In Broadcast - November 2013 - 56


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 25 - NOVEMBER 2013

N E W S

InGEAR

Atomos Samurai & Red - A Perfect Pair
A

56

ustralia-based cinematographer,
editor and colourist Matt Scott
is passionate about light, movement
and music.
Over the last 15 years he has
dedicated himself to learning the
technical side of editing to expand
his creative options.
Scott is involved in a range of
production work, from shooting
feature films, to 30-second TV
commercials and stills photography.
"I shoot with whatever camera
is needed for the job, but I own a
RED Scarlet-X and a DSLR, a set of
Nikkor Primes and a few other bits
and pieces, so often I'll be shooting
with both of these. B-cam DSLR
is very useful and a great way to
back up my RED.
"For me, the Samurai is an essential
piece of kit. It's not an option. If
I'm shooting RED, it gives me
the cleanest possible 1080p from
the camera... even cleaner and
sharper than if I was to transcode
the native R3D files later in post. So
it's not just DSLRs that benefit from
recording direct from the sensor. A
lot of people don't realise that even
though cameras like RED shoot
RAW, it's still compressed, and the
Samurai is a great way to bypass
that compression, if the project
calls for it.
"Many of the commercial projects I

Matt Scott works with Atomos Samurai + RED Samurai

work on require no more than 1080p
- and let's not forget that the Samurai
records 10-bit, 4:2:2, 1080p which
has plenty of colour information to
play with in post. So, my favourite
aspect of the Samurai is simply the
image quality. Having these files
recorded simultaneously saves me
hours of transcoding later in post,
but since I record native R3Ds as
well, I also have the option to revisit
a troubled shot in RAW if need be.
"Basically when I finish a shoot, I

Jon Chema using OConnor heads and accessories

get back to the studio and begin
dumping the cards from my RED and
clips from the Samurai to our storage
system. These clips are identical,
aside from obvious reasons like
RAW and pixel dimensions. The
RED is 4K and Samurai is 1080p. I
like to have both options.
"Sometimes 4K RAW is not
necessary, usually only for films,
chroma-key shoots or anything that
requires extreme post work. For the
most part, the Samurai clips are

perfect. If you compare them to the
highly compressed H.264 files from
my DSLR you really see a massive
difference - especially when you
start pushing them in post."
This aspect of working with the
Samurai - the extra headroom you
get with ProRes - is very important
to Matt, who is an accomplished
colourist, and has created several
acclaimed online tutorials on
secondary colour correction.

Shooting for Backyard Burger spot

OConnor Helps Chema With Backyard Burger Spot
W

hile filming his second
commercial spot for the
upscale fast-food Southeast-based
company, Backyard Burger, Jon
Chema faced both a tight budget
and the challenge of wrangling a
real live untrained cow.
"When I saw the storyboards, I
saw that we would be shooting at
the top of an overlook as morning
fog rolled in and the sun rose on
our location outside of Nashville. I
realised the cow wasn't going to
stand still, so I had to have a set-up
that was steady and mobile at the

same time. That's why OConnor's
1030D, O-Box, O-Grips and Follow
Focus supporting our RED Epic
with Zeiss Super Speed lenses was
simply a must.
"I love how fluid OConnor heads
are - the 1030D system is the best
of both worlds for me. It's super light
and still retains the fluidity in the pan
and tilt that OConnor is known for.
"OConnor brings strength and
structure with its heavy tripod and
head. Using standard and baby
sticks and a large camera package,
you can become everything but

mobile. But, this shoot soon became
a game of; the cow moving, my gaffer
wheeling around the 4K HMI, my AC
quickly picking up the camera, our
PA hazing the background, and us
rolling as much footage as we could.
It was quite humorous to watch
and our client probably thought we
were all crazy!"
Chema says that the 1030D sticks,
which he used to cover his "talent,"
were lightweight and easy to use.
"The Follow Focus has a great feel to
it," he adds. "I love the rubberised
knob and so did my AC. A lot of times,

with lower budget projects that I
shoot, I have to pull my own focus."
"The O-Box is incredible as well," he
adds. "For the money, it's the best
mattebox out there. It's lightweight
and easy to use and the ability to
use it with the OConnor O-Grips
on lighter rigs is cool. This was the
perfect combination for our shoot ...
being able to pick up the entire rig
and reposition it quickly was a must."
Nashville, TN-based Director/
DP and photographer Jon Chema
shoots music videos and corporate
commercials.


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Table of Contents for the Digital Edition of In Broadcast - November 2013

In Broadcast - November 2013
Contents
InNews: Engineering Emmy Awards
InNews: K-Opticom Live 4K Hevc Transmission
InForm: Sislive Product Range Success
InFocus: JVC Delivers Global Content Camcorder
InStudio: Litepanels Sola 12
InGear: Ikegami Unicam-HD Camera
InGear: Soundfield DMI Aces Top Tennis Tournament
In Broadcast - November 2013 - Intro
In Broadcast - November 2013 - In Broadcast - November 2013
In Broadcast - November 2013 - Cover2
In Broadcast - November 2013 - Contents
In Broadcast - November 2013 - InNews: Engineering Emmy Awards
In Broadcast - November 2013 - 5
In Broadcast - November 2013 - InNews: K-Opticom Live 4K Hevc Transmission
In Broadcast - November 2013 - 7
In Broadcast - November 2013 - 8
In Broadcast - November 2013 - 9
In Broadcast - November 2013 - 10
In Broadcast - November 2013 - 11
In Broadcast - November 2013 - 12
In Broadcast - November 2013 - 13
In Broadcast - November 2013 - 14
In Broadcast - November 2013 - 15
In Broadcast - November 2013 - 16
In Broadcast - November 2013 - 17
In Broadcast - November 2013 - 18
In Broadcast - November 2013 - 19
In Broadcast - November 2013 - 20
In Broadcast - November 2013 - 21
In Broadcast - November 2013 - 22
In Broadcast - November 2013 - 23
In Broadcast - November 2013 - 24
In Broadcast - November 2013 - 25
In Broadcast - November 2013 - 26
In Broadcast - November 2013 - 27
In Broadcast - November 2013 - InForm: Sislive Product Range Success
In Broadcast - November 2013 - 29
In Broadcast - November 2013 - 30
In Broadcast - November 2013 - 31
In Broadcast - November 2013 - InFocus: JVC Delivers Global Content Camcorder
In Broadcast - November 2013 - 33
In Broadcast - November 2013 - 34
In Broadcast - November 2013 - 35
In Broadcast - November 2013 - 36
In Broadcast - November 2013 - 37
In Broadcast - November 2013 - 38
In Broadcast - November 2013 - 39
In Broadcast - November 2013 - 40
In Broadcast - November 2013 - 41
In Broadcast - November 2013 - InStudio: Litepanels Sola 12
In Broadcast - November 2013 - 43
In Broadcast - November 2013 - 44
In Broadcast - November 2013 - 45
In Broadcast - November 2013 - 46
In Broadcast - November 2013 - 47
In Broadcast - November 2013 - 48
In Broadcast - November 2013 - 49
In Broadcast - November 2013 - 50
In Broadcast - November 2013 - 51
In Broadcast - November 2013 - 52
In Broadcast - November 2013 - 53
In Broadcast - November 2013 - 54
In Broadcast - November 2013 - 55
In Broadcast - November 2013 - 56
In Broadcast - November 2013 - 57
In Broadcast - November 2013 - InGear: Ikegami Unicam-HD Camera
In Broadcast - November 2013 - 59
In Broadcast - November 2013 - 60
In Broadcast - November 2013 - 61
In Broadcast - November 2013 - 62
In Broadcast - November 2013 - 63
In Broadcast - November 2013 - InGear: Soundfield DMI Aces Top Tennis Tournament
In Broadcast - November 2013 - 65
In Broadcast - November 2013 - 66
In Broadcast - November 2013 - 67
In Broadcast - November 2013 - 68
In Broadcast - November 2013 - 69
In Broadcast - November 2013 - 70
In Broadcast - November 2013 - 71
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In Broadcast - November 2013 - 89
In Broadcast - November 2013 - S1
In Broadcast - November 2013 - S2
In Broadcast - November 2013 - S3
In Broadcast - November 2013 - S4
In Broadcast - November 2013 - S5
In Broadcast - November 2013 - S6
In Broadcast - November 2013 - S7
In Broadcast - November 2013 - S8
In Broadcast - November 2013 - S9
In Broadcast - November 2013 - S10
In Broadcast - November 2013 - S11
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