A HD showreel shot and produced by Michael Brennan demonstrating the versatility of HD acquisition and post production.

DVDs were duplicated overnight at

Dubbs

25-26 Poland St

London W1F 8QN.

Tel 02074392525

contact Seb Tyack

Click here to see how the DVD was made and why the DVD looks so good!

Editor

Mathew Stonehouse

mathew@stonehouse.co.uk

tel +44 (0)7973134840

HD Finishing

Rory Cantwell

David Smith

at Soho Editors

rory@sohoeditors.com

tel + 44 (0)2077341286

HD Online

The Farm Dublin

Mark Nolan

mark@thefarm.ie

+35 (0)316768812

HD online with iQ

Grading and some special effects were performed over the course of two days.

It was downconverted in iQ and output to digibeta for the DVD and HDcam for digital projection, DTF for transfer to film.

Offline facilities

Molinare

Peter Walton

+44 (0)2074787000

bookings@molinare.co.uk

HD resources supplied by

Visual Impact

Julian Guillaume

julian@visuals.co.uk

jennie@visuals.co.uk

tel +44 (0)2089771222

Segments of the reel were edited at

Mac Million

Mads Jorgenson

+44 (0)2078315357

mads@macmillion.com

Weapons of Mass Belief

Pop promo

produced by Georgia Griffiths

georgiagforce@blueyonder.co.uk

Justin, Rachel Key, Mo Laudi & G-Force

Hair stylists - Patti Bussa & Marco Girotti

Make Up Artist - Kathy Rosenberg

Assistant Producer - Dominic Backer

Producer &endash; Georgia Griffiths

Directed by Rozi Peters

G-Force Procreations Production

This was the end of a two day studio shoot against bluescreen. We were shooting on the roof to get a high angle bluescreen shot of the lead singer. As the sunset developed we quickly decide to reshoot one of the 4 promos. We quickly shot 4 takes. The sunset was featured in the national press the following day as the most remarkable sunset in decades. The snap zoom effect is possible because of HDs low noise.

Frozen Assets

The black Comedy with an operatic theme.

Produced by Karen M Smyth

Directed by David Council

Written by Lowri Garland and Stephen Adam

karen@labelleallee.com

HD online on iQ

Mark Nolan

The Farm Dublin

mark@thefarm.ie

Team One

Car roll over

Stunts by Zero-G

Dave Judge

dave@zero-gfilms.com

Team one is an independent HD movie, Michael Brennan shot the action scene.

The car rollover was shot at 60i and dubbed on a f500 by simply playing out at 25p.

Each frame is deinterlaced, which reduces blurring and resolution. The picture is output to a second recorder which records the 25p signal with new timecode. This then becomes the master tape with rock solid 25p or 24p timecode.

The horse racing slo mo was done in the same way at The Farm in Dublin.

No extra frames were added to the native 60 images per second. The material could be slowed down further still by using a computer to create frames between the frames. The success of this is subject dependent.

The muzzle flash of the weapon was added in post. More cost efficient than employing an armorer.

Suave Bastard

The man running on the bridge and the dance scene and the aerial shot of London.

produced by

Stuart Fenegan

sdf@invideoveritas.co.uk

edited on Avid HD/DS at Pepper Post

Shane Warden

Shane@pepperpost.co.uk

f900 cinealta Camera supplied by Arri Media

Bill Lovell

b.lovell@arrimedia.com

Suave Bastard was the first HD project finished on the Avid DS/HD.

The man running in the tunnel was shot at T2.5 with 1/33 shutter. It was lit by a handbag sized generator powering one 800watt HMI. The depth of field when using 2/3 inch HD sensor is advantageous under these circumstances. The dance scene was lit with a 1.2 HMI par from the ceiling, producing a very hot overexposed look.

Car crash

Image Diagnostics

Bob Sharp

r.sharp@imagediagnostics.co.uk

digital files transferred to HD at

Mac Million

Mads Jorgenson

02078315357

mads@macmillion.com

This is a prototype 2000 frames per second digital camera, now in production. Although this shot was recorded at 1000fps. It is not true HD quality.

The Ride

This was a $2M feature, a US UK coproduction. Michael Brennan was 2nd unit DP and additional 1st unit shooting.

The interior scene was lit to a very low level and was the first use of the new Canon T2.1zoom lenses. The scene demonstrates the tonal range achievable in low light situations.

High Speed

A $2M US UK Italian coproduction. Hollywood's first action feature shot on HD.

Featuring 140mph low angle shots from a super cart. Integrating HD and SD material from Superbike TV broadcasts. Shot in Luxembourg, UK, Spain and Italy.

Children playing with bubbles

Canon 2nd generation HD lens with warm soft effects 2 filter and polarising filter. Shot with 1/250 shutter for effect.

In the Moment

The man with time on his hands!

A short film for Cannes. The transfer to film of this short looks superb. It is a typical example of keying from HDCAM. A two pixel blur is usually applied to the edge of the key to hid the characteristic artifact caused by compression. The high resolution of HD in the first place means that this blur is well hidden.

f900 supplied by Arri Medi

Aerials

By Heletranz New Zealand using the first remote head HD camera in the world fitted to a 14.5 inch ball. www.helitranz.com

The Camcorder

The f900 cinealta camera was used for all of the material except the 1000fps car test crash. With the exception of "The Ride" and "High Speed" all the material was recorded at 25p on HDCAM.

HD motion control

Neil Riley

+44 07710130813

The zero intra frame displacement of HD makes it a natural choice for motion control work. The motion control shot of the Schneider lens was composited in just 3 minutes from a offline edl! No tweaking required.

It is possible to composite split screen moco moves very quickly because the image is very stable and noise free. Neil Riley and I tuned the moco rig to exceptionally high tolerances.

The lenses

Half of the material on "The Face of HD" was shot with first generation Canon HD lenses, the rest with 2nd generation Canon HD lenses.

You may be able to see the difference the newer lenses make on "The ride" and the scenes of the children playing, cricket, as well as the shots of the sheep and the turreted building on the hill as well as the fairground.

The scenes of the police motorcyclists and Mayday parade were taken with a standard definition lens. Overall there is a loss of crispness. Detail in the blacks is not well defined. Although the centre of the scene may be moderately sharp the edges are soft. Needless to say it is not recommended to use standard def lenses on HD.

2000mm

The shot of the moon used a 2000mm prime lens

It was shot at 3 in the morning with a temperature of -2 degrees C.

Even so there is considerable heat haze or atmospheric distortion due to the low angle of the moon to the horizon.

1000mm

The use of 1000mm lens for the shot of the aircraft taxing exaggerates the heat haze.

Macro

The bubble on the tooth brush is not an effect, it ws captured in camera by simply rolling tape and waiting for the bubble to rise. The lens used is a custom macro lens.

Ultrawide

"Gagging for it" I chose a very wide prime lens to accentuate the off beat performance of the artist.

The angle of view was 120 degrees, combining a relay lens designed for standard definition and a Nikon (35mm)14mm lens.

Although fairly sharp shadow detail was a little muddy and finessed in the grade. A porthole effect was added in post to accentuate the distortion.

The ultrawide lens was also used for the scene in the weeding car.