{"id":2082,"date":"2012-06-06T10:21:19","date_gmt":"2012-06-06T18:21:19","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2082"},"modified":"2014-06-04T17:06:09","modified_gmt":"2014-06-04T17:06:09","slug":"survival-of-the-techiest","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/survival-of-the-techiest\/","title":{"rendered":"Survival of the Techiest"},"content":{"rendered":"

Faster, cheaper workflows abound at NAB 2012<\/strong><\/p>\n

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Gordon Smith\u2019s keynote address at NAB 2012, which included remarks that, \u201conly the technologically nimble will survive,\u201d mirrored the \u201cGreat Content Shift\u201d theme of this year\u2019s conference. NAB is the largest industry trade show in the world with 1,600 vendors and more than 94,000 attendees representing more than 150 countries.<\/p>\n

As Smith, the organization\u2019s president and CEO, explained, broadcasters and content professionals are rushing to innovate to meet consumer demand, aggressively pushing mobile, multicasting and ultra HD as the main link to the end user\u2019s interest.<\/p>\n

\u201cI have always heard broadcasting described as ubiquitous,\u201d Smith announced. \u201cUbiquity yesterday meant a radio in every kitchen and a television in every living room. Ubiquity tomorrow must mean broadcasting\u2019s ability to get to all people, at all times, in all places and on all devices.\u201d<\/p>\n

Terrifying or thrilling, depending on your point-of-view, most NAB visitors accepted Smith\u2019s views as inevitable. Certainly, Local 600\u2019s enhanced booth presence and tours of the NAB show floor, led by President Steven Poster, ASC, and Secretary\/Treasurer Alan Gitlin, as well as two cinematography-directed panels (among many), provided members, vendors, and friends of the Guild a great head-start on so-called \u201cdisruptive technology\u201d that is altering the industry at a furious pace.<\/p>\n

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Steven Poster leading tour of NAB show floor<\/figcaption><\/figure>\n

\u201cYou have to be prepared to start a movie with the vision, technology<\/strong>, budget and schedule that is available right then,\u201d relayed Steve Barnett, VP of feature post-production at Fox during the On-Set Workflows for Features and Television<\/em> panel, \u201cand then be prepared to leave it on the curb a year later. The workflow we used on Life of Pi<\/em> at the end of 2010\u00a0is now just as obsolete as workflows from the\u00a01980s.\u201d<\/p>\n

Such warnings about rapid technological turnover dominated the 6-day convention. And with it came the revelation that all departments are working more collaboratively than ever before. That was the core of the ICG-sponsored panel Two Minds, One Vision<\/em>, which spotlighted the collaborative process between the director of photography and the creative leads on two hit network television shows.<\/p>\n

\u201cThe camera department is a world and a technology that no one else understands other than the DP and his or her team,\u201d admitted Julie Plec, executive producer of The Vampire Diaries<\/em>. \u201cThere has to be a lot of trust involved. Dave [cinematographer Dave Perkal, ASC] needs to take my layman\u2019s vision and not only execute it but be able to communicate back to me.\u201d<\/p>\n

In fact, Perkal said his showrunner is legendary for her \u201clengthy emails\u201d notes helping to detail the look of each episode. \u201cIt takes a while to get up to speed with a new show,\u201d Perkal revealed. \u201cUnderstanding the director and the producers shorthand can be difficult. Every word she says I\u2019m interpreting and looking for the meaning, and then executing an idea and in turn looking for her reaction on that.\u201d<\/p>\n

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Opening moments of Two Minds, One Vision panel<\/figcaption><\/figure>\n

CSI: Miami <\/em>cinematographer Ken Glassing also touched on the benefits of increased collaboration and trust between the DP and the main creative force on a series. Glassing talked at length about his choice to introduce the Canon 7D as a supplement to his A and B cameras (the show had recently switched from Genesis to ALEXA). Glassing said he was looking to implement that \u2018breathing-with-the-camera\u2019 technology into the feel of the show. \u201cIt allowed us to not just watch the action, but to be a part of the action,\u201d he shared.<\/p>\n

\u201cToday\u2019s cameras are so small and have the capable technology, so we can take [a scene like a car going over a bridge] and put multiple cameras in places<\/strong> we wouldn\u2019t have been able to get before,\u201d added CSI: Miami <\/em>director Sam Hill, who’s done over 40 episodes. “Truthfully, we\u2019re similar to Vampire Diaries<\/em> in our collaborative approach – this concept of a mini-movie every week. Just about any successful TV show out there is striving to push that envelope, in terms of visual storytelling, as far as they can.\u201d<\/p>\n

For the High Octane Filmmaking panel, stuntmen-turned-filmmakers Scott Waugh and Mike McCoy, aka The Bandito Brothers, discussed their almost exclusive use of the Canon 5D Mark II on Act of Valor<\/em> (which grossed $69.7 million) to capture the stories of five Navy SEALs, using real SEALs, real stunts, and real guns with live fire. Going with McCoy\u2019s mantra of \u2018creativity comes from scarcity,\u2019 cinematographer Shane Hurlbut, ASC, Waugh, McCoy and others utilized more than a dozen 5Ds, shooting on-the-fly documentary style. And because of the 5D\u2019s tiny form-factor, the Bandito Brothers were able to wrap post on the movie with no visual effects, other than painting some of the cameras out. Since all the operators were suited up to look like camouflaged soldiers, it was hard to discern if they were holding a gun or a camera.<\/p>\n

\u201cFour-and-a-half years ago, all of Hollywood thought we were smoking crack when we said we were shooting on a still camera,\u201d Waugh laughed. \u201cIt had issues, as any new piece of technology does. But once we got through the tech issues and Shane pioneered the look for us, it just opened up Pandora\u2019s box. We could move this camera in ways that were just not possible before.\u201d<\/p>\n

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L to R: Dave Perkal, ASC, Julie Plek, moderator David Geffner, Ken Glassing, Sam Hill<\/figcaption><\/figure>\n

That type of innovation by necessity was echoed<\/strong> at the ICG-sponsored Spotlight on ICG\u2019s Emerging Cinematographer Awards<\/em> <\/strong>panel. The 60-minute discussion featured Emerging Cinematographer Award-recipients Cynthia Pusheck, Todd Dos Reis and Patrick Meade Jones all talking about their careers post-ECA\u2019s. And as Pusheck, DP of ABC\u2019s Revenge<\/em>, described it: \u201cThe more confidence your team gets in you and you get in yourself, pushing the visuals further becomes routine.\u201d<\/p>\n

Jones, who has DP\u2019d over a dozen shorts in the last five years and is currently on his first feature, added that without experimentation early in one\u2019s career, \u201cyou won\u2019t ever get to your full potential.\u201d<\/p>\n

\u201cIf you don\u2019t fail [in some aspect] of nearly everything you try,\u201d Jones explained, \u201cyou\u2019re not doing it right. I had never shot cross-processed before and on Idiot Box<\/em> (Jones\u2019 2009 ECA winner) we decided to do it two days beforehand. There are plenty of scenes in there that are blown out because I didn\u2019t know what I was doing. But that informs my process. As long as the people hiring me are happy, I feel okay about taking risks.\u201d<\/p>\n

Dos Reis, who bumped up from operator to DP in 2009 on Entourage<\/em>, echoed Jones\u2019 thoughts about building on the trust of his creative partners. The DP talked about how the visual language of Entourage <\/em>was first created by cinematographer Steve Fierberg, ASC.<\/p>\n

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L to R: CSI: Miami DP Ken Glassing, CSI: Miami Director Sam Hill<\/figcaption><\/figure>\n

\u201cSteve set it up as a documentary where you have the same limitations that come with shooting a doc – the action just happens, you don\u2019t create it,\u201d Dos Reis reflected. \u201cOver eight years it got more stylized and I tried to make it a bit cleaner. But I think that had to do with using less documentary directors – who were the ones being brought in during the early years – and more TV directors. Either way, I still made sure to keep to Fierberg\u2019s original vision throughout because that’s what made the show what it was.\u201d<\/p>\n

When it comes to the vision thing, James Cameron is at the top of his class. Speaking with his partner at CAMERON\/PACE Group (CPG), Vince Pace, ASC, in their panel The Secrets of Making 3D Profitable, <\/em>the filmmaker explained how they were integrating the workflows of 2D and 3D into a new approach dubbed, \u201c5D production.\u201d<\/p>\n

\u201cWe\u2019re at the crosshairs of two previously divergent technologies, now working on a common platform,\u201d Cameron said about the CPG engineering team who created 14 new products debuted at NAB this year. \u201cWe\u2019re able to develop code, FPGAs, all right from the board level up, knowing that it\u2019s going to be advertised across the entire spectrum – cameras, tools, and workflow – because we know we can use it in features, episodic, sports, or live broadcast entertainment.\u201d<\/p>\n

Cameron said the ultimate goal was to make 3D un-special; integrating the workflow into a traditional model that uses the same operators, assistants, DPs, and general production strategies, that have long been responsible for the success of 2D capture.<\/p>\n

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Opening Moments of Emerging Cinematographers Panel<\/figcaption><\/figure>\n

\u201cWe\u2019re using a lot of untraditional technology to meet traditional needs,\u201d he continued. \u201cThe message used to be \u2018you don\u2019t know what you\u2019re doing, therefore you need us.\u2019 Now the message is \u2018you know exactly what you\u2019re doing, we will enable you to get what you want.\u2019\u201d<\/p>\n

Getting what you want was at the heart of The Brave New World of Filmmaking with Digital Technologies<\/em> <\/strong>panel, where visual effects supervisor Scott Farrar, ASC (The Chronicles of Narnia, Minority Report<\/em>, Star Wars: Episode 1 Phantom Menace<\/em>) talked about his transition to digital from photochemical, recalling the days when VFX were done in-camera and assembled via an optical printer. \u201cI love being in this digitally advanced era,\u201d Farrar said. \u201cBut visual effects are still in the Stone Age to some extent. I know you all hear about the fancy software and the tricks we can do, but it is still terribly difficult to get the shot through the whole process – out of your mind and onto that screen.\u201d<\/p>\n

Farrar cited the recent blockbuster, Transformers: Dark Side of the Moon<\/em>, and a prolonged debate about whether to shoot in native 3D.\u00a0 \u201cWe shot a lot of 3D tests,\u201d he explained. \u201cAnd suddenly you could see all these nooks and crannies [in the Bumble Bee transformer] in such a clear way that it felt like you were seeing something you had never seen before. That prospect excited all of us involved.\u201d<\/p>\n

\"\"
Revenge DP Cynthia Pusheck<\/figcaption><\/figure>\n

Other pioneers in the \u201clearning as you go\u201d methodology were the makers of AMC\u2019s The Walking Dead.<\/em> The\u00a0Creating a Thinking Person\u2019s Zombie Drama<\/em> panel featured writer-creator Robert Kirkman talking about his pleasure in being able to blaze new paths in horror television, and pushing the visual and thematic envelope of series TV.<\/p>\n

\u201cIt\u2019s great that AMC is bold enough to put just about anything up there,\u201d Kirkman said, touching on the show\u2019s gore and violence. [Walking Dead\u2019s <\/em>revolving cast members are often killed off within a few episodes, inspiring \u201cdeath dinners\u201d before episodes honoring guest actors.] An upcoming third season, airing this October, will provide Kirkman and his team \u2013 executive producers Dave Alpert and Gale Anne Hurd, and showrunner\/writer Glen Mazzara \u2013 with the chance to find out just how far AMC, and the disruptive technologies that swept through NAB 2012, will allow them to go.<\/p>\n

Valentina Valentini. Photos by Beth Dubber.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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