scene2screen22T H E I N T E R N A T I O N A L M A G A Z I N E F O R H I G H D E F I N I T I O N P R O D U C T I O N

sister actSCARLETT JOHANSSON AND NATALIE PORTMAN ARE RIVALS IN THE OTHER BOLEYN GIRL ADRENALINE JUNKIE

XDCAM HD proves itselffrom Borneo to Finland

autumn2007

UEFA CHAMPIONS LEAGUE FINAL In Athens with the production team

editor Chris Dickinson chris@smallworldpublishing.co.ukassistant editor Ellie Handsub editor Rachel Millercontributors Louise Bishop, Pippa Considine, Georg Immich,Adrian Pennington, Stephen Tateart editor Karen Painterdesigner Penny Reedexecutive editors Peter Sykes, Richard Lewispublishing manager Jillian Chart

editorial offices 26 Carnarvon Road, Bristol BS6 7DU, United Kingdom.telephone +44 (0)117 942 6977 fax +44 (0)117 907 0717info@smallworldpublishing.co.uk

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Published by Small World Publishing Limited on behalf of Sony Europe, Jays Close, Viables, Basingstoke,Hampshire RG22 4SB, United Kingdom.

Contents copyright 2007 Sony Corporation.Reproduction in whole or part is strictly prohibited.Permission may be granted by application to Sony Europe,Marketing Communications. No responsibility for lossoccasioned to any person acting or refraining from actionas a result of the material in this publication can beaccepted by the authors or publishers. Whilst informationgiven is true at the time of printing, small productionchanges in the course of our company’s policy ofimprovement through research and design might not beindicated in any specifications. Please check with Sony to ensure that current specification and features matchyour requirements. Sony and all Sony product names are trademarks of the Sony Corporation. All othertrademarks are the property of their respective owners.

Dutch explorers take HDV to the South Polefor Frozen Dreams 14

Jack Osbourne: Adrenaline Junkie pushesXDCAM HD to the limit 16

Conductor Julian Frantz and his orchestra iscaptured on XDCAM HD 18

22cover photo: The Other Boleyn Girl

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There have been some big technological advances in high definition during 2007, from theunveiling of Sony’s first memory-based professional camcorder to the first shipments of the top-end F23 digital cinema camera. While some very clever engineers have been responsible forworking on the technology involved, the fact is that the production community has been theprimary driver for these new developments.

The F23 has been developed in close collaboration with film-makers in Europe and Hollywood. Theengineers have listened carefully to what cinematographers have asked for and the result is as closeto a 35mm film camera as any commercially available digital camera before. Already, Andy and LarryWachowski (the brothers behind the Matrix trilogy) have started making their next movie, SpeedRacer, with the F23, while Jean-Jacques Annaud also prepares to shoot with it (see pages 10 & 11).

The new HDW-790P HDCAM camcorder has also been developed from extensive feedback fromEuropean customers demanding a more filmic quality (see pages 8 & 9). The Super Motion 3x slowmotion camera, a particular requirement for sports producers, proved its worth at the UEFAChampions League Final earlier in the year (see pages 6 & 7). While XDCAM EX, the new additionto the XDCAM family, meets the demand for cost effective, high capacity memory-basedrecordings (see pages 16 & 17).

Chris Dickinsoneditor

the new website provides in depth andup-to-dateinformationon all aspectsof highdefinitionproduction inEurope

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everything you ever wanted to know about high definition at www.sonybiz.net/S2S ww

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/ S2S

production drives new technology

Conversations with Other Women shot on HDCAM

Dutch production company invests inXDCAMHD

Filming in the Red Sea with the HVR-A1E

Cinematographer Steve Yedlin explains why he chose HDCAM to shoot the award-winning feature,Conversations with Other Women.

This romantic drama focuses on the relationship between two characters, played by Helena BonhamCarter and Aaron Eckhart, and uses an innovative split screen device to show their points of view. ForYedlin (Brick, Unknown, May), it was a first opportunity to shoot high definition for theatrical release.

The largest bank in the Netherlands has used XDCAM HD to sharpen up the media skills of its chiefexecutive as he steers ABN AMRO through the biggest takeover in corporate history.

Dutch television and media consultants HD Video Productions put ABN AMRO’s CEO RijkmanGroenink through his paces with a series of mock television interviews in front of its newly acquiredXDCAM HD PDW-F350 camcorder.

Filming underwater in the Red Sea has given Brian Williams the chance to indulge two of hispassions, videography and scuba diving.

Leading underwater cinematographers advised Williams to take the lightest and best quality camerasavailable when he planned this filming expedition to Egypt. He chose two HVR-A1E camcorders andthey captured some amazing crystal-clear images.

Incorporating the latestnews about who ismaking television,movies, commercialsand corporateproductions in highdefinition, who isworking on them andwhere they are being shown.www.sonybiz.net/s2shighlights importantdevelopments onstandards, broadcasters,commissions and co-productionopportunities.

News

Exclusiveinterviews with leading film-makers

Independentproduct reviews

Behind the scenesreports

In-depth formatguides

HD rental andpost housesacross Europe

Michael Ballhaus reviews the F23

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Leading Hollywood director of photography Michael Ballhaus talks exclusively to scene2screenonline about working in high definition and the benefits of the new F23 digital cinema camera.

Ballhaus, who has three Academy Award nominations to his name as well as numerous other awards for work spanning nearly 50 years, gave a masterclass on high definition production in Hamburg in August.

He is due shortly to start production on a new feature documentary about his home town of Berlinusing the F23. “It is a film of my own and it will feature my birthplace and hometown Berlin,” Ballhaussays. “With my cameraman and co-director, Ciro Cappellari, I have decided to shoot digitally because it isa documentary and we will shoot quite a bit of material.”

Ballhaus is the only German cinematographer to be honoured by the American Society ofCinematographers, winning the International Award in 2007. His Oscar nominations are for BroadcastNews (1987), The Fabulous Baker Boys (1989) and Gangs of New York (2002). Most recently he wasDoP on Martin Scorsese’s The Departed (2006).

5 12 16Princes William and Harry ask for Concert for Diana to be shot in HD 5

The UEFA Champions League Final in Athens was a major outside broadcast event 6

TV dramas benefit from HDW-790P as ITV looks at HD channel 8

Jean-Jacques Annaud prepares to shoot with the F23 camera 10

Natalie Portman and Scarlett Johansson star in Justin Chadwick’s The Other Boleyn Girl 12

Polish sitcom Kto tu rzadzi migrates to HDCAM 13 contents

Concert for Diana, Glastonbury and Live Earthare three high profile music events this summer

that were recorded in high definition and shown onthe BBC, as well as by broadcasters across the world.

For the BBC, which plans to switch to all HDproduction over the next five years, it coincideswith a continual upgrade by BBC Resources of itsoutside broadcast and studio facilities.

Concert for Diana was shot in HD inconsultation with Princes William and Harry.

The Princes requested that HD be used as theysupervised preparations for the concert at London’sWembley Stadium on Sunday 1 July.

A spokesman for the Prince of Wales andPrinces William and Harry said: "We filmed theConcert for Diana and provided the content to theBBC and other broadcasters worldwide.

“The decision to film in HD was made duringmeetings with Princes William and Harry held priorto the concert.

“It was felt that we were not going to loseanything by using HD but we were going to gain alot in terms of picture quality and shelf life.

“Princes William and Harry have been aware ofHD for some time. They are often invited to tradeevents and take an interest in the development ofnew technology.”

Watched by 500 million people worldwide, theconcert commemorated the 10th anniversary ofDiana’s death in a car crash in Paris.

Performers included Sir Elton John, Tom Jones,Lily Allen, Rod Stewart, Duran Duran, Status Quo,Nelly Furtado and Joss Stone.

The six-hour concert was shot on HDC-1500multi-format cameras and mixed on MVS-8000Aswitchers using HD outside broadcast truckssupplied by Arena TV.

The transmission was sent to an HD capablestudio at BBC Television Centre where it wasdistributed to broadcasters in 140 countries.

Footage of the concert will be released on DVDlater in the year.

BBC EVENTSGlastonbury was also recorded in HD, with truckssupplied by Belgium-based facilities company,Outside Broadcast.

In July, BBC Resources’ Studio 8 in London’sTelevision Centre formed the “world hub” for a 16-hour HD transmission of the Live Earth concerts.

The 8,000-square foot studio has just had an HDupgrade, including the installation of HDC-1500cameras and an MVS-8000A production switcher. Itfollows a similar upgrade, a year ago, of Studio 1.

BBC Resources manager Simon Littler, whohandled the upgrade, says: “There is no questionthat SD output looks much better when thematerial has been shot in HD.

“As a team, we looked at the HD camera marketand Sony was our preference. HD cameras are more

complex to use but they are more creative than anygeneration of cameras before.”

Live Earth was a global concert series aiming toengage with people across all seven continents andgive solutions for climate crisis. Material fromconcerts in Sydney, Tokyo, Shanghai, Istanbul,Johannesburg, Hamburg, London, Rio de Janerioand New York was broadcast to over two billionpeople, which made the project the largest, mostcomplex HD broadcast in media history.

L I V E EV E N TS

The decision to film inHD was made duringmeetings with PrincesWilliam and Harry.”Spokesman for thePrinces

Concert for Diana was captured in HD, one of several live music events this summer that used the format. Stephen Tate reports

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command performance

LIVE EARTHPRINCES WILLIAM AND HARRY

LIVE EARTH

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In the European scene, it’s the biggest event.Everything stops for the UEFA Champions

League,” says ex-England football manager, GrahamTaylor. And broadcasting the event in highdefinition has dramatically improved the quality ofthe feed, he says. “You’ve got an improvement intelevised football by high definition. Almost it’sleaping out at you. It’s extra-alive.”

The 2007 UEFA Champions League Finalbetween Liverpool FC and AC Milan took place inMay. Milan’s 2-1 victory in the Olympic Stadium,Athens, was watched by around 150 million peopleacross the world.

The official host broadcaster of the Final wasERT Greece, which hired a British crew and aBelgian company, Outside Broadcast, to cover thegame. “We are all sitting together at one table todiscuss the production concept and camera plan,”explains Markus Hoevel, TEAM manager TVOperations.

Hoevel says that due to the importance of theevent, it was vital that it was broadcast in highdefinition. “The UEFA Champions League Final isthe biggest club football event in the year and that’sthe reason why we definitely need the best pictureswe can get and it means the best broadcast quality.That’s the reason we’re producing in HD.”

Timo Koch, managing director of Outside

Broadcast, says it took about three days to set upthe technical facilities and lay up to 30 kilometres ofcable. “We have about 30 broadcasters on site thattake our feed and, this year, we have about seven ofthese that take the high definition feed.”

MULTI-CAMERA OPERATIONOutside Broadcast used a combination of HDC-1500 and HDC-1550 multi-format camerasand HDC-3300 3x HD Super Motion cameras intheir coverage. “We offered every single camera andevery slo-mo feed as an individual feed to thebroadcasters on-site. All in HD, SD 16:9 and SD4:3,” Koch says. “For this coverage, we used 28camera’s in total, of which five were HDC-3300Super Motion cameras. Ever since the Sony triplespeed cameras came on the market, they havebecome the standard in high motion recording.”

In addition, roaming HDCAM and XDCAM HDcamcorders were also deployed. These were usedby various broadcasters to capture pitch-side action,interviews and behind-the-scenes footage.

Although the entire event was recorded in HD,SD feeds were also produced. “What we’re doing isdown-converting the programme in 16:9, also in4:3,” says Francis Vanroelen, Outside Broadcast’sproject manager. “We can feed all the broadcastershere on the compound in all three formats.”

U E FA C H A M P I O N S L E AG U E

CLOSER TO THE ACTIONThe HD cameras offered viewers clarity and animpression of being closer to the event, says theopening ceremony’s director, Duncan Walkinshaw.“In the wide shots, you’ve just got so much moredetail that you can stay on them longer becausethere’s so much to absorb,” he says. “It’s not just theeffect of seeing something wide, you’re actuallypart of it. There’s so much more to take in when it’sin HD. It’s like actually being in the arena.”

Hoevel says the Super Motion cameras made abig difference in the coverage. “If you have a look atthe players, there’s such a big difference if you seeevery detail and every emotion.”

The production was further enhanced by 5.1surround sound. Walkinshaw says it helps bring theviewer closer to the action. “The quality for theviewer is so much more than it was before. It’s thenext best thing to being in the arena itself. It bringsyou so much closer to it, having that quality ofsound, that cinematic explosion of sound, so thatwhen something happens you feel part of it.”

At the same time as the 5.1 mix was created, astereo mix was also made. Sound director RobertEdwards says, “HD pictures bring a very vivid qualityto what you’re visually seeing. 5.1 does that withyour audio. It’s impossible in a sporting event tomake it look like a feature film, where you have very

whiz-bang effects coming out of the rear, rocketsflying everywhere. That isn’t the nature of sport andto have a constant noise coming out of the back isjust annoying for a lot of people, but theinvolvement in HD in 5.1 is that we wrap you intothe stadium without you necessarily even beingaware that there is rear information there. You’resitting in the best seat in the house.”

SUPER MOTION“The Super Motion cameras we have are high def,”says Scott Melvin, director of slow motion replay atthe event, who usually works on Sky Sports’ footballcoverage. “That, with HD, makes it as good and asclear a shot as you’re going to get.” Usingexperienced VT operators helped Melvin’s teamproduce a high quality broadcast. “My role in thetruck is the replay coordinator, so I have to choosethe replay, ask the operator to have it ready andthen offer it to the director, who will take it blind,effectively, because he can’t see what we’reoffering. The VT operators here work on football ona weekly basis, so they know what we’re looking for,they know what we require. It’s a lot easier for usdoing this job knowing the guys are up to speed.”The event was recorded onto HDCAM VTRs. “Wetend to do two HDCAM SR recordings in the truck,”explains Melvin. “We have a clean record of the

game, which is the definitive recording of all the 5.1and all the pictures. We also have three or fourHDCAM machines, which we just ‘iso-record’cameras on.”

Walkinshaw says that when you see the resultsof HD it is hard to go back to standard definition.“Well, for a country that has never broadcast in HD,at first I suggest they see it in both formats, oneafter the other, and then experience the difference;experience the closeness you get to the event withHD; the clarity; the general depth of colour andatmosphere that comes across; the amount ofdetail you can pick out; the amount that you miss inSD that you see in HD and the sound quality of 5.1;that just absorbs you completely,“ says Walkinshaw.“When you go back to SD after being in HD, youjust miss that closeness to the event.”

It is this intimacy that will continue to drive thedemand for HD, he says. “HD is enhancing it. It’sbringing the viewer closer and the experience isgreater. In my role as a director, anything thatenhances the product, I’m all for.”

Shooting the UEFAChampions League

Final betweenLiverpool FC and AC Milan in high

definition gave millions of viewers at home the best seat in the house. Ellie Hand reports

U E FA C H A M P I O N S L E AG U E

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SHOOTING THE 2007 UEFA CHAMPIONSLEAGUE FINAL IN ATHENS

Experience thedifference; experiencethe closeness you get to the event withHD; the clarity; thegeneral depth of colour and atmosphere that comes across.”Duncan Walkinshaw,director

“

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in aleague of its own

H D C A MH D C A M

THE ROYAL

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Kingdom, the hit Sunday night ITV series starringStephen Fry, was shot on HDCAM but

broadcast in standard definition because the UK’sITV is still considering its position on creating an HD channel. “Following a successful trial of HD on DTT and cable last year, we are currently assessingthe business case for launching a dedicated HDchannel, but no decision has yet been taken,”comments Simon Fell, director of technology, ITV Consumer.

“Currently production in HDTV is consideredon a case-by-case basis and is at present primarilydriven by overseas sales demand,” says Fell. “We arenot yet commissioning in HD as standard, thoughsome of the programmes we broadcast were shotand produced originally in HD, such as Kingdom,Jack Osbourne: Adrenaline Junkie and one-offdramas such as Mumbai Calling.”

In addition, ITV’s in-house production arm hasproduced a variety of shows using HD equipment,such as the forthcoming series of The Royal, TheRoyal Today and this year’s Brit Awards. Many OBvehicles are also equipped for HDTV, such as theone deployed on last season’s Dancing on Ice.

“ITV is investing in HDTV equipment as andwhen investment opportunities arise,” explains Fell.“Building on the investments we have already madein edit suites and camera and recording kits wecontinue to evaluate the market demand for HDTVprogramming and review our decisions accordingly.Without a free-to-air mass market outlet for HDTVbroadcasts in the UK there are currently no definitecommitments to producing major shows in HD.”

PUTTING THE HDW-790P THROUGH ITS PACESNow, fantastic quality high definition pictures arewithin the budget of even more programmeproducers and film-makers, says GrahamMaunder of UK specialist HD facility, AwfullyNice Video.

Maunder was one of the first lightingcameramen to get his hands on the HDW-790Pwhen it started delivering in June. He wassupplied by Sony Specialist dealer, Top-Teks.

Having put the camcorder through its paces,Maunder is impressed by the results.

“The first thing you notice is that it’s still thesame basic lay-out as the HDW-750P and theHDW-F900R,” he says. The new camcorder,whilst staying in the same price range establishedfor the HDW-750P, has acquired some of thefeatures that appear on Sony’s top-of-the-rangeHDCAM camcorder. Like the HDW-750P, theHDW-790P camcorder has the same 1080/25Pand 1080/50i switchability, and uses three 2/3-inch Power HAD FIT CCD sensors. But the A/Dconversion has been increased to the same 12-bit resolution used in the HDW-F900R.

It also has the four selectable HyperGammacharacteristics of the HDW-F900R. “The filmgamma characteristics can certainly make thepictures much more like our clients are wantingand certainly more pleasing to the eye than anormal video look,” says Maunder.

The new HDW-790P has been produced withthe same pricing levels as the HDW-750P.

“We would be able to offer HD to other

clients who haven’t had the budget and they willsee there’s a significant difference between thequality of HD and standard definition.

“Whilst we have been shooting idents, promosand commercials on HD for some time, now I’msure that the HDW-790P will mean that a lot ofour other work and clients will soon be switching,as we will be able to offer a vastly superior productwithin their price range.”

The HDW-790P willmean that a lot of ourother work and clientswill soon be switching, aswe will be able to offer avastly superior product.”Graham Maunder,Awfully Nice Video

“

KINGDOM

kingdom comeITV is close to making a decision about

whether to launch an HD channel in the UK. As the broadcaster kits out with

HD production gear, dealers and hire companies are also looking at the options, with the

new HDW-790P HDCAM camcorder set to be a favourite. Stephen Tate reports

ITV has recently purchased a number ofHDCAM and HDCAM SR VTRs, six HDW-750Pcamcorders and HD edit facilities.

Sony Specialist dealer Visual Impact, whichsupplies ITV with HD kit, has just taken delivery ofnew HDW-790P camcorders. “They are a veryrecent addition to our hire fleet and they work inthe TV drama section – a recent production being[the BBC’s] Hotel Babylon, which has changed overfrom the HDW-750P to the newer HDW-790P,”says Robert Newton, Visual Impact UK’s groupbusiness manager. The company also supplied theHDCAM kit for Kingdom.

Visual Impact has bought a total of 16 of thenew HDW-790P HDCAM camcorders, which offerenhanced image capabilities compared to theHDW-750P. “From a hire company’s perspective weneed to keep abreast of all the latest technologicaldevelopments,” Newton says. “Our highly trainedtechnical staff ensure the products in our hire fleetare cutting edge; this enables our customers tosample the latest products without committing tobuy them.

“Shooting in HD has many advantages both forthe viewer and the content creator. The cost andworkflow advantages over film plus the improvedpicture quality over SD video have led manyfeatures, commercials and TV programmes to moveover to HD,” Newton says.

“Everyone I have showed it to, irrespective ofage or gender, loves it. Once HD content becomeswidely available at a reasonable cost, the sales ofHD TVs will accelerate.”

F 2 3

The arrival of the new F23 digital cinema camerathis summer has created an excited buzz across

the industry, as the first directors andcinematographers get there hands on it.

Already, Andy and Larry Wachowski (thebrothers behind the Matrix trilogy) have startedmaking their next movie, Speed Racer, with multipleF23 cameras supplied by Vince Pace in Los Angeles(supported by Band Pro), though they are shootingin Germany. Other Hollywood productions are alsolined up to shoot with it, including Kerner Opticals,which plans to start a 3D movie in the autumn.

In the UK, both Visual Impact and Top-Teks havethe camera, with Visual Impact supplying one for aRolex commercial. In Spain, Ibercin is using thecamera to shoot a feature film. Bogard in France hasalso received the F23, while Band Pro in Germanyhas already supplied two to customers, includingChroma TV.

FRENCH INTERESTParis production company Bogard has haddiscussions with several leading directors and theirteams, including technicians working for Jean-Jacques Annaud, after it became the first film housein France to order two F23s.

The F23 shoots RGB 4:4:4 HD resolution at thefilm industry standard of 24 frames per second.

Bogard plans to test the cameras over thecoming months with the aim of using them on amainstream feature film as early as 2008.

Following Sony consultation with professionalcinematographers, the camera has several othernew features. Sony SRW-1 HDCAM SR VTR docksdirectly to the top or back of the camera. Thevariable frame rate can be set from 1-60 frames persecond for slow and fast motion effects, which canbe played back immediately on the SRW-1.

Standard film camera accessories, includingbridge plates, matte boxes and follow focus unitscan be attached to the camera withoutmodification. The camera lens mount is made froma tougher material than previous models.

Bogard’s technical director Guy Delorme saysthe F23 looks and behaves like a film camera. “Thepicture quality is amazing. I cannot wait to starttesting it,” he says.

Delorme estimates that 50 per cent of Frenchfilms will be made in HD within five to ten years.“Cameras like the F23 are making the decision to godigital easier by the day. With post production using

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Directors and cinematographers across Europe are eager to startworking with the new F23 digital cinema camera, reports Georg Immich,

Stephen Tate and Chris DickinsonGERMAN PROMO SHOT ONTHE F23

F23 ON LOCATION INNEW ZEALAND WITHHOVERLORD

JEAN-JACQUES ANNAUD ONTHE SET OF HIS NEW MOVIE,SA MAJESTÉ MINOR

Cameras like the F23are making thedecision to go digitaleasier by the day. I predict a lot of theFrench film industryparting company with 35mm.” Guy Delorme, Bogard

“

F 2 3

to have and to hold

digital formats more and more, I predict a lot of theFrench film industry parting company with 35mm.”

Annaud has a history of working in HD. He isbest known for Seven Years in Tibet (1997) aboutthe friendship between an Austrian climber and theDalai Lama.

His latest film, Sa Majesté Minor (His MajestyMinor), is a mythical comedy set on a Greek islandbefore the founding of Ancient Greece. It isrecorded onto HDCAM SR using an SRW-1 VTRconnected to a Panavision Genesis camera. Thedirector of photography is Jean-Marie Dejou, whohas worked with Annaud on several features.

Annaud also directed Deux Frerés (TwoBrothers), about two tiger cubs separated at birthafter one is taken into captivity, which was shot onHDW-F900 HDCAM camcorders.

GERMAN COMMERCIALSAt the end of June, Chroma Film & TV GmbH inHamburg received the first F23 in Germany.Christian Schmidt, digital image technician atChroma TV, who has shot tests with the camera,says, “The slow motion worked even better than Ihad expected, and I was impressed by the range ofcontrast you can record with the new S-Log Gammafunction.” The S-Log allows the recording of thecamera’s entire dynamic range.

The first project made with Chroma’s F23 is apromo on the preservation of animal species. Thespot, featuring a red-billed oxpecker, launches acampaign by the German Federal Ministry for theEnvironment and Nature Conservation.

The short film will be shown in movie theatres,on airplanes and on the internet. Produced by JanFincke from CZAR.DE Filmproduktion, it wasdirected by Christiane Gude and DoP MichaelLaakmann lit the green screen studio set.

In a single shot, the little African bird with thered beak is supposed to fly to a small post in frontof the camera. The F23 has to record his flight inslow motion at 60 frames per second. For acompact set-up, Christian Schmidt attached theSRW-1 recorder directly to the camera and put on aZeiss Digi Prime zoom lens.

Fincke says the F23 was chosen for its picturequality and slow motion capabilities, but alsobecause it uses tape instead of film. “We neededthe bird to fly in and take off again. Normally red-billed oxpeckers are used to landing on hugemammals like elephants and rhinoceros and he was

not so happy with the small post. It was very trickyto get the bird to do it the way we wanted. So in theblink of an eye, we ended up with two shootingdays instead of one.” And seven HDCAM SR tapeswere filled for the one minute spot.

As the material was to undergo heavy VFX workin post production, the team was very keen to getas much information on the tapes as possible. “Inorder to record the largest colour field we couldobtain, we used the camera in cine mode,” explainsSchmidt.

Chroma TV is also planning to use the F23 for acommercial for a local German cola beverage andfor a trailer on the upcoming Hamburg Children’sFilm Festival.

Schmidt says the camera is an ideal alternative tofilm. “It is the right tool for people with abackground in traditional film, because the newpresets make for an easy way of shooting withoutdealing too much with the internal adjustments ofthe camera. So the handling of an HD camera getsas close as possible to working with a film camera.”

BELGIAN SHORTSDirector of photography Louis-Philippe Capelle,CEO of Belgian HD production and hire companyHoverlorD, is supplying the technical kit on twonew short films being made with the F23 digitalcinema camera.

The original plan was to shoot the dramas, calledGoing on Holiday and Serial Killer, with the HDW-F900R camcorder, “but we thought we could usethe new F23 to test out its digital cinematographycapabilities,” Capelle says.

Shot in 25P, the films will be released in digital and35mm, in cinemascope format. The first is 4-6minutes long, set in Belgium and directed byBaudouin Du Bois, and the other, 13-15 minutes inlength, is filmed in New Zealand and directed byBaudouin and Bruno du Bois (they are twin brothers).

Benoit Roland from La Trap Productions inBrussels is producer and Michael Robbins andBruno du Bois from Oxygen Film in Wellington areco-producers.

“Shooting digitally with the F23 is important,”says Capelle. “We now have a camera that isdedicated to digital cinematography rather than adigital television camera which we can use for film.What is interesting is the increase in dynamic rangeand the way the camera deals with images, which iscloser to film.”

The Other Boleyn Girl marks the feature debutfor director Justin Chadwick, who won a slew of

BAFTAs for his recent production of Bleak Housefor the BBC. The story of both Anne Boleyn, thefated wife of Henry VIII, and also of her sister, Mary,the king’s mistress, will be released in the UK at thebeginning of 2008.

The feature, starring Scarlett Johansson andNatalie Portman, is an adaptation of PhilippaGregory’s novel by the award-winning screenwriterPeter Morgan. It is a Sony Pictures Entertainmentand Universal Pictures International presentation inassociation with BBC Films, produced by AlisonOwen for her company Ruby Films, with ScottRudin and David Thompson as executive producers.

Chadwick came on board at script stage, puttingtogether the cast and crew, with Owen. There hasbeen a blend of talent from the worlds of featuresand TV. Chadwick’s DoP is Kieran McGuigan, whoworked with him on Bleak House and on anotherBBC drama, Spooks. The costume designer is SandyPowell, who has won Academy Awards for BestCostume on both The Aviator and Shakespeare inLove, and the production designer is John PaulKelly, who won a BAFTA for The Lost Prince.

Bleak House was shot on HDCAM, bringing amodern, edgy feel to the period drama. Chadwickwanted a similar look on The Other Boleyn Girl andwas supported by Gary Martin, president ofproduction administration and Sony PicturesStudios Operations, Sony Pictures Entertainment.

The feature was recorded onto HDCAM SRusing a Panavision Genesis camera. The HDCAM SRrecords the footage with minimal compression andis capable of recording in 10 bit 4:4:4 RGB at 440 or880Mbps. The increased bit rate allows HDCAM SRto capture the full bandwidth, keeping the integrityof the look and giving huge scope for refining theimage in post production.

BEAUTIFUL LOOK“I’m always interested in a good story and goodperformance, but I wanted the look to be real,” saysChadwick. “HD is brilliant at capturing performanceand detail. Used in the right way and in the righthands it can look beautiful. It can look like 35mm,but it also has its own look. There’s somethingstunning about it. It sees every truth and every lie,seeing right into the actors’ eyes and capturingtruth in performance. With HD on a big screen,when I’m watching Scarlett Johansson, it’s like youcan reach in and touch her. For me as a director,that’s the most important thing.”

The Other Boleyn Girl began shooting inOctober last year and was completed by Christmas.It was shot at Elstree studios and on location,including Penshurst Place, Knole House and DoverCastle in Kent, as well Haddon Hall in Derbyshireand Lacock Abbey in Wiltshire.

One of the advantages of HDCAM SR forChadwick was that he could record exactly what hewas seeing. “Everyone, from the designer to the

D R A M AD R A M A

12 www.sonybiz.net/S2S www.sonybiz.net/S2S 13

HIGH HOPESProduction company, ATM Grupa, is making a Polish-language version of thehit US sitcom, Who’s the Boss?, in HDCAM using HDW-F900R camcorders.Now it plans to make most programmes in HD, reports Adrian Pennington.

FOR MORE ON HDCAM PRODUCTION VISITwww.sonybiz.net/S2S

Kto tu rzadzi? is a Polish-language version of thehit American comedy Who’s the Boss? It’s fastbecoming one of the most popularprogrammes in Poland and it is the first seriesshot by Polish production powerhouse, ATMGrupa, with HDW-F900R HDCAM camcorders.

ATM creates a large proportion of originaland reformatted reality shows, game shows,sitcoms and factual programming accountingfor around 20 per cent of the domestic TVproduction market.

Its Wroclaw base houses two studios and anew 2,500 square metre studio is underconstruction to be finished by the end of thisyear. It offers full post production services, amotion capture rig and an outside broadcastvan incorporating 30 camera channels and aDVS-9000 production switcher.

Recently, ATM began the process of movingall of its productions and facilities to HD andtook possession of five HDW-F900Rs. Two ofthe camcorders are on the set of Kto tu rzadzi?which, in its first series, gained far better thanexpected ratings for Polish broadcaster Polsat.The second series of 26 episodes is completeand there are hopes the programme will be re-commissioned for a further 78 episodes.ATM plans to shoot 197 episodes in total.

“We’ve adhered quite closely to the originalformat but altered some details to fit the Polishculture,” says Jacek Scioblowski, ATM’s head ofprogramme analysis.

UPGRADING TO HDCAMWho’s the Boss?, a Sony Pictures TelevisionInternational show, aired on the US networkABC between 1984 and 1992 and depicted anItalian American male (played by Tony Danza)working as live-in help for a female advertisingexecutive. Danza’s character was an ex-baseballplayer. In Poland, he is an ex-soccer player.

Series one of Kto tu rzadzi? was shot instandard definition, before series two upgradedto HDCAM. “There’s a huge difference invisual quality between series one and seriestwo,” says Scioblowski. “The HD is superb andwe have changed the lighting system so we canshow off the HD to real advantage.”

There is no current domestic HDtransmission, but Scioblowski predicts thatwithin 18 months, a digital terrestrial HDTVservice will have launched.

It is not the first production acquired in HDat the studio. Political drama series Ekipa,directed by Agnieszka Holland, as well as theFala zbrodni series broadcast on Polsat havepreviously been shot on HD, but now ATM is

making a wholesale upgrade to the newtechnology and standardising on HDW-F900Rs.

“Our technical department conductedcomparison tests with other cameras andrecommended the HDW-F900R as the best interms of quality and price,” he says. ATM plansto double its number of HDW-F900Rs toaccommodate the seven or more scriptedproductions it shoots every season.

“If we want to be the best on the market,we have to offer products with the besttechnological quality,” he adds. “We all knowthat television is heading towards broadcastingall programmes in the highest resolution. Wewant to be ready when the time comes.”

We have to offerproducts with the besttechnological quality.”Jacek Scioblowski, ATM Grupa

“

runner, can sit by a monitor and can see their workcrystal clear. By the end of the first week everyoneknew what kind of film they were making.”

Chadwick is more than comfortable with thisopen and effective way of working. “Something thatwe did with Bleak House was to create 80 per cent ofthe final look on the shoot because of the pressure oftime in post. We continued this on The Other BoleynGirl, so that everyone could see what we were tryingto achieve. But we have so much more flexibility inthe DI to finesse and push the look.”

The clarity of the image when using HDCAM SRmeans that the crew has to be particularly attentiveto detail. “Everybody had to be completely on theball,” says Chadwick. “The lighting is key becauseyou need to focus the eye on what you want theaudience to see. You’ve got to create the images inthe shot. It’s a really great leveller.”

The movie, due for delivery later this year, waspost produced at Soho’s Moving Picture Company.Matt Bristowe, a digital lab producer at the posthouse, explains how the HDCAM SR is integral tothe production process. It means that the footagedoesn’t lose anything. “By capturing 4:4:4, you arecapturing a greater bandwidth, so that you can beas creative as if you were grading film.”

Chadwick is a complete convert to HD: “It’sfantastic that it could look like 35mm, but thepossibilities are infinite. It’s brilliant for truth, forperformance… It feels as if we’re at the start ofsomething really exciting.”

With HD on a bigscreen, when I’mwatching ScarlettJohansson, it’s like you can reach in andtouch her. For me as a director, that’s themost important thing.”Justin Chadwick

“

chopand

change

The Other Boleyn Girltells the story of

Anne Boleyn and hersister Mary. DirectorJustin Chadwick tells

Pippa Considine why he shot on

HDCAM SR

NATALIE PORTMAN AND SCARLETT JOHANSSON

approached Sony, through Netherlands broadcastequipment supplier Vocas, and asked for help. “Weneeded HD cameras for two reasons: one, forsending images of HD quality to broadcastcompanies; and then later, because we want tomake a film about our experience,” he says.

The Polar expedition was a fitting challenge forthe HVR-V1E professional HDV camcorder. Vocasprovided the explorers with the camcorder,batteries, grips, a power adaptor and a charger towork with two solar panels. They added a Polar Bearshield to protect the camera against the cold andmoisture, something that would prove to beparticularly useful. The supplier also made sure thatthey received thorough technical training.

ICE STORMKamphuis and Oosterhof set off in mid-April thisyear, with a plan to spend just under a month on theicecap and with a target of covering 700 kilometreson skis, pulling their sledges behind them. Butwithin days of landing on the edge of the GreenlandIcecap by helicopter, they were in the middle of aPitoracq, a Polar storm. For four days, high windskept them in one place, tent-bound and having todig themselves out of the snow every one and a halfhours. That was followed by three days of white out,which meant that they had no visibility whatsoeverand were still stuck.

Through all this, they filmed every day, venturingoutside the tent when possible, but also shootinginside the tent, while they waited. “In thoseconditions, with temperatures of minus 40 degreesCelsius, you would think that cold might be the

problem for the camera,” says Kamphuis. “But wedidn’t experience any problem.” They were mostworried about the moisture, especially in the tent,where making stews created a lot of steam in the icytemperatures. However, the Polar Bear shieldaround the camera did a great job, preventingmoisture from becoming an issue.

Although the storm meant that they couldn’tcover the distance that they had planned, the pairwere determined to return to the originalhelicopter landing point. They kept going, filmingas they went and sending images to broadcasters inHolland and in Iceland. They edited and sent imagesvia a laptop, and then used a Broadband GlobalArea Network BGAN via Inmarsat to connect withDutch national broadcaster, SBS 6, and the regionalDutch channel, TV West.

Several of these feeds were picked up andshown by the Dutch broadcasters, including shotsof Oosterhof skiing with the sunset through hislegs. Some of the expedition footage made thenews on Iceland’s TV 1.

FINAL PUSH TO THE SOUTH POLEMuch of the footage was of one or the other ofthem talking to camera, even when their morale hitrock bottom. But they managed to fit thecamcorder to a sledge so that they could getpictures of both of them together. There was also anopportunity for filming an Inuit expedition withdogs and sledges that they encountered en route.And an action sequence as they left, with shots ofthe helicopter landing, creating a blizzard of snow.

Using the camcorder in such extreme weather

conditions was an ordeal. “You have to think aboutfilming in the context of the Polar Icecap. You arealways thinking, ‘Do I film? Do I take off my glovesand freeze my fingertips in exchange for thefootage?’ It’s really challenging,” says Kamphuis.Just keeping the camcorder steady up-wind wasdifficult and the filming process had to be kept assimple as possible. They fixed the sound switches onthe camcorder with wooden sticks and duct tape,using just one setting.

The Sony video tapes ran as normal, despite theharsh conditions and they clocked up ten hours offootage. They are now beginning to edit thematerial for their film, The quest for the PolarIcecap, using the HVR-V1E’s 25P progressive scanmode, which will give it a more film-like look.

As they plan for the final push to the South Polelater this year, both men now have, as they put it,“one hundred per cent confidence” in the SonyHVR -V1E. Not only was it up to the challenge, easyto use and kept working day in day out, the qualityof the footage came up to the necessary highstandard. “In Holland, the broadcasters are lessinterested in whether footage is live or not, qualityis more important,” explains Kamphuis. “If wehadn’t had the Sony HD to deliver, they would havesaid that the footage wasn’t good enough andwould not have used it.”

Frozen Dreams is the story of two Dutchbusinessmen turned explorers — Paul Kamphuis

and Jan Fokke Oosterhof — realising and sharingtheir dream. After a training trip to the icywasteland of the Greenland Icecap earlier this year,they plan to mount an expedition to the South Poleto fulfil a long-held dream. But not content withliving that dream, they have set up a website,(www.frozendreams.nl), where anyone can sharetheir own dreams and they have pledged to takemany of those ambitions with them to read out atthe South Pole, with their adventures and messagescaught on camera.

“We want to get dreams from all over the worldand take those dreams to the South Pole, so thatother people can listen and exchange dreams,” saysKamphuis. The project aims to involve childreneverywhere in the concept and is raising money fora children’s cancer charity.

Frozen Dreams began in the summer of 2006and has since become a high-profile event,attracting much attention in the Dutch press. Thefirst challenge in a series of training expeditions wasto climb Mont Blanc. The pair realised that filmingtheir endeavours was critical to the idea reaching awider audience. “We wanted to share our dreams,”says Kamphuis, “so we started filming with a smallSony Handycam.”

Before setting out for Greenland they

H DV

You have to thinkabout filming in thecontext of the PolarIcecap. You are alwaysthinking, ‘Do I film? DoI take off my gloves andfreeze my fingertips inexchange for footage?’It’s really challenging.”Paul Kamphuis

Frozen Dreams was born when two Dutch businessmen turned explorers planned

an expedition to the South Pole. Now they arefilming their experiences and inviting others

to share their dreams with them. Pippa Considine reports

H DV

14 www.sonybiz.net/S2S www.sonybiz.net/S2S 15

“

FOR MORE ON HDV PRODUCTION VISITwww.sonybiz.net/S2S

the dream catchersRECORDING WITH THE HVR-V1E INSUB ZERO TEMPERATURES

Ginger Productions has crafted a maverick andbold production style which has helped make

hits out of Don’t Forget Your Toothbrush, TFI Fridayand Detox Camp and is perhaps best exemplified bythe action-packed factual entertainment show JackOsbourne: Adrenaline Junkie.

What started out as a three-part trial of its star’sappetite for a physical and mental challenge hasevolved into a fusion of sports, lifestyle and fitness,shot in out-of-this-world places.

With the third round of eight 46-minuteepisodes commissioned by ITV2 looking destinedto exceed the previous series’ ninety territory sales,Ginger has opted to make this their first foray intoHD production.

“We wanted to stretch ourselves as a productionteam by using HD for the first time,” explainsexecutive producer Ed Stobart. “And HD deliverycan only help sales of the series. It makes no senseif we’re going to stay at the cutting edge, not toshoot in the highest quality possible.”

The four-month shoot saw the production crewglobetrot from New Zealand to Hawaii via theMongolian outback and the Arctic with theparticipants tackling an array of heart-stoppingadventures, among them a helicopter bungee, freediving, sky diving, trekking into the heart of Borneo,

kung-fu fighting at a Shaolin temple and dogsledding on the frozen wastes of the Arctic tundra.

The format for the series sees Osbourne lead fiveyoungsters on a quest to overcome their drink ordrug-related problems, or other psychological scars— similar issues to those that once plagued Jack.

“This series asks whether going round the worldcan actually change your life,” explains seriesproducer Craig Pickles. “I believe we’ve shown that itcan and that you can see the transformation of theircharacters on screen. Some of these youngstersdidn’t dare cross the road before because they wereafraid of being bullied. Now they’ve been exposedto international travel and different cultures andsucceeded in things they would never haveattempted in their wildest dreams before.”

Having seen previous programmes shot withXDCAM HD, notably the Land Rover G4 Challenge,Stobart was excited by the opportunity the Sony kitoffered, but he was unfamiliar with its handling orpicture quality. The camcorders would have to copewith sustained shocks, extreme temperaturevariances and some of the most humid and aridconditions on the planet.

Sony supplied a PDW-F350 and PDW-F330camcorders with a range of half-inch Canon HDlenses, as well as the Professional Disc optical

recording media and two HVR-V1E professionalHDV cmcorders. “They were incredibly supportiveand gave us a leg-up since it was a bit of a leap in thedark for all of us,” says Stobart.

OUTSTANDING IMAGESWhen production began in the mountains of SouthIsland, New Zealand, any concerns about the newformat were immediately dispelled. “The quality oflight is so extraordinary, I can see why film-makersflock to shoot here,” says Stobart. “It’s the mostastonishingly beautiful place and the pictures reflectthat far better than we’d ever hoped.

“The images were outstanding, particularly ofthe landscapes and from helicopter wides,” saysStobart. “They have a combination of detail andoverall lustre which completely took us by surprise.Breathtaking.”

In particular Stobart appreciated the way thecamcorder dealt with contrast and captured detailin the blacks of the deep shadows of mountainclefts. “So much of what we do is about the elusivebusiness of making a wild landscape come alive forthe viewer watching in 2D at home. No othercamera has come close to making that happen.”

The production next went to the rainforest inBorneo, then the frozen landscape of northern

X D C A M H D

Finland. “The XDCAM HD could deal with ahelicopter wide shot of the frozen wastes in brightlight, but still cope with detail,” says Stobart. “Thatcomes as close as I’ve ever been involved with inmaking such an extraordinary, alien and savagelybeautiful place come alive.”

DEATH-DEFYING SHOTSIn Macao, senior cameraman Dan Bishopexperimented with some progressive imagery at50fps in order to capture the recruits tumbling fromthe world’s highest bungee in dramatic slow motionreplayed at 25fps.

“I shot general views from 2km away on a zoomlens looking into the sky and following them all theway down,” Bishop describes. “I’m really proud of

those shots because the silhouettes show such greatdetail. It looks death defying and the kind of thingyou know will make the final cut because theimages are so incredible.”

The series was shot at the highest 35Mbps andedited on Final Cut Pro. Ginger took the decision toshoot the majority of material in 1080 at 50i toaccommodate posting with HDV material shot onHVR-V1Es. “What has been amazing is thecombination of the super high end quality imagesout of the XDCAM, and the fast reactive materialout of the HVR-V1Es, and the fact that they cut soeffortlessly together. What we’ve done is show thatHD really is the format of the future — you cancreate fresh, immediate, and breathtakinglybeautiful images on the fly.”

The third series ofAdrenaline Junkie

sees Jack Osbourne,five youngsters and an

intrepid crew go toeven greater extremes

than ever and it’s allcaptured in high

definition

X D C A M H D

16 www.sonybiz.net/S2S www.sonybiz.net/S2S 17

What we’ve done is show that HD really is the formatof the future — you can create fresh, immediate, and breathtakingly beautiful images on the fly.” Ed Stobart, producer

“

high jinks

FIRST HD CAMCORDER WITHEXPRESSCARD MEMORYSony has launched the first high definition camcorderbased on industry standard ExpressCard memorybased recording. The XDCAM EX camcorder startsshipping this autumn.

Compared to the older PC Card technology,ExpressCard offers high performance and flexibility inless space. SxS (S-by-S) memory cards developed bySony and SanDisk will be the first native PCI Expresssolid-state storage media, with a target transfer speedof 800 megabits per second, while usingExpressCard/34 modules for maximuminteroperability with new generation PCs.

Designed for video professionals, the XDCAM EXis a handheld HD camcorder with three half-inchimaging sensors. It will support all major internationalrecording standards including 1080/50i, 1080/25Pand 720/50P. It will even support 24P shooting – amust for digital film-makers. The camcorder will alsohave variable speed recording.

The camcorder features two card slots, so userswill be able to record over 120 minutes of content –on two 16GB cards. Many leading IT vendors alsosupport the ExpressCard slot, so the captured clipscan be transferred at very highspeeds.

Forediting, XDCAM EX will be inter-operable with a wide range of NLEsolutions.

BELOW: JACK OSBOURNE IN FINLAND

XDCAM HD TAKES TO THE HEIGHTS

FOR MORE ON XDCAM HD PRODUCTIONVISIT www.sonybiz.net/S2S

XDCAM HD equipment was used for the firsttime by cameraman Ingo Baar on the musical

tour of Germany , England and Spain of the worldreknowned conductor, Justus Frantz and hisPhilharmonic Orchestra of the Nations.

The tour was captured by Potsdam TV – aGerman regional station – for a 50-minutedocumentary and was recorded using XDCAM HD.

Ingo Baar, chief cameraman at Potsdam TV, shotwith a PDW-F330 with a zoom lens from Fujinon.

“XDCAM HD is still a new format for me,” heexplains. “I would like to use it again. In spite of thedifferent bit rates, both quality formats are goodand, on a 19-inch HD monitor, even for anexperienced cameraman, the formats areindistinguishable. Admittedly, we were shootingclassical music, where you don’t pan so quickly.”

After the opening concert in Hamburg, the 100-piece orchestra travelled to London for its firstEnglish concert.

Baar says that Frantz was initially wary of him, so,at the end of the second day of shooting, heshowed the conductor the material he had shot.“He was quite astonished by the detail of the imageand that the pictures were so clear and amazinglydistinct,” Baar says. “From then on, the ice melted.The awe and the distance was gone and we had awonderful working relationship. In Leeds, I stooddirectly next to him for three quarters of an hour. Ireally focused on the close-up shots and zooming inon him.”

MULTI-CAMERA RECORDINGThe circumstances of the tour helped Baar with hisproduction. “The concerts were obviously well-rehearsed,” says Baar. “During rehearsals, pieceswould be started over and over again. This gave usthe opportunity to try new settings and to use threeor four cameras, giving us the opportunity toproduce an effective film.”

The other British cities included in the tourincluded Lancaster, Birmingham and Leeds. Over100 musicians were constantly on the move. Almostevery day, the orchestra was playing in a differentconcert hall in a different city. For the musicians, thetour was a huge challenge but also very enjoyable.

Given the amount of pressure that the musicians

were under, Baar was very grateful for theircooperation, especially as he would sometimesneed to stand so close to them while they wereperforming.

“I could fold up my tripod in the twinkling of aneye,” remembers Baar. “I could then end up in theaisles, moving more or less inconspicuously.” Baarsays that the camcorder was not so big that itinterfered with the performance, yet it was bigenough so that he was taken seriously.

The tripod was used 90 per cent of the time,with the shoulder-mount being used mainly forclose-ups of Frantz.

TAPELESS TECHNOLOGY“Filming in HD was a fantastic experience,” Baarsays. “XDCAM HD is a real quantum leap. I nowhave a medium that does not require a tape. BeforeI would get frustrated with having to keep playingback a sequence. My work was much morecomplicated. With disc-based technology,everything is faster. Now for clip lists there is athumbnail function, which can speed up theoutputting. I have immediate access to everysetting. I no longer need to back-up every clip.

As a cameraman with 20 years experience, Baarhas a cautious approach to new technology. “I havedeveloped a healthy distrust over the course of myprofession,” explains Baar. “However, I can only saythat the XDCAM HD is fantastic. I haven’t deletedanything by mistake – the material is automaticallybacked-up, the filming is seamless and the storagecapacity of the discs is perfectly sufficient whetherthe film is produced in 25 or 35Mbps.”

He was also impressed with the powerconsumption of the camcorder. “We worked withthree Sony GL-90 accumulators. They weresufficient for the whole day,” he says.

Next, Potsdam TV will be travelling to GranCanaria to follow Frantz’s appearance at his estate,Finca Casa de los Musicos.

“ XDCAM HD is a realquantum leap. I nowhave a medium thatdoes not require a tape.Before I would getfrustrated with havingto keep playing back asequence. My work was much morecomplicated. With disc-based technology,everything is faster.”Ingo Baar, Potsdam TV

18 www.sonybiz.net/S2S

X D C A M H D

Conductor Justin Frantz and his PhilharmonicOrchestra of the Nations have toured Europeand a new film brings their performances to life

FOR MORE ON XDCAM HD PRODUCTIONVISIT www.sonybiz.net/S2S

orchestralmanoeuvres

continues on pages 22 and 23

production directory

22for a fully comprehensive HD directory go to: www.sonybiz.net/S2S

KEYnHDcamcorder

nHD VTR

Austria

Akademie der bildendenKünste +43 (0)1 588 16 414www.akblid.ac.at

Brains & Pictures +43 (0)22 335 5323www.brainsandpictures.com

claus muhr TV. film produktion +43 (0)732 601111www.muhr-tv.com

Cut&Copy +43 (0)1 523 98 24www.cutcopy.com

ETAS +43 (0)1 66 55 660 www.etas.at

Filmatelier Innsbruck +43 (0)512 26 38 27www.filmateiler.at

Heinz Zeggl GmbH+43 (0)1 914 9828www.zeggl.at

I.B.&C. +43 (0)1 714 29 39

Interspot +43 (0)1 801 20 www.interspot.at

Klaus Krall +43 (0)1 586 30 40www.g-point.at

LISTO Videofilm +43 (0)1 596 151532www.listo.at

M&A Juraczka GmbH +43 (0)1 894 2761www.juraczka.at

PKM Filmproduktions +43 (0) 463 50 00 10www.pkm-video.com

Video Film Bartl +43 (0)7762 2959www.videofilmbartl.at

Vogel Audiovision +43 (0)732 34 82 41www.vogel-av.at

Michael WurzingerFilmproduktion +43 (0)2243 22 224www.filmproduktion.at

Belgium

2 Frame +32 (0)22 45 3600www.2frame.be

4E technology +32 (0)16 46 88 66www.4e.be

ACE Digital House +32 (0)27 35 6020www.ace-postproduction.com

Alfacam+32 (0)34 54 2010www.alfacam.be

ARC Cinevideo +32 (0)27 70 9630www.arc-cinevideo.com

Belgavox +32(0)2 375 4489www.belgavox.net

BETV +32 (0)2 730 40 50 www.betv.be

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BUT+32(0)3 6108911www.but.be

colour by Dejonghe +32 (0)56 35 0710www.colour-by-dejonghe.be

ES video facilities +32 (0)16 40 4020www.esvideo.be

FAC ‘S & Lite’s +32 (0)2 253 66 00www.lites.be

Format C +32 (0)59 32 33 96www.formatc.be

Grid+32 (0)9 265 9898www.grid-vfx.com

HoverlorD +32 (0)4 250 45 20www.hoverlord.be

Lambeets +32 (0)49 520 7777

No Trouble+32 (0)22 48 1696www.no-trouble.com

Outside Broadcast BV+32 (0)16 23 2752www.outside-broadcast.be

Paprika +32 (0)2 533 9770www.paprika.be

Puzzle Editing +32 (0)2 732 97 89www.puzzle-editing.be

RTL-TVI www..rtl.be

Staytuned DVD +32 (0)71 82 70 00www.staytuned.be

Studio L’Equipe +32(0)2 745 48 00www.studio-equipe.be

TV Connections +32(0)2 230 0147www.tvconnections.be

VRT +32 (0)27 41 5901www.vrt.be

Videohouse +32(0)2 254 48 11www.videohouse.be

Videoline+32 (0)51 58 2424www.videoline.be

WIP+32(0)4 340 10 40www.wip.be

XDC +32(0)4 364 1200www.xdcinema.com

Bulgaria

Top Form Studio’s Inc.+35 92 96 06619www.topformstudio.com

Croatia

Gama Studio+385 (1) 299 3537 www.gama-studio.com

Interfilm+385 (1)4667 290www.interfilm.hr

Vizije SFT+385 (1)65 89 109www.vizije.hr

Cyprus

AMP Film Works Ltd+357 22 875187www.film-works.tv

Czech Republic

ACE a.s. +420 271 071 111www.ace-prague.cz

CineAltaPrague+420 602 266 597

House Post Production +420 220 517 958-66www.postprodukce.cz

NOVA TV+420 233 100 111www.nova.cz

Universal Production Partners +420 271 722 121www.upp.cz

Denmark

Danish Film Institute/FilmWorkshop+45 (0)3374 3400www.dfi.dk

Digital Film Lab Copenhagen AS+45 (0)3925 2030www.digitalfilmlab.com

Duckling AS+45 (0)33470100www.duckling.dk

Euro Broadcast Hire+45 (0)35 82 8220www.ebh.cc

Kameraudlejningen+45 (0)70 20 34 00www.kameraudlejningen.dk

Minerva +45 (0)35 82 11 33www.minervafilm.dk

Nordisk Film Shortcut AS +45 (0)36 18 86 00www.shortcut.dk

STORM +45 (0)32 84 8035www.storm.tv

Take-Away Film ApS +45 (0)35 82 11 33www.takeawayfilm.dk

Twentyfourseven AS +45 (0)44 247 247www.twentyfourseven.dk

Zentropa Production+45 (0)36780055www.zentropa.dk

Eire

DIGIRENT +353 (0)1 668 1699ww.visuals.co.uk/digirent

Observe +353 (0)1 21 60090ww.observe.ie

TV Mobiles +353 (0)2 536236www.tvm.ie

The Farm +353 (0)1 676 8816www.thefarm.ie

Windmill Lane +353 (0)1 671 3444www.windmilllane.com

Screen Scene+353 (0)1 661 1501www.screenscene.ie

Finland

Angel Films Ltd+358 (0)97594770www.angelfilms.com

Generator Post +358 (0)20 123 2300www.generator.fi

Pashur +358 (0)50 5252 627www.pashur.fi

Twentyfourseven Oy +358 (0)207 433 247www.twentyfourseven.fi

France

Agence Planipresse +33 (0)1 45 71 0909

Amazing Digital Studios +33 (0)1 4523 0225www.amazingdigitalstudios.com

AMP +33 (0)2 5121 1112www.amp.tv

AV2P +33 (0)1 41 44 00 00www.av2p.fr

Avidia +33 (0)1 4468 8620

Bogard +33 (0)1 49 33 16 35www.bogard.fr

Centaure Production +33 (0)5 5992 9425www.centaure-productions.fr

CTM +33 (0)1 4085 4500www.ctmsolutions.com

Digimage +33 (0)1 5538 0210www.digimage-france.com

Duboi +33 (0)1 5817 5000www.duboi.com

DVD Partners+33 (0)1 4703 3131www.dvd-partners.com

EV Corporate+33 (0) 1 4918 1920www.evcorporate.com

GLPIPA+33 (0)1 58 04 13 00www.glpipa.fr

GTC +33 (0)1 48 86 12 02 www.gtc.fr

Histoire d’images +33 (0)4 7670 5216www.histoire-images.com

IEC-ASV +33 (0)1 46 88 2828www.iec-asv.com

Laboratoires ÉCLAIR +33 (0)1 4940 5900www.éclair.fr

Le Fresnoy +33 (0)3 2028 3800www.le-fresnoy.tm.fr

LTC/Scanlab +33 (0)1 49 11 6767www.ltc-lab.com

MANGANELLI +33 (0)1 4911 6731www.manganelli.com

MEDIALAB +33 (0)1 4437 4437www.medialabtechno.com

Mikros Image+33 (0)1 5563 1100www.mikrosimage.fr

where to find all Sony high definition equipment

P RO D U C T I O N D I R EC TO RY P RO D U C T I O N D I R EC TO RY

KEYnHDcamcorder

nHD VTR

To appear in this listing, please contact info@smallworldpublishing.co.uk

Panavision Alga France +33 (0)1 4813 2550www.panavisionalga.fr

SAV +33 (0)1 53 38 2201www.sav.tv

SOFT audiovisuel +33 (0)4 72 84 59 10www.soft.fr

Sylicone +33 (0)1 44 75 1111www.sylicone.com

Tatou +33 (0)1 4760 1880www.tatou.fr

Teletota +33 (0)1 40 99 50 50www.teletota.fr

Ten80 +33 (0)6 76 71 94 81www.ten80.fr

Tigre +33 (0)1 5677 1500www.tigreproductions.fr

Transatlantic Video +33 (0)1 4437 4437www.transatlanticvideo.fr

TSF +33 (0)1 4917 6000www.tsf.fr

VDM +33 (0)1 4667 8282www.vdm.fr

Video Plus +33 (0)1 4010 3800www.videoplusfrance.com

Videomage +33 (0)1 4122 6000www.groupe-image.com

Visual Impact France+33 (0)1 4222 0205www.visualsfrance.com

Germany

Acht-Frankfurt +49 (0)69 257 8860www.acht-frankfurt.de

ACT Videoproduktions GmbH +49 (0)221 92 54 89 0www.actvideo.de

ARRI Media +49 (0)89 3809 1888www.arri.com

Band Pro Munich +49 (0)89 945 48 490www.bandpro.de

BFE Studio +49 (0)6131 9460www.bfe-systemhaus.de

BPM +49 (0)40 557624 12www.bpm-media.de

Chroma Film &TV GmbH+49 (0)40 888 884 32www.chromatv.com

Cinegate +49 (0)40 654 960 0www.cinegate.de

Cine Plus +49 (0)30 26480 100www.cine-plus.de

Dekabo Video +49 (2225)3637www.dekabovideo.de

Die Videofilmfabrik +49 (0)69 48005833www.videofilmfabrik.de

digiSite GmbH +49 (0)89 55 25 20 0www.digisite.de

Digital Images GmbH +49 (0)34 521 75130www.digim.de

Einhorn +49 (0)651 32058www.einhornmultimedia.de

Gahrens + Battermann +49 (0)2204 20401www.gb-mediensysteme.de

GLS Studios +49 (0)89 697991340www.gls-studios.com

HDOBTRUCK +49 (0)2233 969 128www.hdobtruck.com

Head-Quarter GmbH +49 (0)221 280 6580www.hd-quarter.de

Hifi-Klang GmbH +49 (0)6136 7575www.hifi-klang.com

Image Film +49 (0)89 354 0030

KOPPFILM +49 (0)30 283 9250www.koppfilm.de

KOPPMEDIA +49 (0)345 209 8958www.koppfilm.de

Krausser & Co GmbH +49 (0)89 95 013www.krausser-co.de

Laguun GmbH +49 (0)304050 0815www.laguun.de

Ludwig Kamera +49 (0)89 689 5920www.ludwigkameraverleih.de

Marco Polo Film AG +49 (0)6221 400 780www.marco-polo-film.de

Marco Polo HD GmbH +49 (0)345 523 593 0www.marco-polo-hd.de

MBF Filmtechnik GmbH Frankfurt: +49 (69)340004-0Hamburg: +49 (40)656864-0www.mbf.de

mevis.TV GmbH +49 (0)711 2142161www.mevis.tv

Montagehalle Digital CutGmbH+49 421 707515

M Medienproduktionen +49 (0)421 70 7498www.m-medienproduktionen.de

Omnimago GmbH +49 (0)6132 7900230www.omnimago.tv

Ottonia Media GmbH +49 (0)3 91 5 39 24 86www.ottonia.de

PICTORION das werk GmbH +49 (0)2233 79 34 0www.das-werk.de

Pille Filmgeräteverleih +49 (0)611 959 750www.pillefilm.de

Plan Sequenz +49 (0)711 126 8555www.plansequenz.de

PostFactoryGmbH +49 (0)30 616 921 449www.postfactory.de

Presteigne GmbH +49 (0)2233 51 8080www.presteigne.de

Progressive Pictures +49 (0)30 88910977www.progressive-pictures.de

PROVi TV-Produktion +49 (0)221 33 64 40www.provi.tv

Rudas Studios +49 (0)211 93 080www.rudasstudios.de

Skyline-Pictures GmbH +49 (0)40 2380 5780www.skyline-pictures.de

Studio HamburgPostproduction +49 (0)40 6688 3322www.studio-hamburg-postproduction.de

TaurusMediaTechnik +49 (0)89 9956 0www.taurusmediatechnik.de

TeleFactory +49 (0)331 70 62 610www.telefactory.com

Teltec Broadcast Media +49 (0)611 180 900www.teltec.de

TopVision GmbH +49 (0)30 670 5200www.topvision.tv

TVN +49 (0)511 1212 3603www.tvn.de

TVS Teleport Bonn +49 (0)30 398066 0www.tvs-teleport.de

VCC Perfect Pictures +49 (0)211 828 59 0www.vcc.de

Velten GmbH +49 (0)6138 97660www.velten.tv

Videocation +49 (0)89 958 230www.videocation.com

Video Data +49 (0)40 8517 4510www.videodata.de

Viteg eK +49 (0)6081 8705www.viteg.de

Volker Rodde Film-uVideotechnik e.K. +49 (0)221 951 4890www.volkerodde.dewww.volkerrodde.de

Wellen & Nöthen +49 (0)221 9156 0www.wellen-noethen.de

WEPEG HD Mazen+49 (0)221-95333 150www.wpeg.de

Greece

ICON PLUS +30 2310 854000www.iconplus.gr

Hungary

Cam@Vision Ltd +36 (0)30 415 9030 www.visionteam.hu

FilmPlus Ltd +36 (0)1 460 8050www.filmplus.hu

Light Odyssey Ltd +36 (0)30 415 4733www.lightodyssey.hu

Rexfilm +36 (0)1 382 7160www.rexfilm.hu

Schwindl Video Studio Ltd +36 (0)30 938 2707www.schwindl.hu

Somos Video Ltd +36 (0)1 460 8050www.somosvideo.hu

Sparks Ltd +36 (0)1 422 0787www.sparks.hu

Vision Team Ltd +36 (0)30 415 9030www.visionteam.hu

Iceland

Kukl ehf +354 6607660

Italy

360 Degrees Film+39 339 22 82 987www.360degreesfilm.it

Altafilm+39 02 6431586www.altafilm.net

Andras Minach +39 011 659 6097

Anteprima Video +39 02 3310 3287www.anteprimavideo.com

Atlantis Film & Video +39 02 869 2819

Bondi Brothers +39 02 34 92974www.bondibrothers.com

ETABETA +39 011 81 00 211www.etabeta.it

Fotocinema +39 06 7049 7589www.fotocinema.com

Grande Mela +39 06 332 1821www.grande-mela.it

GUICAR srl +39 0248 712002www.guicar.com

Media Technology +39 06 33 28000www.mediatechnology.it

Mondo TV +39 06 86 323293www.mondotv.it

Nikocam Film and TVProduction +39 348 22 833 21www.nikocam.com

Pixel +39 09 2259 6998www.pixelonline.net

Project Italia Firenze +39 055 352 285www.projectitalia.it

Rumblefish +39 02 4548 7537www.rumblefish.it

Tecnel Studio +39 06 886 2063www.tecnelstudio.com

Telecinema Production +39 06 88 52 65 88www.tcproduction.net

Telerecord +39 05 5873 9575www.telerecord.it

VIDEOCAM +39 06 880 5093

Virtual Reality Multimedia Park +39 011 227 1211www.vrmmp.it

Latvia

Cinevilla Studio +371 775 46 47www.cinevilla.lv

Luxembourg

BCE – Broadcasting CenterEurope +352 24 80 7004www.bce.lu

www.bce.lu

Espera Productions +352 26 30831www.espera.lu

SES Astra +352 71072 573www.ses-astra.com

Morocco

Sigma Technologies +212 (0)2236 8687www.sigmatechno.com

The Netherlands

BBP Digital Intermediate +31 (0)20 468 8622www.bbp-video.nl

Business Tales BV +31 (0)35 699 1991www.businesstales.com

Cam-A-Lot +31 (0)20 694 0004www.camalot.nl

Cinemeta Digital +31 (0)20 3300330www.cinemeta.nl

European CommunicationProjects +31 (0)35 677 77 57www.ecpgroup.nl

Filmmore +31 (0)20 5309696www.filmmore.nl

Het Raam +31 20 6 37 47 57www.hetraam.nl

Hulskamp Audiovisueel +31 (0)30 600 5252www.hulskamp.nl

Post Office +31 (0)20 662 4745www.postoffice.nl

UBF Media Group +31 (0)35 7733 293www.ubfmediagroup.com

Valkieser Capital Images +31 (0)20 460 4604www.valkieser.nl

Norway

Gunnar Nilsen +47 (0)7 39 12805

Nordisk Film Post Production +47 (0)928 9 8100

www.nordiskfilm-postproduction.com

Norskfilm-studio +47 (0)6752 5401www.norskfilmstudio.no

Sketchfilm +47 (0)95 794812www.sketchfilm.no

Twentyfourseven AS +47 (0)2238 0247www.247.as

Poland

TPS Studio Filmowe ++48 (0)22 651 9787www.tps.com.pl

Euro Broadcast Hire +48 (0)22 851 1084 www.ebh.cc

Portugal

EMAV +351 21 952 70 50geral@emav.pt

Flavour Productions +351 28 98 02 183www.flavourproductions.tvHOP +351 22 954 5280

PANAVIDEO +351 21 837 26 62www.panavideo.pt

PixMix +351 21 303 0880www.pixmix.tv

Vista Video +351 966 737 375

Romania

O-Video +40 26 8311195

SC Videolink SRL +44 21 256 9064www.videolink.ro

Russia

BS Graphics +7 495 143 7920www.bsgraphics.ru

Ostankino TV +7 495 617 9352www.ostankino.ru

SANKOM-PRO +7 495 238 4402www.sankom-pro.ru

RTR www.rutv.ru

United Multimedia Projects +7 495 449 1312www.umpstudio.com

Yugra TV+7 346 719 3706

Serbia & Montenegro

3D Video Systems +381 (0)11 403 455www.3dvideosystems.com

Duke Production +381 (0)11 324 3574

Magic Box Multimedia

+381 (0)21 472 2880www.magicbox.co.yu

Studio Mapa +381 (0)11 361 6665www.studio.co.yu

Visual Impact +381 (0)11 265 6968www.visuals.co.yu

South Africa

Cine Gate +27 (0)21 556 6474www.cinegate.co.za

Magus Visual Johannesburg+27 (0)11 788 9879Cape Town+27 (0)21 4617965www.visuals.co.uk/magus

Spain

Adivina Producciones +34 981 638 569www.adivina.com

ADSA S.L. +34 627 47 05 00adsa@wanadoo.es

Apuntolapospo +34 935 202 190www.lapospo.com

Arri Media +34 91 651 33 99www.camararental.com

Atrium Digital SA +34 955 602 210www.atriumdigital.com

Aurea Documentary SL +34 93 238 7400

Broadcast Rent +34 91 352 95 38www.broadcastrent.es

Camara Vision +34 91 383 3768 www.camaravision.com

Dygra www.dygrafilms.es

EPC +34 91 512 0806www.epc.es

Fotofilm Madrid SA +34 91 7253607www.fotofilmmadrid.com

Genlock Videoproducciones SA +34 91 553 6247www.genlock.com

Ibercin SL +34 902 09 5555www.ibercin.com

IJV Producciones +34 98 117 3342www.ijv.com

Image Film +34 3 26 18505www.imagefilm.com

Imagen Line +34 91 353 2600www.imagenline.es

Info TV +34 91 311 8029www.infotvproducciones.com

Jaleo Films +34 955 637 269www.jaleofilms.com

Kincine +34 96 380 48 47www.kincine.com

Loasur Audiovisual S.L +34 952 45 32 32www.loasur.com

Mad Pix +34 91 52 49880www.mad-pix.com

Molinare +34 91 725 9407www.molinare.es

Mons TV +34 93 284 7780

New Atlantis +34 91 426 1371www.newatlantis.net

Ovide Broadcast Services

+34 90 215 1518www.ovide.com

Savitel +34 954 930 424www.savitel.es

Telson +34 91 754 6700www.telson.es

Trivision +34 96 34 66292www.trivision.es

Toma 27 SL (Malaga) +34 95 220 7610www.toma27.es

Video Report +34 91 784 80 00www.videoreport.es

Videoefecto +34 93 467 7327www.videoefecto.com

Videolab +34 93 200 5400www.videolab.es

Sweden

Dagsljus +46 (0)8 503 822 00www.dagsljus.se

Dockhouse +46.(0)31 65 16 00www.dockhouse.se

Filmteknik +46 (0)8 450 4500www.filmteknik.se

Leif Eiranson AB +46 (0)70 318 89 89

Lite Grip +46 (0)31 19 6555www.litegrip.se

Massteknik +46.(0)31 20 85 00www.massteknik.se

Twentyfourseven AB +46 (0)8 247 247www.twentyfourseven.se

Videobolaget +46 (0)8 734 9550www.videobolaget.com

Switzerland

Amarock Production + 41 (0)79 220 34 85www.amarock.ch

EVP+41 (0)22 307 8250www.evp.tv

Montreux Sound +41 (0)21 962 8054www.montreuxvideostudio.ch

On Line Video 46 AG +41 (0)1 305 7373www.onlinevideo.ch

Schweizer AG +41 (0)810 37 37www.schweizervideo.ch

Swiss Effects +41 (0)1 307 1010www.swisseffects.ch

tpc / tv productioncenterzurich ag +41 (0)44 305 4000www.tpcag.ch

Visuals Switzerland Sarl +41 (0)22 717 85 55www.visuals.ch

Z&B Video AG +41 (0)1 871 20 30www.zubvideo.ch

Turkey

Imaj +90 (0)212 258 4000www.imajonline.com

Vipsas +90 (0)212 243 4051www.vipsas.com

United Kingdom

24-7 Drama +44 (0)20 8614 8560www.24-7drama.co.uk

021 Television +44 (0)121 327 2021www.021tv.com

Aerial Camera Systems +44 (0)1483 426 767www.aerialcamerasystems.com

AHC Post +44 (0)20 7734 9792www.ahc.tv

Arena TV Ltd +44 (0)1737822011www.ob-units.co.uk

Arqiva Outside Broadcast

+44 (0)1773 718111www.arqiva.com

ARRI Media +44 (0)1895 457100www.arrimedia.com

Ascent Media NetworkServices +44 (0)20 7131 5143www.ascentmedia.co.uk

Axis Films +44 (0)1932 592244www.axisfilms.co.uk

Awfully Nice Video Company +44 (0)1895 678477www.awfullynicevideo.com

BBC Post Production Birmingham +44 (0)121 567 7029www.bbcresources.com

BBC Post Production Bristol +44 (0)117 974 6666www.bbcresources.com

BBC Post Production London +44 (0)208 225 7702www.bbcresources.com

Blue Planet +44 (0)207 267 4537www.blueplanet-tv.com

CTV Outside Broadcasts +44 (0)208453 8989www.ctvob.co.uk

Dubbs +44 (0)20 7534 4800www.dubbs.co.uk

Electra +44 (0)20 8232 8899www.electra-tv.com

Elite Television +44 (0)113 262 3342www.elitetv.co.uk

Enfys +44 (0)29 2049 9988www.enfys.co.uk

Films @ 59 +44 (0)117 906 4300www.filmsat59.com

Finepoint Broadcast

+44 (0)800 970 2020www.finepoint.co.uk

GearBox Sound and VisionLimited+44 (0)20 8963 8633www.gearbox.com

GearBox Express+44 (0)20 7437 4832www.gearbox.com/express

GearBox North+44 (0)113 261 5850www.gearbox.com/north

GearBox South West+44 (0)29 2067 0546www.gearbox.com/southwest

Gearhouse Broadcast +44 (0)845 820 0000www.gravitymedia.co.uk

Hammerhead Television +44 (0)20 8646 5511www.hammerheadtv.com

HD24 +44 (0)1883 730043www.hd24.com

Hyperactive Broadcast Ltd

+44 (0)1252 519 191www.hyperactivebroadcast.com

LBV Television +44 (0)1724 762600www.lbv.tv

LighthouseHD +44 (0)1406 351522www.lighthouse-films.co.uk

M8 Media +44 (0)141 420 2080www.editing.co.uk

Metro Broadcast +44 (0)20 7202 2000www.metrobroadcast.co.uk

Mezzo Studio +44 (0)113 203 6161www.mezzostudios.com

MGB Facilities Ltd +44 (0)113 243 6868www.mgbtv.co.uk

Mitcorp UK +44 (0)20 8380 7400www.mitcorp.co.uk

Molinare +44 (0)20 7478 7000www.molinare.co.uk

On Sight Hire +44 (0)20 7637 0888www.onsight.co.uk

Panavision London +44 (0)20 8839 7333www.panavision.co.uk

Pogo Films HD +44 (0)20 7292 0650www.pogofilm.com

Pepper +44 (0)20 7836 1188www.pepperpost.tv

Presteigne Broadcast Hire

+44 (0)1293 651 300www.presteigne.co.uk

Prime TV +44 (0)20 8969 6122www.primetv.com

Provision +44 (0)113 222 8222www.yorkshiretv.co.uk

Root 6 +44 (0)20 7437 6052www.root6.co.uk

Shooting Partners +44 (0)20 8941 1000www.shootingpartners.co.uk

Take2Films +44 (0)20 8992 2224www.take2films.co.uk

Telegenic Outside Broadcast

+44 (0)1494 557400www.telegenic.co.uk

The Cruet Company +44 (0)20 8874 2121www.cruet.com

The Farm Group +44 (0)20 7437 6677www.farmpost.co.uk

The Hospital Group+44 (0)20 7170 9100www.thehospital.co.uk

The Mill +44 (0)20 7287 4041www.mill.co.uk

Top-Teks +44 (0)1895 82 5619www.top-teks.co.uk

Visual Impact London +44 (0)20 8977 1222Bristol+44 (0)117 939 3333North+44 (0)1606 42225Cardiff+44 (0)2920 754005www.visuals.co.uk

VMI +44 (0)20 8977 1222www.vmi.co.uk

Wildcat Flying +44 (0)14344 381067www.wildcatflying.com