Download - Arri

photo: Ingeborg Klyve
John Christian Rosenlund shooting a scene for HOME FO R CH RISTMAS
Weblink: www.arri.de/camera/
professional_camera_accessories/
electronic_accessories/hd_ivs.html
What did you do with the HD images?
JCR: The brain behind the setting up and
use of the HD-IVS was my camera assistant,
Ola Austad. Besides being a very good
CA, he is excellent with computers, which
does help. Everything recorded was saved
as QuickTime files and imported into [script
supervisor] Aslaug Konradsdottir’s laptop,
so she always had every scene available
as a QuickTime. We used the HD-IVS together
with the AJA Ki Pro [a portable ProRes
file recorder]. A pre-adjusted sound channel
wirelessly transmitted to the Ki Pro, which
handled the sync delay from the HD-IVS in
an easy way.
NIC SADLER
Tell us about yourself as a cinemato grapher.
Nic Sadler: I studied film at Curtin Univer sity
in Perth and then moved to London to work
as a camera assistant, most notably for John
Mathieson BSC. Later I began working as
a cinematographer, shooting music videos
and concerts for artists including Nick Cave
and REM, as well as short films and hundreds
of commercials. Five years ago I moved from
London to LA and currently work shooting
commercials and movies. I am also a partner
in a company that develops iPhone applications
for the film industry, called Chemical
Wedding.
What kind of production did you use the
HD-IVS on?
NS: We were shooting a commercial in New
York with a company called Nydrle. The director
was the LA-based Peter Nydrle and the
producer was Jan Scott. We shot with the
ARRICAM Studio using only the ARRI Master
Zoom, with no filtration on Kodak Vision2 200T
stock. The whole project was shot against
green – the live action foregrounds being
composited into backgrounds created in
postproduction. We had a pre-visualization
to work toward and everything was shot at
24 fps, other than one insert shot at 60 fps.
What are the key advantages?
NS: Video assist image quality is crucial when
shooting for special effects, especially with
greenscreen. It is possible to do on-set chroma
keying to help place actors in environments
created by the effects house. Before, video
assist systems did not have sufficient image
quality to allow a good assessment of how
foreground and background elements sit
together; the new HD-IVS is a drastic improvement
in this respect.
Clients are becoming used to seeing a high
quality image now that shooting on HD has
become more prevalent. Having the HD-IVS
allows me to continue shooting on film and
also keep agency and client people happy.
I was very impressed with the HD-IVS and
it performed perfectly during the shoot. It
was less trouble to use that a normal IVS;
Nic Sadler shooting the Nydrle commercial
mIkAEL SALomoN
“I'm really enjoying the
HD tap. Hard to ima-
gine shooting film now
without it.”
Director Mikael Salomon
currently shooting
THE LOST FUTURE
C a m e r a
the image quality was superb and I will be
recommending it on all future projects.
What did you do with the HD images?
NS: We used the HD-IVS GGC [Ground
Glass Cancellation] function to reduce
ground glass texture, which was fantastic.
The picture quality was already excellent,
but the GGC added a huge improvement to
the image. Our video assist operator was
using 14" Panasonic HD monitors and had
an AJA recording unit that allows the HD
image to be recorded in ProRes 422. Though
we didn't have the facility on this shoot, these
files can then be transferred directly into
Final Cut Pro. Having editing facilities on set
is fast becoming standard; this new HD-IVS
fit right in with that trend, keeping film a valid
choice in situations where on-set editing and
pre-viz is a prerequisite.
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