❝ In all , a better story is often crafted through more creative control . The best technologies should not only serve the creative process ,
but elevate it in ways that were not previously available .❞
❝ Dust everywhere , huge differences in temperature between day time and night time , lots of smoke . The conditions were really difficult , but we never had any problems with the camera — Alexa Mini can handle it all .❞
January-February 2018
CREATION 11 craft the
HFR in live sports production reduces judder on moving objects , and motion blur , which is more obvious on larger TV screens , resulting in a generally sharper and smoother image .
“ HFR also achieves more satisfying slow-motion footage for playback purposes . The technology enables the creation of slowmotion sequence of key moments in a game , provides broadcasters a platform to analyse athletes ’ decisions and unfold the drama during the game , thus delivering bigger returns .”
Sony has also developed a “ Super Motion Camera ” that is equipped with the ability to capture up to four hours of 4K / UHD video footage , allowing for “ complete ” slow-motion video coverage of sports games .
Sharing how this “ gamechanging ” technology delivers slow-motion video , Ryosuke Amano , HDC-4800 imaging module designer , Sony Corporation , explains : “ What Sony is aiming for is to capture every single moment , even when shot in 4K / UHD at 480fps , so that when all the data recorded by the camera is sent to the processor unit , the colours of the image created will match that of other cameras .
“ In sports , for example , the focus is obviously on covering the main action , the scenes where players are moving . But by taking a wider shot and capturing something taking place away from the players , that part too can be cut out to make two videos originating from the same camera .”
For Panavision , the company recently organised a workshop — The Beauty of 8K Large- Format — during the Camerimage International Film Festival of Cinematography , which took place in Bydgoszcz , Poland , from November 11-18 last year .
At the workshop , Panavision discussed the math , science and artistic components to high-resolution and large-format subjects . These topics included the differences between sharpness and resolution , the impact of a wider field of view and less depth of field , as well as the importance of utilitarian benefits that high resolution offers creatives .
Michael Cloni , senior vice-president of innovation , Panavision and Light Iron , elaborates : “ Digital image capture has taken a new evolutionary step with the recent deployment of largeformat motion picture sensors . Until now , shooting large-format motion was typically reserved for a few specialty film projects , and came with a number of physical and financial challenges .
“ But with the new large-format digital sensors deployed by ARRI , Red , and Sony , large format is about to become a common format with a wider reach , which is going to open up a new world of opportunities for cinema tographers to create images that , in many cases , weren ’ t even possible until now .”
In this transition to produce large-format images , one of the challenges is to increase the resolution of a sensor , says Cloni . “ With increased resolution , there is concern about the impact of the sharpness , contrast and the clarity of an image that could deter from the intended large-format look .”
To allow cinematographers to increase their creative control over the imaging chain , Panavision has launched the Millennium DXL 8K camera . Developed through a collaboration between three companies , the Millennium DXL brings together large-format optics and modular accessories from Panavision , an 8K sensor from Red , and colour science and optimised workflow from Light Iron , Panavision ’ s post workflow company .
With optics , camera and colour working together as an integrated camera system , the Millennium DXL is able to capture 8K images using the REDCode RAW codec ,
PHOTO CREDIT : WWW . SKYNAMIC . NET a visually lossless compression algorithm .
In addition , the camera is able to capture 2K proxy files in the form of Apple ProRes for Avid DNx , which enables a 2K workflow that every production is more acclimated to . With the proxy file engaged , 8K files can be saved for the finish while the 2K files can be used during post , thereby reducing the cost , time , and complexity associated with 8K .
“ In all , a better story is often crafted through more creative control . The best technologies should not only serve the creative process , but elevate it in ways that were not previously available ,” Cloni concludes .
When it comes to shooting overhead or steady motion video shots , the use of camera cranes has become a reliable choice for many filmmakers . However , the advent of drones has brought forth new possibilities to aerial photography , making the cranestyle shot more accessible to video
❝ In all , a better story is often crafted through more creative control . The best technologies should not only serve the creative process ,
but elevate it in ways that were not previously available .❞
— Michael Cloni , Senior Vice-President of Innovation , Panavision and Light Iron
Jointly developed by three companies , the Millennium DXL brings together largeformat optics and modular accessories from Panavision , an 8K sensor from Red , and colour science and optimised workflow from Light Iron , Panavision ’ s post workflow company .
Attached to the octocopter is ARRI ’ s Alexa Mini camera , which Skynamic has used to capture aerial shots for a Chinese action film .
productions of all sizes .
One company who is specialised in utilising drones in aerial filmmaking is Skynamic . Founded in 2012 by Gabriel Manz and Julian Glöckner , the German company has been involved with projects such as Berlin Station , an American drama series , and a TVC shooting for German bank , Commerzbank .
Glöckner says : “ Drones are tools directors of photography ( DoPs ) use for telling stories in a different way , with technology that was not available a few years ago . The drone can be a crane , a dolly in the air . This is a new method to combine several tools in one , while saving time and costs .”
Also a drone camera operator himself , Glöckner explains that the time taken to set up a drone is around 10 minutes , and the DoP is ready to do a crane shot from any place on the set . “ It is a tool that is very versatile , opening up the limits for DoPs to come up with more ways to execute a shot than he usually is used to ,” he adds .
However , drones have their limits and disadvantages when compared to other tools . For instance , drones have limited flight time and payload , and are dangerous to fly close to people with the spinning rotors , unlike what a crane is capable of doing .
Glöckner elaborates : “ DoPs who have not worked with drones before tend to have a complex mindset of how to execute a shot with the drone . They think that drones have the ability to capture the most fantastic movements imaginable , but they forget about the safety aspect , and that the pilot needs to have a visual on the drone .
“ So during the creative process , it is important to talk with the DoP and figure out what is possible , to be on the same page . It is always a compromise between the imagined shot , and the technical and physical abilities of the drone .”
Recently , Skynamic embarked on a trip to Morocco to capture aerial shots for a Chinese action film . For this project , the
❝ Dust everywhere , huge differences in temperature between day time and night time , lots of smoke . The conditions were really difficult , but we never had any problems with the camera — Alexa Mini can handle it all .❞
— Julian Glöckner , Co-Founder , Skynamic
Skynamic team worked in pairs on-site , with a pilot flying the drone , and a camera operator who controls the gimbal and concentrates on the shot .
Attaching an ARRI Alexa Mini camera on an octocopter , Glöckner had to manoeuver the drone steadily through air-down narrow alleys and amid flocks of birds , as well as past low-hanging power lines in varied wind conditions .
“ As the production team has been using Alexa cameras throughout the entire shoot , they decided to deploy the Alexa Mini on the drone so as not to compromise quality up in the air ,” Glöckner explains . “ Dust everywhere , huge differences in temperature between day time and night time , lots of smoke . The conditions were really difficult , but we never had any problems with the camera — Alexa Mini can handle it all .”
ARRI ’ s Alexa Mini is a 35mm format film-style digital camera , featuring a compact carbon body , and switchable active sensor area . Designed with mounting and shooting options , the Alexa Mini can be operated in a number of ways : by wireless remote control , as a normal camera with the ARRI MVF-1 multi-viewfinder attached , or with an on-board monitor and controlled via the user button interface on the camera body .
Apart from managing 4K / UHD and HFR recording , the Alexa Mini also captures HDR images as ARRI has been equipping the Alexa family with HDR since the introduction of Alexa in 2010 .
Marc Shipman-Mueller , product manager , camera systems , ARRI , concludes : “ As HDR becomes available in more TV sets , and as more HDR projection systems become available , the industry will continue to explore the best way to transport HDR images from the set to the screen .
“ What is important for us is the filmmaker ’ s ability to preview HDR on set . While this is currently possible , we are working on various improvements to expand on this capability .”