scene to screen

scene to screen
spotlight on 4K digital cinema
issue number 19 autumn 2006
the international magazine
for high definition production
disc challenge
XDCAM HD proven on the
Land Rover G4 Challenge
high flyers
HDV captures
cockpit action
in fighter jet
live events
international
markets push for
HD recordings
digital post
top end work
masters on
HDCAM SR
news
everything you ever wanted to know about high definition at
www.sonybiz.net/hd
Landmark year for HD
Eurovision records HD
2006 continues to be a landmark year for HD, with HDCAM sales exceeding 27,000 units
globally, reinforcing its position as the de facto high definition format for mainstream and
prestige TV production, and the arrival of XDCAM HD further strengthening the line-up.
In this issue, read about broadcasters shooting and post producing on HDCAM (pages 6 and 7),
as well as major outside broadcast operators recording on the format for live events such as the
Montreux Jazz Festival (pages 4 and 5).
On pages 14 and 15, we document how leading post production houses in the UK, Germany
and France have taken HDCAM SR to heart as the principal mastering format for top end work.
HDV continues to exceed expectations, offering a low budget, true 1080-line HD recording
capability in compact and lightweight camcorders. Read how documentary makers are shooting
HDV in the confined space of a fighter jet cockpit and withstanding incredible G-forces
(page 16).
As a demonstration of the flexibility and endurability of the Sony HD line-up, the 2006 Land
Rover G4 Challenge utilised HDCAM, HDV and XDCAM HD, using each format in the most
appropriate way, but taking advantage of the benefits of XDCAM HD Professional Disc for the
bulk of the programming (pages 10 and 11).
Chris Dickinson
editor
contents
cover photo: Land Rover G4 Challenge
2
scene to screen autumn 2006
The Eurovision song contest this year was
recorded in high definition and broadcast to
around 100 million viewers across the
continent.
The event, hosted by ERT in Greece, at the
Olympic Indoor Arena in Athens, was shot
using HDC-1500 cameras. German outside
broadcast company TVN was responsible for
capturing the event.
“To us, it was important that the cameras
could capture the scene in full,” says Manfred
Olma, director of photography. “The result
which we obtained with the HDC-1500 system
was not only outstanding on the control
monitors, but also after it had been downconverted and transmitted via satellite to the
viewers.”
The show was primarily broadcast in
standard definition, but a special high
definition DVD has also been produced for
international sale.
Tony Bill directed feature Flyboys shot on
HDCAM SR and the Panavision Genesis 8
XDCAM HD was the main production system
used on the Land Rover G4 Challenge 10
Live events such as
the Montreux Jazz
Festival and a concert
in Dublin are among
the many recording
in HD 4
HDCAM SR is being
used for top end
mastering in post
houses from Soho to
Munich 14
Broadcast
productions in the
Benelux countries are
increasingly being
shot and post
produced in HDCAM
6
HDV has been used
to shoot a
documentary about
the F/A-18 fighter
plane 16
www.sonybiz.net/hd
Martin Danneels of
Ireland’s Red Pepper
Production is
producing and
directing a
documentary shot in
HDV about a world
record attempt on
climbing seven
summits around the
world by mountaineer
Ian McKeever.
London-based
Creation Company
shot HD inserts for a
BBC produced
pantomine at Her
Majesty the Queen’s
80th Birthday party at
Buckingham Palace in
June with two
HDW-750P HDCAM
camcorders.
Stormchaser benefits
from XDCAM HD
UK production company Ingenious TV has
spent the last two months in America recording
extreme weather conditions with the new
XDCAM HD Professional Disc camcorder.
The crew, led by director Alister Chapman,
travelled over 7,000 miles, visiting 11 states
from Texas to the Canadian border. The
footage has been shot in high definition on
HDV and XDCAM HD. He also plans further
trips to the US and Mexico to shoot more
extreme footage.
“XDCAM HD is absolutely brilliant – we’re
over the moon with the picture quality,“ says
Chapman.
“We operate in conditions that push
equipment to the very limit. Sometimes we’d
be out in winds that you could hardly stand up
in, it could be torrential rain, humid, dusty,
windy, yet we had no failures with the
XDCAM HD and HDV equipment.”
Ingenious TV was able to benefit from the
workflow advantages of XDCAM HD through
its integration with Avid editors, which greatly
increase production speeds.
“We really think that these new low-cost
high definition formats will revolutionise TV
and video production.”
Ingenious TV has previously shot footage
for National Geographic, Meridian and Sky TV.
Spanish movie La Hora Fría was shot with the
HDW-F900 HDCAM camcorder 13
Extensive updated
production directory
of HD facilities
18, 19 & 20
German movie
PingPong, the first
feature length movie
by director Matthias
Luthardt, was shot
with an HDW-F900
camcorder and shown
at Cannes 2006.
Côtes de Monde vues
du ciel (World’s
Coastlines from
Above) is a series of
documentaries
commissioned by the
French broadcaster
France 3 and shot by
Belgium-based
facilities company,
Wim Robberechts &
Co on HDCAM.
Italian movie
shoots on HD
Italian feature La Fiamma sul Ghiaccio (The
Flame on the Ice) was shot on HDCAM with the
HDW-F900 camcorder.
“We have chosen Sony for the greater
resolution, and the optimal result when
converting from 16:9 to cinemascope,” says
Alessio Gelsini, director of photography.
“Having an HD monitor on set was also
important for us,” he adds.
La Fiamma sul Ghiaccio tells the story of
mathematics professor Fabrizio (Raul Bova),
who is afflicted with Asperger’s syndrome, and
his doomed relationship with vagrant woman
Caterina (Donatella Finocchiaro).
La Fiamma sul Ghiaccio was written and
directed by Umberto Marino, and produced by
Albatross AMP. The movie was released in Italy
in March of this year.
editor Chris Dickinson chris@smallworldpublishing.co.uk
assistant editor Abigail Pears
contributors Louise Bishop, David Collins, Pippa Considine,
Adrian Pennington, Stephen Tate
art editor Karen Painter
executive editors Peter Sykes, Richard Lewis
publishing manager Jillian Chart
editorial offices
26 Carnarvon Road, Bristol BS6 7DU, United Kingdom.
telephone +44 (0)117 942 6977 fax +44 (0)117 907 0717
info@smallworldpublishing.co.uk
advertising queries
Please contact Ellie Hand
ads@smallworldpublishing.co.uk
Loft Music and
German-based
company Nightfrog
have co-produced
Dragon Songs – Lang
Lang in China, a twopart HD documentary
shot on the
HDW-F900, following
acclaimed pianist Lang
Lang on his recent
tour of China.
The HDW-F900R,
which replaces the
hugely successful
HDW-F900 HDCAM
camcorder, is lighter,
offers new features
and is environmentally
friendlier than its
predecessor.
Spanish university
builds 3D HD camera
The University of Zaragoza in Spain has created
a revolutionary 3D camera system based on
the HDW-750P.
“Given the anticipated demand of 3D in the
audio-visual market, the stereo camera that we
have created looks to solve the problem of
shooting in 3D – we have constructed a frame
that allows us to fit two video cameras
together,” says Alfredo González of the
department of engineering and design.
Two lenses are fixed in a specially created
mount, recording directly onto HDCAM. “It is a
solution for natural 3D in all kinds of situations,
and allows the cinematographer to configure
the cameras correctly,” he says.
ITP Producciones Audiovisuales is working
with the team to trial the new 3D camera
system, alongside another based on HDV.
Published by Small World Publishing Limited on behalf of
Sony Europe, Jays Close, Viables, Basingstoke, Hampshire
RG22 4SB, United Kingdom.
Contents copyright 2006 Sony Corporation. Reproduction in
whole or part is strictly prohibited. Permission may be granted
by application to Sony Europe, Marketing Communications.
No responsibility for loss occasioned to any person acting or
refraining from action as a result of the material in this
publication can be accepted by the authors or publishers.
Whilst information given is true at the time of printing, small
production changes in the course of our company’s policy of
improvement through research and design might not be
indicated in any specifications. Please check with Sony to
ensure that current specification and features match your
requirements. Sony and all Sony product names are
trademarks of the Sony Corporation. All other trademarks
are the property of their respective owners.
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autumn 2006 scene to screen 3
live events
song master
Concerts in Dublin and Montreux are
among the many being recorded in
high definition. Pippa Considine
reports
Liam Lawton in concert (below) and the Montreux
Jazz Festival (top)
4
scene to screen autumn 2006
Liam Lawton’s extravagant Dublin concert, set
in a purpose-build auditorium surrounded by
water and with a live audience of 6,000 over
two nights, was dubbed one of the music events
of the summer.
The Irish-priest-turned-singer has become a
mainstream phenomenon in the last two years,
after signing to EMI Music and having his
album, Another World, go double platinum.
His Song of the Celtic Soul concert ran across
two nights in August, in a unique arena in the
heart of Dublin’s Docklands, with an audience
of 3,000 on each night. Lawton was joined by a
full orchestra and choir with traditional Irish
instruments, as well as supporting artists Roisin
O’Reilly and boy soprano Joseph McManners.
The orchestral arrangements were by the
world-renowned composer and arranger, Nick
Ingman.
The show’s producer is Avril MacRory, the
former head of millennium programmes at the
BBC, who is now working as chief executive of
production company Silverapples Media. Song
of the Celtic Soul is a co-production, together
with Lawton’s production outfit, Tanlow
Enterprises.
The operation to construct the venue
involved draining the dock and then
re-flooding it, in order to install a huge, floating
stage and two big screens. The water
extravaganza was captured in HD, with outside
broadcast equipment provided by TV Mobiles
in Dublin, including four HDC-1000 and 11
HDC-1500 cameras.
MacRory is a seasoned producer of HD,
having first used the format when shooting
opera for Channel 4. “There are several reasons
for shooting on HD,” she says. “The base
reason is the quality. This show was a very big
moment for this artist to continue breaking
into the US market and HD goes without
saying. It’s the right quality for DVD and most
record companies now want to shoot in HD.
“Secondly, it was a very complex shoot, with
water and reflections. And it was shot in
August in Ireland, so there was quite a lot of
light when we started, and it ended in total
darkness. HD read the light and showed the
progression better.”
The HD cameras’ particular sensitivity to
changing light conditions meant that they
could handle the extra demands of the watery
venue. The HDC-1000s have the added
advantage in a concert venue of a lowmounted viewfinder.
Bart Arnold, managing director of TV
Mobiles says, “the viewfinder is set low at the
back of the body of the camera and brings
down the overall profile of the camera in an
auditorium. In other words, you’re not blocking
anyone’s vision. The cameras are also very fast
to rig and de-rig because the large lens clips
straight on at the front of the camera.”
Another advantage of the Sony kit is the
flexible system of converting from triax to fibre
and back. This means that TV Mobiles can
offer an overall cable reach of two kilometres.
The TV recording of the Song of the Celtic
Soul will go out in HD on American PBS, for a
special pledge show to raise money for the
live events
channel, during March 2007. There will also be
a major CD and DVD release in the States,
followed by a worldwide roll-out, with the
concert also airing on TV across many different
countries.
Record companies and music producers
now have HD firmly on their radar. So, for live
music events the more serious artists and
festivals are investing in the format.
The Montreux Jazz Festival has been ahead
of its time with the use of HD. The Festival
producer Claude Nobs is something of a
technical pioneer in the world of music
production. He was one of the first people to
use Outside Broadcast’s HDC-950 cameras
when they were introduced into Europe in
2003 and 2006 has been the fourth year that
he has used the format. This year, HDC-1500
cameras have also been recording the concerts.
2006 was Montreux’s fortieth anniversary.
There were 49 concerts in three venues over
the sixteen days of the festival, which ran from
the 30 June to 15 July. As well as a number of
outside arenas, there were three major venues
in the Swiss resort town – the Auditorium
Stravinski, the Miles Davis Hall and a smaller
venue, the Casino. Amongst the 135 or so
bands performing to around 100,000 people in
these three auditoriums this year, there were
artists such as Van Morrison, Deep Purple, B.B.
King and Morrissey.
Julian Nicole-Kay is one of three television
directors for the three venues. He has directed
at the festival for several years and has been
able to see how high definition works for the
event. He describes how the concert halls allow
for a certain amount of control with the
lighting conditions. “It’s great with HD,” he
says, “because we’ve got the best light to do
HD recording, the best place to get the best
pictures. We light it both for the TV recording
and the live audience, to make something very
smooth and very nice. The HD gives really
good pictures.”
The two larger venues both used seven HD
cameras and the smaller Casino used just five,
with other cameras brought in for some of the
bigger artists, such as Deep Purple. Everything
was shot on HD using the 60i standard, in
order to have the best quality for sales of the
footage to Japan and the US and to futureproof the recording for worldwide use.
Outside Broadcast supplies its HD facilities
for the Festival, with cameras which are
particularly well-suited to the job of shooting
in a concert venue because of their high light
sensitivity.
Outside Broadcast’s latest HD OB trucks
have made the job of using the new format
more efficient. Nicole-Kay says: “With the
trucks I’ve got now, there is lots of room inside,
I’m not struggling with a little truck. It’s really
the best for a TV director to work with – I’ve
got amazing vision, with a good performance
on every screen. It’s a pleasure.”
for more on recording live events in high
definition and information on Sony solutions,
please visit www.sonybiz.net/live
“This show was a very big moment for this artist to continue breaking
into the US market and HD goes without saying”
Avril MacRory, Silverapples Media
autumn 2006 scene to screen 5
production
ascent of man
The Benelux market is one of the
most developed for HD programming
in Europe. Louise Bishop reports
Toumai (above) shot on the HDW-F900 and
HDW-750P HDCAM camcorders
6
scene to screen autumn 2006
The film and television market in the Benelux
countries is moving firmly into HD in both
origination and post production. Jan Goossen
and Frank de Wulf, from the Belgium-based
post production house Grid, have worked on
HDCAM for at least five years. It started with
the third Plop film, produced around four years
ago by Studio 100, a production company for
Belgian children’s TV and cinema.
The movie tells the story of a tiny family in
a large human world, a bit like the Borrowers,
and uses a combination of live action and
visual effects. Grid advised the makers of the
film to shoot entirely in HD, since this would
aid DVD sales. The underlying idea being that
by paying only marginally more, the client
would get a higher quality product.
Although initially the film was intended for
the DVD market, the HD finishing resulted in
an unexpected cinema release.
Two more Plop films have been made,
along with a series called Piet Piraat and a K3
feature (K3 is a Belgian girl pop group), with
the latest coming out in September.
High definition has changed the way Grid
works. “We basically use HD for everything
that will go bigger than a TV screen. HD is our
acquisition format for SD productions, as well,”
says Goossen.
Apart from the picture quality advantages,
Goossen feels that HD is the best choice for
directors with a video background, who expect
instant quality footage on set.
“The work is shot entirely on the HDCAM
HDW-750P and post produced in HDCAM.
We try to benefit from the fact that everything
is real-time when we do colour grading and
tape to tape grading,” adds Goossen. “We
could work 4:4:4 if we wanted to, but the
production budget does not allow for this.”
Each Plop film is about 35 per cent green
screen footage and there can be over a 1,000
effects in a single movie. This has an impact on
schedules. The shoots use an HDW-750P
camcorder and take about 16-17 days, with
another 150 days spent in post production.
Grid has also worked on several high profile
HD TV series: Rupel, Hallelujah and Katarakt –
all aired on Belgian national and commercial
TV channels. Although produced for the SD
TV broadcasters, they were finished in HD and
down-converted to SD for delivery.
Currently, Grid is working on the visual
effects for WK10 to be released in October.
“It’s an action film about the helicopter rescue
team of the Belgian coast guard. We’re
working on a scene were a boat needs to
explode and sink. Here the HD format is of
great use during viewing sessions with the
director. Instead of checking effects on a PC
screen, we use the HD VTR’s in a tape to tape
grading environment. The material is dumped
flat logarithmic on the HDCAM and pregrading, just for evaluation, done on the Pogle
production
“We shot using the HDW-F900 and HDW-750P HDCAM for
many reasons, mainly the demand of broadcasters for international
co-production” Pierre Stine, DoP
in HD, while we can simultaneously discuss and
look through the material with the director.
The images are viewed with the Sony projector
in full HD and are evaluated in a real time
tape-to-tape manner. Our clients really
appreciate this work method; because it gives
them the ability to judge and view the material
at an early stage of the production, while the
scenes look almost like the finished result.”
High definition is also making headway as
the format of choice for origination where
post production plays only a small part.
Télésparks–BCE in co-production with Les
Films de la Mémoire are mid way through a
90-minute documentary about immigration
from Luxembourg to the USA in the 18th and
19th centuries.
“It is not a film only about archives and
history,” comments Xavier Thillen, head of
production at BCE Broadcasting Centre
Europe. “It is contemporary, about what is left
now from those that made the journey
centuries ago, showing how people live today.”
The programme visits cultural events that
have a basis in Luxembourg life which still exist
in the USA, such as its one and only St
Nicholas celebration. It is shot and post
produced entirely in HDCAM using the
HDW-750P, and will be shown both on the big
screen and on television.
“We chose HD because of the good
experience we already had with it on Retour a
Goree,” comments Thillen. (Retour a Goree
was a movie released last year, which combined
live concert and travelogue). “It produces the
perfect image for the cinema and we are very
confident with the equipment now.”
The documentary is due to end shooting in
December and will be released in the summer
of 2007, when Luxembourg becomes the
cultural capital of Europe. It will premiere at a
special screening in the Immigration Museum
in New York.
Another high profile Belgian production
that travelled the globe with high definition kit
is Toumai – the New Ancestor. This is a
documentary about the discovery by French
paleoanthropologist Michel Brunet of a seven
million year old hominid (ie pre-human)
cranium in Chad.
The programme mixes documentary and
fiction, following Brunet’s quest to unveil the
truth about the skull’s origins. It is a
co-production with Gedeon Programmes,
National Geographic Channel, NHK and RTBF.
This is Pierre Stine’s third HD film in his 15year career as a DoP and camera operator. “HD
is so much cheaper than film, and it is such a
good look,” he comments. “It influenced the
way we shot – we have a more
cinematographic mood. The picture is much
more attractive, so if you have good light and a
good subject you can be longer on one shot
without it being boring. You can also play with
the depth of field more. Everything is more
beautiful. You can also work more with
highlights, as HD is much more tolerant than
video in this respect.
“Toumai was the most difficult film I have
ever done and the most fun,” he adds. “We
visited eight different countries in Africa, the
US and Europe. It was exciting to be on the
track of the ancient hominids. The most fun
were the scenes where the hominid comes to
life – which take up about 15 minutes of the
film and about 20 per cent of the budget.”
These were recorded in Botswana using real
landscapes and animatronics from UK firm
Crawly Creatures, along with later CGI. “People
expect special effects to be movie-style even if
you don’t have a movie budget,” says Stine. “It
is the most expensive type of CGI because
everyone has references for apes; you can’t
cheat like you can with dinosaurs.”
The feature took nearly two years to shoot
and post, and has been screened throughout
the world.
Why did they use HD? “We shot using the
HDW-F900 and HDW-750P HDCAM for many
reasons, mainly the demand of broadcasters
for international co-production. Now even
French TV is asking for HD,” comments Stine.
“HD is the natural choice now.”
for more on HDCAM production, please visit
www.sonybiz.net/hdcam
autumn 2006 scene to screen 7
movies
flying high
New Hollywood feature Flyboys was
recorded on HDCAM SR using the
Panavision Genesis camera. David
Collins reports
8
scene to screen autumn 2006
Dean Devlin is best known for co-producing
Independence Day, the sci-fi epic, but his latest
movie, Flyboys, will do more than show that
he’s a master of thrilling, action-packed stories.
It will also establish his reputation for
endorsing cutting-edge digital technology. The
movie was shot in Britain last year by the
director Tony Bill using Panavision’s Genesis
camera, which records on to HDCAM SR.
But Devlin and Bill (who won an Oscar in
1974 for co-producing The Sting) are not
alone, as the director Bryan Singer has also
used the camera for his new blockbuster,
Superman Returns.
“Both Bryan Singer and I are big supporters
of shooting in digital formats,” explains Devlin.
“Superman Returns and Flyboys are the first
two films to ever shoot with Panavision’s new
Genesis 35mm digital format. The flexibility of
the material and the ability to manipulate that
material is an enormous part of our ability to
bring more to the screen than traditionally
could be done.”
Flyboys DoP Henry Braham (whose recent
credits include Shackleton, Bright Young Things
and Nanny McPhee) wholeheartedly agrees
with that assessment. “If you compare film to
an electronic typewriter, you can compare this
to a terrific word processing programme,” he
says. “I think it’s going to be very exciting
seeing people make different types of films
with it. It’s as significant a step forward as
Eastman colour.”
The comparisons to film don’t end there,
though. “On a piece of negative,” he says,
“generally you tend to expose a range of seven
stops – from black which you can see detail in,
to white which you can see detail in, beyond
that the white blows out and the black goes to
black black. The first thing about Genesis is
that the range is about ten stops. So it’s much
more versatile in terms of its dynamic range.”
“By definition, a piece of film comes with
an imprinted gamma code on it,” he adds.
“So it’s a bit like you sitting down with a
piece of paper that’s got lines ruled on it, and a
margin ruled on it. But this doesn’t have any
defined curve at all. Because you’re just
capturing raw data, it’s the equivalent of sitting
down in front of a blank sheet of paper, and
movies
The new feature Flyboys was shot on HDCAM SR
with the Panavision Genesis camera and many
effects added by Double Negative in London
“I think it’s going to be
very exciting seeing
people make different
types of films with it.
It’s as significant a
step forward as
Eastman colour”
Dean Devlin,
Flyboys
that’s a huge difference.”
Before the camera was chosen, Braham put
it through a number of tests, and hired the
Odeon in Leicester Square to see how the
Genesis footage would stand up to film
material. “To me, the quality of the digital stuff
was better than film,” he says, “which was
surprising because film has slightly more
resolution to it. But actually resolution is
perceptive. Because it’s a cleaner image, you
see more into it. You see more definition, if
you like. So it feels somewhere in between 35
and 65mm.”
Shooting began in the Spring of 2005 in
locations including a specially-constructed
World War One airfield at RAF Halton in
Aylesbury, UK, and Braham estimates that
principal photography lasted for around
fourteen weeks.
“There was also an aerial unit for about five
or six weeks,” he says, “and a green screen unit,
photographed by Peter Taylor, which went on
for about eight weeks.”
Braham shot over 140 hours of old planes
in the air because the story, starring Jean Reno
and James Franco, is about Americans who
travelled to France during World War One to
fly with a squadron called Lafayette Escadrille,
before their own country joined the conflict.
He’s an experienced aerial photographer,
while Bill is an ideal director because he started
flying when he was 13. But, of course, there
were certain death-defying sequences that had
to be created with the help of special effects.
Devlin says there were over 800 special
effects shots, and 720 of those were created by
the company Double Negative.
“The main challenge was to faithfully
reproduce the flight characteristics and
atmosphere of the World War One dogfights,”
says Double Negative’s VFX director Peter
Chiang. “The main airplanes featured in the
film were Nieuport 17s and Fokker DR1s.
We were able to film four replica Nieuports
and two replica Fokker’s for reference and
doing simple manoeuvres, take offs and
landings.
“The battle sequences demanded more
dangerous and exciting shots and these were
achieved using visual effects,” he adds. “For the
flight characteristics we developed a system
where we could film and record an actual
Jungman plane doing the manoeuvres and
apply the data to a CG plane. In this way all of
the animation of the planes could be the
recorded data from an actual flight.”
Double Negative also created the illusions
of an L32 Zeppelin airship and an ammunition
depot being destroyed, but these effects were
achieved by blowing up miniatures, filmed in
Los Angeles.
Braham says that the Genesis was perfect
for combining visual effects with real-life
footage, but another major benefit was being
able to see footage on location on an HD
monitor.
“It created a subtle change in atmosphere
on the set,” he says, “because there wasn’t that
anxiety that goes with a production. At the end
of the day, the crew would go home knowing
that the film wasn’t scratched, it was in focus,
and the day’s work was completed intact.”
for more on HDCAM SR, please visit
www.sonybiz.net/hdcamsr
autumn 2006 scene to screen 9
land rover
tapeless challenge
The Land Rover G4 Challenge was
captured this year with the new
XDCAM HD high definition tapeless
Professional Disc system
10
scene to screen autumn 2006
The first European production to use the
XDCAM HD Professional Disc format – the
Land Rover G4 Challenge – has been declared a
success by BHP Sport, the crew tasked with the
rapid generation, editing and delivery of
commercial and broadcast content to promote
the event.
The world’s first Professional Disc-based HD
system was selected as the primary format for
recording an event that has spanned continents
and traversed the roughest and most
unforgiving terrain imaginable.
The XDCAM HD camcorders have had to
deal with sustained shocks, sand, dust and
some of the wettest conditions on the planet
with working temperatures ranging from a
freezing –20 degrees Celsius to a sweltering 46
degrees. From the urban bustle of Thailand and
Laos, to Brazil’s epic Copacabana beach and
the Bolivian Andes, BHP Sport has used HDV,
XDCAM HD and HDCAM camcorder
equipment to produce content that was
broadcast in the UK, France, Italy, Argentina,
Norway, Belgium, Brazil, Japan, the
Netherlands, South Africa and Turkey.
To do justice to such a remarkable event,
camera choice and placement was of vital
importance. Cameramen captured footage
using the Sony HVR-A1E and HVR-Z1E HDV
camcorders wherever portability was key. This
included installation onto helmets, bikes,
kayaks – and of course Land Rovers.
XDCAM HD camcorders were used to
capture most of the other most dramatic
moments of each event stage. Notable highpoints included the 40-minute, 4,500ft
mountain bike race and the 2,500m ascent
towards the Bolivian Altiplano.
“We mixed different formats to suit the
needs and limitations of each filming
land rover
“XDCAM HD is the future of production because working
with file-based media provides extra speed when it’s needed”
Simon Fitzgerald, BHP Sport
environment,” explains Brad Lawson of BHP
Sport. “We had HVR-A1E camcorders mounted
in and on cars, HVR-Z1Es in water-housings.
And, while HDCAM camcorders were installed
into a helicopter, it was XDCAM HD that
became the real ‘workhorse’ format during the
Challenge. The XDCAM HD camcorders
provided crisp, clear pictures and an amazing
consistency across the five camcorders we had
rolling at any one time – add that to the post
production workflow advantages of shooting
on disc and we knew we were onto a winner.”
Timing was of paramount importance
during the challenge. The production team had
to turnaround a considerable amount of
content in very tight timescales. Each stage
required a VNR (Video News Release) to be
produced which had to include footage from
the final moments of that stage – which meant
incredibly fast turnaround – and regular
eighteen hour days – to ensure satellite feed
times were met. If the crew missed a
transmission window, the potential coverage
that could have been generated from the feed
would have been lost forever.
Sony XDCAM HD and its support for a
non-linear workflow with Apple’s Final Cut Pro
was a major contributor to the production
team’s ability to meet all of its timings, says
Simon Fitzgerald, joint managing director of
BHP Sport. “The Professional Disc recording
function really sped up the workflow for us.
Having random access to footage allowed us to
tell the post production team where to build
the stories and the ability to review the
storyboard as the events progressed. This saved
us a great deal of time in editing because
logging tape can be very time consuming.
“With a file-based workflow, you can miss
this step out completely and that means the
total time to turnaround full productions is
much reduced.”
“XDCAM HD has held up really well,” says
Fitzgerald. “We’re not creating an electronic
news gathering programme, but something
with high production values. As a company we
want to be at the forefront of technology and
HD and IT integrated systems are the way
forward. The choice of XDCAM HD for this
event makes sense because it’s about new
technology being tested in extremes.”
Recent converts to the XDCAM HD format,
Fitzgerald believes that Professional Disc really
enables crews to work in a much more efficient
manner. With the ability to annotate material
on-the-fly, the camera teams can provide
strong guidance on how footage should be
pieced together as well as overall story flow,
which in essence speeds up the entire process.
Users can store work documents, comments
and other content on the Disc and send the
whole package to headquarters for immediate
editing. “As far as we’re concerned XDCAM
HD is the future of production because
working with file-based media provides extra
speed when it’s needed,” explains Fitzgerald.
He continues: “We believe that XDCAM HD
offered the only viable and cost effective filebased format for this production. With the
equivalent of six terabytes (approximately 240
Discs) of material captured, we were able to
reap the benefits of low cost and high capacity
XDCAM HD media.
In total, BHP Sport produced 6 x 30-minute
productions for broadcast on Channel 4 (UK);
VT4, BETV, Belgacom TV (Belgium); M6
(France), TBS (Japan); RTL 7 (The
Netherlands); Supersport (South Africa); Iz TV
and Fox TV (Turkey). BHP Sport has also made
a range of commercial promotions for Land
Rover – not to mention international versions
of the rushes to send to other countries. “From
a commercial point of view, being able to
turnaround full edits in a matter of hours has
really opened up new doors for us,” concludes
Fitzgerald. “We now appreciate how
XDCAM HD will enable us to secure additional
programme revenues by enabling us to
broaden our usage of the footage we capture.”
To register for a free ‘Behind the Scenes’ DVD
and view video diaries of the Land Rover G4
Challenge, please visit
www.sonybiz.net/g4challenge
autumn 2006 scene to screen 11
movies
Director Elio Quiroga and DoP Ángel Luis Fernández
created an atmospheric look for the movie La Hora
Fría with HDCAM
New Spanish feature La Hora Fría
shot with the HDW-F900. Abigail
Pears reports
cold comfort
New Spanish thriller, La Hora Fría (The Cold
Hour), is one of many European independent
and mainstream features that are taking
advantage of the benefits of shooting on
HDCAM with the HDW-F900 camcorder or its
replacement, the lighter, environmentally
friendlier HDW-F900R.
La Hora Fría is a genre film, a thriller
combined with terror and science fiction. It is
produced by Eqlipse Producciones
Cinematográficas, SL, based in Las Palmas, in
the Canary Islands.
A group of eight people live isolated in
crumbling installations. They cannot abandon
the complex and they live in a constant state of
vigilance. The food supplies are running out
and they urgently need medicines and
ammunition, but in order to find them they
must abandon the secure area. What lurks
outside the area they inhabit, however, is so
menacing that they dare not even speak of it.
Director, Elio Quiroga, explains why he
chose HDCAM: “In the first place, we needed a
versatile format which allowed us to work with
light equipment (the movie requires a lot of
camera on the shoulder work and Steadicam),
to work most of the time with two cameras,
and especially which would allow us to stay
working in the digital world right up until the
final transfer to film.”
Director of Photography, Ángel Luis
Fernández, already had experience of shooting
four movies in HDCAM. “This meant that we
could agree very clearly with him exactly what
it was we needed from the photography,”
Quiroga says. “In general the movie was shot
on the light side with the intention of making it
easier for post production and then darkening
it in Digital Intermediate (DI), after adding the
visual effects.
“The movie was going to be retouched in
DI by our colourist, Régis Barbey, and around
300 frames of visual effects needed completely
digitalised frames so that the visual effects
supervisors Jérôme Debève and Juan A. Ruiz,
from La Huella Efectos Digitales, could carry
out the work.”
Quiroga says the shoot was particularly
difficult, in very cold weather in the middle of
October in Madrid in some old army buildings.
But the hard work of the crew and HDCAM
made the movie happen.
“The HDCAM format showed that it can
work in the most difficult conditions and the
HDW-F900 camcorders, with DigiPrime lenses,
gave us a great result. This allowed La Huella to
make a huge number of 3D trackings even with
the darkest and ‘dirtiest’ frames, as a lot of
smoke was used during the shoot.”
La Huella Efectos Digitales had full
responsibility for the effects. “We have more
than 300 frames with visual effects, which
makes us the producers of the first Spanish film
to use these techniques intensively. This implies
many other things, like co-ordination between
departments, creation of new work
connections, optimising resources.
“Now that we are working in the area of
digital imaging, the director of photography’s
work becomes more creative, but we also see
the new figure of the colourist. He or she can,
during the final phases of post production,
retouch the director of photography’s work,
relocate lights, change completely the intention
of a sequence; in extreme cases it is possible to
convert a scene shot by day by the cameraman
into a night-time scene inside the computer.
And the HDCAM format has turned out to be
much more versatile than we expected.”
“The HDCAM format
has turned out to be
much more versatile
than we expected”
Elio Quiroga, Eqlipse
for more on the new HDW-F900R, please visit
www.sonybiz.net/hdcam
autumn 2006 scene to screen 13
post production
Post houses from Soho to Munich are
adopting HDCAM SR. Adrian
Pennington reports
“HDCAM SR has given us options in offering clients a solution for
post work in HD” Shane Warden, Pepper Post
post it notes
Since its introduction, HDCAM SR has
established itself as a mainstay of post
production workflow. Capable of a lightly
compressed 4:4:4 RGB capture at ten bit depth,
it immediately became an essential component
for mastering features, whether the project
originated on film or in high definition with
camcorders like the HDW-F900.
Andy Barmer, managing director of The Mill
in Soho, says, “With HDCAM SR, you can
bounce between generations more times than
you would with any other format because the
degradation is noticeably less. Moreover, the
ability to store RGB images in real time
provides a cost effective and time efficient
solution to certain workflows.”
According to David Klafkowski, technical
director of The Farm Group, the 440 Mbps of
HDCAM SR allows it to capture much more of
the full bandwidth of the HDSDI signal (1920 x
1080). “I could see the difference when I
mastered material originated on 35mm.
HDCAM SR is definitely the preferred
mastering option, you can lay off every other
possible format from it. Its ability to record and
playback in RGB means you’re not fiddling
about with the colours, which seems to keep
the data boys much happier than the departure
to a YUV data signal.”
Simone Thiel, production manager at VDM
France says that the HDCAM SR images were,
“very good quality,” and that HDCAM SR was
14
scene to screen autumn 2006
“the best for post when it comes to shooting
on 35mm.” VDM France is shooting mainly
documentaries and commercials on HDCAM
before transferring to HDCAM SR in post.
In Munich, digiSite AG has worked with
HDCAM SR since 2004 and is very satisfied
with the results. “The machine is reliable, it can
be applied to various jobs, the winding is very
fast,” says digiSite’s Monika Balga.
“In our most recent project, we digitally
remastered the Willy Bogner films (Fire & Ice,
Fire, Ice & Dynamite, White Magic, Mountain
Magic and Ski to the Max) for DVD release.”
Fire & Ice is going to be re-released in
selected d-cinemas in Germany later this year.
In London, film and high end drama facility
Pepper Post was one of the first to buy the
HDCAM SR in the UK. According to senior
editor and company director Shane Warden,
“Our demand was driven by the desire to have
a less compressed HD tape format. It seemed
inevitable that SR would become the standard
for HD delivery requirements.”
The majority of Pepper’s feature film
projects are now either mastered on or posted
through a Digital Intermediate route on the
format. Warden cites Life and Lyrics, as well as
Snowcake, directed by Marc Evans, starring
Sigourney Weaver and shot by Steve Cosens on
Super 16 film. The feature was entirely posted
on HDCAM SR at 4:2:2 with senior colourist
Jet Omoshebi creating a grade to enhance the
“memory” style of the film. Head of visual
effects, Dolores McGinley and senior editor
Simon Giblin completed over 100 shots,
adding extra snow to increase the wintery look
of the scenes before the film was transferred to
35mm for the theatrical release.
“HDCAM SR has given us options in
offering clients a solution for post work in
HD,” says Warden. “If they’ve shot film, the
low compression 4:2:2 can have great quality
benefits for non-effects intensive work.
Alternatively the SQ 4:4:4 allows greater colour
space albeit at a greater compression. In
addition, if the production choose to shoot
digitally, then HDCAM SR allows us to
continue to supply a service and options
depending on the budget and needs.
“The VTR is also one of the best I’ve used
as far as ballistics and control from an edit
suite. Using it gives you confidence and that is
important when images are so valuable.”
Commercials specialist Rushes uses the
SRW-5500 decks on a job by job basis and is
likely to standardise on the format for their
workflows soon, says director of engineering
Tim Wharton. “With HDCAM SR, we can go
straight to tape from telecine and know that
we are working with the highest quality
mastering format available.”
He adds, “The industry has been working
with D1 or Digital Betacam for years and
considered that to be the highest format. Now
post production
we can use the same workflow but at a much
improved performance in terms of quality.”
The ease of use of tape is something that
Pepper’s Warden appreciates too. “Projects can
be started without the need for data storage.
This also means projects can be moved and
halted quickly according to the client’s wishes.”
“The workflow is simply easier than
handling data,” agrees Wharton. “The tape
comes straight out of the camera into a studio
VTR and is immediately under the control of
the Da Vinci. There’s no copying of data, or
need for additional conforming or disc
recording equipment. It’s a proven workflow
and it’s cost effective, since we’re not passing
on to the client the additional costs of data
investment.” Rushes recently posted Richard
Ashcroft promo Word’s Just Get in the Way
for Black Dog production company using
HDCAM SR footage acquired from a
Panavision Genesis camera. “It was a ‘one take
promo’ and the dynamic range of the footage
fluctuated throughout, so they were keen that
we got as much of the log data through the Da
Vinci 2K system as possible,” Wharton explains.
“We used a Look Up Table (LUT) to translate
the proprietary log RGB data recorded on
HDCAM SR to linear 14 bit data for use in the
Da Vinci 2K. We were able to grade up and
down the range of the exposures without it
falling apart at any stage. The client was
delighted with the results.”
Established as the de facto standard for film
masters, HDCAM SR has now become the
preferred deliverable of broadcasters like
Discovery and Sky. Aside from the archive
value and dubbing benefits that high quality
tape brings, the format’s ability to store up to
12 audio tracks is seen as a key reason for its
demand. “For multichannel HD environments
and versioning, the deliverables are complex,”
says Klafkowski. “We might be required to
deliver Dolby encoded surround, discreet
surround plus ME, dialogue, and effects.
HDCAM SR is attractive to broadcasters like
Sky who can have multiple audio tracks and
one master on one format.”
Ascent Media has just purchased a third
SRW-5500 due to demand from US and UK
broadcasters, confirms Chris Watson technical
manager of Ascent Media Management. “We
have seen a noticeable increase in HDCAM SR
over the last six to 12 months,” Watson says.
“It’s now becoming the preferred mastering
format of major studios. We’re seeing other
material such as episodic dramas also coming
in on that.” Watson supervises the
re-mastering of such shows to HDCAM SR or
other formats for UK distribution.
It’s widely recognised that an all-data
workflow is ultimately the way the industry is
headed. According to Steve Shaw, who runs DI
consultancy Digital Praxis, “There will either be
robust Disc acquisition, solid state or optical
formats. But the HDCAM SR decks right now
meets the production demand for higher
bandwidth image capture. It helps bridge the
gap between acquisition and DI by providing
full bandwidth RGB for ingest to the process.
The HDCAM SR is not data, but neither is it
video in the strict sense of the word. It’s a
great interim format.”
Shaw has advised director John Jopson to
use HDCAM SR on the October production of
feature The Absinthe Drinkers. A six-minute
workflow trial and promo was recently shot on
location in Tuscany, Italy in which RGB 4:4:4
material was captured to HDCAM SR from
which all editing and grading is to be based.
The post work was done in Carasco at Marina
Studios. “The HDCAM SR is perfectly
applicable to this system, especially since Disc
recorders tend to be more power hungry,
bigger and require more supervision,” he says.
Wharton believes tape will remain a key
part of post for at least the next five years. “An
HDCAM SR deck represents a good cycle of
return on investment. The simple fact you can
eject tapes, work on the same machine on a
new project, store the ejected tape and use it
as your deliverable remains the most
compelling workflow.”
Features such as Snowcake (opposite page) are
mastered on HDCAM SR, while Life and Lyrics (top
left and right) used HDCAM SR and Wily Bogner’s
Fire & Ice (above) films have been remastered on the
format
for more on working with HDCAM SR, please
visit www.sonybiz.net/hdcamsr
autumn 2006 scene to screen 15
documentaries
“The G-force wasn’t a problem for the HDV
at all – some other cameras just couldn’t work
in such tough conditions – this camera is very
good, and very modern”
Lionel Charlet, producer
beauty of flight
Lausanne-based producer Lionel Charlet has
spent the last six months in the company of the
Swiss air force, documenting the flight of the
F/A-18 fighter plane.
“Military aviation is my great passion,” he
says. “As a child growing up in Neuchatel, I
spent hours gazing through binoculars at aerial
combat exercises over the Jura mountains and
the Alps. My ambition now is to recreate the
feeling of flight, the radically different
experience that carries one to the edge of
what is possible, into another dimension.”
For the past 10 years, Lionel Charlet has
worked producing and shooting aviation films.
His latest project documents the flights of the
Swiss F/A-18 fighter jet. “This is a film of
atmosphere,” explains Charlet, ”a film of
immersion, in which the witness will discover
the almost surrealist world of the flight of the
F/A-18 in its engagement in Switzerland and
abroad. I wanted to give a non-military
portrayal of flight in the air force.”
The documentary was shot in high
definition, using the HVR-Z1E camcorder,
recording in HDV mode.
“When it comes to filming, there’s just no
comparison to HD. The HDV is perfect for this
– it’s not too heavy,” Charlet says. “You just
can’t have a large camera in a plane.”
Charlet worked with the HVR-Z1E at
altitudes of up to 50,000 feet. “I keep the
camera in my hands,” he explains. “Sometimes,
I fix the camera in order to film the pilot or the
front view.”
The F/A-18 fighter jets travel at speeds in
16
scene to screen autumn 2006
HDV has been used to shoot a
documentary about the F/A-18
fighter plane. Abigail Pears reports
excess of 1,180mph, and the G-force can be
anything from zero to eight. “The G-force
wasn’t a problem for the HDV at all – some
other cameras just couldn’t work in such tough
conditions – this camera is very good, and very
modern.”
The documentary took six months, and a
total of 20 flights to shoot, and is to be
marketed primarily as a DVD. “Right now we’re
on the editing stage,” says Charlet. “The DVD
should be available in September of this year,
but hopefully the documentary will also be
aired on television across Europe, in France,
Germany, Italy and Holland.
“One of the major risks of portraying flight
is indulging in an excess of fantasy or
caricature,” he explains, “I try to focus on
conveying the constraints that flight imposes,
and illustrate its grandeur and strength. What I
want is to create a modern vision of aviation,
that shows the relationship between the pilot,
technology and nature.”
In the future, Charlet looks to begin
shooting documentaries about the RAF and the
Italian air force.
“Thanks to the Swiss Air Force,” he says,
“I’ve had the occasion to log many hours in the
F/A-18, F-5, Hawk and Mirage, gathering the
best pictures possible. Each flight is a new
challenge, with its struggles and victories.
When reality gazes at us,” says Charlet, “I see if
I can catch its eye.”
for more on working with HDV, please visit
www.sonybiz.net/hdv
Lionel Charlet (top) used the HVR-Z1E camcorder to
shoot a documentary about the F/A-18 fighter
production directory
AV2P
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X
MBF Filmtechnik GmbH
Frankfurt
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Greece
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Luxembourg
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Hungary
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Filmmore
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+49 (0)211 93 080
www.rudasstudios.de
Digital Images GmbH
+49 (0)34 521 75130
www.digim.de
Studio Hamburg
Postproduction
+49 (0)40 6688 3322
www.studio-hamburgpostproduction.de
Einhorn
+49 (0)651 937 030
www.einhornmultimedia.de
Tecnel Studio
+39 06 886 2063
www.tecnelstudio.com
Latvia
M Medienproduktion
+49 (0)421 70 7498
www.m-medienproduktionen.de
Chroma TV GmbH
+49 (0)40 888 8840
www.chromatv.com
Velten GmbH
+49 (0)6138 97660
www.velten.tv
GUICAR srl
+39 0248 712002
www.guicar.com
Euro Broadcast Hire
+49 (0)221 250 3700
TaurusMediaTechnik
+49 (0)89 9956 1701
www.taurusmediatechnik.de
Gahrens + Battermann
+49 (0)2204 2040
www.gb-mediensysteme.de
TeleFactory
+49 (0)331 70 62 610
www.telefactory.com
GLS Studios
+49 (0)89 697991340
www.gls-studios.com
Teltec Broadcast Media
+49 (0)611 180900
www.teltec.de
HDOBTRUCK
+49 (0)2233 969 128
www.hdobtruck.com
TVN
+49 (0)511 1212 3721
www.tvn.de
Head-Quarter
+49 (0)221 2806580
www.HD-QUARTER.de
TVS Teleport Bonn
+49 (0)228 946 560
www.tvs-teleport.de
Project Italia Firenze
+39 055 352 285
www.projectitalia.it
Hifi-Klang GmbH
+49 (0)6136 7575
www.hifi-klang.com
VCC Perfect Pictures
+49 (0)30 202 0960
www.vcc.de
Rumblefish
+39 02 4548 7537
www.rumblefish.it
La Grande Mela
+39 06 332 1821
www.grande-mela.it
Media Technology
www.mediatechnology.it
Cam-A-Lot
+31 (0)20 694 0004
www.camalot.nl
Valkieser Capital Images
+31 (0)20 460 4604
www.valkieser.nl
Norway
Euro Broadcast Hire
+47 (0)23 40 8700
www.ebh.cc
Mondo TV
www.mondotv.it
Filmteknik
+47 (0)22 02 3600
www.filmteknikk.no
Pixel
+39 09 2259 6998
www.pixelonline.net
Gunnar Nilsen
+47 (0)7 39 12805
ScanCam AS
+47 (0)6752 5350
www.scancam.no
X
Sketch Film
+47 (0)331 24729
www.sketch.no
production directory
Key
Twentyfourseven AS
+47 (0)2238 0247
www.247.as
Spain
Poland
TPS Studio Filmowe
++48 (0)22 651 9787
www.tps.com
Euro Broadcast Hire
+48 (0)22 851 1084
www.ebh.cc
AMPEREL
+351 21 711 20 90
HOP X
+351 22 954 5280
PixMix
+351 (0)21 303 0880
www.pixmix.tv
X
Vista Video
+351 966 737 375
SC Videolink SRL
+44 21 256 9064
www.videolink.ro
Videolab
+34 93 200 5400
www.videolab.es
ARRI Media
+44 (0)20 8573 2255
www.arri.com
Mezzo Studio
+44 (0)113 203 6161
www.mezzostudios.com
Apuntolapospo
+34 935 202 190
www.lapospo.com
Sweden
Ascent Media
+44 (0)20 7878 0000
www.ascentmedia.com
MGB
+44 (0)113 243 6868
www.mgbtv.co.uk
Dockhouse
+46.(0)31 65 16 00
www.dockhouse.se
Camara Vision
+34 91 383 3768
www.camaravision.com
Euro Broadcast Hire
+46 (0)70 969 9220
www.ebh.se
Filmteknik
+46 (0)8 450 4500
www.filmteknik.se
Lite Grip
+46 (0)31 19 6555
www.litegrip.se
Genlock
Videoproducciones SA
+34 91 553 6247
www.genlock.com
Massteknik
+46.(0)31 20 85 00
www.massteknik.se
Imagen Line
+34 91 353 2600
www.imagenline.es
Ostankino TV X
+7 095 217 9352
www.ostankino.ru
Leif Eiranson AB
+46 (0)70 318 8989
Fotofilm Madrid S.A
+34 91 7253607
www.fotofilmmadrid.com
Image Film
+34 3 26 18505
www.imagefilm.com
BS Graphics
+7 095 143 7920
www.bsgraphics.ru
X
Dagsljus
+46 (0)8 4474 190
www.dagsljus.se
Broadcast Rent
+34 65 556 2444
www.broadcastrent.es
IJV Producciones
+34 98 117 3342
www.ijv.com
Russia
Mitcorp UK
+44 (0)20 8380 7400
www.mitcorp.co.uk
Axis Films
+44 (0)1932 592244
www.axisfilms.co.uk
Awfully Nice Video
Company
+44 (0)7000 345678
www.awfullynicevideo.com
BBC Post Production
Birmingham
+44 (0)121 567 7029
www.bbcresources.com
BBC Post Production
Bristol
+44 (0)117 974 6666
www.bbcresources.com
Twentyfourseven AB
+46 (0)8 247 247
www.twentyfourseven.se
BBC Post Production
London
+44 (0)208 225 7702
www.bbcresources.com
Videobolaget
+46 (0)8 734 9550
www.videobolaget.com
Dubbs X
+44 (0)20 7629 0055
www.dubbs.co.uk
Switzerland
Electra
+44 (0)20 8232 8899
www.electra-tv.com
On Line Video 46 AG
+41 (0)1 305 7373
www.onlinevideo.ch
Elite Television
+44 (0)113 262 3342
www.elitetv.co.uk
Molinare
+44 (0)20 7478 7205
www.molinare.co.uk
X
On Sight Hire
+44 (0)20 7637 0888
www.onsight.co.uk
Panavision London
+44 (0)20 8839 7333
www.panavision.co.uk
Pogo Films HD
+44 (0)20 7292 0650
www.pogofilm.com
Presteigne Broadcast Hire
+44 (0)1293 651 300
www.presteigne.co.uk
Prime TV
+44 (0)20 8969 6122
www.primetv.com
Provision
+44 (0)113 222 8222
www.yorkshiretv.co.uk
Root 6 X
+44 (0)20 7437 6052
www.root6.co.uk
Shooting Partners
+44 (0)20 8941 1000
www.shootingpartners.co.uk
Montreux Sound X
+41 (0)21 962 8054
www.montreuxvideostudio.ch
Enfys
+44 (0)29 2049 9988
www.enfys.co.uk
Schweizer AG
+41 (0)61 956 9050
www.schweizervideo.ch
Films @ 59
+44 (0)117 906 4300
www.filmsat59.com
Swiss Effects
+41 (0)1 307 1010
www.swisseffects.ch
Fine Point Broadcast
+44 (0)800 970 2020
www.finepoint.co.uk
Mad Pix
+34 91 52 49880
tpc
+41 (0)305 4000
www.tpcag.ch
Galaxy Light & Power
+44 (0)20 7437 2020
Ten80
+44 (0)7779 783942
www.ten80.fr
Yugra TV
+7 346 719 3706
Molinare
+34 91 725 9407
www.molinare.es
Visuals Switzerland Sarl
+41 (0)22 717 85 55
www.visuals.ch
Gearbox
+44 (0)20 8992 4499
www.gearbox.com
The Cruet Company
+44 (0)20 8874 2121
www.cruet.com
Serbia & Montenegro
Mons TV X
+34 93 284 7780
Z&B Video AG
+41 (0)1 871 20 30
www.zubvideo.ch
Gearhouse Broadcast
+44 (0)845 820 0000
www.gearhousebroadcast.com
The Farm Group
+44 (0)20 7437 6677
www.farmpost.co.uk
The Hospital Group
+44 (0)20 7969 7734
www.thehospital.co.uk
SANKOM-PRO
+7 095 238 4402
www.sankom-pro.ru
X
RTR X
www.rutv.ru
United Multimedia
Projects
+7 095 449 1312
www.umpstudio.com
3D Video Systems
+381 (0)11 403 455
Duke Production
+381 (0)11 324 3574
Magic Box Multimedia
+381 (0)21 472 2880
www.magicbox.co.yu
Studio Mapa
+381 (0)81 231 656
www.studio.co.yu
South Africa
Cine Gate
+27 (0)21 4428900
www.cinegate.co.za
Magus Visual
+27 (0)21 461 7965
Dealer
ADSA S.L.
adsa@wanadoo.es
Adivina Producciones
www.adivina.com
Ibercin SL
+34 91 879 3915
www.ibercin.com
Romania
Sony Xpri
X
Metro Broadcast
+44 (0)20 7434 7700
www.metrobroadcast.co.uk
EPC
+34 91 512 0805
www.epc.es
PANAVIDEO
+351 21 837 26 62
www.panavideo.pt
X
AHC Post
+44 (0)20 7734 9792
www.ahc.tv
Dygra
wwwdygrafilms.es
IBERTELCO
+351 214724010
www.iberteleco.pt
VTR
Videoefecto
+34 93 467 7327
www.videoefecto.com
Aurea Documentary SL
+34 93 238 7400
Portugal
Camera/Camcorder hire
Info TV
+34 91 311 8029
www.infotvproducciones.com
Kincine
+34 96 380 02 56
www.kincine.com
Loasur Audiovisual S.L
+34 952 45 32 32
www.loasur.com
New Atlantis
+34 91 426 1371
www.newatlantis.net
Stylus Technical Services
+44 (0)29 2045 1811
www.stylustech.co.uk
Take2Films
+44 (0)20 8992 2224
www.take2films.co.uk
Turkey
Hammerhead Television
+44 (0)20 7924 3977
www.hammerheadtv.com
Ovide Broadcast Services
+34 90 215 1518
www.ovide.com
Imaj
+90 (0)212 216 7180
www.imajonline.com
HD24
+44 (0)1883 730043
www.hd24.com
The Mill
+44 (0)20 7287 4041
www.mill.co.uk
Telson
+34 91 754 6700
www.telson.es
Vipsas
+90 (0)212 243 4051
www.vipsas.com
Hyperactive Broadcast
+44 (0)1252 519 191
www.hyperactivebroadcast.com
Top Teks
+44 (0)1895 82 5619
www.top-teks.co.uk
Trivision
+34 96 34 66292
www.trivision.es
United Kingdom
Jim Allison Editing
+44 (0)141 334 4888
www.editing.co.uk
Visual Impact
+44 (0)20 8977 1222
www.visuals.co.uk
LBV Television
+44 (0)1724 762600
www.lbv.uk.com
VMI
+44 (0)20 8922 1222
www.vmi.co.uk
LighthouseHD
+44 (0)1406 351522
www.lighthouse-films.co.uk
Wildcat Flying
+44 (0)14344 381067
www.wildcatflying.com
Toma 27 SL (Malaga)
+34 66 000 8727
021 Television
+44 (0)121 327 2021
www.021tv.com
Video Report
+34 91 544 6989
www.videoreport.es
Aerial Camera Systems
+44 (0)1483 426 767
www.aerialcamerasystems.com
To appear in this listing, please send your company details to
info@smallworldpublishing.co.uk
autumn 2006 scene to screen 19
free subscription
for your free subscription to scene to screen
register at www.sonybiz.net/s2s
Key
Camera/Camcorder hire
VTR
X
Sony Xpri
Dealer
where to find all Sony high definition equipment
Austria
Grid
+32 (0)9 265 9898
www.grid-vfx.com
Akademie der bildenden
X
Künste
+43 (0)1 588 16 414
Brains & Pictures
+43 (0)22 335 5323
www.brainsandpictures.com
ACE Digital House
+32 (0)27 35 6020
www.ace-postproduction.com
Alfacam
+32 (0)34 54 2010
www.alfacam.be
ARC Cinevideo
+32 (0)27 70 9630
www.arc-cinevideo.com
claus muhr TV.
film produktion
+43 (0)732 601111
Athalys – Eye-lite
+32 (0)27 02 1650
www.athalys.com
Cut&Copy
+43 (0)1 523 98 24
HoverlorD
+32 (0)475 489508
Lambeets
+32 (0)49 520 7777
No Trouble X
+32 (0)22 48 1696
www.no-trouble.com
Outside Broadcast BV
+32 (0)16 23 2752
www.outsidebroadcast.be
ETAS
+43 (0)1 66 55 660
BEAC
+32(0)59 32 33 96
www.beac.be
Filmatelier Innsbruck
+43 (0)512 26 38 27
Belgavox
+32(0)2 375 4489
Heinz Zeggl GmbH X
+43 (0)1 914 9828
www.zeggl.at
BETV
www.betv.be
Puzzle Editing
+32 (0)2 732 97 89
www.puzzle-editing.be
Broadcast Recording
+32(0)47 56 86651
RTL-TVI
www..rtl.be
BUT
+32(0)38 80 7171
www.but.be
Staytuned DVD
+32 (0)71 82 70 00
www.staytuned.be
CAPE
+32 (0)4 757 65959
www.cape.be
Studio L’Equipe
+32(0)2 702 1072
I.B.&C.
+43 (0)1 714 29 39
Interspot
+43 (0)1 801 20
Klaus Krall
+43 (0)1 586 30 40
LISTO Videofilm
+43 (0)1 596 151532
www.listo.at
Cine & Fx
+32 (0)27 39 1510
www.main-frame.be
M&A Juraczka
+43 (0)1 894 2761
www.juraczka.a
PKM Filmproduktions
+43 (0) 463 50 00 10
www.pkm-video.com
Video Film Bartl X
+43 (0)7762 2959
www.videofilmbartl.at
Color by Dejonghe
+32 (0)56 35 0710
www.color-by-dejonghe.com
X
ES video facilities
+32 (0)16 40 4020
www.esvideo.be
Euro HD/Polygone AV
+32 (0)26 40 7731
www.polygone-av.com
Vogel Audiovision
+43 (0)732 34 82 41
Belgium
4E technology
+32 (0)16 46 88 66
www.4e.be
FAC ‘S & Lite’s
+32 (0)2 252 42 82
Format C
+32 (0)3 641 6330
www.formatc.be
X
TV Connections
+32(0)2 230 0147
Van Der Veken film werken
+32(0)475 27 8980
www.filmwerken.com
VRT
+32 (0)27 41 5901
www.vrt.be
Nordisk Film Shortcut AS
+45 (0)35876666
www.shortcut.d
Top Form Studio’s Inc.
+35 92 96 06619
STORM X
+45 (0)32 84 8035
www.storm.tv
Croatia
Take-Away Film ApS
+45 (0)35 86 66 67
www.takeawayfilm.dk
Gama Studio
+385 (0)142 6843
www.gama-studio.com
Interfilm
+385 (1)4667 290
www.interfilm.hr
Vizije SFT
+385 (1)65 88 742
www.vizije.hr
Czech Republic
ACE a.s.
+420 271 722 000
www.ace-prague.cz
House Post Production
+420 220 510 035
www.postprodukce.cz
Le Moulin Numérique
+32 (0)84 38 82 38
www.moulin-numerique.com
NOVA TV
+420 233 100 150
www.nova.cz
Universal Production
Partners
+420 271 722 121
www.upp.cz
Denmark
Danish Film Institute/Film
Workshop
+45 (0)33743480
www.dfi.dk
WIP
+32(0)4 342 36 02
www.wip.be
XDC
+32(0)4 364 1200
www.xdcinema.com
Twentyfourseven AS
+45 (0)44 247 247
www.twentyfourseven.dk
Zentropa Production
+45 (0)36780055
www.zentropa.dk
Eire
The Farm
+353 (0)1 676 8812
www.thefarm.ie
Windmill Lane
+353 (0)1 671 3444
www.windmilllane.com
Screen Scene
+353 (0)1 661 1501
www.screenscene.ie
Finland
Angel Films Ltd
+358 (0)97594770
www.angelfilms.com
Generator Post
+358 (0)20 123 2300
www.generator.fi
Pashur X
+358 (0)50 5252 627
www.pashur.fi
Twentyfourseven Oy
+358 (0)207 433 247
www.twentyfourseven.fi
Videohouse
+32(0)2 254 4870
Videoline
www.videoline.be
+32 (0)51 58 2424
Wurzinger
+43 (0)2243 22 224
2 Frame
+32 (0)22 45 3600
www.2frame.be
Paprika
+32 (0)2 533 9770
www.paprika.be
Bulgaria
France
Digital Film Lab
Copenhagen AS
+45 (0)39274585
www.digitalfilmlab.com
Duckling AS
+45 (0)33470100
www.duckling.dk
Euro Broadcast Hire
+45 (0)35 82 8220
www.ebh.cc
Agence Planipresse
+33 (0)1 45 71 0909
Amazing Digital Studios
+33 (0)1 4523 0225
www.amazingdigitalstudios.com
AMP
+33 (0)2 5121 1112
www.amp.tv
Continues on pages 18 and 19