HD 1st AC 101 Lesson Plan by Sean Fairburn

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A fundamental change in the way good High Definition is to be done, different from film sets and different from video only sets, is the very necessary good relationship between the 1st AC and the Vision Engineer, Digital Image Technician, or Video Controller. Good communication and an understanding of the roles each person performs goes a long way in keeping the "Camera Dept" from having problems. There is no engineering and camera, it's all "Camera" and the 1st AC and the engineer must establish a good relationship.

Where the engineer does his or her job is not "video village", it is the engineer's workstation. Their work is a necessary contribution to the success of the camera department and the show and should be respected and treated as such. It is not a secondary luxury like video playback. Helping one another get the job done right is the only way the camera crew can function properly.

Sound will also come to you and plug sound cables into the camera. Be a team player and don't give them a hard time. Putting sound on the HD tape as it is shot can save thousands of dollars in syncing of dailies in post and every effort possible should be made to accommodate the sound department in this effort.

These are what I consider the basic skills an AC should possess to comfortably take on a High Definition job. You need to be aware of the features and capabilities of the camera even if it may not be your direct responsibility to perform the functions.

Camera Power Distribution
AC-550 via 4-pin to HDCA-901 or Camera.
Onboard AC power supply via Aspen, Anton Bauer, Sony.
Onboard Sony Lithium Ion Battery (dovetail mount).
Onboard Anton Bauer Battery (3 prong mount).

Accessory Power Distribution
Onboard monitors, downconverters, lens lights, DA's , wireless receivers & transmitters.
Hirose 4-pin 12v DC out of Camera.
Anton Bauer 2 prong from Camera battery plate.
Off board block battery 4-pin direct or to mini distro box.

Back Focus
Stop wide open. If too bright, increase shutter and/or ND.
Turn Peaking and Contrast up, Brightness Down.
Zoom in, Focus on Back Focus chart, Zoom Out wide.
Adjust back focus until crispy and sharp.
Reset Stop, shutter, ND, and Viewfinder.

Timecode
Record Run TC Generator runs only while recording.
Free Run TC Generator runs continuously.
Shift & Advance are used to set timecode (Hour=Tape#).
Jam syncing with Genlock, TC Out & In for Free Run.
Lockit Box external TC source also works well for Free Run.

Cabling
Part of the Camera dept and a necessary part of shooting in HD. Situation will determine how many and what type. Cables go from camera to the Engineering Workstation or tent. Generally: Go Fiber Optic if possible or SDI, YPbPr (RGB), Sound, Remote control cables. Video dept (Video Village) has their own cables that are downconverted NTSC and should come from the Engineering Workstation. Now Fiber optic reduces all to one.

Field of View
Wider than 2:1 for HD Lens FoV to 35 mm Film lens. FoV equivalent or 2.35:1 on the wide focal lengths.
(1.85 in 90%) Not as much on longer focal lengths, closer to 2:1.

Depth of Field
Don't be deceived about having too much and taking it easy. Build your own charts to understand each lenses f-stop/focal length characteristics. Wide angle lenses have more DoF, but the DoF drops sharply as you increase focal length.

Sound (it is now!!)
You may be responsible for plugging in sound cables Ch 1 & Ch 2 and double checking good tone levels on LCD panel @ -20db. When you record bars at the head of every tape, also lay tone from sound. Using the Denecke timecode generator attached to Cam SB-2, sound's timecode may also be fed into your Ch 3 @ -30db.

Onboard Monitoring in HD (ERG & Astro are good)
HD SDI off the HDCA-901 or Evertz onboard downconvter.
HD Analog YPbPr off camera (will also carry Menu and VF info).
NTSC Via Downconvert.

Aspect Ratio Adjustment
Decide what aspect ratio you will shoot beforehand.
Build yourself a safe area and shoot frame charts to insure Post knows what you are doing.
Operator File Page (03)
Marker : ON
Center (crosshair) : ON 3
Safety Zone : ON 90%, 80%, 92.5%, 95%
Effect : ON
Aspect Mode : Var V, 16:9, 15:9, 14:9, 13:9, 4:3, Var H, Vista1 (1.88), Vista2
Mask : ON 50 (level of dark area shade)
Var Width : 940 (for 1.85 inside of 90%)

Shutter Speed/ECS Adjustment
Toggle switch is below Lens. OFF, ON, Sel(ect) under plastic door.
(24 & 23.98psf) OFF, 1/32nd, 1/48th, 1/96th, 1/125th, 1/250th, 1/500th, 1/1000th, ECS (24.0 to 2200 Hz).

Syncing to Computer Monitors (ECS)
ECS Extended Clear Scan, an option in Shutter Speed.
Use rotary encoder to dial flicker out of monitor or flickering lights.

Frame Rate & Format Adjustment
Maintenance (M7) page
Set cursor to NEXT and use rotary encoder to select frame rate, then ****Power down the camera to affect change.****

"HD is Really Good Video and Really Cheap Film"
Options are:
60i - NTSC Video equivalent (drop/nondrop still available) 59.94i - NTSC Video equivalent* (drop/nondrop still available) 50i - PAL Video equivalent 30psf - 30 Frame Progressive Film equivalent 29.97psf* - 29.97 Frame Progressive Film equivalent 25psf - 25 Frame Progressive Film equivalent 24psf - 24 Frame Progressive Film equivalent 23.98psf* - Downconvertable 24 Frame Progressive Film equivalent*

Cueing (Reracking) the Tape - 'CHECKING THE GATE'
Whenever power is broken (battery change) or tape is taken out and put back in, it is necessary to perform a match frame edit to prevent a break in control track and Time Code.
Push RET button behind Zoom rocker on the ENG lens or Assignable Toggle on side (Adjustable via Menu) LENS RET.
Set Timecode switch under Advance button to REGEN*. TC will pick up where it left off automatically after it replays the last 5 seconds. Can also be done from RMB-150.

Onboard ND
ND filter wheel
1 - clear glass no ND no light loss
2 - 1/4th or ND .6 = 2 stop light loss
(1/8th or ND .9 = 3 stop light loss (/3 version))
3 - 1/16th or ND 1.2 = 4 stop light loss
4 - 1/64th or ND 1.8 = 6 stop light loss

Color Correction
A - 4 point star filter. (or 5600K new /3 version).
B - 3200K filter (clear glass cam is Tungsten Base).
C - 4300K filter 85C used for mixed color temp light.
D - 6300K filter 85B+81B used for Daylight & HMI's.

Proper Eyepiece Adjustment
Set Camera to Color Bars and turn Contrast down 1/4 turn, Set Brightness till rightmost Pluge black bar is barely visible (SMPTE 16x9), or till rightmost Black bar (FULL 16x9) matches darkness of outside edge of viewfinder.

Save vs. Standby
Save - takes 7 seconds to record, Tape is off the head.
Standby - takes 1.5 seconds to record, Tape on head.*
Either way you should record for 6 to 10 seconds before calling Speed, Marker, Set, ACTION. This will always insure enough Preroll to use the footage shot (like necessary leader for the editor).

Gain (electric enhancement which increases sensitivity of camera. Every 6db=1 stop.)
L-Low - Adjustable via Menu usually 0db*
M-Med - Adjustable via Menu usually +3db, or +6db*
H-High - Adjustable via Menu usually +9db, or +12db*
Beware of adding too much unnecessary noise with increase in gain.

DCC Dynamic Contrast Control Switch (maximizes separation of highlight distinction - a good thing when used correctly)
Sets the output of camera to Color Bars or Camera.
Also turns DCC circuit ON* or OFF. AKA 'Auto Knee'

White Balance (Trigger for WB and Black Balance next to shutter speed below Lens)
Performs function of shooting Gray Card at head of Scene.
Preset - corresponds to CC filter preset set WB.
A - Manually adjusted WB stored in memory. (shoot white card to set)
B - Additional Manually adjusted WB stored in memory. (Same)
Confer with DIT as to which WB he is using in case you need to unplug for a shot.

VTR Start & Stop (all 5 ways)
On the Lens (ENG)
On the front of Camera (Under the Lens)
On the RMB-150 (Upper right Button)
On the Microforce
On the Assignable switch (smart side bottom of camera)

Loading HD Tape Cassette
Push eject button on top of the camera under the handle.
Orange Door to the front and sprocket holes to the smart side.
Slowly press door closed.
***Always put at least 30 seconds of Color Bars and Sound tone at the head of every tape.***

Recording: Step by Step
Attach Battery or AC Power supply.
Power Up the Camera (ON/OFF switch).
Push the eject button to open cassette carriage door.
Place tape in Camera. Insure record inhibit tab (li'l red square) on tape cassette is flush with edge for record.
Set Timecode to Hour 01:00:00:00.
Set Proper color correction and ND for light being used.
Set or insure frame rate at 23.98psf.
Set Shutter Speed to ON and Insure it is at 1/48th (=180' Shutter Angle).
Insure all necessary cables are plugged (the Engineer, Video controller, or utility person may perform the task).
Set camera on Color Bars, (or ask engineer to do it from the RMB-150) ask for Tone from Sound.
Push VTR (record) button to start recording and roll for :30 seconds.
Push VTR button again to stop recording. Tell sound you are "Clear".
Set camera DCC ON, Cam ON.
Now you have a picture and are ready to hand the camera over to the Operator or DP to frame up the first shot.

I recommend visiting an HD Camera rental house and going over these things to become more familiar with how this works before you take that first HD job. Then have fun doing what you love to do. Please feel free to share this with 1st and 2nd AC's that might be interested. I look forward to seeing you on the set.

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Besides being a Master Director of Photography, Sean Fairburn is a national hero. He's been the only US Marine combat director and cinematographer positioned on the front line of the Iraqi War. Using a Sony's CineAlta F-900 HD camera provided by Panavision, Fairburn was able to obtain incredibly clear and realistic footage that provides an inside look into war and offers a valuable historical archive. Sean's master works have been featured on countless US and International publications. Please visit Sean Fairburn's website for detailed information.