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Contents Vol.15, No. 1

September 1995

President's Report "Welcome back" 2

What's New . . . ? The Cam Cutter 3

Rude Awakening Timing is the key 4

Film Clips If Only ... 7

Dogged Determination The Long '\Vtzy Home 8

Serial Video Basics Digital TV Part II 11

Cover photo by Greg Corp: Heck the hero and Red

the hobo stroll the ties that bind in The Long Way Home.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

The Canadian Society of Cinematographers was founded in 1957 by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization.

Our members now represent the film and video community in all ten provinces. Our aim con­tinues to be to promote and foster the cause of cinematography and the interests of the Canadian film and video community.

We facilitate the dissemination and exchange of technical information, and endeavor to advance the knowledge and status of our members within the industry. As an organiza­tion dedicated to furthering technical assis­tance, we maintain contact with non-partisan groups in our industry, but have no political or union affiliation.

CSC EXECUTIVE

President: Joan Hutton esc Vice-President: Lance Carlson Treasurer: Philip Earnshaw esc

Secretary: John Holosko esc Membership: Jim Mercer esc

Public Relations: Richard Hergel Education: John Lindsay

Membership inquiries: 416-466-5013

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CSC OFFICE

Canadian Society of Cinematographers 235 Carlaw Ave. Suite 603 Toronto, Ontario M4M2S5

Tel 416-466-5013 Fax 416-466-8423

Editor: Donald Angus Editor-in-chief: Joan Hutton esc

CSC NEWS is a publication of the Canadian Society of Cinematographers. CSC NEWS is printed in Toronto and is published ten times a year. Subscriptions are available for $75.00 per year in Canada and $95.00 per year out­side the country.

Canadian Publications Mail Product Sales Agreement No: 478423.

President's Report Joan Hutton esc

Welcome back after a busy, busy summer to what looks like a hectic autumn. The film business in Canada has grown enormously during the last two years to the benefit of almost everyone in the industry, and the esc has grown alongside it. Due to our growth and the changing needs of our Society, we have made a change in our office. Susan Saranchuk did such a great job organizing our Awards Dinner last spring that we have asked her to become our new Administrator/Bookkeeper. I'm sure everyone will enjoy working with Susan, and I'd like to welcome her and thank her for her efforts to date. Our address and phone numbers are:

T he Canadian Society of Cinematographers 235 Carlaw Ave., Suite 603 Toronto, Ontario M4M 255 Tel: (416) 466-5013 Fax: (416)-466-8423 Stay warm and look cool . .. Believe it or not, the weather will start to chill down soon, and this fall we've got a sharp new esc jacket available in melton wool with leather sleeves. Black with white logos and costing only about $180, this is a high-quality jacket I'm sure members will be proud to wear. I'll have a pro­totype next month, and we'll run a picture in the October issue of the CSC News along with an order form. If you want to order early, call me at (416) 461-3089. Delivery will take 3-4 weeks .In addition to fashion, this year I would like to put more emphasis on education in the CSC. The possible courses we could offer are Betacarn for assistants, Betacarn for the begin­ning shooter, masterclass workshops in 16mm, and an operators' workshop. Of course, we will continue our Camera Assistants Course. I would like some feedback on what else our membership is interested in learning about, and I also need some help organizing all this. Please call me if you can participate on a committee to put these cours­es together.O

2

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CSCNews

... The CamCutter: digital offspring of a high-tech union between Ikegami cameras and Avid non­linear editing systems, has arrived at Applied Electronics in Canada. "For the first time, ever," Applied announces, "a hard disk drive has been integrated into a field acquisition recorder. " It comes in two configurations--an ail- in-one disk camera and recorder, ilie Ikegami D IS-11 and D N S-1 01, and a dockable disk recorder, ilie CamCutter. The CamCutter operates on a " ilem rable and compact" hard disk wiili a recordina capacicy of .

What's New ... ?

more than 20 minures on a ingle caruidge \• hich can be changed in 1.6 seconds. All takes are flagged at the start and finish, and any shot deemed non-useable is insraml deleted, freeing up storage. Digital capture to disk means output is instantly trans­ferred to Avid and other di!!iral non-linear editing stems, although the CamCutter can perform its own multifunction non­linear editing on board. Complcrdy edited e.:,arnent can be uplinked or transferred right from the camera. Kim Edmonds at Applied Toronto say the CarnCuL er will be fearured at the VPM Direct trade show in October.O

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YOUR BEST CHOICE.

3

Barry Stone esc, winner of CSC Awards for Best Theatrical Feature (Paris France) in 1994 and Best Industrial (Legacy jones) this year, was behind the camera for the Canadian feature, Rude, that

opens Perspective Canada at the 1995 Toronto International Film Festival. The picture won glowing reviews at Cannes, with Vtzriety say­ing: "Sporting highly stylized visuals and a hip rock 'n' reggae soundtrack, Rude is a tough yet poetic look at life in the 'hood that delivers an innovative menu that's equal parts gritty realism and inspired, artsy filmmaking. . . . What really sets Rude apart is the stylish mood, highlighted by surreal connecting sequences, the colourful choreogra­phy of Barry Stone's cinematogra­phy and a pumped-up sound­track. ... "

Here, Barry writes about achieving that special look through colour:

When I talked to Cathy Rait, my colour timer for Paris France, about our first answer print, it came as a bit of a shock to me to discover that, notwithstanding her considerable experience and skill, the first pass would essentially be her best guess as to what I wanted, and we would only be able to start fine rwling when we came to the second answer print.

Above and below: Scenes from Clem n· Virgo 's Rude at

Toronto lnte rna·ional Film Festival. Photos: ' ichael Gi bson

But . . . but what about those

subtle colours that looked absolutely per­fect in rushes? Can we recreate them?

Sure, no problem; we 'll look at

the first print and make whatever correc­

tions are necessary.

But . .. can 't we refer to the daily timing lights and use those?

Well, yes, we could have, but only

if you'd established one set of lights to be

used for the whole show.

But I had requested lights based on a colour chart and grey scale that we had shot at the head of each new lighting setup-for me a very satisfactory arrangement that allowed me to make a scene warmer or colder by placing the complementary gel over the chart light and having it timed to look normal. This way I was gelling one light instead of every instrument in the scene.

But surely the lab has a record of all the timing lights for the dailies and

they could be cross-referenced with the edge code numbers or the bar code ftom

the work print, in the, er, computer.

Aftaid it's not set up like that.

Aaah!

CSCNews

Cathy did a GREAT job on Paris and by the third answer print the director, Jerry Ciccoritti, and I were extremely happy. We both had this nagging feel­ing that the cool yellow dawn light in

.___ .... _h_e final sc.en.e might have been just a little better in the rushes, but probably we were so delighted with the rest of Cathy's work that we'd run out of any­thing else useful to say.

Get the Look

But it got me thinking. Surely it can 't be that hard to work out a method that would completely eliminate the nag­ging doubts. With good notes and some careful cross-referencing I should be able to reproduce the dailies I was pleased with, and time up or down a few points the scenes I alread knew needed adjusting. T his ' ay I should be able to get the look I wanted a lot quicker and easier, and possibl save the cost of one answer print.

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CSC News

Rude Opens Perspective Canada at Toronto International Film Festival

By Don Angus

TOR01 TO-Clement Virgo's critically acclaimed Rude, shot "in dramatic style" by Barry Stone esc, opens the Perspective Canada program at the T oromo International Film Festival on Sept. 8. The film. the first feature directed by V rrgo, was a hit in the U n Certain Regard showcase at the Cannes Film Festival this spnng.

Virgo also \\TOte and co-pro­duced Rude, an Alliance Communications and Feature Film Projea presentation of a Conquering Lion production. It leads off an arra\· of20 Canadian features and 31 shons, marking the 12th Year of Perspective Canada "·ithin the 20th anniver­san· of the TIFF and the world­wide I 00r.1 annl\-ersary of cine-

ro e id R:tcl.ewas "a whirlwind s:-:oo: O;:J '':hich "we just experi­:::e:-:~ a.1d took all kinds of d·.df'.- .' adding, however, that :-:e ?:a.1::ed "every single shot"

with the director and spent more time in prep than in post.

"There is stuff that is totally real­istic, but other times the lighting is totally dran1atic, melodramatic. Each of the different characters had a different kind of lighting, to suit the character, and we used a lot of theatre lights as opposed to film lights--more controlled light."

Operator on Rude was Colin Hoult, Akira Nishihara was cam­era assistant and Joe Micomonaco was second.

The festival nms Sept. 7-16, with the opening and dosing night galas at Roy Thomson Hall. This year's National Cinema program is a comprehensive look at the current filmmakers of Hungary, and a new program, Planet Africa, focuses on the work of filmmakers from Africa or of African descem. Symposiwn '95, the 17th in a series of industry conferences, this year brings mes­sages of Hot Media,

Cool Concepts from key players in the film, television and multi­media industries.

Perspective Canada features include John Pozer's The Michelle Apartments, shot by Peter Wunstorf of Edmonton who, in a CSC News interview early this year, said the "very dark and moody" thriller was a light­ing challenge--"there's a lor of black in the film." Warm for the big, final scene. W unst01f said the light "was basically all coming from one practical and you don't see it until the wide shot at the very end. Now, if that shot had been cut out of the film, I would have been in trouble."

Shons include Book of Knives from esc associate member Kim Derko ofToronto. The 27-minute entry, the story of a woman who has murdered her plastic surgeon, links psychiatric case histories over 90 years to provide a unique perspective of women as the subject of medical investigation.

-See Film Clips-

he opportunity to test all this began when I started prepping Rude with director Clement Virgo. I began by charting with Chris Hinton, who had cin1ed my first film, Dog, in 1979, and n·ho ' as scheduled to work with us on Rude. Chris, who was, of course, not n ' to any of these ideas, was most en ouraging and told me that he wished more people would do it. He cautioned me that the daily variations in lab setup miohr mean that my answer print could be very slightly different from the dailies, but he agreed that these differ­ences would be so marginal that we co uld easily get a first print that was very close to what we wanted and give our-el es the opportunity to be quire subde

with the second one.

The budget was extremely tight on Rude, so with the possibility of saving the cost of an answer print, I quickly had pro­ducers Karen King and Damon D 'Oliveira on side. We enlisted the help of editor Susan Maggi, and her assistant Joyce Poon agreed to keep a copy of all the lab timing lights. Nine months later, (mmmm), when the picture was locked, her assistant David was given the task of relating the edge code numbers from each cut of the workprint to the specific camera roll it had come from. Then he was able to ascertain the timing lights given to that particular roll from the sheets that Joyce had kept. It was tedious work but, surprisingly, it only took him a little over a day to complete.

Continued on page 6

5

Rude ... continued from page 5

Chris Hinton then took all these lights and applied them to the neg, and made some small adjustments that Clement and I had requested based on screening the cutting copy. He also did some periodic spot checks to make sure that we hadn't skipped a set of numbers, but David's work had been faultless.

It worked! We were all boggled by how close the first answer print had come to what we wanted. I can honestly say that if there had been some enormous time pres­sure and we had only enough time for this one pass, I would have felt quite happy about it being screened. The changes we made for the second answer print were very minor. I cast my mind back to other features I had timed, and looking at the first answer print was somewhat like play­ing a tough computer game-looking up at the screen, down at the notes, talking to the timer-trying to make note of one change as the next quick cut flashed by. Inevitably, two or three cuts slip through and the changes don't make it to the next pass. But this time we sat in relative calm and jotted down the few changes that needed to be made. So, my thanks to all involved.

While checking this article with the peo­ple involved, Paul Norris at deluxe told me that a couple of years ago they had purchased something called "Excalibur" that was supposed to perform the job we had just done, but it was still sitting in its box. That was partly because there were some doubts about software compatibili­ties, he said, but the bottom line was that other extensive updating and moderniza­tion at deluxe had simply taken priority. I asked him whether I could mention any of this and he said I might as well since a little pressure couldn't do any harm. (Wait till I get on to electronic faders!) It's definitely coming, he said, and he gave me a rough guess of 18 months. So that should make the life of the editing depart­ment a lot easier and make this article obsolete.

But until then, take heed ye pennysavers.O

6

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CSCNews

If Only I Were an Indian, at Toronto International Film Festival.

IF ON LY . . . AT TIFF

TORO N TO-Joan Hutton esc was DOP on th e feature-length docu­men tary If Only I Were an Indian that was selected for th e Perspective Canada program of this year's Toronto International Film Festival. T h e 80 -minute film , from th e Na t ional Film Board , was direc ted by John Paskievich , who , according to the TIFF synopsis, "has crafted a humorous, destablilizi ng and complex journey across continen ts, cultures an d his­tory. In 1992, Joseph Young and his wife Irene , Cree from northern Manirob a, and Barbara Daniels , an Ojibwa fro m W innipeg, fl ew to the former Czechoslovakia. There they mer t he hire Wampum tribe , a group of Czechs and Slovaks livin g in teepees and dressed in lo in­cloths, feathe rs and moccasins."

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CSCNews

LIGHTING THE STUPIDS

TORONTO-Manfred Guthe esc gives a thumbs up to the lofty hero of his latest movie. The veteran DOP wound up a 10-week Toronto shoot las t month on The Stupids, a Savoy Pictures feature directed by John Landis and headlining Tom Arnold, but the real star for Guthe was Musco Mobile Lighting's tower of power. "I love them ," he said of the 15 6K-HMI, remote-controlled lights arrayed on a 1 00-foot crane. "They throw an awful lor of light, which makes them ideal for a very large night exterior" such as the finale for The Stupids. Guthe said he had used the lights on the TV series The Road to Avonlea, bur for this show Musco converted a unit to his specifi­cations so that each individual light could be panned and tilted 360 degrees instead of only 160. "Being able to light all the way around means that you don 't need to move your lights as often," he said, "because you can light in a bigger arc. You can light a lot more area."

ZAKULA GOES HOLLYWOOD

HOLLYWOOD-Michael Zakula, a long-time CSC friend at Kodak Toronto, has joined the staff of the Kodak Motion Picture and Television Imaging staff in Hollywood as a sales and engineering representative. Zakula, a respected player in Toronto's film and TV industry for 15 years, "is a perfect fir, " said John Mason, sales and market­ing manager for Kodak's Hollywood office. He "has worked with many Los Angeles-based cinematographers and studios when they were shooting films on location in Toronto. He knows the people and the challenges they face." Zakula's new duties include liaising with Columbia TriStar Studios, Sony Pictures Entertainment and the various producers and cinematographers work­ing on feature film and television pro­jects. He will also be a primary contact berween Kodak and the International Photographers Guild.

continued on page 14 1

Dogged Determination.· By Don Angus

TORONTO-"This dog rides on any­thing," Maris Jansons esc chuckled with admiration, describing the travels of the canine hero in The Long way Home (work­ing tide), his latest TV feature that wrapped early this summer.

In the first place, he explained, the dog "sneaks into his dog house, which they're shipping across the country, then gets out of the moving van and has a little adven­ture in the train yard; then he gets back in when they lift his dog house into the bag­gage car. One morning when the train is

stopped at a station, he slips out to get something to eat and consequently misses his train.

"So he gets hooked up with this hobo and they have a couple of adventures--he saves the hobo's life on this railway trestle which we shot in B.C."

The adventures just keep commg, and

8

Toronto-based Jan ons, with Charles Konowal esc of \ mnipeg as operator, faced numerous challenges as DOP to get them all on film during a six-week shoot that began in Winnipeg May 5.

The Long way Home, a production of Atlantis Films Ltd. and Credo Entertainment Corp., will air later this year on the Famil Channel, CTV, Super Ecran, Quatre ai ons and Manitoba Television etwork in Canada, and Showtime Networks in the United States. It was directed by 'chael Scott and stars

Alan ·kin. Michael Riley, Shannon Law on, Don Francks, Chad Krow huk and a black­and-white border collie named B.C. , ho on-screen character is a mi chieYous pooch called Heck.

Heck of a Trek

The tory opens with the uphea al o- a ompany transfer that i t ·-· 11- ear-old Luke (Krm chuk and his parents (Riley and \ on) from their Canadian -; -ie home all the way to . · . When Heck

leave witho_· .. i: and, as they wait in VancouY ' ~- ~ ~": ir ship, Jansons chases Heck on his ~~ <s-counrry trek to catch up. T here' :':" -~ ,IL ion as young Luke and friend gc oo. · . g or the dog, wind up on a ri\·e~ ~.:_-=: -".:'.2 ... ,veil, the plot thickens.

"We shot on trains a~-,- - < :. said Jansons, whose shooting on :-:.:> ·o:-: him a 1995 Gemini for the 1\' S?e-:.-'-.. _::;,-r; Browning:

wtnner Maris Gemini Jansons esc shoots the adventures of one resolute dog for TV movie The Long ~y Home.

You Must Remember This. "But most of the time we simulated movement by dollying one way and panning the other, and then we'd have some other stuff on dollies going across the front of the camera on a second set of dolly tracks between us and the train. The train would be standing still.

"That's what we ended up doing. Travelling with a train became a big prob­lem, so we had to rewrite some of the scenes to play in the station as opposed to

being on the road because the amount of time we had."

For the scenes on the trestle at Squamish, B.C., Jansons said, "we had to rent a train, which cost about six grand a day, but we also had to cope with real trains during the shooting. We had about six trains come through, and we'd get warnings, but not very accurate warnings; the train would come by about 15 or 20 minutes later," which he conceded was better than having it arrive too early.

"What happens 111 the story is, Red the hobo (Francks) and the dog jump off on to this little side platform on the tres­tle. So we set up another one on land so that we could shoot that with any train, like an under­the-wheels kind of shot. And I got on the train and did some hand-held stuff, leaning out and shooting down over the side of the trestle at a stunt man and a stuffed Workin' on the Rzi dog. II Atlantis/Credo n

CSCNews

A Raft of Trouble: Heck, Luke and friend fend off bullies in scene from The Long ~y Home. Photo: Greg Corp

The Real Stuffed

A stunt dog-"we had three dogs and two stuffed dogs"-was used initially in the life­saving scene, but then the platform on the trestle breaks and the hobo saves himself by grabbing the track and the dog's collar. With a stuffed dog now in place of the stunt animal, Jansons elaborated, "the dog swings once or twice and then the collar breaks and the dog falls into the water. You figure that' s the end of the dog." Not in the movies, of co urse. The dog i the hero. Bur, "in fact, the stuffed dog

smashed into the side of an 1-beam and really rumbled down into the stream. The producers thought it was too violent and " e had to reshoot it because you'd never bu that the dog survived."

pecial effe t came to the rescue. "Using blue screen, ' e shot the real dog starting ro fall and lo ing the collar, so that part of it we could cut around. We built a rr de on a rage (in Winnipeg) and put a blue creen over top.

"The ruffed dog's head we used a bit, roo· the dog is supposed to grab a real snake in one scene and, of cour e we couldn't have the snake and the dog in the same shot. So we u ed the head of the stuffed dog ro lunge at the snake. And then we had a fake snake that the dog was used to playing with, so the dog would shake it. 11

Camera crew sets up for train shots in new ovie. Photo: Greg Corp

Janson said he found that B.C. , "an older dog who would do all the com­plicated stuff, performed best when he was being rehearsed. There wasn 't all this tens ion on rhe set, the trainer " ·auld be closer to him. and th re wouldn 't be as much pres ure . ..\.1~e ~

a week or two, what I did was si:oor the rehearsals with a tigh :e:-:s c.:-:C.

just try to get the close r= 0 ~- :::e dog.

CSCNews

Dye and Tricks

"You could get away with a lot with the stunt dog-he would stand in the rain and would jump great distances--bur he was the wrong colour, so they had to

paint him to make him look like B.C. It was really difficult doing closeups with him because you could see the dye. And then there was a younger dog who looked like the lead collie and basically had two tricks-he wo uld chew on somebody's leg and he would lick peo­ple."

Jansons said that besides Konowal, "we had two camera assistants with us all the time; we shot two cameras almost cons tantly. I operated the second cam­era, so I'd be doing the long-lens stuff and Charlie would be doing the mas­ters. We were shooting with two Arri BLs, a BL III and a BL IV, as our main cameras and then we had an Arri III with a high-speed cinematography base. We mainly shot Kodak 5293 and 5245, but I used 5297 when we shot fluorescent interiors and 5298 for night exteriors.

"In the end, the best shots I got were the ones I hand held with the kids and dog on the raft, just floating around and shooting stuff. We used a low-angle prism a lot, too, to get the dog's per­spective on things and to see the dog from a different point of view. We shot mainly in and around Winnipeg, and then in Vancouver on a couple of dif­ferent occasions-aboard a freighter and in Stanley Park-and on the tres tle in Squamish. "

Jansons said that just before The Long Way Home, he did some Toronto studio "wraparo und stuff- introductions and exrraducrions " for a Turner Broadcast ing documentary series on pira tes called Sea Raiders, with rock star Roger Dalrrey. And just afterward, he ompleted some second-unit work in

Toronto fo r !vie and lvfy Shadow, a fea­tt.::-e star ring Steve Guttenberg and K..~srie .-\Jb·. :J

9

Serial Video JB5A§lC§ By David Strachan and Randy Conrad Illustrated by Michel Proulx

Reprinted from the SMPTE Journal, May, 1995:

T. our last article (An Introduction .1 n to Digital Television, CSC

News/May 1995), we described 4fsc composite and 4:2:2 compo­

nent digital television signals. Now let's take a look at the relative merits of these two signal types.

The world has been broadcasting television signals in composite analog form since television was invented. When color TV was first introduced, the authorities decided that the new signal should retain compatibility with monochrome TV sets, so the color information was encoded into a composite signal. Although it was recognized that the encoding and decoding process introduces some abberations to the picture quality, these were minor compared to trans-

Tape Formats If you want ro make television pic­

tures, you have ro be able ro record them-and if you want digital TV, you need a digital VTR. The first commercially available VTRs recorded 8-bit component 4:2:2 signals, and the format became known as D-1. As explained earlier, the great thing about the D-1 format is that it uses the same 13.5-MHz sampling frequency fo r both 525 and 625-line television signals. This does not mean that a signal that has been recorded on one standard may be played back on the other, but that the hardware is identical for both. The first D-1 machines were large and expensive, but many post-production facilities were prepared ro pay the price because these machines offered the advan­tage of noise-free multigeneration record­

ing for rhe first time.

their in-house standard. But although these machines are in wide circulation, they are still composite and still have encoded abbera­tions. So, after securing a lot ofD-2 and D-3 sales, back come the manufacturers with less expensive component digital VTRs--and, of course, another battle begins.

Two years ago, Sony introduced Digital Betacam, Ampex introduced DCT, and Panasonic introduced D-5 into the mar-

Developers were aware "-"-"'"'-''""'--............:

mission errors and other picture impairments encountered in the early days of television. More recently, in a quest to improve picture quality, some TV stations, particularly in Europe, have upgraded their facilities to use component analog production and distribu­tion equipment. In France, it is even possible to receive component analog broadcasts via satellite. Betacam and Mil component ana­log tape machines have long been preferred over composite recording devices. All of this evidence might suggest that the 4:2:2 signal would enjoy an overwhelming advantage over 4fsc, and technically it does. But while we have to deal with a largely composite world, there are still a few remaining benefits to using 4fsc. Most new digital facilities world-wide have adopted the 4:2:2 format, but many have also chosen 4fsc.

10

that this particular advan­tage could be realized much more inexpensively by direct­ly digitizing the composite analoa signal into a compos­ire di ·ra1 format, and so D-2 was born and launched at

AB a ' years after D-1. The fOrmat was supported by Ampex and Sony; subse­quendy Panasonic intro­

duced its composite video D-3 machines. Although the tap are not compatible between D-2 and D-., dJ. all record the same 4fsc signal type. These machines also have composite anal<M?. inputs and outputs, and many of them have · ply been used to replace earlier C-formar Rs. As 4fsc (4 times the subcarrier) in IT Cis not the same as 4fsc in PAL, we have D-2 and D-3 NTSC, and D-_ D-3 PAL (Fig. 1). The devic hn= very practical for broad numbers have been 525 and 625-line operarion. Their acceptance led ro the ment of 4fsc vision mixers and om devices based on the tr o digital

·er and,

as we have seen, orne o have adopted the composite digicd. format as

ketplace. Ampex machines record and play back an 8-bit compressed signal (more on compression later), Sony machines record and play back a 1 O-bit compressed signal and Panasonic machines record and play back a 1 O-bit uncompressed signal. None of these tape formats are compatible with each other (Fig. 2), but competition has forced the price down and 4:2:2 is now a very viable record­ing format.

Other Considerations The composite 4fsc digital televi­

sion signal benefits from another advantage. When converting from NTSC (and especial­ly from PAL) into component digital video, expensive decoders are required. So if you

CSCNews

have many analog TV signals coming into your TV station and they are to remain large­

ly unchanged before being retransmitted, you can spare some expense by leaving the signals in composite form. It is when you want to

add effects, generate graphics, save stills, and

do all the other post-production things that tend to take place in a modern TV facili ty, that you see the real benefits of 4:2:2. Let 's

now examine the two signal types in more detail.

Signal Formats 4FSC

When a signal is sampled at 4fsc, a 10-bit word (1024 levels) is written at a rate of 14.3 MHz in NTSC and 17.73 MHz in

PAL. The entire signal is sampled, including the horizontal and the vertical blanking inter­

vals, containing sync pulses and the color burst. As is the case in analog video, the ver­

tical and horizontal blanking intervals in the 4fsc signal also provided room to carry addi­

tional information along with the digital

video signal. In the 4fsc sampled signals, ancillary data can be placed in the tips of the

synchronizing signals (horizontal sync, verti­

cal sync, and pre- and post-equalizing pulses). Any additional information that can be added is called ancillary data.

4:2:2

When a signal is sampled at 4:2:2, a 10-bit word (1024levels) is written by raking

a sample across all three channels (Y, R-Y, B­Y). This is called a co-sited sample and is

referred to as Y, Cr, Cb. A sample of the Y channel alone is then taken and then another

co-sited sample, and so on, alternating between Y and Y, Cr, Cb. These samples are

taken at a frequency of 13.5 MHz for the

channel and 6.75 MHz for the color-cLffer­ence channels R-Y and B-Y. When multi­

plexed, the resultant sample frequency is 2

MHz. In the 4:2:2 sampling standard, the blanking intervals are not sampled. Instead

end of active vicleo (EAV) and start of active video (SAY) data words are inserted in the

data stream as markers. Ancillary data is placed between the EAV and S clara

words. In fact, in the component di!'lcal domain, there is spare space foro er 55 bi£S of ancillary data, enough room to carry digi­tal aucLo, time code, error, detection and

handling informacion with plenty of room to

spare for furure use.

4:2:2:4 and Others

The 4:2:2 sampled signal is the clara CSCNews

Serial T111nsmltter

Coaxial Cable

+

signal used between such devices as tape transports, sv. · tchers, etc. But there are other

sampling srandards used, as well. When a key signal is needed with the video signal, the

combination is known as 4:2:2:4. The 4:2:2

describes the video signal and the last 4 describes the full-band-width key signal. In

reali ty, the key signal, when sampled,

becomes :0:0, because it is monochrome and the color-cLfference signals are set to zero

when sampled. Two cables are required to

cLstribute a 4:2:2:4 signal, whether it be par­allel or serial. The 4:4:4 is full-bandwidth

sampling of theY, R-Y, and B-Y channels.

10 bit. Parallel

Data

Co-sited samples are taken at a rate of 13.5 MHz, with a resultant sampling rate

when multiplexed of 40.5 MHz. This signal is typically used inside a device for high-qual­

ity digital processing (e.g., color correction). The 4:4:4 signals can be distributed in a par-

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11

aile! or serial fashion using two cables in a facility. When a 4:0:0 key signal is used with a 4:4:4 signal, it is called 4:4:4:4 and three cables are required if interfacing equipment. If an even higher resolution is required, the video may be sampled at 8:8:8. This is 27-MHz co-sited sampling on all channels and is used for internal processing only.

Distribution of Digital Signals Now that we have an understand­

ing of how an analog signal is sampled, the question is, how do we move this signal around a facility? There are two forms of dig­ital interfaces: parallel and serial. The parallel interface consists of 25-pin DB-style connec­tors at each end of a 25-conductor cable. Distances of up to 50 m (150 fi:) are allowed. Beyond that point, the data and related clock information begin to "skew" in time because of their differing frequency content. The clock and data information arrive at different times, causing data errors. In addition, the

®

I , \ I ..PANAV/5/0N

I \ I I

C A N A D A cable and connectors are bulky, difficult to use in a large facility, and expensive to implement.

The serial imerface uses BNC con­nectors at each end of a 75Q coaxial cable,. the same type as that used for conventional analog video signals. Parallel data must be serialized into a 1 bit wide path and transmit­ted down the coaxial cable at 1 0 times the

original clara rate. With serial transmi ion, distances of up to 300 m (1000 fi:) are possible before the data can no longer be recovered. Existing analog cables may be used but, as serial signals have a ery wide bandwidth, care should be taken to avoid cables with corroded connectors and poor grounds, as bit errors may result, ulrimarely causing the loss

--- of the signal. note for systems

31 Plince Andrew Place Do Mills, Ontario M3C 2H2

design purposes: passive looping inputs typi­cally are not provided at the input to a serial digital device, as adequate return loss charac­teristics cannot be maintained. Reflections in the cable caused by poor return loss can lead to bit errors in the digital stream.

Sample Rates and Serial Data Rates

Videoscope Ltd. Phone -416-449-3030 F-ax: -416-449-5230

Figure 3 shows sample rates for dif­ferent standards. Parallel NTSC signals are sampled at 14.3 MHz, so the resulting serial data rate (1-bit word) is 143 Mbits/sec. In PAL, the signal is sampled at 17.7 MHz, resulting in a serial data rate of 177 Mbits/ sec. The multiplexed sample rate for sampling analog component is 27 MHz. When we serialize the 27-MHz signal, the resulting ser­ial data rate is 270 Mbits/sec. A 16:9 format is being developed and two sampling fre­quency options are being considered for theY channel (13.5 MHz and 18.0 MHz). The resulting data rates are 270 Mbits/sec and 360 Mbits/sec, respectively. These future for­mats will be discussed in a paper on the 16:9 aspect ratio (HDTV, ATV, EDTV, etc.) to be published in a later issue.

12

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Serial Digital Concepts The serial digital interface, or SDI

(Fig. 4), is made up of the serial transmitter (the circuitry just ahead of the output BNC connector), a length of coaxial cable with BNC connectors at each end, and a serial receiver at the end of the cable (the circuitry just after the input BNC connector). At the transmit end, the parallel data is shift regis­tered using a 1 0 times parallel rate clock. The resulting 1 bit wide serial data is passed through a data scrambler. A known algorithm is applied to ensure that there are a sufficient number of transitions to recover the clock

continued on pg 15

CSCNews

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CSCNews

FOR SALE: 6 Cooke Speed Panchro Series II & III bayo­net-mount lenses: 40mm T2.3 Ser II, 50mm T2.3 Ser II, 32nun T2.3 Ser II, 75mm T2.3 Ser II, lOOmm T2.8 Ser II, 18nun T2.2 Ser III. For further information, call (416) 778-1800, 9 a.m.-6 p.m.

FOR SALE: The ultimate 16nun/Super 16 production package: Arri SRII recently fitted with Denz conversion fi-ont for easy 16/S 16 switchover, complete with PL mount, new shutter and video assist optics for Denz video assist or other, S 16 ground glass, regular 16 ground glass. Also included are: 4 SR mags, upgraded for Sl6; lightweight sup­porr rods; ligl1tweight follow focus; 7" eyepiece extension; spare non-fogging eyepiece; eyepiece heater; variable speed unit 0-75fj:Js; anatomical right handgrip with switch + lefi­handgrip & extension; new 4x4 Arri mattebox with 3x3 fil­ter slides & complete set of mattes, eyebrow; 3 on-board bat­teries (recently re-celled); on-board battery adapter; 2 double battery chargers; Optex custom barney; Fischer splitter box for accessories; all original manuals, schematics, technical lit. +John Fauer's ArriSR handbook Total $68,000. Available separately: Zeiss superspeed set--9.5mm, 12mm, 16mm, 25mm, good comlition--80mm fronts, bayonet mount; Denz Pl bayonet adapter included, $10,000; new Cinematography Elemonics precision speed conoul with phase shifi- and original manuals ($2,750 new), $2,200; Sachtler 7 + 7 Horiwn Srudio head with 150mm bowl, stan­dard legs, baby legs, hi-hat--all with 150mm bowl, rubber spreader, case for head + case for standard legs & head together, excellent condition, $9,500; Zeiss 2X extender for 10-100 T2 room, new in box ($4,750 new), $4,000; Sachtler lightweight 7 + 7 head, standard legs, case, spreader, just fully reconditioned, $5,000. Some prices fim1, others negotiable. Call Roberr McLachlan esc (604) 980-9025 or fax (604) 980-0564.

FOR SALE: Bell & Howell 70DR, perfect working order, in original leather case, dw three Angenieux lenses 3-inm £2.5, lOmm fl.8, l-inch 0.95; also some light meters and set SupaFrost filters. Call (416) 381-4675.

FOR SALE: Ni-cad 12v "overnight" battery charger, 4/7 AHr, 110/220v, 4-pin XLR output, $125. Six plate flatbed editing bench, $3,800. WANTED: dead Aaton on-board barrery pack; Aaron LTR short rods. Call (604) 253-0047.

FOR SALE: Laminated can1era reference chart, for =era­men or assistants. A quick reference to can1eras in the film indusrry, 35mm and 16mm. Shows fj:Js, shutter changes, video assist capability, lens mount, and reverse can1era capa­biliry. Available in 2 112x2 112" at $7.00 or 4x4" at $8.00. Send cheque, along with rerum address, to: Lori P. Longstaff, 340 Terrace Dr., Keswick, Om. L4P 2Y8. Allow 1 112-2 weeks delivery.WANTED: Any Super-8, 16mm or 35mm motion picture can1era, including Arri, Bolex, Mitchell, Canon, etc. Lenses and accessories, too. Please call (416) 716-8191 or fax (416) 604-2099.0

13

Film Clips -continued from page 7

TELEFILM CUTS OFFICES

MONTREAL-Telefilm Canada closed its offices in London and Los Angeles on July 31, but the federal agency, said Executive Director Francois Macerola, "will still provide international support to the industry through its European office while it will actively promote the Canadian industry's operations in the United States and the United Kingdom." Macerola said the Montreal office's 1-800-567-0890 telephone number has been extended to the U.S., and the Toronto, Vancouver and Halifax offices remain key information sources for both the Canadian industry and the U.S. market. Similarly, Telefilm intends to maintain a strong presence in Europe, especially in the United Kingdom, through its Paris office. Telefilm's offices iri London and Los Angeles have been sublet to Canadian companies Nelvana and Cinar respec­tively.

ROLLING CREDITS: Darlene Choo at IATSE Local 669 in Vancouver has been keeping track of camera person­nel on the West Coast and sends this report: John S. Bartley esc continues as DOP for a third season on the Golden Globe Award-winning TV senes The X-Files, shot in the Vancouver area. His cinematography on the paranormal thrillers earned him an Emmy Award nomination and another from the ASC for an episode entited "Duane Barry." ... Thomas Burstyn esc has seen a lot in recent trav­els, from creatures in a lake to lawyers in court and vampires in love. Prior to the successful premiere of Magic in the Wizter (TriStar) earlier this year, Thomas was in Atlanta filming The Client (CBS), then Toronto with Lovebite (Lifetime). He completed Ebbie, Miss Scrooge (ABC) with Canadian director George Kaczender in Vancouver and recently was scouting South Dakota in preparation for his next feature, Chief Crazy Horse . ...

14

David Geddes esc has been busy, too. His first proj ect of 1995 was Deadlock II (Fox), filmed in Vancouver and Las Vegas, then he jumped to Los Angeles to shoot The CoLony for the same peo­ple (Pacifi c Mo tion Pictures & MCA/Universal) who did Incident at Deception Ridge, an MOW that scored a Best TV Drama nomination for David at this spring's CSC Awards. Last month, he was wrapping Have You Seen My Son? (ABC) and was start­ing pre-production for The Surrogate

(ABC) .... Laszlo George esc, recipi­ent of the 1995 Kodak New Century Award, has been the consummate world traveller. Upon completing principal photography on the four­hour miniseries, Danielle Steel's Zoya (NBC), which took him to Budapest, Leningrad and Montreal, Laszlo went to Toronto to shoot Picture Perfect (ABC), then was planning a visit to Hungary. . . . Ron Orieux esc was recently shooting the MOW jack Reed: One of Our Own (NBC) in Vancouver.

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CSCNews

Digital TV con't from pg 12 signal at the receiving end and to limit any DC content on the signal. The data is then passed through a nonreturn to zero inverted (NRZI) encoder, which takes a transition in the signal and changes it to a 0 and takes a nontransition in the signal and changes it to a 1. This further limits any DC content in the signal. The serial data is then sent down the coaxial cable (Fig. 5).

The square wave is affected by the losses in the cable (one per frequency) and is attenuated and distorted. Take note that the higher the data rate, the shorter the cable length that the signal can pass through. The 270-Hz (component digital) signals will not pass through as much cable as a signal at 143 Mbits/sec (composite digital). The signal starts out with a peak-to-peak voltage of 800 m V +or- 10%. At the end of a 220-m (600-ft) cable run using a 270-Mbit/sec signal, the peak-to-peak level will be attenuated down to only about 30 m V (A 143-Mbit!sec signal after 300 m is also 30 m V) Not only will the amplitude be reduced, but also the square­shaped pulses will have become more like a sine wave. So in realiry, it is amazing that the signal can be fully recovered at the recerve end and reproduced exactly the same as the orio­inal signal.

There are two rypes of receivers­reclocking and nonreclocking. Reclocking receivers use a phase lock loop (PLL) cira.llt­ry to clock the incoming pulses and restore the original square-wave shape (Fio. 6} . Nonreclocking receivers simply pass the rounded pulses. Either rype may incorporate automatic equalization circuitry ro restore the level to 800 m V once <soain. Clearly, input stages with automatic equalization and reclocking are needed when cable runs approaching 300 m are involved. There is also the possibility of using edge-shaping techniques instead of reclocking, bur ·when

edge shaping is used, jitter is nor removed from the signal and reliable recovery is nor possible after 50 m of cable at 270 Mbirs/sec. (Remember that when a cable length is pec­ified, the data rate must be included in the specification.)

The Cliff Effect W ith digital video, you might be

tempted to look at the picture on a monitor and say, "Looks great! Why worry about EQ and reclocking?" This is where we can be lured into a false sense of securiry. In digital television, either you have a perfect picture or

CSCNews

you have nothing. If you take a 200-m piece of coaxial cable and replace it with a 250-m piece, you may see no difference in the signal. Bur as you add longer and longer lengths, there comes a point when, by adding only one or two meters, the signal becomes unus­able. T his is known as the cliff effect. Withour warning, your signal has suddenly disappeared.

In the analog domain, we can see the effects of cable as a loss of amplitude and high-frequency response, which happens gradually as the cable is lengthened. In the digital domain, it is possible to be on the "edge of the cliff'' and not realize it. There is no indication that you are close to the edge of the "cliff" What happens, as we approach the edge of the cliff, is that errors appear in the bit sueam and increase dramatically as additional obstacles are inserted in the path. As dioi ral video is supposed to be entirely error-free, we can use this assumption to pro­vide an early warning system. This is known as error derecr:ion and handling (EDH) and will be discussed in a later article in this eries.:J

NOTICE BOARD .... Change of Venue ... Along with new

administrator Susan Sarnachuk, the

esc has a new address and phone

numbers. The office now is located at

235 Carlaw Ave., Suite 603, Toronto,

Ont. M4M 255. Telephone: (416)

466-5013; Fax: (416) 466-8423.

Looking Ahead . . . Vice-President

Lance Carlson will provide progress

reports next month on the CSC BBS

and the formation of a new esc chap­

ter in Vancouver. The October issue of

the CSC News will also feature a story

by John Lindsay on his shooting adven­

tures in Egypt and Crete, and a final

instalment of the series on digital TV

15

esc CALENDAR

Schedule of Meetings and Even ts of Interest to CSC Members

TORONTO :

Se pt. 7 -16-Toronto Intern a tional Film Fe sti val.

Mon . , Sept. 18, 6:30 p.m.-Osram Sylvani a Ltd . hosts an op en house prese nt ation of its n ew LIGH T ­POINT demonstration and tr alll­in g centre , at 2001 Drew Road , Mi ss issa uga. RSVP Kathi e Greco (905 ) 6 7 3-6171, ex t. 20 7 .

Wed. , O c t. 18, 7 p.m .-Applied Electronics demonstr a tes th e n ew Ike gami/ Avid CamCu tter hard­disc-bas ed digital camer a , a t the VPM Direct trad e sho w, Intern a tional Centre , 6900 A irport Rd. , Mi ss iss auga.

Oct. 18-19 , 10 a.m.-6 p.m. - VPM Direc t presents its indu str y- sp ec if­ic trad e show and exhibiti o n , at th e Int ernational Centr e, 6900 Airport Rd., Mississaug a. T his sho w is primarily geared to v id eo produ ction equipment with non­lin ea r editing syst ems b ein g fea­tu re d .

Oct . 27 - 2 8 - The Allianc e for C hildren and Television holds its annu a l F estival and Awards of Excell en ce, at the Delta C hels ea Inn , Toronto. Events includ e a k ey n o t e lunch, professional deve l­opm ent ses sions for the production communit y, and the Awa rd s of Exce ll en ce dinner to celebra te the b es t in children's TV pr odu ction . Fo r information, call (4 16) 515-04 66 or fa x ( 416) 515-0 4 6 7 .

16

PRODUCTION NOTES: (Ontario)

BEYOND THE CALL, (Cable Movie) Beyond the Call Prods.; Exec Prods: Bob Christianson, Rick Rosenberg; Prod: Dhris Danton (Line Producer); Dir: Tony Bill; Shoot: Sept 5-0ct 6; Tel: 533-0560

CRASH, (Feature) Alliance Communications Corp./Recorded Picture Co.; Prods: TBA; Dir: David Cronenberg; Shoot: Sept 18-Nov 24. Tel: (416) 967-1174

FOREVER KNIGHT, (Series) Paragon Entertainment Corp./Forever Knight Production; Exec Prods: Jon Sian, Jim Parriot; Prod: Nicholas ]. Gray; Dir: Various; DOP: Bert Dunk esc; Shoot: July 9-Feb '96. Tel: (416) 441-2442

GOOSEBUMPS, (Series) Protocol G.B. Prods Inc.; Exec Prods: Steve Levitan, Bill Seigler; Prod: Patrick Doyle; Dir: TBA; DOP: Brian Hebb esc; Shoot: July 24-0ct 20; Tel: (416) 203-8075

KUNG FU: THE LEGEND CONTINUES, (Series) Warner Bros Distributing (Canada) Ltd.; Exec Prod: Michael Sloan; Prod: Jonathan Harkett; Dir: Various; Main Operator: Duncan MacFarlane esc; B-DOP: Milan Podsedly; Shoot: July 10-Jan 31, '96. Tel: (905) T 9-60 11

ROAD TO AVONLEA, (Series) Long Road Home Productions Inc.; Exec Prods: Kevin Sullivan. Trudy Grant; Prod: John Ryan; Dir: Various; Shoot: June 26-Dec 22. Tel: (416) 750- 1 48

PRODUCTIO~ NOTES: (British Columbia)

ALASKA, (Featlll"e ' Needful Prods Ltd./Castle Rock Entertainment; Exec Prods: Carol Fuchs, Andy Burg: Prod: Gordon Mark, Dir: Fraser Heston; DOP: Tony Westman esc; Shoot: July 10-0 a 2. Tel: (604) 990-9284

CHANNEL 92. Pilot) Cactus Productions for BC Film Fund; Exec Prods: Scott Kennedy, Ron French; Prod: Kandis Armstrong; Dir: James Head; Shoot: Fall. Tel: (604) 684-1133

LONESOME DOVE--THE SERIES, (Series) Canadian Dove Productions, Line Prod: Les Kim e: Prod: Steve North; Dir: Various; DOP: Ron Stannett esc; Shoot: Calgary April 1- -:-:o\· 2. Tel: (403) 252-8 115.

THE OUTER LL\IITS, (Series), Outer Productions Inc. for MGM & Atlantis; Prod: Brent-Karl Cia ks n: Dir: Various; Shoot: Sept-May '96. Tel: (604) 299-7119

STRANGE LCCK. ·Series) Strange Luck Productions for Fox; Prod: John Kousakis; Dir: Various; DOP: Rob McLachlan esc; Shoot: July 20-Nov 1. Tel: (604) 983-5000

THE X-FILES. :>:1es) X-F Productions Inc. for Fox; Exec Prods: Chris Carter, Bob Goodwin; Prod:_· .. Finn: Dir: Various; DOP: JohnS. Bartley esc; Shoot: July 13-May '96. Tel: (604) 9 3-- ~9 1

The Nightingale Report is published by D. Nightingale & Associates Ltd., 189 Dupont St., Toronto. Ont.. M5R 1V6. Tel: (416) 975-3977. Fax: (416) 968-9092

CSCNews

DO WE HAVE A LOT TO TELL YOU: 1 . WE HAVE MOVED FROM MISSISSAUGA TO DOWNTOWN

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It could well be the most original, profoundly

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Then perhaps we'll chat about the huge array of

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out there. We'll explain how the digital world meets film

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Let's just say it's our mission at Kodak to replace that e -pressiveness of film stay true for tomorrow's TV.

look with one of admiration and envy. So smile smugly And at the risk of sounding immodest, we'll also

and tell them that anything's possible when you know me hon that nothing beats the EXR Film System when

what resources are available to you. :hey' re shooting for film display. In the end, they'll

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probably start by telling them ~ =astmal\ everyone's working towards the about EXR films. Because loading ~ .._ same goal, things tend to get

the best is shooting it right. Putting ideas 1i n motion. done. Funny how that happens.

© Kodak Canada Inc., 1994