ROCKSTAR MEDIA GROUP SHOOTS MUSIC VIDEO FOR NEW ISLAND DEF JAM ROCKERS, THE URGENCY, WITH PANASONIC HD CAMERAS - Creative Planet Network

ROCKSTAR MEDIA GROUP SHOOTS MUSIC VIDEO FOR NEW ISLAND DEF JAM ROCKERS, THE URGENCY, WITH PANASONIC HD CAMERAS

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SECAUCUS, NJ (December 4, 2008) — Rockstar Media Group, a Los Angeles-based boutique media and content production company, recently shot a complex music video launching new Island Def Jam Music Group rock artists, The Urgency, with three Panasonic HD cameras. The AJ-HPX3000 native 1080p P2 HD camcorder, the AJ-HDC27H VariCam® HD Cinema camera and the AG-HVX200 P2 HD handheld were used to shoot the more than 3-minute piece, entitled “Fingertips.� The video was conceived and directed by Rockstar Media Group director Ryan Bosworth, with fellow director Jim Matlosz serving as Director of Photography. “Fingertips� is currently in rotation at mtvU on air and online. The video can also be seen on many online music sites ranging from VH1.com to Yahoo.music. The indie/progressive rock band’s Police-like hit "Fingertips" opens The Urgency’s 11-track debut album with a rhythmic rock and reggae groove. “The label asked me to create a strong, performance-based music video to launch The Urgency within a matter of weeks,� said Bosworth. “The creative consisted of a fantasy world in which the band would perform while being pursued by a mysterious goddess directly below the surface of their world. This execution required the band and goddess to be shot on green screen, then composited into a stylized virtual set in post.� The three-camera shoot took place over the course of a single day at Hollywood’s HIP Stages, with green screen on two walls and the floor, the HVX200 placed in the rafters of an 18-foot ceiling (and other locations as needed), the VariCam set on a dolly and the HPX3000 on a crane. “While Ryan and I both really like the P2 HD tapeless workflow, it became obvious to us that if we wanted HD resolution with the option of overcranking, we would need to go with the VariCam,� said DP Matlosz. “It’s a solid camera that works very well for green screen, and it enabled us to vary the frame rates.� Matlosz continued, “We did need a second HD camera to make the tight budget and schedule work, as well as get all the shots we needed, including dolly shots, crane shots, handheld shots, plate shots and B-roll, all in one day while lighting a green screen and talent. So we chose the HPX3000 as our ‘A’ camera. Its high-quality 1920 x 1080 capture was of great interest to Ryan and me; add to that the P2 acquisition and tapeless workflow and we were both excited to give it a go.� “From an artistic standpoint, the three Panasonic cameras tonally have a similar quality,� said Bosworth. “All three cameras had plenty of dynamic range for keying and color correction. The final color correction settings were only slightly different per camera, which added a significant speed increase to the post pipeline�. “The breakneck schedule required the edit to start the same night as the shoot,� he continued. “The P2 workflow gave us a real head start. With most of the ingest complete on set, we were ready to start the edit within hours after the shoot day.� Both the HPX3000 and VariCam were outfitted with Canon Cine Zoom lenses. Matlosz shot a combination of AVC-Intra (HPX3000), DVCPRO HD (VariCam) and DVCPRO50 (HVX200). The project was edited in Final Cut Pro Studio 2. Selects were then exported to Compressor to be converted to the 10-bit uncompressed HD codec. The 10-bit footage was composited in After Effects CS3. The final delivery was a mix of DigiBeta, BetaSP, and mini-DV. There was also a digital delivery of the HD master finished in 720p/24fps. “The VariCam is my favorite of the tape-based HD cameras,� said Matlosz. “It’s a workhorse, and I love the flexibility it gives me, from variable frame rates to very easy menus. The HVX200 is an amazing piece of equipment. I’ve used it for music videos, commercials, industrials, sports, documentaries and short films--you should see the footage blown up to 35mm! “ “As for the HPX3000, from my past experience with Panasonic I knew I could trust the camera sight unseen,� Matlosz added. "Its true 1920 x 1080 resolution is terrific, and what's also nice is that Panasonic keeps menus very user-friendly across camera lines.� For more information about The Urgency, visit the following link:

http://www.islandrecords.com/site/artist_newsinfo.php?artist_id=689&uf_i...

. For more information about Rockstar Media Group, visit

www.rockstarmediagroup.com

. About the AJ-HPX3000 With three 2/3� high-density 2.2-megapixel CCDs, the HPX3000 captures cinema-quality images in full-raster 1920 x 1080 resolution with 4:2:2 10-bit sampling, utilizing the powerful, new AVC-Intra codec. The HPX3000 offers intuitive film camera-like operation with advanced gamma settings, including Film-Rec mode (made popular by the VariCam). Designed for episodic television, filmmaking and commercial production where mastering quality is essential, the HPX3000 records in industry-standard DVCPRO HD at 1080 in 24p, 25p, 30p, 50i and 60i, and in AVC-Intra. AVC-Intra, the industry’s most advanced compression technology, provides high-quality 10-bit intra-frame encoding utilizing the Hi-10 and Hi-422 profiles of H.264 in two modes: AVC-Intra 100 for full-raster mastering video quality and AVC-Intra 50 Mbps for DVCPRO HD quality at half the bit rate, thereby doubling the record time on a P2 card. For added flexibility, the HPX3000 can also produce standard definition recordings in DVCPRO50, and is 60/50-Hz switchable for worldwide use. For more information on the HPX3000, visit

www.panasonic.com/broadcast

. About VariCam Panasonic’s AJ-HDC27 VariCam replicates many of the key features of film-based image acquisition, including 24-frame progressive scan images, time lapse recording, and a wide range of variable frame rates (4-fps to 60-fps in single-frame increments) for “overcranked� and “undercranked� off-speed in-camera effects. The AJ-HDC27 VariCam also features CineGamma™ software that permits Panasonic’s HD Cinema camera systems to more closely match the latitude of film stocks. About the AG-HVX200A Panasonic recently introduced its new AG-HVX200A, an enhanced version of the HVX200. The 1/3� 3-CCD handheld P2 HD/DV camcorder now features improved progressive 3-CCD imagers, a DSP that increases sensitivity while lowering noise and smear, and a new 13X zoom lens. The ultra-versatile HVX200A records in 1080i and 720p in production-proven 100 Mbps DVCPRO HD quality, with the ability to capture images in 21 record modes. The DVCPRO HD format offers users cost-effective, intra-frame compression, where each frame stands on its own for editing, and its full 4:2:2 color sampling allows the image to hold up under color correction. The camera records video on a P2 card as IT-friendly MXF files in 1080/60i, 30p and 24p; in 720/60p, 30p and 24p; in 50Mbps DVCPRO50 and in 25Mbps DVCPRO or DV. The HVX200A can capture fast or slow action in 720p at various frame rates: the shooting frame rate in 720p native mode can be set for any of 11 steps between 12fps and 60fps including 24fps and 30fps. For more information on the HVX200A, visit

www.panasonic.com/P2HD

. About Panasonic Broadcast Panasonic Broadcast & Television Systems Co. is a leading supplier of broadcast and professional video products and systems. Panasonic Broadcast is a unit company of Panasonic Corporation of North America. The company is the principal North American subsidiary of Panasonic Corporation (NYSE Symbol: PC) the hub of Panasonic’s U.S. branding, marketing, sales, service and R&D operations. For more information on Panasonic Broadcast products, visit

www.panasonic.com/broadcast

. - 30 - EDITORIAL CONTACTS: Stacy Moore or Pat Lamb (201) 392-4458 (518) 692-8150

moorest@us.panasonic.com

patalamb@aol.com

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