The Professional's Guide to HD Tools & Technique

Vol. 19 No. 9 | September 2011

IN REVIEW
NIKON D7000
GENARTS SAPPHIRE EDGE
RED GIANT SOFTWARE
MAGIC BULLET SUITE 11

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ideo
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from the editor

xx
digital

september 2011 | opinion

volume 19
number 9
September 2011

EDITORIAL
EDITORINCHIEF Cristina Clapp
cclapp@nbmedia.com
MANAGING EDITOR Katie Makal
kmakal@nbmedia.com
TECHNICAL EDITOR Jay Holben
jayholben@gmail.com

Color and Creativity

WEB EDITOR Sarv Taghavian,

staghavian@nbmedia.com
CONTRIBUTING EDITORS J.R. Bookwalter,
James Careless, Chuck Gloman, Buck McNeely,
Carl Mrozek, Oliver Peters, Stefan Sargent, Jon Silberg,
Ned Soltz, Iain Stasukevich, Joy Zaccaria

ADVERTISING
EAST COAST SALES MANAGER Susan Shores
sshores@nbmedia.com 212. 378.0400 Ext. 528
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bkennedy@nbmedia.com
011. 44. 1279. 861264
DIGITAL VIDEO EXPO SALES
Contact your DV representative
CLASSIFIED AD SALES Susan Shores
sshores@nbmedia.com 212. 378. 0400 Ext. 528

ART & PRODUCTION

SENIOR ART DIRECTOR Nicole Cobban

ART DIRECTOR Annmarie LaScala
PRODUCTION MANAGER Davis White
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In keeping with the theme of our DV 101 article

on color correction (page 27)and related
reviews of GenArts Sapphire Edge (page 12)
and Red Giant Software Magic Bullet Suite 11
(page 14)Id like to invite you to an in-depth,
CONFERENCE PROGRAM
day-long seminar at Digital Video Expo on
BEGINS ON PAGE 23
color correction. Led by DV contributing editor Oliver Peters, Color Correction Options
takes place Wednesday, Sept. 21, from 9 a.m. to 5 p.m.
Color correction is often the final threshold in finishing your production. Its the
time to correct, polish and even stylize the look of your video. Color correction has
become the defining element of many iconic feature films through the digital intermediate process. But what are the best tools to use that are accessible to the typical
video professional?
Oliver will break down the various options, including standalone desktop applications, such as Apple Color and Blackmagic Design DaVinci Resolve; plug-ins including
Red Giant Magic Bullet Looks and Colorista II; and built-in tools within Apple Final
Cut Pro 7 and Final Cut Pro X, Adobe Premiere Pro and After Effects, and Avid Media
Composer. The session will include an overview of each of these software tools and a
demonstration of how to use them to achieve blockbuster results.
Oliver will also cover edit-to-color grading workflows and discuss how to maximize
the look of different cameras, including RED, ARRI Alexa, Canon EOS 5D and more.
If youre interested in attending, e-mail me and Ill get you a DV reader discount
code that you can use when you register at www.dvexpo.com.

DIGITAL VIDEO EXPO KEYNOTE: JACOB ROSENBERG, CTO,

BANDITO BROTHERS WEDNESDAY, SEPT. 21, 2:30 P.M.
Jacobs Digital Video Expo presentation
Raising the Digital Bar focuses on what you
gain and what you pay for in blood, sweat
and tears by throwing caution to the wind and
embracing new production technologies and
solving their inherent problems in post. Jacobs
talk and interactive Q&A session is free and
open to all show attendees.
A digital technology expert, author and Jacob Rosenberg (with camera)
filmmaker, Jacob has worked as a senior consultant to Adobe Systems Inc., on Adobes digital video software applications. He has
contributed his technical knowledge to a number of feature film projects, including
Superman Returns, Martin Scorseses Rolling Stones documentary Shine A Light,
James Camerons Avatar, and the upcoming independent film LBS. Jacob brings
his extensive experience as filmmaker, author and digital media expert to Bandito
Brothers, a full-service media facility that creates, produces, manages and distributes
audio-visual content.

dv.com

What
are the
best color
correction
tools
that are
accessible
to the
typical video
professional?

Inside

contents | september 2011

update

dv.com/Sep2011 |volume 19|number 9

6 News & Notes

Nelson shoots conservation doc with Sachtler,
Teradek Cube HD Video Encoder, FFV ships
sideKick HD digital video recorder, Company
3 colors action-packed Beastie Boys video,
Blackmagic Design releases free DaVinci
Resolve Lite.

in review
12 GenArts Sapphire Edge
Add a little or a lot with Sapphire Edge presets.
By Ned Soltz

14 Red Giant Software Magic

Bullet Suite 11
Magic Bullet Suite 11 is a mega-bundle of good.
By Ned Soltz

16 Nuwaste Studios Pocket Light Meter

On Our Cover: DV this month examines options for desktop color correction, such as (clockwise from upper left) Apple's
Final Cut Pro 3-Way Color Corrector (p. 27), Blackmagic Design's
DaVinci Resolve Lite (p. 10), GenArts Sapphire Edge (p. 12) and
Red Giant Softwares Magic Bullet Suite 11 (p. 14).

This app is accurate, sensitive and affordable

(meaning free).
By Jay Holben

18 Nikon D7000
The D7000 is a video camera strong enough to
keep Nikon a contender in the DSLR filmmaker
market.
By Jon Silberg

features
20 Sweet Spot
Rhett McLaughlin and Link Neal perfect the art
of the local commercial on IFCs Commercial
Kings.
By Joy Zaccaria

columns
3 From the Editor
Cristina Clapp considers color and creativity.

20

22 Instant Expert
Ned Soltz examines itsy bitsy HD cameras.

27 DV101
Jay Holben explains color correction.

34 Production Diary
Stefan Sargent knows that it can only get worse.

DV (ISSN 1541-0943) is published monthly by NewBay Media L.L.C. at 28 E 28th Street, 12th Floor, New York, NY, 10016. Telephone: 212-378-0400.
Periodicals postage paid at New York, New York, and at additional mailing offices. U.S. subscription rate is $29.97 for one year; Mexico and Canada are
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rates are one year only. DV, Digital Video, Digital Video Magazine, DV Full Motion, DV Web Video, DV Expo, Web Video Expo, Digital Video Expo, and Digital
Video Conference and Exposition are trademarks of NewBay Media L.L.C. All material published in DV is copyrighted 2011 by NewBay Media L.L.C. All
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however, it assumes no responsibility for damages due to errors or omissions. Printed in the USA.

dv.com

EDIT

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news & notes | september 2011

Update |

mousing
around
>Michel Gondry and Peter
Sluszka Create Crystalline
for Bjrk

Director Michel Gondry and Hornets

Peter Sluszka collaborated on the
music video for Bjrks Crystalline,
which plays like a low-fi science
fiction movie, with shooting lasers,
growing crystals and hand-drawn
graphics. www.videography.com

>Randall Dark Gets Close Up

for Eddie Willis Glow Video

Nelson Shoots Conservation Doc with Sachtler

Cinematographer Peter Nelson
recently completed a short
film profiling the White Oak
Conservation Center, a facility
in Florida dedicated to endangered species conservation,
captive breeding and wildlife
research.
Our assignment was to film some
of the wildlife and center in a documentary style, combining obser-

>in focus:

vational wildlife footage and vrit

footage of the veterinary activities
and interviews with staff members,
explains Nelson.
Nelson shot the project on a
Panasonic AG-HPX300 P2 camera.
Camera support was either my
Sachtler Video 18 Plus or my shoulder, often switching between the two
in seconds, says Nelson. When you
see a shot in a documentary situation,
you have to respond quickly or miss
it. A good tripod is the little secret
of good shooting and one too often
overlooked.

Director/producer Randall P. Dark

crafted an intimate feel for Eddie
Willis Glow. Lately, it seems that
music videos attempt to tell an unrelated story and rarely let you enjoy
the performer singing, says Dark.
I wanted the viewer to have a oneto-one type of experience with this
song. www.cinematographer.com

nd us online
digital edition:

www.myDVmag.com

facebook:

www.facebook.com/
pages/digital-video-magazine

online:

www.dv.com

twitter:

www.twitter.com/
DVMagazine

Teradek Cube HD Video Encoder

Company: Teradek What It Is/Does: A miniature camera-top HD video encoder, Cube accepts video from any
camera, compresses it using H.264, and delivers the video over any IP interface, including Ethernet, built-in
Wi-Fi and cellular. Video streams from Cube can go directly to video-enabled devices, including set-top boxes,
smartphones, iPads and Web browsers, or to Cube decoders for on-site monitoring. Bottom Line: For live
video productions, users can stream video directly to viewers and devices. Price: Starts at $1,190 Contact:
www.teradek.com

dv.com

New DeckLink HD Extreme has Dual Link 4:4:4/4:2:2

SDI, HDMI and analog connections in SD, HD and 2K!
Advanced 3 Gb/s SDI Technology

The new DeckLink HD Extreme is the worlds

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With exciting new 3 Gb/s SDI connections,

DeckLink HD Extreme allows twice the SDI data
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Connect to any Deck, Camera or Monitor

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analog audio. Connect to HDCAM SR, HDCAM, Digital
Betacam, Betacam SP, HDV cameras, big-screen TVs and more.

DeckLink HD Extreme is fully compatible with Apple Final Cut

Pro, Adobe Premiere Pro, Adobe After Effects, Adobe
Photoshop, Fusion and any DirectShow or QuickTime
based software. DeckLink HD Extreme instantly switches
between feature film resolution 2K, 1080HD, 720HD, NTSC
and PAL for worldwide compatibility.

Hardware Down Conversion

If youve ever wanted to monitor in both HD and SD while
you work, then youll love the built in high quality down
converter. Use the Dual Link SDI outputs as a simultaneous
HD and SD output, or you can switch back to Dual Link 4:4:4
when working in the highest quality RGB workflows. Select
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down conversion styles!

DeckLink HD Extreme

$995

Learn more today at www.blackmagic-design.com

Update

news & notes | september 2011

FFV Ships
sideKick HD
Digital Video
Recorder

digital
video
tweets
>@SteadiOp

FS100, 5D MK II & AF100 Depth

of Field Comparison: http://t.co/
GbzrIhs

>@cristinavaldivi

Im not gonna lie... Im kind of

obsessed with this video right now:
http://t.co/nFaHgx7 @KhalidMohtaseb + @JonathanBregel are
awesome.

Now shipping, sideKick HD from

Fast Forward Video (FFV) is a
straight-to-edit, camera-mountable digital video recorder that
captures video directly from any
HD-SDI or HDMI output at bit
rates up to 220 Mb/s with 4:2:2
sampling and 10-bit resolution in
industry-standard codecs such as
ProRes.
sideKick HD records video onto
standard 2.5-inch hot-swappable
solid-state SATA drives and provides a 4.3-inch color on-board
confidence monitor that offers
playback options including scrub
and jog. sideKick is available now
for $2,495.

>@Sonysoftware

Create DVDs and Blu-ray

discs with #VegasPro http://t.
co/79YcTZK

>@Gizmodo

10 of the Most Mind-Blowing Slow

Motion Videos Youve Ever Seen
http://t.co/UW4dX4N

>@donaldberube

In Order to Be Good at Time Lapse,

You Need to Know What Good
Time Lapse Looks Like http://t.co/
GDP3oAe @3exposure @rhedpixel
#timelapse #dslr

>@philiphodgetts

The Trivialities and Transcendence of Kickstarter http://tinyurl.

com/3emfl46 Great background
on fan funding site and projects
its funded

dv.com most-read features (Direct links at dv.com/Sep2011)

< Evolve Digital

Cinema Explores for

Nat Geo Campaign

A four-spot on-air campaign for

National Geographic Channel,
shot and edited by Evolve
Digital Cinema/IMG, showcases
individual explorers in their
element.

>@VisionWrangler

Directing on a Dime: Legendary

Producers Rep John Pierson on
the Current State of Indie Film:
http://bit.ly/nvyEHL

>@colorgradernet

DaVinci Resolve 8 - Lite vs. full

version http://bit.ly/rp4zuy

>@SnagFilms

Documentary vs. Docudrama, do

they need to be true? http://is.gd/
p3KsaZ

>@Autodesk_ME

Check out all four parts of Grant

Kays video series on #Autodesk
#Smokeonmac for #FinalCutPro
users: http://bit.ly/6SBvVk

>@MyDigitalVisual

Captain America Action Shots Captured with Canon 5D

Captain America: The First Avenger used Canons EOS 5D Mark II digital SLR cameras
to capture many of the movies action shots.

Like Crazy - The HDSLR Film

That Made It Big http://t.co/
s36zq3a

>@indiewire

Watch: Raucous Trailer for Festival

Staple Shut Up Little Man! http://
ow.ly/1e5qQq

dv.com

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Update

Company 3 Colors Action-Packed

Beastie Boys Video
Postproduction house Company
3 completed dailies and final color
work on the Beastie Boys music
video Dont Play No Game That I
Cant Win (featuring Santigold).
Billed as an action-adventure
spectacular, the video, directed
by Spike Jonze, features the hip-

hop group portrayed by action

figures; the trio is in the middle of
a performance when set upon by
a ruthless band of assassins. The
videos concept is the brainchild
of MCA (Adam Yauch).
Company 3 colorist Tim
Masick worked with director of

photography Wyatt Troll to recreate the look and feel of seminal 80s action films like First
Blood. This is basically the action
movie you wanted to make when
you were a kid, says Masick.
The videos full of action and
explosions.

Blackmagic
Design Releases
Free DaVinci
Resolve Lite
DaVinci Resolve Lite, a free,
reduced-feature version of
DaVinci Resolve that includes
many powerful color correction
features in a downloadable software package, is now available
at www.blackmagic-design.com.
Resolve Lite includes all of the processing
of the full DaVinci Resolve, but limits projects
to SD and HD resolutions, two color correction
nodes, a single processing GPU, and a single
RED Rocket card.
Resolve Lite offers high-quality optical resiz-

ing, curve grading, XML import/export, 32-bit float

processing, YRGB image processing, multi-layer
timelines, stabilization, window tracking, primary
and secondary color correction, real-time processing, capture and playback with deck control, and
compatibility with third-party control panels.

dv.com

WASHINGTON, DC

CONFERENCES: Nov. 29 - Dec. 1 | EXHIBIT HALL: Nov. 30 - Dec. 1

Walter E. Washington Convention Center

www.gvexpo.com

Innovation at work.
Plan now to attend the East Coasts largest pro video and broadcast expo, held November 29 to
December 1 in the heart of our nations capital. Learn about cutting-edge video technologies and
techniques in a comprehensive conference program produced by the experts at DMDC; get handson with the latest video gear in an exhibit featuring over 120 suppliers, dealers and distributors; and
attend FREE special events and networking opportunities to further your knowledge and career.

For a FREE exhibits pass and/or to view discounted conference options, visit gvexpo.com.

Attention Exhibitors Book your booth now and get in front of thousands of high-level equipment
buyers working in government, broadcast, pro video, corporate media, law enforcement and education. Call Jackie Gospodinoff at 212-378-0493; jgospodinoff@nbmedia.com for more info.

gear | september 2011

12

InxxxReview

GenArts
Sapphire Edge

Look Inside

score

Add a little or a lot with Sapphire Edge presets.

PROS: Virtually unlimited choice of

looks. Fast and accurate rendering.
Constant updated looks through FX
Central.
CONS: Some editors find prepackaged looks constraining.
Perhaps price sensitivity for FCP X
users.
BOTTOM LINE:

Sapphire Edge
gives a definite edge to editors and I
heartily recommend it.

MSRP:

Sapphire Edge: $299. FX

Central: First year free with Sapphire
Edge purchase, $99 per year thereafter

ONLINE: www.genarts.com

BY NED SOLTZ
A good script or compelling documentary subject is the beginning.
Of course, having well composed,
exposed and creatively shot visuals
helps. And dont forget audio. Bad
audio is a surefire way to lose your
viewers. But it is the look that conveys the true feel of any piece.
GenArts recently released
Sapphire Edge, a $299 collection of
some 350 customizable looks presets
combined with a one-year subscription to its new FX Central service.
Now some readers might say, There
are tons of free looks out there on
the Web, and besides, I can create
my own. Both are true. However,
what sets Sapphire Edge apart from
many albeit well constructed homebrew looks is the Sapphire render
engine. The Sapphire engine is fast
and its rendering is precise. It is the
Sapphire core that makes Edge well
worth the price of admission.
Sapphire Edge is available in

FxPlug format for Mac (meaning transition youve selected. Presets

Apple Final Cut Pro 7, Motion 3.02 are searchable by keyword. Clicking
or greater, Final Cut Express 4.0) and on the preset shows a real-time preSony Vegas Pro for PC. An update view of the clip with preset applied.
due by the time you read this review This feature can be turned off if
desired. In my test system, the builtwill add FCP X compatibility.
I tested Sapphire Edge on an in CUDA-aware acceleration of Edge
Apple Mac Pro running OS X 10.6.8 combined with my Quadro 4000
with an Nvidia Quadro 4000 and card to produce smooth previews.
Final Cut Pro 7.0.3. Installation is Click Apply and there it is in your
straightforward, and it works like Viewer window. Tweak the sliders
any other effect or transition plug-in. to refine or customize your look or
transition. Its that simple.
Select the clip and apply
EXCELLENCE
The software is GPUthe filter or select the
accelerated for Nvidia
edit point and apply the
CUDA cards, but even if
transition. Effects plugyou dont have a CUDAins include FilmStyle,
capable card, the engine
FilmDamage
and
is multiprocessor-aware. It
TVDamage. Transitions
remains to be seen whethare Sapphires renowned
lighting effects: DissolveLensFlare, er this produces the same advantage
in FCP X, with its ability to use all
DissolveGlow and DissolveGlint.
Thats where the fun begins. processor cores.
Currently in beta but set to
Click the Presets tab and a separate
screen appears with all of the avail- launch shortly, FX Central provides
able presets for the Edge filter or continual updates, tutorials, useful

AWARD

information and customized looks

that can be downloaded. GenArts
has promised to post a new set of
looks each month. Following the
initial one-year complimentary subscription, FX Central costs $99 per
year.
Sapphire Edge provides a simple
but powerful tool to add dramatic
impact to your clips. The available
presets plus those downloadable
from FX Central create virtually limitless possibilities for creative filmmakers. Its powerful render engine
is fast, the architecture is 64-bit, and
it is precise.
A question remains whether buyers of Apples $299 Final Cut Pro X
would spend another $299 on an
effects package. My answer is simply
that they should. FCP has always
been enhanced through plug-in
packages and standalone plug-ins. I
lament the loss of direct FxPlug support in FCP X and welcome any plugin that works to enhance the creative
juices. Sapphire Edge gives a definite
edge to editors and I heartily recommend it to FCP and to Vegas editors.
Your viewers will admire you for your
choice. dv

dv.com

gear | september 2011

14

InxxxReview

Red Giant Software

Magic Bullet Suitexx
11

Plug-In Power Pack

score

Magic Bullet Suite 11 is a mega-bundle of good.

PROS: Excellent value in suite.

Powerful controls. Plug-ins work
well in combination. Grinder ingests
AVC/H.264 files quickly and converts
to ProRes.
CONS: Steeper learning curve
than preset applications. Seems to
work better in AE than in FCP 7.
BOTTOM LINE:

Once again,
Red Giant hits one out of the park.
The bundle represents excellent
value.

MSRP: $799
ONLINE: www.redgiantsoftware.
com

BY NED SOLTZ

with long clips. I made the mistake

Red Giant Software is taking both of applying Denoiser to a 30-mina bundled and unbundled approach ute point-the-camera-talking-head
to its latest update of the Magic clip (I knowits what the client
Bullet line of plug-ins. The Magic wanted and I aim to please) and
Bullet Suite consists of nine applica- FCP was simply unable to render
tions that can be bought separately it. It worked fine on small clips, and
that long clip was able
or in the $799 bundle.
to render in AE CS5. (It
The bundle represents
EXCELLENCE
took 10 hours, but it renthe best buy, since indidered.) The results were
vidually those packages
stunning: noise removal
would cost more than
with very minimal soft$1,500. Included are
ening of image. Lesson
Colorista II, Denoiser,
here is to apply Denoiser
Grinder, Instant HD,
to shorter clips. The betLooks 2, Mojo, Cosmo,
ter lesson, however, is to convince
PhotoLooks and Frames.
Weve reviewed Colorista II (DV your client that a 30-minute shot of
September 2010), and I concur with a talking head is deadly.
Grinder 1.5 is my transcoding
my colleague Oliver Peters, who
ranked it above other color correc- app of choice for DSLR footage.
tion plug-ins. Within FCP, it is my Granted, some of this workload has
been obviated by FCP X and its
go-to color corrector.
I have found Denoiser a bit tem- ability to ingest DSLR files. But
peramental in FCP 7 when dealing there remains a use for Grinder

AWARD

Magic Bullet Looks main window

wherever direct reading of DSLR

and other H.264/AVC files is inconvenient or impossible.
The two new components of
MB Suite are Cosmo v1 and Looks
v2. Cosmo is one of several digital
makeup apps in the marketplace,
but it stands apart from its competitors by the great amount of
control it offers.
Magic Bullet Looks 2 is the
centerpiece of the suite. Its power
mask parameter allows keyframeable masks so you can apply a look
to a specific portion of the image.
Note the presence of scopes as well
as extensive categories of looks.
Apply a basic look and tweak the
image by clicking on a category
at the bottom of the screen and
adjusting its controls. When youre
satisfied, click Finished to return
to the host application.
The principle in Magic Bullet

The combination of Colorista II, Looks 2 and Mojo provides a complete color grading solution within your NLE.

Looks differs from the preset

notion of Sapphire Edge. In Magic
Bullet Looks 2, you are creating
your own look with extensive tools
not only to preview but also to
monitor technical parameters of
the shot with scopes.
Then add Magic Bullet Mojo to
the stack. Mojo extends the functionality of looks with the ability
to tint, warm, cool, add punch or
bleach bypass an image.
The combination of Colorista II,
Looks 2 and Mojo provides a complete color grading solution within
your NLE. It is for this reason alone
that I would recommend purchasing
the entire package, even if you are
not using the other plug-ins, since
together the cost of these three
exceeds the $799 package price.
Once again, Red Giant hits one
out of the park. The bundle represents excellent value. Colorista II is
my favorite color grading plug-in.
Mojo adds, well, that little bit of
mojo to your shot. Looks 2 is more
intricate and allows for the creation
of your own looks with fine control. For the best results, I prefer
running these plug-ins within After
Effects. dv

dv.com

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xxx

In Review

xx

X Marks the Spot Meter

This app is accurate, sensitive and affordable
(meaning free).
BY JAY HOLBEN
Nuwaste
Studios
EXCELLENCE
Pocket Light Meter app
uses the iPhones camera as a spot meter, and
its incredibly accurate.
Comparing readings
with my Sekonic L508C
spot meter, I found the
Pocket Light Meter to be within 1/10th of a
stop every time. Using a gray card, I could
quickly turn the Pocket Light Meter into an
incident meter.
On the setup page, you can set your shutter
speed to indicate full, half or third stops or set it for cine speeds. You can
set your aperture and ISO stops into full, halves and thirds as well. Theres
even an option to log your readings to your Dropbox account for future
reference. If the meter is slightly off or if you need to calibrate to a second
meter, theres a simple slider for EV correction factor.
The app works with either the forward or backward camera on the
iPhone (or iPod). A small viewfinder-like image shows you what the camera is seeing and a red open rectangle indicates the reading area. You can
touch the viewfinder area to move the reading area to wherever youd like
if the center isnt what you need to read.
The meter is always reading, so its handy to have a hold button: point
it at the area you want to read, hit hold and then move the phone to look
at the reading information and evaluate your exposure.
I was surprised at the precision of this app. It is a very legitimate, workable tool. It's useful on the iPad, but less so as the size of the pad makes
taking readings a little cumbersome. The iPhone or iPod is the perfect
handheld size to make a viable spot meter. dv

AWARD

Nuwaste Studios Pocket Light Meter

score
PROS: Very accurate, great range
of sensitivities.
CONS: Because its a free app,
you have to deal with annoying, but
ignorable, ads at the bottom of the
screen.

BOTTOM LINE: A phenomenally useful application in your pocket.

Shouldnt replace a real meter, but it
definitely works in a pinch!

MSRP: Free
ONLINE: Apples App Store

dv.com

gear | september 2011

18

InxxxReview

Nikon D7000

score

Sensors and Sensibility

The D7000 is a video camera strong enough to keep Nikon a
contender in the DSLR filmmaker market.
BY JON SILBERG

amazing still camera.

Nikon has always made
a point of not adding
pixels just to add pixels,
because of the quality
costs in terms of noise
and latitude inherent in
decreasing pixel size to
increase pixel number on an imager.
I found virtually the same low-light
capabilities with the D7000 as with
my Nikon D700 and its astounding
12.1-megapixel FX-size imager.
Scenes shot at ISO 2500 looked
amazingly clean to me at 8x10, and
shots appeared noisy but still crisp
and with good contrast at settings
higher than that, up to 6400. I did find
that in a contrasty situationI was
shooting a DV Expo presentation with
a bright screen and a person speaking
in the shadowswhen I had both
cameras set with the same picture
control settings, the D700 seemed
to do a better job than the D7000 of
holding both shadow and highlight
information.
In the month I had to experiment
with the D7000, I found that some
of the magnificent qualities
of the still images

EXCELLENCE

For some years after

Nikon brought video to
the DSLR world with its
D90, the company pretty
much ceded that market
segment to Canon, which
was first to market with
the 1080 and 24p options that really
made DSLR video a force in the
indie feature and TV worlds. Since
Nikon released the D7000, however,
the company has almost closed
the technical gap between the two
companies in that regard.
The HD options and functionality
on the D7000 are very much like
those on Canons EOS 7D and T2,
DSLR hybrid offerings with sensors
of a similar size to this Nikon. Using
essentially the same H.264 codec for
video as all the DSLRs, the D7000
offers many flavors of HD, from
1920x1080 down to 640x424. At an
MSRP of about $1,200, the D7000
falls right in between the Canon
EOS 7Ds nearly $1,700 and that
companys $800 T2i.
First and foremost,
Nikons D7000 is an

AWARD

did not totally hold up to the line

skipping and compression involved
in recording video. I cant say I did
a true shootout between the Canon
7D I had earlier this year and the
D7000, but I did shoot both at ISO
settings throughout the range at
each cameras highest quality
setting. I used similar opticsthe
kit lenses for each body, Canons
28-135mm f/3.5-5.6 on the 7D and
Nikons 18-105mm f/3.5-5.6 on the
D7000and I zeroed out sharpness
and contrast settings, and across the
board I found a greater number of
moir issues in the D7000 footage at
every ISO and more noise in material
shot above ISO 800.
I was also frustrated with the
D7000 by the fact that its impossible
to change F-stop manually while
recording in HD modeunless
youre using one of Nikons older
lenses with an actual F-stop ring,
and then you can pull the aperture
manually. (The D7000, unlike some
previous Nikon models, can meter
just about any lens the companys
ever made that fits the mount.) I
was able to use a beautiful, ancient
Nikkor 75-150mm f/3.5 optic I bought

PROS: Great sensor; superb autofocus, customization and ergonomics. Any flavor of HD (compressed
to H.264, of course) that you could
want.
CONS: Has all the same limitations as an HD capture device that
all DSLRs have (because video functionality will always be a secondary
consideration in designing cameras
used primarily for still photography).
Some moir and noise issues.
BOTTOM LINE: An excellent
still camera. An HD camera strong
enough to keep Nikon a contender in
the market segment Canon owned
for some time.
MSRP: $1,199.95
ONLINE: www.nikon.com
on eBay for $100. It not only let me
change aperture mid-take, it also
has a throw much more useful for
pulling focus than any modern autofocus lens. Shutter speed settings
can be changed while recording HD.
Overall, Nikons D7000 is an
amazingly fast, efficient still camera
with an incredible sensor, easy-touse and customize controls, and
some of the best metering and autofocus available in the current crop
of DSLRs (not merely in this price
segment). As an HD camera, it has all
the limitations inherent in the HDSLR
world in terms of ergonomics, a
very highly compressed signal
and all the rest, with (in my
experience) a tendency to
moir and get noisy faster
than HD out of the 7D.
That said, the D7000 has
kept Nikon in the HD game,
and it rates very close to its
Canon equivalents. At least
until the long-awaited 7D
and/or 5D Mk II sequels are
announced. dv

dv.com

20

BY JOY
ZACCARIA

feature | september 2011

Rhett McLaughlin (left)

and Link Neal

SWEET SPOT
Rhett & Link Perfect the Art of the Local Commercial
Rhett McLaughlin and Link Neal have
long felt a kinship with the local car
salesman who goes on TV dressed
up in a chicken suit. They appreciate
that jingle you cant get out of your
head for the local pet supply store.
They are the Commercial Kings.
McLaughlin and Neal built their
comedy niche on the Web by making real commercialswith a distinctive local commercial flavorfor real
businesses. Their Web series I Love
Local Commercials was such a hit
that IFC greenlit a show called Rhett
& Link: Commercial Kings that documents how these beloved local commercials are made.
The premiere episode of Rhett
& Link: Commercial Kings was pet
themed; it featured the making of
commercials for Holiday Hotel for
Cats and Super Shmuttle, a doorto-door dog taxi and daycare. Other
episodes include a business called
Make Me a Pro Wrestler and Bury

Me Naturally, a company that offers

eco-friendly burial products.
In each episode, McLaughlin and
Neal get to know a small business or
two and conceptualize a commercial for each one. Business owners,
customers and equipment on site
are all put to good use in each spot.
The goal is to draw customers to
these small businesses by coming
up with a commercial that is uniquely suited to the client,
unforgettable and shot
within about 48 hours.
Fans have latched onto
the final product, says
Neal. They may call the
commercials crazy, but
at least they are a lot of
fun, and they are a service for real businesses.
Before
shooting
the actual commercial,
McLaughlin and Neal
take turns shooting

the business owners and associates

using a Sony PMW-EX1R XDCAM
camcorder, getting to know their clients. Meanwhile, a two-person TV
crew for the IFC show is documenting the whole process. One is covering McLaughlin and Neal and the
other, an audio tech, is mixing the
sound.
McLaughlin and Neal did have
to make one adjustment to their

work method because of the IFC film

crew with them on set. One of us
is always holding the camera, says
Neal. Now we had to be sure to
shoot in a way that didnt get the
other cameraman who is documenting us. It took the first couple of
episodes for them to adjust to the
new blocking.
Neal recognizes that the greatest
local commercials raise the question,
How did they come
up with that? One
of the most successful projects from their
Internet series was for
Red House Furniture of
High Point, N.C. When
McLaughlin and Neal
arrived at Red House
Furniture, one of the
first things the employees told them was, We
have black people who
work here. We have

dv.com

white people who work

here. All races of people buy
couches here.
With racial harmony as
their inspiration, McLaughlin
and Neal made the commercial. The slogan is, Red
House Furniture, Where
Black People and White
People Buy Furniture.
People loved it, says
Neal. It was confounding
to think, How can you combine racial reconciliation
with selling couches? And
it worked!
Some businesses are
naturally suited for a
good jingle. In Las Vegas,
Designated Drivers is a company that drives you home
in your own car if youve had
too much to drink. For the
commercial, we determined
the most important thing
for people to remember is
the phone number, which is 456-RIDE,
says Neal. We wrote a jingle right there in
the field and recorded it into our phone as
kind of a scratch track.
Often the first pass at musical production
happens in the field, since they need to refer
to the track while shooting the commercial.
They then go back to their studio and use
Apple Logic Studio for the music production.
McLaughlin and Neal are mostly selftaught as videographers. With every
step, whether it was greenscreen or lighting, we learned it all by necessity, says
McLaughlin. The Internet provides, and
we have been subscribers to Videography
magazine, where we picked up tips about
framing, three-point lighting and the
advantage of locking shots off.
The history of McLaughlin and Neals
work together goes back to the first grade,
when their friendship began. In high school
their video-making partnership started
thanks to a camera originally meant to
capture athletic stardom. My dad bought
a video camera to film me playing basketball in high school, hoping that Id get
a scholarship, McLaughlin says. I commandeered that camera and Link and I
made movies with it. We wore that thing
out just shooting everything we could.
Over the years, they continued making
videos, even through college, where they

dv.com

were both engineering majors. With Apple

Final Cut Express and a very simple digital
video camera, they built an audience on
YouTube to the point where brands began
approaching them asking to be part of
their videos. The two had been able to
make a living by creating YouTube videos
since about 2006. The local commercial
series was one of the ideas they came up
with for a brand in 2009.
The IFC show Rhett & Link: Commercial
Kings offers a window into McLaughlin
and Neals process of making the most
of a given marketing task with the props
and talent provided. The final product is a
great and lovable commercial, says Neal,
but the real meat is the whole process of
creating it. You see us directing talent
usually a business owner or someone who
never expected to be in their own commercial, and now theyre the star!
McLaughlin and Neal continue to combine the media of television and Internet
with this show. The episodes air at 10 p.m.
Fridays on IFC. At 10:30 p.m., the show is
encored along with a live chat at IFC.com.
As people are watching our process of
making a local commercial, they can talk to
us and ask us questions, says Neal. Its a
live video chat. I dont know how often you
can say youre hanging out with the host of
a show while youre watching it. dv

gear | september 2011

22

Instant Expert

compiled by Ned Soltz

Low Size ... High Definition: An assortment of itsy bitsy HD cameras.

ITEM/
CONTACT

COMPANY

MSRP

iPad 2

Apple

From $499

GoPro

From $260

Available with various standard and optional mounting options. GoPros various configurations
are tremendously popular in both consumer and professional applications. I walked around NYC
with one on my head and nobody even turned to look. Records 720/30p or 1080/30p to SD cards
in H.264 format. External monitor optional.

GoPro

$100

Stereoscopic enclosure with sync cable. Just add two 1080p HD Hero cameras, and set them for
the same format. Press the button and youre shooting 3D. Includes free GoPro Cineform Studio
software. A great inexpensive 3D solution. Files also work with Dashwood Stereo3D Toolbox
plug-in suite.

Aiptek

$179

WHAT'S NEW & OTHER COMMENTS

Yes, I said iPad 2. Mount it on a DSLR rig and record directly into iMovie or stream live using the
free Ustream app. Or record and then edit in iMovie. Not water resistant.

www.apple.com
HD Hero
www.gopro.com
3D Hero
www.gopro.com
i2 3D-HD

Records 720p. Optional hard disk. Glasses-less built-in monitor. Includes software to export anaglyph 3D and supports export to YouTube 3D. Not water resistant.

www.2fidelity.com
Replay XD1080 Replay XD

$299

www.replayxd.com
ContourHD

Contour

From $250

Records 1080p to microSD card. Also has HDMI out. Numerous mounting options and one of the
first real challengers to GoPros preeminent position. External monitor option available shortly.
And it has external microphone input/audio out.

The worlds smallest 1080p helmet cam. Writes to microSD card. Available in a variety of kits and
mounts. And, like most of the mini cameras, its water resistant.

www.contour.com
Bullet HD

Rollei

About $350
(250)

www.rollei-bullet.com
Drift HD

Drift

$349

Built-in LCD screen and user-replaceable lens are two unique features of this small camera.
Remote control. Records 1080p to microSD cards. 9-megapixel resolution. Built-in microphone
as well as input for external mic.

$8,000 (head
only)

Super-small head. Requires lens. Not exactly an inexpensive crash cam, but an industry standard.
A 2K version (Studio 2K) is now shipping. Iconix cameras have shot episodic TV and feature films,
going where no other camera could go, whether due to physical size or extreme conditions. We
feature it each year because there is nothing like it.

$219

Cant resist running this again. Records 1280x960 30p to 8GB internal memory. The ultimate hidden camera from Ultimate. Looks like a pen but sports camera and mic. Voice-activated recording. Unlike the H.264 cameras above, this sneaky guy records to M-JPEG format. Great for your
next reality show or hidden-camera journalism.

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www.iconixvideo.com
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You'll find direct links to all these products at www.dv.com/Sep2011

dv.com

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DV 101

by Jay Holben

Color
correction is
a requisite
step in the
production
procesin
every
production
processto
create a final,
polished and
professional
presentation.

dv.com

I was at an industry networking function this past week recorded days, weeks or even months apart.
Especially in narrative shooting, where youre takand had a conversation with a young woman who was
interested in producing films. She had been working as ing multiple camera setups (whether that be from
a PA for about two years, and when she learned that one camera or many) and editing them together to
I had previously been a cinematographer, she asked create a linear whole that appears to take place in real
me, Can you explain color correction to me? Does that timealthough the production might have taken days
mean that something is wrong and it has to be fixed? or weeks to capturebalancing between shots is very
Before I could even start to reply, a young man standing important to smooth out the scene. It is the most basic
next to us chimed in, Thats what happens when they task a colorist does, and it is the most complicated.
With todays digital tools, nearly anyone can take an
shoot it wrong on set and they have to fix it in post.
I waited for the smile to crack on his face, but image, fiddle with some filters and functions and create
when it didnt and I realized that he was serious, I had something cool, but having the knowledge, experience and talto wonder how
ent to apply
many people in
that cool
this business dont
look to every
understand color
other shot in a
correction.
sequence, and
Ill start with
make them
the basics: color
seamless, is
correctionor,
of paramount
as it used to be
importance.
called, color timMany people
ing or gradingis
who are new
not a step to corto color correct errors. It is a
rection think
requisite step in
they can just
the production
experiment
processin every
to set a look,
production proand then copy
cessto create
and paste that
a final, polished
look to the rest
and professional
of the scene.
presentation. To
Without balskip color cor- Color correction in Apple Final Cut Pro on Amandas Game
ancing first,
rection would be
similar to building a car, making the chassis and piecing that approach will have disastrous results.
The general controls over the image are blacks,
together the engine, putting in the interior and all the
dash components, bolting on the wheels and then skip- mids and whites, and then red, green and blue color
ping the paint job. Youve got a car, but its unfinished. elements of the picture. Within each color, you can add
The paint job doesnt correct any mistakes; its simply that color, or subtract it by adding in its complementary
color. For instance, if you want to make a scene cooler,
the final stage in the creation of the car.
Color correction starts with balancing the image. you might add blue to the scene; if the scene is already
This is where some people have the mistaken belief too cool, youll reduce the blue look by adding yellow. If
that color correction fixes errors. The majority of bal- you adjust a color just in the blacks, it will change that
ancing isnt about fixing errors; its about accounting color value only in the shadow areas of the image. If you
for innumerable variables within shooting limitations: change the mid range, it will change those areas that
changes in the light due to different time of day or dif- are closest to proper densitythat middle gray area. If
ferent fixtures, changes in the image due to different you change the whites, you will affect only the areas in
shooting environments, or matching shots that were the highlights of the image.

september 2011 | basics

Understanding Color Correction

27

basics | september 2011

28

DV 101
Once youve achieved a color balance, you can start to apply your look,
the creative part of color correction. Todays digital tools are versatile
enough to take a daylight image and make it night, which happens from
time to time. Thats not to say that it was a mistake by the cinematographersometimes the sequence of scenes might be changed in editing and
what was once a day scene might now need to be a night scene. With a good
colorist (and the right image), this change is entirely possible.
Setting the look is normally done with the colorist, cinematographer
and director in the room. Most often, most of the look is set on location and
in camera, but it is further refined in the color correction sessions. Should
the look be a 1970s era feel, with high contrast and washed, faded colors?
Should it be dark with reddish hues to match the alien planet where the
story takes place?
A lot of high-end digital cameras now shoot in raw mode, which means
that the image recorded has a very low contrast, high dynamic range.
The look that the cinematographer and director set during shooting is not
recorded, but is saved as metadata in a lookup table (LUT) associated with
the video. The colorist can start by applying this LUT to the footage to get
the best idea of what the director and cinematographer wanted the image
to look like. Without the LUT, the image will be washed, low contrast and
often a sickly greenish hue.
I would always recommend that any serious project be taken to a professional, experienced colorist. Although some editors can do color correction,
its a lot like asking a veterinarian to operate on your mom. Sure, theyre

medically trained, but they are not skilled specialists in a very delicate and
complicated trade.
Software like Apples Final Cut Pro comes bundled with some basic but
pretty powerful color correction tools. I recommend using the 3-Way Color
Corrector filter in Final Cut and experimenting a bit.
On page 27 are some screen grabs from Final Cut featuring a shot from
a project I directed called Amandas Game with actor Brian Glaney, shot by
cinematographer Teri Segal. Although the warm, high-contrast image was
our intention, Ive changed that to a more sickly green la Collateralfor
purposes of illustration.
Take a look at the three color spheres at the left side of the screen
capture. The far left sphere represents the shadow range of the image, the
middle are the mids, the right represents the highlights. Notice that each
sphere has a small circle in the center: this is the color position for that range
of the image. Center is a neutral position, making no change to the image.
The farther away from center you drag that circle, the more drastic the color
effect youre adding.
In the final image, by adding blue/cyan into the highlights, I start to cool
off those red/yellow tones. I added a moderate amount of cyan into the
mids and then just a little into the blacks. The overall effect is a much cooler,
paler, sickly fluorescent look. This example represents a creative choice in
postproduction, which happens from time to time, not any fault or error
in photography. Even though the tools are available inexpensively, I still
recommend working with a professional colorist to finalize your project. dv

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Two P2 card slots recording HD

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experience | september 2011

34

Production Diary

by Stefan Sargent

KEEP CALM AND CARRY ON

It Can Only Get Worse

No, Stefan,
I think he's
saying wipe.
Woof means
wipe. And
he's right,
a side wipe
would be
great. Good
boy, Bentley.
Daddy loves
you.

So you think filmmaking is easya piece of cake. Youve

spent three years at UCLA, graduated with honorsyour
student film was screened at the Ventura Film Festival.
Youve got FILMMAKER printed on your business card.
Its all rosy and then one day you enter the real world
Its kind of scary out here. How to get work? How
much to charge? Get a crew to help? What to pay them?
Charge sales tax on DVD copies? The location needs a cool
$1,000,000 insurance policy
But be warned, dear newbiethe scariest thing out
here is CLIENTS, especially if theyre a dog.

MEET BENTLEY
He might only be a dog, but hes client to be reckoned with.
Stefan, I think that cut should be a dissolve.
Cutting is cool, John. Dissolves look really oldfashioned these days.
Bentley, cut or dissolve?
Woof.
Its a cut. Thanks, Bentley.
Woof.
No, Stefan, I think hes saying wipe. Woof means
wipe. And hes right, a side wipe would be great. Good
boy, Bentley. Daddy loves you.
Youre not serious? You want a wipe?
Why not? Try it.
What do you think Bentley? Isnt that better? Yep,
stick with the wipe.

Peter, my client today saw both. Loves the new one.

End of story.

MY WEB SITE CLIENT

Friends, Ive got to tell you that if you can get your head
around FCP, you, too, can make Web sites. WEB SITES
its a natural extension of your filmmaking skills. Im
surprised that UCLA didnt include it in your curriculum.
You make a videowheres it to be seen? On the
Internet, of course. You dont want some dumb Web
designer asking for files.
So, my little FILMMAKERS, protect your video and
learn WordPress.
Now youve got double trouble. Take Michael (please)
He was no fun as a video client and now he wants a site.

KEEP CALM AND CARRY ON

Behind the photo of John and Bentley, you can see
my poster, Keep Calm and Carry On. In wartime
Britain, when a German invasion seemed possible, the
government produced this classic. As you all know, as
even
Bentley knows, they didnt invade and the poster
e
was
scrapped.
w
But its become my mantra. The visual equivalent of
Always
Look on the Bright Side of Life.
A

CLIENTS ARE THE STRANGEST PEOPLE

C
I received an e-mail today from Peter.
Stefan, I showed our homepage video to Xxxxxx of the
Xxxxxx
Corp. and he thinks the one you made five years ago
X
was
better.
Can you comment on this?
w
Hang on a moment, Peter. Ive got Bentley with me.
OK, Bentley, heres the new videolike it? Two
woofs.
Now heres the old video. No woofs.
w

Sure, I can do WordPress. Here are some themes. I

really like the iFeature themeor Striking. He settles for
iFeature. I spend two weeks creating the site. I always buy
an .info site from GoDaddy. They cost just over a dollar. I
host them on my shared server for the client to see progress.
Michael LOVES what Ive created... Wow. Great.
Terrific. You are a genius.
Next week an e-mail: Stefan, I think weve picked the
wrong theme. Maybe Striking would have been better. On the
pages where we have white type over the ripple background,
please lose the background and go to black type. Finally, its all
too big for my Mac laptop. Please shrink the site down.
Come back, John. Come back, Bentley. All is forgiven.
You can have woofs, I mean wipes, on every scene change.
Please shrink the site down. Grrrrrr.
Keep Calm and Carry On. Keep Calm and Carry On. Keep
Calm and Carry On dv

dv.com