The World Cup Trek is an epic race from Berlin, Germany, the location of the 2006 World Cup, to Cape Town, South Africa, the 2010 tournament venue. The contest, organized by dvDepot client Rob Evans, involves three teams, each comprised of two volunteer members, driving 10,000 miles through sixteen countries on two continents to reach the southern tip of Africa in time for the Cup’s final game. Sponsored by dvDepot and produced by both Burgess Productions and Nomadic Nation, Mr. Evans and his team will film their seven week adventure with the intent to transform their journey into an adventure/reality program.

Race for Charity

Contest organizer Rob Evans

As a social activist, Mr. Evans has been involved in several charity initiatives. Some of his recent projects include establishing and maintaining a storage facility for charities in his hometown of Phoenix/Tempe, Arizona, helping organize community projects, creating an arts community in Scottsdale, Arizona, and becoming an organ donor by donating one of his kidneys. Mr. Evans’ conception of and participation in the World Cup Trek is yet another of his charitable endeavors.

Benefiting from the race are three non-government organizations: Grassroot Soccer, Kick 4 Life, Coaching for Hope. These multifaceted organizations work in third world African countries to both coach underprivileged children and aspiring soccer players and provide education and preventative measures to combat the AIDs epidemic.

The Gear

dvDepot is sponsoring World Cup Trek’s production and furnishing the teams with video equipment, including two Sony PMW-EX1R HD cameras, six 16GB cards for footage, two 7” Nebtek monitors to review the footage before uploading it into a computer for editing, and other accessories. With the pristine quality of the Sony EX1, and the durability and storage capacity of the memory cards, no moment of the weeks-long journey will be missed.

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After being equipped with dvDepot gear, the World Cup Trek teams began their exciting trip. Departing on May 9th from the United States, the volunteers set out for Berlin, Germany. The teams and the production crew stopped at Berlin’s co-sponsor hostel CityStay to finalize travel plans, go over the route, get all the needed vaccinations and load the last of their supplies into their Renaults.

On the Road

The World Cup Trek cars on the Autobahn

On May 18th, the team hit the Autobahn and almost immediately ran into their first setback. One of the three cars blew a head gasket 200km into the race, a frustrating mishap that could have been avoided. The car, driven by team members Jonathan and Susan, had to wait for the production vehicle to send for a tow truck; however, that car struck a flat tire and its spare tire was coincidentally flat. With two vehicles down, the team had to wait for tow trucks to arrive for both cars. To compound an already rocky beginning to their journey, the police declined to deal with cars that were ill-equipped to handle the Autobahn to begin with.

Into France and Spain

Barcalona Harbor

After two days of camping outside a McDonald’s in Hof, the team was back on the road in rainy, foggy weather. After seventeen full hours of continuous driving through miserable weather, the team left Germany and finally entered France nearly two days behind schedule and in dour spirits. The fair weather and sunshine in France, however, lifted team spirits. The group even had time to stop for a rest at Beziers, a picturesque city with a large winemaking industry. A 10-hour scenic road trip from Beziers to Barcelona (effectively avoiding traffic and tolls) was the next course of action for the team. From Barcelona the team managed to rest up before catching the last ferry out of Tarifa and into Marakech.

With any luck, the team will reach South Africa around July 5th, a few days earlier than planned. We hope to continue providing support and enthusiasm for the entire team on their amazing trip! Be sure to follow updates about the World Cup Trek on dvDepot’s Twitter and Facebook.

TV DNA celebrated their 10th anniversary at dvDepot last night. The TV Diva Networking Alliance is a group connecting women working in the TV industry. They meet periodically to share knowledge and resources. Membership is exclusive, limited only to women actively working in television, and based on recommendations of current members. The members include producers, network executives, production managers, line producers, among other positions. One of our owners, Deborah Wolpert is fortunate enough to be a member and hosted the anniversary party.

At last night’s meeting, dvDepot also set up a demo of our HD cameras for the Divas. We went through the advantages and disadvantages of several HD cameras including the Sony EX1, Z5U, and A1U, also the Varicam and HVX200 from Panasonic. Comparing cost to picture quality to post workflow, each camera is appropriate for various situations. The demo was a success and then the men of dvDepot scurried out to leave the Divas to their celebration.

You can read more about the TV Diva Networking Alliance at http://www.tvdna.net and see more picture from the event on our Facebook page.

With EX1, HVX200, and other cameras that shoot to memory cards becoming more popular every day, the work flow on sets is changing. Log and capture used to be an important phase of post-production, but now, data transfer is a part of production. We’ve had our share of trial and error here at dvDepot trying to figure out how the future is going to look.

1. What to call them?

Nobody seems to have any idea of what to call this position. Data wrangler comes up a bunch. More common is “a guy to, like, do transfers and stuff.” Some people just call them camera utilities or assistant cameras. We eventually settled on memory card transfer technician, so that the duties are specific. We’ll shorten this to “card tech” or “transfer tech” most of the time.

2. Can a camera utility or AC do this?

A lot of utilities will know how to do this. But a lot don’t. We sent one of our best utilities on a job to do P2 transfers and he ended up taking twice as along as expected. Any time there was a problem with the camera, he jumped in to help fix it. This is what he’s good at, so it makes sense. This shoot also only ordered two 16GB cards per camera for several multicam interviews in a pretty short time. He had to be constantly dumping and wiping cards to keep up with shooting. We didn’t have time for him to do anything else.

3. Can I send an editor or assistant editor?

It’s tempting to send post people out. They have experience doing file transfers. They know the different formats post requires. We had an editor out once who really knew the transfers down pat and how to format the drives. However, when the camera decided not to recognize the memory card, he had no idea what to do. We sent one of our in-house technicians to solve the problem pretty quickly, but somebody without any knowledge of using the camera on set is missing an important piece of the puzzle.

4. How do you keep the cards organized?

We worked on one shoot when they were making fast transfers. The transfer tech noticed that he was missing the last batch of footage from camera B. None of the cards were labeled. We had to go through each card again and figure out which one had the missing footage. Most camera operators know to label their tapes, but some overlook labeling their memory cards. Labeling your cards is more important than labeling your tapes because cards will be wiped and then the footage is lost forever.

Most people don’t realize it, but P2 cards have an area on the back that is designed for using dry erase markers. You can easily label the cards with A2 or something similar. SxS cards unfortunately don’t have this same convenience. For now, we use paper tape because gaff tape is too thick and can get stuck in the camera. The important thing is training our transfer techs in making sure that all cards are labeled and that they never accept a card from a camera without it being properly labeled.

5. So who do you send?

We decided that we needed people who are specifically suited to being card transfer techs. They need experience working on set, often as an AC or camera utility. The techs are often called upon to assist in the camera department and they need to be prepared. Additionally, the best candidates are often trained editors. They understand the problems that can arise with file transfers and can deal with them. A lot of our techs are working toward becoming full time editors. Using this as our starting criteria, we have recruited a pool of freelancers who are specifically assigned as transfer card technicians.

By finding the right people to handle the job and making sure the process they use is correct, we’ve turned memory card transfers into a smooth process. We are curious to find out how other people are dealing with this situation. Let us know what you’re doing in the comments below.

If you’re shooting with a camera that uses memory cards, we highly recommend assigning a qualified crew member to this position. If you’re like to hire somebody from dvDepot, please contact our crewing department, by emailing crewing@dvdepot.com or by calling 212.333.5100.

Everybody’s raving about Twilight now, but a lot of people were surprised when it was an enormous blockbuster. Showtime jumped into the game early and got an exclusive deal for showing the Twilight movies. Obviously, they wanted to turn the premiere into an event with specials and behind the scenes material. We were lucky enough to help on the material shot in the New York area. You can see some of our footage in the video shot below or at Showtime’s video site.

Today, we’re prepping for a multicam reality shoot in January. Those sorts of shoots require a lot of preparation and often take days to get ready.

One exciting piece of gear on this shoot is our Starlink wireless monitor system. The Starlink is a powerful wireless transmitter and receiver that can be mounted onto the camera. We’ve cameras down to the street and received the signal in our seventh floor office. On a multicam reality project, it allows a producer to monitor all cameras from a centralized location, no matter what environment they’re in.

Has anybody else used the Starlink? Are you as excited by them as we are?

Canon has introduced a really exciting new camera, the EOS 5d Mark II. It would be remarkable if all it did was take still pictures with its CMOS Sensor and 22 megapixel resolution. Even better, though, it can also record video.

The 5d also shoots HD video at 30 fps 1080P. A firmware update expected later this month will allow for 24P as well. This is high quality video in any camera, but since it’s SLR (single lens reflex), the lenses you can use on the camera are different from you typical video camera like the EX1 or HVX200. You can create a much more filmic look with more control over your depth of field.

Of course, buying this camera for its video function may not be the best idea. Its compact flash cards can only hold 12 minutes of video at a time, which is not ideal for most shoots. Additionally, its controls are designed around photography so the video controls are not entirely intuitive.

However, this is a great leap forward in the ease and accessibility of high quality video– especially at prices under $4,000. We’re keeping our eyes peeled to see where the 5d will take us.

Below is a short film made in Tokyo, shot entirely on the 5d.

Tokyo Reality (Canon 5D MarkII) from Florent Porta on Vimeo.

The Nikon D5000 also shoots in 720P HD video. Rainn Wilson of the office made a short film on this camera:

As a company specializing in digital cameras, we carefully watch the progress of the industry. This past year, two films shot largely on digital cameras were nominated for the Best Cinematography Oscar, The Curious Case of Benjamin Button and Slumdog Millionaire which actually won the Oscar. We are at a point where digital cinematography can be just as beautiful as one shot on film.

This started an argument here at dvDepot over what film has the best digital cinematography. We came up with this list of 11. They range across genres, styles and budgets, some of which dictated that digital cameras must be used. The most interesting question is if using digital cameras brings a style that’s important to the film. Let us know which of these are your favorite and why. Also let us know if we forgot any.

dvDepot works a great deal with BET. In September, we worked on the pilot episode of the “Food for Thought” series, featuring Jay-Z. This month we were back for another episode: “Food for Thought: Conversations with 50 cent”. The series is a major event for BET and they pull out all stops in the production. We shot with four HDX900 cameras, including one on steadicam. The beautiful location required a full lighting package. BET’s production team and our crew worked together and created an exciting product to watch.

The show features three media personalities, sports journalist Stephen A. Smith, Harry Allen– the Media Assassin– and Hot 97’s Angie Martinez. They each bring their own perspective and style to the interviews. Smith is an expert on image and media. Martinez knows music and has an ability to get stars to answer personal questions. Harry Allen always asks the difficult questions and got some lively answers out of 50 Cent.

This episode was shot in Bobby Van’s Steakhouse (25 Broad St). Bobby Van’s is well worth a look for those of you who haven’t been there before. The restaurant has an upstairs formal dining room and another room in the basement, which used to be a bank vault. This gives the restaurant a luxurious and distinctive feel which made it an ideal location for 50 Cent’s interviews.

50 Cent was great to have on set and was a pleasure to work with. 50 is very busy at the moment with the release of his new album “Before I Self Destruct” which is available in all record stores now.

We had a great crew on this shoot. Alex Sierra was the DP again, Chris Piazza and Jeremy Leach were also camera operators with Jon Beattie operating the steadicam. Michael Correa was the Audio/Video tech. Audio was by Ethan Goldberger with Brett Hammond doing the breakaway audio. Jeff Clark was our utility and Chad Williams and Gabriel Cassia were our PAs. It was great to work with BET again and we’re already prepping the next episode of “Food for Thought.” The new episode, “Conversations with 50″ Cent premiers Thursday November 19th at 7:30pm on BET.

You can see all the photos from the shoot on our flickr site.

At dv Depot, we get a lot of requests for multi-camera shoots. Musical performances are the most common reason, but people also want to shoot boxing matches, corporate events and other things. We have an excellent HD/SD flypack we like to send on these shoots and decided to host a demo for our clients to get a better feeling for it.

The flypack can shoot with six cameras and is compatible with a variety of HD and standard definition cameras. It has a 16 channel mixer for audio.

While each camera records its shots separately, we can also do a live cut during taping. Some people want it recorded to a tape deck, but we can also record it to a Final Cut Pro file. The client can then open the project in FCP with a near finished product. This can speed up editing drastically.

The demo went over very well. We have an upcoming job with the system for six cameras shooting a Chinese language musical performance.

You can see more pictures from the demo at our flickr site.

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The Moving Pictures Collective of NYC, MoPictive for those in the know, is a non-profit community that works to support filmmakers in New York City. They provide a helpful environment for their members to learn new techniques, discuss resources they can use and share their work. They host monthly meetings to help these ends. Their website is http://www.movingpicturescollective.org/.

dv Depot was excited to host their April meeting, a panel of experts in various fields of digital filmmaking. The speakers included Anthony Q. Artis, (producer and author) Patrick Inhofer (color corrector and finisher), Pete Levin (audio mixer and sound designer) and Michael Vitti (shooter and editor). They talked to the audience about the realities of digital and tapeless production. The event was highly interactive, including videos from the speakers and a lot of questions from the audience. They took more than two hours of questions, trying to help people decide what equipment to use, weighing cost against artistic ambitions against network and studio requirements. The enthusiastic crowd was a mix of MoPictive members and the general public.

The dv Depot space was ideal for the event. We also lit the event and set up the audio. We shot the event, which is to be edited into a podcast (available to MoPictive members only, unfortunately). We also ended up helping the speakers. Our technicians were able to answer questions about various camera formats that the audience brought up.

You can see more pictures of the event at our Flickr site.

Sadly, Michael Vitti died a few weeks after this event. He was the founder of MoPictive and leader of the community. He was a friend of dv Depot and it was through him that we were able to host this event. There is a tribute page for him at http://www.imugonline.com/events/2009/michaelvitti.shtml. Helping people was Mike’s passion and MoPictive is the child of that passion. Nobody cared more about creating a collaborative environment in which people can share their knowledge. He was a fixture in the New York film world and he will be missed.