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VMI Production company Openmike Productions The PMW-F3 allowed Openmike to create a unique visual style for TV comedy. DoP Gary Tanner found the compact size of the F3, its filmic depth of field and its ability to cope well with highlights made it stand out. (See page 21)
PMW-F3. Directed by Amy McConnell the spot produced by Akam and McConnell’s production partnership Film Couture tested the F3’s ability to record S Log using the RGB 4:4:4 S- Log option. The romatically themed spot which pays homage toCasablanca with its “we’ll always have Paris” theme was recorded in Pro Res 4:4:4 onto Cinedeck using Zeiss CP2 Primes. Slow motion sequences were acquired onto SxS cards in XDCAM 4:2:0 codec. Akam was impressed with amout of extra latitude in the camera.
MAN VS WILD Camera usedHXR-MC1P Production company Diverse Bristol The HXR-MC1P POV camera with Carl Zeiss 10x zoom and Exmor CMOS sensor was the choice for following extreme survivalist Bear Grylls where no oher camera could. (See page 9)
MOTORWAY COPS Camera used PDW-700 Production company Folio Productions This 5x60 minute series for BBC1 is shot on shoulder-mounted PDW-700s at 50Mb/s onto Professional Discs which are used as a ready archive for rapid ingest and editing. (See page 9)
PENN & TELLER: FOOL US Camera usedHDC-1500, HDC- 1550 Production company September Films Aspiring magicians compete to win an all- expenses-paid trip to Las Vegas in this ITV series shot at Fountain Studios. (See page 10)
for this multicamera shoot because of its long record times shooting to SxS memory plus large format sensor and film style lens options. (See page 20)
environmental cinema doc with the team from Blenheim teaming the 500 up with Canon HJ14 and HF18 lenses. (See page 24)
THE TROUBLE WITH TOLSTORY Camera usedHDW-F900R Production company Matchlight An epic train journey through Tolstoy’s Russia is the theme for this Imagine documentary. (See page 9)
THE TA AND THE TALIBAN Camera usedHVR-Z5E HVR-A1E Production company TwoFour Cameraman John Conroy took Sony’s HVR-Z5E into battlefield situations for this six parter for UKTV Watch which follows 12 Territorial Army soldiers in Afghanistan. Conroy’s chose the Z5E because of its lightness and ability to withstand knocks. The A1E was used principally for its night shooting capability. (See page 29)
STREETDANCE CHOREOGRAPHER Camera used PMW-EX3 Camera supplied by Decode Production company Decode Director Samuel Martin used the PMW-EX3 in a D-Raptor 3d rig for this film about Sisco Gomez’s hunt for new streetdance stars. According to Martin the EX3 was small enough and high enough quality for sections of the film where weight and size were key. (See page 25)
PARIS PERFUME COMMERC IAL Camera used PMW-F3 Production company Film Couture Toronto-based DoP Nigel Akam shot this commercial for Paris Perfume on the
STUDIO IN SESSION Camera used PMW-F3 Camera supplied by S+O Media Production company Pulse Films This upcoming MTV series showcases the live performances of new musical talents. The PMW-F3 was recommended
TRADEONLY.CO.UK Camera used PMW-500 Production company Cheerful Scout This web presentation video was shot on the PMW-500 by lighting cameraman John Hoare to SxS memory. The greenscreen was filmed at Waterloo Studios at 50Mb/s 4:2:2 at 25p for a
WARRIOR’S GRAVEYARD Camera used SRW-9000PL Camera supplied by 24/7 Drama Production company October Films Factual producer October Films revisits the scene of ancient battles for Channel 4 and National Geographic in this series which restages how battlefield deaths occurred. DoP Matt Broad used the SRW-9000PL in conjuction with the PMW-F3 for a 35mm look with Zeiss Ultra Primes on one episode about the 19th century British Navy. (See page 22)
“beautiful clean key” reports Hoare.
TRASHED Camera used PMW-500 Production company Blenheim Films File based production on the PMW- 500 was the cornerstone of this
WIMBLEDON IN 3D Camera usedHDC-P1 Production company Can Communicate The BBC, OB company NEP-Visions and 3d specialists Can Communicate combined on this 3d first – the production of the Wimbledon men’s semi-finals and ladies’ and mens’ finals. Using a total of 10 HDC-P1 box cameras shooting on Canon J22 zoom lenses from five camera positions around Centre Court, the Element Technica rigs showed how fast to set up and light the latest generation of 3d rigs are becoming. See page 5
Summer 2011 theproducer 13
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