a ly 0 CS he heen eS ae ea) ri Sa eS Fy OS eg at ay Ter eur CPOE) codex ACTIONCAM when the big cameras can't cut itHOTNE| All You Need To Know About RED’s 8K Road Map And Their Weapon. UADirector and Director of Photography Phil Holland lays out the future of the RED Cinema Camera after their secret Weapon was unveiled ‘AtNAB 2015 along with a future 8K version of the RED Dragon that could arrive this year. (©. What do you know about the &k Weapon? ‘A: At NAB 2015 RED announced their new Weapon camera which features the RED Dragon sensor technology. There were thes ‘models announced atthe show. The Weapon {Carbon Fiber, the Weapon &K Magnesium, and the upcoming Weapon 8K Carbon Fiber. RED Weapon represents a great deal of effort te produce an extremely compact fully fledged high end production camera, It features a host of new technolagy like = simaller lightweight body desion, simultaneous recording of REDCODE RAW and ProRes Quicktmes onto the same media, 3D LUT Suppor, WiFi, higher data rates, increased internal bandwidth, increased processing power, new “cableless” EVF/L.CD connections newly designed top fans, newly designed achment camera ventilation, new module system, new more powerful compact modules, built in seratch microphones, and_ vastly improved Black Shading calibration, And theres even more than thet, but the simple explanation is the Weapon camera body isa step into the future. Ike to think abour Weapon as the evolution of RED'S DSMC (digital stils and motion camera] concept they introduced with the Epic and Scarlet camera “brains” (bodies). With Weapon we have a move into "DSMC 2.0 and there’ © great deal of forward think technology with features that productions and shooters have been asking for. Certainly not an enty level camera, but 100% a production workhorse 3 Is there an upgrade path ta it? 'A:RED Weapon available as an upgrade to all Dragan sensor RED cameras, Which means primarily RED Epic, Epic Carbon Fiber, and Scarlet cameras that currently have the Dragon sensor in them, Also, you can purchase a new Co eee eee ad Weapon &K Carbon Fiber body as wall. Both of these programs begin Summer 2015. At the moment Weapan BK Carbon Fiber is only being offered as an upgrade fram Weapon bodies and that program begins late 2015, RED rewards its customers and "early adopters” and for those Dragon owners who purchased before NAB 2015 there are various trade-in credits and accessory crits that have been offered Q: Does 8K makes sense outside of Japan ‘where they plan to broadcast it? Ac 8K docsn't exclusively exist in Japan, ‘though they are very focused on bringing 8K broadcast ta life. long while ago the UHD and DCI specifications were defined for 4K and BK productions. Before that we were scanning film in at 4K, 6K, and BK resolutions for 4K laser recording fram the mid 90s through the 2000, What you are seeing is "more €K onHOTNEWS nie Shaler nd ght press the rise" at the moment. In Japan they willbe stating their fst K broadeast trials n 2016 and ther focus is +0 broadcast the 2020 Olympics in 8K as well For me as a fimmaker there's more going on here however. The Weapon 8K Dragon sensor is approximately the size of one of my favourite motion picture formats called “VistaVision". Ive basen wating far aver a dacada for a digtal cinema VistaVision camera to came to market ta explore this format for theatrical releases and now our new higher resolution UHD 4K and 8K televisions. RED found something special with the Dragon sensor ‘technology that provided a lot of "film relevance” in how it performed. We've known for some time in the industry that Super 35mm fm resolves about 45K of resolution and Dragon provides 5K resolution in the approximate Super 35mm format size. Additionally Dragon has a very high dymamic range of 16+ stops, vastly improved colour rendering, and nearly no “digital thumbprint” to its smooth highlight roll-off. RED long ago set forward the nation of a “digital fm altrnative” with their cameras starting with the RED (One and original M sensor. However, with Dragon they've tuly hit and exceeded that goal as we are surpassing several of the technical merits of fi for the frst The allure of 4K and 8K resolution for me stems from a simple concept | ike to call "The Window Effect”, The general idea ie that at these highor resolutions and generally higher quality image the ‘audiences viewing experience brings them “closer te the content by removing more of the “digital divide" and awareness of them knowingyfeeling that they are looking at a tablet, television, o silver screen Essentially 4K and 8K brings them to the worlds anc Stories we are creating quicker and ina much more beautitul end vibrant way. Combined with some of the other technological developments like HDR displays, Laser Projection, and dense 300-600PPI screen technolagy people will be sesing content in a sway they've never experienced before and it will fee! much more rel than ever : Would this be REDs IMAX camera? Are there any other roles for it? A Dragon 6K found on Epic Dregen cameras has already been used for IMAX productions and 8K capture and projection will be perfect for the "pure IMAX experience". IMAX cameras are actualy 15: perf 70mm film and feature a very large fim negative imaging plane. The 8K Dragon Sensor found in Weapon is a bit larger than the VistaVision format, which is a bit smaller than 15-perf IMAX. However, the pixel resolution wil likely match or exceed what viewers have experianced before, especialy when it comes to IMAX digital projection | personally think and hope that 8K projection comes to more theatres ac it will produce a ‘uemendous "movie going” experience. tf combined vith things lke Dalby: new Atmos system for sound and 4K and 8K Laser Projection audiences will have very immersive experiences. 8K wil also make i into homes. 4K and 8K ace basically the industry's newest standards and we'll be making content for 4K and 8K foryears to come, ‘This extra BK resolution doesnt just have “clsplay” benefits, but its also something to creatively explore as. "problem solver” fram the shooter's perspectiveWeaponteammesabostetner tenga tapi Having more captured resolution than your finishing resolution allows for things lke post stabilsatin, format cropping, and reframing to occur without a loss visual quality. A goad recent example of this is David Finchers Gone Gil which shot RED Epic Dragon &X and used that extra resolution for some of ‘those post production techniques | mentioned, 0: How would data rates be handled? Would there bbe new Red Rocket hardware? New cards? Whole new post systems? ‘A: That's actually the good news really. For those ‘working with RED 5K and 6K Dragon cameras this jump to 8K won't be a *big deel” at all. The current RED ROCKET will work with Weapon 8K material as well as the GPU Acceleration supported by RED, Adobe, and other software manufactuters, Weapon does require the newer MINI-MAGs that were released a bit ago to support the higher data rates and resolutions as well as the simultaneous ProRes recording ‘As for post systems and upgrading those, just depends, If you have a system that’ working for @ Dragon &K workflow today there likely won't be a big reason for fully system overhaul when 8K arrives VFX and Post Houses will have to manage the filesize of DPX image sequences at these higher resolutions for post, but houses like Light Iron are already ready for thie BK worklow. Q: Is an 8k camera this year plausible? ‘A: If everything goes according to plan the frst Weapon 8K Carbon Fier cameras with the Dragon sensor will ship at the end of the 2015, At NAB 2015 1 were several ofthe BK madale atthe RED booth and BK footage was also shot on the show floor with ‘one of those cameras. So I'd say very plausible. {: Is 8K one of the main reasons Weapon has been produced? Weapon is the new brain for the future sensor upgrades? Vd eay the biggest resson for Weapon &K and 8K being produced comes down to production's and shooters wants, needs, and desires. RED has a very ‘pen door of conversation with it's shooters working fon productions of all budget levels and they've clearly listened to many ofthe “feature requests” thet people have wanted over time. Weapon isthe result fof that customer feedback and you ean see that in its body design and feature set, You can literally hold a ‘Weapon camera body in the palm of your hand and its actully scary impressive of just what that lle camera body can do. RED's been working hard on developing Weapon for some time and we ae seeing the fruits of those efforts with this new camera, As for a future sensor upgrade? I's hard to say exactly what RED hasin store for shooters inthe future (One thing is for sure, every RED Dragon camera will have an upgrade path to the “future”. What we are seeing with Weapon ie mostly the introduction of their top of the |ine camera body following by Epic and Scarlet Dragon bodies (Q: What else is new about Weapon? Does it makes sense for you to invest? A. For me personally the BK resolution VisteVision* sensor size of Weapon 8K is something thats very alluing a= Director and Director of Photography.However | also work primary in the world of Visual fects, feature Fme and proclitions that are concemed about creating the "best possible” image. That extra resolution wall be incredibly useful. for VF applications asa tool, 8K also represents another step in “future proofing’ content which mates a lot of sense for certain productions. There vill also be some visual image quality improvements due to the added bandwidth and processing power on Weapon, and that's a factor ax well Generally speaking, the biggest incentive for me to invest in the Weapon camera and upgrade comes down to providing my cients, susios, and productions more of what they've been acking for. Being able to offload ProRes fles quickly at the time of REDCODE RAW capture is going to be very important to some shooters, Ds can spend less tme transcoding if certain on sat workllows are explored That saves everybody time and money realy (@: What have RED ssid about the future of their cameras at NAB? AA: The focus for RED this year at NAB 2015 was Weapon 6K and 8K. As well as showing off more 4K Broadcast functionality using things like Epic Dragon and the REDCAST Module, 4K was everywhere atthe show and we saw more 8K at NAB than ever before Inmany ways RED's been laacng the way on helping push 4K and 8K technology forward and they've been “the early bird” consistently, As for the future of thir cameras and what's to come on the horizan is to0 soon to tell. However, before NAB 2015 RED announced several affial vendors, authorised rental houses, and even opened up the RED Store Miami svengthening their national and intemational support and availabilty oftheir gear. This is actully something that’ very important for a shooter ike me 1 | mostly work in Los Angeles, but | have had four jobs in the last year that have taken me outside of the USA to shoot elsewhere in the world, Having that global support provides much mare confidence when need to kit up abroad or if drop 2 camera in the ‘ocean, which haven't dane yet fenock on wed) : The look of RED seems to be getting better. Are the new sensors markedly better and the ways 3D is being handled? Yes and that’s something productions have noticed ‘8 well, This s largely due to the Dragon sensor and what features it provides, People see 8K, 6K, and 5K resolution often without taking into account the format size, but for motion picture professionals having that film format to resolution relevance is rather important as it "is" part of the way those ‘making fms with aetual lm who might be making the ‘ransition to digital cinema cameras work. It eects the look, the lenses, and ganeral shooting methods. However, the biggest thing really is Dragon’ colour les providing some of the best colour we've ever seen out of @ sensor and that’s due to improved Colour Science, vasty improved Infrared Cutting/Blocking, and the sensor’ very high Dynamic Range of 16 stops. Thet Dynamic Renge play @ role into the more patural Highlight Rol-O#. The combined atfors of all of these things has produced a very “flm-like” digital image that is very fexible to work with We're at a special moment right now with RED digital cinema cameras with this newer Dragon sensor, It's become as familiar a= shooting film and i's preducing on par or even surpassing the image ‘quality of shooting on fm, RED makes cameras that are “multiformat® systems, much ike fil was never ‘one fermat”. With the upcoming Weapon 8K Carbon Fiber body using that Dragon sensor we'll have digital equivalents of VistaVision, Super 35mm, and Super 1émm with resolution to format sie relevance. Which alzo moans if you are using glare derigned for those formats you get what you'd be looking for as wel. Creatively thats exciting because you might want te use 8K Vista Vision for one production fr scene and film at SK Super 35mm for the rest of your production far 4K finish. There's just 20 many exciting possiblities to explore. wlBlackmagic URSA SR esac are eel cn) ore Lect tee gee eel) Cre MeN Tae etait (e/g ZY SDI rs ,) From £4,275* Pee ee een) ceo Se eeeHOT Ikegami Announces World's First Hand-Held 8K UHDTV Camera System Developed in collaboration with Japan Broadeasting Corporation (NHK), the new SHK-810 is one tenth the sizeof Ikegami’ fst generation 8K UHDTV camera Designed forlivestudioandfeld production, the SHK-810 camera head is compact and weighs less than 20 Ibs (9 kg). It can be operated in the same way as the existing Ikegam broadcast camera systems. Ikegami inwoduced the first generation 8K HDTV camera with NHK in 2002. This wae {ollowedioya second generation model in 2004 and third generation camera in 2010, each incorporating the most advanced available video technology. With further technological innovation and collaboration, Ikegami SHK- 810 fourth generation UHDTY camera is one tenth these of first generation modal ane has significantly improved operably. According to the roadmap of the Japan Ministry of internal Affairs & Communications (IC), test broadcasts of 4K/8K via BS satelite television wil start at the Rio 2016 Olympic and Paralympic Games, followed by 8K on air broadcasting which is scheduled to start by 2018 in Japan. 4K/8K broadcasting is ‘targeted to be in place in tme for the Tokyo 2020 Olympic and Paralympic Games. 4K/EK broadcasting should be accessible via public viewing points in Japan by the year 2020 and 4K/8K-resolution television sets should be widespread in the consumer market by that time. Expectations for 8K UHDTY are increasing song). ‘Asthemarketdemand for UHDTViexpected te expand globelly, Ikegami exhibited both the SHK-810 and a newly developed prototype ak 3-CMOS camera at NAB 2015, The lkegami SHK-810 camera employs 2 single 33 milion-pixel Super 35 CMOS sensor, achieving 4,000 TVL horizontal and vertical resolution. The colour fiter on the sensor employs a dual-areen SHV colour arrangement and achieves high level of modulation depth, The System Expander enables the use of large viewinders and full studio lenses, converting the portable camera into a full faclty stdiosfeld camera, The Pl-Lens mount allows the operator to use the camera with BK lenses, cine lenses, 4K lenses and custom-designed zoom lenses for single-chip SHV cameras. A flange-beck adjustment system is builtin, enabling back focus adjustment of PLmount lenses without shimsThe family just got bigger. And smaller. Super-lightweight ALEXA sensor & Integrated lens motor Future-proof carbon body Image quality control & ND filters technology For matchi Perfect for gimbals & ith 4« UHD, HOR mmulticopters and HER recording NEXNem ARRI ALEXA MINI. TRULY CINEMATIC. :HOTGEAR ability but know ng and first ke aK with ance f The ily in FHD mode which ha ge stabilise mean 1080p, but stil very usable. You get two cards slots, No price mentioned or a Blackmagic Designs Resolve 12 fe more than just colour grader now and amongst the 80 new festures are two that you would find in something like Final Ct Pro X. The new multheamera elting feature lets editors cut programs from multiple sourees in eal ne, You can 1 camera angles based on timecode, audio waveforms, or in/out pots. The source monitor dsplays a grid contalning the camera angles and plays them all back in syne while the editor maker cuts tothe audio and/or video. For the editor al rim modes, muti-sip, slide, ripple and rll ‘expanded or collapsed in place to greatly simpilly eating of large mult scene projects DEFINITION MAGAZINE DIGITAL DALY WW lonmacazine.com(sages tiene Limelite has been a complete game changer for us ‘dom Gaver. Lead Technical Diracter, craativel IVE —————— 4 Aaa thes model alate o Dayo (560010, Tungtn (28009 or olor m ° Serits Sates Ucar tne bel tars ese aah by date OSaIC {omproving an output ot re nes gtr hen car ate Featuring a unique Nato mode which converts the dsplay to show the ight output in FFstops making the versatile Mosaic ust as useful for photographers. And with multiple power, contra, mounting and usage options together with exceptional buld quality the Mosaic is one ofthe most versatile and relable LED panels avaleble and one of the best value to. Mosaic Features include: + mains / battery options + bank units together to create larger light sources + bul-in OMX + fStop control» utra-bright pawer LEDS ink panels and control from a master unit Limelite.UK.com / a outed ume onge esto QlimeliteHOT Touch-screen control of ALEXA Mini and AMIRA cameras Transvideo and ARRI are collaborating on a specially adopted version of Tranevideo’s StarlteHD 5" OLED monitor. The resulting StariteHDS-ARRI will be able to conivel the new ARRI ALEXA Mini and also the ARR! AMIRA, Constructed from aviation-grade aluminum, the StarliteHDS-ARRI monitors the size of a smartphone and ‘weighs less than 200g, Its compact form factor makes it ideal for weight and sie-ctical shooting situations much ike the ALEXA Mini, Now ARRI an Transvideo are ‘developing a touch-screen interface forthe StariteHDS- ARRI that will allow it to control key ARR! camera functions ‘The StaritsHDS-ARRI will alco be compatible with other cameras because it retains all of the monitor's original functionality, including waveform, vectorscope and histogram displays, as well as @ builtin recorder for H.264 rushes on SD cards. However, Tansvideo’s regular ‘version of the StariteHD does not feature the addtanal ‘ARR| bus interface and therefore cannot be used to contol ARRI cameras. Stephan Schenk, ARRI Managing Director, says: “Transvideo is one of the most renowned monitor manufacturers in the industry. The high standards of engineering and build quality et Transvideo wil ensure that the StariteHDS.ARR! is as robust and reliable as ary other product canying the ARRI brand." The StaliteHDS-ARRI ill be sold exclusively through ARRI soles channels, while the standard StarliteHD 5° moniter will continue to be sold through Transvideo and its distibution network, The Now range of NEST HIKER bags have arrived. Thay follow on from the Explorer land Athena ranges, the Hiker range includ thee shoulder ba packs 100 and 200. The bags are made from waterproof ripstop 2100 nylon with a diamond grid pattorn (Black version on) for Camouflage version made with eugged 6000 nylon. ‘The shoulder bags som to offer good protection fr camera equipment. Acoes your 10, 20, 30 and two back and include 3 ran cover gear through zipped top opening great for ‘ick etrioval or via the side opening consist. Ing of an aluriaum Duraflx bucke ane wore closer. The male section housing camera gear «an be removed if roquied for greater fox ibilty. Dedicated internal pouch for an Pad or ‘abet and internal pocket forthe storage of variety of essential accessories such afters tnd memory cards. The Hiker bogs allhave an integrated padded shoulder strap fr comfort ‘Tho fll harness backpacks providing padded straps together with lumber sup- port. The 100 features two sections, one for camera gear (rar and sd access and day section for everyday tems Thor ao variety of pockets both large and smal for accessories and electronic devices (Pad or {ablet upto 10), Additonal, there sa strap and foot ensuring secure attachment of 2 tripod or menopod, ‘nest tye.comPanasonic VARICAM Lal TN i THE LEGACY CONTINUES wel fae a tl VARICAM a AU-V23HS16 Se PR eeu) MLL Ko =e Ete a Sree san PPPS mS Oa SCCM RUC SSC ENC nana ese business.panasonic.eu/VaricamHOTGEAR Dejero Show New Video-Over-IP Camera Product Dejero who make products for remote acquisition, cloud management, and multisereen distribution of professional ive video over IP, launched their LIVE ErGo product at NAB. Ita camera-mount- ced or wearable vansmitter for remote HD video ‘acquisition, LIVE EnGo encodes H.264 video and transmits it over multiple IP networks to deliver video with low latency A modular design enables the attachment of swappable wireless modules to customise LIVE+ EnGo to the locally available wireless network in- frastructure, and for use around the world, “LIVE EnGo uses cellular, W+Fi, Ethernet, and portable satelite connectivity fr live broadcasts from virty sly anywhere — even from a moving vehicle. The solution is ideal for newsgathering, sports cover: age, and any type of remote live-event broadcast: ing.” ‘The unit can be connected to any SDI or HOMI camera, and with the push of a single button, the system immediately detects video input and for rmat, a8 well as available network connections, enabling the operator 10 go live quickly. touch screen interface provides confidence monitoring, status information and it faciitatee separate initia. tion oflive and record functions The LIVE EnGo can bond up te eight neswork connections including 3G/4G/LTE, Wi-Fi, Ether- net, and portable satelite. ‘Adsitional features include intesnal storage for up to 40 hours of HD recording, a display port video output, integrated Bluetooth connectivity, and extemal USB ports. The LIVE EnGo is pow- ered from a single Gold Mount or Vimount video camera battery, It alzo includes an internal battery to power the camera and accestorcs, allowing the ‘operator to hot swap the external battery Dejero’s newly introduced LIVE+ Conttol cloud management tool gives studio technicians the ality to geelocate, monitor performance, and remotely contol a fleet of LIVE* EnGo transmit- ‘ters from any Web browser. They ean alzo preview incoming feeds and route both live ond recorded content to on-air playout and online distribution workflows—— BROADCAST Specialist Suppliers To The Industry +44 (0) 1923 650 080 www.esbroadcast.com sales@esbroadcast.comHOT Redrock Micro Looks To Solve Focus Control with New Halo system Redrock Micro announced Halo at NAB 2015, 9 system for video production that the company very bravely claims to ‘Solve the challenge of ac- curate focus contro. They describe itas a dynamic mapping and tracking of subjects, with an inter- face for manually selecting or automatically track- ing subjects for focus. This reminds us of the An- da Focussing System rom last years NAB which setup a magnetic feld where everything was also mapped. Hala has the hand unit (pictured above) {and the tracker (pictured below right When we lact talked to Andra they ware to sil 10 come to market after 'a number of offers’, We wonder whether one of thase was fram Red Rock Miro, Incorporating the same technology cars use for colin detection and avoidance, the Hlo Ex: plover eeates a reak-time scene map, combining pinpoint accuracy with up to 180 degrees of view. Artificial intelligence precisely identifies all your subjects [people and objects) and tracks their ise ‘anes and location in realime, The user interface shows birds-eye view of all subjects, and enables anyone 10 tap-to-focus, or crag to follow focus with visual audible and haptic feedback, Halo be- ‘comes the technician, handling the intricacies of focus s0 operators can concentrate on the creative "We often refer to this 28 cur Avatar product says James Hurd, Chief Revolutionary at Redrock Micro. "We had to wait five yeats for technology 10 catch up £0 we could deliver a something that solves focus and does it cost-effectively". The ‘quote references Director James Camerons far mous quip that he waited 10 years for technology to evolve before he was able to shoot the ground breaking feature fim Avatar. "Production never has tie fer long setups, ex: 11@ gear, or constant tweaking, The Hlo Explorer & small and lightweight, and lives on your cam- era, There is virtually no setup oF configuration, just power on, and you're ready to go. Hlo also peerfarms in a wide range of situations: total dark- ress or bright light (even heavy backlight), with ‘or without human faces, H lo companents can be moved between the cemere and your remote AC, ‘wherever it makes the most sence. “Productions at any level can benefit from Halo. High-end productions can use H lo for precise ef- ference and focus astst. Solo operators can use Halo for completely autonomous focus tacking, Any amount of assistance or automation is your choice, Whatever your camera and lens, and what- ‘ever your level of expertise for focus contol, Halo i incredibly effective, easy to use and understand, and profaundly affordable.” Halo is expected to be released later in 2015. Pricing has not been finalised but is targeted for in the $2000-$5,000 range depending on options.Now you can have it all. HD camera channel. 4K streaming. 6K masters. Cas cee Eater pearanceWILLIAM GOLDENBERG {ven thugh mest penplknon the ont hetr a TetntatnGoe, ilamhad to eephaulewe eth gat ese. any rt eee ea Golden Hour Oscar winning and Oscar nominee William Goldenberg has his pick of movies to edit including recently The Imitation Game, He talks about his methodology. hat drew you to the film? "tially it was the screenplay, | read 8 lot of scripts and that one leaped ‘out. A few people called me about it and told me ‘that it was relly fantastic. I wasn’t available at fist as | was committed to do another film which ultimately {ell through. | found out that Benedict was going to be starring in it and | thought he would be just per fect, | couldn't imagine anyone else playing him. So the combination of both really drew me to it. Also When I met Morten Tyidum, the director) and | really like what he had to say as to what he was going to do withthe fi. | think that everyone who was.on the film fet the same say that it was a story that rally needed to be told - everyone felt really passionate about it." the fil “Yes somauhat, it depends on the scene. If know Who the actors are I certainly can pieture the actors, If not | wll picture who | think could do the job if it hasn't been cast. For certain scenes | would start thinking about the editing possibiles especially i | had talked with Morton and | understood the style he was going to shoot it which was pretty lassie syle.think what the challenges are going to be and also ‘hat would be fun editorally. Utimately that’s the jab of the edit story and to make sure thatthe story is focu in tox im because a lot af the war part of te induce a certain amount of pace in thos But sil allowing Benediet’s performance to br as well as the other actors. You can accompli and ried to have an underlying tension, an underly ing sense of pace. inthe film every day the Germans changed the settings on the Enigma machine and that meant that every night at Midnight all their work for that day wae a waste. So there is this constant sense of hurting up and then at Midnight 2 sense of failure, There isa lot of faling in this movie, they only get it ight the one time! ‘Seed Comber The ett Game alent, Darwin etre Rime.WILLIAM GOLDENBERG ‘som Ua sty Beeson th in LELand ot y Wan Glen, commented My referencia is mvs organs “Ve had several flms ina row like that. Argo was the same way as was Zero Dark Thirty. You try and create a sense of tension and then as a story teller you ty and get the audience so wrapped up in the film that they forget they know the ending. That's more something | can just feel, whether i's work ing or not, there's no recipe for it. You're making the film as if they didn’t know. You're making ft as ripping ae possible and hopefully you're holding fon to your audience in such a tight way that they are femationally involved and nat thinking about what comes next.” Some of the scenes with the code breakers are more like theatre ensemble pieces, what was the thinking there? "Morton shot it in classical style, You do ty to do litle things and touches to make seem a ite bit more cinematic, It ean be subtle of be a grand ges ture but | ty and do things editorial that are teling the story in really interesting way but doing in, even the smallest thing, in fresh way: When Iworked with ‘Michael Mann | would say iFwe just eut from here to here it would work beautifull.’ He would say “That would be easy". So | always have that in my mind to do somathing that is overtly different but to make it feel sightly diferent. Cuting in an unexpected place fr playing something in a way off-camera that might feel unsettling. Something that will make it fee! a lit: tle bit diferent but at the seme time unnoticed by the audience.” Alot ofthe post on the mavie was done in Londan. fos that practical for you? “Lwas Stateside except for the mix and the score. ‘The VFX were also done in London, We were telecon- fereneing which wore quite well, we had a commen computer seroen along with 2 screen that we could each draw on to illustrate what we were tying to do and the changes we wanted to make. When we went to-do the mix, Morton was there for the entirety of ‘the final mix, was actually there for the last five days as had already started on anather movi youre attend the sound mix? “Yes | always do. The Imitation Game was a fairly low budget movie s0 when they were preparing for the mix I went off and ali another film, I was then able to come back for the final mix. m sort of su- pervsing the mix in terms of making sure all the ele- ments are there. At that point | know the film better ‘han anybody: There is a lot of sound editing to be done and mistakes are made. Things den't sound the same, there maybe was a diferent microphone from the one | used, Alot of what Ido is to make sure that the film we turned over isthe film that we are going ‘to getat the enc, hat point is your Edit locked? “With The imitation Game it was. Itused to be that it always was and now more often than not there are changes to be done while you're mixing, That's just the nature of thinge now because of shorter sched lee and a lot of times on bigger budget movies there are previews during the final mix that are made land the sound editors have to catch up and conform things to match what we've done. It happened evenOCA CRUWILLIAM GOLDENBERG Cn film to @ certain extent but i's more than sched: ules get jammed up at the end.” Is there any difference for you dealing with a movie that is shat on film or digitally? By the time the film gets in to the AVID for me it doesn't really affect anything | do creatively. The only things it does affect is the amount of material you get. The Imitation Game was hot on film but when you shoot digitally you get more materia. In 2 flm magazine you get about 10 minutes and with digital you can shoot about 45 minutes without stop ping the camera, So there isa tendency to let it run.” Do you prefer more footage than less? "Well yes I da. More footage gives you more op- tions. When you have less footage you tend to say if only had this shot a that shot. II need to sharten the scene and | had something here I could uso it 3¢ {an escape hatch to get out ofthe scene or get in to 2 scene late’ When there’ les footage sometimes you don't have that opportunity. You always find a ‘way to make it work but I like a lot of coverage, it af {fords more possibilities. Lucky enough with Morton he'd have a lot of film, not overwhelming. But he i such an efficient director he wae able to get ‘good’ fim. The movies was only an eight week shoot, very shor, and he was able to get @ very complex scriot done very efficiently. What does the latest AVID system give ta you? "You can da everything in AVID. | did do a couple ‘of movies a while ago on LightWorks. Ive been an AVID user since 1995 or 1996, whenever The Insider ‘was it was my frst film an AVID. Whaever layed it out ‘oF designed it made very user friendly. At this point Ive been using * as a kind of extension of my hand ‘and my mind. | no longer have to look at the key board or the buttons, Part ofthat is doing things over and over but: Itallaws me to be wrong aver and over ‘again without destroying the fm. | ean ty endless things and things that | might not normally tr. I also allows a much better presentation in terms of sound {and VEX and colour timing you can do al that in the AUID to a great degree, "When you're showing the film to people espe: cially early on, it makes them fee! lke they're actually watching a movie. They can lose themselves init a5 all the technical imperfections can be got rid or and ‘make it sounds really nice and laok really rice. Con: sequently the expectations are greater because nov people come to expect that but ts anew part ofthe jab that’s really fun for me - you need ta put some thing out there that sounds and looks great. "Now we'te cutting in real good quality HD you can actually take itright out of the AVID and preview and that's a huge time saver Do you push the sound, VFX and colourists to get something as soon as possible? "Wel I'm doing a movie now that is about concus sions n the NFL0 there ie a lot of football into, I's similar in a way to Zero Dare Titty wheve the Navy Seals were a huge part of it, whatever itis, maybe a boxing movie. Il ask the sound editors for a library ‘of material to start working with and go back anc forth with them and along the way keep gathering suff that they produce 20 I'm using their material, So you get a rough blueprint of what the sound is {going to be. In to a version that can be played in @ large theatre I'l sound good in my editing room but hen we take it to a much larger theatre it doesn’t fill the room sa much. But hopefully the material will be sourced from the sound editors and designers. So i's ‘constant back andl forth with that. You're massively experienced at editing but could yeeyec sma yourselfiesa director? | am exploring that possibilty and I have some epresentation in thet area, I love editing so much that it would have to be something that | am inered ibly passionate about. fs such a fun time in my em ‘eer right now that i's hard for me to step away and become a Director. I's not lke I'm unhappy with my career and I have to try something else, I love my c2- reer. But atthe same time | am intrigued by the idea (of Directing a film 20 t's abit of a weird situation try: ing to find the time to explore and develop projects while I'm wotking constantly. "Ido have a couple of things right now that I'm developing but it’ really hard to find the time wile my mind is fuly focussed on cutting | was fortunate to train under realy talented edt tots so I think | know the difference between what's good and what's not good at this point. | trained Under Michael Kahn who is Steven Spielberg's ed {oF | was his assistant for four years | like to refer to that as my graduate school. | saw how difficult t wes to become a feature film editor without someone's ‘backing, without somecne mentoring me. It was the single smartest thing ve ever done. He taught me an incredible amount about everything, hie methodalo gy. how to manage a workflow in terms of net being ‘overwhelmed by large amounts of footage, how to deal with politics, how to deal with taking critcieme the list goes on and on. “| saw how dificult it was to come up by cutting small indepencent films and to hope that one of ‘them will ‘hit’. So | was able to work on bigger films with Michael and | was able to step across from assisting to editing at a litle it of a higher level than | would have done had | tried to do it fon my own.” alO- SHE MENT GENERATION OF ON CAMERA ENG LED LIGHTING Seen cry a | SEE IT BECOMING AN INDUSTRY STANDARD ” AoC Relate Dee ete ore a eo VARIABLE COLOUR TEMP. G150K-6300K) - ACCURATE DISPLAY Cenc amen cy cos one och ay Pon a eee SEO Loe aU ee Apr NAA Red a ol Diol tT Pcs Cet ie fous] VP a Caney WWWROTOLIGHT.COM Doig rane Set Ed~ | EX-MACHINA Peer eee BETWEEN GODS Yay Screen writer Alex Garland has now become a Directorand he brit fare enn en ea i atch the taller to Ex-Machina and you get afar too tasty glimp: to the world of a future Internet bilionaire Alex Garland directs his ovin tory and brought along with him some up and coming British talent. Garland worked closely with cinematographer Rob Hardy, to light and photograph the work his team had clone. Thanks tothe location's floor-to-ceiling class windows, and high-tech security features, teach ofthe house's rooms takes on a different fee! depending on the time of the day and the way it’s being It. Na riore is this clear than within the confines of Ava's room, which is part observation suite, part prison, “Rob Hardy 've admited fora long time,” says producer Andrew Macdonald. "He's a British DEFINITION MAGAZINE DIGITAL DAILY WIV DEFINITIONMAGAZINE.COM Suitably twisted branch ofthe three movie being shot and finished in 4K. cameraman who has done some amazing work. ‘You want someone wha is ging ta work well with Alex and to go on this journey with his, That collaboration is key, and that runs through every department.” Garland conficms that Hardy, “really picked up ‘the ball and ran with it, He tanecendled whatever requirement | could possibly have made of him. He elevated everything.” Fer Hardy's part, he embraced the challenge of working within a genre he hachrt previously explored. "ve never worked on anything i says. “This just had all the elements that interested ime about any given story, it crossed the line between being accessible and also something th had good weight to it.The vaual opportunities were endless realy.”twas the human thames, in the end, on which relied to dafine the film’ visual aesthetic. "We DEFINITION MAGAZINE DIGITAL DALY WeEX-MACHINA Thetobetbinonptin Mad ‘and supplied to Digital Negative. Dneg then used ‘the same LUTS to apply to Quicktimes of their ‘effects so that they would sit seamlessly bac into the Avid cut. The F65 and FS5, matched really well ac ‘expected although the FSS israted at 1200 ASA which ‘cannot be changed in ‘camera but may be altered in the grade, The FSS was noisier inthe shadows land on a couple of ecenas where there was a fair ‘amount of smoke on set and we had to introduce mote contrast into the image, this became visible We addressed this by de-noising through Neat “Each of our thea- tres has a5th gen- eration Baselight which can run two streams of 4k in real time. * ‘Asa Shoul, Molinare. Video. So that this didn’t appear soft, we would mix this back slightly to the original image or add some dgfain in the Baselight, “Director Alex Gatland wanted 2 «lean look without grain which was quite a contrast to Robs previous film, The fovsible Woman which was shot 35mm Anamorphic and Rob embraced this look, with softer shadows and subtle bounced lighting. The combination of the super crisp F65's 4k image became filmic withthe older Russian lenses, “We started atading by using the LUTE we'd set for Rob to use on set Initaly going for a golden look to the film, we cooled this on second pass and then addled seme bite to the contrast with a low pivot in theroti cin shadows. We did't want the film to fel harsh or digital with the telltale clipped or burned highlights ‘that you on some films, 30 all the lights were either keyed and braught down or tracked with shapes to ensure detail was retained. We added some diffusion with the D-fuee plugin in Baselight and in a scene with CG robot body interiors, added this to help the Visit in "In the bedroom scenes Caleb watches Ava on = TV screen, and whilst the screen was attached to the wall it looked a litle comped on when the VFX images were placed in the screen. Ta help this we added anamorphic fare to the highlights so that they spilled “The main chal- lenge of this movie was ensuring the astonishing CG didn't fall apart in the grade.” ‘Asa Shoul, Molina. from the TV onto the wall “Dneg also supplied Alpha channel mattes for these and other monitor sequences so that we had ‘complete control over how the cllferent elemenis worked together. "We used motion blur to make rain disappear in one scene and an anamorphic blur to make skin appear less human in extreme closeup, "We used a combination ‘of Baselight look plug-in and swapped colour channels. to create a sort of duatone sequence to emulate what 2 rabot might dream colour ‘woul look like for the frst time,EX-MACHINA uy theleeinteesin facia. "We had a good idea of what Alex and Rob wanted, Of course this does change in the grade, but one of Rob's main concerns was that he wanted to avoid a “look” that might age this film, By that he meant that with many US features going for a high contrast orange and teal look, (we cal this the Transformers look) they not only all start to look the same but will rally date the films in a few years time, Rab wanted a good level of contrast but to retain a softer “painterly feel Each of our theatres has a Sth generation Baselight which can run two streams of 4k in real time and hold 100 terabytes. Holding the 4k project and rendering al deliverables at 2k and HD wasn't an issue. When our TV projects go 4k then storage will become an issue. We are already addressing this and using Baselight’s consolidation software to reduce the amount of data stored that isn't being used for each project, “The main challenge ofthis movie were ensuring ‘the astonishing CG didn't fal apart inthe grade. By this! mean that very often the VIX house might not know what grade f going to.be applied to their work and although an image might appear fine in log an their monitors, once given contrast and the colour look ofthe scene, the edges or elements within the VFX might start to show To avoid this we supplied the lutto Dneg so that they could check their work ahead of delivery. We are now testing Baselight on ‘vid and Baseight on Nuke so that we can pass fll {grades ta both the edit and effects house to help the ete post process well ahead of time “Having worked with the Genesis and F35 in the past, | feel| know how to get the best from these cameras both from a technical point of view with debayer settings and with grading them to fee mic and less “digital”. Likewise with the RED Dragon we have also found that with certain ebayer settings we ean have a really good starting point to work from with more natural skintones and colour range. Often the camera default may not produce the best resut and it's invaluable to have time to test with these cameras. A designer told me last year that they used to change their colour palate depending on wather a production ‘wae shooting on Kodak or Fuji, But once everything had changed to being shot cigitally they weren't included anymore “"We encourage everyone in the production team Including makeup, costume and design to be part of camera tests to see exactly how their choices workREVIEW - MILLER CINELINE 70 ‘The new Cineline 70 ie a heavy-duty fluid head for cameras between 4.5kg and 37.5kg The controls are set on the back ofthe head. As a matter of personal taste, | would have preferred these adjustments to be on the left side of the head. Although drag for both pan and tit can be set at zero, you can't completely turn off counterbalance hence the ‘minimum camera weight in the specification - though a Sony a75 would look a bit sly on a ‘tripod this big, | guess. The controls for pan and tilt uid ‘drag, and counterbalance, are all large, detented knobs (easy to use with gloves).60 Years Of Support ADAM GARSTONE reviews the latest tripod technology from Miller in the year of their 60th celebrations. The Cineline 70 has comes along way since shoots in 1959 and 1965. the fluid head ~ as an alternative to the hand cranked, geared heads common in fim-making before the 1950s - so its good to see the company he founded in 1954 back with a product aimed squarely at nematic production. “The new Cineline 70 is @ heavy-duty fluid head for cameras between 4.5ka and 37:5ka (depending on centre of gravity above the plate). It has a 150mm, bowl and an adapter for Mitchel, flat base legs, and its an Arti side load, quik release plate. The locking vor for the plate has a simple acjustment, so that if your plate isnot quite standard size you'l stil get a tight lock. The sliding range is excellent (150m) ‘The head itself is solidly engineered from alloy, with 2 few plastic detais where strength isn’t an Issue, and is sealed against dust and moisture. Ithas | 8 worth remembering that Erie Mille invented a front mount for an assistants accessory box, and dual side mounts for monitors and accessories, There are rosettes at each side of the rear of the head and. the unit is supplied with a comfortable, telescoping pan ber ‘The controls for pan and tik fuid drag, and counterbalance, are all large, detented knobs (easy 10 use with gloves) and ~ along with the bubble = they can be illuminated. Unfortunately the button 1© enable the illumination isn't so easy to use wearing gloves — ive a small, stff membrane switch sot Between the knabe - but that's a pretty minor gripe. “The illumination is powered by 2 T2v alkaline battery, ofthe ane in the DoP’ light meter disappears, you know who's nicked it. ‘The controls are set on the back of the head. As a matter of personal taste, | would have preferted these ‘Ei SUPPORT ii! |REVIEW MILLER CINELINE 70 (Cameron the beac re 1965 Wendentipod musa arta at Stas seb idle Paco adjustments to be on the left side of the head. The lefthas tree advantages ~ if you have a long camera body or the plate slid right back, you need to duck lunder it to get at the rear of the head; standing at the side of the camera with your eye tothe eyepiece, your left hand is usualy hovering around there somewhere; and its easier for the camera assistant to get te. One the other hand, to have all three controle in the same place, rather than scattered around the head, is a big positive, though it does make it easy to grab the counterbalance cantral by accident, when you are tying to tweak one of the others, Perhaps 8 lock on counterbalance would have been @ good idea, Although drag for both pan and tilt can be set at zero, you can't campletely tum off counterbalance = hence the minimum camera weight in the specification ~ though a Sony a7S would look # bit sil on 2 tripod this big, | guess. After you have changed the drag setting, there is a lite clunk ‘when you next meve the head, as the mechanism engages. After that, of couree, movement ie ultra smooth without any play, buts a litle un-nerving at frst. There is a tiny, tiny backlash when you take pressure off the bar at the end of a pan, but shen ‘most fuid heads do that. ‘Although | wasn’t able tolay my hands on anything that would tax its maximum payload, the Cineline 70, handled the weird, top heavy mass of an Eclar NPR {over 15kq) with style. A Blacemagic URSA (about 10kg) also felt great, but a Canon 1DX with lens and accessories ~ which tipped the scales just at the 4.5kg minimum ~ was neatly impossible to balance correct, The heads action is exceptional, allowing for very smooth and accurete pans and tits, particularly atthe star and end of the move, Stability i also excellent — the review unit was supplied with Mller own carbon fibre ipod and there were no issues with any of the cameras we tried, even at long focal lengths. The brakesare positive and strong, and there isa separate fullock for th. The Miller Cineline 70 is avilable for uncer £3500 {plus VAT) for the head only ~ and includes three yeor guarantee, That’ pretty good value for money, especially given the maximum weight it can handle, the beauriful fluid action and the overall engineering quality. wtSTH 3 Oa A OL a ONLY £2 AN ISSUE FREE DIGITAL EDITION WORTH £5 TEN PRINT ISSUES + TEN FREE DIGITAL EDITIONS ONLY £2.00 AN ISSUE - WAYS TO PAY SUBSCRIBE SECURELY ONLINE AT www.definitionmagazine.com/subscription-print-issue/ CALL THE SUBSCRIPTION HOTLINE 01638 66 22 87 * UK Subscribers only@ a aa aR ae UY WL