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MillimeterHD Focus
Feb 9, 2005 10:10 AM
Rise of the Desktop DI
by Michael Goldman
After his experience helping director Dana Brown build a so-called “HD desktop digital intermediate” for the independent film Dust to Glory, Jacob Rosenberg is convinced that HD mastering technology could well end up being the best thing that ever happened to film purists who lack major budgets. Rosenberg is an experienced filmmaker who served as online editor and post supervisor for Dust to Glory, a behind-the-scenes documentary look at the Tecate SCORE Baja 1000 off-road race.
The movie, slated for theatrical release through IFC Films in April, has earned attention recently in the digital filmmaking community for its unique DI approach. That approach revolved around transforming the entire movie into a compressed (10-bit, 4:2:2) HD file via CineForm’s Prospect HD codec to conform, color-correct, and finish on a desktop using Adobe Premiere Pro and After Effects for the entire job, and then also using that file as the source for printing a master film negative.
Rosenberg points out that, in the case of Dust to Glory, original source material came from a wide range of sources and formats – Super 16, 16mm, 35mm, DV, MiniDV, and HDCAM, among others.
“Over 50 percent of it, though, was HD, so that was why we made the choice that HD would be the resolution for finishing all the media,” he explains. For a more linear, independent, narrative film, however, he suggests he would find this HD workflow most useful for material that originated in his preferred medium—film.
“The point is, doing a DI at HD resolution is a good way to go for people who want to continue shooting on film,” he says. “There is no reason for a small, independent project to lose film as an acquisition format just because you are doing a DI. You could shoot Super 16mm, and digitize right to disk, with no tape transfer issues. No separate offline – your offline is your online because you are already working at HD resolution, yet your file size is manageable with the improvements in hardware and software that we are now seeing. You can work right away on a full-blown HD file – I would telecine right from 16mm to disc. You can acquire in film, if you want, and then let it live entirely in HD the rest of the way.”
Rosenberg bases much of this view on his Dust to Gloryexperience. The “improvements” he references include the CineForm Prospect HD codec, which permitted his team to work in a 10-bit, 4:2:2 compressed HD format throughout the entire conform and mastering process; other improvements are editing in Premiere Pro 1.5 and color-correcting and handling effects in After Effects 6.5, juiced up with the Color Finesse color-correction tool from Synthetic Aperture. The entire process was conducted on two BOXX Technologies HD pro RT workstations at Laser Pacific, Hollywood.
After the documentary was offlined and the cut locked at DV resolution in two Avid Xpress DV systems, film selects were re-transferred and digitized into the CineForm Prospect HD codec. The DV source material was up-rezzed to HD resolution using Laser Pacific’s Teranex system. An Avid offline EDL (CMX 3600) was later imported into Premiere Pro, along with a DV guide-track, to begin the conforming process. Sequences were shared via a LAN between two workstations so that color-correction could be done in After Effects and then be brought back to Premiere Pro for final editing and titling. (Since the film was completed, however, CineForm and Synthetic Aperture have released a 10-bit color correction support tool directly within Premiere Pro, eliminating the future need to move imagery back and forth between Premiere Pro and After Effects.) A D5 HD master was then created; simultaneously, the movie was recorded to film on a Laser Pacific Arri Laser film recorder, creating a film master for theatrical release.
“This is a movie getting a broad theatrical release that had its film negative printed from a compressed HD file, and that is brand new,” says Rosenberg. “This (CineForm) codec let us stay in desktop software the entire way, and turn the entire movie into a deliverable file without any noticeable artifacting on a big screen. We were lucky to be at Laser Pacific and get the use of a 1K (DLP) projector, so we had a sufficient viewing environment to confirm that the imagery would hold up on the big screen. But I can definitely see other indie films using this kind of a workflow. Filmout technology is strong enough that everything you do to it holds up when you go back to film – it doesn’t take up too much disc or storage space because it is a compressed file, the codec maintains film grain if you want it, and so forth.
“This can be a cost-effective way to conform and color-correct everything, no matter what format you acquire on. You can still shoot film, or HD, and have the best of both worlds.”
Artbeats Releases Cloud Chamber HD Volumes 1 and 2
Cloud Chamber HD Vol. 1 and Vol. 2, Artbeats' newest collections of hypnotic and intriguing cloud formation
footage, is now available in full 1920x1080 High Definition. With
dramatic imagery that simulates billowing clouds, developing
thunderheads and eerie volcanic eruptions, the new Cloud Chamber HD
collections feature high-quality, royalty-free footage that can be used
for broadcast, film features, commercial, desktop video, game
development, and multimedia applications.
Renowned for its unique and hard-to-obtain footage, Artbeats employed industrious techniques to create the effects seen in the Cloud Chamber collections. The company constructed a 4ft., 30-gallon clear glass tank and created various nozzles that were used to shoot different paint colors and mixtures into the tank. In addition to implementing a process to quickly empty and fill the tank, and prep the paint delivery system, Artbeats had to properly light the tank and environment so there were no reflections on the glass.
Pricing and Availability Cloud Chambers HD Vol. 1 includes 10 clips and is priced at USD $799. Cloud Chambers HD Vol. 2 includes nine clips and is priced at $799. Both volumes are available in HD-1920x1080 resolution. For more information, or to view clips in these collections, visit Artbeats' Web site here (Vol. 1) and here (Vol. 2).
About Artbeats Artbeats, founded in 1989, is an award-winning provider of royalty-free stock footage for broadcast, film features, commercial, desktop video, game development and multimedia. The Artbeats Digital Film Library includes nature, special effects, scenics, aerials, lifestyles, backgrounds and much more. Quality, resolution and pricing make Artbeats Digital Film Library one of the leading choices by industry professionals. The library includes over 290 titles, 71 of which are HD. Artbeats is headquartered in Myrtle Creek, Ore. with a staff of artists, producers, technicians and marketers. Some of Artbeats' clients include MTV, Direct TV, Country Music Awards, American Idol, Universal Studios, Pixar, CNN, Activision and many more. For more information or to purchase clips, visit the company's Web site at artbeats.com.
AJA Supports FSN New England's HD Telecast of Celtics Games
AJA announced that its KONA 2 capture card and Io FireWire Interface are an integral part of three nonlinear editing systems recently installed by Fox Sports Net New England (FSN New England) in support of SD and HD telecasts of the Boston Celtics' 2004-2005 season. Away games are broadcast in SD on FSN New England, while home games are simulcast in SD as well as HD on a separate Comcast digital cable channel. All home games are produced in HD and downconverted for the SD distribution.
The KONA 2 card is the enabling piece of hardware that allows FSN New England to easily create content in both HD and SD--a key capability because they're still editing 80 percent in SD and 20 percent in HD. Io LA provides an easy-to-use connection for on-the-road postproduction support for Celtics away game broadcasts.
"I believe that AJA products are the 'best of breed' when it comes to video interfacing solutions for the Mac. Initially, we were looking at Io, but when the decision to produce home games in HD was made, we chose the AJA KONA 2 as the basis for our workstations," commented Sean McGuire, Engineering Manager for Fox Sports Net New England. "It is a very good product for hybrid HD/SD editing environments--it's very flexible and the video quality is excellent."
Earlier this year, FSN New England was tasked with the addition of HD simulcasts to their already-existing SD telecasts of the Celtics' games. Familiar with AJA's broadcast-quality up and downconverters, and realizing the viability of editing with Final Cut Pro on the Apple G5 using KONA 2 and Io, FSN New England purchased three nonlinear editing systems based on Apple and AJA hardware/software technology.
"When FSN New England approached us about their SD/HD simulcast plans, we knew we had the best solution for them," said John Abt, President of AJA. "Fox values well-engineered products that can be counted on in broadcast environments."
"After the success of the World Series use of KONA 2 with Final Cut Pro HD, we are seeing more and more big broadcast sporting events using the technology everyday," said Ted Schilowitz, worldwide product manager for desktop video engines at AJA. "There are some other very big projects in the broadcast space that we are an instrumental part of, being put together as we speak."
Two of the FSN New England systems are installed in their Burlington, Mass., offices and consist of Apple Power Mac G5 Workstations with KONA 2 cards installed, 3.5 Terabyte Xserve RAIDs, and 23in. Apple Cinema displays. For road trips, they have an Apple 17in. Powerbook G4 that uses the AJA Io along with a 500GB LaCie Big Disk Extreme. All systems use Final Cut Pro, Motion, and Adobe After Effects, as well as several other software programs.
"Other systems with comparable capabilities cost nearly three times as much, yet they are incapable of realizing the same multiples of performance and quality. In many ways, the Apple/AJA solution is more powerful," continued McGuire. "Initially, we were attracted to the products by the low prices but we quickly found it to be a very creative platform that enables us to do just about anything we would need to do, with plenty of room to grow. It's exceeded all of our expectations, and the sales support and service that we have received from AJA has been outstanding."
Additionally, one of the big advantages of the new systems for FSN New England was how easy the video output is selectable between HD and SD.
About Fox Sport Net New England Fox Sport Net New England reaches more than 3.7 million households in Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, and Vermont. Fox Sports Net New England's programming includes Boston Celtics, Boston University Hockey, Connecticut Sun, New England Revolution, New England Sports Tonight, The Best Damn Sports Show Period, and NASCAR. Fox Sports Net New England is managed by Rainbow Sports Networks.
Universal Pictures Announces Planned High-Definition DVD Releases
Universal Pictures announced a number of feature films it plans to release in the next generation high-definition DVD disc format (HD DVD).
The titles represent a combination of recent hits and notable offerings from the Universal catalog. The announcement was made by Craig Kornblau, president of Universal Studios Home Entertainment.
Titles revealed for HD DVD release include the following high-profile films: "The Bourne Supremacy," "The Chronicles of Riddick," and "Van Helsing." In addition, Universal plans to release HD DVD versions of such catalog titles as: "Apollo 13," "U-571," "12 Monkeys," "Dune," "The Thing," "End of Days," "Backdraft," "Waterworld," "The Bone Collector," "Spy Game," "Pitch Black," "Conan the Barbarian," and "Dante's Peak."
"We are confident that the many advantages afforded by the HD DVD format will significantly elevate the value of our content, while enhancing consumers' experience considerably," said Kornblau. "We look forward to growing this technology and firmly establishing the next-generation DVD platform."
Universal Pictures is a division of Universal Studios (www.universalstudios.com). Universal Studios is part of NBC Universal. NBC Universal is one of the world's leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. Formed in May 2004 through the combining of NBC and Vivendi Universal Entertainment, NBC Universal owns and operates the No. 1 television network, the fastest-growing Spanish-language network, a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, and world-renowned theme parks. NBC Universal is 80 percent owned by General Electric, with 20 percent controlled by Vivendi Universal.
Fletcher Chicago Delivers Fujinon 101X HD Zoom for CBS Sports
When CBS Sports wanted to introduce a special slow-motion shot for its Saturday afternoon coverage of college football, the network turned to rental house Fletcher Chicago, who delivered the new Fujinon XA101x8.9BESM HD zoom. The lens was paired with the Thompson Grass Valley LDK 6200 HD Super SloMo camera, used in conjunction with mobile production company Core Digital’s HD mobile unit.
“Fujinon’s 101X has superb lens clarity and delivers an extremely crisp image,” said Fletcher Chicago vice president Dan Grainge. Fletcher Chicago also owns and rents two sets of Fujinon HD Cine-Style prime lenses and a full complement of HD Compact “C” Series zoom lenses and HD ENG zoom lenses.
Bob Jamieson, a freelance technical manager who works almost exclusively for CBS Sports, is in charge of the technical crew for Saturday football game productions. Jamieson had been a cameraman for 17 years. This season the Fujinon 101X was used to cover what CBS Sports calls the “low end zone” shot. The location is on the field, and thanks to the long focal length of the 101x, CBS Sports can capture intense close ups of the players.
For the past three years Core Digital’s High Definition mobile productions units have handled sports coverage for CBS Sports. Tempe, Ariz.-based Core Digital has a fleet of eight trucks, including the flagship HD pair dubbed Bonnie and Clyde. From the start, the trucks have relied on Fujinon lenses.
“We’ve had a very solid experience with Fujinon lenses,” said Terry McIntyre, lead engineer for Core Digital. “We use them constantly.”
McIntyre said that with Fujinon lenses, there’s no vignetting of the image, and the lenses hold light extremely well. He said he especially likes the fact that Fujinon lenses are durable and don’t require much maintenance support.
Core Digital’s McIntyre said, “Once the football season ended last year, the HD trucks were used for college basketball coverage, ending up at The Final Four and then onto the U.S. Open and then back into college football.”
This year, he said, “Clyde will be rebuilt again.” The truck will get some new HD electronics and new HD gear. “And we’ll definitely add more Fujinon lenses.”
With 101X magnification, the XA101x8.9BESM is the highest zoom ratio TV zoom lens available. It also features the widest angle of any high magnification sports lens, making it ideal for shooting widescreen 16:9 HD as well as 4:3 standard-definition images. The XA101x8.9BESM includes Fujinon’s exclusive built-in OS-Tech dual-stage, optical stabilization system for rock-steady, crystal-clear image capture, while the built in moisture removal system will keep the lens operating even under the harshest conditions.
Multiple moving zoom groups designed into the XA101x8.9BESM lens minimize coma and field curvature while reducing overall size and weight. In addition, Fujinon's exclusive advanced back focus technology enables remote control of macro and focus fade on wide shots. No other lens in this category has this feature.
About Fujinon Fujinon is a major manufacturer and distributor of optics and lens assemblies for the broadcast, digital cinema, and industrial markets. The company's line of television zoom lenses are used in virtually every segment of the broadcast industry, including electronic newsgathering, studio and field production, and high definition television. For more information about Fujinon broadcast and communications products, call 1-973-633-5600 or visit our web site at www.fujinonbroadcast.com.
About Fletcher Chicago Fletcher Chicago is a leading provider of production equipment for commercial work, features, independent films, documentaries, and broadcast. The company rents and sells top-of-the-line SD and HD video, lighting, camera support, and audio equipment.
