Blossier Sets An Eerie, Evocative Tone for The Returned
ThinkBreatheLive Transforms Super Bowl Audience
Johns Manages Archival Media for Last Days in Vietnam
Bill Plympton’s Style Enlivens Con Edison Short
Flashpoint 7” LED Field Monitor
This compact and lightweight LED field monitor offers 1280 x 800 pixel resolution, enabling precise focusing and framing, as well as a native 16:9 widescreen aspect ratio ideal for shooting in HD or full HD. Look for instant switching between black-bordered and full-screen display in 16:9 mode; the monitor can be set to bordered 4:3 when necessary. It also features HDMI input and output and 1:1 pixel mapping. Other features include 400 cd/m2 brightness and 800:1 contrast ratio, a viewing angle of 178° horizontally and vertically, and eight LED-illuminated buttons, including four with assignable functions. The Flashpoint 7” LED Field Monitor is available for $400.
I always have a high-quality light meter at my side. Although digital shooters are frequently foregoing the use of a light meter in favor of other exposure evaluation tools, such as a waveform or histogram, there’s no tool like a good meter when your lighting environment is complex: when you have to match previous footage (and you measured values and ratios beforehand), when you’re monitoring moving sunlight and balancing for changing exposure throughout the day, or when you’re dealing with fog/atmosphere.
Last NAB Show, Blackmagic Design caused a stir when it touted Resolve 10 as an online editor. Once the software was released, it became apparent to users that Resolve is still primarily a color corrector, though one with some editing functionality.
Was it 1977 or ’78? I don’t remember. I’m in a small office in the British Treasury. “Anything you say may be taken down and used in evidence....”
You’ve heard it all before, but this time it’s me, Stefan, the very talented filmmaker.
“What am I accused of?”
“Nothing. This is just an investigation.”
“Then why read my rights?”
“In case we find something. You arrived in this country in January 1969. Did you bring in any money?”
Being a professional videographer is about more than making pictures. It also means running the business office. This tip shared by Charles Prior of Sacramento, Calif., has helped me. Charles uses several rubber stamps in the course of doing paperwork, and occasionally some of his messages are stamped upside down. The solution is simple: a piece of tape with the words “Upside Down” in red ink on the stamp’s wrong side. Now he and I are warned whenever a stamp is misaligned.
Who Was That?
I’ve heard it called “a camera for all seasons.” Whether you are going to shoot in HD, 2K or 4K, Sony’s PMW-F55 CineAlta camera is living up to its promise of being a cost-effective yet feature-rich acquisition tool for digital cinema, TV production and live 4K presentations.
Peter Crithary, Sony Electronics
I’m sure many of you remember NAB Show 1996 where Sony and Panasonic introduced their DVCAM and DVCPRO formats. What was fascinating is both companies made great efforts to distance their new “pro” formats from “consumer DV.”
Now that quite a few raw cameras have come to market, we are in a different situation. Rather than companies working hard to create proprietary differences between their products—when at their codec heart—they are quite similar; we have companies not differentiating on the basis for their recording “format.” Instead, sensor size, sensor resolution, lens mount, and dynamic range are now key differentiators.
Raw: What It Is and What It Is Not
You know that there is almost nothing more exciting (to me) than learning about ways video is being used as the medium for innovative kinds of storytelling. I like to see how technology advances the possibility of creativity—as in Gravity—but I also like to read about/view/monkey around with more experimental, experiential uses of video.
When mild-mannered professor Adam Bell discovers he has an exact double, small-time movie actor Anthony St. Claire (both portrayed by Jake Gyllenhaal), he becomes obsessed with his doppelgänger and the significance his existence might have on his own life. Enemy, from director Denis Villeneuve (Prisoners) and based on the novel The Double by Portuguese author José Saramago, unfolds in an ominous, unpredictable world, but one designed ultimately to feel real, not fantastic. Cinematographer Nicolas Bolduc, CSC, explains that he and the director wanted the film to parallel the claustrophobic feeling of the book, with everything from the architecture to the air itself feeling strange and dangerous.
Now in its fifth season, ABC’s top-rated comedy Modern Family has evolved its shooting style beyond the tight strictures of its first few seasons. James Bagdonas, ASC, has been an essential contributor to the development of the show’s look as the series’ director of photography and occasional director. When the show began, the concept for the production had certain cost savings built in.
The Blacklist is setting records for NBC this season. Two months into its run, NBC Universal execs said the series was the most-watched new NBC drama in nearly 20 years. The fact that it has also been setting records for DVR playback (as many as 6.5 million viewers per episode) is icing on the cake for the freshman FBI crime drama from Davis Entertainment and Sony Pictures Television. Also significant, the series is shot entirely in 4K.
This has been a very productive year for cinematographer Phedon Papamichael, ASC. He’s up for an Academy Award for Best Cinematography for his work on Alexander Payne’s black-and-white road picture Nebraska, and he followed that up with George Clooney’s World War II adventure The Monuments Men. The former is inspired by the stark monochrome of The Last Picture Show and the latter by the colorful spirit of The Great Escape. Together, the two offer an excellent illustration of Papamichael’s versatility.
Comedy Central’s weekly half-hour scripted series Broad City, executive produced by Amy Poehler, stars Upright Citizens Brigade alums Abbi Jacobson and Ilana Glazer as a pair of endearing, cash-strapped twentysomethings trying to survive in New York City.
Produced in New York by Paper Kite Productions, 3 Arts Entertainment and Jax Media, Broad City began as a web series in late 2009 and made the transition to television in January.
A gyro-stabilized three-axis gimbal system, Freefly Systems’ MoVI M10 features proprietary control software/hardware and three-dimensional navigation avionics for smooth stabilization and acceleration correction. Designed to hand-hold camera packages up to 12 lb., MoVI M10 operates both in single-operator mode, where the cameraperson steers the camera’s panning and tilting, as well as in a dual-operator mode, which gives a remote operator the same camera-steering control via the included remote controller and a wireless connection.
Filmmaking Case for Apple iPad
One of the most important and useful tools in the lighting arsenal is the Fresnel light, a flexible fixture that offers a soft light with a focusable beam—you can go from flood to spot and back again with the twist of a knob—and a relatively consistent intensity across the width of the beam. There are some drawbacks to using a conventional Fresnel fixture, though. You lose some of the light output because of the lens in front of the lamp, and the fixture generates lots of heat and consumes lots of power.
The Canon XA25 is a compact professional camcorder that features a 1/2.84” 1920 x 1080 CMOS image sensor and records in either AVCHD or MP4 codecs in a variety of data rates onto two SDHC memory cards. The second memory card can simultaneously record a backup copy of video saved on card A or a more compressed version for easier uploading to the Internet or FTP server. The Canon XA25 is Wi-Fi-enabled for wireless transfer of MP4 footage. It offers SDI and HDMI uncompressed outputs for monitoring or connecting to an external recorder.