In Broadcast - October 2013 - 44

I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 24 - OCTOBER 2013

N E W S

InGEAR

OConnor For Remake Of ‘Evil Dead’
T

he Evil Dead is a 1981 classic
cult horror movie directed
by Sam Raimi and is famous for
its bloody content. For the 2013
remake, Evil Dead, Raimi chose
Fede Alvarez as director and
decided to take the producing role
himself alongside Robert Tapert
and Bruce Campbell, lead actor
and producer of the original film.
To fill in the position of the DoP
he chose cinematographer Aaron
Morton, NZCS, who was also DP for
the Starz series Spartacus and part
of the camera crew of Underworld 3.
The challenge: Shoot a horror movie
that won’t be polished or enhanced
by CGI retroactively and make it
as bloody as possible. This task
required a fluid head that is reliable
and robust enough to cope with
sticky artificial blood and allows for
total control of camera movements.
To meet these conditions Aaron
Morton selected a 2575D fluid head
by Oconnor to support his two Sony
PMW-F65 cameras.

Shooting Conditions
44

Evil Dead is a gore feast, even more
than its predecessor: Gallons of
Blood cover the actors and the
equipment – it is literally raining
blood. And amidst these masses of
sticky red liquid Cinematographer
Aaron Morton had no time to lose
to capture the footage for Evil Dead.
Shot in Auckland, New Zealand,
Morton explains: “The project was

a huge challenge from a gear and
time perspective. We only had 14
weeks to shoot. Plus shooting in
rough conditions through rainwater
or fake blood or from tracking
vehicles, we needed dependable
support for our Sony F65 cameras.
I chose OConnor for its reliability
and great toughness”, he says. The
stepless and ultra-smooth pan & tilt
fluid drag provides the typical and
famous OConnor feel for film-style
shootings, which unfailingly remains
untainted even in bloody conditions.
Plus, the controls of the 2575D fluid
head are on the operator’s side
to guarantee a clear overview of
all settings. With numerical readouts, every confi guration of the
OConnor 2575D can be exactly and
quickly repeated, saving precious
time during shootings on a short
timeline, especially when it comes
to unusual shots, that have to be
well-prepared.

Special Shots
Evil Dead almost completely does
without CGI and therefore every
single shot has to be perfect to
live up to all tricks and illusions
that make up a great part of the
movie’s most shocking moments.
This requires a fluid head that is
extremely versatile and thus robust
enough to capture extraordinary
angles and stands its ground for
demanding shots. “I wanted to
get close to the original movie,

For the remake of the cult horror movie Evil Dead DoP Aaron Morton relied
on an OConnor 2575D fluid head due to its reliability and toughness

where lots of things are whipping
around out of control. Therefore
we included a lot of rolling in
our camera movement”, Morton
says. The ergonomically designed
OConnor 2575D tripod head with
a payload range up to 40.8 kg (90
lbs) gave him the creative freedom
and ultimate control at any point of
the tilt range from +90 to -90° he
needed when operating his Sony
F65. “The snap plate system is very
quick and convenient and has a
great ability to fine-tune the balance

even with a heavy camera system”,
Morton explains. The patented
stepless sinusoidal counterbalance
system with a collapsible crankhandle moreover allows for easy
and exceptionally precise balance
– that is exactly reproducible. Given
these prerequisites Morton could
focus on his characteristic highend-shots than rather worrying
about practicality or having to cut
back on the quality of the images
that breed an amazingly deep and
spine-chilling ambiance.

Vislink Launches Link L1700 Wireless Camera Transmitter
islink, a global provider of
broadcast communications
technologies, has announced
the launch of its Link L1700
wireless camera transmitter
at IBC 2013 in Amsterdam.
Smaller and lighter than
previous models, the L1700
enhances the modular
design that’s made the
Link series so popular
with broadcast

V

Vislink’s L1700 Wireless Transmitter is smaller
and lighter than previous models

professionals, creating a highly
customisable transmitter that’s
suitable for any broadcast task.
Frank Drudy, Vislink’s FPGA and
Software Engineering Manager,
said: “Link is a pioneer in the
wireless camera market. Not only
is the L1700 smaller and lighter than
ever before, it’s also packed with a
range of new features that confirm
the position of Link’s wireless
transmitter technology as a leader
in its class.
To stay one step ahead of the
competition we have designed
the L1700 system to support
software upgrades, and because
of it’s modular design, users can
add additional features when they
become available.”
The L1700 builds on the highly
successful Link L1500, which
was the first transmitter to have
swappable RF modules and optional
camera control.
The L1700 is fully upgradeable
and users can easily customise the
transmitter to add new software
and features, including web-based

control over WiFi, HDMI input, ultralow delay H.264 video encoding,
video streaming over Ethernet
and support for up to 1080P/60
video formats.
Mr. Drudy added: “By designing
a system that fits in such a small
package, the L1700 has opened
up enormous possibilities for the
broadcast market.
The traditional method of
mounting transmitters on the back
of a camera has now changed. With
the L1700, broadcast professionals
have the flexibility to mount the
transmitter anywhere.”
Swappable RF modules let the
L1700 operate on bands between
1GHz and 8GHz. The transmitter
can be used in both standard and
high definition, but camera control
is now managed within the encoder,
helping to minimise the overall size
and weight of the transmitter.
By retaining a modular design,
the Vislink L1700 will also be
capable of supporting other forms
of transmission in the future.


http://www.linkedin.com/pub/dir/?first=Phillip&last=Izzard&search=Go https://twitter.com/inbroadcast http://www.youtube.com/watch?v=qpzEatLsHdE&feature=youtube_gdata_player https://www.facebook.com/InBroadcast http://itunes.apple.com/gb/app/inbroadcast/id468652679?mt=8 https://play.google.com/store/apps/details?id=com.branded.inbroadcast&feature=search_result#?t=W251bGwsMSwyLDEsImNvbS5icmFuZGVkLmluYnJvYWRjYXN0Il0. http://WWW.INBROADCAST.COM http://www.ocon.com/products/fluid-heads/2575d/ http://broadcast.vislink.com/products/products/?Category=1&Product=224

In Broadcast - October 2013

Table of Contents for the Digital Edition of In Broadcast - October 2013

In Broadcast - October 2013
In This Issue
InNews: Fox Turkey Upgrades GV Systems
InNews: Pebble Beach Wins TV Globo Deal
InFocus: Virtual Sets Made Easy
InStudio: Blackcam Debuts Remote – Control Systems
InGear: Fujifilm Launches 4K Cine Zoom Lens
InSound: Roland Introduces the VC-1 Series
InMedia: NRK Speeds Workflow With Telestream
In Broadcast - October 2013 - Intro
In Broadcast - October 2013 - In Broadcast - October 2013
In Broadcast - October 2013 - Cover2
In Broadcast - October 2013 - In This Issue
In Broadcast - October 2013 - InNews: Fox Turkey Upgrades GV Systems
In Broadcast - October 2013 - 5
In Broadcast - October 2013 - InNews: Pebble Beach Wins TV Globo Deal
In Broadcast - October 2013 - 7
In Broadcast - October 2013 - 8
In Broadcast - October 2013 - 9
In Broadcast - October 2013 - 10
In Broadcast - October 2013 - 11
In Broadcast - October 2013 - 12
In Broadcast - October 2013 - 13
In Broadcast - October 2013 - 14
In Broadcast - October 2013 - 15
In Broadcast - October 2013 - 16
In Broadcast - October 2013 - 17
In Broadcast - October 2013 - 18
In Broadcast - October 2013 - 19
In Broadcast - October 2013 - 20
In Broadcast - October 2013 - 21
In Broadcast - October 2013 - 22
In Broadcast - October 2013 - 23
In Broadcast - October 2013 - 24
In Broadcast - October 2013 - 25
In Broadcast - October 2013 - 26
In Broadcast - October 2013 - 27
In Broadcast - October 2013 - InFocus: Virtual Sets Made Easy
In Broadcast - October 2013 - 29
In Broadcast - October 2013 - 30
In Broadcast - October 2013 - 31
In Broadcast - October 2013 - 32
In Broadcast - October 2013 - 33
In Broadcast - October 2013 - InStudio: Blackcam Debuts Remote – Control Systems
In Broadcast - October 2013 - 35
In Broadcast - October 2013 - 36
In Broadcast - October 2013 - 37
In Broadcast - October 2013 - 38
In Broadcast - October 2013 - 39
In Broadcast - October 2013 - 40
In Broadcast - October 2013 - 41
In Broadcast - October 2013 - 42
In Broadcast - October 2013 - InGear: Fujifilm Launches 4K Cine Zoom Lens
In Broadcast - October 2013 - 44
In Broadcast - October 2013 - 45
In Broadcast - October 2013 - 46
In Broadcast - October 2013 - 47
In Broadcast - October 2013 - 48
In Broadcast - October 2013 - 49
In Broadcast - October 2013 - 50
In Broadcast - October 2013 - 51
In Broadcast - October 2013 - 52
In Broadcast - October 2013 - 53
In Broadcast - October 2013 - InSound: Roland Introduces the VC-1 Series
In Broadcast - October 2013 - 55
In Broadcast - October 2013 - 56
In Broadcast - October 2013 - 57
In Broadcast - October 2013 - 58
In Broadcast - October 2013 - 59
In Broadcast - October 2013 - 60
In Broadcast - October 2013 - 61
In Broadcast - October 2013 - 62
In Broadcast - October 2013 - 63
In Broadcast - October 2013 - 64
In Broadcast - October 2013 - 65
In Broadcast - October 2013 - 66
In Broadcast - October 2013 - 67
In Broadcast - October 2013 - 68
In Broadcast - October 2013 - 69
In Broadcast - October 2013 - 70
In Broadcast - October 2013 - 71
In Broadcast - October 2013 - InMedia: NRK Speeds Workflow With Telestream
In Broadcast - October 2013 - 73
In Broadcast - October 2013 - 74
In Broadcast - October 2013 - 75
In Broadcast - October 2013 - 76
In Broadcast - October 2013 - 77
In Broadcast - October 2013 - 78
In Broadcast - October 2013 - 79
In Broadcast - October 2013 - 80
In Broadcast - October 2013 - S1
In Broadcast - October 2013 - S2
In Broadcast - October 2013 - S3
In Broadcast - October 2013 - S4
In Broadcast - October 2013 - S5
In Broadcast - October 2013 - S6
In Broadcast - October 2013 - S7
In Broadcast - October 2013 - S8
In Broadcast - October 2013 - S9
In Broadcast - October 2013 - S10
In Broadcast - October 2013 - S11
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