NAB ‘98, In Search of Techno-Independence

by indieWIRE (April 13, 1998)

by Tara Veneruso


Every day we are one step closer to filmmaking being as easy as taking out the brush and oils for a painting. The tools for making a motion picture are more versatile and affordable than ever before. As an independent filmmaker, it is essential to understand the tools in order to capture the true essence of a story. Evolving technologies are enabling filmmakers like "Someone To Watch" Award recipient Scott Saunders ("The Headhunter's Sister") to originate their films on video. This article is an exploration of a number of the new tools available to independent filmmakers with limited resources.

Team Next Wave (Peter Broderick, Mark Stolaroff, and myself from Next Wave Films, the Independent Film Channel's finishing fund for ultra-low budget features) headed to Las Vegas for NAB '98 (April 4-9). Our mission was to investigate new digital cameras, non-linear editing systems, and other technologies that independents can use to make their movies.

National Association of Broadcasters' conventions showcase the latest high-end equipment that well-financed television networks and stations can purchase. Our challenge was to find tools that are affordable or accessible to filmmakers working on very low budgets. It was like trying to locate your apartment building from the top of the Twin Towers.

Cameras:
Most impressive was the Canon XL1 MiniDV camera. It features interchangeable lenses (including 35mm still camera lenses), optional connection for XLR inputs, modular design, Pixel Shift technology, and the ability to record 4 separate tracks of sound in the camera. It also takes digital stills. Canon has designed the XL1 so it can be upgraded, although it is a very good camera in its most basic form (approx. price $4,000-$4600).

Sony's VX1000 is not a dinosaur yet, although it was not on display since Sony was only promoting their professional models. Sony was featuring its new DVCam, the DSR300, which appears to be a solid entry at the next level above MiniDV. Some observers questioned Sony's decision not to arm it with a firewire output. Representatives of some other companies selling digital video cameras could not seem to grasp the concept of shooting features with their equipment.

Non-linear editing:
Adobe's unveiling of Premiere 5.0 generated a lot of excitement. Designed to be more useful for long form projects (eg. features and documentaries), Adobe has further refined an editing program which makes filmmaking accessible to the inexperienced user (although computer knowledge is essential).

New versions of the Media 100 software (for Mac and Windows NT) are designed to expand its use by filmmakers. Taz, the no-last name filmmaker, is currently shooting 2 feature films both of which will be edited on the Media 100. He was giving demos of Slingshot which provides the Media 100 with 24fps matchback capabilities. Taz described the real-time functions now available with the Media 100xr and the upgrades of audio performance in 4.5. Media 100 is reportedly working on a firewire input, which would make post less expensive by allowing footage shot on digital cameras to be downloaded directly into the computer, without having to first convert to analog.

The Avid booth was so packed that it was difficult to find the least expensive version, the Avid Xpress 2.0 for Mac. If the $30,000 price tag for a full system (monitors and all) doesn't scare you, the Xpress features significant audio enhancements and an integrated matchback to your negative. An Avid representative said that director James Boyd used Avid Xpress to edit "The New Gods".

Other interesting products included equipment that utilizes Iomega's Jaz2 technology. Sony Pictures had ADSG create a machine which has two Jaz2 drives for recording A/V material. You can record up to 4 hours of mono sound onto a Jaz2 (hardware necessary). It holds up to 10 minutes of Hi-res A/V material. Some uses could be trailers, demos, and recording field sound. Sony also demonstrated its new digital video editing system the Sony ES-3, which is expected to cost between $20,000 and $30,000. Digital projectors from companies including Digital Projection were on display utilizing the Texas Instruments new DLP technology which will open up theatrical options.

Collin Brown, Kodak's head of Cinesite in London, believes that all the new technologies available will give filmmakers the freedom to be as creative as they can dare imagine. But we were reminded that even if making films is easier, getting them seen may not be. As we moved between vast exhibit halls, we walked past a dozen protestors decrying the limits on micro broadcasting for radio. Inside FCC chairman William Kennard warned about the growing concentration of station ownership. While these voices seemed to be drowned out by the buzz about new technologies, the question of how independents will be able to reach audiences in the dawning Digital Age is an extremely important one.

We left NAB '98 convinced that many more resourceful filmmakers will start making movies with digital video equipment. DV cameras and improving nonlinear editing software will make filmmaking more affordable and accessible to a new generation of filmmakers. But before buying or renting this new equipment, they will have to carefully research these ever evolving options to avoid ending up on the bleeding edge of these new technologies.

[For more information on NAB 98 you can visit their website: www.nab.org To contact Next Wave Films, send them e-mail @ paradigm@earthlink.net]

[Filmmaker Tara Veneruso is the Director of Film Evaluation & Outreach for Next Wave Films. An NYU Film Grad, Veneruso directed her first feature documentary at the age of 20, the award-winning "Janis Joplin Slept Here". Tara has produced, directed, and edited many music videos, documentaries, and shorts such as the Super-8 wonder "Johnny Rock. The life. The legend". Tara also co-organized the highly successful AIVF Salons in Austin, Texas and CONDUIT, an unofficial sidebar of SXSW focusing on digital video based projects. Her multimedia roots began on the early BBS systems and she was the first person to utilize the CUCMe technology for a live broadcast interview for Much Music Canada with Toad the Wet Sprocket. Additionally, Veneruso is currently directing her second web series for InterneTV.com, "Chemical Generation," shooting this month.]

posted on April 13, 1998
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