Digital Video - August 2008 - (Page 8)

DV UPDATE biggest creative issue in their script. We’re not necA breathtaking view of the ice-capped essarily planning on resolving all the issues, but mountains surrounding the Institute. helping the filmmakers to develop the muscles to face their most challenging tasks. “We go through a very rigorous search every year, looking at thousands of scripts, to find the eight filmmakers the institute will support. They are all from a range of experiences, some have made short films, some from theater, some from other disciplines, but we all see great promise in terms of their talent and potential to have a distinctive voice as a filmmaker.” The institute was incorporated in 1980, but the first active program was the Filmmaker’s Lab in June of 1981, and “back then it was all dirt roads and horse trails,” recalls Calderon, who was one of the founding trustees when the first meeting at Sundance took place in a firehouse. Having produced television, Calderon was instrumental in structuring the Filmmaker’s Lab as a viable production center within a tight timeline. “The lab is only three weeks long, so it is pretty intense,” Calderon explains. “The fellows work from 8 a.m. to 6 p.m. every day, and they get two or three passes of rehearsing, shooting, cutting and presenting their scenes. I realized, quickly, that even if we had the resources to shoot celluloid, we That decision led Calderon to a partnership with Sony that would never have the time to process, edit and then project it — has lasted the entire existence of the institute's labs. And each it just wasn’t possible. At the time, Sony had just introduced their year, the Sony Corporation provides the Institute with the latest first broadcast-quality ENG camera, the BVP300, and I felt that state-of-the-art technology on loan for the lab. their video technology was the perfect application for the lab. It “Our relationship with the Sundance Institute started nearly yielded instantaneous results.” 30 years ago when Ian met with Morita,” recalls David Washington, Sony's Director of Technical Sales Support Broadcast COMING TO DV Systems. “They had just started the Director’s Lab and we decidShooting tapeless with ed to loan them equipment. We're always upgrading the lab with the Panasonic AJ-HPX3000 the latest technology, so they have the state-of-the-art to work on the horror feature Laid with. That started with U-Matic cameras, then Betacam, DVCAM to Rest. Pro, Digital Betacam and now, currently, they're shooting with Reviewing FrameForge the PDW-F355L XDCAM HD” 3D Studio pre-viz software. “Sony is the real crown jewel in the process,” attests Calderon. “Sony makes so many integral pieces in the puzzle of End-to-end DVD moviemaking from cameras, decks, monitors and now their latproduction tutorial. est SXRD digital projector. It’s a perfect match.” “Quite frankly, the Feature Film Program couldn’t exist withHow to get the most out of shooting with jibs. out the support of companies like Sony and many, many others,” says Satter. Outsource High-end digital post on The Feature Film Program is just one of the Sundance the Viper-shot sci-fi project Institute’s contributions to the industry at large. Others include Outsource. the Documentary Film Program, the Film Music Program, the Theatre Program and the Independent Producer’s Conference. Capturing video with Director Rob Hall Vegas 8 Pro. For more information, visit www.sundance.org. DV shooting Laid to Rest. PHOTO BY JAY HOLBEN 8 dv august 2008 www.dv.com http://www.sundance.org http://www.dv.com

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Digital Video - August 2008 Contents DV Update My Studio Close-Up Wristshot HV30 Camcorder Tiffen DFX Bench Test PCM-D50 & R-09HR Recorders Camera Cradle Instant Expert My Passport Elite High School Confidential The Ultimate DIY Raid DV101 Click to Play Production Diary

Digital Video - August 2008

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