Asia-Pacific Broadcasting (APB) August 2016 • Volume 33, Issue 7 - Page 16

16 CREATION August 2016 Shot by the Red Bull Media House production team in December last year against the backdrop of the Fisher Towers in Moab, Utah, USA, Chain Reaction chronicles eightmanned flight disciplines in one video in real time. In order to create a cinematic feel for the spectacular footage and to transfer the excitement of being airborne to the audience, the production team decided to shoot with Cooke Anamorphic/I lenses. Having been a long-time user of Cooke prime lenses, director Nicholas Schrunk was not left disappointed with the Anamorphic/I lenses. He explained: “I love the Cooke anamorphic look. You still have a sharp image with very little distortion so you get a natural-looking image. Everything looks real and tangible. Older glass has too much of a look and are not sharp … the lens distracts from reality — Cooke lenses take reality and add to it, especially with skin tones.” The Cooke Anamorphic/I lenses also overcame the elements, be it extreme high desert cold or being pelted by rocks and dust. “We were in the elements, and not really protecting everything with each shot. But we had no issues with the mechanics of the Cookes — they are tightly sealed and superbly constructed,” Schrunk added. All but one of the RED cameras used in the production were equipped with Cooke Anamorphic/I prime lenses, instead of with zoom lenses, as may be the case for most sports productions, said David Wilson, director of photography. Wilson explained: “We really wanted a shallow depth of field of 2.3, zooms are close to the 4 range. We also didn’t want an X-Games look, but an organic motion picture Fujifilm offers 4K/UHD recording with X-T2 Fujifilm has launched the X-T2 mirrorless digital camera, which supports “clean” HDMI output for 4K/Ultra HD (UHD) recording. The X-T2 also comes with an ‘F-Log’ log-gamma option, which takes advantage of the sensor’s wide dynamic range to record video in wide colour gamut, thus facilitating video production workflows. According to Fujifilm, the Z-T2 is equipped with approximately 1.8 times the amount of information needed to produce 4K/UHD (3840x2160) or 2.4 times required for full HD video (1920x1080). It supports high video bitrate recording of 100Mbps for both 4K/UHD and full-HD video, enabling high-resolution footage with minimal compression artefacts. The X-T2’s Film Simulation modes — popular for still images, says Fujifilm — can also be applied to video recording. For instance, users can use the ‘Classic Chrome’ mode to add a documentary touch with subdued colours and rich tonality, or the ‘Acros’ mode to produce monochrome footage with “smooth gradation” of tones and deep black s. The X-T2’s design is also modelled after the central viewfinder style of the Fujifilm X-T1. This form factor, said Fujifilm, is “perfectly sized” with ergonomic dials laid out exactly where they are needed for intuitive operability. Other features include higher-speed AF and the faster continuous shooting of approximately 900 still shots and 10 minutes of continuous movie recording at 4K/UHD resolution. Fujifilm’s new X-T2 camera offers 4K/Ultra HD recording. look. We shot 85% of the time wide open at 2.3, with 4.5 for a few shots. “ The Cooke Anamorphic/I lenses gave us all the advantages and aberrations of a modern anamorphic lens, as well as the ‘Cooke Look’ and the effects you get when shooting wide open with minimal edge and distortion. They are really organic-looking, especially when shooting digital.” The Cooke Optics lens package for Chain Reaction included 25mm, 32mm, 40mm, 50mm, 100mm and 65mm Macro. Wilson used the 32mm as the widest, and found it the best for straight edges and keeping the subject in frame with big landscapes. He detailed: “The crew would handle POV camera mounting, knowing the angles we wanted … you hope for the best and see what you get. Never trust that you will get exactly what you need or CREDIT: CHRISTIAN PONDELLA/RED BULL CONTENT POOL Red Bull goes anamorphic for Chain Reaction Cooke Optics Anamorphic/I lenses were used in the shooting of Chain Reaction, which chronicles eight-manned flight disciplines in one video in real time. know if you’ll get the shot at all, so we shot from two or three different angles to hopefully capture what we needed. “Plus, we used a lot of ND (natural density) and anamorphic filters on the GoPros to get the look that matched the RED/ Cooke packages the best that we could.” Lyon Video delivers Copa América in 4K/UHD with Grass Valley equipment Lyon Video, a mobile production truck facilities provider and video crew provider, delivered the final of June’s Copa América Centenario football match between Chile and Argentina in 4K/Ultra HD (UHD). This year’s tournament took place from June 3-26, with Lyon Video delivering the final to the host broadcaster, as well as other international rights holder networks and stations. Key to the successful 4K/ UHD, and HD broadcast of the event, was a wide line-up of Grass Valley equipment. Chad Snyder, COO of Lyon Video, said: “The beauty of the Grass Valley equipment is that it is flexible, so we are able to deliver whatever format is needed. We are in a real transition period in the industry, which means we often need to provide multiple formats of HD for multiple clients, and now even 4K/UHD at the same time.” For the tournament’s group stage games through to the quarter-finals, Lyon Video employed LDX 86 and LDX 80 series cameras with XCU Universal XF base stations, a Kayenne K-Frame video production centre switcher, a K2 Summit 3G production client, as well as a K2 Dyno Universe 6X and 4K/UHD switchable replay system. For the tournament decider, Grass Valley’s LDX 86 Universe camera helped Lyon Video deliver the final of the Copa América Centenario in 4K/UHD. which was captured in both 4K/ UHD and HD, 14 LDX 86 Universe cameras, 16 LDX 80 cameras, eight legacy Grass Valley cameras, XCU Universe XF base stations, two Kayenne K-Frame switchers, a K2 Summit 3G production client and K2 Dyno Universe replay system were put to use. After conducting extensive proof-of-concept testing with the tournament organisers and having solved the network infrastructure challenges of delivering various format streams, Lyon Video, for the first time, used 14 LDX 86 Universe cameras to provide a 4K/UHD signal and high-speed replay. After the success of the Copa América Centenario coverage, Snyder believes that more and more clients will be looking for 4K/UHD content, especially in the sports and entertainment areas where differentiation is key. He elaborated: “4K/UHD enables a better viewing experience in the right circumstances, and we are always ready to increase our capabilities, as we need to.”