IBC
High end production values are now suddenly in the scope of even the lowest TV budgets. The filmic look of shallow depth of field that is associated with feature film and drama has begun to trend in factual and reality productions, as producers strive for a distinctive look to make their programming stand out from the crowd.
While budgets for these types of production have not risen, the larger 35mm sensor cameras capable of delivering a shallow depth of field (sending the backgroud out of focus and bringing the subject in the foreground sharply into view) have significantly reduced in price to buy or rent. Not only are these lower cost cameras capable of the 50Mb/s data rates required of broadcast HD deliverables, but they also permit productions to mount specialist stills and prime lenses which have hitherto been the preserve of drama. Even The X Factor has got in the act. The UK's version, produced by Syco TV, features the shallow depth of field on recorded inserts to contrast with the standard broadcast shots of the live action. Other productions which have adopted the filmic look include The Secret Life of Dogs (Oxford Scientific Films); Jamie's 30 Minute Meals (Fresh One Productions); The Boy Who Can't Forget (Studio Lambert) and Styled to Rock (TwentyTwenty).
On a film or drama set of course, there is time to plan and reset camera settings or framing between takes. Not so on your typical run-and-gun style documentary where the camera is usually handheld not tripod-mounted. Lacking the budget for a seasoned director of photography, producer-directors are taking the kit on themselves but will admit to lacking some essential knowledge to get the most out of it. In turn, this has meant that equipment rental firms can use the expertise they hold in-house to help production crews with basic knowledge before they go out and shoot. Most rental companies arrange training as part of the hire contract, from understanding essential terminology, such as peaking or zebras, to data management, or how to set up a camera effectively.
The biggest issue for producers-directors is focus, since any loss of concentration – not easy in a run and gun style documentary shoot – could easily lead to soft shots. While a focus puller would alleviate those errors, few factual budgets can afford the luxury. Traditionally, live sports coverage has been accomplished by broadcast cameras with 2/3inch lenses and zooms in which the entire field of play foreground and background is kept in focus. Yet few manufactuers have signalled their intent to produce a 2/3 camera capable of 4K and so the trial of 35mm sensor cameras for 4K production of the Confederations Cup in Brazil results in some interesting lessons about whether seasoned sports producers or viewers will appreciate certain shots with blurred backgrounds.
While shallow depth of field is seen by many as fashionable just now, there are producers who are already casting around for the next technology to make their production stand out. Factual and reality TV shows will possibly begin making use of hi-speed capture at 120 fps to insert into programming to heighten an emotion. A victory celebration could be slowed down to enhance the emotion of the moment in close-up on the victor's face. In addition, new lenses are coming to market with integrated zoom servos so that a single cameraman can zoom and pull focus without need of a separate focus puller, perhaps eliminating the problem of focus afflicting single-shooters.
Anamorphic lenses, of which there are several new ranges on release this year, may also tweak the imagination of indie producers. This type of glass provides a highly distinctive visual blurring, favoured by cinematographers as a look that distinguishes high budget feature film from video-style work. While still expensive (with single lenses typically costing E20,000 and upwards) an occasional use in tandem with budget-friendly 35mm-sized cameras could see them employed more widely. The increasing interest in 4K origination may also boost production values, since a 4K recording can arguably provide a higher quality HD picture on transmission for even daytime shows.
You can further your knowledge of the latest equipment and get invaluable tips on how to use it at IBC. Not only does the IBC Exhibition house relevant high frame rate, DSLR, large sensor camera and lens innovation, it also offers practical demonstrations at the hands-on Feature Area, IBC Production Insight. Here you will be able to use the technology and compare it with the competition as well as gain advice from expert technicians.
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