Cut The Cord

The Teradek Bolt system lets you wirelessly transmit HD video up to 300 feet

By Neil Matsumoto

If you’re a director or cinematographer who’s meticulous about the look of your movie (framing, lighting, art direction, etc.), proper monitoring is one of the most important aspects of filmmaking. Before HD, to view shots while not looking through the viewfinder, one had to employ a video tap. The video tap monitor attached to the camera’s... Read more

Drone Wars

Instead of taking out enemies, production drones are being used for aerial cinematography

By Skip Ferderber

One of the production industry’s latest infatuations is with the use of drones in production. No, the intention isn’t to take out an enemy. Using drones in production—unmanned aircraft controlled from the ground and carrying lightweight cameras—has developed into a must-have tool for productions that need aerial coverage and can’t... Read more

The Long Goodbye

For movie exhibitors, the digital takeover is well underway

By Skip Ferderber

Mark Twain once wrote, "The rumors of my death have been greatly exaggerated." In regard to shooting and exhibiting motion picture film, unfortunately, the rumors are quickly becoming true. And nowhere does the coming end of film as a significant distribution medium hit home harder than at your local movie theater. Sometime next year, chances... Read more

Scandalous

Demonstrated by Rampart, the line between production and post continues to blur

By The Editors

In 2009, The Messenger brought home two Oscar® nominations, including one for Best Original Screenplay, shared by Alessandro Camon and director Oren Moverman. The film earned plaudits throughout the festival circuit and was recognized as Best First Feature at the Independent Spirit Awards. Moverman’s latest project, Rampart, reunited him with... Read more

Posting DSLRs

HDVP examines numerous tips and tools for creating a professional DSLR workflow

By Skip Ferderber

It’s edging close to the two-year mark since DSLRs were first used on professional motion-picture and TV productions. Back then, it was an open question whether DSLRs could find a home in mainstream production or whether using them constituted a one-off production trial. Equally important was whether the postproduction zeitgeist could easily adapt... Read more

Coming Up Aces

The IIF-ACES workflow on FX Networks’ Justified is a sure bet

By Neil Matsumoto

Even though camera technology keeps growing by leaps and bounds each year, a lot of cinematographers have been disappointed in seeing the end result of the HD broadcast of their shows. Because of the limitations of the HDTV broadcasting video color space known as Rec. 709, for projects that are shot with high-end digital cameras, cinematographers often... Read more

There’s An App For That

While the iPad has become the must-have gadget for consumers of media on the go, HDVP decided to see if the device has much to offer production and postproduction professionals.

By Andrew Takeuchi

While the iPad has become the must-have gadget for consumers of media on the go, HDVP decided to see if the device has much to offer production and postproduction professionals. In this issue, we examine a few apps designed to help you create video content and evaluate whether a new iPad is an expense one can justify to the accountant (or the spouse)... Read more

The Virtual Backlot

Stargate Studios’ Orbis is a DSLR-based tool that shoots amazing 360º immersive environments

By Dan Brockett

Stargate Studios has built an impressive reputation for providing sophisticated visual effects for many high-profile television projects, including Heroes, The Event, CSI: NY, The Gates, 24, Knight Rider and The Walking Dead. Recently, I shot an interview with Stargate founder Sam Nicholson, ASC, about the work his company had recently completed for... Read more

Hooray For Hollywood

Hollywood Center Studios and NewTek create a virtual back lot

By Ian blair

Virtual sets have been around for more than a decade, but in an era of runaway productions and cutthroat tax incentives, they’ve never looked so good—both economically and aesthetically—thanks to lower costs and vastly improved technology. For a while, Hollywood once ruled supreme when it came to stages and back lots, and while the town may... Read more

Going The Distance

HDVideoPro examines companies and technology that enable productions to share media, ideas and workflows across the globe

By Dan Brockett

Executive producer Mike Young hangs up the phone in the production office and walks 20 feet to the soundstage door. As I follow Young through the doorway, a large greenscreen stage unfolds before us. The crew readies the next setup. Actors dressed in superhero costumes have their makeup touched up between takes. Two RED ONE cameras flank the stage,... Read more

The Right Tool For The Job

Canon EOS 7Ds capture the opening credits of The Tonight Show with Jay Leno

By Neil Matsumoto

When director Pete Conlon of WUT IT IS (www.wutitis.com) met with Mirror Films (mirrorfilms.tv) cinematographer Vasco Nunes (Planet B-Boy, DiG!) to discuss shooting the opening credit sequence for The Tonight Show with Jay Leno, the producers were interested in using one of the latest HD DSLRs, but still needed some convincing. Since Nunes had experience... Read more

Beyond 1080p

Are we really ready for it?

By Skip Ferderber

It’s a simple question, but a fascinating one: What’s out there beyond 1080p? What should content producers, F/X artists and postproduction individuals know about the future, now that the 1080 high-definition revolution is all but settled? The question of whether technology simply must move into better/faster/smarter forms is a given; it... Read more