Justice Department video

Embedded below (original page here) is a video that Bruce shot for the Department of Justice:

The interviews were shot with the Panasonic HPX2000, Letus Ultimate with B4 Relay lens and our Nikon primes. Much of the b-roll was shot using our Fujinon 13x4.5. We shot AVC-Intra 100 in 1080/30, transferred to a Lacie Rugged drive on location and handed the footage off to the client. They actually cut a few spots out of the two days of shooting:

Hope you enjoyed the pieces -- if you're interested in renting any of the gear mentioned please do click on over to www.visualedge.tv.

Chris Cardno

Production Manager

Visual Edge Productions

HPX2000 and the Letus DoF System

Panasonic HPX2000 with the Letus Ultimate and 2/3" B4 Comact Relay Lens from Chris Cardno on Vimeo.

Here's a link for those of you with mobile devices to watch the above footage.

This is a short film to show the image difference between when using a depth of field system with a 2/3" HD camera. The footage above was shot with a Panasonic HPX2000 P2 camcorder in DVCProHD record mode and shooting at 720/24p. We used the Letus Ultimate and B4 compact relay lens with our Nikon prime lenses and we're comparing that to a Fujinon 16x6.3 HD ENG lens.

No scene files were loaded into the HPX2000 and no color correction has been done. This is the raw footage from the camera transferred to Final Cut Pro, edited and output to a H.264 Quicktime file which was then uploaded and encoded on Vimeo -- to see the file in HD please click on the link in the video window.

For more information please go to www.visualedge.tv.

Hands up if this has happened to you...

http://www.youtube.com/watch?v=R2a8TRSgzZY

Busy day yesterday

For those of you who are following us on Twitter (if not, why not? Follow us here) you would have seen the image below posted yesterday:
Bruce was working at the National Spelling Bee for the past four days, shooting coverage of the kids going out and doing activities and also was with Erin Andrews during the prime time broadcast last night.

While Bruce was learning how to spell 'omphaloskepsis' (which is the contemplation of one's navel as part of a mystical exercise, don't you know...) Gonzo was over at NIH with a pair of HDX900s finishing up a multi-day shoot.
The lad in the flat cap behind our favorite Peruvian is Don Aros, local DC gaffer and curry aficionado. We had the HDX900 tricked out with the Letus Ultimate and B4 relay lens, our Nikon prime lenses modified by RP Lenses, and a lots of fun Zacuto toys.
The shoot went well, although I was disappointed to learn that I would have to be on camera for some of the shoot. Worse, the client wanted some footage of someone getting a shot. I'd post pictures or footage but I'd hidden the Flip camera by that point to make sure my astounding acting abilities never see the light of day. Having said that, when confronted with a needle the look of pure panic and green tint on my face rivals the best work DeNiro, Pacino and Brando have ever done. COMBINED.

Chris Cardno
Visual Edge Productions

RED...

I feel that the Jaws theme music should be playing with a title like that. Still, on with the update!

Last week we worked on a project with producer Dave Ogden of Metamedia Inc. The shoot was distinguished by it being our first time working with the RED One camera.

The RED package is owned by Nate Clapp of Nomad Productions in DC and Nate came out for the shoot as well. For those of you not keeping up with all these fun cameras and formats, the RED is a camera that gives you 35mm depth of field and records at 4K resolution. What does this mean? It makes purdy pictures real good.
The package is not what you'd call inconsequential -- Nate had to take the unit apart to make it comfortable for the hanfheld work that Dave was looking to do and even stripped down the weight is still north of 30lbs. As Bruce said after the shoot was done: "It's like...a yacht. There's always another piece to get, something else to add on."

Still, the shoot was a success and the experience was worthwhile. Is it a camera for all projects? No, it's a lot of image and a workflow for those with the correct resources. However, it does give you the best image possible in a digital world before you get into the motion picture Sony and Panasonic cameras. Here's an example of how the image stands up:

Shooting with The Colbert Report

We do get some really fun jobs here every so often...

:-)

We'll post a location report early next week and let everyone know when the piece is going to air.

Learning something new every day

I don't think it's a newsflash to anyone that works in production that there's always something new to learn. Formats keep changing, there are dozens of cameras to keep straight and the menus...good grief, the menus.

But quite apart from the technical aspects of this industry there are always other things that one can learn. Having been out on location for the past couple of days (yes, I was set free from the office) I now know the following:

Big buildings are not as close as they appear.
Case in point: the distance between the Capitol and Union Station in DC. Looks like it should be a quick walk. Here's a map. Should be a piece of cake. 15 minutes of slogging to get to the New Jersey entrance of the Capitol turns that notion on it's head. And brings us to our next lesson of the day...

Always take a handcart to lug gear around.
So I was showing up this morning with a Panasonic HDX900 with a 16x6.3 HD lens on it and then a bag of assorted audio, video and power cables. Being an office wonk it never even crossed my mind that carrying that amount of gear a short distance (wrong...see above) might get really uncomfortable. When you're mentally working out the weight as you're walking, pretending that the shoulder strap isn't cutting your blood supply off to your arm and taking a real long look at crosswalks to catch your breath, er, make sure the road is clear you know that wheels are an essential item. Which segues nicely into...

Don't ever assume someone else will have the bits and pieces you'll need.
I'm never showing up anywhere ever again without the following pieces of kit:

• 25' Stinger
• Triple tap
• Ground lifter
  
• Set of screwdrivers
• Gaffer tape
• (2) XLRs
• (2) BNCs
• BNC coupler, splitter and BNC:RCA adapter
• Wheels

By the way, "anywhere ever again" includes ball games, house parties and baptisms. You just never know when you'll need to run power and make sure the cable's safe for pedestrian traffic.

Finally...

The hours suck in this business.
I had a 7am call time this morning. It's around 20 miles from my house to Union Station, so that's roughly 40 minutes of driving. I figured I needed to be wheels up at 6am, so that meant a 5:20am wake-up to make myself presentable. When you take into account that I'm more comfortable seeing 5:20 in the morning from the other side...well, let's just say that Starbucks was my friend a few times during the course of the day today. And I was off-set and done by 11am! Gonzo and the crew with him on the shoot for a WebMD on Monday had a 7am call in Baltimore and they didn't leave location until gone 10pm. And then he got up Tuesday and pulled another 11 hour day.

All in all, I think it would be good for anyone who wants to go into production to go out and have a couple of days like I've had this week. You'll realize that the problems you don't run into on location are because the crew has done it's homework, prepped accordingly and anticipated issues. You'll have a little more sympathy for the guys getting into the building five minutes late after having to haul carts of gear from the loading dock, through security and then go and park their vehicles. And you'll know not to wonder why they aren't jumping up and down with excitement at your project -- it's nothing personal, it's because the pre-dawn call time you gave them is their third that week.

Chris Cardno
Production Manager
Visual Edge Productions

Footage from the HPX2000 using the Letus depth of field system

Letus depth of field system with the HPX2000 from Chris Cardno on Vimeo.

Here's a quick glimpse of footage captured using the Letus depth of field system on the Panasonic HPX2000.  We've got the 2000 is 720/24p and we're encoding to DVCProHD on the P2 card.  The Letus B4 relay lens is attached to the Letus Ultimate and we've got our modified 85mm Nikon prime on the front.  The rigging and follow focus (seen in the stills in our last post) are from Zacuto, who gave us a very nice shout out on Twitter today -- thanks, guys!

The Coke Zero can is 3' from the film plane, the Dust Off is 5' away and the Christmas lights are 6'+ from the film plane.

This is going to be a LOT of fun!

Letus relay lens is here

Above you can see the new Letus relay lens working with the Panasonic HPX2000.
Above you'll see a closer shot.
And another close up from a different angle.

Isn't it exciting? :-)

We've got our modified Nikon 50mm lens on the front of the Ultimate and, of course, the good folks at Zacuto make the best custom gear on the planet so we have that in play as well.

You're probably wondering where the footage is showing the gear in action -- we're working on it, I think we'll have some tomorrow. In the meantime, here's a shot of a monitor!
Moving images coming soon...

All the "marvelous nonsense"

Dealing with video cameras today reminds me of watching Ghostbusters with my Gran. As Dan Ackroyd's Ray Stantz instructs Ernie Hudson's Winston Zeddmore on the correct way to clean a trap after a catching a ghost my Gran laughingly said, "That is some marvelous nonsense they're talking in this film."

23.98, 24p, 30p, 60i, 720o, 1080i, DVCPro, HDCAM, Red, HDV, down-converting, 4x3, 16x9, P2, XDCAM, 4:2:2, long GOP, intra-frame...

Marvelous nonsense for most people. And it's only going to get worse as formats adapt and we move into newer technologies. For those in the field it's becoming increasingly difficult to get to the root of what a client wants. For those who rent cameras it's a series of phone calls and last minute double checks that the camera that is going out will shoot the format, frame rate and frequency that the client needs.

Here's a popular scenario. A producer calls and says they have an upcoming shoot. They want to shoot with a 900. First question: which 900? SDX900, HDX900, F-900? It should be simple to narrow it down to high definition or standard definition, but that leaves you having to explain the differences between Sony's F-900 and Panasonic's HDX900. Which, in turn, leads to a discussion of the post capabilities: can your edit facility deal with HDCAM or DVCProHD? Once that's done the frame rate will come up. And that's yet another round of discussions.

I knew a professor in college who, at the beginning of an exam, would write four letters on the chalkboard: RTFQ. Read The Fricking Question. Or words to that effect. In production today, with a constantly shifting set of acquisition formats and broadcast standards, the letters need to be updated: ATFQ. Ask The Fricking Questions. Yeah, it gets old but dragging out a phone conversation before the shoot is a heck of a lot better than a phone call after the shoot from a producer or editor freaking out that they can't play back or ingest what you shot for them.

As tapeless begins to get a foothold in the industry (and that's a whole other topic...) the questions are going to become more labyrinthine. Which codec are we shooting in, can your post house deal with a Mac formatted hard drive, are you BRINGING a hard drive, all of these issues are going to rear their head and all of them need to be addressed before the shoot begins.

So, what to make of all of this? In my opinion it is now imperative that the entire production process become a fluid whole as opposed to a simple breakdown between pre-production, production and post-production. The DP for a project needs to be aware of the post-production capabilities, the editor needs to understand the creative reason for a particular format or frame rate, and the production company needs to make sure that everyone is on the same page. This then makes life a lot easier when the project needs to pick up gear in other markets or when a different operator has to sub in for the lead DP -- everyone is educated, informed and able to clearly state what the production needs are. That's how to cut through all the tech speak and "marvelous nonsense."

At least until the next format arrives.