D-20 Test Shoots
Various test shoots with a pre-production model of the
ARRIFLEX
D-20 were conducted after NAB and Cine Gear. Cinematographers Curtis Clarke,
ASC, Vice President of the ASC and Chairman of the ASC Technology Committee,
Walter Lindenlaub, ASC, Eric Adkins, Jon Fauer, ASC and Sam Nicholson were the
first in the US to test with the D-20 in and around Los Angeles.
Most shooting to date has utilized the Sony SRW-1 portable HDCAM SR field
recorder, in both 4:2:2 and 4:4:4 HD modes, but uncompressed disk recording has
also been successfully demonstrated with the S.two DFR system. Initial reactions
were highly positive, with particular mention of the optical viewfinder and the
overall build quality of the camera, together with the impressive image quality
as important features.
The first test was conducted right after NAB, when Bill Lovell, Product
Manager for Digital Cameras, took the D-20 from Las Vegas to Los Angeles. Lovell
invited Clarke, Lindenlaub and Adkins to an informal test. After the mandatory
shot of the Hollywood sign, the crew moved to downtown LA where they captured
some footage of the Disney concert hall at sunset. Later footage was shot at
night exclusively with available light. The crew was using prototypes of the
ARRI/Zeiss Master Primes, which not only have a widest opening of T1.3, but also
show improved contrast and reduced flare in comparison to any other modern lens.
Clarke remarked that "The detail rendered in the low light shooting
situations, including the noiseless shadows, surprised us all."
After the Cine Gear show in June, Clarke, Lindenlaub and Fauer took to Venice
Beach where they captured surfers and sunsets, seagulls and skateboarders using
the
Master Primes,
Ultra
Prime 8R and an Angenieux Optimo 24-290 zoom.
In addition to traditional tripod work they also used the D-20 in hand held
mode to capture some dynamic skateboarding sequences. For the skateboard scenes
they used the on-board monitor for framing, similar to the way a video assist
monitor on a film camera would be used.
Next on the list was the improvised "Venice Beach Dolly", expertly pedaled by
Thomas Greiser of ARRI Inc, to get some moving shots of tourists along the
sidewalk. Lindenlaub operated the D-20 using the optical viewfinder, which
provides a better image than an electronic viewfinder or an on-board monitor
could. The battery and Sony SRW-1 tape deck were safely stored under the
bicycles seat.
The sunset provided an opportunity to shoot some high contrast scenes. Both
cinematographers noted the absence of flares in the Master Primes, flares that
were more obvious in the zoom.
When asked about his overall impression of the D-20, Clarke said: "The
D-20 impressed me with its ease of use and friendly feel. It is very much like a
film camera, especially the superb optical viewfinder. In addition, the color
saturation and highlight detail ... gave me new confidence in shooting with a
digital camera that has these tone scale and color saturation capabilities."
The next day was spent indoors at the facilities of Stargate Films, where
Stargate's owner and expert SFX cinematographer Sam Nicholson ran a variety of
blue and green screen tests with the D-20.
Nicholson was impressed with the D-20, and his compositing technicians liked
the images and their ability to key off the D-20 images. The team played with
different setups and Look Up Tables (LUTs) to determine the best settings for
blue and green screen.
Nicholson said: "I love the feel of the D-20, it feels like a regular,
dependable ARRI camera. The depth of field and the lens choice it gives me are
great, but the real advantage is the optical viewfinder. Judging focus is
usually quite impossible on an electronic camera, unless you have a 30,000 USD
monitor with you. The optical viewfinder of the D-20 will essentially save me
30,000 USD per shoot. Focus is the one thing that no one notices until it is
out. In HD, often things get soft and you cannot tell. I would look to use the
D-20 for some high quality keying on set for virtual backgrounds. "
Couresy of Arri
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