseless and clear images. ■ Images are held temporarily in the high definition camcorder’s internal memory (three seconds) before you push the record button, meaning you can record the entire scene without missing that all-important start to the action.■ While current camcorder technology is only able to read half of the pixels in an image, the Panasonic high definition model reads all pixels and can deliver high-resolu-tion full HD 1920 x 1080 pixel recording.■ In Quick Start mode, the high definition camcorder is ready to record images just 1.7 seconds after the LCD is opened. You are able to capture split-second shots, without missing the moment.

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What better place to enjoy Acqua di Parma’s stunning products than at sumptuous Cliveden in Berkshire?

Fast ForwardClockwise from far left: Out and about in London with the Panasonic HDC-SD5 on the London Eye, in Covent Garden, at Borough Market and speeding down the River Thames. Far left: The camcorder’s compact size is perfect for everyday use

The new generation of high definition camcorders is set to change the way we record, edit and store those precious, quick-fire moments in our lives

THE EXPERTS SAY...Five filmmaking experts took the HDC-SD5 for a quick test-drive.

Adam Garstone (director of film/post-production, BlaknBlu) I’m really impressed by its size and total ease of use.

Daniel Mulligan (di-rector of photography, Rogue Element Films) I love the fact you can record to a memory card. You don’t have to go through hours of tape.

Ed Holdsworth (film director, music videos and short promos) Incredibly small and high-quality, I was impressed with its stability too.

Mike Brennan (edi-tor, HD magazine) On an HD television, the three chips offer out-standing colour quality.

Tom Urbye (direc-tor of post-production, The Look) The HDC-SD5 is a future-proof format for prosumers.

Perfect for the fast pace of modern life, it combines the latest technology with its compact size, light weight and ease of use, to give you professional quality footage in your hand. Small and light enough to be tossed into a bag, the Panasonic high definition camcorder uses smart technological know-how to produce pictures of near-professional broadcast standard. The bar has been raised and, just as digital cameras changed the way we take our snaps beyond the usual wedding and holiday clichés, so the new wave of high definition camcorders will see us more comfortable with recording moving images to capture moments, whether extraordinary or everyday.

Who knows, this high definition camcorder could become as iconic as the laptop or mobile phone. The revolution will not be televised? Maybe not, but you can download coverage on your mobile, or laptop, or BlackBerry, or iPod nano. With Panasonic's new high definition camcorder you can create vignettes of your own life, shot like a professional.

For more information, please call 0844 844 3852, or visit www.panasonic.co.uk/sd5

We’re all film-makers now. Using mobile phones, camcorders, digital cameras and live web links, we have the power to create, edit, distribute and broadcast moving images like never before. If e-mails and texting can be said to have breathed new life into the written word, digital technology has opened up whole new ways to capture memories and moments, both personal and public. We want to be able to retain the significant days of our lives, be they the traditional wedding video or a great night out larking about with our mates.

And we can’t get enough of it. Next time you’re trawling your way through YouTube trying to find that mid-Seventies footage of David Bowie on Soul Train, have a look through the Featured Videos section, where everything from mini-docs filmed in Darfur refugee camps, to morphing kittens and Songs Of Praise parodies, boast anything up to 500,000 viewings within weeks of being posted.

Doubtless somewhere a post-grad student is busily preparing a thesis dissecting our global obsession with moving and still-image sharing, filtering it all through a post-Barthesian theory of mass-media ennui. And the best of luck to them. For most of us, however, the sheer fun of capturing the moment by shooting film and using increasingly sophisticated kit to retain it for posterity, is reason enough to develop an abiding passion for pics.

In a three-month period from July to September last year we sent 88 million picture messages. Recording an image has become part of our everyday lives, while the rise in the market of all the associated paraphernalia (tripods, specialist lenses) points to a growing keenness to produce images close to a professional standard. We want to capture the vignette, to star in our own movie, but we want it to be suitably sleek and sexy, not shaky and grainy.

A new high definition camcorder is changing the traditional view of video cameras and is set to be a major player in the image-capturing market. Panasonic's new HDC-SD5 camcorder is the smallest high definition camcorder in the UK, which uses a memory card instead of all that bulky tape, making it completely user-friendly.

CAMCORDER KEY FACTS■ The Panasonic HDC-SD5 high definition camcorder uses an SD memory card rather than tape, allowing you to copy straight from the card to a DVD at the touch of a button.■ The 3CCD system offers superb colour reproduction. The camera’s noise-shap-ing filter and intelligent contrast control ensures the user can produce noiseless and clear images. ■ Images are held temporarily in the high definition camcorder’s internal memory (three seconds) before you push the record button, meaning you can record the entire scene without missing that all-important start to the action.■ While current camcorder technology is only able to read half of the pixels in an image, the Panasonic high definition model reads all pixels and can deliver high-resolu-tion full HD 1920 x 1080 pixel recording.■ In Quick Start mode, the high definition camcorder is ready to record images just 1.7 seconds after the LCD is opened. You are able to capture split-second shots, without missing the moment.

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A D V E R T I S E M E N T F E A T U R E

user review

44 october | november 2006 • www.definitionmagazine.com www.definitionmagazine.com • october | november 2006 45

Venom Flashpak

hile shooting with the Viper Filmstream camera on Last of The Summer Wine 2006, Thomson kindly gave me the opportunity to evaluate their Venom Flashpak. This dockable, solid-state recorder extends

the capabilities of the Viper FilmStream Digital Cinematography Camera System and LDK 6000 MK II WorldCam multi-format HD camera. With no moving parts, it is a portable production solution.

This gave me the chance to see how the Venom worked on a live set under the usual production time pressures. The Venom was used on set to capture some behind the scenes footage for the previews. We couldn’t introduce a Flashpak into the established workflow being used at the time as this would have been too disruptive.

First impressionsIt is quite compact and light, weighing 2.6 kilos and measuring 10x6x4 inches. It has a 20-pin multi-connector built in to the side of the Pak that then slides into a bracket. This bracket is then connected to the Viper via its multicore cable and the Sony V-Lock on the top of the camera. It is powered using 4 pin hirose to 4 pin XLR power cable plus a battery connected to the Viper. This is a fiddly set-up and a little cumbersome, but no more than other kit, how else could they have done it?

The side of the Pak has a few small buttons. These are for record and playback, selection and menus. The menu structure is very simple. On the side you will see Takes, Metadata and Tools & Settings. Takes lets you scroll down your takes and select the one you wish to view, instantly. There’s no waiting.

Venom Flashpak

Keeping It Portable

WDoP Dan Mulligan of Rogue Element Films Evaluates the Venom Flashpak while

shooting on Last Of The Summer Wine

Metadata is for connecting a Bluetooth device (such as a Palm Pilot) to imprint data onto each take (DP, shot number etc.) Finally Tools and Settings is the main menu and has 14 settings. The usual things here are outputting the A or B signals, time and date, erase all, set pre roll etc.

I found that there were some interesting options here. There is a LUT option for the output. This is not active yet but a simple 3200K/5600K for 4:2:2 and 4:4:4 output would be great. More elaborate LUTs than this can be applied via Speedgrade. Having basic colour correction for monitoring the raw signal in 4:2:2 and 4:4:4 modes, and not affecting the capture, would make a lot of sense to me.

It’s also possible to set a pre-roll from 0 to 8 seconds. For me I would prefer continuous recording. Time mode offers 24/12 hour clock time settings, but no timecode. This would have to be provided by a Lockit (or similar). I feel that this is an oversight and having T/C embedded at source should not be a big deal.

Audio is captured at stereo or left & right through the cameras 3-pin XLR. This is poor quality and only good enough for guide. And as its one XLR you will need a stereo lead to get two channels into one socket, otherwise choose left or right.

The thing to remember is the menus on the Flashpak run in conjunction with the Viper camera menus. It’s important to check the camera and make sure it is set correctly. Calibrating the camera in its 4:4:4 or 4:2:2 modes HAS to be selected in the camera settings. The drawback here is the capture format is not displayed on the Flashpaks screen.

Recording time for the Flashpak is 10 minutes at 4:4:4 and 14 minutes at 4:2:2. This is roughly the same time as a film roll. I know that solid state is very expensive but this means you would have to hire three Flashpaks at a minimum, one capture, one dumping rushes and one spare.

Now For The Good Stuff Since size is a bonus, going hand held is fairly easy, even if it is a little fiddly to set up. You can select record from the Viper or the Flashpak. A recording tally lamp will fire up letting you know you are recording and take times on the small screen will run as you record. Each take is then logged into the Flashpak. This differs from tape in that you have each take logged in its own file. Reviewing the rushes is as simple as finding the take/file you want to review, scroll down and press play, just lovely.

The total recording time you have left gets lower as you record more takes and the length of each take you have shot is displayed at the same time, and indeed the total record time so far are neatly displayed in the screen, as well as how many takes you have shot so far. This gives instant feedback on all you have done to date.

Once you have shot your takes you can remove the Pak and use it as a small playout deck. Use a 4-pin power adapter and take the Pak to your monitor, plug it in and watch beautiful 4:4:4 images as quick as you’ve shot them, and in an instant too.

I like the Flashpak. It has a neat, compact design with very easy to use functions. The menu structure is simple as are the controls on the side for playback. It records 4:4:4 or 4:2:2 without any fuss and plays back any take as soon as you hit play,

which is the luxury of solid state recording.The downside is no audio locked into the deck. This is

perhaps no problem for most people who are used to using film but these days it’s becoming a requirement for digital. Having no timecode in the unit I feel is an oversight and to have to apply lockit boxes is another hindrance. There’s no information on the side of the Flashpak as to what format you are recording in, which would be nice from a safety angle. Then you have to offload the pictures just captured into another source so you can free up the Flashpak. Supposedly another disk unit, tape system or cloning tool (LTO3). That's your choice. Personally I dumped them onto an SRW1 which is part of my current workflow process which worked flawlessly but STwo disk would work just as well.

At this early stage I can see the use of the Flashpak as a one-off hire for portability. When the need arises you can go handheld, in a car, on Steadicam etc. and fire off, very easily, your 4:4:4 capture. Once captured you could dump off the rushes into your main capture source, say STwo disk or SRW1 tape. You now have a very portable capture device, full 4:4:4 uncompressed, and a simple way to off-load these images to the main image capture unit.

I am not sure how far the Flashpak can go until more time can be recorded. A 50 minute Flashpak is a different proposition altogether but 10 minutes 4:4:4 makes the unit a bit unpractical at this stage, unless you have lots of money to burn on four or five of them on set and synching audio and timecode later in post.www.rogueelementfilms.com

Dan's Viper and Venom combi on set on Last Of The Summer Wine. Below Venom menus and outputs

user review

44 october | november 2006 • www.definitionmagazine.com www.definitionmagazine.com • october | november 2006 45

Venom Flashpak

hile shooting with the Viper Filmstream camera on Last of The Summer Wine 2006, Thomson kindly gave me the opportunity to evaluate their Venom Flashpak. This dockable, solid-state recorder extends

the capabilities of the Viper FilmStream Digital Cinematography Camera System and LDK 6000 MK II WorldCam multi-format HD camera. With no moving parts, it is a portable production solution.

This gave me the chance to see how the Venom worked on a live set under the usual production time pressures. The Venom was used on set to capture some behind the scenes footage for the previews. We couldn’t introduce a Flashpak into the established workflow being used at the time as this would have been too disruptive.

First impressionsIt is quite compact and light, weighing 2.6 kilos and measuring 10x6x4 inches. It has a 20-pin multi-connector built in to the side of the Pak that then slides into a bracket. This bracket is then connected to the Viper via its multicore cable and the Sony V-Lock on the top of the camera. It is powered using 4 pin hirose to 4 pin XLR power cable plus a battery connected to the Viper. This is a fiddly set-up and a little cumbersome, but no more than other kit, how else could they have done it?

The side of the Pak has a few small buttons. These are for record and playback, selection and menus. The menu structure is very simple. On the side you will see Takes, Metadata and Tools & Settings. Takes lets you scroll down your takes and select the one you wish to view, instantly. There’s no waiting.

Venom Flashpak

Keeping It Portable

WDoP Dan Mulligan of Rogue Element Films Evaluates the Venom Flashpak while

shooting on Last Of The Summer Wine

Metadata is for connecting a Bluetooth device (such as a Palm Pilot) to imprint data onto each take (DP, shot number etc.) Finally Tools and Settings is the main menu and has 14 settings. The usual things here are outputting the A or B signals, time and date, erase all, set pre roll etc.

I found that there were some interesting options here. There is a LUT option for the output. This is not active yet but a simple 3200K/5600K for 4:2:2 and 4:4:4 output would be great. More elaborate LUTs than this can be applied via Speedgrade. Having basic colour correction for monitoring the raw signal in 4:2:2 and 4:4:4 modes, and not affecting the capture, would make a lot of sense to me.

It’s also possible to set a pre-roll from 0 to 8 seconds. For me I would prefer continuous recording. Time mode offers 24/12 hour clock time settings, but no timecode. This would have to be provided by a Lockit (or similar). I feel that this is an oversight and having T/C embedded at source should not be a big deal.

Audio is captured at stereo or left & right through the cameras 3-pin XLR. This is poor quality and only good enough for guide. And as its one XLR you will need a stereo lead to get two channels into one socket, otherwise choose left or right.

The thing to remember is the menus on the Flashpak run in conjunction with the Viper camera menus. It’s important to check the camera and make sure it is set correctly. Calibrating the camera in its 4:4:4 or 4:2:2 modes HAS to be selected in the camera settings. The drawback here is the capture format is not displayed on the Flashpaks screen.

Recording time for the Flashpak is 10 minutes at 4:4:4 and 14 minutes at 4:2:2. This is roughly the same time as a film roll. I know that solid state is very expensive but this means you would have to hire three Flashpaks at a minimum, one capture, one dumping rushes and one spare.

Now For The Good Stuff Since size is a bonus, going hand held is fairly easy, even if it is a little fiddly to set up. You can select record from the Viper or the Flashpak. A recording tally lamp will fire up letting you know you are recording and take times on the small screen will run as you record. Each take is then logged into the Flashpak. This differs from tape in that you have each take logged in its own file. Reviewing the rushes is as simple as finding the take/file you want to review, scroll down and press play, just lovely.

The total recording time you have left gets lower as you record more takes and the length of each take you have shot is displayed at the same time, and indeed the total record time so far are neatly displayed in the screen, as well as how many takes you have shot so far. This gives instant feedback on all you have done to date.

Once you have shot your takes you can remove the Pak and use it as a small playout deck. Use a 4-pin power adapter and take the Pak to your monitor, plug it in and watch beautiful 4:4:4 images as quick as you’ve shot them, and in an instant too.

I like the Flashpak. It has a neat, compact design with very easy to use functions. The menu structure is simple as are the controls on the side for playback. It records 4:4:4 or 4:2:2 without any fuss and plays back any take as soon as you hit play,

which is the luxury of solid state recording.The downside is no audio locked into the deck. This is

perhaps no problem for most people who are used to using film but these days it’s becoming a requirement for digital. Having no timecode in the unit I feel is an oversight and to have to apply lockit boxes is another hindrance. There’s no information on the side of the Flashpak as to what format you are recording in, which would be nice from a safety angle. Then you have to offload the pictures just captured into another source so you can free up the Flashpak. Supposedly another disk unit, tape system or cloning tool (LTO3). That's your choice. Personally I dumped them onto an SRW1 which is part of my current workflow process which worked flawlessly but STwo disk would work just as well.

At this early stage I can see the use of the Flashpak as a one-off hire for portability. When the need arises you can go handheld, in a car, on Steadicam etc. and fire off, very easily, your 4:4:4 capture. Once captured you could dump off the rushes into your main capture source, say STwo disk or SRW1 tape. You now have a very portable capture device, full 4:4:4 uncompressed, and a simple way to off-load these images to the main image capture unit.

I am not sure how far the Flashpak can go until more time can be recorded. A 50 minute Flashpak is a different proposition altogether but 10 minutes 4:4:4 makes the unit a bit unpractical at this stage, unless you have lots of money to burn on four or five of them on set and synching audio and timecode later in post.www.rogueelementfilms.com

Dan's Viper and Venom combi on set on Last Of The Summer Wine. Below Venom menus and outputs