16 CREATION
August 2015
ARRI Alexas brave the elements
Mad Max : Fury Road is the fourth instalment of director George Miller ’ s franchise , set in a violent dystopian and vehicle-centric desert world .
For reasons of ruggedness and reliability , cinematographer John Seale chose to work with ARRI Alexa cameras for the punishing shoot in Namibia . As the latestgeneration Alexa XT models with in-camera ARRIRAW recording were not available at the time of production , the six Alexa Pluses and four Alexa Ms used were all paired with Codex Onboard CDX 3010 recorders .
Michelle Pizanis , coordinating camera assistant , described : “ We had an Alexa Plus dedicated to each of the two Steadicam rigs that worked simultaneously , and to each of the two Edge vehicles , which floated between main and action unit . The other two Plus cameras were either in studio mode with zoom lenses in main and / or action unit , or used on truggie vehicles .
“ All four Alexa Ms were in a handheld configuration , three of them dedicated to the main unit and used mostly on the War Rig — a vast battle truck on which much of the action unfolds — with wide-angle lenses , and the other with action unit . Most days , we would have between three and five cameras shooting each set-up .”
Despite the harsh desert conditions and an almost daily bombardment of the wind and sand , the Alexas proofed up to the task , as David Burr , second unit cinematographer , revealed . “ We protected our cameras as best as we could but , as anyone who has shot in deserts will be aware , fine dust and sand will find its way into the best protected equipment … We thought that the constant wind and sand exposure would cause us problems — this was not the case .
“ Except for one instance when one of our Alexa Ms required a new circuit board , our fleet of 10 Alexa performed flawlessly for five months — a great tribute to the
Braving the elements : ARRI
Alexas were deployed to shoot director George Miller ’ s Mad Max : Fury
Road . design team at ARRI .”
One shot sequence particularly left a deep impression on Burr . On-site , the Alexas were rigged to many of the crew ’ s picture vehicles and one rig in particular enabled Burr and his team to track underneath the War Rig on a rail
attached to the chassis as the vehicle travelled across the desert , all operated remotely .
Burr continued : “ There was a rig we called ‘ The Ledge ’, for highangle tracking shots , and another that involved dropping a GF-6 crane into a hole dug in the desert , so we could start with a high angle as the armada raced towards the camera and then at the last second the crane and Alexa were lowered into the hole an inch below the surface , looking up at the lead vehicles as they drove overhead — a very exciting shot .”
Opvision ’ s broadcast monitors cater to Asian broadcasters ’ needs
Sidefinder , a new concept in multifunctional on-camera displays from SmallHD , is now shipping .
Looking in from the side
Sidefinder , a new concept in multifunctional on-camera displays from SmallHD , is now shipping .
Sidefinder is a combination of HD electronic viewfinder ( EVF ) and 5-inch fold-out full-HD monitor in one compact unit . The union between the SmallHD 501 or 502 field monitor and a specialised EVF loupe , said SmallHD , allows the Sidefinder to work as both a professional 5-inch field monitor and a HD viewfinder . Designed to allow operators to slide the eyepiece close the camera , it screen provides more than double the viewing area of current combo system , added SmallHD .
The Sidefinder ships with a special bracket that can accommodate existing EVF mounting standards : ¼-20 threads for typical EVF mounts , a quick release for 15mm rod systems , NATO rail , and the ARRI rosette standard for high-end EVF mounts .
Wes Phillips , co-founder of SmallHD , said : “ Now shooters can have full control of the monitor and swipe instantly to any feature without compromising a stable shooting position by taking their hand off the camera . And unlike touch-screen control , operators are not forced to put fingerprints all over their display .”
In pursuit of simplicity and speed , every software tool on the Sidefinder is easily activated by a swipe of a joystick . And to improve ergonomics , an included wireless joystick remote can be positioned on a tripod handle , camera rig handle or stabiliser grip , enabling complete control over the Sidefinder without requiring operators to move .
Dr Nancy Su ( right ), vice-president of Opvision Technology , gives APB an insight into the company ’ s Nana series of broadcast monitors while providing some tips on key features broadcasters should look out for when making their purchase .
Opvision offers the Nana series of broadcast LCD monitors . Can you explain how the Nana monitors are helping broadcasters , particularly in Asia- Pacific , achieve their production needs ? Dr Nancy Su : The Nana series of LCD monitors that Opvision offers are designed for broadcast control rooms , production control and post-production editing areas . It includes a variety of production tools used by video professionals , including real-time waveform , vector scope , histogram and audio level meter .
In Asia , the transition from SD to HD is a definitive change taking place across the broadcast industry . Nana LCD monitors support multiple channels of input signals up to 3G-SDI , helping the transition move smoothly . Plus , colour performance and the level of image quality required by broadcast and post production can be achieved with the deployment of scanning
LED backlight technology , embedded calibration and stabilisation technology .
With more broadcasters in Asia now looking at the possibilities of 4K Ultra HD ( UHD ), are there any plans by Opvision to introduct 4K UHD capabilities into the Nana series ? Dr Su : Yes , 4K UHD seems to be around . However , in my opinion , it will still take time for the technology to make its way into every household , especially in Asia .
For Opvision , we are always keeping track of the latest technologies , although not every new technology translates into new products that can definitively enhance the workflow or broadcasting quality .
We will follow two rules , as we have always done : One is to maintain and strengthen our current product lines that are still very popular in the market . The other is to keep ourselves updated on the most advanced technologies so as to keep ourselves on the cutting edge — for instance , by incorporating 4K UHD capability into our Nana feature list .
What other key features should broadcasters in Asia look out for when selecting broadcast monitors ? What advice would you offer broadcasters looking to make a purchase , bearing in mind technology trends in the region ? Dr Su : When selecting broadcast monitors , basic functions like waveform , vector scope and audio meters are a must . Requirements such as the widest colour gamut , ultra-deep blacks , 3D monitoring and analysis functions are welcome , depending on the application environment .
However , not all features are really needed in practice . Broadcasters are better off balancing between fashionable characteristics and realistic requirements .
In Asia , 4K UHD content preparation needs a big step forward while HD content continues to play a key role here for sometime yet . If budgets allow , broadcasters may invest in monitors that support 4K UHD directly . Otherwise , if budgets are constrained , monitors supporting HD is still the reasonable option .