Technical stuff

Is Super 16 solvable in HD?
by Herve Lefel

Digital Workflow

On September 2nd at the Espace Pierre Cardin, the Technical Commission of the FICAM (French federation of the cinematographic audiovisual and multimedia industries) and the Image department of the CST (French Superior Technical Commission) invited many professionals involved in the creation, production, postproduction and broadcast of television fiction to a morning presentation of the results of a joint working group, "Super 16 - HD". With the friendly authorization of the CST, which organized this meeting, we propose an account of this event, written by Herve Lefel, member of the department of the CST Image department.

Mscope and IBC Amsterdam 2009
by Yves Cape

Digital Cameras

I shot Renaud Bertrand’s film, Just the Three of Us (produced by Fabio Conversi at Babe Films). When I arrived on the project, the decision had already been made to shoot in HD, but we still needed to determine which camera use!

Following the tests that I had the opportunity to make for the film by Patrice Chereau, we were leaning towards the D21. We then discovered the Mscope process, which allows you to shoot anamorphic in a 4:2:2 configuration recording on to HDCAM SR.

Transvideo HD field monitors


During the CineGear show held in June in Los Angeles, Transvideo presented several major evolutions of its range of HD field monitors.
During the show it was 46 degrees centigrade in the shade, but monitors in full sunlight were perfectly readable without sunshades, operating flawlessly.
The CineMonitor range consists of 6 ", 8", 12 "and 15" HD monitors. The image quality in HD as SD is impeccable with a proprietary Transvideo processor.

Weisscam HS2

Digital Cameras

Two years after the launch of the Weisscam HS-1, P+S Technik and Stefan Weiss present the follow-up model: the Weisscam HS-2.

Airbrush Techniques in Makeup
by Pascale Recher and Sabine Courtant

An eye on sound

Following the text by Sophie Landry published in the AFC newsletter, Pascale Recher and Sabine Courtant, makeup artists from the workshop "Lighting and Makeup" comment about their experiences filming in HD during the last IDIFF conference, which was held at the Palais des Congrés in Paris from January 30th to February 1st, 2008.

Public makeup tests were held at IDIFF, produced by Cine System and shot through the lenses of four different HD cameras (Thomson Viper, Panasonic HPX3000, Arri D20 and Sony F23).

Oslo Digital Cinema Conference - Workshop
by Jean-Jacques Bouhon

Technical shows and exhibits

On the 5th and 6th of May, Matthieu Poirot-Delpeche and I have attended this conference cycle organised by Imago and the Norwegian Film Institute. Being quite busy last month, I couldn’t find the time to write down a summary. Here it is at last.
We have to start by complementing the extreme quality of the cycle, which brought together over 200 European Directors of Photography. Each intervention led to questions and answers, allowing both the audience and the lecturers to specify number of points.

The Aaton Penelope
presented by Aaton

Film Cameras

Here is a photo of the Aaton Penelope prototype. This is the only auto-silenced 35 mm camera with instantaneous magazines that was ever built and it is also the first 35 mm camera that definitively abandons Dickson/Edison’s 4-perf film.
The film-pulling mechanism only works with 3-perf for lovers of 1.66:1, 1.78:1, 1.85:1 formats or with 2-perf for Scope addicts.

HD Evening
by Jean-Jacques Bouhon

Technical stuff

Following upon the invitation of the 25 Images Group - an association of TV film directors, several members of the AFC (Robert Alazraki, Gérard de Battista, Jean-Jacques Bouhon, Jean-Noël Ferragut, Dominique Gentil and Charlie Van Damme) attended a debate on the use of HD for TV dramas that took place Wednesday March 17th in the SACD facility. The theme was HD’s possibilities and limits, and its future in French audiovisual production.

The AFC present at the IDIFF 2005
by Jean-Noël Ferragut (with the help of Gérard de Battista, Eric Gautier, Willy Kurant, Philippe Ros)

Technical shows and exhibits

No need, for once, to rush up the steps of the Cannes Festival Palais, dressed like a penguin and adjusting one’s bow tie, in order to attend the 3rd edition of the IDIFF (International Digital Film Forum) which took place from the 2nd to the 4th of February, 2005. All that was needed was an interest, however small, in anything that borders on what has come to be known as « digital cinema ». For this is what IDIFF is about.