ction Issue 8
exploring digital cinematography & beyond
Sony’s on board the CANADA C3 Expedition with PETER WALL Breathing on Everest Sierra Johansen films at Mt. Everest base camp
Auburn University: trains new generation of sport videographers
Beyond Definition 1
LETTER from the EDITOR We’re back with another “action” packed edition of Sony’s @ction Magazine. In our eighth issue, we’re sharing stories from users who are choosing Sony professional cameras and audio equipment to capture and support everything from documentaries and sports to television shows. Join us as we summit Mount Everest, explore the magnificence of Canada’s uncharted territories, go behind-the-scenes with videographers for college and professional sports teams and facilities, discover a documentary about a non-profit operation helping autistic children and go on-thesets of your favorite television shows and movies. Our cover story details the Canada C3 Expedition, a 150-day event exploring the unexplored locales of Canada, in celebration of the country’s 150th anniversary. Using FS7s, FS5 and Alpha cameras, among other Sony equipment, the team captured photos, videos, data and information about the terrains, flora and fauna they encountered.
Next, join us on an audio exploration with Ed Tise, celebrated sound engineer and wireless audio pioneer as he uses Sony’s DWX wireless microphones on Fear the Walking Dead. Finally, we finish our tour in Alabama, with Auburn University’s Athletics team, comprised of videography professionals and college students, training with the top tools they’ll use daily as they navigate the sports broadcasting business. Incorporating a range of Sony 4K cameras, students capture the action on the field and off. Thanks for reading our publication and for taking this exciting journey with us. Don’t forget to visit www.sony.com/pro for our latest products and information, including news about our newest model, the FS5 II, which adds 4K HDR, 120fps RAW and new color science to the model you already know and love. Thank you for reading!
Next, we go to Red Bull Arena in Harrison, N.J., home of Major League Soccer’s New York Red Bulls. The team uses Sony technology throughout all facets of their arena to help deliver unforgettable experiences to their fans. The team produces content for team’s online videos using Sony 4K cameras, including their personal favorite, the FS7. Breathing on Everest is an inspiring documentary that demonstrates what it truly means to defy limitations and to overcome adversity. Sierra Johansen describes filming on Mount Everest and the challenges that go along with shooting in such an unpredictable and volatile environment. Vanessa Joy Smith is a freelance photographer and videographer who recently used the durable and inconspicuous FS5 camera to support a documentary about an entrepreneur who is helping a non-profit organization that benefits autistic children around the world.
Chiyoko Yannette Senior Marketing Manager Professional Solutions Americas Sony Electronics Inc.
What’s new FS5 II
Grab and shoot. New and improved. How do you make one of the best handheld cameras even better? We did it by adding advanced color science, drawing on our latest research in digital cinematography to deliver more attractive skin tones right out of the box. Then we added the RAW interface and continuous High Frame Rate recording, both extra-cost upgrades on the original FS5. So you get greater versatility and value. That’s how Sony’s acclaimed grab-and-shoot Super35 camera gets better still. Introducing the FS5 II. New color science Thanks to the advances we’ve made in our high-end digital motion picture cameras, the FS5 II renders more appealing, more cinematic skin tones. Because this is the default setting, you can achieve a flattering look right away — no diving through menus. External RAW recording (interface supplied) To record every nuance that the sensor sees, the FS5 II comes complete with Sony’s interface for FS RAW recording, which allows continuous 4K RAW recording up to 60p. A choice of stunning slow motion imagery is also available, including four seconds of 4K at 120p and continuous 2K 240p. (RAW recording requires compatible external recorder, sold separately).
Continuous 120 fps HFR built in High Frame Rates (HFR) can turn everyday actions into slow-motion ballet. Take full advantage with the FS5 II. You can shoot continuously at up to 120 fps in Full HD XAVC™ 10-bit 4:2:2. If your project plays at cinematic 24p, you’ll get beautiful 5x Super Slow Motion. There’s no sacrifice in bit depth, no “windowing” of the sensor and no loss in angle of view. Need more? Burst mode delivers up to eight seconds of stunning Full HD at up to 240 fps. Go further with 480 fps at reduced resolution. Or astound your audience with 960 fps in Center Crop mode, reduced resolution. (Burst mode record times vary by frame rate.)
Table of Contents
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Canada C3 Expedition's Peter Wall takes us on an epic sailing journey via the Northwest Passage
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Breathing on Everest goes to new heights
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DP Vanessa Joy Smith discusses shooting her new documentary with the FS5
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Auburn University: Training the next-generation of sports videographers
Red Bull Arena is “Bullish� on using technology to engage fans
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Pioneer Sound Engineer Edward Tise on the art of capturing sound beyond the boom
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Exploring Canada from Sea to Shining C3 By Peter Wall
The Canada C3 Expedition is a 23,000 kilometer, 150-day journey that sailed from coast, to coast, to coast around the entire coastline of Canada, in celebration of Canada’s 150th anniversary of Confederation. We left Toronto on June 1, 2017, and we arrived in Victoria, our final destination, on October 28, 2017. The expedition was divided into 15 different legs, and on each leg of the expedition, we brought onboard a cross-section of Canadians to engage with one other, visit communities, and learn about Canada’s past, present and future.
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Exploring Canada from Sea to Shining C3
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Exploring Canada from Sea to Shining C3
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Throughout the journey, we shot between 12-16 hours a day and in the end, produced more than 100 videos, all with Sony equipment.
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— Peter Wall
Peter Wall, head of the Communications Team for Canada C3 Expedition
Toronto 5
Montreal
Baie-Comeau
Charlottetown
We have been extremely fortunate to have Sony on board for the Canada C3 Expedition. Throughout the journey, we shot between 12-16 hours a day and in the end, produced more than 100 videos, all with Sony equipment. On the ship we had Sony video cameras including the FS7 and FS5, Sony Alpha cameras and glass, Sony portable 6TB RAIDs for the secure storage of our 4K content, Sony’s Ci Media Cloud Services for storing, viewing and sharing content, and live production equipment including an MCX-500 switcher and PWS-110RX1 wireless network receiving station. Without the Sony gear, we could not have told these stories and captured the type of content that we did, in some of the most remote, unexplored and undocumented locales in Canada from north of the Arctic Circle to Rivers Inlet in British Columbia. Our team of videographers loved the FS7, the FS5 and the Alpha cameras and Sony glass, and its superior performance. The gear proved resilient in some of the harshest conditions you can imagine. It’s been in the rain, it’s been in the snow, it’s been in the wind, it’s been in the sun, all while being in continuous use for the 150 days of the expedition. As head of the communications team for the Canada C3 Expedition, what I liked most about the Sony gear is the reassurance that when our team is in the field, their Sony gear is going to work, it’s durable and it’s not going to let us down. Sony’s cameras are an industry standard and a brand that our shooters are familiar with, they like and they trust. As the head of the team, that’s super important. I can put a camera in someone’s hands and I know that they’re going to know it, feel comfortable with it, and use it the way that it’s meant to be used.
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Gabriel Bergeron
Gabriel Bergeron, who captured whales, bears, birds, wildlife and more during his eight legs of the expedition, loved the FS7 camera and 18-105 f/4 and 70-200mm f/2.8 lenses’ versatility and speed, which enabled him to get all of the shots he needed, as they happened, despite some of the extreme conditions on the voyage. He appreciated the lenses’ and camera’s fast response time, which was essential to a documentary style shoot, as well as the ability to easily switch from regular shooting to slow-mo and back. This allowed our team to be nimble and agile, and in turn, helped us to capture every moment we needed – indoors and outdoors – regardless of the conditions.
Charlottetown 7
St. John’s
Nain
Iqaluit
Exploring Canada from Sea to Shining C3
Photo by: Stephen Underhay 8
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I also personally enjoyed shooting with the Alpha Series cameras... I captured a lot of still photos with them, and they were especially impressive in low-light situations, and in tighter spaces...
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— Peter Wall
One of my favorite features on the Sony cameras is the slow-mo. We shot a ton at 120 frames and 240 frames a second, and that content has been some of the more memorable, dramatic, beautiful content that we’ve produced. I also personally enjoyed shooting with the Alpha Series cameras including the a7S II and the a7R. I captured a lot of still photos with them, and they were especially impressive in low-light situations, and in tighter spaces where the bigger cameras have more difficulty. These cameras really allowed us to be more creative.
Photo by: Christopher Paetkau 9
Exploring Canada from Sea to Shining C3
Iqaluit
Qikiqtarjuaq
Mittimatalik
Iqaluktuttiaq 10
Exploring Canada from Sea to Shining C3
Peter Wall doing stand-up paddling in Sophie Cove, Nunavut
Iqaluktuttiaq 11
Kugluktuk
Team sailing on zodiac going to Sophie Cove, Nunavut with team leader Scott McDougall
Tuktoyaktuk
Prince Rupert
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We spent a day in nature doing stand-up paddling and kayaking in the Arctic Ocean, among icebergs and sea ice, and it was absolutely amazing.
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— Peter Wall
During this expedition, one of the most memorable places where we used the Sony gear was Sophie’s Cove, which is north of the 75th parallel. So, you can imagine the Arctic Circle is at 66 degrees, 75 is that much further north. We spent a day in nature doing stand-up paddling and kayaking in the Arctic Ocean, among icebergs and sea ice, and it was absolutely amazing. We shot a ton of content and we are so happy with what we experienced there and what we were able to capture.
Photo by: Michelle Munkittrick 12
We also took the Sony cameras to Fransway, Newfoundland, also known as Francois, the smallest out-port community on the South Coast of Newfoundland. Only 73 people live there and I took some amazing footage. It’s a place where people only get around on ATV, since there are no roads and the only way to get there is by a ferry. It’s a very remote settlement that few have the chance to experience, but through the footage we took, we are now able to share a glimpse into this community with people throughout Canada, and the world.
Right: Photo of the Francois community, Newfoundland by Denis Wong
Austin Fudge - Mayor of François 13
Exploring Canada from Sea to Shining C3
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...through the footage we took, we are now able to share a glimpse into this community with people throughout Canada, and the world.
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Prince Rupert
Bella Bella
— Peter Wall
Campbell River
Victoria 14
Exploring Canada from Sea to Shining C3
Gabriel Bergeron
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This trip was a once in a lifetime experience and the ability to capture and create a record of both Canada’s unexplored terrains, as well as everyday life in this era will help inspire and educate people.
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— Peter Wall
This trip was a once in a lifetime experience and the ability to capture and create a record of both Canada’s unexplored terrains, as well as everyday life in this era will help inspire and educate people. By choosing to document this expedition on Sony equipment, we have the confidence that this journey will continue to do that for decades to come.
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Sony’s FS5 Goes to New Heights for
Breathing on Everest By Sierra Johansen
My Breathing on Everest journey kicked off less than a year out of University when my friend and frequent collaborator Meredith Gaito came to me with an idea she knew most other people would call too ambitious or downright crazy. A year and a half later I have been to Nepal twice filming at the base camp of Mount Everest for what has become a deeply personal documentary.
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Sierra Johansen — Cinematographer
My professional film career started with me PA’ing on sporadic shoots around New York City while attending Montclair State University’s Filmmaking BFA program. I quickly learned that I wanted to be holding the camera. I focused my studies towards Cinematography which opened up opportunities for me to shoot on many of the cameras in the university’s film cage including the Sony FS700 which I used on Meredith’s Senior Thesis Film. At one point during that shoot I attached the FS700 to an EZ-rig and waded thigh deep into a river in the middle of winter and that’s when I knew I’d work with Meredith again.
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I focused my studies towards Cinematography which opened up opportunities for me to shoot on many of the cameras in the university’s film cage... — Sierra Johansen
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Sony’s FS5 Goes to New Heights for Breathing on Everest
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Sony’s FS5 Goes to New Heights for Breathing on Everest
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Meredith asked me to shoot and co-produce Breathing on Everest after she had read an article about a man named Nick Talbot with Cystic Fibrosis who was attempting to summit Mount Everest. — Sierra Johansen
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In 2014, Meredith asked me to shoot and co-produce Breathing on Everest after she had read an article about a man named Nick Talbot with Cystic Fibrosis who was attempting to summit Mount Everest. Cystic Fibrosis is a genetic disease that damages the body’s organs with a surplus production of mucus that is abnormally thick and sticky. It most commonly affects the respiratory system and in many cases leads to the need for a lung transplant or to an early death. Meredith realized the importance of this man’s mission when many other people did not, because she also has Cystic Fibrosis. Meredith sent the climber, Nick, an email and we’ve been a team ever since.
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Meredith realized the importance of this man’s mission when many other people did not, because she also has Cystic Fibrosis. — Sierra Johansen
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Meredith Gaito — Director, Producer
Nick Talbot — Climber, Cystic Fibrosis Sufferer
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Sony’s FS5 Goes to New Heights for Breathing on Everest
Breathing on Everest, which is being submitting to film festivals this fall and working toward a 2019 premiere, is an extremely low-budget film with the bulk of our budget going towards travel and expedition costs. The kit for my first trip to Nepal in 2015 consisted largely of equipment my one crew member, Michael Pacyna, and I already owned. Michael Pacyna - Assistant Cameraman
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April 25, 2015 – Earthquake Hits Nepal
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That trip ended a month early when a 7.8 magnitude earthquake devastated Nepal and set off an avalanche that tore through base camp. — Sierra Johansen
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That trip ended a month early when a 7.8 magnitude earthquake devastated Nepal and set off an avalanche that tore through base camp. Nick Talbot was injured and evacuated from base camp but, luckily, was not another number in the death count.
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Sony’s FS5 Goes to New Heights for Breathing on Everest
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The ergonomic design of the FS5 made it easy for me to film during the 10-day trek up to Mount Everest base camp. — Sierra Johansen
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I was first introduced to Sony’s FS5 at a demo during the DOC NYC film festival. Meredith and I were attending panels at the festival with our thinking caps on determined to find ways to finance a return to Nepal. The Canon I shot on during our first trip had been broken in the avalanche and the Panasonic I owned would need an additional Interface Unit before I would consider it for our main camera. I needed a replacement camera that offered lots of benefits and wouldn’t break the bank. I immediately liked the FS5. It combined the features I needed, and then some.
I returned to Nepal for the second time in March 2016, but this time I was filming on my own which made it important that I had one camera that could do everything. I needed a camera that was easy to use while trekking in harsh environments and could accurately capture the beauty of the Himalayas. The ergonomic design of the FS5 made it easy for me to film during the 10-day trek up to Mount Everest base camp. I could watch my step and film at the same time without falling too far behind the expedition group. The hand grip on the FS5 allowed for a steady shot without the need for a shoulder rig. When I wasn’t filming, the FS5 and the Rode Shotgun Mic I attached to the mount on the handle fit easily inside my 55 liter day pack along with an extra jacket, sunscreen, snacks and a few other essentials. The small size of the FS5 was also a plus when I was filming backed up into the corner of a tent as Nick and his fellow climbers discussed their strategies on the mountain. I am glad I could strip the camera down even smaller by removing the handle and hand grip as needed.
Meredith and Sierra at DOC NYC Film Festival
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Sony’s FS5 Goes to New Heights for Breathing on Everest
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The terrain Nick and I were trekking through was breathtaking but also harsh.
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— Sierra Johansen
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The terrain Nick and I were trekking through was breathtaking but also harsh. At high altitude, a few extra pounds can make you tired and exausted, so it was important to have a lightweight camera that I could use to shoot for hours, without the need to switch SD cards or replace batteries. I brought six 64 GB Extreme SanDisk SDXC cards that could capture 76 minutes of 4K footage and one 128GB Sony SDXC card. This meant I could film for several days before turning on my laptop to save footage onto my 2TB LaCie Rugged Hard Drives because electricity is a luxury in Nepal. In base camp I used the expedition generator to charge the three Sony BPU battery packs I brought. I used a Goal Zero Solar Generator to charge the majority of my other equipment.
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I brought two Sony E-mount lenses to Nepal to use with the FS5, a 18-105mm f/4 and a 10-18mm f/4. I used the 18-105mm lens nearly the whole time. It gave me the flexibility and ease I needed to capture the action of Nick’s story and the beauty of Nepal. The servo zoom and auto focus features of the camera also greatly helped me in that respect. I was apprehensive about using the auto focus feature from past experiences on other cameras, but it was smooth and allowed me to follow Nick’s action easily. I usually relied on the peaking feature to double check focus and this worked in most situations. I found the greatest focus problems happened when working with bright and overexposed backgrounds, which were inevitable in the Himalayan sunshine and with a camera that costs well under $10K.
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I was apprehensive about using the auto focus feature from past experiences on other cameras, but it was smooth and allowed me to follow Nick’s action easily. — Sierra Johansen
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Sony’s FS5 Goes to New Heights for Breathing on Everest
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I pushed this camera to the limits operating it in harsh sunlight and freezing temperature. — Sierra Johansen
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I pushed this camera to the limits operating it in harsh sunlight and freezing temperature. I had the camera out at 1am in 10 degrees Fahrenheit filming Nick’s departures from base camp for higher up Mount Everest. In the last two weeks of my twomonth stay in Nepal the 18-105mm lens experienced some difficulty only in the coldest weather. The servo zoom would automatically zoom to the full 105mm and not allow me to pull it back, but once the camera and lens warmed up again it would work properly. While I did encounter a nuisance with the 18-105mm kit lens, one of the great features of the FS5 is its lens compatibility. There are a variety of lenses from Sony and from other manufacturers that work perfectly with the FS5, enabling different looks for diverse shooting needs.
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Sony’s FS5 Goes to New Heights for Breathing on Everest
Nick Talbot
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Sony’s FS5 Goes to New Heights for Breathing on Everest
One of the most useful features on the FS5 for me was the built-in ND filters. The Himalayan sun is brutal and the weather at 18,200 feet in base camp is temperamental. I would set up an interview in base camp with the ND at a full 1/128 and begin recording only to have the sun dip behind a cloud and prompt me to wheel the ND down to half of that. Luckily it was that simple. Since I was a one-woman crew it was difficult for me to connect with my interviewee while also worrying about sound, framing, and exposure, among other things. The variable ND filter in the FS5 took away some of this worry.
Nick Talbot
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One of the most useful features on the FS5 for me was the built-in ND filters. — Sierra Johansen
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While the FS5 was easy to use in the run and gun situations I found myself in, it also had several features that furthered the film creatively. The slow motion settings on the FS5 allowed me to capture moments in slow motion that would have otherwise gone unnoticed. I had to plan exactly when I would want the slow motion shots, because I was shooting in 4K.
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The slow motion settings on the FS5 allowed me to capture moments in slow motion that would have otherwise gone unnoticed. — Sierra Johansen
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Sony’s FS5 Goes to New Heights for Breathing on Everest
I often used the time-lapse shots when I had the free time. Playing with the frame rate and shutter speeds I was able to capture the grandness of the mountains. One of my favorite moments of the trip happened when I was alone filming one night. I set up a time-lapse of the Khumbu Icefall after the sky had cleared of the clouds that had left a fresh blanket of snow over base camp. There was a full moon out that lit up the way to Mount Everest. As I stood next to the recording FS5 I felt so incredibly lucky and thankful for the experiences that I have been opened up to because of this film.
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As I stood next to the recording FS5 I felt so incredibly lucky and thankful for the experiences that I have been opened up to because of this film. — Sierra Johansen
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DIRECTOR OF PHOTOGRAPHY
Vanessa Joy Smith Enjoys the FS5 Vanessa Joy Smith is a freelance director of photography and camera operator. With over fifteen years of experience she has filmed for television networks such as NBC, MTV, VICE, NatGeo, Discovery, Lifetime, See-So, and Cartoon Network. Smith’s portraits captures life outside of western culture. Her subjects include children from Africa and South East Asia. Smith’s immersive imagery provides a view on developing countries. She recently produced a feature documentary about an entrepreneur with a dream of helping a nonprofit obtain expensive software at a lower price. By creating this software, a non-profit is able to help autistic children around the world. To film the documentary, Smith used the Sony PXW-FS5. Due to its compact body and cinematic capabilities, Smith felt the FS5 would best support her needs. Smith and her production team wanted a video camera that could film in small offices without lacking quality. As a previous user of the Sony PMW-F55, Smith highlighted its global shutter and exceptional low light sensitivity. Due to its size the F55 was not an option on this project, Smith required a smaller video camera. To protect its small size and strong performance, the FS5 was built with durability. Smith expressed that other cameras she handled felt like they were going to fall, but not the FS5. Due to constant moving during filming, Smith enjoyed how the FS5 was easy to carry by hand or over her arm. Smith cited, “The FS5 is such a great punch in such a small package that really allowed us to stay ‘fly on the wall’.”
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Director of Photography, Vanessa Joy Smith Enjoys the FS5
“...it was nice to be able to switch back and forth between the two and adapt to the scenario…the picture quality is surprisingly sharp and the camera’s dynamic low light performance was always strong.” - Vanessa Joy Smith
The size of the FS5 was not the only factor that attracted Smith to this model. Smith expressed, “the benefit of using the FS5 on this project was not only the size but the ability to record audio from the two XLR ports.” Smith’s production team were in situations where they could not have an audio person in the room therefore, recording audio straight into the camera was a reliable option. While filming, there was a lot of movement in and out of buildings. Smith expressed constant moving was stressful. Due to the internal ND wheel, Smith was allowed to make smooth transitions between different settings. She explained, “Switching external NDs can be very time consuming and distracting to the subjects.” The FS5 gave Smith a low profile and allowed her team not to become tired with rapid transitions. Smith mentioned her team did not expect to lean so heavily on the digital ND and dynamic range. However these were the strongest features which offered her team the best results. Smith filmed during the early morning and at noon. Her team shot in 4K and used the FS5’s standard 18-105 kit lens, a variety of small HD monitors, Sony’s High Speed UHS-I SDXC U3 Memory Cards, and mounted audio receivers. Smith cited, “ I manually operated the lens and it was nice to be able to switch back and forth between the two and adapt to the scenario…the picture quality is surprisingly sharp and the camera’s dynamic low light performance was always strong.” 39
“Sony’s engineering team has created strong codecs that hold natural colors well and can be processed without loss of quality. This process only strengthens our commitment to film all our productions on Sony camera systems.” - Vanessa Joy Smith
Following some tests the team felt confident to shoot straight onto the SDXC cards. Smith expressed that her team could start organizing and editing footage within days of shooting. Smith needed a camera that was capable of recording 4K and making proxies at the same time. Her team did not have a huge post budget, so by having preexisting proxy files it saved them time on the back end. During post production Smith’s team was amazed at the footage’s quality without the use of an external recorder. Smith’s documentary was a success and she is pleased with the footage. She concluded, “Sony’s engineering team has created strong codecs that hold natural colors well and can be processed without loss of quality. This process only strengthens our commitment to film all our productions on Sony camera systems.”
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In the Classroom and On the Sidelines Auburn University’s Athletics Production Team is training the next-generation of Sports Videographers with the latest video technology. 41
As one of the largest universities in the South, Auburn is known nationwide not only for its diverse curriculum, but also for its top-ranked sports teams. With the help of Sony’s latest 4K video cameras and technology, video production students at Auburn University get to combine both disciplines through their coursework and involvement with the school’s War Eagle Productions, a video production program which provides live and postproduction video services for Auburn Athletics’ coverage.
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Training the Next-Generation of Sports Videographers
From entry-level Sony cameras to the same camera systems being used to capture prime-time sports at the top broadcasters, Auburn University is exposing students to production tools at every level. With access to Sony still and video cameras including the α7S II, FS700, Z150, FS5, X320, F55 and HDC-4300, students have the ability to learn using the same models that are being used in the field by professionals including freelancers, filmmakers, documentarians and broadcasters, among others.
FS5 Jeff Hanel, Director of Video, Post-Production for Auburn Athletics, who oversees the management and daily operations of Post-Production video for all Auburn Athletic sports, described the school’s use of some of Sony’s most advanced cameras including F55s for 4K Live production, HDC-4300s for slow motion within broadcasts and the FS5 for handheld shooting. “We use F55s as our main camera for a lot of our features when we have sit down interviews, intro video shoots, highlights, every piece we put on the board and cutaways for our big projects, as well as any other shoots that arise,” he explained. “FS5s are used near the benches and inside the locker room because they’re very small and compact and can be held discreetly against your stomach or chest.”
A distinguishing benefit to using Sony’s cameras is their slow motion capabilities, which Hanel claims is one of the main reasons why Auburn chooses Sony. “Being able to shoot high frame rate in sports is quintessential to our job,” he said. “Being able to slow your footage down to show the action is invaluable, especially in video.” He continued, “When we shoot high frame rate, FS5s are great for it because if you shoot 240 frames a second, a lot of times you make the base 24P because it has a much more filmatic look, plus you can go a little bit higher on the shutter, and with sports that’s really great because you get a much crisper image that way,” Hanel explained. Discussing high frame rate further, Michael Sullivan, Director of Video, Live Operations & Engineering, who oversees all live operations for the video services department of Auburn Athletics offered, “We have primarily used Sony as our high frame rate super slow mo cameras and they are always talked about as having the clearest picture, compared to other cameras that we have used. For live production, we’ve had a lot of success with Sony’s high frame rate cameras, both through the Sony F55 and the addition of the HDC-4300 this fall. It’s been really fun because as we showed these new replays, we can see so much more on any particular play. You can see a foot in bounds, a ball being caught, a batter’s swing position on a homerun – that level of detail and nuance is something that has greatly impacted the overall fan experience in a very positive way.” He continued, “The fan experience and fan engagement have been a focus of ours. Being able to provide a high quality, second to none experience for every fan in attendance is an emphasis that our
From entry-level Sony cameras to the same camera systems being used to capture prime-time sports at the top broadcasters, Auburn University is exposing students to production tools at every level.
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Learning to use high-end cameras in fast-paced, hands-on environments including the locker room, the benches, the sidelines and even in the classroom has served Auburn’s students well.
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Training the Next-Generation of Sports Videographers
Auburn’s recent addition of Sony’s flagship HDC-4300 camera system also proves they’ve doubled down their commitment to high frame rate and, according to Sullivan, the “extremely versatile” cameras have “transformed our acquisition” and helped confirm the path they wanted to take for the future of their broadcasts. He praised the 4300’s low light capabilities, color profile, picture sharpness and quality saying it “blows other cameras out of the water.” Sullivan attests, “the feedback has been that the cameras offer a very clear and definitive look that has truly enhanced our fans’ experience.”
HDC-4300 To drive the point home, Sullivan detailed a recent instance when the Sony cameras directly assisted in the challenge of a call. “There was a very definitive, big play in the game and since we had two Sony cameras running at 4x super slow mo, we were able to instantly replay the action, which led our coach to challenge the call, and the officials overturned it in our favor.”
team spends a lot of time on. One of those goals is being able to clearly see the action on the field and to provide angles and analysis that fans don’t get at home. From what we do with our high frame rate cameras and being able to give the viewers in the stadium that best look, and the clearest look at the action, we accomplish that goal. With live playback back to the viewers, fans and patrons in the seats are getting a very similar experience to what they would be getting at home during Monday Night Football.”
Learning to use high-end cameras in fast-paced, hands-on environments including the locker room, the benches, the sidelines and even in the classroom has served Auburn’s students well. Students learn by using the professional models in the field, and “asking a ton of questions,” in addition to learning every setting in the classroom. Hanel maintains that learning Sony’s menu structure and operation using introductory models like the FS5 and FS700 makes it easier to transition to more feature rich models like the F55 and HDC-4300 and empowers students to have a competitive edge in the workplace. 46
Training Trainingthe theNext-Generation Next-Generationof ofSports SportsVideographers Videographers
Sullivan noted, “Having seven different facilities and having 10 video boards, our students are going to have an intimate knowledge of the equipment. At Auburn, our students will learn every aspect of running a camera, from how to set and operate the camera to what’s in the menu and how the settings work. We believe in giving our students every opportunity to gain as much real-world experience as possible before graduation.” Sullivan added, “It’s cool when I can tell a new student who’s just starting, ‘Hey, there are professionals who have been doing this for 25, 30 years who are using this exact same technology.’ And to be able to put that technology in front of them and in their hands for them to learn on and train on is invaluable. To have camera operators leave Auburn knowing how to shoot super slow mo for live sports is instrumental, because that’s a very different thing than just shooting 1x for live sports. This is an unbelievable experience for those students to gain practical experience in the operation of top of the line cameras and who will graduate and get jobs based off of that knowledge.” Bo Larkin, Video Coordinator for Auburn football, films all of the team’s games and practices and coordinates team footage. Prior to his tenure in this role, he was a student at Auburn and worked as a videographer before and during his enrollment. Now, he oversees a staff of 17 students with diverse backgrounds in and out of the film and production space. Using over a dozen recently acquired PXW-Z150 cameras, the students capture the Tigers’ movements across three different fields. When Larkin decided it was time for new cameras, the move to the Z150s was a welcome upgrade. Although his team wasn’t using Sony models prior, he “heard a lot of good reviews about the Z150’s image quality and ease of use. We were introduced to the model at the College Sports Video Association (CSVA) and tested one on-site at Auburn. Our team picked it up really quickly and it seemed like the right choice for us.” He added, “Some of the students may not know exactly what exposure is, or what light balance is. The Z150’s 47
have minimal buttons and make it really easy for those with little camera experience to understand and be consistent, so that all of our shots look the same and we have as few problems as possible. We found the right balance of functionality and simplicity in the Z150.” The Z150’s 29-348mm wide-angle fixed zoom lens also delivers for Auburn. “We use these cameras and lenses at every practice and we’re shooting 55 feet in the air in our practice film towers,” continued Larkin. “Sometimes, we’ll be shooting all the way
This is an unbelievable experience for those students to gain practical experience in the operation of top of the line cameras and who will graduate and get jobs based off of that knowledge.
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Training the Next-Generation of Sports Videographers
across the field, distances of 150 yards away, and still get a crisp image. This year when we traveled to the SEC Championship game, in the MercedesBenz Stadium, their end zone shot is very far back from the field, making the opposite end zone 200 yards away. That range came close to pushing the lens’ limitations, but we still got a beautiful shot from it, exactly what we wanted,” he explained. In terms of features, Larkin appreciates the camera’s ND filters which he “uses on a bright day” and the future-proofing 4K resolution offers, which he says is “always a good option to have in your back pocket.” Larkin is also happy with the durability and capabilities of the camera and foresees them being used for many years to come. “If we’re able to expand what we’re doing with the University, we would absolutely love to increase our relationship with Sony. We enjoy Sony’s products and it’s a bonus that their team is easy to work with and truly cares about us not only as customers, but as people,” commented Sullivan. Hanel added, “Sony’s customer service has been out of this world,” while Larkin mentioned, “Sony has been great to work with. Their support has been excellent and handled in a timely fashion.” “In our field, we’re always looking towards the future, so we’re always looking for ways to better impact our students and give them a leg up when they graduate,” said Sullivan. “I can definitively say that because of our partnership with Sony, our students and staff are operating some of the top technology in the business and that technology is not only giving them a unique learning experience but is paying large dividends for our fans and athletic teams.”
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Jeff Hanel, Director of Video, Post Production
Jeff Hanel oversees the management and daily operations of Post-Production video for all Auburn Athletic sports. He creates high-end features and videos, plus provides creative input for post-production video needs. He is responsible for the creation and creative direction of gameday tunnel videos/hype videos and feature stories for all athletics in-venue video boards and television productions.
Michael Sullivan, Director of Video, Live Operations & Engineering
Bo Larkin, Video Coordinator
Michael Sullivan is currently responsible for overseeing all live operations for War Eagle Productions, the video services department of Auburn Athletics. This includes all SEC Network and videoboard shows and events. He is the lead production liaison between Auburn and ESPN and, in addition, handles the oversight of the more than 85 student and freelance staff that run the more than 330 yearly events. Sullivan also oversees the engineering department ensuring that all equipment and materials are properly configured, well maintained and serviced before each show or broadcast.
Bo Larkin is the video coordinator for Auburn football. He is responsible for the exchange of scouting and breakdown of opponent game film, as well as coordinating the staff that films daily practices and games for the Tigers.
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Red Bull Arena Remains “Bullish” on Engaging Fans Through Technology
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Red Bull arena remains “bullish” through technology
New York Red Bulls, one of Major League Soccer’s ten charter clubs, play home matches at Red Bull Arena, a state-of-the-art 25,000-seat stadium in Harrison, NJ. As one of the top soccer teams in the country, the Red Bulls are always looking for ways to connect with fans and deliver an unforgettable experience. For the past two seasons, the team has received the highest marks across a number of experiential touchpoints from the J.D. Power Fan Experience Study, so it is no surprise they take technology seriously. When the team was looking to upgrade their facility, they turned to Sony Electronics to deliver professional products and solutions that would streamline their production workflow to create and deliver an engaging experience for their dedicated fanbase. From technology within the stadium and behind the scenes, to products including servers, switchers, storage, Video Assistant Referee solutions and cameras at every level, the Red Bulls recognize technology is essential to becoming more efficient internally and delivering on their mission of enhancing the fan experience. As Clint Wulfekotte, the Red Bulls’ Senior Director for Partnership Sales in Marketing described, “Raising the bar for the fans’ experience at Red Bull Arena is something that we focus on every single day. We strive for a live event that is a memorable one for attendees, their friends and their family.” He went on to explain why Sony’s leadership in the technology space was an ideal fit for the popular soccer team. “A lot of enhancements to our fan experience revolve around technology, and New York Red Bulls as a premium brand are always looking to align with premium partners, and we’ve found that in Sony. Sony provides superior products in enhancing our arena and providing upgrades, not only to our control room, but to front-facing aspects of our fan experience in the form of televisions and video boards. We look for a great partner now, and one who will remain a great partner for the New York Red Bulls for many years to come.” Rich Kaufman, Senior Manager of Match Presentation at Red Bull Arena oversees the stadium’s control room, graphics and video boards, as well as pre-game and post-game on-field activations. As a stakeholder in the process of upgrading the control room, Kaufman was looking for solutions that were “cost effective, professional, enhanced our presentation and made sense for our space.” He said, “We already had a familiarity with Sony products, so when they came to us and presented an all asset solution, including a new replay system and an upgraded switcher, we could tell they understood what we are trying to do here. And having Sony’s assets and expertise at our disposal for training allowed us to be fully operational in a short timeframe.” 53
Clint Wulfekotte, the Red Bulls’ Senior Director for Partnership Sales in Marketing
Rich Kaufman, Senior Manager of Match Presentation at Red Bull Arena
of enhancements to our “fanA lot experience revolve around technology, and New York Red Bulls as a premium brand are always looking to align with premium partners, and we’ve found that in Sony.
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Arpan Mukherjee, a Content Producer for the Red Bulls
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Red Bull arena remains “bullish” through technology
One of the latest products geared towards creating an improved production workflow is Sony’s PWS-4500 server. The Red Bulls use the live production server for replaying high frame rate, slow-motion content and building highlights packages. As one of the main operators of the PWS-4500, Kaufman realizes that most fans’ eyes are on the field during the game, but as soon as a critical play is made, they want to see what they might have missed. “When their eyes are going to the video board to look for the replay, the PWS-4500 allows us to have six angles coming in, so we have the best options to show fans what’s happening in the game and what they may have missed,” he explained. He appreciates the server’s graphical interface, which he calls a “huge asset” and its overall “efficiency.” He continued, “Using the 4500 replay server allows us to capture as much as we can from a 90-minute soccer match. We can take six inputs into the replay system and then use the 2 outputs for on the fly replays. Using all six inputs for building our highlights packages during half‑time and post-game has been a real asset to us. With the ability to have six cameras coming in, we can build a much more engaging highlights package to recap the game, and also having all those cameras at our disposal for getting the best angles for our fans during live play.” 55
When their eyes are going to the video board to look “ for the replay, the PWS-4500 allows us to have six angles coming in, so we have the best options to show fans what’s happening in the game and what they may have missed...
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Red Bull arena remains “bullish” through technology
Arpan Mukherjee is a Content Producer for the Red Bulls, tasked with planning, shooting and editing the team’s online videos. He uses a complement of Sony professional 4K cameras including two FS7s, an F5, FS5 and α7s. After using an F5 for many years, the Red Bulls continued to buy Sony cameras. “We started with Sony because we wanted a camera that was a bit more professional and video-centric – not a photo camera that’s being translated. Because of the high-paced nature of the game, we needed cameras that could capture high speed and the only affordable option we found was the F5. We stuck with Sony over the years, because the cameras all have the same color profile, so they are easy to match. Between the F5, the FS7, the α7s and the FS5, the colors match each other pretty easily without having to do too much grading, which is important for us, because we have quick turnarounds on our online deliverables,” said Mukherjee. He continued, “Using the S-Log for grading is really simple and having the cameras shooting at the same basic look makes life easier. Plus, with our control room technology being Sony, I’m able to match everything a lot more easily.” Mukherjee is particularly fond of the FS7 camera which he praised for its durability, portability and ND filters. The camera allows him to “quickly off-load footage, edit it on the spot, and upload it later that day,” which he explained is essential to the online viewing experience. “Viewers at home, online, on YouTube and on Facebook come to us to see what has happened that same day. Previously it was tough to meet the demands of an online audience at the quality and standard we’re doing it at now, as quickly as we are,” he said. In the end, the team at the Red Bulls realizes that technology helps foster engagement, and in turn contributes to the overall fan experience, which is the heart of the matter. Bringing together two leaders in their respective spaces means fans ultimately benefit. As Kaufman succinctly put it, “This partnership with Sony has been really important to us in terms of upgrading the equipment we have here in the stadium, as well as upping the fan experience, which in the end that’s what all of this is about – fans coming and enjoying a game.” Wulfekotte added, “Having the greatest advances in technology and working with Sony is only going to allow us to increase the fan experience, get better and keep up in a competitive market.” 58
EDWARD TISE: Beyond the Boom Sony Wireless Audio Enables Innovation of the Evolving Sound Stage.
On the traditional sound stage, wired boom mics largely defined the limits and possibilities for film and television production. Over the past thirty years, sound engineer Edward Tise has pioneered advances in wireless audio to expand the possible. Now, equipped with the Sony DWX Series digital wireless microphone system, he wields a creative palette that alters the look and feel of what we see and hear on screen. “Wireless mics have become a crucial technology to enable the evolution in how directors work,” said Tise. “In the ‘60’s and ‘70’s, you had single-camera wide, establishing shots where you never heard what actors said. Now, we have multiple cameras shooting establishing shots and closeups at the same time. We’re also working in smaller spaces where it’s hard to get into a good position (with a boom mic) between lenses and lighting. You need no-compromise wireless to make this happen.”
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Edward Tise Sound Engineer Tise began his career working on documentaries. He made a turn into dramatic films after being recruited by legendary director Stanley Kubrick for his landmark Full Metal Jacket. His documentary sensibilities proved right for capturing the gritty realism portrayed from boot camp to combat. The shoot, like so many of Kubrick’s classics, required innovation to express his singular vision. Kubrick insisted that Tise not use any boom mics because he saw them as a distraction to actors and a hindrance to his ability to pan up on a scene. The solution? Utilizing wireless body packs. Kubrick was not confident in the technology, then in its infancy. Tise made it work.
“The arrival of Sony’s true digital wireless transmission put an end to shortchanging quality for convenience necessary with earlier analog technology.“ – Edward Tise
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Edward Tise: Beyond the Boom
“Full Metal Jacket marks a turning point since we had to go past the limits of wired mics to get where we needed to be. Wireless then had real limits that we had to work around. Still, this was obviously the way of the future,” said Tise. The result speaks for itself. The film was an instant classic accentuated by the realism of the audio. Kubrick did make one special concession to wired technology, immortalizing Tise’s role on the production. The only boom mic that made it in Full Metal Jacket is on-camera. In a memorable scene, Tise has a bit part running audio in a film crew interviewing soldiers.
Wired into Wireless Advances Since that noteworthy start, Tise continued to refine and advance his technique in dozens of well-known productions including Kubrick’s next, final film Eyes Wide Shut. Since, his signature detail-rich sound has helped define dozens of features including Three Kings, Love & Mercy, as well as TV work including Fear the Walking Dead. Along the way, his portfolio reflects the enormous advances of wireless audio culminating in Sony’s DWX Series. According to Tise, the arrival of Sony’s true digital wireless transmission put an end to shortchanging quality for convenience necessary with earlier analog technology. To appreciate the significance, you have to understand the issues previous analog technology introduced. “I’d plug an excellent boom mic into a wireless system using a ‘compander’ and get the unwanted distractions of a stressed wireless component. Bright, percussive sounds like keys, coins and sibilance tracked poorly with unnatural results. 62
D Edward Tise: Beyond the Boom
Tise’s DWX-series setup consists of five DWR-S02D portable receivers, four DWA-01D/DWA-F01D adapters, five DWT-B01 body pack transmitters and six DWT-P01 plug-on transmitters, two in each of the three frequency banks.
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Dynamic swings introduced noise at low levels and crushed peaks, flattening performance. The introduction of the Sony digital DWT-P01 plug‑on transmitter with DWR receiver marked a fundamental advance that finally brought wireless sound quality to where it is indistinguishable from wired,” said Tise. Now, with Sony’s true digital wireless, the boom mic is able to play a proper role balancing wireless body packs to capture a complete sonic environment full of detail and depth with ease. Add to that a host of added functionality and features built into the DWX series.
“The operating system gives an incredible amount of control... After the shortest trial run with the equipment, I bought the first units that came onto the market. “ – Edward Tise
“The operating system gives an incredible amount of control. Remote control of transmitter functions from the DWR receiver seemed like a luxury feature at first, but soon I couldn’t do without it. After the shortest trial run with the equipment, I bought the first units that came onto the market,” Tise said. Since, Tise’s DWX-series setup consists of five DWR‑S02D portable receivers, four DWA-01D/DWAF01D adapters, five DWT-B01 body pack transmitters and six DWT-P01 plug-on transmitters, two in each of the three frequency banks. The system’s capabilities are immediately apparent in their ability to render otherwise difficult dialogue intelligible. “Using the body packs on key actors pulls detail out of the soup that I’ve never heard before. You really see this with low level performances, when dialogue gets quieter, dropping into whispers. The intimacy of the performances comes through and this cuts the need for looping lost lines that is a constant issue with boom mics,” Tise said.
But dialogue is just one element on set. Being able to catch the right tone and texture was essential for his work on Love & Mercy, the acclaimed Brian Wilson Beach Boys bio. Variety’s review singled out Tise as the “real hero of the below-the-line crew” for creating a visceral experience with rich elements including “elaborate mosaics of sounds of silverware on porcelain.” “My signature is capturing detail, communicating the feel of the on-screen experience. The Sony wireless system close-in picked up all this depth in Love & Mercy. Plucked strings, tapping on a drum kit – the radio mic captured it like it was Foley (recorded effects),” Tise said.
“My signature is capturing detail, communicating the feel of the on-screen experience. The Sony wireless system close-in picked up all this depth...” – Edward Tise 64
Edward Tise: Beyond the Boom
While audio quality is first-and-foremost, the Sony system’s wide-ranging utility has also brought many welcome surprises. “I’m always concerned about range. Sometimes, you’re lucky to get fifty feet, but I discovered what the DWX can do almost by accident on Fear the Walking Dead. I set the transmitters to 10mW (milliwatts) for a scene with two actors in a car with the camera mounted on the hood. They took off, driving some 400 yards off and it still worked! Since, I’ve gone a full 1/4 mile at 50mW,” he said. As important is the bandwidth and frequency separation. The DWX-series tripled the bandwidth allowing Tise to trim his production kit, a great benefit for location shooting abroad.
“I’m always concerned about range... but I discovered what the DWX can do almost by accident... for a scene with two actors in a car with the camera mounted on the hood. They took off, driving some 400 yards off and it still worked!“ – Edward Tise
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“The DWX really is just about perfect. I only wish Stanley Kubrick was still with us to see what we could do with it.“ – Edward Tise
“The wide spectrum and close channel spacing makes efficient use of our shrinking RF world. Sony’s three different spectrum blocks (up to 72Mhz each), and the fact that true Digital Wireless transmission has almost no IM (Inter‑modulation distortion, allowing for even spacing of channels), lets me have plenty of spectrum for many more compatible channels when using multiple systems simultaneously. I can also tune them in 25KHz increments if needed for integration in mixed systems. With the previous technology, I had to carry massive amounts of gear to have enough channels and separation to get past frequency issues.” While the Sony wireless system defines the current state-of-the-art, is there anything left on Tise’s wish list for wireless? “The DWX really is just about perfect. I only wish Stanley Kubrick was still with us to see what we could do with it.”
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