Digital Video Magazine, July 2010

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Digital Video Magazine, July 2010 Powered By Docstoc
					                 The Professional's Guide to HD Tools & Technique                  1
                 Vol. 18 No. 7 | July 2010


                                                     Conference Grid Inside
digital video                  dv . com
                                                    IN REVIEW
                                                     AVID Media
INSIDE                                               Composer 5
INSTANT EXPERT                                       SONNET
10 MATTEBOXES                                        TECHNOLOGIES Qio Media Dock

                                         Into Afghanistan with Sony XDCAM
                                                                                                                                     from the editor                             3
                                           volume 18
                                           number 7

                                                                                                                                                                             july 2010 | opinion
   digital                                 july 2010

       EDITOR‐IN‐CHIEF David E. Williams
        MANAGING EDITOR Katie Makal
                                                       Coming Back At Ya
        TECHNICAL EDITOR Jay Holben
                                                       Last issue’s missive in this space regarding the coming of 3DTV and the wide
   CONTRIBUTING EDITORS J.R. Bookwalter,               array of 3D-capable ware now on offer from various suppliers prompted a
   James Careless, Chuck Gloman, Carl Mrozek,          variety of reactions:
    Oliver Peters, Stefan Sargent, Jon Silberg,
             Ned Soltz, Iain Stasukevich               “Why would I not want 3D in the home? On TV? Because, with glasses, it fun-           Why is it
                   ADVERTISING                         damentally does not fit with the way we watch TV. We don’t just watch TV
                                                       silently. If I wanted that, I’d watch on my laptop, and work on e-mail, or Twitter,
                                                                                                                                             that 3D is
   EAST COAST SALES MANAGER Susan Shores 212. 378.0400 Ext. 528             or curate my photo library, or something else.”                                       prompting
  WEST/CENTRAL SALES MANAGER Jeff Victor 847. 367. 4073
 EUROPE SALES MANAGER Bob Kennedy bken                 “I see gaming as the first easy way for mass adoption, as it’s fairly easy to make    such strong 011. 44. 1279. 861264                3D many games as they are already rendering massive worlds. I think this is an        reactions?
  DIGITAL VIDEO EXPO SALES Contact your DV             exciting next step towards pure virtual reality and am looking forward to the
                                                       new experiences.”
      CLASSIFIED AD SALES Susan Shores 212.378.0400 Ext. 528
                                                                                                                    “3D? Leave that to DreamWorks and the folks over
               ART & PRODUCTION                                                                                     at Lucasville. Right now, most of the folks in the
     SENIOR ART DIRECTOR Nicole Cobban
       ART DIRECTOR Annmarie LaScala                                                                                trenches at TV stations around the country are
                                                                                                                    wondering if they’re going to be employed by the
                  CIRCULATION                                                                                       end of the year. The only thing they want seeing
         ASSOCIATE DIRECTOR FOR                                                                                     coming at them is a paycheck without a pink slip in
   CIRCULATION MANAGER Kwentin Keenan                                                                               the envelope.”
              Michele Fonville
                                                                                                                     “Aside from the high cost and high risk for profit-
                 SUBSCRIPTIONS:                                                                                      ability, there are more serious issues (at this time)
       DV, P.O. Box 221, Lowell, MA 01853
             Telephone: 888‐266‐5828                                                                                 regarding production. Mercedes recently shot a 3D
        USA only, 8:30 a.m. ‐ 5 p.m. EST               At a recent event held on the Sony Entertainment Studios      commercial with Sony cameras. It took approxi-
          978‐667‐0352 Outside the US                  lot, we got a look at a prototype XDCAM EX EX3-D.
                 Fax: 978‐671‐0460
                                                                                                                     mately six hours just to balance the two cameras
                                                       Interesting things are afoot in the 3D realm.
    E-mail:                                                                           using a beam splitter. I am also concerned about
                                                        unmatched apertures/exposures and dust accumulation on the digital camera sensors, especially while chang-
    EXECUTIVE VICE PRESIDENT Carmel King                ing lenses. I experienced 3D in the 1970s — it’s temporarily amusing. If you’re willing to pay me to produce 3D,
    VP SALES/GROUP PUBLISHER Eric Trabb                 sure... I’ll do it.”
EDITORIAL DIRECTOR ‐ BROADCAST Carter Ross             Why is 3DTV is prompting such strong reactions?
        WEB DIRECTOR Ragan Whiteside
ONLINE PRODUCTION MANAGER Robert Granger                   Given the obvious interest in — and controversy around — this rapidly expanding field, we’ll be tackling
                                                       a number of 3DTV issues at the upcoming Digital Video Expo 2010 (go to for program-
                                                       ming details and registration). The event, to be held at the Pasadena Convention Center on September
         PRESIDENT & CEO Steve Palm
   CHIEF FINANCIAL OFFICER Paul Mastronardi            28-30, will feature extensive conference programming on the use of 3D, DSLRs, lighting technique, apps for
              VICE PRESIDENT OF                        production and post, mobile video and much more. You’ll find a special section on the event in this issue,
        WEB DEVELOPMENT Joe Ferrick
    CIRCULATION DIRECTOR Denise Robbins                starting on page 19.
            IT DIRECTOR Greg Topf                          September is just around the corner, so register today and I’ll see you in Pasadena.
           CONTROLLER Jack Leidke
           HR DIRECTOR Ray Vollmer

      Please contact our Reprint Coordinator
        at Wright’s Reprints: 877. 652. 5295

                  PUBLISHED BY
         NEWBAY MEDIA L.L.C.
       810 Seventh Avenue, 27th Fl.
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           New York, NY 10019
                                                       David E. Williams                                              
            Tel: 212. 378. 0400                        Editor-in-Chief                                                
            Fax: 212. 378. 0470
4                      Inside                                                             |volume 18|number 7
contents | july 2010

                         6 News & Notes
                               Shooting with the Panasonic AG-HPX370,
                               checking out Primera Blu-ray Disc Publishers,
                               unveiling the artemis Cine HD Pro support, using
                               the Canon EOS 5D Mark II, shooting a doc with
                               the Panasonic AG-HPX170, and more.


                                                                                            CAPTION TK
                                                                                            Thierry Humeau
                                                                                            gears up with Sony
                                                                                            and the USMC.
                       Shane Hurlbut, ASC drafts the Canon 5D.

                                                                                         On Our Cover: A Sony XDCAM EX PMW-EX1 survives
                       in review                                                                                                                the dust and heat of Afghanistan.
                                                                                                                                                Photo courtesy of National Geographic
                       14 Media Composer 5: Avid
                               The latest Media Composer update further
                               expands Avid’s capabilities.
                               By Oliver Peters
                                                                                                  18 Instant Expert
                       16 Qio: Sonnet Technologies                                                          Ned Soltz checks out 10 matteboxes and accessories.
                               Juggling multiple solid-state media card for-
                               mats? Here’s an exemplary solution.
                                                                                                 26 DV101
                               By Ned Soltz
                                                                                                            Jay Holben creates eye-catching nocturnal looks without using
                       features                                                                             artificial lighting.

                       23 Close-Up: Terry Shiels                                                  34 Production Diary
                               For this veteran videographer, the evolution of                              Round-the-world production is a welcome headache for Stefan
                               his gear has been an inspiration.                                            Sargent.
                               By Iain Stasukevich

                       24 Dust, IEDs & XDCAM
                               Sony cameras demonstrate semper fi perfor-
                               mance while documenting Marines serving in
                               By Iain Stasukevich

                                        instant expert
                                        Matteboxes and accessories                  Big changes abound with Avid Media Composer 5.

                                                                                  DV (ISSN 1541-0943) is published monthly by NewBay Media L.L.C. at 810 Seventh Ave., 27th Floor, New York, NY, 10019. Telephone: 212-378-0400.
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                           Update |
 6                                                                                                                                                                                   mousing
news & notes | july 2010

                                                                                                                                                                   >Stop-Motion Devotion
                                                                                                                                                                   Kindle Campaign
                                                                                                                                                                   Directors Angela Kohler
                                                                                                                                                                   and Ithyle Griffiths
                                                                                                                                                                   By the time still photographers Kohler
                                                                                                                                                                   and Griffiths learned about Amazon’s
                                                                                                                                                                   open contest to create a 30-second
                                                                                                                                                                   spot for the online retailer, the creative
                                                                                                                                                                   couple had just one week to come up
                                                                                                                                                                   with a concept and execute it before the

                            Smith with an AG-HVX200 P2
                            handheld during his 2007 expedition.

                           Earhart Doc Depends on Panasonic
                           Shooting on a remote island location with the AG-HPX370.
                           Peabody Award-winning director of photography Mark Smith recently purchased Panasonic’s
                           AG-HPX370 P2 HD shoulder-mount camcorder to use as the primary unit on his third voyage to the                                          entry deadline. The two have an impres-
                           remote South Pacific island of Nikumaroro to document the Amelia Earhart Expeditions’ archeo-                                           sive portfolio of still photography for
                           logical research. His equipment pack also includes an AG-HPX170 P2 HD handheld as his B camera,                                         clients including Microsoft, Lexus and
                                                                                                                                                                   Old Navy, but they had no professional
                           an AG-HPG20 P2 Portable HD recorder/player, an AG-HPG10 P2 Gear viewer/recorder, and an                                                 experience at all with pictures that
                           AJ-PCD2 P2 solid-state memory card drive.                                                                                               move. Visit 2010 for the full
                              Smith is part of a 16-member team that departed                TIGHAR and Smith’s company, o7 Films, are cur-                        story and see the video.
                           May 18 and is traveling under the aegis of The                    rently negotiating a feature-length documentary
                           International Group for Historic Aircraft Recovery                profiling the expeditions’ compelling findings that
                           (TIGHAR), an organization that contends that                      a major satellite/cable channel is expected to air                  find us online
                           famed aviator Earhart landed and ultimately died                  late this year. “The ability of the HPX370 to shoot                           digital edition:
                           on Gardner Island — now known as Nikumaroro.                      full-raster HD and record in AVC-Intra, the highest-                
                                                                                             quality origination codec available for an in-camera                          facebook:
                                                                                             recording system, coupled with the flexibility of the               
                                                                 online                      camcorder for either handheld or tripod-style shoot-                          pages/digital-video-magazine
                                                                 See TIGHAR's                ing, made my choice of a main camera easy,” Smith                             online:
                                                                 video by visiting           says. “I wanted to select the best-quality acquisition
                                                                                             tool I could fit inside the relatively small working                          twitter:
                                                                                             space I need to occupy for this project.”                                     DVMagazine

                                                        <in focus:                          Bravo Series Blu-ray Disc Publishers
                                                       Company: Primera Technology Inc. What It Is/Does: All Primera Blu-ray Disc Publishers manufactured after May 1, 2010 are shipping with 12x
                                                       drives and eSATA interfaces. Each machine ships with the appropriate eSATA cable(s) and a PCIe eSATA adapter card. Some recent PCs and
                                                       notebook computers also have one or more integrated eSATA jacks. With almost six times the effective data transfer rate of USB 2.0, eSATA
                                                       allows Primera’s Blu-ray Disc Publishers to burn Blu-ray Disc media at full 12x speeds. All are capable of burning and direct-to-disc full-color printing
                                               onto CD, DVD and BD recordable media. Bottom Line: High-resolution Blu-ray discs are becoming popular for distributing high-resolution videos of wed-
                           dings, events and even independent films. Primera offers a cost-effective entry into this growing market. Price: Bravo SE Blu Disc Publisher (20-disc capacity and one CD/DVD/
                           BD drive) $2,995. BravoPro Xi Blu Disc Publisher (100-disc capacity and one CD/DVD/BD drive) $3,995. BravoPro Xi2 Blu Disc Publisher (100-disc capacity and two CD/DVD/BD
                           drives) $4,995. Contact:

8                          Update
                                                                                                                                                         A supplier of expert-level rigs,
                                                                                                                                                         Sachtler has unveiled the
news & notes |july 2010

                                                                                                                                                         artemis Cine HD Pro system.
                          Canon EOS                                                                                                    easy steps
                                                                                                                                                           1 The Cine
                                                                                                                                                           HD Pro is a
                          HDSLRs                                                                                                                           completely
                                                                                                                                           revised system that com-

                                                                                                                                      camera support
                          Recruited                                                                                                        bines the traditional func-
                                                                                                                                           tions of the previous Cine
                                                                                                                                           and Cine HD systems with
                          Cinematographer Shane Hurlbut, ASC recently
                                                                                                                                           the updates of the artemis
                          used Canon EOS 5D Mark II Digital SLR cam-             cockpit. He also shot breathtaking views by hold-
                                                                                                                                           EFP HD Special Edition.
                          eras to photograph U.S. Navy rescue teams for a        ing the 5D Mark II out the aircraft’s door, and by
                          series of promotional shorts highlighting the skills   aiming straight down the rescue cable. Later,             2 Dual Video Processing
                          of these highly trained specialist soldiers.           airlifted part-way up the mountain, Hurlbut and           allows HD-SDI and SD
                               “It would have been impossible [without the 5D]   his camera assistant hiked another 1,000 ft. car-         signals to be used simultaneously. With Hot-Swap
                          within the time parameters we faced,” Hurlbut says.    rying backpacks that held additional 5D Mark IIs,         Technology, electrical power is supplied continuously
                          “Nothing is as small and nimble as our Canon 5D        lenses, and a tripod. At the summit, Hurlbut shot         during a battery change, so there's no need to shut
                          Mark II camera packages. We rolled eight 5D Mark       the Blackhawk hovering overhead.                     down the camera, monitor and radio channels. 3 A new
                          II cameras simultaneously in real time. Reloads and         “If we had used motion picture cameras, it      1.8" Carbon Post offers a redesigned no-tool clamp and a
                          unlimited retakes were not an option.”                 would have taken us half the day just to haul the    newly shaped torsion-free inner post with a 1.5" diameter.
                               Hurlbut carefully pre-planned the shoot.          gear up the mountain,” Hurlbut notes. “What we       4 To match the new post, a new gimbal offers a refined
                          He used one Canon 5D Mark II onboard a Jet             accomplished was all because of the compact          design that includes a new diameter, handgrip and yoke,
                          Ranger helicopter to shoot the team’s Blackhawk        nature of the 5D Mark II and our ability to take     which offer more control and, therefore, higher precision
                          in flight. Another camera operator aboard the          advantage of its still-photography platform to       and nicer handling. 5 Manufactured in Germany, the
                          Blackhawk took advantage of the 5D Mark II’s           make beautiful motion pictures. It was amazing       Cine HD Pro will replace the Cine and Cine HD systems as of
                          compact size to capture shots from inside its          what we were able to pull off in so short a time.”   September 2010.
10                                                                                                                                                            digital
                           Update                                                                                                                             video
news & notes | july 2010

                           Shooting L.A. River Project                                                                                          >@ChesaPro
                                                                                                                                                #Red Digital Cinema’s #Epic and

                           With Panasonic AG-HPX170                                                                                             #Scarlet cams see setbacks due
                                                                                                                                                to manufacturing/firmware prob-
                                                                                                                                                lems, says Jannard: http://tinyurl.
                           Cola Kat Productions documents the “Great Los Angeles                                                                com/29db23s

                           River Clean-Up” with Panasonic P2 camcorder.                                                                         >@ThatKevinSmith
                                                                                                                                                @RetroDLC "Have you ever thought
                           Filmmaker Kathy Kolla, president of Cola Kat                                                                         about using digital cameras (EG:
                           Productions (based in Beverly Hills, CA) recently                                                                    Red) exclusively?" @ThatDavidKlein
                           shot a short-form documentary about efforts to                                                                       & I visited the Red Studio & our
                           clean up the Los Angeles River, using Panasonic’s                                                                    eyes popped at the portability &
                           AG-HPX170 P2 HD camcorder.                                                                                           better-than-film look. That camera is
                               The Los Angeles River Project (working title)                                                                    magic. AND poetic: Red Cameras for
                           will be shown on the festival circuit, especially at                                                                 #RedState.
                           many of the environmentally-themed film fes-
                           tivals that are gaining in popularity and impact                                                                     >@DVculture
                           in the U.S. and internationally. The doc was                                                                         Panasonic GH1 Hacked!
                           produced by Cola Kat to raise awareness about                                                                        cqzxv8 #hack #firmware #diy
                           trash in the river and how much of it winds up in
                           ocean waters. Running over 50 miles long, the                                                                        >@YourDigiCams
                           Los Angeles River flows through 14 cities and                                                                        digital cameras? http://yourdigital-
                           countless neighborhoods, from the suburbs of Kathy Kolla by Luca Escriva De Laurentiis                     
                           the San Fernando Valley to the ocean in Long Beach.     has previous experience with Panasonic HD cameras, hav-
                               Director/screenwriter/environmental advocate Kolla ing shot her award-winning comedic short ”Another Day,
                                                                                                                                                What is Digital Signage? Digital
                                                                                                         Another Dime” with the Panasonic
                                                                                                                                                Signage is the Plateform for Digital
                                                                                                         VariCam HD Cinema camera. She
                                                                                                                                                Advertisements and Marketing
                                                                                                         owns the HPX170, which is her A
                                                                                                         camera for field production.
                                                                                                             “The HPX170 — and P2 format        >@NilaLED
                                                                                                         in general — played an integral role   P3 Update’s web exclusive: LEDs
                                                                                                         in the Los Angeles River Project,”     Light the Way
                                                                                                         says Kolla. “Utilizing the solid-
                                                                                                         state camera and 64GB P2 cards         >@DylanReeve
                                                                                                         allowed for continuous shoot-          Transcode Canon DSLR Footage (for
                                                                                                         ing while in the river, which has      Avid)
                                                                                                         steep concrete banks and can
                                                                                                         be quite treacherous. The cam-         >@rhedpixel
                                                                                                         corder’s light weight helped in        RT @Photoshop_nut: “Understanding
                                                                                                         that regard as well.”                  Adobe Photoshop Camera Raw” by
                                                                                                             The one-camera shoot,              @rhedpixel
                                                                                                         including interviews with
                                                                                                         Friends of the Los Angeles River       >@FCPDaily
                                                                                                         (FoLAR) staff and location work        @FCPShortcutter Gave a lil shout out
                                                                                                         across Los Angeles, took place         to your site today on FCPDaily.
                                                                                                         throughout May, with the May
                                                                                                         8th annual clean-up event as the       >@FutureMicroTech
                                                                                                         centerpiece. “We shot primarily        Award-winning Matrox CompressHD
                                                                                                         720/24pN, though we did some           card and Matrox MXO2 Mini I/O
                                                                                                         undercranked time-lapse foot-          device speed up HD H.264 file cre-
                                                                                                         age of freeway traffic at sunset       ation for Blu-ray, Flash and the web
                                                                                                         at 12fps. The HPX170’s choice of       Follow our latest updates at www.
                                                                                                         up to 20 different frame rates is

12                         Update
                                                          >forum buzz
news & notes | july 2010

                           Microstock Shooter              Hot Topics from DV's Online Forum — Join the Discussion at
                           Yuri Arcurs Knows
                           What Sells                     TOPIC: 3CCD or 3CMOS?                                             Marc: Folks don’t seem to mind cameras being different
                                                          chazperx: I’m considering a new HDV camcorder for                 if the video from each has a different use in the project.
                           Yuri Arcurs’ Web site
                                                          event recordings (weddings, partys, etc.) and am trying           This is more planning than matching. Beyond that, Sonys
                           bills him as “the world’s      to determine if there is a big difference between a 3CCD          do seem to have a distinctive cooler look. The Panasonic
                           most successful micro-         chip and 3MOS chip.                                               will also be shooting with a different codec, and that will
                                                                                                                            add some mischief to the mix. If your present workflow
                                                          ChrisFig: As a longtime user of the Panasonic DVX-100             is tape, then tape is a better solution, but if your main
                                                          camcorders, I recognize the limitations of the CCD, such          camera is Sony, then Sony is a better solution.
                                                          as smearing. But since I mostly shoot weddings and
                                                          events, where over 1,000 camera flashes are taken on              TOPIC: Very interesting audio normalizer software
                                                          any given day, the rolling shutter flaw of the CMOS is a          AlexR: I have downloaded but not tried it yet: www.
                                                          dealbreaker for me. Don’t get me wrong, I shoot with     The site’s write up
                                                          the Sony Z7 for news reports and it’s a pretty remarkable         sounds like they really know what are they talking about,
                                                          camera because there are no camera flashes in the shot.           which is always good. Supposedly what this software
                           stock photographer.”                                                                             does, it intelligently normalizes sound across the short
                                                          TOPIC: Mixing Sony with Panasonic                                 or long runs, better than traditional compressors do.
                           He sells more than
                                                          adreampicture: I urgently need an inexpensive HDV back            Anyone have experience actually using this?
                           two million licenses           up camera. My main camera is Sony Z7U. I was look-
                           per year through stock         ing at two options (only because of the price): Panasonic         Jay Rose: I came across this a while ago. It seems good
                           image libraries such as        AG-HMC40 (SDHC) and Sony HDR-FX7 (tape). I realize the            for quick conditioning of close-miked stuff, which is what
                           iStockphoto, Fotolia           difference in chip size, CMOS problem, etc. My question is if     it was written for. Looks ideal for books-for-the-blind
                           and Shutterstock.              it’s possible to match the Panasonic picture with Sony if I use   narrations, which I do as a volunteer. Haven’t really test-
                                                          2 cameras together? Or should I go with Sony because my           ed yet for ability to sort out a conversation of two people
                                                          first camera is Sony too? They both have 1/3" chips. Is there     with different levels, attack time on sudden transients,
                      comparison between the two in low light? I would prefer           ability to handle normal on-camera dialogue, where pre-
                           Recent BuZZ                    Panasonic because of its SDHC option.                             serving noise and reverb levels are also important.
                           Guest hosts Larry Jordan
                           and Michael Horton
                           interview noted DI color-
                           ist Stephen Nakamura of
                                               most-read features [Direct links at]
                           Company 3.                     Stay Frosty: Shooting Ice Road Truckers Calls for Cool Camerawork
                                                          For the past three seasons, the History reality series Ice Road Truckers has followed a mot-
                                      ley team of grizzled, frostbitten big rig captains as they haul their cargo across hundreds of
                           Solutions to Improve           miles of Northern Canada’s icy roads and frozen lakes under the most adverse conditions.
                           FCP’s Media                    Iain Stasukevich reports.
                           Media management
                           issues within Apple            From the Editor: Isn’t This the Worst 3D Will Ever Look?
                           Final Cut Pro become           Typically Vegas, many developers and manufacturers exhibiting at the 2010 NAB Show
                           apparent when proj-            seemingly bet the house on a coming 3D TV future — a gamble that has as yet been neither
                           ects are moved around          won nor lost.
                           among different edit
                           systems, hard drives
                           and editors.
                                                                                                    In Review: Cinedeck Extreme
                                 Get the direct links                                               Cinedeck is a big-league disk recorder at a relatively minor-league
                                 to these stories at                                                price, the next phase in “smaller, faster, cheaper” direct-to-disk
                                                                                                    recorders. Find the full review at

14                 In Review                                                                                                                  Avid Media
                                                                                                                                              Composer 5
gear | july 2010

                                                                                                                                                PROS: Native media support
                                                                                                                                                through AMA of QuickTime (including
                                                                                                                                                H.264 and Apple ProRes), Canon XF
                                                                                                                                                and REDCODE RAW. Smart Tools for
                                                                                                                                                in-timeline editing. Re-engineered
                                                                                                                                                audio track structure with the addi-
                                                                                                                                                tion of RTAS audio plug-ins. Matrox

                   Creative Control                                                                                                             MXO2 Mini now qualified for moni-
                                                                                                                                                toring and output.

                   The latest Media Composer update                                                                                             CONS: Newly streamlined inter-
                                                                                                                                                face preferences have removed pre-
                   further expands Avid’s capabilities.                                                                                         vious choices. Interface design needs
                                                                                                                                                a general overhaul.
                   BY OLIVER PETERS                        several devices, including                                                           BOTTOM LINE:           This is a
                   Avid has been on an accelerated devel- the AJA Ki Pro and the new                                                            milestone release for the industry’s
                   opment pace for the Media Composer/ ARRI Alexa digital camera.                                                               leading creative editing tool.
                   NewsCutter/Symphony editing family, This openness extends to
                   with recent releases adding such inno- the H.264 files recorded by              HD frame size at fixed parameters,           MSRP:       Software with Production
                   vative features as AMA (Avid Media HD-capable DSLRs, like the Canon             so there is no adjustable control to         Suite (retail) $2,495 / software only
                   Access), Stereo 3D editing tools and EOS 5D/7D/1D hybrid cameras.               scale or crop RED’s 4K images. On            (download) $2,295
                   Frame Rate Mix and Match. New fea-         ProRes, RED and H.264 editing        my 8-core Mac Pro (12GB of RAM,
                   tures in version 5 encompass expand- was the first thing I tested. Avid’s       stock Nvidia GeForce card), RED files
                   ed AMA support, the ability to work in recommended workflow is to use           played adequately at a draft (yel-
                   RGB color space, in-context timeline AMA as a way to cull selects before        low) or medium (yellow-green) video      with Avid DNxHD media. It really
                   editing tools and a redesigned audio transcoding the media into the MXF         quality setting, but not well at full    does mean that you could record
                   framework. This is also the first Media format; however, the performance        quality (full green).                    with an AJA Ki Pro, open the drive in
                   Composer product to formally support and stability indicate that it may be          My conclusion — as with other        Media Composer and start editing.
                   third-party monitoring hardware.        viable to stay in AMA for an entire     native RED implementations — is              Next, I performed a basic layer
                       AMA is a plug-in API for cam- project. To access AMA, you must              that you wouldn’t want to edit a         test (five tracks — one background
                   era manufacturers that lets Media link to an AMA volume, which can              complex project using the camera         and four PIP layers). This dropped
                   Composer natively open and edit be a drive, folder or subfolder on              raw files. I still contend that RED      frames with five layers of ProRes,
                   various acquisition for-                            your system. Unlike sim-    projects are best handled in a tra-      but had no problems playing in real
                   mats, without the need            EXCELLENCE        ply dragging a folder to    ditional offline/online editing work-    time when I used DNxHD media.
                   to first transcode these                            your project window,        flow.                                    This same layer test in Apple Final
                   files into MXF media.                               Media Composer’s AMA            Other formats provided a more        Cut Pro using the ProRes files per-
                   Earlier versions support-                           imports all the camera      pleasing experience. H.264 Canon         formed as well as DNxHD media in
                   ed Panasonic P2, Sony                               metadata, where avail-      files edited and played well, but were   Media Composer. The bottom line
                   XDCAM and Ikegami              AWARD                able, into a full-fledged   a bit clunky when I scrubbed through     is that version 5 handles ProRes files
                   GFCAM media, but AMA                                Avid bin. The key differ-   the media files. Far more impres-        quite well, but you’ll still get a per-
                   in version 5 supports                               ence is that the media      sive was working with Apple ProRes       formance edge with media that is
                   more native formats than most of is linked outside of Avid’s normal             media. Scrubbing, playing and edit-      native to Avid.
                   the competition. New support has media databases.                               ing these files was nearly as fluid as                    (continued on page 32)
                   been added for Canon’s XF format           RED files come in through the
                   and RED camera raw files. The big- RED SDK, so editors can manipu-
                   gest news, however, is that Avid has late the raw color metadata. As with        There is simply no other NLE that
                   taken the initiative to natively sup- other implementations of this SDK,
                   port QuickTime media. This is vitally the data access isn’t as deep as with      packs in as many creative features
                   important, as Apple’s ProRes codec RED’s own software (for example,
                   has been adopted for acquisition on no curves). Avid fits these files to an
                                                                                                    as Avid Media Composer 5.

16                                                                                                                                            Sonnet
                  In Review                                                                                                                   Technologies Qio
gear |july 2010

                  Reader                                                                                                                        PROS: Reads and writes to any
                                                                                                                                                solid-state media. Fast interface.
                                                                                                                                                Four eSata ports for storage expan-
                  Juggling multiple solid-state media                                                                                           sion. Acts as bus extender for other
                                                                                                                                                plug-in card devices
                  card formats? Here’s an exemplary solution.                                                                                   CONS: Pricey. Only supplied with
                                                                                                                                                PCIe or Express34 interface. No PC
                  BY NED SOLTZ                           (Express34), P2 (PC card), and CF slots. drivers only for Mac OS X, including OS       drivers yet. Some third-party device
                  The Sonnet Qio (pronounced Que-        An included Express34 adapter allows 10.6 Snow Leopard. I have tested the              incompatibility.
                  Eye-Oh) answers one of the most        use of SDHC cards in the                               unit under both 10.5.8 and      BOTTOM LINE: A useful
                  significant questions posed by edi-    SxS slots.                        EXCELLENCE           10.6.3 and have found no        device for any shop, from individual
                  tors dealing with solid-state media:       Installation is straight-                          compatibility problems.         to multiple users.
                  How do I copy the contents of the      forward. Just install the PCIe                         Windows drivers will fol-
                  cards to my computer? And Qio          card in a free slot or plug the                        low. So Windows users
                                                                                                                                                MSRP:     $999 with one interface
                                                                                                                                                card; spare PCIe or Express34
                  answers the question without any       Express34 adapter into the                             wanting to take advan-
                  uncertainty.                           slot on the notebook. Install    AWARD                 tage of the Qio need to
                                                                                                                                                adapter $199
                      Qio interfaces to computer         the Qio drivers and what-                              watch Sonnet’s site for         CONTACT:
                  via either a PCIe card and cable or    ever drivers are appropriate to your the announcement.
                  Express34 card and cable. The          media and you’re then ready to roll.         The Qio represents the only prod-      pleased to recommend it with great
                  front panel sports two each of SxS         Note that at this time Sonnet has uct of its kind on the market, and I am       enthusiasm. dv
                     Instant Expert                                                                                                          compiled by Ned Soltz
gear | july 2010

                                     Up Front: Matteboxes and Accessories
                   CONTACT          COMPANY          MSRP                  WHAT IT IS & WHAT IT DOES

                   Zwing Away       Zacuto          $395                                       Attaches to mattebox rails to allow mattebox to swing out of the way when not needed. We couldn’t
                                                                                               resist this product when it debuted at NAB in 2009, and it is still at the top of our list for innovation in
                                                                                               a product line where basic mattebox design endures.

                   Mini             Zacuto          $430                                        A smaller version of the Zacuto baseplate designed for DSLRs and small- to mid-sized video cameras.
                                                                                                We highlighted this product in our last mattebox roundup, and it is even more important a year later with
                                                                                                greater DSLR adoption. Solidly built and worth the price tag.

                   4x4 Two-Stage                                                               Kit features two-stage mattebox, French flag, side flag and “donut” of your choice. The Petroff prod-
                                    Petroff         $1,399 and up
                   Mattebox                                                                    uct is my personal mattebox of choice. The combination aluminum/hard plastic construction is light-
                                                                                               weight and can be used without rails. (I don't recommended doing this but have used it successfully
                                                                       on my EX3 with no ill results.) Add or remove a stage or reconfigure the flags, no tools required.

                                    Genus           $795                                       This lightweight mattebox has two stages. It might be priced lower than competitors, but the Genus
                                                                                               is nonetheless a lightweight and sturdy option. One stage is permanently fixed, while the other
                                                                                               rotates. This unit replaces Genus’ earlier model, which was narrower in angle. A good bargain.

                                                    $995                                       This two-stage lightweight unit is suitable for DSLR or HD cameras. The filter trays support 4x4 or
                   microMattebox Redrock Micro                                                 4x5.65 filters. Available with a complete range of accessories, from baseplates to follow-focus units.
                                                    (Deluxe Bundle)
                                                                                               Larger size available for RED One camera. Consider this as part of a total camera support system
                                                                 from Redrock.

                   450R2            Chrosziel       From $1,649                                 This two-stage mattebox was designed specifically for smaller cameras or DSLRs and incorporates
                                                                                                slight changes from the prior model (450-02). Choose mount and kit appropriate to your camera
                                                                                                and add the filters of your choice. Also available with swing-away capability for $1,949.

                                                                                               This is a basic single-stage mattebox; camera-specific configurations are available. Cavision has
                   MB451 Series     Cavision         From $699
                                                                                               long produced economical products that are durable and highly configurable. One can easily add a
                                                                                               mounting system or follow focus. Accepts 4x4 or 4x5.65 filters. Includes rail system. A great buy and
                                                                     very suitable for DSLRs.

                   Wide-Angle       Schneider Optics
                                                     From $1,075                               This is a clamp-on two-stage mattebox for smaller cameras including DSLRs. This setup has been
                   Clamp-On Kit     Century Division
                                                                                               around for a while and is tried and true. Includes two adapters to fit just about any lens diameter.
                                                                                               A great option for DSLR shooters.

                                                                                               This two-stage filter holder has one fixed and one rotating stage. When we featured the product last
                   FM600            Formatt         $349
                                                                                               year, we noted that it is a great bargain for those who need the basic light control and filter capabili-
                                                                                               ties afforded by a mattebox. It’s not a Petroff or Chrosziel, but it retails for more than $1,000 less.
                                                                    Formatt also produces a diverse line of glass filters.

                                                     $3,500                                    While designed for Sony EX1/EX3, the MMB1 works with mid-sized HD cameras and DSLRs and is
                   MMB1             ARRI
                                                     (with follow focus)                       available without follow focus for about $2,600. This is a two-stage mattebox with step-up and step-
                                                                                               down rings available. Note that a ring specific to Canon L-glass is also offered. High-quality construc-
                                                                         tion, as one would expect from ARRI.

                       You'll find direct links to all these products at

                                                                                                     xxx         23
   xx Iain Stasukevich

                                                                                                                 july 2010 | profile
Back to Nature
For videographer Terry Shiels, the evolution
of video gear has been an inspiration.
Newsgathering has changed a lot                 “The pictures that this camera
since Terry Shiels first went to work      generates are amazing,” he continues.
for CBS affiliate WBTV in Charlotte,       “It’s more complex than any camera
NC. The year was 1980 and the station      I’ve ever used before. You never have
was still using Bell & Howell 16mm film    to erase a videotape, but when you’re
cameras; Shiels ran the film lab out of    shooting onto a flash media card you
the station’s basement.                    have to protect your footage with a lot
    After spending a few years as a        more diligence.”
news shooter at WBTV, Shiels made               Focused on animal documentary
the move to a syndicated news              work for the long-running show Zoo
and entertainment program, PM              Filez, Shiels’ assignments have taken     >gear used
                                                                                      CAMERAS:     Sony XDCAM
                                                                                      EX PMW-350K, PMW-EX3
It feels like what I have on my                                                       SUPPORT: Sachtler FS6-B
shoulder now is a computer                                                            MIC: Sennheiser wireless
with a viewfinder and a lens.
Magazine. The show was one the first       him from the Outer Banks of North
programs of its kind to be shot entire-    Carolina to the jungles of Uganda. (The
ly on video. This change was a slow        Cameroon Elephant Project, 2009).
and literally painful process thanks to    “I’ve gotten the most exciting stuff
unwieldy tethered cameras like the         when I was on location in Africa, where
RCA TK-76 and the Ikegami HL-79E           there aren’t any barriers between you
that shot to ¾" U-matic.                   and the animals. There’s a little more
    “They weren’t technically as com-      risk there as well,” he remarks. Shiels
plex as cameras are now,” Shiels remi-     uses his EX3 and a bare-bones kit (a
nisces. “What made it hard is that they    lightweight Sachtler FSB-6 tripod,
were bulky and heavy. Photographers’       an LED light, a couple of Sennheiser
careers didn’t last more than a decade     wireless kits, and laptop computer) for
because their backs would give out.”       these remote assignments.
    Today, Sheils uses the Sony                Shiels also maintains a hefty
XDCAM EX PMW350K and the                   inventory of older equipment:
XDCAM PMW-EX3. “The 350K is my             DVCAM, Mini DV and Betacam.
everyday camera,” he says. “It shoots      “If a client specifies a legacy for-
on the SxS cards, and it feels like what   mat, I give them what they ask for,
I have on my shoulder now is a com-        but you have to adapt. There’s no
puter with a viewfinder and a lens.        turning back on technology.” dv

                                  You’ll find links to Shiels’
                                  work, including his production
                                  of the Zoo Filez, at
cover story |july 2010

                           Dust, IEDs &
                           XDCAM                                                                                                                                         Thierry Humeau tends to his Sony
                                                                                                                                                                         PDW-F800 and PMW-EX1 cameras
                                                                                                                                                                                        during the shoot.

                         Sony cameras demonstrate semper fi performance
                         while documenting Marines serving in Afghanistan.
                         BY IAIN STASUKEVICH                                                                     ment the daily lives of these soldiers at rest, at play, at war.
                         In October of 2008, the BBC News Web site published a story detailing a NATO-               “National Geographic is a peaceful organization, and we were careful that we
                         Afghan initiative against the Taliban-supported opium trade in Afghanistan. The         didn’t pay too much attention to the military itself — we didn’t want to get into the
                         story included a map of the country, color-coded to indicate the level of security      politics of war or create a kind of recruiting film for the Marines,” Humeau explains.
                         risk and dotted with markers pinpointing the provinces involved in illegal drug             Accompanied by a two-producer team and a sound op/camera assistant,
                         manufacturing. The whole southeastern region of the country was swathed in red,         Humeau equipped himself with Sony XDCAM PDW-F800 and PMW-EX1 camcord-
                         indicating the most extreme level of risk, with the biggest marker on the map rest-     ers. He’d seen war before, during an assignment in Sarajevo, but it was nothing
                         ing directly over the extremely dangerous southern Helmand province.                    like this: one week on base, five weeks in the desert embedded with active field
                               This is not what you would call the safest place in the world for a civilian, a   patrols. The Explorer team members busied themselves for the first week record-
                         notion that no doubt crossed the mind of videographer Thierry Humeau as he first        ing the sometimes-mundane logistics associated with daily base operations: train-
                         set foot on the desert’s cracked and brittle surface. Luckily, he’d have some backup    ing, shipping, receiving, building and repairing. For a while, the greatest dangers to
                         on this mission. Helmand is also home to the U.S. Marine Corps combat outpost           Hurmeau and the crew were environmental, in the form of heat and dust.
                         “Camp Leatherneck.” Roughly the size of a small city — 20,000 soldiers strong —             “In some parts of the desert, the ground is covered with something like a thick
                         Leatherneck is the base of operations for the 2nd Marine Expeditionary Brigade          crust, and when it breaks it releases the soft, volatile layer of ‘moon dust’ beneath,”
                         (a.k.a. MEB-Afghanistan, a.k.a. Task Force Leatherneck) and is responsible for          Humeau explains. “It settles into every corner of the gear. I tried to use rain cov-
                         supplying and training the thousands of soldiers stationed across the southern          ers, but these were not very practical. At least the disc door on the F800 has a
                         province. Humeau was on assignment for National Geographic Explorer to docu-            tight seal, so at the end of every day there was zero dust in the disc compartment.

I’ll never turn back
from file-based shooting.

                                                                                                                                                                                  july 2010 | cover story
    “The lenses are another story,” Humeau adds. “Eventually I just
stopped cleaning them. At least the dirt on the lens gives you a sense
of how rough the environment really is.”
    Despite the relative safety of a U.S. military base, every once in a
while the man-made dangers of the ongoing conflict threatened to
spill over the perimeter. “We were filming a convoy of trucks bring-
ing supplies from Pakistan,” Humeau says. “The trucks have to go
through a screening process at the checkpoint before they can enter                                                                            Dust was a constant issue, and
                                                                                                                                            Humeau eventially gave up trying to
the base. We were filming that for the better part of the day. Two
                                                                                                                                                          keep his lens clean.
days later, at that same checkpoint, a suicide bomber posing as a
truck driver blew himself up there. At least one Marine was killed and
a good 20 people were injured.”                                                       the background. When he wanted to get up close and personal, he used the EX1
    For their part, the Marines were more than welcoming. Hurmeau recalls:            with a Sony 0.8x wide-angle adapter. “It can be challenging,” he says. “Like the
“They’re very happy to have you along, but you’re on your own. They’ll fight for      time I was following these guys through a field while they were looking for IEDs.
you, but you can’t whine or complain. We had a nice relationship with our unit, Fox   I’m right behind them with the EX1 and I have to be careful about where I step and
Company. They were really nice; just a bunch of 18- to 22-year-old kids. The com-     at the same time watch what I’m shooting.”
mander was maybe 24 years old and responsible for about 100 soldiers.”                    Footage was sent out every week via FedEx after the files were backed up to
    Hurmeau started his days as early as possible because “things happen either       eight 500GB hard drives. At the end of the six weeks, Hurmeau had filled up 40
early in the morning or late at night. That’s when people are out, because it gets    50GB XDCAM discs and 10 16GB SxS cards. “I’ll never turn back from file-based
so hot in the day.” His primary camera was the F800 (in deference to NatGeo’s HD      shooting,” he remarks. “Imagine having to back up all those tapes every day.”
standards), which offered him up to 100 minutes of high-quality MPEG-2 video on           Somewhere in all that data is the difference between the real Afghanistan and the
50GB discs. (He used 16GB SxS media for the EX1.) The F800’s extended dynamic         one seen on the nightly news. “This was my motivation for coming here, to reveal the
range also allowed him to shoot his subjects against the sun without blowing out      human side of war. It puts everything in perspective.” dv
26                  DV 101                                                                                                                                     by Jay Holben
basics |july 2010

                                                     Night Done Right
                                                     Creating a nocturnal look without using artificial light.
                                                        In general, the most common type
                                                        of question I’m asked is, “Can I light
                                                        with inexpensive gear?” or a varia-
                                                        tion thereof: “Do I need all of that
                                                        Hollywood equipment?”
                    The most                                 The answer is yes, and no.
                                                             Lighting is, without a question, the
                    common                              primary factor in controlling a photo-
                    qustion I’m                         graphic image. Manipulation of light is
                                                        one of the greatest tools that you have
                    asked is,“Can                       to convey mood and emotion through
                    I light with                        the image. Depending on what you’re
                                                        trying to accomplish, sometimes you
                    inexpensive                         need the Hollywood hooplah, but not
                    gear?” The                               That in mind, I decided to chal-
                                                                                                                                                                  This shot demanded a fairly
                                                                                                                                                        complex setup, as diagrammed below.
                    answer is yes,                      lenge myself to create a “night” look
                                                        utilizing natural daylight — shooting
                    and no.                             day-for-night — without any augmentation      Cameron BLUE, but rather filters it out to give a more “realistic” desaturated
                                                        with artificial lighting.                     night look.
                        A day-for-night effect is generally achieved through gross underexposure.        In this case, I elected not to use any filtration. I was also experimenting with
                    You’re rendering your highlights down to below middle gray and plunging your      day-for-night on an interior shot. Using the Canon EOS 7D, I set my white balance
                    shadows into the abyssal blackness. Day-for-night works best when the natural     to Kelvin temperatures and then dialed it all the way down to the basement at
                    light is backlighting the subjects and when you can keep the sky and the ground   2500°K. This puts the camera’s white point at a very low color temperature and
                    out of the shot — two things that will give away the cheat very quickly.          — since I was working only with natural afternoon daylight — it automatically
                        Many people use day-for-night filters from manufacturers such as Tiffen,      rendered that light a deep “moonlight” blue without using filters on windows or
                    which makes two options: the classic blue Cool Day-for-Night and a much more      the camera.
                    subtle Day-for-Night Monochrome that doesn’t hit you over the head with James        For the first shot (see picture on page 30), I used no augmentation at all, but
                                                                                                                  rather just utilized the light coming from a window as a backlight
                                                                                                                  — raking across the hall wall — and the soft light coming from my
                                                                                                                  partially opened kitchen blinds as a key source. The trick here was
                                                                                                                  to not show the window at the end of the hall in the shot because it
                                                                                                                  would have been too bright and given away the “night” feel. After
                                                                                                                  that, the image was totally controlled through exposure. In this case,
                                                                                                                  I just stopped the camera down to about two and a half stops under-
                                                                                                                  exposed on the key side of actress Lauren Solomon’s face. If I wanted
                                                                                                                  to maintain a shallow depth of field, I could have employed a polarizer
                                                                                                                  (two stops) and ND filters to minimize the light reaching the lens and
                                                                                                                  obtained my underexposure without stopping down.
                                                                                                                       For my second shot (shown above), I got a little craftier. I wanted
                                                                                                                  to utilize the natural daylight as blue “moon” light, but I also wanted a
                                                                                                                  little hint of white light on Lauren’s face. How could I accomplish this
                                                                                                                  using no artificial lighting?
                                                                                                                       The answer is mirrors.
                                                                                                                       Reaching into my bag of tricks, I pulled out two 1' x 1' mirrored
                                                                                                                                                                     (continued on page 30)

basics | july 2010   DV 101

                     (continued from page 26)

                     tiles. Mounting one on a C-stand outside the window, I bounced direct
                     sunlight into the window, behind the position where Lauren would be
                         Inside, I set up another 1' x 1' mirror on another C-stand, posi-
                     tioned on Lauren’s right side. This bounced the direct sunlight from
                     outside onto the right side of her face. Now, for this shot, I changed
                     the white balance to “tungsten” 3200°K, which still made the natural
                     daylight blue but allowed me some room to get white light on the
                     right side of her face.
                         To achieve the “white,” I placed a sheet of Rosco 1/2 CTO on the
                     surface of the inside mirror to correct the bounced sunlight to tung-
                     sten, which the camera would then see as “white.” In this case, I only
                     used 1/2 CTO, as the sunlight coming from the mirror outside would                                                               This day-for-night look was just a matter of
                                                                                                                                                                      exposure and color balance.
                     pass through the gel — receiving one layer of correction — before
                     reflecting off of the interior mirror and passing back through the same
                     gel again — receiving double filtration from one layer of gel, hence turning 1/2    placed a sheet of Rosco Full Diffusion (216) on half the window nearest Lauren.
                     CTO into full CTO by the nature of it being placed on the surface of the mirror.    This would diffuse and reduce the intensity of the window light but not affect the
                         This reflected sunlight on Lauren’s face was way too harsh for my taste, so I   mirror-reflected light coming through the window behind her.
                     hung a piece of Rosco Opal diffusion in the space between the inside mirror and         The final result — again, considerably underexposed to create the “night” feel
                     Lauren to soften the light quite a bit.                                             — was accomplished by using only natural daylight, but achieved by creating two
                         To cut down the intensity of the daylight coming through the window, I          different color temperatures from the same source. dv
32 In Review                                                                                                                                             Avid Media Composer 5

                   (continued from page 14)                                                                                               a monitoring solution. You can still operate with Avid
gear | july 2010

                                                                                                                                          hardware, including Mojo, Mojo SDI, Adrenaline,
                       The biggest changes for veteran Avid editors                                                                       Mojo DX and Nitris DX, but the Mini addresses the
                   are a new Smart Tool mode with drag-and-drop                                                                           needs of file-based workflows, where tape ingest is
                   capabilities and a new audio track framework. Smart                                                                    of little importance. Naturally, users hope this will
                   Tool offers contextual timeline editing functional-                                                                    be broadened to include full support of all Matrox,
                   ity, for behavior more like Final Cut, Vegas Pro                                                                       Blackmagic Design, AJA and MOTU products — not
                   or Premiere Pro. When you hover over portions                                                                          to mention Avid’s newly acquired Euphonix Artist
                   of a timeline track, Media Composer automatical-                                                                       Series controllers.
                   ly enables certain segment editing modes. When                                                                             There are plenty of other small and large
                   you get close to a cut, a trim tool is automati-                                                                       improvements that I haven’t mentioned here.
                   cally enabled. It’s now easier to perform direct edits                  The audio side of the new Media Composer       For instance, film-based metadata enhance-
                   within the timeline and you don’t need to first enter                                      has gained significantly.   ments, support for AVCHD import, capture to
                   a special mode.                                                                                                        the DVCPRO HD or XDCAM HD50 codecs over
                       The audio side of Media Composer 5 has               track, as is common in DAW software like Pro                  HD-SDI, and e-mail notification of completed
                   gained significant features from its Pro Tools           Tools. Up to five RTAS plug-ins can be applied                renders, just for starters. It’s clear that Media
                   sibling. I’ve harped on this for years, so kudos         per track. Real-time performance is based on the              Composer 5 is a milestone software release for
                   to the Avid designers and engineers involved in          horsepower of your machine, so applying a hand-               Avid. From native camera formats to RED and
                   this effort. Media Composer now has both stereo          ful of RTAS filters should be no problem, but if              QuickTime support through AMA to unique edit-
                   and mono audio tracks and adds real-time, track-         you had 24 tracks, each with five filters applied, it         ing tools, like Stereo 3D — this is a powerhouse
                   based audio plug-ins. In fact, two Pro Tools plug-in     could be a different matter.                                  post solution. Avid editors will love it, but even
                   formats are supported for the best of both worlds.           Avid Media Composer editors have been scream-             those using competing tools are bound to look at
                   Audiosuite filters can be applied and rendered           ing for I/O options outside of Avid’s proprietary             Media Composer 5 with renewed interest. There
                   with individual clips (as before). Now real-time         hardware solutions. Media Composer 5 opens that               is simply no other NLE that packs in as many cre-
                   RTAS filters can also be applied to an entire audio      door with the qualification of Matrox’s MXO2 Mini as          ative features as Avid Media Composer 5. dv
                                                                                                              Buyers Market                    33

                                                                                                                                               july 2010 |classifieds
  with NewBay Media’s FREE
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    ONE-STOP SHOPPING: Simply         The latest news online
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 >Advertiser Index                                                   >Company Index
 COMPANY                     PAGE                      WEB SITE
 Abe’s of Maine               17            Adobe...32; AJA... 14; Apple...12, 14, 16; ARRI...14, 18; Avid...
 AJA                          11                 
 Automatic Duck               30          14; Blackmagic Design... 32; Canon...8, 14, 26; Cavaision... 18;
 B&H Photo / Pro Audio       28-29 
 Blackmagic Design             7        Century Optics... 18; Chroziel... 18; Cinedeck... 12; Company 3... 12;
 Canon                         9
 DV Expo                     19-22               Digidesign... 32; Euphonix...32; Formatt... 18; Fotalia... 12; Genus...
 FloLight                    23,35          
 iStoragePro                   8            18; Ikegami... 14; iStockphoto... 12; Matrox...32; Microsoft... 16;
 LCD4 Video                   13        
 Litepanels Inc.              16             MOTU...32; Nvidia...14; Panasonic...3, 10, 14, 16; Petroff... 18;
 Marsahll Electronics         25          
 NewTek                        5                 Primera...3; RED Digital Cinema... 10, 14; Redrock Micro... 18;
 Panasonic Broadcast           2
 Prompter People              35         Rosco...30; Sachtler... 8, 23; Schneider... 18; Sennheiser...23;
 QTV                          10     
 Safe Harbor                  15                Shutterstock...12; Sonnet Technologies... 16; Sony... 12, 14, 16,
 Shutterstock                 36
 Varizoom                     31               23, 24; Sony Creative Software... 32; Tiffen...26; Zacuto... 18
 Videoguys                    27       
34                       Production Diary                                                                                                                   by Stefan Sargent
experience | july 2010

                                                              It’s Only ’Round The World (But I Like It)
                                                              Writing last month about an unex-
                                                              pected round-the-world job made me
                                                              go all misty. A RTW! Yeeooww baby!
                                                              Those were the days!

                                                                    SAVILLE ROW LONDON 1986
                                                                I am in a boardroom with Mr. Big. He
                         Avez-vous                              wants a shoot in Europe, the States,
                                                                Australia, Malaysia and India. A mega
                         envie un bon                           round-the-world. It will be my first
                         temps avec                             RTW.
                                                                    Mr. Big: “Give me a price.”
                         le mop?                                    Me: “I’ll need a few days — I have to
                                                                work out the airfares, hotels, car rentals.”
                             Mr. Big: “You want the job? Give me a quote now.”                                  Ray wins both the waitress and our PA. I get the mop boy who doesn’t speak English.
                             He’s a multi-millionaire. We’re playing a game. Quick, think of a number.
                             Me: “£110,00.” (About $220,000 in 1986 — $400,000 today).
                             Mr. Big: “Why the £10,000?”                                                                    BOSTON, MA Siobhan, our fiery PA, arrives — two days late.
                             Me: “For negotiation.”                                                                         We’re in a university science lab. A young Hispanic guy is cleaning the lab and
                             Mr. Big: “Okay, £100,000.”                                                                 mopping the floor. There’s nothing exciting happening. After a while I realize he
                             Me: “Let’s split the difference.”                                                          can’t understand me. I’ll try French: “Avez-vous envie un bon temps avec le mop?”
                             Mr. Big: “£105,000 and we have a deal. You start tomorrow.”                                Nope. I’ll have to show him un bon temps myself.
                             I hire a crew to do the local and European shoots. An editor and assistant to log and          I take the mop and give it all I’ve got. “Now you try!” He’s better, but
                         cut rushes each day. I book the RTW flight. First stop: JFK. It doesn’t get better than this.  not good enough. I do it again with real passion. “Roll camera.” He’s got
                             Here’s the plan: we arrive, rent an SUV and drive to the motel nearest to the it! “Cut. You were terrific!”
                         location. Next morning, at 8 a.m., we are collected and taken to the office. We shoot              A man comes over. “Hello. I’m the professor here. I just want to
                         and leave by 3 p.m. Catch a 5 p.m. plane, arrive, rent an SUV, drive to the motel. It all congratulate you on your direction. It was amazing how you got that
                         depends on packing up by 3 p.m. — which usually means no lunch.                                performance. Well done.”
                                                                                                                            “I used to make feature films. My last was a flop. I’ve been demoted to
                             PARSIPPANY, NJ It’s a long flight from London. Avis has screwed up the car. making mop films. One day, I’ll get back.”
                         No SUV. Ray, my cameraman, insisted that I rent two 2K lights in shiny aluminum                    “Don’t worry, son. You’ve got talent. You’ll be back on features soon.”
                         cases with stands (none of it ever used). Eventually they find us a VW van. We’re                  “Oh, I hope so. Thank you. Thank you. You are so kind. ”
                         off — JFK, Manhattan, Parsippany.                                                                  Siobhan and Ray try not to laugh, then crack up once we’re outside.
                             The waitress at the hotel really likes Ray. Why, I don’t know. For us, it must be She really likes Ray. What has this guy got? We save on motel rooms.
                         4:00 in the morning. She has a room across the road. Here’s her room number…
                             “Ray, you’re crazy. It’s a big day tomorrow. We need you.” I can’t stop him.                   RTW FATIGUE Four continents — a different city each day — takes its toll.
                             Next day, he’s all smiles. Lucky bastard.                                                      I get a call: “Hi Stefan, it’s Kevin.”
                             I decide to remember every person’s name. The guy who collects us is Joe,                      “Kevin?”
                         #1. The manager’s PA is Sue, #2. The manager is Kevin, #4. The security chief is                   “Kevin from Parsippany.”
                         Brian, #5. The guys we film are 6, 7 and 8. Hey, I did it. Eight names!                             “Parsippany? I was in Parsippany?”
                             It’s 3 p.m. Goodbye time. “Thanks, Brian. Will you tell Kevin it went well? No
                         need for Joe to take us to the airport. Say goodbye to Jerry, Bill and Max from me.                HOME Mr. Big is happy. Ray is in love. And me? Please God, more mop films
                         Oh, I forgot, say ‘bye to Sue in the office.”                                                  of the RTW kind (just don’t tell the kind professor). dv

                          >production                              notes                    NLE ROOM LIGHTING: Sargent explains how to correctly
                                                                                            illuminate your workspace at


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Description: digital video newbay Digital Video Magazine, July 2010