Digital Video - January 2009 - (Page 21)

which is its ability to shoot native 1920x1080 HD using AVC-Intra 100, Panasonic’s newest codec. Berner’s biggest concern going into the job was that more than half of The Electric Company would be shot outdoors in Manhattan’s parks and gardens and on sidewalks and rooftops. He also knew he’d be limited by his lighting package and squeezed by the highly mobile nature of the production, taking on as many as three locations in one day. Still, the exteriors had to look their best, and one of the benefits of AVC-Intra 100 is that it records a highly compressed 10-bit image, which affords a wider grayscale than the I LOVE THE FACT THAT WE’RE RECORDING 1920x1080 AVC-INTRA AT THE CHIP, SO THERE’S NO UPSCALING OF THE PICTURE. WHAT WE’RE RECORDING IS WHAT’S GETTING LAID DOWN. 8-bit DVCPRO HD. With some additional tweaking to the camera’s Dynamic Range Stretching (DRS), gamma and knee controls, Berner and digital imaging technician (DIT) Dave Satin were able to turn the HPX3000’s nine stops of latitude into 10 (rating the camera at ASA 320). “We’re pretty free with our range of shadows and high- lights, more free than I’ve ever been on any series I’ve shot,” Berner remarks. Each 26-minute episode features a 15-minute narrative, broken up by what Berner describes as “modules” — unrelated animations, music videos and other live-action pieces. “There’s a fair amount of special effects and greenscreen work in the show,” he notes. One of the kids’ special powers is the ability to conjure up luminescent “word bubbles,” which they can throw and stick to walls. In another module, the chef at the diner (played by Shockwave, a.k.a. Chris Sullivan), beatboxes his way through a phonics lesson on a pair of CG turntables. To capture the live-action elements as cleanly as possible, Berner was more than obliged to take advantage of the HPX3000s expanded 4:2:2 color space. “I wouldn’t consider doing keys in anything but 4:2:2,” he says. Unlike some of the children’s shows Berner worked on in the past, shooting The Electric Company has been a relative snap. “We’re usually not dealing with high-chroma colors. It’s human beings all the time, you sort of know what your flesh tones are, and the biggest concerns are balancing those tones out,” the cameraman remarks. To set the look for the show, he collaborates closely with Satin. A WIDE ANGLE REVOLUTION IN A LIGHTWEIGHT COMPACT ASPHERIC CONVERTER INTRODUCING THE EX 0.75X ASPHERIC WIDE CONVERTER • Advanced aspheric technology reduces geometric distortion and chromatic aberrations and improves off-axis performance • Smaller & lighter than non-aspheric lenses • Delivers 25% greater angle of view • Maintains full zoom thru • Quick bayonet mount for Sony EX1/EX3 • Crafted with precision engineering for optimum performance LENS HOOD Retail Value For more details, see rebate form: www.16x9inc.com FREE $250 http://www.16x9inc.com http://www.16x9inc.com http://www.16x9inc.com

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Digital Video - January 2009 Contents First Look: D90 Camera Sonicfire Pro 5 You Pod Instant Expert Muse 2.0 FXFactory Pro 2.0.5 Motype Fxpack DV Product Directory All Powered Up Creating Your Own Sun DV101 Production Diary

Digital Video - January 2009

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