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ICGMAGAZINE.COM brings back the goods from the 2010 NAB and Cine Gear events<\/strong><\/p>\n <\/p>\n Forward Thinking: Local 600 panel puts the future front and center<\/strong><\/p>\n As is often the case with the world\u2019s leading gear expo, NAB 2010 offered a wide variety of new technology that will heavily influence the future of film and television production. The importance of these changes on those charged with image capture helped to pack the North Hall space at the Las Vegas Convention Center for Local 600\u2019s special panel, aptly titled: The 21st Century Camera Crew. It was standing room only for the mid-week panel \u2013 the busiest time at NAB – as ICG Magazine editor David Geffner moderated a lively and intense discussion between diverse panel members, including: Local 600 President Steven Poster ASC, Producer Jason Clark, former Panavision mainstay Andy Romanoff, New York-based National Vice President (and Digital Imaging Technician) Lewis Rothenberg and 24<\/em>\u2019s cinematographer Rodney Charters, ASC. Although the conversation covered a wide section of technological turf, the main thrust was simply that changes are coming and the industry not only has to be open, but trained for them.<\/p>\n The hot topic seemed to be how new technologies from 3D to DSLR shooting impacts a production. Does this radically change how crews are formed? Does it eliminate traditional jobs or create new ones?<\/p>\n According to producer Jason Clark, whose credits include the 3D animated film, Monster House<\/em>, and the upcoming Act of Valor<\/em> (nearly 80 percent of which was shot by Shane Hurlbut, ASC with Canon 5D DSLR hybrid cameras) nothing has changed. \u201cI will always determine, first, who is shooting that picture,\u201d Clark insisted. \u201cAnd then find out the needs of that cinematographer.\u201d Whether it is a comedy that requires freedom for improv or a project that requires a lot of green screen, \u201cyou rely on the cinematographer for the creative look and then you bring the entire team (including visual effects to stereoscopic conversion if needed) to the table to think through the entire workflow.\u201d He called it \u201creverse engineering\u201d, looking at \u201cwhat we want to end up with, this is what we want in post, this is the look and style.\u201d<\/p>\n President Poster called Clark (the pair worked together on Stuart Little 2<\/em>) an \u201cenlightened producer\u201d bemoaning the fact that \u201cthese days we often see producers saying to a DP \u2018you are going to use this camera\u2019. That\u2019s not born out of any knowledge but is born out of what\u2019s hot this week. That\u2019s not a good way to start.\u201d<\/p>\n Clark\u2019s Act of Valor<\/em> was held up as a prime example of the changing times, given that the DSLR workflow was untested and hard to manage. The producer said that \u201cbuilding 16 5D cameras every day\u201d supported the vision of the movie, allowing Hurlbut and his team to get in with real Navy Seals as they did their jobs.<\/p>\n Charters took this process a step further by showing footage from a DSLR camera rig he used for a late season green screen sequence in 24<\/em>. \u201cIt\u2019s only the beginning,\u201d Charters stated. \u201cThese cameras are a \u2018game changer\u2019, they are no-brainers for plate work. It\u2019s not an easy camera to work with. But the number of people shooting this way is astounding.\u201d<\/p>\n Both Clark and Poster were quick to dispel the notion there is less crew or lighting requirements with the DSLR workflow. \u201cThe idea that because this chip is faster does not eliminate the idea of taste and design for telling the story with lighting,\u201d Poster commented. \u201cThe cameras have a very shallow focus, depth-of-field,\u201d Clark added. \u201cWe needed the best focus pullers to manage the equipment. Ultimately, it was the same people doing the jobs but we were giving them new tools.\u201d<\/p>\n From A – Z<\/em><\/p>\n Romanoff reflected that tradition remains integral during each new major shift in technology. \u201cThe reason that a crew can function at all is that 100 people can show up on the first day of the movie, having never met one another, and each can trust their assumptions of how the other is going to work. It\u2019s a completely remarkable thing,\u201d he marveled. \u201cLater he said that, \u201cthere once was a structure \u2013 shoot film, send it to the lab, and if there was a problem there would be a 5:30 AM call before dailies. That doesn\u2019t exist in the digital world and Local 600 providing it on-set is definitely to our advantage.\u201d<\/p>\n Those thoughts led to a discussion on the roll of the Digital Imaging Technician, with Rothenberg calling that person the \u201cglue\u201d between production and post-production on a digital show. \u201cProduction (not post production) should drive a show,\u201d Rothenberg insisted. \u201cD.I.T.s can advise their director on what can or can\u2019t be done, work with the DP, and still interface with other departments when necessary. But there is a protocol.\u201d<\/p>\n The conversation turned to 3D and not only the technical changes, but also the demands the medium on the placed camera crew. Poster immediately signaled out the Union\u2019s training committee, who are working hard to train members in the language of 3D. \u201cIt\u2019s a different style and language,\u201d he explained. \u201cA director can\u2019t shoot the same way in 2D. The assistant\u2019s work is augmented by the convergence puller and interaxial adjustment. The DP and director now talk to a stereographer and a rig technician. New labor divisions that no one is arguing about because they are necessary to accomplishing the job.\u201d<\/p>\n Poster went on to add that he envisions the current 3D workflow trend evolving into a blended system where productions go out and choose elements to shoot in 3D and elements to shoot in 2D. \u201cIt\u2019s not going to be a black and white world. It\u2019s going to be hybrid and everyone is going to have to understand the language of both.\u201d<\/p>\n Audience questions revolved around changing roles and costs. One of the most interesting interchanges addressed the hard facts on the financial side for shifting from film-base to digital. Clark, who clearly hefted the most experience of anyone on the panel in vetting production budgets, weighed in with his experiences in shooting digital. He said he found the camera system might be \u201cslightly more expensive and there are several new people in the department,\u201d however, eliminating film stock eliminates an enormous amount of output. \u201cFor comedies, where it is possible to shoot millions of feet of film,\u201d Clark pointed out, \u201cthat savings is tremendous: no lab, telecine, streamlining the pipeline, digital dailies \u2013 all that overhead built into the budget for a per-hour basis.\u201d<\/p>\n Although the panelists sometime parted ways on the relative strengths and advantages of competing digital workflows, the consensus came through loud and clear: the \u201cflavor of the week\u201d fever will subside as new technologies mature, and capture will be based primarily on what is the best creative fit for production. And the 21st Century Union Camera Crew needs to be ready for anything thrown in their direction.<\/p>\n Building a New House<\/em><\/strong><\/p>\n Cinematographer Gale Tattersall Takes DSLR Shooting Prime Time<\/em><\/p>\n Pulled out of the audience at the NAB 21st Century Camera Crew Seminar, cinematographer Gale Tattersall addressed his decision to shoot an episode of House<\/em> entirely with Canon 5D Mark II DSLRs. \u201cIt was a terrifying but very necessary experience,\u201d he smiled, \u201cbecause we were really looking to visualize a very special experience in House<\/em>\u2019s world.\u201d Tattersall noted that shooting on the 5D is like \u201cshooting in VistaVision. The extremely shallow depth-of-field allowed us to turn off the distraction of the geometric hospital and get into their heads.\u201d<\/p>\n Or perhaps into the heads of the camera crew! \u201cI swear my first AC was about to stick pins in an effigy of me,\u201d Tattersall laughed. \u201cIf anyone thought pulling focus on the RED was hard, you could do it blind after the 5D.\u201d He cited the Canon lenses, designed for still photographers, with a lens barrel that has a few inches to go from three feet to infinity as only one of the problems. \u201cThe reason I hated camcorders was the tiny chip,\u201d he added. \u201cThey seem fine after this.\u201d<\/p>\n All that being said, Tattersall did emphasize that the House <\/em>camera team captured something the show had (and its audience) had never seen before. \u201cI also think we showed it is possible to \u2018democratize\u2019 filmmaking,\u201d the DP explained. \u201cThere are a lot of great talented people out there that can\u2019t afford the (professional) tools. But, once they meet these cameras and lenses, it will enable them to use what they can afford. The files are easy to use.\u201d<\/p>\n Quizzed about the major changes in the 5D workflow, Tattersall said his camera crew, while challenged, remained the same. \u201cThey never worked harder,\u201d he marveled. \u201cWe were shooting in small sets, working on our stomachs all the time. What we did was impossible to do with \u2018regular\u2019 cameras \u2013 like getting three people with three cameras in the same path. Shooting with the 5D (and DSLRs in general) allowed us to get shots we couldn\u2019t get before \u2013 a shot that we couldn\u2019t get without the 5D \u2013 and that\u2019s what creativity is all about. For me, it\u2019s an incredible system. But people have to understand it\u2019s not for all things.\u201d<\/p>\n Cine Gear<\/strong><\/p>\n Hot summer days (and nights) on Paramount\u2019s New York Street<\/em><\/p>\n Setting aside the long parking lines and the scorching California sun bouncing off the blacktop of Paramount Studio\u2019s New York City street set, Cine Gear 2010 was a big success. While some who had attended NAB came in with a \u201cnothing new here\u201d blas\u00e9 approach, those who had missed the trek to Las Vegas marveled at what the Los Angeles-based show had to offer. It was also a chance to meet the \u201ctool-makers\u201d (usually just an email on your Smartphone), and connect, or reconnect, with colleagues often missed in this fast-paced global industry.<\/p>\n \u201cCine Gear is one of the best equipment shows available,\u201d insisted Local 600 member and incoming Emerging Cinematographer Awards (ECA) Chairman James Matlosz. \u201cIt\u2019s more about the nuts and bolts (than NAB), and designed for the film maker. A few things caught my eye, including some new scouting software, LED lighting from Litegear and, of course, new promises from digital capture movie cameras.\u201d<\/p>\n Nancy Schreiber, ASC said her interest was piqued by two new film stocks from Kodak. \u201cAnd, because I\u2019m always looking for new ways to work with the Canon HDSLRs,\u201d she added, \u201cI\u2019m looking forward to using the HDSLR probe lens from InnoVision Optics as well as HDSLR tools from Zacuto and Red Rock Micro\u2019s accessories. I also saw big crowds around the Tango Steadicam and Litepanels Fresnel LED lights.\u201d<\/p>\n Schneider\u2019s new set of prime lenses caught the eye of cinematographer Brian Reynolds, who observed that, \u201ccompanies are realizing they need to develop better, faster, and cheaper equipment so we can move more quickly and safely on the set.\u201d The DP singled out Matthews for introducing \u201cnew time saving gizmos for mounting flags, scrims and even heavier equipment.\u201d<\/p>\n For long-time Local 600 member Ron Veto, also on-hand as an exhibitor with his new The Slider, Cine Gear\u2019s extended hours allowed more people to attend and gave the lighting companies a window to shine, \u201cno pun intended,\u201d Veto laughed.<\/p>\n And what did other veteran industry exhibitors feel about Cine Gear 2010?<\/p>\n \u201cThere were a lot more people this year,\u201d infused OConnor\u2019s Ali Ahmadi. \u201cWe saw strong interest in the new products we unveiled for the first time ever, including the 2065 fluid head (the replacement for the 2060HD). Many new filmmakers were also interested in our new Follow Focus and O-Grips Handgrip system.\u201d<\/p>\n Band Pro\u2019s Jeff Cree said, \u201cthis year\u2019s Cine Gear really proved no matter who builds the camera, quality glass is still the key to making great pictures.\u201d That is no doubt why the Burbank-based company\u2019s Leica Summilux-C PL Mount primes got plenty of attention from Local 600 members.<\/p>\n Ryan Avery of Schneider Optics said Cine Gear remains important to vendors because \u201cit gives us the opportunity to meet with many DPs as well as other industry professionals that do not generally attend the other shows.\u201d<\/p>\n As for ARRI\u2019s Franz Wieser, he reported that his firm had an, \u201coverwhelming interest in both our lighting products and ALEXA. This year was special for us because Volker Bahnemann \u2013 the former president of ARRI \u2013 received the Lifetime Achievement award during a presentation by Victor Kemper, ASC.\u201d<\/p>\n Bill Bennett, ASC, described Wally Pfister\u2019s, ASC Inception<\/em> seminar as the highlight of this year\u2019s show, the ALEXA notwithstanding. \u201cIt validated a demo that Kees Van Ostrum, ASC and I shot where we mixed wide shots done in 65mm 5-perf with 35mm close ups,\u201d Bennett shared. \u201cWally did that for this film and the result was amazing.\u201d<\/p>\n Speaking of seminars – Local 600\u2019s gathered quite a crowd. Moderated by Mark Weingartner, the Riding the Wave: ICG Camera Crews Master Evolving Technology<\/em> panel included D.I.T. Lewis Rothenberg, assistant Jamie Felz, cinematographer Amy Vincent, ASC and Andy Romanoff, who all expounded on the new world order for camera crews.<\/p>\n \u201cAmy (Vincent) talked about the value she got from attending a Data-handling workshop,\u201d Weingartner relayed. \u201cAs she puts it, even though she doesn\u2019t have to do it herself, she feels it is really important that she knows what everyone in her department is doing and is responsible for.<\/p>\n \u201cAndy (Romanoff) gave a great description of how new technology gets to the set,\u201d Weingartner continued. \u201cHe described how initially specialists are needed \u2013 the \u2018High Priests\u2019 of the new technology, who come to the set and make it work. Gradually, the crews learn the nuances of the new equipment and as they take over the responsibilities, the specialists are no longer needed. Jamie (Felz) reminded members they need to avail themselves of training opportunities, as well go to rental houses and learn the gear on their own time.\u201d<\/p>\n Whether it was giving voice to the radical changes our industry is facing today as Local 600 did with its panel, or focusing on how new technology is allowing more talent access to a wider variety of better, faster, cheaper, and more creative tools, Cine Gear 2010 definitely hit the mark. As one veteran attendee concluded: \u201cThis show is not a step-sister to NAB. It\u2019s a powerful and growing entity that can clearly stand on its own.\u201d<\/p>\n By Pauline Rogers<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":" ICGMAGAZINE.COM brings back the goods from the 2010 NAB and Cine Gear events<\/p>\n","protected":false},"author":1,"featured_media":4003,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-914","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\n![\"\"](\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/uploads\/2010\/08\/nab1.jpg\")
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