American Cinematographer - October 2007 - 84
Above: Actor Tony Hale totes a faux guitar while taking his cues from director/cinematographer Brandon Dickerson. Below: Dickerson captures footage of actress Jayma Mays. then re-using them freaked me out,” he recalls. “In the end, we lost nothing. Well, maybe I lost weight, but we didn’t lose any media!” Another reason Dickerson chose to shoot with the HVX200 was for its 24fps capability and video-quality aesthetic. Everything was recorded in the 720pN format and then upconverted to 1080p for mastering. Since completing “Awakening,” Cioni recommends that cinematographers using the HVX200 record the image using the camera’s internally upconverted 1080i format. “At first, everybody thought shooting at 1280x720 would be better High Definition goes hydrodynamic The HydroFlex HD Remote AquaCam . Hydrodynamically shaping the future of High Definition. TM 5335 McConnell Avenue Los Angeles, CA 90066 84 because that’s closer to the native resolution of the camera,’” explains Cioni. “With the HVX, in every frame you can actually can see the compression — particularly in low light — and so you’re scaling that compression 33 percent when you up-rez to the 1080 master. The compression at 1920x1080 is less visible because even at 1080, you have the same amount of compression you have in the 720 image. The downside is you have to record 1080i, and your card economy also tanks about 40 percent.” “Awakening” earned the top slot on Fuse TV’s “Guilty Pleasure” Countdown, and it has found great success on YouTube, whose low-rez capability makes it difficult to tell how much work went into the photo-mation. “It’s a mixed blessing,” says Dickerson. “The response has been great, but it’s bizarre to know what poor quality people are watching it on.” Now that he has experimented with HD, Dickerson would like to use it again, albeit with a little more support. “I’ve been shooting film professionally for 10 years, and it took the right project to go to a tapeless HD workflow,” he says. “This is the first project where I kind of let go of all the ways I’d been doing things. Going from film cans to ones and zeros isn’t easy.” I Tel: 31 0/301-8187 Fax: 310/821-9886 www.hydroflex.com
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American Cinematographer - October 2007
Table of Contents for the Digital Edition of American Cinematographer - October 2007
American Cinematographer - October 2007
Contents
Editor’s Note
Letters
DVD Playback
Production Slate
Western Destinies
Emotional Betrayal
Palace Intrigue
Unsafe Passage
Short Takes
Post Focus
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up
American Cinematographer - October 2007 - American Cinematographer - October 2007
American Cinematographer - October 2007 - Cover2
American Cinematographer - October 2007 - 1
American Cinematographer - October 2007 - 2
American Cinematographer - October 2007 - Contents
American Cinematographer - October 2007 - 4
American Cinematographer - October 2007 - 5
American Cinematographer - October 2007 - 6
American Cinematographer - October 2007 - 7
American Cinematographer - October 2007 - Editor’s Note
American Cinematographer - October 2007 - 9
American Cinematographer - October 2007 - DVD Playback
American Cinematographer - October 2007 - 11
American Cinematographer - October 2007 - 12
American Cinematographer - October 2007 - 13
American Cinematographer - October 2007 - 14
American Cinematographer - October 2007 - 15
American Cinematographer - October 2007 - Production Slate
American Cinematographer - October 2007 - 17
American Cinematographer - October 2007 - 18
American Cinematographer - October 2007 - 19
American Cinematographer - October 2007 - 20
American Cinematographer - October 2007 - 21
American Cinematographer - October 2007 - 22
American Cinematographer - October 2007 - 23
American Cinematographer - October 2007 - 24
American Cinematographer - October 2007 - 25
American Cinematographer - October 2007 - 26
American Cinematographer - October 2007 - 27
American Cinematographer - October 2007 - 28
American Cinematographer - October 2007 - 29
American Cinematographer - October 2007 - Western Destinies
American Cinematographer - October 2007 - 31
American Cinematographer - October 2007 - 32
American Cinematographer - October 2007 - 33
American Cinematographer - October 2007 - 34
American Cinematographer - October 2007 - 35
American Cinematographer - October 2007 - 36
American Cinematographer - October 2007 - 37
American Cinematographer - October 2007 - 38
American Cinematographer - October 2007 - 39
American Cinematographer - October 2007 - 40
American Cinematographer - October 2007 - 41
American Cinematographer - October 2007 - 42
American Cinematographer - October 2007 - 43
American Cinematographer - October 2007 - 44
American Cinematographer - October 2007 - 45
American Cinematographer - October 2007 - 46
American Cinematographer - October 2007 - 47
American Cinematographer - October 2007 - Emotional Betrayal
American Cinematographer - October 2007 - BRC1
American Cinematographer - October 2007 - BRC2
American Cinematographer - October 2007 - 49
American Cinematographer - October 2007 - 50
American Cinematographer - October 2007 - 51
American Cinematographer - October 2007 - 52
American Cinematographer - October 2007 - 53
American Cinematographer - October 2007 - 54
American Cinematographer - October 2007 - 55
American Cinematographer - October 2007 - 56
American Cinematographer - October 2007 - 57
American Cinematographer - October 2007 - 58
American Cinematographer - October 2007 - 59
American Cinematographer - October 2007 - Palace Intrigue
American Cinematographer - October 2007 - 61
American Cinematographer - October 2007 - 62
American Cinematographer - October 2007 - 63
American Cinematographer - October 2007 - 64
American Cinematographer - October 2007 - 65
American Cinematographer - October 2007 - 66
American Cinematographer - October 2007 - 67
American Cinematographer - October 2007 - 68
American Cinematographer - October 2007 - 69
American Cinematographer - October 2007 - 70
American Cinematographer - October 2007 - 71
American Cinematographer - October 2007 - Unsafe Passage
American Cinematographer - October 2007 - 73
American Cinematographer - October 2007 - 74
American Cinematographer - October 2007 - 75
American Cinematographer - October 2007 - 76
American Cinematographer - October 2007 - 77
American Cinematographer - October 2007 - 78
American Cinematographer - October 2007 - 79
American Cinematographer - October 2007 - Short Takes
American Cinematographer - October 2007 - 81
American Cinematographer - October 2007 - 82
American Cinematographer - October 2007 - 83
American Cinematographer - October 2007 - 84
American Cinematographer - October 2007 - 85
American Cinematographer - October 2007 - Post Focus
American Cinematographer - October 2007 - 87
American Cinematographer - October 2007 - 88
American Cinematographer - October 2007 - 89
American Cinematographer - October 2007 - 90
American Cinematographer - October 2007 - 91
American Cinematographer - October 2007 - New Products & Services
American Cinematographer - October 2007 - 93
American Cinematographer - October 2007 - 94
American Cinematographer - October 2007 - 95
American Cinematographer - October 2007 - 96
American Cinematographer - October 2007 - 97
American Cinematographer - October 2007 - 98
American Cinematographer - October 2007 - 99
American Cinematographer - October 2007 - 100
American Cinematographer - October 2007 - 101
American Cinematographer - October 2007 - International Marketplace
American Cinematographer - October 2007 - Classified Ads
American Cinematographer - October 2007 - Ad Index
American Cinematographer - October 2007 - 105
American Cinematographer - October 2007 - Clubhouse News
American Cinematographer - October 2007 - 107
American Cinematographer - October 2007 - ASC Close-Up
American Cinematographer - October 2007 - Cover3
American Cinematographer - October 2007 - Cover4
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