THE HEAVY MOB
Why bigger drones are better
120 FRAMES-PER-SECOND SCORING DISRUPTION When synthetic shutters saved Ang Lee
Easy soundtracks with FilmStro
VARI-TESTED
Panasonic VariCam LT
THE FUTURE OF VIDEO PRODUCTION TODAY
October 2016
definitionmagazine.com
NEW LOOK
Studio in the Sky
Are you ready for the revolution in post?
THE EPIC TECH BUILT How Game of Thrones became the biggest TV show ever
WIN A S6K I BROADCAST LICENCE FROM FILMSTRO SEE PAGE 22
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Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire. CB22 3HJ. UK
GAME OF THRONES: The TV epic that tech made
EDITORIAL EDITOR Julian Mitchell
01223 492246 julianmitchell@bright-publishing.com
CONTRIBUTORS Ben Dair, Jonathan Jones, Justin Hunt, Adam Garstone SENIOR SUB EDITOR Lisa Clatworthy SUB EDITORS Catherine Brodie & Siobhan Godwood
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Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press.
Welcome
This is Definition magazine as you’ve never seen it before. The title has always strived to report on ways to make moving images in the best way possible. Now we have an official mandate to do that. Definition has joined a new publishing company and is now twinned with another video magazine, Pro Moviemaker. We represent a combined front, with Pro Moviemaker appealing to the entry-level market and the convergence from stills photography. This leaves Definition seeking out the very best you can get from moving images and that’s why in this issue we’re excited to write about cutting-edge productions and technology. HDR, HFR, 8K, UHD broadcast, synthetic shuttering, cinematic drones, disruptive audio scoring, the latest cloud tech for post, the latest in lighting – they’re all in this issue. Technology that you need to know about and that might impact on your business or future business. I hope you enjoy this issue and will get in touch if you do or don’t. Definition is also now a monthly title so be sure to subscribe on our website so you don’t miss what could be vital information for you.
JULIAN MITCHELL EDITOR OCTOBER 2016 DEFINITIONMAGAZINE.COM
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Inside this issue… NEWS 6 HELIUM RISES
News of RED’s Helium 8K camera.
SHOOT STORY
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12 GAME OF THRONES
The rise of the technology that created this epic TV series.
16 CAFÉ SOCIETY
We speak to Woody Allen’s DoP as the director shoots digital at last.
24 JASON BOURNE
An exclusive, behind-the-scenes look at the latest Bourne movie.
FEATURES 28 IN THE CLOUD
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Are post houses about to move further in to the cloud?
34 SHOOTING FLEABAG
This BBC and Amazon dramedy is a full-blown 4K HDR production.
38 THE SYNTHETIC SHUTTER The story of how Tessive made Ang Lee’s 120fps movie viewable.
GEAR 42 IN THE AIR
Helicopter Film Services explains why heavy-lift drones are better.
47 LIGHTING
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A drone could join the lighting crew for your next shoot…
48 MAKING MUSIC
Filmstro is making soundtracks easy – win a licence on page 22.
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50 PANASONIC VARICAM LT
Find out how the latest VariCam fares in the field with Ember Films.
56 G-TECHNOLOGY SHUTTLE The G-SPEED Shuttle XL might be the perfect 5K rushes partner.
58 BLACKMAGIC RESOLVE
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Why v12.5 could be ‘the one’ for Soho Editors’ Rory Cantwell.
60 4K CAMERA LISTING
All the details, all in one place. OCTOBER 2016 DEFINITIONMAGAZINE.COM
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NEW PRODUCTS CAMERAS
Helium Rises
The RED Helium Super 35mm 8K camera is out, although officially it doesn’t launch until October. The lucky few got theirs early, we spoke to one of them
We all know by now that it’s hard to make digital movie cameras. Fulfilling orders as quickly as companies would like then also becomes a problem. So it’s quite rare to hear about cameras coming out before they are scheduled to. Yet, hey presto we now have the new ‘Stormtrooper white’ RED Helium WEAPON. In fact the RED Helium WEAPON is already shooting, although in very limited numbers. They were meant to launch next month, but a batch of them surfaced and were all sold in one day at $59,000 a go after a short announcement from RED HQ. We heard rumours that they came out early to make it to the Rio Olympics but couldn’t confirm that. Mark Pederson, technical director from Off Hollywood in New York not only bought Heliums but also a much rarer beast – a RED 8K VistaVision. He explains his thinking for buying both cameras: DEFINITIONMAGAZINE.COM OCTOBER 2016
“I knew a little bit about it, it definitely came out ahead of schedule. There was and still is a pushback of why we need 8K, what’s wrong with 2K and maybe 4K? There were quite a number of people who had RED MX DRAGONs and MX EPICs that didn’t upgrade to the WEAPON because they felt like it was the same sensor. I got the VistaVision cameras first, a couple of weeks before my Heliums, but I had more or less the same reactions to both 8K cameras which was: it’s not just a few more K, it’s a little bit better in everything, the dynamic range is a little bit better, the sensitivity, the colour science. It’s a whole new sensor, not just two more K. “The initial misconception that people will have is ‘Who the heck needs 8K?’ But once you kick the tyres on the cameras you can see what’s on offer and how 8K starts to make sense, the fact that you’re oversampling so much is the key.
“We’re not going to be finishing in 8K anytime in the near future, maybe never, that’s just the NHK experiment. But we are going to finish in 4K, even though we mostly still consume content in HD. You want to be finishing in 4K. HBO is demanding its shows be finished in 4K, and Netfllix and Amazon – the same. So when you start in 8K, you have so much more oversampling, even to 4K. “The Helium camera feels like it’s much more sensitive. In our tests
ABOVE Screen grab from The Underdog, shot with the RED Helium camera by filmmaker Jonny Mass. BELOW The Helium shooting The Underdog.
© JONNY MASS
CAMERAS NEW PRODUCTS
CNNAIR TAKES OFF
YOU CAN LITERALLY DO 8K CHEAPER AND FASTER NOW THAN YOU COULD 4K ONE YEAR AGO… INTERFACES LIKE THUNDERBOLT 3 AND USB 3.1 ARE DOUBLING THE DATA RATE FROM WHERE WE WERE LAST YEAR we see it being pretty close to the 6K WEAPON. However, because the photosites are denser, the pixel pitch is about half the size, you can push to a much higher ISO and as long as you’re oversampling, you don’t see the noise. It’s not a ‘see in the dark’ type camera, but you can shoot ISO 1600 all day and I would never do that on a 6K WEAPON. “People are also going to complain about the RED workflow even though we know it’s not difficult. They will say that 8K is completely unmanageable. My argument to that is, first of all you can record simultaneous proxies so you can record your edit media at the same time whether you’re ProRes or DNxHD. In episodic television most of them are using CDL workflows because they want the option of changing the CDLs while editing, ‘lets make it darker or whatever’. “On shows that have a decentsized budget there are only two primary deliverables that happen between the set and editing: one is dailies, or what I call viewing dailies which is the stuff that the executives get, and then you have edit media which is going into the NLE. What I try to tell everyone is if you’re rendering or transcoding your edit media you’re doing it wrong ‘today’. So you can take that 8K Helium footage and drop it right in to the Avid and go to work without even transcoding. “I’m not saying that a year ago it would be wrong, but today there is no reason to transcode your edit media, you can go right from the camera to the NLE with a proxy. I’m a fan of the CDL workflow for long form because it gives you a lot of
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freedom. You still need to get this stuff up to the cloud with colour at least with the initial CDLs on it so there is an initial transcode that has to happen for viewing dailies and that’s only because nobody has been smart enough to make a good cloud dailies review tool that just takes the metadata and renders the CDL on the iPad. You shouldn’t touch the raw until you need it for VFX pulls or until you’re doing your final finish. “My argument is that the price of hard drives and the new interfaces like Thunderbolt 3 and USB 3.1 are doubling the data rate from where we were last year. You can literally do 8K cheaper and faster now than you could 4K one year ago. “I think the Helium sensor is the best for TV and film with one exception and that is the VistaVision
sensor, which, of course, is the sensor for the new Panavision DXL camera. We had our first one here for about a week before IMAX took it away for a long time. It can be a little frustrating because you have less lens choice and you have to look a little harder at some non-obvious choices. “There’s still an incredibly small number of VistaVision cameras as their yield for those sensors is shockingly low and much lower than they thought, they’ll be back-ordered forever with that camera. The Helium sensor is a completely new design and they can make them faster so the truth of the matter is you’ll be able to get a Helium much faster that you’ll be able to get a VistaVision. I’m pretty sure they’re going to raise the price of VistaVision because they can’t make them as fast as they thought.”
RED DSMC2 – SENSOR TECH & FILM FORMATS RED WEAPON 8K VV DRAGON 8192x4320 – 40.96x21.6mm
SUPER 35mm 4-PERF Full AP
SUPER 35mm 3-PERF 16x9 RED WEAPON 6K DRAGON 6144x3160 – 30.72X15.80mm RED SCARLET-W 5K DRAGON 5120x2700 – 25.60x13.50mm RED RAVEN 4.5K DRAGON 4608x2304 – 23.04x11.52mm
SUPER 16mm 16x9 ACADEMY 35mm 16x9 RED 8K S35 HELIUM 8192x4320 – 29.9x15.77mm VISTAVISION 16x9
©PHIL HOLLAND PHFX.COM
CNN has formed an aerial newsgathering drone unit. No doubt other news organisations, large and small, will soon follow. For the first time CNN will have a designated Unmanned Aerial Systems (UAS) unit with two full-time UAS operators to fully integrate aerial imagery and reporting across all CNN networks and platforms, along with Turner Broadcasting and Time Warner entities. GTC member Mike Brennan commented: “Whilst a drone is not capable of physical rescue, they are highly valuable in disaster response and for rapid evaluation of the scale of a disaster, particularly earthquakes and flooding where roads become blocked. “In remote areas, local coordination centres generally do not have the benefit of helicopter aerial surveillance. “But if a news crew turns up with a drone should they be mortally obliged to help the local disaster response? Is it salvation or CNN? How would seeing a drone negatively effect those pondering self rescue versus waiting for the calvary?” OCTOBER 2016 DEFINITIONMAGAZINE.COM
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NEW PRODUCTS
WORDS ADAM GARSTONE
CANON LAUNCHES 4.5K C700 Because no one, ever, in the history of journalism, has ever made a joke about Canon’s name – ever – it’s tempting to say that you need big guns to take aim at ARRI’s AMIRA. The announcement of Canon’s EOS C700 can be seen as little else, however, all (terrible) joking aside. Building on the success, and capabilities, of the C300, Canon has produced a true, high-end, shouldermount camera, with a Super 35mm sensor. The camera is available in two models, one with a global shutter and one with a rolling shutter – the sensors are different, though they share similar specifications. Both sensors are, natively, 4.5K capable, and the camera will record internally, to two CFast cards, 4K at up to 60p, 2K at 120p using the whole sensor and 2K at 240p in cropped mode. Canon has worked with CODEX to produce an add-on Raw recorder, which (with future software
CANON HAS PRODUCED A TRUE, HIGH-END, SHOULDERMOUNT CAMERA, WITH A SUPER 35MM SENSOR DEFINITIONMAGAZINE.COM OCTOBER 2016
upgrades) will record 4.5K Raw at up to 100fps and 4K Raw at 120fps. For the first time, Canon has internal recording using Apple’s ProRes CODEC, and support for anamorphic lenses is built in. Canon claims a dynamic range of 15 stops for the camera – the same as the C300 MkII – and the sensor integrates Dual Pixel autofocus functions. This, of course, only works with lenses that have autofocus capabilities, and in this market most camera operators prefer to rack focus manually. Nevertheless, as autofocus goes, this is the best around – it’s good to know that it’s there if you need it, and it would be churlish for Canon to exclude it, when it’s available on other, lesser cameras. The camera has Canon’s EF lens mount, with PL as an option, and there will also be an adapter for B4 lenses. Other options include a Full HD, OLED eye-level viewfinder (which will also work on the C300 MkII), a hand grip with zoom rocker, a removable remote control panel and a sturdy looking shoulder pad with rails. The EVF has buttons for false colour, magnification and so on, in addition to those available on the camera body. The camera is well stocked with inputs and outputs. There are the usual suspects, of course – 4 SDIs, HDMI, genlock, timecode and a
couple of audio XLRs (analogue and AES/EBU) – but it’s good to see both 24V and 12V outputs, and a topplate that’s well peppered with an assortment of mounting bushes. The C700 will be shipping at the very end of the year – more probably Q1 next year. The rolling shutter body will retail for £26,500, and the global shutter body for £28,500, which is very much in the territory of the fabulous AMIRA. At the time of writing, no other camera we have tested comes close to the AMIRA in terms of real-world dynamic range, despite the claims of manufacturers, but the C700 certainly bests it for sensor pixels and autofocus, and the build, handling and capabilities of the body seem excellent. We look forward to doing a full review in the new year.
ABOVE Canon’s latest EOS Cinema camera, the C700 offers 4.5K Raw at up to 60p internally but add the optional CODEX record (see below) and you get 4K Raw at 120fps.
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NEW PRODUCTS
CANON’S EOS 5D MARK IV GETS A 4K DCI Canon’s EOS 5D, the camera that started the DSLR video revolution with its Mark II version, has now reached Mark IV. The MkIII suffered from questions over the ‘softness’ of its video shooting so videographers will be widening their eyes to check the MkIV’s movie results. From initial information from Canon, the EOS 5D Mark IV offers a very impressive 12-bit DCI 4K (4096x2160) at 30/25/24fps recorded internally. You also get 120fps for HD, Dual Pixel CMOS AF, a new time-lapse movie mode and a new HDR movie mode. We have heard rumours though that internal recording is only 8-bit. A new processor, the DIGIC 6+ claims seven frames-per-second at full resolution (is this unlimited?)
TRANSVIDEO LAUNCHES STARGATE
with full AF/AE tracking, but then mentions 21 Raw images in a single burst, which is tantalisingly close to the magic 24 number. The new Dual Pixel Raw feature claims that each of the camera’s 30 megapixels is ‘made up of two photodiodes which can be used together or individually.’ If the dual pixels are displaced in depth
to the film plane that would be extraordinary. We could see how sharpness and bokeh could be adjusted in post. But if they are side by side, we’re not sure how this is any different to any two pixels in current sensors being manipulated in post. Canon EOS 5D Mark IV – £3,629/€4899.99, available now www.canon.co.uk
Stargate is a new seven-inch monitorrecorder ready for HDR, 6G and 12G SDI. It’s full HD, 4K/6G compatible, and is a production tool for directors, DOPs, focus pullers, technical directors and engineers. It offers the ability to record dailies (H264/MP4/MKV) on to SD cards and features 3D LUTs. The display offers a bright 1000 Nits, with a one to one match. If this works with a 4K input, that would be great. www.transvideo.eu
SIGN UP FOR NAB IN NEW YORK
Celere Lenses The Celere range of prime lenses from Hanse Inno Tech in Hamburg is slowly appearing in the UK movie and TV drama market. At the moment there are four in the set: 25mm, 36mm, 50mm and 85mm. There is soon to be a 18.5mm with T1.6 speed. All lenses have the same weight, size and housing so there is only a little adjusting of any cine gear when the lens is changed. They all weigh about 1050g (+/-10g) and the DEFINITIONMAGAZINE.COM OCTOBER 2016
bodies are full metal so pretty robust. There’s not much information about what optics are inside but they might be from Japan. There’s huge movement in taking still lenses and mechanically re-housing them but they don’t have floating elements, they’re always going to breath more than designs for cinema shooting. Markus Wedde from Hanse Inno Tech says: “The Celere primes are
designed for up to RED 8K VistaVision wide screen sensor and cover the full 45mm image circle. With a high speed of T1.5, pictures can be created even with less light and shorter exposure times.” They offer PL and EF mounts, with E on the horizon. The price in the UK post-Brexit is about £3000 per lens and the lens are exclusively distributed by Cintek. www.cintek.co.uk
Taking place 9-10 November at the Javits Convention Center in New York, the 2016 NAB Show New York is inviting would-be attendees to sign up for advance tickets. The event, which also hosts SATCON – focusing on satellite technology – draws more than 7000 attendees and includes more than 80 educational sessions focused on the intersection of media, entertainment and technology. Around 300 exhibitors are taking part including Adobe, Avid, Blackmagic Design, Canon, JVC, Panasonic and Sony. www.nabshowny.com
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SHOOT STORY GAME OF THRONES
ABOVE In line with its increasing ratings figures, Game of Thrones has experienced a big leap in its production values.
DEFINITIONMAGAZINE.COM OCTOBER 2016
GAME OF THRONES SHOOT STORY
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The television epic that tech created
As the epic series has grown in popularity, so have production values on Game of Thrones. We asked the producers about some of the creative and technical work behind series 6 WORDS JULIAN MITCHELL STILLS HBO If you’ve ever felt the need for a Harry Potter movie binge you will appreciate the production differences between the movies across the decade of moviemaking. The Philosopher’s Stone has questionable acting as well as VFX but fast-forward to the VFX spectacular that is The Deathly Hallows parts 1 & 2 and the difference is night and day – the advances in production techniques are laid bare for all to see. There has never been a television equivalent until Game Of Thrones started talking about the approach of winter (one for the fans). A Game Of Thrones flashback to series 1 reminds you of an earnest BBC Saturday 5pm type show (in style but definitely not in content). However series 6 is moviemaking on a grand television scale: hundreds of practical and CG VFX and motion tracking shots, set extensions and digital characters with hundreds of extras across five countries for most of a year per season. The production team equate a year’s worth of Game Of Thrones production to making ten feature films per series! Now the producers are embracing on-trend techniques like HDR and Dolby Atmos but interestingly shying away from UHD for now. Gear wise the production uses a combination of cameras, mostly REDs and ARRIs. But the production watchword is collaboration. There are no islands in Game Of Thrones production, as soon as the light hits the sensor, the machine leaps in to life and all departments are active. Alan Freir is a co-producer of the show and runs things from the Belfast HQ. “We shoot about 600 hours per season so have to have this
high state of collaboration between the DoPs, post and distribution. Our dailies workflow is something that has been highly tuned over the six seasons and has to be distributed between country specific units. We shoot in five countries so have to have a bulletproof colour pipeline. Although VFX are mostly done in LA, our dailies labs and all conforming is done in Belfast. The editorial teams are small, the assistant editor talks with the DITs and the colourists about the dailies. Conforming is
tightly integrated with the various post-production companies. “With this combination of real, green screen and virtual characters pre-visualisation is key to the production so that set-up is all established and this is used very early on in the edit. Shot replacement was a challenge as the final renders were shorter than the original edit and hence the scene had to be opened up. “For storyboarding we use a combination of concept art, storyboard artists and visualisation
WE SHOOT ABOUT 600 HOURS PER SEASON SO HAVE TO HAVE THIS HIGH STATE OF COLLABORATION
ABOVE By series 6, Game of Thrones had taken on major motion picture values, from motion tracking shots and digital characters to practical and CG VFX and set extensions.
OCTOBER 2016 DEFINITIONMAGAZINE.COM
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SHOOT STORY GAME OF THRONES
ABOVE HBO’s Game
of Thrones is a complex beast, with the huge team working hard to integrate new technologies with hundreds of effects and extras.
teams who work in co-ordination with the HBO production teams. HBO synchronisation tools are used on all HBO shows and the assets are tracked from photographs, principal photography to VFX and artwork. Synchronisation is key to this workflow.” HARDHOME SCENE Although from episode 8 of series 5, the Hardhome massacre scene is illustrative of the immense production size that Game of Thrones has grown in to. Co-producer Alan Freir describes the planning and execution. “The Hardhome battle has something like 500 VFX shots ranging from snow addition to very complex effects with giants. We probably shot that over 16 days in a quarry in
Northern Ireland with its own lake; we were supposed to shoot it on a volcanic black beach in Iceland but it wasn’t feasible to shoot up there for three weeks in the winter. It was November and very cold so shot days were short. We had to send a speedboat around to generate waves to make it look like the sea. Key to such a complex shoot was planning. We included three or four days for motion control work for the giant scenes, another 20-30 hours of actors on dummies for giant battle scenes. Multiple vendors were used to produce various shots and the co-ordination was a major challenge.” THE WORKFLOW The production had been using a Codex lab system up to series 6 but has now moved to a Colorfront system. Almost all shots are kept online using 0.5PB of storage. Erik Hanson from HBO has an overview of the production process and explains the unique workflow: “Conform is done in Northern Ireland which gives
you more control when you are that close to the principal photography. We can drop VFX shots in very close to finishing and also re-edit as required – these are obviously more than just tweaks late in the game. There’s always a combination of shortening and lengthening of shots as the VFX comes back into the edit.” Continuing the movie comparison is the advanced use of asset management. To manage creative feedback across decision-making centres they use a combination of Aspera and PIX for review and approval. Assets are moved in a large batch between different departments. Commenting on the new technologies being experimented with and committed to, Steve Beres from HBO says, “We’re very excited about HDR, for us it could be a game changer and a very exciting technology for a show like Game Of Thrones. It’s as fundamental a shift as the move from SD to HD. HDR enables the content to be consumed on a wide variety of platforms in the most cinematic way.”
500 VFX SHOTS RANGING FROM SNOW ADDITION TO VERY COMPLEX EFFECTS WITH GIANTS DEFINITIONMAGAZINE.COM OCTOBER 2016
GAME OF THRONES SHOOT STORY
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Rodeo FX produced 152 visual effects shots for eight episodes of Game of Thrones series 6. The studio’s work included a pivotal battle scene at the gates of Meereen. Over six months, and working on the kind of tight production schedule required for episodic TV, Rodeo FX delivered cinematic quality work.
The show is also committed to Dolby’s new object-based audio finishing system Atmos. In fact they are currently converting their 7.1 audio to Atmos mix for special edition Bluray sets, which takes around ten days per season. “We could capture in Atmos first and then down mix to 7.1, but it’s a timing issue that is not available during production so it is preferred to do the conversion after the production rather than during. It is basically a workflow optimisation in relation to the production. “As for using ACES, we like to think of ourselves as very creatively driven and the request for ACES hasn’t come up between DoPs, colourists and editors. There isn’t requirement at this moment. The first season was tape and subsequent seasons used file-based cameras. We used lots of different cameras during each season and this was based on a Snowflake workflow. Game of Thrones is driven by what technology is available and would not be possible without the constant release of new tech. HBO is already talking about interactive storytelling, while VR is going to be showcased in a new production called Westworld. Steve Beres says, “VR is just one of many tools to empower and improve storytelling and enable a more collaborative and immersive experience.”
DOTHRAKI HORDE Rodeo FX created a CG Dothraki Horde and horses that were used in two episodes. The army and their steeds were simulated, rendered and composited with a practical crowd, to allow for
a vast sea of Dothraki trudging across the plain toward the gates of Meereen. “The 3D horse and rider assets created by Rodeo FX, along with crowd simulations, laid into the photography so beautifully,
and were so indistinguishable from their photographed counterparts, that I was barely reminded that I was reviewing complex visual effects,” said Joe Bauer, production VFX supervisor for Game of Thrones.
THE BROKEN MAN (EPISODE 7) Rodeo FX created a 443-frame sequence for episode 7, ‘The Broken Man’. The final shot reveals the studio’s Volantis bridge from series 5, a fully CG environment, and was the result of two months of dedicated work shared among 23 artists at the Montreal studio. “The creation of the city of Volantis lives and dies by the lighting,” Bauer explains. “In season 5 we introduced Volantis in broad daylight, and the asset created by Rodeo FX was utterly convincing, both from a distance and up close, and was ultimately award winning. For season 6 we saw Volantis at dusk, with a subtle and beautifully
photographed practical environment the digital assets had to seamlessly integrate with. The ultimate sculpting of
light over these CG surfaces not only sold the reality of this artificial place, but also its strange beauty.”
BATTLE OF THE BASTARDS (EPISODE 9) Rodeo FX completed 65 shots for one of the most memorable episodes of the series, ‘Battle of the Bastards’, in which Meereen is under attack by a huge fleet of ships firing flaming pitch at the city. The studio created FX simulation of flaming cannonballs, shot from ships in the harbour and ripping holes in buildings, while CG smoke and particles fill the air. The
Dothraki Horde comes to the rescue, during which there is a CG decapitation. Daenerys climbs on Drogon, flies across the Meereen gates and gets the dragon to breathe fire to destroy the ships. Rodeo FX shared many of these shots with Rhythm & Hues, who created the aweinspiring dragons. In addition to the fully CG Meereen, the team at Rodeo FX simulated CG sails,
water and fire, while matte painting was used to fill in the details, such as skies, distant mountains and cliffs. “Episode 9 really is the pinnacle of the season,” says Sébastien Moreau, president of Rodeo FX. “The destruction of the ships was a huge undertaking as we had to model a completely different version of our asset for this scene. The final product is film quality work.” OCTOBER 2016 DEFINITIONMAGAZINE.COM
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CLOUD PROCESSING
FEEDING THE THIN CLIENT
The days of local infrastructure for post studios are numbered. Studios in the cloud are here. While some M&E companies are dragging their feet, some like Amazon and Google are investing millions WORDS BEN DAIR
DEFINITIONMAGAZINE.COM OCTOBER 2016
CLOUD PROCESSING
COUPLE of years ago market research company Frost and Sullivan stated that cloud solutions were slowly replacing ‘on-premise’ solutions in every industry across the globe, but in the media and entertainment industry they said, “Solutions for the cloud cannot completely replace ground counterparts.” “The current situation in the market,” they said was characterised by “… considerable confusion in the difference between private cloud, public cloud, SaaS. This lack of awareness that exists at present is also a reason for the low adoption among media enterprises.” It has been over five years since cloud-based technology entered the post-production market. In the early days, rendering in the cloud was pioneered by start-ups and used by small- to medium-sized production and post-production companies for content for review and approval. In 2016, the cloud is now being used more seriously by larger facilities and companies – ideal for times when 80,000 processors are not enough! Hopefully, by now most have a fairly good understanding of the benefits of using the cloud. The term has always been nebulous, a perception of something that isn’t tangible. The reality is very different, the use of cloud technology is very similar to existing network switches and servers used on site. The key difference is, the allocation of resources has been honed and optimised to use cloud-based hardware for almost 100% of the time. Whereas most desktop computers are hardly used in real terms. Render farms are the exception as economic benefits of using an on-site render farm are only achieved through maximum utilisation. Cloud technology and services have expanded in all areas of production, post-production and delivery. Fundamentally, the key to using cloud services is connectivity and high capacity (1Gbps and more) connectivity when heavy lifting. The exception to this is, if content and processing are already in place prior to loss or a reduction in connectivity. Various dedicated network providers allow the connection to burst for a short period of time and then return to the base bandwidth, eg. Sohonet, euNetworks. We see cloud services employed in almost every aspect of glass-to-
glass and digital-to-digital supply chain, more in some areas than others, and recording directly to the cloud is mainly a live TV/stream application. Expect to see more in this area as there’s been a flurry of acquisitions by Google (acquired Anvato) and IBM (Clearleap and UStream). The biggest growth of cloudbased services is in rendering, predominantly CGI-based rendering, but 2D rendering and processing is also a growth area. At the recent HPA UK Retreat there were several sessions that discussed the practicalities, implications and benefits of using remote rendering and rendering as a service (RaaS).
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• Monitor usage and provide activity logs • Upload/download/streaming of material including mobile devices • Calendars/email notifications/watch folders • User logging/annotation/comments of dailies or cut sequences • Online application for collaborative viewing/logging/editing • Support for Application Programming (API) • Database search functions
WHAT’S AVAILABLE IN THE CLOUD? There are now many different services and the following is an overview of typical cloud-based services:
Anyone who is new to using cloud technology will be dazzled by the number of different options and entry points. There are several categories of service that are connected via dedicated private or public Internet connectivity. Most network connections (albeit dedicated private or public Internet) are protected via a virtual private network (VPN).
• Remote local servers based on client needs • Ingest/transcoding/creation of proxies • Archiving/storage/content distribution • Encryption and watermarking of footage • Remote CGI rendering
• Infrastructure as a Service: generic elastic compute and scalable infrastructure provisioned by either Google, Amazon or Microsoft where users can select a predefined configuration including vCPUs, memory and storage. Most of the services also provide the ability to create customised VM profiles.
THE BIGGEST GROWTH OF CLOUD-BASED SERVICES IS IN RENDERING
CLOUD SPECTRUM PRIVATE NETWORK
SOHONET
PRIVATE INFRASTRUCTURE (ON PREMISE)
PUBLIC NETWORK - INTERNET (VPN PROTECTED) EUNETWORKS
PRIVATE INFRASTRUCTURE (OFF-SITE) DATACENTRE COLLOCATION
PRIVATE NETWORK
INFRASTRUCTURE AS A SERVICE (IaaS) COMPUTE, STORAGE, LEADBALANCING AMAZON WEBSERVICES, GOOGLE CLOUD PLATFORM, MICROSOFT AZURE
X AS A SERVICE
COLLABORATOPN AS A SERVICE
RENDERING AS A SERVICE (RaaS) CGI AND 2D RENDERING
PIX SYSTEM, DAX, AFRAME, SUNDOG MEDIA TOOLKIT
ZYNC
TRANSCODING AS A SERVICE (TaaS) FORMAT CONVERSION ELEMENTAL, AMAZON ELASTIC TRANSCODER
SOFTWARE SUBSCRIPTION PER MONTH BILLING OR ANNUAL CONTRACT PER MONTH BILLING
PLATFORM AS A SERVICE (PaaS) APPLICATION + RENDERING
ADOBE CREATIVE CLOUD, AVID, AUTODESK
ADOBE ANYWHERE, AVID SPHERE, FORBIDDEN FORSCENE
OCTOBER 2016 DEFINITIONMAGAZINE.COM
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SHOOTING HDR FOR BROADCAST
HDR For Fleabag For those of you watching this BBC ‘not near but on the knuckle’ female angst dramedy, you’ve unwittingly been watching a full blown 4K HDR production from the BBC and Amazon Studios WORDS JULIAN MITCHELL STILLS BBC PICTURE LIBRARY HERE has been and still is a sea change in broadcast television. Cinematic Broadcast is what we’ve been calling it. Now the pace has quickened with streaming video giants Amazon, Netflix and HBO rattling the home-grown status quo. Although Fleabag is a BBC production, it is also an Amazon acquisition. However the idea to shoot in 2.39:1 and on anamorphic lenses was suggested by pilot director Tim Kirkby and made by BBC commissioner Chris Sussman before the show was sold to Amazon. The shoot was already HDR, which is part of the standard Amazon deliverable format. DoP Tony Miller explains that: “Amazon takes these things for DEFINITIONMAGAZINE.COM OCTOBER 2016
granted I think. The one thing that is very exciting working with Amazon is that they are totally positive and said ‘Push this further, we want things more extreme!’ It’s American, left wing, Silicon Valley forward-thinking and I think it’s very exciting that we’ve got people like that and people like Netflix and HBO as well. I think Britain needs to wake up and see what’s going on.” Shooting for HDR was new for Tony and his trusted DIT Alanna Miejluk. “We did some tests in the beginning, I tested the RED and I tested the Alexa Mini. As we wanted quite a naturalistic look the RED just felt too harsh. It supposedly produces more definition, it’s a true 4K camera, but as we all know bandwidth pixels don’t always translate to pleasing images, so I decided to go with the Alexa Mini, which Amazon Studios approved for the very same reason as most of us (cinematographers) prefer it for, its look. “But I think there’s a point: you’ve really got to look on extremely good quality gear pushed through a top post chain to be able to see the difference. It’s not night and day and there are so many factors, the quality
of the lenses for instance. One point about this is, can you really see the difference? Will your average punter see the difference? I think some will see no difference at all and some will. In the old days of film the stock came in every 18 months or two years and there would be one or two new stocks, you didn’t really have too much to keep up with. Whereas on digital I’m continually firefighting to stay up with what the latest is. “Often you go into these things like HDR really feeling your way. Would I do anything different? I think the main pressure on shooting especially television, almost regardless of the budget, is that I just don’t have time to go in to a blackedout tent and look at a 4K monitor. Some DPs get other people to do it for them, I get my DIT Alanna Miejluk to do it, I’ve been with her for about four years now and she’s absolutely brilliant. Prior to Fleabag we’d been down to see FilmLight and various other people about HDR. She’s the geek on the team and I rely very heavily on her in terms of checking bandwidth, checking where there is detail and where there isn’t detail. She’s on-set with me all the time.”
SHOOTING HDR FOR BROADCAST
HDR CAPTURE TECH The whole series was shot on the Arri Alexa in ProRes 4:4:4 at 2880 x2160 with Cooke anamorphic lenses and the entire workflow was maintained at this resolution. Tony explains how he managed the anamorphic capture: “You can get there using any of the latest cameras, all of which effectively shoot 4K images. If you wish to shoot with anamorphic lenses on the Arri Alexa Mini, as we did, you need to use 4x3 (2880x2160) mode. It shoots a full-frame height image. Bearing in mind that 4K UHD frame size is 3840x2160, by
IT’S AMERICAN, LEFT WING, SILICON VALLEY FORWARD-THINKING AND I THINK IT’S VERY EXCITING THAT WE’VE GOT PEOPLE LIKE THAT
un-squeezing your 4x3 image you will get 5760x2160 and you need to scale it down to fit the letterbox of 3840x2160 in post.” Tony explained how in practice he dealt with the HDR aspect: “There is a scene in one of the later episodes of Fleabag shot on the sixth floor of Tate Modern with floor to ceiling glass to the outside with St Paul’s in the background. I shot it balancing it out as best as I could, shot the rehearsal, rushed it to Alanna’s on-set lab and she came back to me and told me raise it a quarter of a stop and we’ll hold more detail. It was a very sunny day and with the actress Olivia Colman facing the windows, there was only so much light I could pump in to balance it out. Remarkably with HDR I held much more detail. There’s definitely a more ‘silky’ look to the HDR, that’s something else I noticed. We shot again at Tate Modern at night and what amazed me, particularly with the background being quite a long way away, a few hundred metres or more, was the amount of detail it held. That’s an example of more pixels being better. Alanna at that point was checking on an HDR display; she hadn’t been before.
“It’s like film for me with digital, I still use a light meter, I still shoot it profoundly like film, I come from documentaries where things have to be fast. You get your eye in with exposure, you’ve got a little waveform on the camera, within about two tenths of a stop I can be very accurate just through experience, you get into the zone. “I used a modern set of Cooke Anamorphic lenses, which are very
35
ABOVE Fleabag, starring Phoebe Waller-Bridge pictured with Hugh Dennis, was shot on Arri Alexa in ProRes 4:4:4. BELOW At Amazon’s request, Sony’s BVM-X300 HDR monitor was used for grading.
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UAVS HEAVY-LIFT
Doing the heavy lifting Drones, UAVs, UASs – they all do the same thing, shoot video from the air. But in the world of cinematic drones and gimbals that’s where the similarities end. We asked Jeremy Braben, CEO of Helicopter Film Services, to explain the world of ‘heavy-lift cinema’ WORDS JULIAN MITCHELL e define them as ‘heavy-lift’ cinema to try and make a distinction, not that anybody uses them less professionally than we do, it’s just that the ones that we operate predominantly are designed for cinema camera payloads,” begins Jeremy Braben, CEO of Helicopter Film Services (HFS). “We’ve just done a test for Marvel and we tested three different aircraft: a homebuilt one, which is a conventional helicopter that can do aerobatics; a DJI Inspire; and our Aerigon. Just in the transcoding of the images before sending them off to the producers, it was staggeringly different between the ALEXA Mini on the Aerigon and the Inspire, even though the Inspire is a 4K drone.” Current UK aviation laws restrict Helicopter Film Services to a 25kg load for UAV use, that’s the whole package. However this is changing to 20kg, to bring it in line with the rest of Europe. “The CAA wanted photographic evidence that our Aerigon UAV weighed less than 20kg so we had to weigh every component and we got the package down to 19.5kg.”
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HFS is also one of only two companies given ten-metre distance exemptions to the public, the norm is 50m. “With the big gimbals and the big aircraft needed to carry the cameras and the lenses that people are demanding in our world these are the laws we have to adhere to, not just the laws of physics,” says Jeremy. “Both Intuitive Aerial, who make the Aerigon, and Shotover, who make the U1, have to work with the parameters that all of us have to abide by. We also demand a certain quality and working in the areas that we work in, the authorities are looking at us more closely because we are asking them to let us do more. “In real terms buying a Shotover doesn’t give me anything that, say, an Aerigon doesn’t. It’s another aircraft for our fleet that does what we need, as in carry the higher payloads, the bigger cameras and the longer lenses. The gimbal is $50,000 and the aircraft is about $30,000. We have to have it, I wanted to have the option. Ideally if I could afford it I would have every single product on the shelf so that when a customer calls and wants X,
they can have X. Customers do come in and say ‘I only want to use the Shotover’. They may not have ever used it before but the industry gossip, the buzz means it might have become a Hoover in terms of the name.” IN COMBINATION The list of camera and lens combinations that companies like HFS use for filming with UAVs is not that restrictive. It’s not an exhaustive list either. It comes down to pretty much two things: weight and size. If it is within the weight and size you can pretty much put anything on there. “We’re constantly adding stuff to Shotover’s list. We’ll always get something thrown at us,” says Jeremy. “For example, a particular DOP wants to use what is considered a strange combination of a vintage lens and something else. We’ve even gone back to putting an ARRI 235 35mm film camera on it. We’re the only people who have ever done it on a UAV. Obviously we couldn’t use a full size ARRI ALEXA and a 10:1 zoom, that’s common sense, it’s limited by payload. “If we have a new combination we will ask Shotover or whoever for their plans to include them, but we’re a slightly different case as
ABOVE Heavy-lift cinema refers to the use of drones designed for cinema camera payloads. LEFT There aren’t many requests for an ARRI 235 film camera to go on a drone, in fact this was the only one.
ABOVE Helicopter Film Services’s Jeremy Braben and Pete Ayriss on the set of Spectre.
HEAVY-LIFT UAVS
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THAT’S THE HOLY GRAIL – GETTING ONE OF THESE THINGS FLYING FOR CONSIDERABLY LONGER we have in-house abilities. We can manufacture certain parts, we’ve got a rapid prototype and by virtue of the helicopter engineering company we have machining capabilities in-house.” One use for a UAV that we’ve certainly never heard of before is as a light source. “We’re operating one of our Aerigons at the moment as a light source,” explains Jeremy, “so we have very high output LED light panels from Digital Sputnik on it. We’ve got the camera with a separate drone and the source of light. One is basically a flying gaffer rig and the other is a flying camera. We’ve tested them and it’s extraordinary.”
WORKING ETHIC According to Jeremy there’s a whole working ethic that has to change on set and it goes further than the crew. It has to go to the mindset of, particularly, the ADs who have to be mindful of the restrictions. It’s not that they’re being difficult or awkward it’s just that they have to understand there are limitations. “Obviously we can only carry batteries of a certain weight and that’s where this time restriction has come in,” says Jeremy. “Battery technology is accelerating very quickly, led by the military, of course. The lithium polymer batteries, although they are OK, are fairly
unstable. They’re not well liked by anyone who has to transport them and there is the quest for a more stable, high power, low weight battery source. It’s coming, the military have it now. We’re constantly talking about how can we get a hydrogen fuel cell on the top of one of these things and provide the power – that’s the holy grail – getting one of these things flying for considerably longer.”
ABOVE The Shotover U1 in action – the gimbal has been out for a while, the drone is near shipping.
UAV REDUNDANCY The big difference between the Aerigon and the Shotover U1 is the number of arms, and therefore motors. The Aerigon has 12: six arms, 12 OCTOBER 2016 DEFINITIONMAGAZINE.COM
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USER REVIEW
Panasonic VariCam LT The VariCam LT is the smaller and cheaper version of the 35, but as it has the same sensor, it has the unique dual ISO performance that is catching the attention of low-light productions WORDS JONATHAN JONES, EMBER FILMS knew a little bit about the VariCam LT, obviously I’d used the VariCam 35, its bigger brother – it’s an unusual beast and I had mixed experiences with it. Panasonic needed to do something to keep themselves in the game and the LT was the answer to that and it’s an interesting camera. The biggest thing for me to test was the night stuff because for me that’s the biggest selling point of the camera. DEFINITIONMAGAZINE.COM OCTOBER 2016
You can recognise the terminology of the camera and the build and button layout if you’ve come from using an older VariCam; there are certain things that are very similar. With the LT they’re not trying to go fully in to the digital cinema world as they’re trying to keep a handle in the broadcast world. I can see it as a changeover camera for people who have a 2/3in VariCam or one of the other Panasonic cameras and want to go 4K. They haven’t gone ‘right let’s make a cinema camera’. They thought that their previous users can still get their head around it quite quickly. All these cameras, the ALEXAs, the REDs, if you break down the settings of what it is you want to record they’re actually incredibly simple, there aren’t that many settings. The biggest fundamental problem with the LT is switching it off and on again every time you
make a decent setting change. So if I wanted to be at ISO 5000 and 25fps because I wanted the best resolution with the highest sensitivity but then I wanted to do a shot at 100fps, for example, I’d have to do all these setting changes and then turn the camera off and back on, wait for it to boot up and only then would it make the changes. With a RED, for example, the settings are so quick to change, it’s all at a touch of a button. It was the same with ALEXA – you used to have to turn off and on – but that’s all changed with the new models. That side of the ergonomics is a bit frustrating. For example I changed the frame rate and had to turn it off and on and then realised I had to drop the recording format to access the frame rate and it didn’t tell me that so I had to turn it off and on again. That becomes a bit tedious. That said, if you’re in a drama situation and shooting at night and
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you want to access that ISO 5000 ISO setting, and you’re only going to make frame rate changes within its frame rate allowance, it’s great. But with a lot of shoots you do jump around quite a bit. BRILLIANT EF MOUNT There are so many variables with the 4K stuff so yes, you can access a higher ISO, but you compromise your overall recording quality. Another fundamental issue is that it’s not Raw, it’s ProRes 422 and ProRes LT. The great things are still there, like P2 which is tried and tested and we’ve worked with it in the most extreme environments. Those cards are reliable and they work, the whole workflow is simple. The camera itself is incredibly well made and not plastic. Its built-in NDs are a massive help as that’s one of the biggest failings of RED, not having those. OCTOBER 2016 DEFINITIONMAGAZINE.COM
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USER REVIEW
I was really impressed with the EOS mount, although you can also easily change to PL. Most EOS mounts are a little bit clunky; for example with the REDs you still have to change apertures via the touchscreen so if I want to be at, say, f/6.3 and open up a bit, I have to physically tap it in and then it happens. The LT has a little roller wheel and it’s as smooth as pulling iris – it’s amazing. If you’re in the TV world it’s really useful, but in the film world you never really open up during
DEFINITIONMAGAZINE.COM OCTOBER 2016
a shot anyway. I can see some great uses for it; for example if you’re on an EOS lens and the sun starts to creep out, you just dial it back so it’s great for doco work, but for drama you would stop and restart. Panasonic appears to want to win drama shows from ARRI and as the price point is half of the ALEXA Mini camera that will happen. With reviews I always ask the question: Would I buy one and if not, why not? Well think about the sensitivity is how it could affect your lighting budget. If I was doing a film that had a large night requirement or a large lighting requirement, with this, instead of having 18K HMIs, you could have 2.5s or 4K. The sensitivity means you don’t need such big lamps. So you save on the cameras and you save a load more on the lighting – that could be thousands of pounds a day. I could light something with practical lights as opposed to using a gaffer so it might save on crew too. If a project’s budget has been set though you would then just light it. For the doco world, one of the biggest challenges we’ve always had is sequences that go in to the night and very darkly lit atmospheric locations where you can’t take a big lighting rig. The sensitivity is remarkable and that in itself is its selling tool. Because of
that you will put up with turning the camera on and off to change settings. If you’re in the doco world, you pretty much set the camera and go; you don’t really change it, especially if you’re doing synch. There might be the odd shot with a little stylistic moment to it but then you’d set that up and you’ve got time. With our work in the natural history world, we’re changing settings very quickly so the camera falls down there for the natural history world. That’s where the RED has become the industry standard. Because it’s so quick to change settings, you could be doing a shot of a cheetah at 5K and within seconds you could be doing a 240fps 2K close-up. You could get quicker at changing the LT’s settings with practice, but it’s going to be minutes so that is a consideration. FORM FACTOR I found the silver nipple switches on the side of old VariCams awkward, and I think the colour temperature switch here is the same. As there is no raw, the colour temperature is significant as it does bake it in. The colour temperature switch is right above the on/off switch so as I was filming I kept dropping my hand down to turn the camera on and off, but I was finding the colour
ABOVE Usability rates highly, with simple menus, a good viewfinder and an uncluttered layout.
PANASONIC WANT TO WIN DRAMA SHOWS FROM ARRI. WITH LT THEY MIGHT
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USER REVIEW
Blackmagic Design Resolve 12.5 Rory Cantwell is a senior trainer at Soho Editors and also grades for their talent agency. He has used every non-linear editor ever produced and fallen in and out of love with all of them. But now he could have found ‘the one’ WORDS RORY CANTWELL VER get the feeling that you are part of something really exciting? I certainly do. In fact, I’ve felt that way before multiple times during my career, but it’s not always proved to be a positive thing. In the past, I’ve spent time and energy learning technology that delivered creatively, but failed to ignite the market and thus proved to be a wasted effort. On yet other occasions, I invested time trying to master a tool, only to find that I’m the only one using it. Today, things have changed. I feel like I’ve finally backed the best creative technology I have ever had available to me, and, in fact I believe it is now ready to take the world by storm. I speak of none other than Blackmagic Design’s newly updated editing and colour grading software, DaVinci Resolve 12.5. Why do I think it’s so good? Clearly I have backed some losers in the past. Why should you trust my claims that this one isn’t going to fall short in some way? Well, as a senior trainer of Resolve at Soho Editors Training in London as well as a jobbing freelance colourist for Soho Editors post-production talent agency, I have been making a great living out of Resolve for many years. A lot of people know and love Resolve for its exceptional colour correction toolset, and I believe it has been outperforming all the other competitor tools in this creative discipline in every way. Many, however, may not be aware that Resolve 12.5 is now not just a colour correction tool but also an excellent fully featured editor with all the intuitive, accessible functionality needed to produce perfectly edited material in every genre. It has optical flow slow motion, multicam synchronisation via waveform and a fully featured, track based environment that will make anyone coming from Avid, Adobe or even FCPX very happy indeed. DEFINITIONMAGAZINE.COM OCTOBER 2016
ABOVE Not just a colour correction tool, DaVinci Resolve 12.5 also has multicam synchronisation. RIGHT Among the extras in the paid-for version is noise reduction.
SO WHY HAVE SUCH A GEEK EXPERIENCE ABOUT RESOLVE?
It also works with raw material brilliantly, renders in the background and has every edit type you might ever want and a few that you didn’t even know you needed. My favourites are the Smooth Cut transition, which allows me to morph over an interview jump cut if I don’t want to use a cutaway, and the Ripple Overwrite edit operation that lets me do a fourpoint edit, overwriting a shot with a different duration and rippling the timeline at the same time – genius. THE BIG DEAL IS… OK, you say, what’s the big deal? All the industry leading editing software on the market today boasts this type of functionality, so why have such a geek experience about Resolve?
Well, there are two massive reasons. Firstly, by using Resolve I wave goodbye to round-tripping forever. Sure, if I need an effect shot or bespoke graphic done, I might have to export some bits to go to After Effects, or far more sensibly, I could simply use the neat Fusion roundtripping workflow already included as part of Resolve 12.5 and know that the resultant shot is going to seamlessly link back into my timeline, without me having to manually manage the workflow. But that’s not the round-tripping I mean. I mean the one that every job has to face, that every single edit has to go through. Not every job needs effects or bespoke graphics made, but every job needs colour grading
NEXT MONTH
Blackmagic’s URSA Mini 4.6K This is the version you’ve been waiting for…
FILM ROLE
Just how hard is the old medium working to keep up with the new one? We find out
DIT-TERMINED
How the digital imaging technician has evolved from the odd man out on the digital set
DSLRS, AGAIN?
The rise, fall and possible rise again of the DSLR camera for the pro market
SHOOTING IMAX With an increase in resolution and sensor size, your camera may be ready for IMAX
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All the latest news and features from the pro side of UAVs, audio and lighting
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