InCinematographer - Issue 1 - June 2017 - 26

26

www.incinematographer.com | Issue 1 | June 2017

nakedEYE Innovates with
Interactive VR Film

Indiecam's first interactive 360° film shot with nakedEYE has been created
in collaboration with Austria Tourism and the Museum of Art History Vienna...

T

he innovative film shot with nakedEYE gives
insights into the Museum of Art History Vienna,
which regular visitors would never be able to get. In
this virtual stroll around the museum you can choose
between three different plots: You can either follow
the kids into the art gallery, join an art student in the
sculptures room or observe the restorer working on
a painting of the exceptional artist Rubens, which
is getting prepared for the big special exhibition
starting in October.
Austria Tourism presented the film at ITB Berlin,
being their absolute highlight at the World's

360° storytelling: Museum of Art History Vienna

Leading Travel Trade Show. Interactive storytelling
in connection with hotspots make the film unique.
Throughout the experience, available in either
German or English, more than 20 interactive hotspots
appear, enabling you to explore the art exhibition
even further. In addition, the specifically composed
music underlines the atmosphere and completes the
experience in order to make it feel like you actually
are at the Museum of Art History Vienna.
The film was produced by Raphael Barth and his
production company Golden Girls Filmproduktion
in a collaboration with the Museum of Art History.
A special dolly was built for the tracking
shots and the production was implemented
with full ambisonic sound recording. The
production was mastered in 3D Spatial
Audio for all platforms.
Indiecam's nakedEYE is a professional,
high resolution, full 360° VR-camera of
miniscule size. The small-footprint camera
is suitable for cinematic VR content,
and for unique POV shots, creating
extraordinary experiences for the viewer.

nakedEYE professional VR camera

It features two large format, state-of-the-art global
shutter sensors with superior dynamic range and
excellent low-light performance. The square highspeed sensors have a resolution of 2K x 2K each and
are fully synchronized. Furthermore, you have full
control over all camera settings. The robust system
records CinemaDNG RAW-files.
Austria Tourism's interactive app will be available
as a download for iOS and Android soon. In the
meantime check out the "best-of video" by clicking
on the 360° storytelling image to enjoy a virtual visit
of Vienna's Museum of Art History and get a glimpse
of nakedEYE's capabilities.
www.indiecam.com

Varicam 35 Sheds Light
On BBC's Moorside
Panasonic's VariCam 35 has taken centre stage on the popular BBC One
docu-drama The Moorside, hailed as the most successful debut
of a drama for the Corporation in 15 years...

S

et on Dewsbury's Moorside estate, the series
follows how a group of ordinary women brought
the community together as one to try and find a child
who had disappeared in their midst.
The ITV Studios-made drama, produced by Ken
Horn (The Street, Our Girl) and directed by Paul
Whittington (Cilla, Mrs Biggs) was shot on the
Panasonic VariCam 35 supplied by rental provider
Provision.
The series is based on the real-life story of Shannon
Matthews, whose 2008 disappearance sparked a
major police search before it was revealed that her
mother knew where she was, and had colluded with
a relative to hide her in the hopes of claiming reward
money. The focus of the drama is on the spirit and
determination of the women who led the local
campaign to find Shannon, and the impact on them
when the truth was revealed that her disappearance
was a sham.
Shot in nearby Halifax in the interest of sensitivity,
filming took place in January and February 2016
meaning natural light was limited. After carrying out

side-by-side camera tests, looking at how they would
handle the sodium street lighting of the estate, the
VariCam 35 won out as it offered a more true-to-life
image.
"The sodium colour came out so well on the
VariCam, the other camera we were testing turned
the street lighting quite red, said Stephan Pehrsson,
Director of Photography on the shoot with previous
credits including Luther, Jonathan Strange and
Mr Norrell. "Our mission was to be as invisible as
possible, to allow that cinéma vérité feel. Because we
weren't spending so much time resetting lights, we
could spend more time shooting and getting better
performances from a brilliant cast. We were shooting
each setup seven or eight times as we were able to
turn around on the location so quickly. I pity the
DIT who had to deal with such a massive amount of
material."
The VariCam was used in conjunction with 35mm
Cooke S4i's, Angenieux Optimo 15-40 and 45-120
lenses, and shot in ProRes 4444, as the BBC didn't
request 4K.

The Moorside series follows the disappearance
of Shannon Matthews. Picture - Stuart Wood

"The Line Producer loved it, the economic saving
from having such limited lighting on set allowed us to
bring in more extras, which just enhanced the show,"
added Pehrsson.
"Keeping it small meant that we were also able to
have a much lower profile. Obviously it is a sensitive
subject and we didn't want to over-do it. In actual
fact, we had such a minimal lighting setup that Jeff
Pope, the Executive Producer, came on set and
couldn't find us. Normally you can't miss a drama
crew."
With two native ISO settings of 800 and 5000 the
VariCam 35 is able to achieve very high sensitivity
while maintaining a low noise level at 5000 ISO. The
noise level at 5000 is nearly identical to that seen at
800 ISO.
"We tested the 5000 ISO, as well as 1600, but most
of the drama was shot at 3200 ISO. Anything you
could see with your eyes the camera saw, maybe
more," said Pehrsson.
business.panasonic.eu/broadcast-and-proav


http://www.incinematographer.com http://www.indiecam.com/products/nakedeye/ https://youtu.be/Z_thn4ui5DY?list=PL4sNN72dGN3ah2lvyvVfdqKFL3KJj-hKj http://www.indiecam.com http://pro-av.panasonic.net/en/varicam/videos/ http://business.panasonic.eu/broadcast-and-proav

Table of Contents for the Digital Edition of InCinematographer - Issue 1 - June 2017

In This Issue
InCinematographer - Issue 1 - June 2017 - Intro
InCinematographer - Issue 1 - June 2017 - Cover1
InCinematographer - Issue 1 - June 2017 - Cover2
InCinematographer - Issue 1 - June 2017 - In This Issue
InCinematographer - Issue 1 - June 2017 - 4
InCinematographer - Issue 1 - June 2017 - 5
InCinematographer - Issue 1 - June 2017 - 6
InCinematographer - Issue 1 - June 2017 - 7
InCinematographer - Issue 1 - June 2017 - 8
InCinematographer - Issue 1 - June 2017 - 9
InCinematographer - Issue 1 - June 2017 - 10
InCinematographer - Issue 1 - June 2017 - 11
InCinematographer - Issue 1 - June 2017 - 12
InCinematographer - Issue 1 - June 2017 - 13
InCinematographer - Issue 1 - June 2017 - 14
InCinematographer - Issue 1 - June 2017 - 15
InCinematographer - Issue 1 - June 2017 - 16
InCinematographer - Issue 1 - June 2017 - 17
InCinematographer - Issue 1 - June 2017 - 18
InCinematographer - Issue 1 - June 2017 - 19
InCinematographer - Issue 1 - June 2017 - 20
InCinematographer - Issue 1 - June 2017 - 21
InCinematographer - Issue 1 - June 2017 - 22
InCinematographer - Issue 1 - June 2017 - 23
InCinematographer - Issue 1 - June 2017 - 24
InCinematographer - Issue 1 - June 2017 - 25
InCinematographer - Issue 1 - June 2017 - 26
InCinematographer - Issue 1 - June 2017 - 27
InCinematographer - Issue 1 - June 2017 - 28
InCinematographer - Issue 1 - June 2017 - 29
InCinematographer - Issue 1 - June 2017 - 30
InCinematographer - Issue 1 - June 2017 - 31
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InCinematographer - Issue 1 - June 2017 - 33
InCinematographer - Issue 1 - June 2017 - 34
InCinematographer - Issue 1 - June 2017 - 35
InCinematographer - Issue 1 - June 2017 - 36
InCinematographer - Issue 1 - June 2017 - 37
InCinematographer - Issue 1 - June 2017 - 38
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InCinematographer - Issue 1 - June 2017 - 40
InCinematographer - Issue 1 - June 2017 - 41
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InCinematographer - Issue 1 - June 2017 - 49
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InCinematographer - Issue 1 - June 2017 - 67
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