NEWS Randall Dark Productions

Macao lifestyle magazine CLOSER profiles digital cinema festival

2011-10-17T08:34:00.000-07:00

click to enlarge photo

The article "Hollywood Comes to China" in CLOSER gives an excellent overview of this year's Macao China International Digital Cinema Festival held at The Four Seasons Macao. Artistic Director and visionary filmmaker, Randall Dark gives the lifestyle magazine an exclusive one-on-one interview on why he created the festival. Read the article online: Hollywood Comes to China

Live from Beijing and... wait for it... Austin

2011-06-07T03:10:00.000-07:00

On June 7, the Beijing Press Conference for the second Macao, China, International Digital Cinema Festival and Entertainment Technology expo was held at the Beijing City Information Office. Artistic director for the festival, Randall Dark joined the press conference live from his office at Randall Dark Productions in Austin, TX.

See the photo gallery of the event here. View footage of the event here.

Save the Dates!

2011-04-22T18:56:00.000-07:00

The second Macao China International Digital Cinema Festival and Technology Expo will be held November 1-3, 2011. Randall Dark will serve as the Artistic Director for the Macao China International Digital Cinema Festival which he co-founded in 2009 to showcase films from around the world.

The festival and expo will interweave leading filmmakers, entertainment companies, broadcasters and technology experts from across in China, with global leaders in content creation, entertainment technology and manufacturing.

The event will feature leading industry speakers, motion picture and broadcast celebrities, motion picture screenings, seminars, and panel discussions. Award winning independent, documentary and student films will be shown, in addition to special gala banquets and receptions. The festival and expo will focus on the latest advances and technologies of 21st century motion picture, television and electronic game production.

The latest information on the Second Edition of the Macao China International Digital Cinema Festival and Entertainment Technology Expo may be found on the new website: macaodigitalcinema.com

Markee Magazine Interview with Randall P. Dark

2011-03-01T08:07:00.000-08:00

photo by Lindy Michelle Photography

Inside View | Randall Dark Productions
by Christine Bunish

Markee: You just finished your first stereo 3D project, 3 Cities in 3D, the first shot with Panasonic's AG-3DA1 fully-integrated HD 3D camcorder. What was that experience like?

Mr. Dark: “I had mixed feelings about 3D and felt it was improper to talk about [them] before I'd shot and edited 3D. I was interested in trying the 3DA1 because of its side-by-side lenses. I thought it could be a new, cost-effective way of creating 3D.

“I had worked with Shane Marr on a Dolly Parton PSA and asked him if there was any interest in a tourist-center 3D video in the Smokey Mountains. There was, so I phoned my friends at Wealth TV and asked if they'd be interested in airing a few 3D documentaries if I did them — they were. I met with Panasonic at NAB and told them I'd like to get my hands on one of the first 3DA1s to do a real-world, client-driven project. Panasonic got me a camera last June, and we began 3 Cities in 3D, a co-production between Randall Dark Productions and Shane's company, Cinemarr Entertainment in Sevierville, Tennessee.”

Markee: How did you pack three cities — Gatlinburg, Sevierville and Pigeon Forge — into the 24-minute documentary?

Mr. Dark: “We talked to each city's Chamber of Commerce and asked them to pick seven locations to showcase; Shane and I looked for areas for B roll, too. The doc shows in broad strokes the unique attributes and attractions these cities offer to people who have a week or three days to spend in the area.

“We shot 82 locations in 10 days — we were runnin' and gunnin'. The camera allowed us to shoot many locations quickly because we didn't need a big crew: Its form factor is very easy to move, and you can use Steadicam, jibs and dollies but don't need big set ups. At the end of the day, if I saw a beautiful sunset I could capture it alone, with just a tripod. That's unheard of when shooting 3D.”

Markee: Did you encounter any challenges?

Mr. Dark: “We were shooting at Ripley's Aquarium in Gatlinburg during normal business hours so I couldn't get in the way of paying customers with lots of lights and equipment. Because the camera is so portable, I was able to get what I needed without displacing anybody. I shot people going up and down a zip line in the Smokeys then got myself rigged up with the camera, too. With the 3DA1 I didn't have to think in terms of traditional shots.

“We used high-capacity, 8-gig media cards that had 45-minute loads, very much like the HDCAM loads I'm used to. We treated the cards as master tapes, keeping the files of raw footage safe until we could transfer them in post with card readers and create files to edit with. Cinemarr and I co-own all the raw footage so we'll be able to market 3D stock footage later with FootageBank as our rep.”

Markee: What surprised you the most during the project?

Mr. Dark: “The quality of the images and the ability to do positive and negative 3D and see it in realtime in a very portable environment. We were so mobile, yet we could do convergence in the field in realtime with this technology.

“We were also able to go into environments without a gigantic crew and lots of equipment. You can work very intimately and subtly in public places with a camera that small.”

Markee: What's next for 3 Cities in 3D and for you?

Mr. Dark: “Cinemarr and I co-own a 3D post facility in Sevierville, Dark Marr Productions, where Shane is working on the edit using CineForm Neo3D and an Adobe CS5 editing system. We communicate about the cut interactively with Video Skype when I'm traveling.

“The Sevierville Chamber of Commerce loved 3 Cities so much they wanted their own half hour; so we shot one with all new footage, and that's currently in post, too. We're marketing the concept to other cities across the U.S. — everyone's looking for innovative ways to attract visitors.

“I'd like to do more experimenting with 3D — it's really in its infancy. I always say Ôjust because you can do something doesn't mean you should,' and I think that applies to 3D. I want to test its limits and scope for storytelling and get a better understanding of when and how to use it.”

Find the Markee interview online here.

Eddie Willis and Randall Dark Team Up for a Performance Music Video

2011-01-18T16:00:00.000-08:00

Eddie Willis recently completed his new CD titled "After the Music" and Randall Dark was looking for a debut project for his new edit suite. "I heard the rough track of "Glow" and I knew it would make the perfect performance music video," said Dark. “We decided to do some shooting during one of the final recording sessions and then at a number of other locations, one being a brand new stage in Austin under the control of Austin Ridge Productions. Producer, Kristen Cox and DP, Jim Flores rounded out the crew and I love the look we achieved.”

The music video will have a national broadcast and will be available on iTunes.

Artist: Eddie Willis
Album Title: After the Music
Song Title: Glow
Produced By: JJ Plasencio
Music Video Director: Randall P. Dark
Purchase on iTunes:
http://itunes.apple.com/us/album/after-the-music/id400519022

Austin Ridge Productions studio shoot.

Randall and Eddie at one of the locations for the video.

“Makarios: A Rising Tide”

2010-12-20T09:05:00.000-08:00

FOR IMMEDIATE RELEASE

Randall Dark Productions and Austin Ridge Productions To Co-Produce the Story of Makarios

Randall Dark Productions, LP in association with Austin Ridge Productions, gathered a small crew and travelled through various remote villages in the Puerto Plata region of the Dominican Republic in late October in an effort to capture the story of a unique school called Makarios.

Directed and produced by HD Pioneers, Randall Dark and Kristen Cox, the documentary footage was captured in High Definition using two cameras. The crew spent 4 days shooting over 22 hours of footage. “We were shooting in tiny villages tucked into sugar cane fields where there was no electricity. I had to be very deliberate with our shoot schedule because we were limited to the amount of battery life we had. In order to make as small an impact as possible, we were minimalistic in our lighting and shooting approach,” said Kristen Cox, producer.

Makarios is a school that serves the poorest of the poor in the region. It provides opportunity for the next generation through education and dissolves bitter hatred by educating Dominican and Haitian children together. “These are the kinds of stories that need to be told; it’s why I became passionate about High Definition in the first place! When you look at these adorable little faces and learn that they only get to eat when they go to school, it’s going to break your heart. This technology opens a window to the world for viewers and will ignite a passion in them to help,” explained Randall Dark, director.

“Makarios: A Rising Tide” is currently in post production and is destined for completion early next year. Dark is in negotiations with broadcasters who are interested in airing the final program. La Cie has joined as a partial sponsor.

A 3D Ode to the Smokies

2010-07-26T19:01:00.000-07:00

Randall Dark shooting the Titanic in 3D the easy way

by John Merli

AUSTIN, TEXAS

Even people who have spent much of their lives in the picturesque Smoky Mountains will tell you they've never seen their surroundings quite like this before. While 2D HD probably would have done justice to the many natural and man-made attractions of Gatlinburg, Sevierville and Pigeon Forge in Tennessee, capturing it in stereoscopic 3D brings an added dimension to the subject matter in more ways than one.

Penguins stare back at 3D producer Randall Dark with amusement at

Ripley’s Aquarium of the Smokies in Gatlinburg, Tennessee.

Now in post-production after a spring shooting schedule, the idea and principle photography for the documentary "3 Cities in 3D" throughout the Smoky Mountain region was conceived and shot by veteran HD cinematographer Randall Dark. Other principals for the marketing tool include locally based Cinemarr Entertainment of Sevierville, and CineForm, a software integrator and post house based in Solana Beach, Calif.

The 3D tourism production is earmarked for an initial airing on Wealth TV, a six-year old network based in San Diego that's been struggling to grow its cable carriage. Although Dark set up one of the nation's first HD production houses and continues to run his own shop—Randall Dark Productions in Austin, Texas—this was his first major 3D project. He said his biggest challenge was simply defining what the look and feel of the documentary should be.

"A knee-jerk reaction would have been to punch through that 'fourth wall' and do the familiar one-trick pony effect," Dark said. "But 3D needs to be more than objects floating in front of your television. The animation studios have proven for years—and recently ['Avatar'] director James Cameron did, too—that a willing suspension of disbelief can happen in 3D and your audience can have a cathartic response to the storytelling. So I want the effect to be a pay-off, not just a trick."

Dark said he's always been driven to create video content using cutting-edge technology—which explained his early passion for the then-emerging medium of HD several decades ago. But 3D technology for its part, is hardly new. "Since 3D has been around for many years, I thought there was nothing new I could bring to the party. The latest pioneers of 3D were already creating very cool content and had established successful workflows. But then I saw Panasonic's version of [the computer-generated Pixar movie] 'Wall-e.' The idea that a 3D camera could be really portable and truly user-friendly greatly appealed to me."

Randall P. Dark shooting Country Tonite for 3 Cities in 3D with the Panasonic AG-3DA1.

Dark had worked with Shane Marr, the head of Cinemarr Entertainment, on a PSA featuring Dolly Parton (whose Dollywood theme park is located in Pigeon Forge). So Dark successfully pitched the 3D documentary to Wealth TV. Marr said while seeking out a dual-lens 3D HD camera suitable for occasionally arduous field work, they selected the Panasonic AG-3DA1.

"This camera made post [production] much easier because there's no need to sync anything up," Marr said. "Image files aligned perfectly, once the footage was loaded into the computer. Marr said in post-production, he's using Cineform's Neo3D to mux left- and right-eye views in order to make any convergence tweaks necessary to highlight something in particular. The CineForm software also is being used for color correction. "Once that's complete, we import the files into [the editing platform] to start the cut."

Yet neither Marr nor Dark is exactly tossing HD aside for the challenges and artistic allure of 3D. "The AG-3DA1 is like shooting two projects at once," Marr said. "You're shooting both 3D and two '2D HD' views simultaneously—that is to say, the left- and right-eye views. It reminds me of something an old instructor of mine use to say. 'Shoot as much as you can. You can always take away, but you can't add.' So I say shoot in 3D and even if you only use the 2D version, you'll have the option of going back to the 3D version later." (Using just the left-eye version of a stereoscopic 3D shoot usually produces acceptable HD 2D content.)

EXPANDING ACCESSIBILITY

First introduced by Panasonic last April at NAB, the AG-3DA1 will become available by late August. Panasonic's Jan Crittenden Livingston, the new camera's product manager, envisions the compact unit as "broader-basing" the world of 3D to far more users. "We reduced the cost of entry with the price points, along with the technical wherewithal that's normally required for dealing with 3D stereography," she said. "For 3D right now, we're really helping expand accessibility to television projects, and that's saying something."

Still, Crittenden cautions, there are some 3D-centric idiosyncrasies that have to be considered when shooting. "This little [6.5 pound] camera only burdens the stereographer with two things… one being the parallax aberrations or anomalies that you need to look out for, such as objects getting too close to the camera and creating visual distractions," she said. "So operators have to take steps to avoid it. The next thing to pay close attention to are possible framing problems, where, for example, some object enters the frame and at first can be seen by only one eye, left or right. This can cause a very disturbing effect on the part of the audience—depending on how large that item is, it can feel like a linebacker just hit you or like a nervous twitch in your brain—either way the effect is pretty uncomfortable,” Crittenden said.

Although not all 3D projects are shot and post-produced in the same way—Crittenden said 23 different cinema projector configurations were necessitated by screening "Avatar" in 3D globally—eventual 3D content typically is edited in 2D (HD) as independent Left Eye and Right Eye. Then a final "conform" in 3D is created at the end of post. But since the "3 Cities in 3D" project used CineForm's Neo3D software in post-production, content can be viewed in 3D during the editing process.

According to CineForm CEO David Taylor, "This edit technique allows the elimination of 3D 'conform' entirely and the ability to handle prints directly from the editing timeline to electronic 3D distribution or projection files." "3 Cities in 3D" is now in the midst of being editing in real time with full frame-rate playback to external 3D monitors. Taylor said his software firm's key Neo3D application (dubbed "First Light") can work in tandem with Adobe Premiere Pro, Apple Final Cut Pro, and Avid Media Composer.

"We're within a day's drive of two-thirds of the U.S. population and we're very much a tourist destination," said Lori McMahan Moore, executive director of the Smoky Mountain Tourist Development Council. "So from our perspective, it's completely marketing. So far I've seen maybe a minute of the 3D footage and I was absolutely blown away. So much of 3D is simply depth perception—not objects coming out at you off the screen. It was truly amazing," Moore said.

reposted with permission of TV Technology

Cost-Effective Stereo Storytelling

2010-06-23T14:44:00.000-07:00

A pioneer in HDTV production since 1986, Randall Dark says he’s always keeping his eye out for something that will rev up his creative gears and throw him into a new world of images, workflows, and storytelling possibilities. Film & Video's Bryant Frazer talks with Dark about field-testing the Panasonic AG-3DA1 3D camcorder, China's first Digital Cinema Festival and how 3 Cities In 3D all came about:

Field-Testing the Panasonic AG-3DA1 3D Camcorder

courtesy: Film & Video

First Macao China International Digital Cinema Festival a Success

2010-06-15T15:15:00.000-07:00

Its founders and participants are calling the recently completed Macao China International Digital Cinema Festival and Entertainment Technology Expo a huge success. The Festival began with ceremonial Chinese pomp and circumstance, except the traditional ribbon cutting was replaced with a film cutting. The festival’s creative director, Randall Dark says, “I thought it was poetic that we cut 35mm film to launch our event.” The keynote speaker was Scott Ross, former CEO and founder of Los Angeles post house Digital Domain. Seminars on 3D followed with industry experts such as Pierre De Lespinois and Scott Billups. Its founders and participants are calling the recently completed Macao China International Digital Cinema Festival and Entertainment Technology Expo a huge success.

Dark says, "It was amazing to have Chinese and Americans on the same panel discussing their mutual passion for this hot topic. Sharing ideas and passion is what makes an international festival so important.”

The final day ended with more than a hundred children from the city of Macao enjoying a private screening of Disney's Tinker Bell And The Lost Treasure. A special digital cinema was created in the Venetian Hotel for this event that showcased the Cantonese version the film.  After the screening producer, Sean Lurie accepted questions from the young audience. "It was great fun to watch the children enjoy our movie”, says Lurie, “but what was amazing was that one of the questions I was asked was whether the next installment would come out in 3D.”

Dark says, "The mandate of our Festival is not just to involve industry professionals but also the local community. Seeing all those children take part in our event was probably the most important moment for me during the festival.”

Festival chairman Jeff Greene says, "Getting support from the Macao Government was key to launching a successful festival at the world class Venetian Hotel. This was their first festival and after only one day, they initiated discussions on how to make it bigger next year.” Macao China International Digital Cinema Festival and Entertainment Technology Expo

reposted with permission from Digital Cinema Report

Festival Opens Doors for Collaboration Between US & China

2010-06-03T15:25:00.000-07:00

MACAO, CHINA - Filmmaker Randall Dark recently returned from China, where he served as the artistic director for the inaugural Macao China International Digital Cinema Festival and Entertainment Technology Expo with a 3D Summit (www.macaodigitalcinema.com). Dark says the purpose of the event was to showcase American and Chinese feature films and documentaries, as well as to host panels that address increasing globalization, technological expansion and changing standards. 3D was a hot topic, he notes.

The event also served as an opportunity for filmmakers to discuss possible collaboration, co-productions and distribution deals between the two countries, and to exchange creative ideas.

The Savannah College of Art and Design’s students served as an international education partner for the event, which wrapped up with a screening of Disney's Tinker Bell and the Lost Treasure for over 100 children from the city of Macao.

"The heart and spirit of our festival was showcased during the Tinker Bell screening," says Dark. "Not only is the event designed to bring together the best minds in both the creative and technical industry world wide, but I want to also involve the community. Let them share in the excitement of world class events such as this.”

“Getting the support from the Chinese Government was key to launching a successful festival and already they have initiated discussions on how to make the festival bigger next year,” adds festival chairman Jeff Greene.

The festival kicked off with a ribbon-cutting ceremony that made use of 35mm film. Click on images to make larger.

reposted with permission from Post Magazine

2010 Digital Cinema Festival Overview

2010-05-31T07:47:00.000-07:00

The Macao China International Digital Cinema Festival and Entertainment Technology Expo is complete and is being touted by its founders and participants as a huge success.

Kicked-off with ceremonial Chinese pomp and circumstance, the traditional ribbon cutting was replaced with a film cutting. The festival’s Creative Director, Randall Dark said, “I thought it was poetic that we cut 35mm film to launch our event.” Keynote speaker, Scott Ross, former CEO and founder of Digital Domain offered insight and candor to a room full of eager participants.

Seminars on 3D followed with industry experts such as Pierre De Lespinois and Scott Billups. Dark added that "It was amazing to have Chinese and Americans on the same panel discussing their mutual passion for this hot topic. Sharing ideas and passion is what makes an international festival so important.”

Festival Chairmen Jeff Greene stated that "Getting support from the Macao Government was key to launching a successful festival at the world class Venetian Hotel. This was their first festival and after only one day, they initiated discussions on how to make it bigger next year.

Gallery of photos from the event

Chinese children get private Disney screening

2010-05-30T05:20:00.000-07:00

For Immediate Release

May 29, 2010
Macao, China

The final day of the Macao China International Digital Cinema Festival and Entertainment Technology Expo ended with over a hundred children from the city of Macao enjoying a private screening of Disney's "Tinker Bell And The Lost Treasure." A special digital cinema was created in the Venetian Hotel for this event that showcased the Cantonese version the film.

After the screening, the Producer, Sean Lurie accepted questions from the young audience. " It was great fun to watch the children enjoy our movie,” said Lurie, “but what was amazing was that one of the questions I was asked was whether the next installment would come out in 3D.”

Festival Artistic Director Randall Dark stated that " The mandate of our Festival is not just to involve industry professionals but also the local community. Seeing all those children take part in our event was probably the most important moment for me during the festival."

Read more about the first digital cinema festival in China at the official website:

Macao China International Digital Cinema Festival & Entertainment Technology Expo

Producer Sean Lurie (Disney's "Tinkerbell and the Lost Treasure") and Randall Dark field questions at a private screening for Chinese children.

Festival brings Hollywood experts to Macau

2010-05-26T05:33:00.000-07:00

from the Macao Daily Times newspaper
by Alexandra Lages

The first Macau International Digital Cinema Festival and Entertainment Technology Expo will open tomorrow at The Venetian. The event brings to Macau experts from Hollywood, Hong Kong and mainland China and aims to be a platform between Asian and Western filmmakers and TV broadcasters.

“What’s happening is that in the entertainment world today there is a revolution. The world of TV and film making is changing. And we brought top Hollywood experts in digital effects that have worked in Titanic, Avatar and Lord of the Rings,” Jeff Greene from the organization told reporters yesterday.

“The idea is doing an event when you bring together top digital and filmmaking experts from Hollywood and mainland China,” he added.

The event will interweave leading entertainment companies and broadcasters in China with global leaders in technology, manufacturers and world-class content creators. Until Saturday, the event will feature industry leading speakers, celebrities, digital motion picture screenings, seminars, panel discussions, award winning independent and student films, opening night gala and receptions.

It focuses on the latest advances and technologies of 21st century motion picture and television production.

Keynote speakers include: Scott Ross, visual effects expert producer of Hollywood blockbusters “The Terminator”, “X-Men”, “I Robot”; Scott Billups, an award-winning director/cinematographer who has produced, directed, written and shot numerous feature films, television programs and commercials; and Randal Kleiser, director, writer and producer whose first feature was “Grease” and “The Blue Lagoon”.

Tim Smith will present the new Canon cameras and digital motion picture photography, while Ted Schilowitz is the official spokesperson for the Red Digital Cinema Company.

Randall Dark, from the organization, said during his speech, that the festival will join new and old filmmakers, and everyone interested in digital cinema and entertainment. Seminars are open to the public.

“Students will have an opportunity to make questions to top experts,” Greene pointed out.

According to the organization, China has recently begun to broadcast in high definition, and as Chinese broadcasters and content creators adapt to the change there is a great interest and opportunity in entertainment technology and its effect on every stage of the creative process, from inception through to final delivery.

Greene said that for its first year, the event is starting small, with only 10 participants from Hollywood, mainland China, Hong Kong and Japan, as well as celebrities from China and Hong Kong. Next year, the festival is expected to be bigger.

The festival is produced by Burma Road Productions in association with Randall Dark Productions. Both companies have been developing projects in mainland China and Hong Kong

http://www.macaodigitalcinema.com/

WealthTV taps Randall Dark Productions for 3D content

2010-05-11T06:10:00.000-07:00

3D Content Production underway for Lifestyle and Entertainment Network

SAN DIEGO, CA – May 10, 2010 – WealthTV, the premier luxury lifestyle and entertainment network, today announced that it has concluded a deal with Randall Dark Productions to produce a travelogue in 3D. The initial 3D episode scheduled for airing on WealthTV later this summer, will capture the awe-inspiring natural wonders of the Smoky Mountains along with thrilling theme park attractions and exciting entertainment found in three Tennessee cities.

Read the entire press release here.

Website launched for inaugural digital cinema festival in China

2010-04-30T10:42:00.000-07:00

Randall Dark is the festival artistic director for China's first digital cinema festival. Take a look at who all will be at the festival in May on the gorgeous new website for the Macao, China International Digital Cinema Festival & Entertainment Technology Expo: macaodigitalcinema.com

LaCie Sponsors Latest Randall Dark Production

2010-04-30T10:05:00.000-07:00

High definition pioneer Randall Dark is on the technical vanguard once again. Now he's at the head of the pack moving into the 3D realm with his project "Page Hill Battle." Read the latest on LaCie's sponsorship: LaCie Lounge

For more information on "Page Hill Battle," visit the official website: darkmarrproduction.com

New program to air nationally on WealthTV

2010-04-20T19:06:00.000-07:00

With awe-inspiring natural wonders and plenty of thrilling attractions, 3 Cities in 3D will feature the beauty, fun and excitement of Sevierville, Pigeon Forge and Gatlinburg, Tennessee in 3D. Produced, directed and shot by Randall Dark, the HD program will air nationally on WealthTV. Follow the production process on the official website and Facebook: 3 Cities In 3D

Maxell's Ten Questions

2010-04-01T16:44:00.000-07:00

Randall Dark kicks off Maxell's new on-going series asking ten questions of professionals throughout the pro media industry. Click here: Ten Questions with Randall Dark

"The Tale of Sasquatch" now available electronically

2010-03-29T17:44:00.000-07:00

"The Tale of Sasquatch," a children's fairytale by Randall Dark, is now available for download as an Ebook at Smashwords.

"Sasquatch" chronicles the misadventures of Rupert as he begins his search in the woods for food. Frankly, though, Rupert could be anybody, including you. The story is really about feeling like there's something "wrong" with you - and discovering that it's okay to be different. The children's book also creatively teaches a child how to put on a play.

Get your copy here: "The Tale of Sasquatch"

A first in China

2010-03-16T06:47:00.000-07:00

click on image to make larger

NEW: Trailer for Page Hill Battle

2010-01-09T12:30:00.000-08:00

Press Conference in Macao, China

2009-12-05T06:42:00.000-08:00

Official press conference that took place this past week announcing The Macao, China International Digital Cinema Festival and Entertainment Technology Expo. The festival dates have been changed to May 27-29, 2010. Randall P. Dark is the event's Artistic Director.

Teaser Trailer: Page Hill Battle (w.t)

2009-11-18T21:37:00.000-08:00

The Dark/Marr Production feature film "Page Hill Battle" (w.t.) is currently in development. View the teaser trailer here: http://www.darkmarrproduction.com/

The Future of Independent Distribution

2009-10-19T11:42:00.000-07:00

See for yourself where distribution is headed.

The Randall P. Dark channel beta test site:

dark.newcinema.com

New feature in development

2009-10-16T12:07:00.000-07:00

Randall P. Dark has been tapped to produce the new feature "Page Hill Battle." Currently in development, the story is a political action thriller. Shane Marr is set to co-produce and direct.

Click here: Page Hill Battle (working title)

Official Press Release

2009-09-24T18:46:00.000-07:00

After more than two years of long plane rides, official meetings and some great Chinese food, I am proud to announce The Macao, China International Digital Cinema Festival and Entertainment Technology Expo. The event takes place December 3rd - 5th 2009.

See the press release below.

Regards,

Randall P. Dark
Artistic Director
The Macao, China International Digital Cinema Festival and Entertainment Technology Expo

=====

Macao, China International Digital Cinema Festival & Entertainment Technology Expo Makes Bow in December
Createasphere, Burma Road & Randall Dark Productions Announce First Ever Film Fest & Tech Expo in Macao, China

September 25, 2009 (Burbank, CA) On December 3-5, 2009 in China’s glamorous Macao, filmmakers, broadcasters, experts and technology companies will gather for the country’s first ever content creator-entertainment technology centered event. China has recently begun to broadcast in high definition and as Chinese broadcasters and content creators acclimate to the change, there is great interest and opportunity in entertainment technology and its effect on every stage of the process, from creative through final delivery. The Macao, China International Digital Cinema Festival and Entertainment Technology Expo will interweave the leading entertainment companies and broadcasters in China with global leaders in technology, manufacturers and world-class content creators.

The Expo launches with the full support of the Macao government and many renowned Chinese filmmakers and leaders. The Expo will include an exhibition area featuring top technology companies and manufacturers, a conference program of panels and speakers who will address creative topics as well as the implications of emerging technologies on storytelling, social events and networking, and a digital cinema film festival. In addition to evening events and sponsored lunches, a closing night gala is planned. Exhibitors, panels, and films will be announced soon and a full schedule will be on-line later this month.

The team behind the event includes Createasphere, Randall Dark Productions and Burma Road Productions; a highly qualified group that brings a deep understanding of the implications of emerging technologies on creative industries. Createasphere (HD EXPO) has presented top notch technology and creative events in the US since 2001; Randall Dark is a bona fide high definition pioneer who took this early knowledge into a successful career as a producer & director; and Burma Road is headed by writer-producer Jeff Greene, whose credits include the Chinese documentary "Chennault & the Flying Tigers," one of the most watched documentaries ever made in China, with 400 million views to date, Greene has been producing in China for over 15 years and has offices in Kunming, Macao and Los Angeles. Most recently, Greene has developed a major motion picture for a Hollywood studio that is slated to begin production in China in 2010. Key leaders in the Chinese entertainment and broadcast industries have been invited and are expected to attend the event.

Randall Dark noted that, “What drove high definition to the U.S. consumer was the evolution of quality content created using the emerging technology. We have had over twenty years to discover and cultivate the relationship between the artist and the technologist. This annual event is specifically designed to expand the relationship globally. High definition in China is the next frontier.”

Kristin Petrovich, President of HD EXPO - Createasphere, noted, “For those of us who work in the community of content creators and entertainment technologists, China’s massive and rapidly growing economy simply cannot be ignored. There is so much going on there that we need to experience and, conversely, our decade plus experience in high definition and cutting edge technologies like 3D could be very beneficial to the Chinese at this critical moment. Whether you are in China, Calcutta, or Burbank, the global content creators and technological experts need to share information. We believe that this is a powerful opportunity for that kind of community building, set in a magnificent place with key partners.”

For further information about The Macao, China International Digital Cinema Festival and Entertainment Technology Expo, visit www.createasphere.com/china or call 818.842.6611.

About The Macao, China International Digital Cinema Festival & Entertainment Technology Expo
Premiering December 3-5, 2009, The Macao, China International Digital Cinema Festival & Entertainment Technology Expo is the first exposition and festival of its kind to be presented in Macao, China. The three-day event brings together a global gathering of the entertainment content and technology communities to share ideas, explore technologies and foster thought leadership through collaboration at the dawn of high definition broadcasting in China. The Macao International Digital Cinema Festival & Entertainment Technology Expo is a collaborative presentation of US- based Burma Road Productions, Randall Dark Productions (www.randalldark.net) and Createasphere (www.createasphere.net).

# # #

Jackson Hole Wildlife Film Festival

2009-09-19T19:22:00.000-07:00

Randall P. Dark will speaking in two different seminars at the Jackson Hole Wildlife Film Festival, September 28 - October 2. The seminar topics are WEB.TV and Independent Thinking: Alternative Distribution Models.

More information: Jackson Hole Wildlife Film Festival

TUESDAY, SEPTEMBER 29

SEMINAR: WEB.TV

The web offers more than a distribution method: a new genre has emerged. Adopting storytelling traditions to this global—always on—interactive network has huge power to influence attitudes and behavior. A look at streamed networks with case studies of collaborations that work. There are exciting opportunities for even the smallest institutions and independents, with practical advice on business models to back it up.

Randall Dark, CEO, Randall Dark Productions
Craig Rosa, Interactive Producer, QUEST, KQED Public Media

WEDNESDAY, SEPTEMBER 30

SEMINAR: Independent Thinking: Alternative Distribution Models
Do you need the big guys, after all? Examining the road less traveled to success in four-wall, independent and streamed distribution, a nontraditional approach of self-distribution might be in your best economic interest.

Randall Dark, CEO, Randall Dark Productions
Alexander Piel, Wild Opera
Suzanne Chisholm

Digital Cinema Festival in China

2009-09-17T19:23:00.000-07:00

Web site for the Macao International Digital Cinema Festival is now active. Get more information on the event happening this December:

http://www.macaointernationaldigitalcinemafestival.com/

Just announced

2009-08-18T06:20:00.000-07:00

Randall P. Dark has been named the Artistic Director of the Macao China International Digital Cinema Festival & Entertainment Technology Expo. The event runs December 3-5, 2009 and will be held at the Convention and Exhibition Center at The Venetian Resort in Macao.

Coming soon!

2009-08-03T10:55:00.000-07:00

click image to make larger

Coming Soon!

2009-07-04T13:05:00.000-07:00

An historic day: Goodbye analog, hello digital

2009-06-12T09:37:00.000-07:00

Across the United States today, television stations will power down the analog signals that have sent TV shows into homes for six decades.

Today represents the deadline for the country’s transition to fully digital television broadcasting. Throughout the day, TV stations are switching off analog signals as the digital TV deadline has arrived at last.

On this historic day, Randall Dark received the following letter from Gary Shapiro, President & CEO, Consumer Electronics Association:

June 12, 2009

Dear Randall Dark:

Thank you! You are a true American hero!

Thank you for helping get our nation to this historic day! You are one of the 200 inductees into the DTV Academy because of your major contribution to the cause of digital television. You made a huge difference and helped our national transition to digital television!

Although the short term may bring news stories about the relatively few Americans who did not timely transition to digital, in a few months this will be a historical blip, capping the over 20 year effort to transition our nation to a uniquely American HDTV broadcast transmission standard.

I have often joked that I am so excited about HDTV that my tombstone will be 16 by 9. But the truth is that every one of us played a critical role in an unprecedented technology shift affecting how virtually every American receives entertainment, news and information.

Of course, we are still at the beginning of the digital revolution, but you and all who know you should take some satisfaction that you played a historic role in making this shift happen. Few can claim this, but many will benefit.

Our task is nearly completed for this chapter of our history. But we will never finish our quest to make things better by promoting sound policies – like the DTV transition – that advance American innovation.

I thank you so much for turning our shared national vision into a reality benefitting every American. I hope you will continue to work towards shared national goals which move us forward.

Sincerely,

Gary Shapiro
President and CEO
Consumer Electronics Association

(click image to enlarge)

Keynote address at Creative Storage Conference '09

2009-03-20T10:40:00.000-07:00

2009 Creative Storage Conference Announces Randall Dark Keynote

San Jose, CA—March 18, 2009—The Third Annual Creative Storage Conference (CS09) will be held in conjunction with the 2009 NAB Show at the Flamingo Hotel in Las Vegas on April 19, 2009. Conference registration is now open at www.creativestorage.org.

Randall Dark will be the afternoon keynote speaker. Randall was the co-founder and creative force behind HD Vision Studios in Los Angeles. He is a member of the Television Arts and Sciences Academy and he is distinguished with top honors from the International Electronics Cinema Festival and is one of a select few members of the Consumer Electronics Association’s Academy of Digital Pioneers. His presentation is called Dealing With the Angst. Randall says we are now entering an era where video tape will no longer be the medium of choice for capture, manipulation or archiving. His talk addresses how to conquer the fears of the transition to digital hard drive technology from the view point of a nonbeliever who is coming into this world kicking and screaming.

For additional information on the conference call 408-871-8808 or email info@creativestorage.org.

About Coughlin Associates: Coughlin Associates puts on the Creative Storage Conference through the Entertainment Storage Alliance. Coughlin Associates provides digital storage and applications consulting, market and technology analysis and conference organization services. More information is available about Coughlin Associates at www.tomcoughlin.com.

Monetizing Stock Footage

2009-03-19T11:28:00.000-07:00

Randall Dark will be a presenter for Studio Daily's webinar "Monetizing Stock Footage." The webinar is at 1 pm EDT on March 25, 2009. Click here to register: Monetizing Stock Footage

DESCRIPTION
Stock footage is a hotter item than ever before: TV, film and now new media need that nighttime skyline of a glittering Manhattan or a line of camels plodding over the desert dunes without breaking the bank. If you’re a producer, find out about new options for cost-effective stock shots. If you’re a cinematographer, learn about a way to create passive income with footage you’ve already shot or might shoot in your free time.

from Studio Daily

Easy as shooting fish in a barrel

2009-02-17T09:12:00.000-08:00

Cinemarr, Randall Dark Shoot HD Commercial for Ripley’s Aquarium

Cinemarr Entertainment tapped the services of HD pioneer Randall Dark for Ripley’s Aquarium of the Smokies first high definition commercial.The 30 second spot, a mixture of live action and animation, was shot in 1080i with the Sony HDCam and Canon HD zoom lens and will be onlined and offlined at Cinemarr Entertainment in Sevierville, Tennessee. TripAdvisor.com recently named Ripley’s Aquarium of the Smokies the number one aquarium in the United States.

“Because of that,” says Cinemarr founder S. Shane Marr, who also directed, “there is nationwide focus on this aquarium. We are very pleased that Cinemarr was chosen to shoot the new commercial for Ripley’s Aquarium of the Smokies and to do so in HD.”

The clarity produced by HD technology was ideal for shooting both the live action sequences and background plates, which will later have digital cartoon fish added. Dark says, “Capturing the incredible images presented no problems for my HD camera. It was as easy as shooting fish in a barrel.”   Shooting at Ripley’s Aquarium of the Smokies offered ample opportunities for beautiful images, but also posed some challenges.

“In order to keep the fish comfortable and safe, only minimal lighting is permitted in the aquarium during a shoot. The resulting lower light situations could have meant a potential problem getting the best images if we had shot film.” says Marr. “Also, the project had an overall abbreviated time frame to be on air in time for spring vacation planning. Shooting in HD helped us on both these fronts by producing beautiful lower light images and turning the project around quickly.”
 After meeting and becoming friends in 2004, this was the second opportunity Marr and Dark have had to work with one another.
 The overnight production, with a cast of 40, featured extensive shooting inside the aquarium’s 345-foot long underwater tunnel and the new Lethal Weapons exhibit, which showcases deadly sea creatures.

Ripley’s Aquarium of the Smokies is located in Gatlinburg, Tennessee, one of three resort towns in the Great Smoky Mountains which receive approximately 13,000,000 visitors annually.

from Digital Cinema Report

Dark Shoots RED for Dolby Demo

2008-10-30T21:09:00.000-07:00

By Marc Loftus
mloftus@postmagazine.com

LOS ANGELES - Filmmaker Randall Dark (www.randalldark.net) has spent the past two weeks shooting footage for an upcoming Dolby Labs presentation. When Post caught up with Dark, he was in Jackson Hole, Wyoming, shooting a timelapse sequence, and had already spent several days in both Dallas and Miami, shooting footage for the project. He was also planning a trip to Toronto to round out production.

According to Dolby's Gaven Wang, the presentation will be shown at tradeshows and will highlight the company's new HDR video technology. For the Miami and Wyoming shoots, Dark worked with DP and Red camera owner Ken Michael, who will also handle the post for his segments of the project.

Dark says the project is due to the client on November 10th. Michael shot his segments using a Nikon adapter and lenses. Shooting in 4K, Michael captured footage to a rugged 320GB drive. At the end of each day, footage is transferred to a 4TB drive that Dark recently purchased. Michael will be editing the project in Final Cut Pro and will transcode the r3d files to the ProRes codec.

The Dolby presentation marks the first time Dark - who considers himself format agnostic - has worked with the Red camera. Dark will remain the owner of the unused footage and will add it to his own high definition footage collection.

See the article in Post Magazine

RED: On location

2008-10-24T10:14:00.000-07:00

Wyoming beauty shot

Wyoming captured with the RED

Seeing Red

2008-10-20T06:24:00.000-07:00

NEWS RELEASE

Randall P. Dark is presently shooting with the RED camera for Dark Red Images. The footage will be used for creating short demonstration pieces and adding to his already extensive High Definition Library.

Over the next 3 weeks he will crisscross the country shooting in the following locations:

- Dallas / Fort Worth, Texas
- Miami, Florida
- Jackson Hole, Wyoming
- Grand Teton National Park
- Toronto, Canada

For more information about the Red footage or Dark Red Images, contact Randall P. Dark.

www.randalldark.net

Reminiscing About the Future of Post Production

2008-08-02T13:54:00.000-07:00

October 15-16, 2008 in New York City

A panel of post production industry leaders and visionaries will attempt to define, explain and recount why we may be done with the ever evolving and changing pathway of cutting edge post production technology. Discover if the changes were inspired by the needs of a creative mind or driven by engineering geeks in a back room. And most importantly, "Are we there yet."

MODERATOR:
Randall Dark, Director/Producer, Randall Dark Productions

SPEAKERS:
Joe Beirne, EVP Technology, Postworks
Ken McGorry, Senior Contributing Editor, Post Magazine
Jim Mathers, Filmmaker/Cinematographer, President, Digital Cinema Society

Dark to speak at exclusive HD event

2008-07-13T18:34:00.000-07:00

Randall P. Dark has been tapped to be a keynote speaker the 6th Annual High Definition Summit, July 16 & 17 in Hollywood, CA. Dark will be speaking at the dinner on the 16th, and will address the development of high definition over the span of his career, and give tips and insights on how better to produce and shoot in HD. He'll also discuss some of the challenges content creators run up against and solutions he's developed to address them.

Additional keynote speakers include Randy Freer (President, FOX Sports Network,) Edward Lammi (EVP, TV Production, Sony Pictures Television,) and Melinda Witmer (EVP & CPO, Time-Warner Cable.)

The High Definition Summit is hosted by Broadcasting & Cable, Multichannel News and Broadcast Engineering magazines. It is a networking event designed to explore key issues - with detailed case studies, high-level keynotes and in-depth analysis.

The private summit will focus on the latest developments, efficiencies and opportunities in origination, production/post production and distribution of high definition programming, and what's ahead for this exciting, expanding business.

click picture to enlarge

Are we there yet?

2008-06-05T08:32:00.000-07:00

October 15-16, 2008 in New York City

Randall Dark will moderate a panel of post production industry leaders and visionaries at HD World Conference and Exposition this October in NYC. Dark will lead the panel in an attempt to define, explain and recount why we may be done with the ever evolving and changing pathway of cutting edge post production technology. Attendees will discover if the changes were inspired by the needs of a creative mind or driven by engineering geeks in a back room. And more importantly, "Are we there yet?"

More information on the HD World Conference is available here.

2008 ATSC Annual Meeting Looks to Future of Digital Broadcasting

2008-05-08T21:11:00.000-07:00

Paving the way for next-generation digital television (DTV) standards, the Advanced Television Systems Committee, Inc. celebrated its 25th Anniversary at the 2008 ATSC Annual Meeting today.

Morning and afternoon panels featured industry experts on a range of topics of keen interest to digital television stakeholders -- lively discussions commemorating the ATSC's Silver Anniversary, the organization's groundbreaking work over the years, and the ongoing activities focused on the future of DTV.

Randall Dark was a featured industry expert on "HDTV, We've Come a Long Way," addressing HDTV's major progress since the 1980s. Peter Fannon, Panasonic Vice President and former head of the Advanced Television Test Center, chaired the panel.

The first ATSC meeting was held on May 13, 1983, at the National Association of Broadcasters (NAB) headquarters in Washington, DC. The ATSC was formed by the Joint Committee of Intersociety Coordination (JCIC). The JCIC was composed of the NAB, the National Cable and Telecommunications Association (NCTA), the Consumer Electronics Association (CEA), the Institute of Electrical and Electronic Engineers (IEEE), and the Society of Motion Picture & Television Engineers (SMPTE). Today, the ATSC is made up of approximately 165 member organizations from all segments of the television industry.

More information online at Advanced Television Systems Committee.

ATSC commemorates 25 years

2008-04-18T07:03:00.000-07:00

In May, the ATSC’s quarter-century of standards leadership will be formally celebrated at the ATSC Annual Meeting. Scheduled for May 8 at the Ritz-Carlton Pentagon City in Arlington, Va., the event will feature Randall Dark on a panel of industry experts for the morning session "HDTV, We've Come a Long Way." The discussion will be moderated by Panasonic's Peter Fannon.

The Advanced Television Systems Committee is an international, non-profit organization developing voluntary standards for digital television. The ATSC member organizations represent the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite and semiconductor industries.

More information on the event may be found at www.atsc.org.

Dark Becomes Shining Light for Make-A-Wish Foundation

2008-02-29T18:18:00.000-08:00

Maxell Corp. of America has recognized Randall Dark, CEO of Randall Dark Productions, for his work on the comedy feature Closing Escrow which was lensed entirely on Maxell HDCAM. Maxell awarded Dark, who's considered an HD pioneer, with a glass trophy featuring the Maxell "Blow Away" icon, unlimited Maxell HD product for use on his next project, and $5,000 to donate to a charity of his choice. Dark, who recently relocated from Los Angeles to Austin, Texas, designated the Make-A-Wish Foundation of Central and South Texas to receive the $5,000 gift.

Source: Shoot Magazine

Dark to judge inaugural Greenlight Awards at SXSW

2008-01-26T08:06:00.000-08:00

The search to discover the Best Original Digital TV Series is in motion. SXSW along with ON Networks(www.onnetworks.com) is recognizing this new category by introducing The Greenlight AwardsTM.

The Greenlight Awards will honor the Best Original Digital Production and the Best Original Series Idea with prizes of up to $10,000. Finalists will be reviewed by a panel of prominent industry and new media judges including actor Luke Wilson, indie writer/director Richard Linklater, HD pioneer Randall Dark, TV Week’s Daisy Whitney and founder of Smashface Productions Zadi Diaz.

Winning content will be celebrated at an exclusive event held during SXSW. Submissions are free and must be received by February 15, 2008.

Dark to produce Smokejumpers

2007-12-10T10:57:00.000-08:00

MEGALOMEDIA SIGNS RANDALL DARK TO PRODUCE SMOKEJUMPERS

(Austin TX- December 10, 2007) - The Austin based independent production company MEGALOMEDIA Inc., announced today the signing of acclaimed producer Randall Dark to produce on the series titled Smokejumpers. Dark is a High Definition (HD) pioneer and the president and founder of Randall Dark Productions.

"Randall Dark has such a presence and long history in the industry, we are excited for the opportunity to work together on this series," said Megalomedia's President and Smokejumpers' Executive Producer, Jonathan Nowzaradan. Dark will help produce an extraordinary new television series that takes you inside the lives of the elite men and women few who parachute in the most remote and dangerous areas of our country to battle wild land fires.

"The creative team at Megalomedia understands how to tell compelling stories," Dark said, "and as I have said for many years the best way to capture and see all of this is in true high definition.” Dark will also be joining producers Tom Mireles and Graham Davidson along with director Jeff Keels to bring the series to life.

About Megalomedia
Established in 2002, Megalomedia is a full-service television and film studio creating original, non-fiction television content from idea to the screen. Having recently wrapped production on the feature documentary, The World's Heaviest Woman, which airs on Channel 4 in the U.K. and later on TLC, they are also in production on other feature documentaries, including The Voice Gods of Hollywood and Aftershock: the Politics of a Natural Disaster along with the 10-part series, Smokejumpers.
www.megalomedia.com

About Randall Dark
Dark is considered to be one of the leading experts in High Definition. For more than 15 years he was the creative and marketing force behind HD Vision Inc. and HD Vision Studios. Recently he formed Randall Dark Productions to create television shows, independent films, commercials, documentaries, music videos, industrials or any other project in which HD is the medium of choice.
www.randalldark.net

Donation to Make-A-Wish Foundation

2007-12-06T20:40:00.000-08:00

Maxell Corporation of America honors independent filmmaker, Randall Dark on November 27th for his work on the comedy motion picture, “Closing Escrow,” filmed in Maxell HDCAM. Dark, who recently relocated from Los Angeles, California to Austin, Texas, has identified the Make-A-Wish Foundation® of Central and South Texas charity to receive $5,000 from Maxell on his behalf.

Pictured left to right: Tammy Shaklee, CEO of the Make-A-Wish Foundation of Central and South Texas; Randall Dark, CEO of Randall Dark Productions; Patricia Byrne, Senior Marketing Manager of Maxell; and Barbara Sommer, Vice President of Marketing of Maxell.

Filmmaker Award

2007-12-06T19:45:00.000-08:00

MAXELL HONORS INDEPENDENT FILMMAKER RANDALL DARK FOR HIS ACHIEVEMENTS IN FILM

Make-A-Wish Foundation® of Central and South Texas Receives $5,000 Donation

Fair Lawn, NJ, Dec 6, 2007 – Maxell Corporation of America recognized Randall Dark, CEO of Randall Dark Productions, last week for his work on the comedy motion picture, “Closing Escrow.” As part of the recognition for his achievements, Dark, who recently relocated from Los Angeles, California to Austin, Texas, identified the Make-A-Wish Foundation® of Central and South Texas charity to receive $5,000 from Maxell in his honor.

As a high definition technology pioneer, Dark received a glass trophy featuring the Maxell “Blow Away” icon, unlimited Maxell HD product for use on his next project, and money to donate to a charity of his choice. Dark’s support for the Make-A-Wish Foundation in his new residence of Texas continues his partnership with charities that benefit children. As a result of Dark’s donation, a child with a life-threatening medical condition will get their wish granted.

Dark is recognized globally as an expert in emerging technologies, being among the early adopters of HD technology in 1986 and founding his own production company in 1991. Dark’s film, “Closing Escrow,” entirely filmed on Maxell HDCAM, presents a comical look at the real estate industry. “HD is the very best technology in filmmaking, allowing me to preserve, duplicate and edit media without compromising quality, “said Dark. “Maxell’s products provide a superior digital picture, while maintaining a high level of reliability, durability and overall performance.”

About the Make-A-Wish Foundation®
The Make-A-Wish Foundation grants the wishes of children with life-threatening medical conditions to enrich the human experience with hope, strength, and joy. With the help of generous donors and more than 350 volunteers, the Make-A-Wish Foundation® of Central & South Texas has granted more than 2,300 wishes to children in 40 counties since 1985. During the last year, volunteers and donors made it possible for 195 children to experience the magic of a wish. For more information about Make-A-Wish, visit www.centralandsouthtexas.wish.org.

About Maxell
Maxell Corporation of America, a technology and marketing leader, is a full line manufacturer of digital media products for consumer, professional and data storage markets. Maxell is a recognized brand for over thirty years that delivers a comprehensive line of digital tape and disc-based recording media products for consumer audio, video, camcorder and data storage applications. The company also manufactures and markets a wide range of consumer battery products, as well as a full line of electronics care, maintenance, and accessory products including headphones, plasma TV cleaners, and iPod/MP3 cases and speakers. www.maxell.com

###

click on image to enlarge

Q&A with TV Technology Magazine

2007-11-01T18:28:00.000-07:00

HD Production Pioneer Randall Dark Talks Turkey

Randall Dark is a producer and director of HD content, a once-emerging field he helped establish more than 20 years ago. Earlier this year, Dark left his longtime home, HD Vision Studios, to start his own company, Randall Dark Productions. He currently has studios in Los Angeles and Austin, Texas. He recently spoke with HD Notebook:

HD Notebook: Since you’ve had the opportunity to watch HD evolve in various fits and starts over two decades, what strikes you about its current enthusiastic acceptance by both the industry and consumers?

Dark: It only took 20 years? Actually, I’m amazed at how far HD has come, especially in the last few years. We’ve gone from virtually no HD broadcasts to almost all high-end sporting events and entertainment—both fiction and non-fiction—being not only broadcast in HD, but shot in HD as well. HDTV sets are flying off the retail shelves. When was the last time you saw a 4x3 aspect ratio television? It’s in the same “curbside pile” alongside the record player and VHS machine.

HD Notebook: Other than maybe the fact that you already own certain equipment, what format(s) do you prefer working in, and why? Also, what are your thoughts on 1080p?

Dark: My new company has not purchased any equipment. This allows me the flexibility to rent whatever is best for the project without being saddled to legacy technology.

Image is everything and I believe in capturing pictures with as much information as possible. There are specific applications for lower resolution HD, such as HDV, but I firmly believe it’s imperative to protect the future use of content—so I insist on using high-end HD equipment. I’ve shot a number of projects at 1080 30p and have been extremely pleased with the images. I’m somewhat frame-rate agnostic. Certain stories need to be captured at 24p, while others need a much faster frame rate. We’re sometimes caught up in the “Geek Hype.” 1080i images during broadcast sporting events look fantastic, but there will be a continued push towards 1080p.

HD Notebook: You recently helped produce a full-length comedy motion picture, “Closing Escrow," about real estate, which is now available on DVD, which you and others on the crew regularly blogged for HD Notebook readers from pre-production to post, starting back in August 2005. Tell us what you learned from this ambitious project.

Dark: I should write a book about the making of a “modified low-budget feature.” For the most part, it was a fantastic learning experience. In the real estate business, the mantra is “Location, Location, Location.” In the independent film world, it’s “Pre-production, Pre-production.” Producer Kristen Cox was able to keep us on time and on budget because of the pre-production time she spent with Armen Kaprelian, the director.

However, the most important lesson is that it’s imperative to get even a limited theatrical release. I call it the “Theatrical Critical Release!” Obviously, having a few screens in New York and Los Angeles are key, but it’s important to have a few other cities included, as well. The main reason is that the movie must get reviewed by recognized critics. Good, bad or ugly, this is paramount, since most of the revenues come from DVD sales and if people haven’t heard about your movie, why would they rent it? The reviews can be used for grassroots Internet direct marketing.

HD Notebook: What’s one of the more dramatic examples of how advances in HD technology have helped you do your job better?

Dark: Evolution of technology is allowing me to produce programs in high-definition that a few years ago would have been almost impossible. A perfect example is a new series I’m working on called “Smoke Jumpers” with Megalomedia. As you mentioned in your opening question, imagine 20 years ago trying to jump out of a plane with all that analog HD gear on!—a VTR the size of a refrigerator tethered by RGB cable to cameras that cost over $350,000 each. Good luck! Now we have an arsenal of cost-effective choices in a variety of sizes, and it keeps getting better.

from TV Technology's HD Notebook

Variety reviews Closing Escrow

2007-09-10T09:10:00.000-07:00

CLOSING ESCROW
by John Anderson

Magnolia Pictures release of an Awkward Silence production, in association with HD Vision Studios, 16X9 Prods. Produced by Kristen Cox. Executive producers, Armen Kaprelian, Randall P. Dark. Directed, written, edited by Armen Kaprelian, Kent Llewellyn.

With: April Barnett, Rob Brownstein, Colleen Crabtree, Andrew Friedman, Wendi McLendon-Covey, Bruce Thomas, Patty Wortham, Cedric Yarbrough.

Considering the conversational energy we expend on real estate, it's a wonder there haven't been more comedies about buying and selling, deductible interest and subprime mortgages. (Take my house ... please!) Unapologetically modeled on the mockumentaries of Christopher Guest, "Closing Escrow" is a sometimes laugh-out-loud send-up of homebuyers' worst instincts, the extreme behavior of real-estate agents and what happens when the certifiably insane save enough for a down payment. B.O. may depend on how cutthroat the local housing market is, but cult status seems assured.

Writer-directors Armen Kaprelian and Kent Llewellyn set up three atypical couples on a collision course for the same piece of prime property; en route, they experience nightmarish encounters with agents and sellers. Not that the characters are innocents: Dawn and Tom (Patty Wortham, Andrew Friedman), for instance, are looking to move out of the home once shared by Tom and his ex, whom Dawn terrorized with dead rabbits nailed to the front door.

Tamika and Bobby (April Barnett, Cedric Yarbrough) are buppie lawyers looking for a loft; they have the misfortune of hiring as their agent the bitter, racist and hysterically funny Hillary (Wendi McLendon-Covey, "Reno 911!"). Mary and Allen (Colleen Crabtree, Rob Brownstein) want their dream home, but Allen keeps changing his wishlist, driving his agent, Peter (Bruce Thomas), crazy. No one's really in his or her right mind, and the vagaries of the market -- and home-lust -- conspire to make them even nuttier.

The style is very Guestian, with helmers Kaprelian and Llewellyn staging interviews with their characters and using omnipotent third-party observation as well. Their sense of comedic restraint is nonexistent -- no limits about character or circumstance will keep them from going for the obvious joke if it happens to be sitting there like an underpriced three-bedroom in a good school district. Who can blame them? "Location, location, location" may not be the usual motto of comedy directors, but Kaprelian and Llewellyn have no trouble finding a groove for what ultimately is an audacious satire.

Tech credits are appropriate for a film posing as a low-budget docu.

Chief Lighting Technician, Gaffer, Lighting Technician Camera (color, HD), Scott Billups; set decorator, Josh Rose; sound, Seth Gilbert; visual effects supervisor, Billups; assistant director, Mollie Stallman. Reviewed on DVD, New York, Aug. 25, 2007. Running time: 93 MIN.

from Variety

Closing Escrow Washington Times "Pick of the Week"

2007-09-06T11:02:00.000-07:00

Calling it a "bright new mockumentary," The Washington Times selects Closing Escrow as its DVD pick of the week. Read all about it here.

New! Dark Red Images

2007-09-04T11:53:00.000-07:00

Randall Dark has launched a new company - Dark Red Images. Dark Red Images is designed to create content exclusively using the new RED camera with a cost effective workflow for this new technology.

All creative services will go through Randall Dark Productions, as this new venture is a system design company. More information about the RED camera may be found here.

TV Guide review

2007-09-02T10:09:00.000-07:00

TV Guide calls Closing Escrow "a pleasant diversion" with "a terrific cast." Read the full review about the indie mockumentary here.

Markee Magazine spotlights Closing Escrow

2007-09-01T08:50:00.001-07:00

How to Make an Independent Film
by Christine Bunish

CLOSING ESCROW

As a segment producer on the cable series House Hunters, Armen Kaprelian witnessed a lot of hilarious scenarios that didn't fit into the style of the show. But he thought they'd make a great movie.

Kaprelian developed the concept and approached HD pioneer Kristen Cox, president and CEO of 16x9 Productions, to see if she thought the concept had legs and to explore what the costs associated with such a movie would entail. He knew that HD would lend itself well to the reality TV look he wanted while maintaining a theatrical quality level.

Budget in hand, Kaprelian brought potential investors to a “dog and pony” show at HD Vision Studios in LA, where president Randall P. Dark, the movie's co-executive producer, answered questions about how HD technology would enable the first-time director to make a cost-effective film. Once investors were on board and the project was ready to commence, Kaprelian enlisted Kent Llewellyn to join him as co-director.

Kaprelian relied on Cox to put together a modified low-budget feature package and to work with SAG to employ union actors. “It's important to realize that the unions will try hard to make your movie work no matter what the budget is,” notes Dark. Closing Escrow, which includes a lot of improvisation, stars some cast members from Reno 911 and performers active in the LA improv scene.

Dark is a firm believer that “what makes the storytelling work is the crew you work with.” Closing Escrow aimed high, hiring the “unbelievably gifted” DP Scott Billups and his crew plus one of the industry's top DITs, Sean Fairburn, Dark points out. Dark's Sony F900 v3 CineAlta HD cameras were used for the two-camera, 14-day shoot.

“Our primary camera fed a Mac G4 with an off-line editor on site so we'd know what we were getting by the end of a set up,” Dark explains. “That's an incredibly fluid way to work; we never had to worry about having to reshoot because something didn't work or didn't match. We also had CCUs for color timing in the field.”

The on-set rough cut was used as a visual guideline for the off-line by Kaprelian and Llewellyn on Final Cut Pro HD. The on-line at full resolution, also done on Final Cut Pro HD, was done at HD Vision Studios with audio mixing at Wildwoods. The soundtrack features original music by Matt Birch and some stock tracks from DL Music.

Dark, who knows Mark Cuban, sent the HD visionary a DVD of Closing Escrow. He enjoyed the movie and recommended that the filmmakers talk to his Magnolia distribution company. Kaprelian inked a deal with Magnolia for an almost-simultaneous national theatrical and DVD release plus TV broadcast rights; Magnolia is also handling promotion.

“I think the movie will do well theatrically and exceptionally well on DVD,” says Dark who's a fan of Magnolia's policy of quick release on DVD. “How many people in America today are either buying or selling a house? I believe in getting involved in evergreen types of properties. People will watch Closing Escrow for the next 50 years and think it's funny. It's a timeless send up of the real-estate business. I also see a segment of the real-estate business buying DVDs to give to buyers and sellers telling them, 'thank goodness we're not these people!'”

Excerpted from Indie Filmmaking in Markee Magazine, September 2007

Three boxes of popcorn!

2007-08-31T09:22:00.000-07:00

San Francisco's BeyondChron rated Closing Escrow "three boxes of popcorn!" saying the indie comedy "keeps you doubled up with laughter." Read Buzzin' Lee Hartgrave's review here.

Closing Escrow is "hilarious"

2007-08-24T11:10:00.000-07:00

CLOSING ESCROW.
Mockumentary about three couples on stressful house-hunting tours in L.A. (1:33) Rated PG: language, crude humor. At the Quad. 3 stars

Nobody is suffering more from the housing crunch than Armen Krapelian and Kent G. Llewellyn, whose first film is a hilarious Christopher Guest-style mockumentary about people looking for homes during a housing boom.

If you have your house up for sale, it may be too painful to watch, but it really is funny, thanks to a terrific script by the co-writer/co-directing team and the dead-pan performances of the mostly unknown cast, which forms three quirky couples and three even quirkier real estate agents.

One of the agents likes to destroy the houses they visit in order to bring down their value. One of the house hunters leaves dead rabbits at homes to encourage sellers to sell. If you can watch it without weeping over your own predicament, you'll see some serious talent bursting out.

- Jack Mathews
from The New York Daily News

Closing Escrow "a sure bet"

2007-08-24T10:48:00.000-07:00

Bill Goodykoontz at The Arizona Republic gives his views on Closing Escrow here.

Closing Escrow NY Times Critics' Pick

2007-08-24T09:32:00.000-07:00

Closing Escrow was chosen as a New York Times Critics' pick. Calling its cast of characters "improbably endearing," you can check out the Times review of the indie feature here.

Trailer for Closing Escrow

2007-08-09T12:27:00.000-07:00

Opening in theaters August 24.

Closing Escrow premieres in theaters

2007-08-08T12:07:00.000-07:00

Closing Escrow is premiering August 24th in the following theaters:

Los Angeles, CA:
Fairfax Cinemas
New York, NY:
Quad Cinemas
San Francisco, CA:
Opera Plaza Cinemas
Denver, CO:
Starz Filmcenter
Tempe, AZ:
Valley Art 1 Theatre

More info online at Magnolia Pictures.

Q&A with Broadcasting & Cable Magazine

2007-07-12T21:36:00.000-07:00

HD Artist Finds New Inspiration

Randall Paris Dark, HD production pioneer, forged out on his own last month with the launch of Randall Dark Productions. Dark discussed his Austin-based company and the future of high-def television.

Q: What kind of technical facilities does your company have?

A: Randall Dark Productions is not a facility. In my 20 years of HD production I’ve suffered the fiscal pain of keeping up with the Joneses, and the constant changes and improvements in equipment. So this time I’ve decided to build relationships with top companies and employees to facilitate my business and to best serve my clients.

Q: How will this move benefit your clients?

A: There two huge benefits. I can select the best path and talent for the job without having to compromise. I know I don't shoot from moving vehicles very well, but Allan Westbrook is a genius at it. I can pick and choose the right team for each job and still bring it in on time and, most importantly, on budget. My company does not have the incredible overhead I've had to support over the years; therefore I am able to make my prices much more competitive.

Q: What's your take on some of the new HD technologies that continue to flood the production market?

A: Each new day brings new toys to the toy box. The Red, the Eve, the R-23 and Viper are just a few. Even the new HDV cameras can be used for certain applications. I can color correct, time and edit in the field. How much easier do we need it to be? I'm concerned sometimes that ease makes us lazy and our work reflects it. Sweat is good.

Q: What are the advantages of working in HD versus film? What are the disadvantages? Are you finding that traditionalists are beginning to come around?

A: Film is an art form. HD is an art form. Both have many strengths and weaknesses. If I were an oil painter and you asked me what the hardest profile to sculpt is, I wouldn't know how to begin to answer you. My world is HD. I don't shoot film. I feel it is hypocritical that we get experts on both sides of the fence talking from extremely limited experiences. I honestly hope that traditionalists don't come around to HD. I love the look and smell and feel of film. I just can’t shoot with it. I would hate to think that the best artists in the world would forever put down their paintbrush for a new technology. Let new artists discover HD.

--Interviewed by Ken Kerschbaumer
from Broadcasting & Cable Magazine

Blown Away

2007-06-18T20:00:00.000-07:00

click on image to enlarge.

Maxell's new ad featuring Randall P. Dark for the HDCAM tape series.

Living in a High-Def World

2007-05-03T21:58:00.000-07:00

Randall Dark was recently interviewed for a technology piece by NOW Everything Toronto. The story focuses on how HD media is blurring the line between what's real and what's not. You can read the article here.

Randall Dark Productions Opens In Los Angeles and Austin, Texas

2007-05-01T12:07:00.000-07:00

FOR IMMEDIATE RELEASE

RANDALL DARK PRODUCTIONS OPENS IN LOS ANGELES AND AUSTIN, TEXAS

High Definition Director and Producer, Randall P. Dark announced the opening of his company in LA and now Austin, Randall Dark Productions effective May 1st, 2007. The mandate of his company is to create and bring to market Digital, High Resolution content of the highest quality standard.

"Technology has been changing at lightning speed. There seems to be a better camera or editing system out almost weekly. My new company will allow me to be more flexible in choices for my productions and for my clients." says Mr. Dark.

The road to Randall Dark Productions started just over 20 years ago when Dark started working in HD on a Mini-Series that was being shot in Toronto. Hooked on the attributes of this emerging technology, Dark founded HD Vision a few years later in New York. The company set out on a goal to be an integral part of the growth of digital content world wide. Carrying the HD torch when most people found the risk too hot to handle, Dark became an undisputed pioneer of the technology and the images his company generated have literally helped set the standards by which new televisions are judged to this day. In 2002, Randall launched HD Vision Studios in Los Angeles and emerged as a creative and marketing force whose innovative approach to business had wide appeal.

Newest Projects shot with Maxell HDCAM

2007-04-17T18:24:00.000-07:00

RANDALL DARK PRODUCTIONS' NEWEST PROJECTS SHOT WITH MAXELL HDCAM TAPES

LAS VEGAS, April 17 -- Maxell Corporation of America's Professional Media Products Division has extended it's relationship with Randall Dark and his new enterprise, Randall Dark Productions, to provide performance based media that meet the demand for his latest high-definition productions including a Won-G rap video and numerous travel documentaries with footage available through FootageBank.

Randall Dark Productions have been chosen to direct and produce the video for the upcoming single release for "We Must Pray" by rap sensation Won-G featuring The TrollMates, a Tween super group and guest rap artist, Hood Surgeon, son of the legendary Dr Dre.

The video will be shot in Los Angeles with Maxell HDCAM media to capture the first collaboration between Won-G, The TollMates and Hood Surgeon. The high-definition footage on Maxell tape will allow the group to artistically bring to life its message and reach its audience in a vivid and compelling medium.

Maxell media has also been extensively used by Randall Dark Productions in a series of travel documentaries, and stock footage video available through FootageBank. HD footage has been recently captured by Dark using Maxell HDCAM across a diverse set of destinations, climates and shooting environments in Europe, China, Wyoming, and Hawaii.

"Our demanding schedule calls for reliability in the products we use and I trust that Maxell tapes including the HDCAM product will stand up to my difficult shot locations and time sensitive projects and provide me with quality footage regardless of the environment or pace of assignments," said Randall Dark. "We will continue producing HD film projects at an unprecedented rate. The playing field is leveled and high-quality content can be brought to market very quickly and inexpensively."

Maxell HDCAM videocassettes utilized by Dark and his production company feature ultra-high-performance binder systems to achieve exceptional durability, essential to resilience in the volatile environments of ENG/EFP recordings. The binder systems also help Maxell HDCAM perform well during long-term archiving. The 1/2" metal particle tape cassette incorporates super-fine Ceramic Armor Metal particles (0.1 micron size) to achieve an exceptional output level and to surpass the low noise requirements of HDCAM's 7-to-1 compression algorithm. Maxell HDCAM videocassettes feature a recording density 1.4 times greater than Digital BETACAM for superior digital and video archiving performance.

The small cassette lineup of HDCAM includes 6, 12, 22, 32, and 40 minute cassettes, while the large cassette lineup includes tapes that run 64, 94 and 124 minutes.

HD Expo Q&A

2007-03-12T17:15:00.000-07:00

HD Expo Asks is a straightforward Q & A from leaders in the industry about the issues and concerns from our technology and entertainment community. (click for PDF)

HD Expo: What capture, editing and/or graphic technology advancements, if any, do you see reshaping our industry in 2007?

Randall Dark: Our industry is experiencing a radical change. No longer will we be dependant on traditional image capture, editorial and most importantly distribution methods. Although we have constantly said"Content is King," the financial truth historically has been"Distribution is King" and the creative content suppliers were always at their mercy.

Technology is allowing creative minds to have more control over the entire food chain. I can shoot and edit a killer product and have 10 million viewers download it worldwide within hours.

Presently the quality of these downloads is primitive and image resolution during the capture phase is almost irrelevant. That will soon change.

The real quandary is how to monetize this new distribution chain.

HD Expo: How do all the technology choices impact the end user/consumerand what should we, the creators be aware of ?

Randall Dark: The Achilles heel of the content creator is resolution. With the advent of prosumer technologies like HDV that can rival DigiBeta, where do you draw the line? How low is the benchmark? I firmly believe thatfuture sales will be hampered by limited resolution. Content needs toremain robust no matter what the native resolution of the display is.

The $10K HDV camera appears to be an incredible buy. Don’t get me wrong - for certain uses it is. I don't want to risk future revenue on the possibility that the resolution of this technology isn't goodenough. Most HD broadcasters limit the amount of HDV content they'll allow in their HD programs. Display devices are getting better daily. Will the lower bit rate devices hold up in the long run? Time will tell. The good news is that the high-end cameras and editing systems are improving greatly while their price points are dropping. The bad news is you get what you pay for. A $100K camera gives you a $100K image and a $10K camera gives you a $10K image.

HD Expo: What area(s) of our industry do you see as a leader in future technologies? Do you have any examples of what would demonstrate this?

Randall Dark: The internet has changed our daily lives more then any other technology since Television. The future technology that gets my high quality content into the consumer's hands while bypassing the traditional gatekeeper/distributor will be the killer product.

In the very near future, it will be common practice for programs to be downloaded to a display or listening device with the content creator in control of it all. Take a look at what YouTube is doing as the first level example. Right now it's a mess and is mostly used for sensational 2 minute clips. Even in its primitive development it has had an amazing impact! It has generated millions of dollars of venue for early adoptors and creative minds that have figured out a way to monetize that particular service.

We are about to enter a Platinum Age where content is truly King and we the originators will have more, if not complete control over the distribution.

Dark gives keynote address

2007-03-08T15:12:00.000-08:00

Randall P. Dark will give the keynote address at the Playback Production Innovation Forum in Toronto. A Canadian, the trip will be a return (of sorts) to Dark's roots. In 1986, he was given the opportunity to work in High Definition in Toronto and knew it was the future of images. A few years later he founded HD Vision in New York City. The company's mandate was to specialize in the growth of HD. Dark has never looked back since, becoming an undisputed pioneer and leader in the emerging industry.

HD Insights

2007-02-01T11:11:00.000-08:00

While at the High Definition Summit in Los Angeles, Randall Dark was interviewed by Dale Drewery for High Def Consult.

HD INSIGHTS

Randall Dark knows a good thing when he sees it. Introduced to high definition back in 1986, he was convinced it was the future. Two decades later, HD is very much the present, and Randall Dark is one of the technology’s biggest pioneers. The creative force behind HD Vision in New York City / Dallas and HD Vision Studios in Los Angeles, Dark has recently launched his new company, Randall Dark Productions.

Dale Drewery met with Randall Dark in December at the High Definition Summit in L.A. They began by talking about Dark’s latest film Closing Escrow, a mocumentary lampooning the real estate business.

Randall Dark: “The method we used was having the cameras (HDW-F900/3 CineAltas) feed a G4 loaded with Final Cut Pro. So when shooting a complicated dinner scene, for example, we were able to edit it in real time. Then, at the end of the scene, I’d bring our first-time director into what we called “the temple”, which is where we had our HD gear. We’d look at a rough edit of the scene, agree that we needed a master shot here or there, or perhaps it was perfect, and we’d be able to move on. So, by understanding and maximizing the technology we were able to shoot an incredible amount of material (57 hours of footage, using two cameras, over fourteen days) and get exactly what we wanted.”

“On top of that we were color-timing as we went. Two reasons why this is important - number one, you are saving a ton of money in post because it’s already pretty close to being perfect. That’s because it so quick to adjust things in the field, like the lighting and the paint menu in the camera, and really nail your look. The other reason is that when you are setting up a scene that connects to something you shot days earlier, you can pull up your edited version on the G4, which allows the DP, director and actors to look at and say, “OK, I’ve got the feel, got the look, let’s light this”. And that saves a lot time.”

Dale Drewery: “What about that often-heard caution that one should wait until post to really commit to a look?”

RD: “As an artist, I just find it bizarre that, if I’m creating an oil painting and I get it close to what I want, I have to give my work to some stranger in post to finish it for me. I don’t want that to happen to anything I create, so that’s why I love the immediacy of high definition – I see what I get. That being said, if I’ve changed my mind I can still strip it down, and add and subtract. Because I’m in a digital world, I can almost do anything I want.”

DD: “How much do you estimate you saved on “Closing Escrow” by shooting it in HD and all that entailed?”

RD: “Because our movie was well under a million dollars, and we pulled the trigger a lot, we probably saved about 38%. But then every project I’ve ever done in high definition has been under budget and on time. One of the things that people don’t often take into account is that, when you shoot film, you shoot for 10 minutes maximum and then you have to change mags, which means that the director goes out for a cigarette, the actress/actor gets coffee, etc. I’ve been on film sets where they are shut down for 20-minutes, even though it only takes them four to five minutes to reload. When I’m directing, and we’re shooting 50-minute loads, we don’t let anyone know when we’re changing tapes. My AD just comes up and touches me on the shoulder, and I talk a little longer. That’s 15 to 20-seconds out of your shooting day, versus 20-minutes.”

DD: “You’ve talked about high definition technology leveling the creative playing field. How so?”

RD: “Film stock is very expensive, and so is processing. Shooting film takes years to understand and perfect. High definition is very immediate, and you can learn to shoot with it very quickly. The other thing I love is that we are looking at very different distribution streams. You no longer have to rely on the kindness of strangers, like the studios. Now if you can’t get your foot in the door, you create your own studio. Give me a camera and Final Cut Pro and I can make a movie, and one that is good enough technically that you can enter it into any film festival in the world. At the end of the day, when a movie-goer is sitting in the theatre eating popcorn and watching your story he or she doesn’t care which technology it was shot with. As long as the willing suspension of disbelief kicks in, they enjoy the ride.”

DD: “HD is also opening up new revenue streams. What has been your experience with those?”

RD: “A good example is “evergreen” material. Since I had never been to Hawaii, I wanted to go and do a half-hour show about the islands. I started by talking to technology manufacturers to see whether they needed any eye-candy for CES (the Consumer Electronics Show) or some (equipment) testing. Some did, so I got a little bit from here and a little bit from there, and put together enough financing to break even. I created Wild Hawaii and then approached broadcasters, and they bought it. Then I hooked up with Footage Bank and said, “I’ve got 40-hours of incredible Hawaii raw footage, can you sell it?” They said, “Of course.” So something that may have cost me $40,000 has already paid for itself a few times over from the auxiliary streams. And, more importantly, for the rest of my life, people will be buying my digital, widescreen, high-resolution images. You’ve got to love that.”

from High Def Consult

Randall Dark Opens Production Company

2007-01-05T15:49:00.000-08:00

HD PIONEER RANDALL DARK OPENS PRODUCTION COMPANY

Randall Dark has gone his own way again. After nearly 14 years with HD Vision, he's opened Randall Dark Productions in Los Angeles. His inaugural projects include documentaries in China and music videos for cell phone and iPod screens--all in HD.

Dark said he sold out his interest in HD Vision to Steve Wiener, who became Dark's partner in 2002. Wiener, in turn, has rolled the HD Vision studios and broadcast center into Illuminate, a high-end production/post-pro facility in Hollywood. Dark said he was ready for name "HD Vision" to be put to rest because HD is no longer visionary. Everyone's doing it.

Dark, however, was one of a handful of people shooting high-definition projects in the 1980s, starting with a miniseries shot in Toronto.

"I bought all the first-generation HD gear," he said, including analog open reel VTRs at $350K a pop, and tube cameras. "Then everything changed from 15:9 to 16:9... so I got killed constantly."

At the time, however, Dark was more focused on pioneering HD than turning a profit. He recalled doing live HD broadcasts more than 10 years ago for Network Event Theater. The shows were broadcast via satellite to college campuses and dubbed "broadcast cinema" because d-cinema was not yet a part of the vernacular.

Dark founded HD Vision 1992 in New York, "when HD was user hostile and unbelievably expensive," he said. He eventually moved the business to Dallas to embark on multicamera productions.

"In the early years of HD, we could only afford one or two trucks, so we had to be in the middle of the U.S.," he said.

Dark intends to open offices in Austin, Texas later this year, and in New York a year or so after that, to be "positioned to see what's coming over the next 10 to years."

"The world is going digital HD widescreen broadband," Dark said. "Ten years from now, you'll be able to search for 'Randall Dark Productions,' and get our stuff," which might very well include HD videos for cell phones in China.

"We're in a world where you can close your eyes and imagine it, and you can do it. And now," he said, "it's cost-effective."

from TV Technology

Capturing HD Eye Candy

2006-12-06T18:43:00.000-08:00

LG Electronics will soon release a brand new line of 1080p-capable flat-panel digital HDTVs—more than a dozen plasma and LCD models—which the company will showcase during the upcoming CES tradeshow, Jan. 8-11 in Las Vegas. Since these new displays have superior image resolution capabilities over previous models, the manufacturer naturally wants to strategically illustrate those capabilities at tradeshows like CES, and at retail locations. Therefore, as is common in the industry, LG commissioned specially shot imagery for such display applications.

In this case, LG turned to HD acquisition and production experts Randall Dark, president of Los Angeles-based HD Vision Studios, and Kristen Cox, president and CEO of 16x9 Productions, also in LA, to provide what Dark calls “eye candy”—brilliant footage LG could use to illustrate the capabilities of its new line of HDTVs.

Read the entire article at Digital Content Producer Magazine.

Dark takes the heat for LG Electronics

2006-12-06T12:28:00.000-08:00

High Five
HD Pioneers Cox and Dark Take the Heat and Capture Spectacular Footage

Spectators at a drag race in Tucson, Arizona rubbernecked in amazement as an unusual looking vehicle crossed their paths over and over again throughout the day. It wasn’t a top fuel funny car or even a jet. It was an all-terrain vehicle with a portable high definition VTR, a nine-inch HD monitor, a tripod, a ton of batteries and motley HD crew piled on.

HD pioneers, Kristen Cox and Randall Dark were hired by LG Electronics to capture HD demonstration content in 1080p at 4:2:2. The content is destined for use in retail stores nationwide where it will demonstrate the capabilities of LG’s 2007 flat-panel digital HDTVs.

Equipped with Sony F-900 Cine Alta cameras owned by HD Vision Studios, Cox decided to rent the SR-1 VTR and cart the machine and monitor around.

The production team members varied from location to location. In all the production shot five separate demo programs for LG. “Nature” was shot on location at the LA Zoo, Three music videos, “Legacy,” “One Day” and “Like an Ocean” by artists Dennis Lamar and Angie Paris, were shot on location in Waco, Texas and the drag race, “Speed,” was shot on location in Arizona.

Arizona was the location where ATVs were utilized.

In Los Angeles and Waco, Cox and her team traveled on a rolling cart and a Mag Liner. Shooters Dark, Allan Westbrook and Dave Nash were tethered by coaxial cable to the cart or ATV where DIT, Sean Fairburn managed the images being recorded directly to the SR.

Cox directed from the vantage point of the nine-inch HD monitor. The cart carried the VTR, monitor batteries and small sundries. They also carried lenses, additional batteries, chargers, and other gear.

“Each location presented its own set of challenges. The one common thread was that we went through batteries very quickly and all but one of our set-ups were outdoor locations where power was not available. We had to get pretty creative when it came to finding a place to charge batteries. In Waco, we used Baylor University’s campus and had to be prepared to shoot between classes or else deal with a herd of college students passing through. The drag race presented us with a very large venue to cover and some tricky camera angles .Oh yeah, and there was the catastrophic bodily harm risk as well,” says Cox.

“Kristen Cox and Randall Dark are pioneers in HD program production, true experts in their field, always pushing the envelope of creativity and HD production techniques,” says John Taylor, vice president, public affairs, LG Electronics, USA. “So it made perfect sense for LG to reach out to HD Vision Studios and 16x9 Productions to produce unique and compelling 1080p programming for our newest full HD flat-screen HDTVs.”

from Digital Cinema Report

Pioneering Shoot in Native 1080p

2006-11-20T19:36:00.000-08:00

LG Electronics, HD Vision Studios and 16x9 Productions Shoot Pioneering HD Content

Spectators at a Drag Race in Tucson, AZ, rubbernecked and queried each other in amazement as an unusual looking vehicle crossed their paths over and over again throughout the day. It wasn’t a Top Fuel Funny Car or even a Jet. It was an all-terrain vehicle with a portable HD VTR, a 9-inch HDTV monitor, a tripod, a ton of batteries and a motley high-definition (HD) crew piled on.

Such attention isn’t unusual for HD pioneers Kristen Cox and Randall Dark, who’ve done their share of shooting with the latest HD technologies manufacturers have to offer. When hired by digital television leader LG Electronics to capture HD demonstration content in 1080p at 4:2:2, the adventure was on. Equipped with Sony F-900 Cine Alta cameras owned by HD Vision Studios, Cox decided to rent the SR-1 VTR and cart the machine and monitor around.

The HD production team, whose members varied from location to location, shot five separate demo programs for LG. “Nature” was shot on location at the LA Zoo; three music videos, “Legacy,” “One Day” and “Like an Ocean,” by artists Dennis Lamar and Angie Paris, were shot on location in Waco, TX, and the aforementioned drag race, “Speed,” was shot on location in Arizona.

Arizona was the location where ATVs were utilized. In Los Angeles and Waco, Cox and her team traveled on a rolling cart and a Mag Liner. Shooters Randall Dark, Allan Westbrook and Dave Nash were tethered by coaxial cable to the cart or ATV where DIT, Sean Fairburn managed the images being recorded directly to the SR. Kristen Cox directed from the vantage point of the 9-inch HD monitor. The cart carried the VTR, monitor batteries and small sundries. The Mag Liner was loaded with lenses, additional batteries, chargers, etc.

“Each location presented its own set of challenges . The one common thread was that we went through batteries very quickly and all but one of our setups were outdoor locations where power was not available. We had to get pretty creative when it came to finding a place to charge batteries. In Waco, we used Baylor University’s campus and had to be prepared to shoot between classes or else deal with a herd of college students passing through. The Drag Race presented us with a very large venue to cover and some tricky camera angles—oh yeah, and there was the catastrophic bodily harm risk as well,” said Kristen Cox, Director.

The content is destined for use in retail stores nationwide, showing off the capabilities of LG’s 2007 flat-panel digital HDTVs, which will include more than a dozen “Full HD” plasma and liquid crystal display (LCD) models with 1080p display capability. LG Electronics is the world’s largest maker of TV flat panels and longtime leader in HDTV technologies, meaning that LG is well positioned to bring the latest high-definition technologies like progressive-scan 1920 x 1080 screens to market.

“Kristen Cox and Randall Dark are pioneers in HD program production, true experts in their field, always pushing the envelope of creativity and HD production techniques,” said John Taylor, vice president, public affairs, LG Electronics, USA. “So it made perfect sense for LG to reach out to HD Vision Studios and 16x9 Productions to produce unique and compelling 1080p programming for our newest Full HD flat-screen HDTVs.”

With post production complete and the demo programs in their finished form, customers will marvel at the clarity and resolution a lion’s golden, yellow eyes. They’ll see flesh tones accurately represented as Dennis Lamar walks across on a sunlit suspension bridge or as Angie Paris stands among a garden of roses. And they’ll be blown away by the contrast of a jet engine at night that suddenly lights up white-hot when flames blast at ignition.

reposted with permission from TVB | Television Broadcast

CASBAA unveils line-up for 2006 CASBAA Conference

2006-10-01T22:13:00.000-07:00

The Cable & Satellite Broadcasting Association of Asia (CASBAA) has announced its conference program for this year's CASBAA Convention, which will run from October 24-27, Hong Kong.

Themed as From Bandwidth to Brandwidth, the conference will focus on maximizing the value of newly available communications bandwidth through sophisticated brand development and innovative marketing.

The conference will feature speakers such as Charlie Ergen, Chairman and Founder of Echostar; Michael Fries, CEO of Liberty Global; Ho-Chen Tan, Chairman of Chunghwa Telecom; Irwin Gotlieb, CEO of GroupM; Kip Meek, Chief Policy Partner of OFCOM; Randall Dark, President of HD Vision Studios; Sofyan Djalil, Minister of State for Information & Communications, Indonesia and Wei Wen Bin, President of Hunan Satellite.

from Television Asia

From 70ft theatrical screen to cell phone, HD is the answer, says Dark

2006-07-04T21:24:00.000-07:00

“Closing Escrow,” an independent film shot entirely in HD, is out of post and entering the festival circuit as Randall Dark, the movie’s executive producer seeks broader distribution.

Dark, who has long been an advocate of high definition as a viable alternative to 35mm film, hasn’t simply been content to push his comedy through post and out to moviegoers. He’s creating a smorgasbord of HD projects ranging from a 3-D feature film about World War II aviators flying over the Himalayas to deliver relief to the embattled Chinese to an expeditionary documentary, a unique, reality golf show and even music videos shot for cell phones and Video iPods.

“HD Technology Update” thought it was a good time to catch up on Dark’s latest projects and how HD is helping to make them happen.

HD Technology Update: Randall, for the past 20 years you’re always in the thick of HD production. What are your latest projects?

Randall Dark: I’m involved in four or five incredibly important projects, two of which I call the China projects. There’s a 3-D/2-D feature for an IMAX-type environment called the “High Road to China.” It’s a story about the Hump during the Second World War.

I think it’s important for a number of reasons. China obviously is an emerging power, and Americans seem to have lost sight of what an incredible country we are and the great things we have done hand in hand with nations throughout history. This is a forgotten story — how the American airmen, working with the Chinese were able to fly over the Himalayas in incredibly dangerous planes for humanitarian aid. I’m absolutely passionate about it.

I’m working on that as well as a project called “The Lost Tiger,” solving the mystery of Johnny Blackburn’s lost P40.

HDTU: What advantages and challenges does HD bring to the project?

RD: The most powerful attribute of any HD image is the sense of being there it affords. Capturing the raw emotion of Chinese and American people standing side by side as a plane that was responsible for bringing supplies to Chinese people who were starving in WWII is pulled from the murky water of a lake where it was downed is imperative to my story. It’s going to bring back a flood of emotion, and I want my viewers to feel like they’re standing on that piece of land with them.

Film is a great art form, but film distances you — it’s called poetic distancing. The frame rate and grain of film makes it look like it happened yesterday. This is a moment that’s happening in real time that I want to share as realistically and intimately as possible. HD technology will give the viewer that sense.

As for the underwater photography, I hear it is very, very murky down there, so we may have to do some animation or re-enactments. I will definitely be under the water with the camera to see what we can get, but we’ll have to wait and see if it works out. That’s just the nature of the water as opposed to the technology of HD.

HDTU: Are all the pieces in place? Is there a watertight housing for your HD camera?

RD: What’s great about where HD is today is that there aren’t any more excuses. Whether it’s underwater housing or mounts for flight-to-flight aerials or helicopter, everything I need for 3-D or 2-D projects is available. There aren’t limitations where one, it doesn’t exist, or two, it’s too expensive to have. My hands are no longer tied creatively at any level.

HDTU: What camera will you be using?

RD: I plan to use the Sony CineAlta F-900 V3 HD camera.

HDTU: And your recorder?

RD: A combination of in-camera and SR. I’ll also bring a 950. This gives me the flexibility to shot 3.1.1, 4.2.2 or 4.4.4. If there were any other new, cool toys coming out, I’d love to take them with me.

For “The Lost Tiger,” I plan to have three high-end cameras on location because that moment only happens once. I want to be sure I have a shot of the plane and shots of the people. I might include a couple of toy HD cameras just for fun. As long as I have my workhorse cameras with me, I’m always adventurous. If a manufacturer has something hot out of the design factory, call me; I’ll try it.

HDTU: When will you shoot, and what’s your distribution?

RD: We’re looking at an October-November shoot date, and we’re talking to PBS right now, but nothing’s been signed yet.

HDTU: How does HD play into the production of the “High Road to China” project, especially since it is intended for a screen as big as an IMAX theater screen? How will it hold up?

RD: First, I want to give credit to the genius behind the 2-D and 3-D “High Road to China,” Jeffery Greene. He wrote the screenplay with Geoffrey Schroeder. Greene is spearheading this, and when we talked about it, he asked that very same question. “How is HD going to look on big screens?”

We‘ve all seen what “Star Wars” looked like, and “Superman Returns” will be killer on the IMAX-size screen. It was an HD shoot with a Genesis camera, and I think that’s going to give everyone the warm fuzzy feeling that you can take HD and blow it up to any size and it looks breathtaking.

We’re seeing movies today that are captured completely in high definition — like “Superman Returns” — and a lot of the independent features — like “Closing Escrow.” I guarantee you that at the local theater, nobody in the audience knows or cares whether the movie was mastered in HD or 35mm. The quality is that good.

James Cameron has been such a huge advocate of 3-D that more attention has been brought to it and more projects are being developed in it. The technology has jumped greatly because someone of that stature has endorsed it. The same can be said about Robert Rodriguez.

Read entire interview in Broadcast Engineering.

Novalux teams up with Dark for demo content

2006-05-26T11:36:00.000-07:00

Digital TV Designline
(05/26/2006 10:36 AM EDT)

SUNNYVALE, Calif., -- Novalux, Inc., developer of Novalux Extended Cavity Surface Emitting Laser (NECSEL) (tm) technology, will demonstrate prototype high-definition (HD) rear-projection laser television (RPTV) during Society for Information Display (SID) 2006, June 6 - 9, in San Francisco, California.

"Our SID demo marks the debut of speckle-free, bright, color-saturated prototype laser TV based on our NECSEL technology," said Greg Niven, Novalux vice president of marketing. "To showcase the system's performance, we've tailored several minutes of high-definition content. This will give viewers the chance to see what laser TV provides-better color, contrast and brightness than other competitive technologies, even on large home theater screens."

Novalux worked with producer Randall Dark to create high-definition demo content. Dark, founder of Los Angeles-based HD Vision Studios, is considered one of the most accomplished producers in the high-definition field. "Randall Dark represents the best in the HD television entertainment industry," said Niven. "We're excited to have worked with him on our custom content. We'd like demo viewers to see that laser TV is the only display technology that truly generates lifelike image quality."

Novalux first introduced concept NECSEL-based RPTVs during the 2006 Consumer Electronics Show (CES). These early units demonstrated the expanded color gamut and striking image contrast that laser technology provides. The company's latest prototype displays even higher brightness, color-balanced, speckle-free, high-definition images on a 52-inch screen. Ultimately, Novalux aims to enable home theater systems that marry over 200% of NTSC color coverage, high-brightness, high-resolution images, a thin, wide viewing angle architecture, and unsurpassed light source lifetime-all for a price tag of under a thousand dollars.

Lasers have long been recognized for their potential as illumination sources for projection applications due to their wide color gamut and high light energy efficiency. Historically, however, lasers have lacked the power, the small form factor and cost performance to realize laser-based projection TVs. NECSEL lasers overcome these obstacles, making them an ideal light source for next-generation RPTVs and home theater front projectors.

NECSEL devices are housed in a revolutionary package smaller than a matchbox. All NECSEL light sources produce color-saturated output, allowing them to reach a larger color space than competitive lighting technologies. And NECSEL sources provide bright, speckle-free output, resulting in clear, vibrant images unattainable by any other lighting technology. Additional advantages include long lifetime, instant-on and low étendue.

Novalux will hold its SID 2006 laser TV demos from June 7-9 at the Marriott Hotel in downtown San Francisco. Other opportunities to learn about Novalux and NECSEL technology include the Projection Summit 2006 in Orlando, Florida, where Greg Niven will present "Status, Costs and Trends in Lasers for Displays" on June 5; the SID 2006 Investors Conference, where Novalux Chairman and CEO Jean-Miche Pelaprat will present "Novalux's Role in the Emerging Laser Display Market" on June 7; and the SID 2006 Symposium, where Greg Niven will present "Low-Cost Lasers for Projection Displays" on June 9.

About Novalux:
Founded in 1998, Novalux has developed proprietary Novalux Extended Cavity Surface Emitting Laser (NECSEL) technology. NECSEL technology combines mass volume manufacturability with excellent optical performance. NECSEL device attributes include bright, reliable, consistent, speckle-free light output from a compact, low-cost package, making them ideal for current- and next-generation display applications.

For more information about Novalux, please contact Vice President of Marketing Greg Niven at (408) 773-3433, or visit www.novalux.com.

Television technology enters new era

2006-05-13T00:07:00.000-07:00

by Craig McCulloch

For the past several years, the television industry in the United States has been facing the looming date of February 17, 2009. On that date, less than three years from now, all TV stations are to shut off their analog transmitters and hand the licenses for them back to the government.

Extended from the original date by six years, the broadcasting industry is optimistic this change is going well. Many stations, especially in bigger metropolitan areas, will also upgrade to High Definition television, commonly known as HDTV.

At a recent convention in Las Vegas of the National Association of Broadcasters, products featuring HDTV technology played an important role.

Jonathan Adelstein is a commissioner with the Federal Communications Commission (FCC), the regulatory authority that governs all broadcasting and telecommunications in the United States.

Mr. Adelstein believes the conversion over to digital is going well.

"There's all kinds of new content that's coming on," he said. "Consumers are buying new HDTV sets in droves; it's going to be the biggest new consumer product on the consumer electronics industry shelves by 2009. I think it's moving forward. We need to do more to educate the public to be prepared for it. But, I think consumers are going to find all kinds of great new content. High definition, better sound quality, new offerings that are going to make it worthwhile for them to make the switch. They are already voting with their wallets by purchasing all kinds of new digital television sets and taking advantage of these new digital offerings."

One of the biggest supporters of the conversion from analog to digital is the Washington, D.C.-based National Association of Broadcasters. Spokesperson Dennis Wharton says that only 200 American TV stations have yet to make the conversion. "There are about 1,700 TV stations in the United States," he noted. "Over 1,500 have already made the digital television transition. Which means they are either simulcasting a digital signal along with their analog signal, but most of them are doing High Definition television during a lot of the day parts. Most of prime time, for example, is in High Definition television; all of the major sporting events are in High Definition television, late night shows are all in High Definition television. I'm not going to be Pollyannaish and not admit that there are some challenges still to go, but considering where we were and where we are now, things are going great."

Mr. Wharton says the biggest problem has been the cost, especially to stations that serve smaller population areas. He estimates a basic conversion from traditional analog to what is called SDTV (Standard Definition digital television) costs a station at least $2 million. To go all HDTV with good equipment can push that price tag up to $10 million.

Veteran producer Randall Dark has been working in HDTV for years. A longtime advocate of the technology, he says the price has dropped rapidly in the last few months.

He says this price drop is allowing stations to produce their local news, usually the most expensive part of a local station's operations, in HDTV.

Mr. Dark feels this development will be the impetus for stations to go all digital HDTV, which is broadcast in widescreen, or a 16:9 aspect ratio. "It's a very competitive marketplace for stations in every major city," said Mr. Dark. "They always say, they got the first Doppler [radar], they got the first helicopter, and they're always looking for that competitive edge. Now, all of a sudden you've got consumers everywhere that got these [HD]TVs and they 're not going to watch a four by three newscast on a 16:9 television. And they' re not going to watch in digital low resolution when they can watch it digital High Definition."

Mr. Dark says the impending release of HD DVDs and BlueRay technology will also advance digital HDTV.

Both these type of technologies will allow consumers to play DVDs in High Definition. Current units can only double the lines of resolution of non-HD DVDs. Along with falling production costs, Mr. Dark says this will encourage companies to start advertising in HDTV, as they will not want to showcase their products in lower resolution.

He also says these advances will allow stores to properly display HDTV and encourage more people to buy higher end television sets. This conversion will also make traditional television sets, in use for decades, useless.

The NAB's Dennis Wharton says that by the time February 17, 2009 arrives, many people would have replaced their traditional TV sets with news sets anyway. With most of the current sets on store shelves having built-in digital decoders, he feels consumers will embrace the new technology.

from Voice of America News

Press release on Closing Escrow

2006-04-24T19:10:00.000-07:00

HD Movie Shot on Maxell Tape - Closing Escrow

Las Vegas, NV (April 24, 2006) - Closing Escrow, a comedy film about real estate, has been accepted at the Dallas Video Festival, the largest video festival in the nation. Randall Dark, an undisputed leader in the High Definition (HD) industry and the Executive Producer of the new film, convinced the Director Armen Kaprelian to shoot his first feature entirely in HD. The movie was shot entirely on Maxell tape.

"Randall Dark has long been the primary visionary and advocate for high-definition TV," said Bart Weiss, Director of the Dallas Video Festival. "In Closing Escrow he brings together his passion for HD to produce this entertaining film. In a time when HD is reaching the low-budget- indie masses and people are buying HD televisions at home, a new feature from this technology-advanced team helps move the aesthetic further."

Weiss has seen a significant increase in submissions in HD over the last several years. Over the past five years, there has been an increase of 15-20% of entries shot in HD. Weiss forecasts that number will jump dramatically to 40% this year with the entries submitted to the Festival.

Closing Escrow was shot entirely on Maxell tape, using 62 Maxell HD Cam tapes and 3 Maxell D-5 tapes. "It's an easy choice when I decide what tape I'm going to use for my projects. Maxell tape has been consistent and reliable. It gives me the superior results I'm seeking, and the quality of my projects is always the best."

"High definition is an incredible art form. I strongly feel that HD's time has come. Seeing truly is believing with the quality of the HD picture," said Dark.

Closing Escrow is about three quirky families seeking to buy their next home. The Dallas Video Festival is being held August 8-13, 2006, at the Dallas Theater Center, as well as other venues in Dallas.

About Maxell
Maxell Corporation of America, a Hitachi-Maxell, Ltd. Company, is a leading full-line manufacturer of professional digital and analog audio and video media; computer data storage media; media products for consumer audio, video and camcorder applications; and batteries. Maxell also markets a full line of care and maintenance accessories and headphones.

For more information, please visit the Maxell Web site at www.maxell.com.

About Randall Dark
Randall Paris Dark is the creative marketing force behind HD Vision Studios, a complete High Definition Production and Post Production facility equipped with the latest technology, and optimized for producing and finishing independent films, television shows, commercials, documentaries, music videos, industrials or any other project in which HD is the medium of choice.

For more information on Closing Escrow, please visit www.closingescrow.com.

New Entrepreneurial Opportunities

2006-03-16T18:10:00.000-08:00

A member of the Caucus for Television Producers, Writers and Directors, Randall Dark was on the panel discussing on Content, Screens and Distribution Platforms. The panel focused on cross-platform and the latest ways to monetize content in the future. You may download a transcript of the panel discussion here.

Panelists: David Goldsmith - Marketing Consultant of Digital Media Distribution & Content Acquisition, Bruce Gersh - Sr VP of ABC Business Development, Dean Valentine - Symbolic Action, LLC, Bryan Seth Hurst (moderator) - CEO, The Opportunity Management Company, Jeremy Toeman - VP Market Development, Sling Media and Dark.

Dark relies on Canon lenses for Closing Escrow

2006-02-04T12:44:00.000-08:00

DIGITAL FILMMAKER RELIES ON CANON WIDE-ANGLE PORTABLE HD LENSES FOR VERSATILITY IN DOCUMENTARY-STYLE PRODUCTION

Flexible Lens Controls Allowed for Quick and Easy Changes in Framing Scenes

LAKE SUCCESS, N.Y., Feb. 14, 2006—Shooting in the unpredictable style of improvisational and documentary filmmaking requires flexible, responsive technology that can easily adjust to sudden changes in the actions of the people in front of the lens. That is why executive producer Randall Dark convinced Creator/Director Armen Kaprelian to use Canon wide-angle, portable High Definition (HD) zoom lenses to shoot their new real estate themed comedy, Closing Escrow. A pioneer in HD production, Dark knew that Canon wide-angle HD lenses on his two Sony CineAlta cameras would not only achieve sharp, high-quality images, but would also enable him to utilize the lenses’ versatile zoom and focus controls to keep up with the fast pace of the actors.

“I’ve used Canon lenses for almost 18 years,” said Dark. “I got the Canon HJ9X5.5B IRSD wide-angle HD lens (recently updated to the Canon HJ11ex4.7B IRSE lens) because it is my zoom workhorse lens. It is a fast lens that gives me the flexibility to be on a wide-shot at the start of a take and go to a tight-shot at the end of a take. This lens is versatile, flexible, reliable, and just incredible.”

The widest portable HD zoom lens on the market, the HJ11ex4.7B IRSE features the optical excellence of Canon’s e-HDxs technology, which employs the exclusive X-Element and Power Optical System for high-quality optics in a robust, compact, and lightweight housing that weighs just 4.10 lbs. The HJ11ex4.7B’s Enhanced Digital Technology eDrive features further enhance the lens’ versatility. With eDrive, users can easily pre-program functions such as zoom and focus settings into the lens for precise, automated repeatability via an easy-to-use LCD menu, assignable “soft” function buttons, and the rocker switch built into the lens grip. Users can program multiple setting or none at all depending on their personal needs and preferences.

“Canon lenses are true to what we’re seeing.” explained Dark. “What I love about them is they give us the raw image—whether it’s the set, the costumes, or the make-up. The image comes out of there raw and as perfect as possible and allows us, at the back end of the camera, to color-time it the way the director sees fit. It’s just a great workflow.”

Dark describes Closing Escrow, his first HD feature with Kaprelian, as a “comedic mock-u-mentary” featuring several popular comedians from television and film. The story called for a large part of the script to be left open for comic improvisation. For Randall Dark, the lens’ wide-angle capabilities made it possible for each impromptu scene to be captured easily and effectively, while maintaining vividly clear images.

“The movie has a script, a loose script with story arcs, but when we got into the scenes, the director let the actors loose and the results are hilarious,” said Dark. “It was the kind of shoot where we didn’t want to stop the momentum to change lenses or to move the camera in to get different framing. So I used my zoom lenses like prime lenses. I could be shooting totally wide and then—in the middle of a take—quickly find the next shot, zoom in, frame it, and carry the scene that way. My Canon HD zoom lens is adaptable to focal length so it’s easy for me to get a shot very quickly without interrupting the flow of what the director and the primary camera are doing. It’s just a different way of shooting. I’m not saying that one method is better or worse than the other, it’s just that I find that this style of cinematography works for me personally.”

Scott Billups, Closing Escrow's director of photography, also had high praise for Canon’s wide-angle HD zoom lenses. “Unlike the relatively constant world of film acquisition, each HD camera comes with a dizzying array of data rates, color space, and format choices. The only constant in the topsy-turvy world of HD production is the unflinching quality of Canon lenses. It’s nice to have a time-proven lens that can resolve every pixel. HD is a far different beast than film; the light becomes your medium and the lens your brush. My ‘brush’ of choice is Canon.”

Canon portable wide-angle HD zoom lenses also provided a solution for the production team’s time and budget constraints. “Especially with independent feature films, it’s all about ‘You’ve got to shoot it, edit it, and get it out there to be seen and sold,’ so there’s a faster turn-around for your investors,” Dark explained. “The director wanted to shoot two cameras and we only had 14 days of principal photography. Time is money and we didn’t have a lot of time to re-set the camera and snap-out lenses. So my two Canon wide-angle HD lenses were perfectly matched with my cameras, allowing the scenes to be executed quickly and efficiently with their rapid zoom speeds of 0.5 seconds and focus speeds of 1.5 seconds. As a result, we were able to shoot 57 hours of HD content in 14 days.”

“As an Executive Producer, if I can control my costs and bring our movies in under-budget because of technology, it’s a win-win,” Dark added, summing up his latest HD feature experience. “Film would have cost us well over a million dollars, but we’re well under a million dollars because we used HD. It’s just an incredible way to make affordable, high quality, great-looking independent features that can be exhibited digitally, or transferred to film for traditional release, and used for all the markets in-between. Finding the right project with the right budget and using the technology the way I’ve come to understand it, I’ve committed myself personally 100 percent. Closing Escrow is my first HD film and, hopefully, there will be many more to come in the future—and Canon will be there.”

About Canon U.S.A., Inc.
Canon U.S.A., Inc. delivers consumer, business-to-business, and industrial imaging solutions. The Company is listed as one of Fortune’s Most Admired Companies in America and is rated #35 on the BusinessWeek list of “Top 100 Brands.” Its parent company Canon Inc. (NYSE:CAJ) is a top patent holder of technology, ranking second overall in the U.S. in 2005, with global revenues of $31.8 billion. For more information, visit www.usa.canon.com.

# # #

Dark moderates HD Expo panel

2005-11-10T23:51:00.000-08:00

HD Expo panel discussion "Closing Escrow - The Movie" concentrated on HD independent production from concept to distribution. The seminar/discussion focused on how to raise funds, determine acquisition format, cost structure/budgets, post production and distribution.

Randall P. Dark, Executive Producer for Closing Escrow, moderated the event. Panelists included Scott Billups, HD Guru and Cinematographer for Closing Escrow; Armen Kaprelian, Director and Executive Producer Closing Escrow; Kristen Cox, Producer for Closing Escrow; and Kent Llewellyn, Story Editor and Co- Director.

MIPCOM Report

2005-11-01T22:52:00.000-08:00

At a different conference, Randall Dark, president of U.S. company HD Vision, addressed the production community attending the second of two HD Track conferences of the day, entitled "Making HD Make Business Sense: How to Avoid Financial Hiccups." "If you don't go HD, you won't have any shelf life," he commented.

The higher-ups reasoned that by using HD, they could sell the programs to more markets; thus HD can be employed for financial, rather than aesthetic, reasons.

excerpt from Video Age International

Conquering "The Rock"

2005-07-12T21:15:00.000-07:00

Randall Dark, President of HD Vision Studios and crew traveled to Banff, Alberta and captured HD footage of professional rock climbers pushing their skills to the limit. The completed program will be shown at retail stores to demonstrate DLP(TM) technology in DLP HDTVs and front projectors.

The production titled, The Rock was captured using the Sony F-900 Cine-Alta Camera and was shot in 30p. "I wanted to give the project a different look and have been doing some shooting in 30p for another client. This seemed like a good application for further experimenting," says Randall Dark.

Editing will be completed in Los Angeles in a linear HD Suite. Staff editor, Jayme Wing will assemble the hottest images in a fast-paced demonstrative form using a Sony 9100 editor to HD Cam decks.

Dark is anxious to see the fruit of his risky labor. Strapped into the side of a helicopter and circling above the climbers, he convinced the pilot to position the chopper such that Dark was able to shoot directly down the face of Ha Ling Peak as the climbers came up at him. "I only let the camera slip once..." says Randall, "...even though I knew it was tethered to the aircraft, I thought I was going to have a heart attack!"

The Rock will debut at consumer electronic retail stores and trade shows worldwide in the coming months.

from iCom Film & Video Production & Postproduction Magazine

Super Session with HD Superstars

2005-06-07T17:43:00.000-07:00

Randall Dark participates in HD Expo Super Session: Technology & Entertainment Breaks Wide. Other panelists include Larry Thorpe, Karl Meisenbach and Richard Cheski. The discussion was moderated by Peter Caranicas. The industry event was held in Dallas, Texas.

European Getaways in High Definition

2005-05-12T18:05:00.000-07:00

High Definition Brings European Vacations to American Homes

"The goal of a documentary has always been to document reality, without manipulation,” said filmmaker Randall Dark, cofounder and president of HD Vision Studios. “When working with the forcibly controlled medium of the motion picture, that is extremely difficult – if at times impossible – to achieve. The High Definition (HD) video format, however, has made significant strides in freeing filmmakers from the obstacles standing in the way of spontaneous, undirected reality.”

The benefits of HD have never been more apparent than with Dark’s new documentary series, European Getaways. Dark and his crew had three short weeks to capture images from 10 of Europe’s premier cities – Paris, London, Rome, Naples, Amsterdam, Venice, Monte Carlo, Nice, Athens and Barcelona. The footage shot in each city was then edited into ten, 25-minute stand-alone documentaries – one film representing each city.

Dark decided on a guerilla-style approach to the project. He divided his crew in half, and gave each team five cities, an HD camera and Maxell HDCAM videocassettes.

“The goal with this series was to show these famous places from the point of view of a first-time tourist,” said Dark. “In each city we bought tourist maps and traveled from destination to destination, emulating what any foreign visitor might do. What I wanted to achieve was an accurate representation of each locale, so that a family planning to visit one of these cities could watch our programs and decide which location, and which attractions, would best appeal to their interests.”

With this type of project, HD provided two huge advantages over film: the ease of camera set-ups and the fact that footage didn’t need to be developed. By looking through the viewfinder of his HD camera, Dark could see exactly what he was shooting and recording. The sound was also fed directly into the camera. As a result, preparation time was significantly decreased. This allowed for more flexibility when moving from location to location, without sacrificing image quality.

“Free from long hours of preparation, we were able to shoot 50-60 set-ups per day,” said Dark. “One of the best examples of this advantage was at the Vatican, in Rome. We witnessed the Pope saying mass and were given permission to shoot footage of him from just a few feet away.”

Using film, the crew would have had to meter the light, make sure the sound was synched, and record the sound separately with a DAT recorder. Because of the ease of operation with his HD Camera, Dark simply turned the camera on, white balanced, and recorded the event with the sound recorded directly onto the Maxell tapes. The shooting caused no disruptions to the mass.

“I was so confident in the footage I shot that I shipped it home without even giving it so much as a glance,” said Dark. “Thanks to the reliability of the camera, and because I trust the reliability of Maxell’s HDCAM cassettes, I was confident there would be no problems with exposure or digital glitches. What I saw was what I got, in real time.”

It wasn’t until the he got back to Los Angeles to begin editing that Dark actually saw everything the crew shot. HD Vision Studios was able to edit online, directly from the masters shot in Europe. Because he wanted to accurately represent all the familiar European icons, color correction was practically nonexistent.

“I wanted to represent each city as we saw it, not as we could perceive it through the subjective magic of postproduction,” added Dark. “Herring Broadcasting, Inc., a parent of the “Wealth TV” HD network, has purchased the series and is airing it on their network. The best way to see it is in true high definition, and we’re hoping that those who tune in have as good a time experiencing Europe as we did.”

First HD Movie Broadcast to Theaters

2005-04-01T17:36:00.000-08:00

Bell Witch:The Movie, produced by Big River Pictures, premieres September 24, 2005, at Ryman Auditorium in Nashville, Tennessee. In a motion picture premiere first, the entire program will be broadcast via satellite/fiber and projected live in full-bandwidth High Definition to theaters throughout the United States.

Approximately eighty theaters are currently set up to receive this digital broad-cast. During the concert, the cameras will cut away to the Director and celeb-rity guests who will then offer a prize to the first person to call in. This project is the creative realization of Co-Executive Producer Randall P. Dark. Bell Witch:The Movie explores the terror experienced by members of the Bell family during the infamous haunting of the Bell Witch in the early 1800s.

from HiDef magazine, volume 7, issue 3

HD EXPO Hosts Advertising A-List and Speed Dating With Industry Experts

2005-03-03T22:05:00.000-08:00

Randall Dark, Co-Founder, President, HD Vision Studios, Inc. was in a select group of industry experts at HD Expo. The gathering of movers and shakers in the exploding high definition industry met to share ideas, technology, strategies for expansion, and opportunities.

Dark and other notables in the burgeoning field of high definition technology participated in interviews, panels, and workshops, including "Speed Dating with Industry Experts." Lottery winners got 5 minutes each with technology/entertainment industry expert to ask questions and get tips and knowledge of future trends.

Reality HD

2005-01-15T00:18:00.000-08:00

by Marc Loftus

This month, Post features coverage of facilities that are posting reality TV shows. This genre has undoubtedly become the fastest growing niche on TV and lures people in with its unscripted, unpredictable, anything-can-happen format, making subjects from motorcycle building to home improvement to globe-trotting competitions interesting to a mass audience.

The cameras are always rolling and footage quickly piles up, making an editor's job a real challenge when it comes to finding compelling storylines. Many of the shows are being captured on standard definition digital video formats--DV, DVCAM, IMX or even Sony's new disc-based XDCAM--but HD is making inroads. Last year, Mark Burnett Productions produced and posted The Casino, a reality show shot in 720p on Panasonic Varicam HD cameras. Fifteen Avid Media Composer systems, sharing 8TB of storage, were used to cut the show, which was finished on a DS Nitris at LA Digital. The Benefactor, starring billionaire Mark Cuban, was shot on I080i HDCAM and edited on Media Composers. Online took place at LA's Matchframe Video, where DS Nitris operators color corrected episodes and created masters.

Randall Dark, a principal at HD Vision Studios in Studio City, CA, has been working in HD since its infancy and sees The Casino and The Benefactor as just the beginning of an HD reality TV trend.

"The future of reality TV will be HD--period," states Dark, adding that the sale of so many HDTVs over the holidays will further increase demand for content. Shows like Survivor, says Dark, with its exotic locations and good-looking contestants, are well suited for the format. And HD, he believes, can breathe new life into shows that may be losing their initial appeal.

The cost of producing HD content is a popular question, one that often draws vague answers. For a show like Survivor, Dark says, the crew is already in place, as are the locations and other logistics. "How much more, incrementally, could it cost to go HD?"

HD Vision produced a series of 15 European travelogues for Wealth TV. Aside from the 30-minute shows, they also built an impressive HD stock library, some of which has already been licensed. New HDV cameras are expected to help in lowering the cost of HD production. Can they make reality programming even more interesting is another question.

from Post

HD heats up

2004-12-01T22:16:00.000-08:00

This format is seeing acceptance an a compelling, cost-effective medium that can deliver the same emotional impact as film.

by Claudia Kienzle

HD has been steadily gaining acceptance for acquisition, post production, and distribution for television and feature films. But our experts say that HD is now at a point where it could really take off in 2005. HD usage is exploding due to impressive advancements in HD image capture, remarkable color grading in post production, and its compelling cost-efficiency compared to 35mm film. As HD's superior picture and sound promote its worldwide acceptance for HDTV, HD-DVDs and digital cinema, there is increasing demand for post production services, such as digital intermediates, HD mastering and digital film dailies.

RANDALL DARK
Co-Founder/President
HD Vision Studios
Los Angeles, CA
(www.hdvstudios.tv)

STRENGTHS: "We're beginning to see the impact that HD is having on broadcast, digital cinema, point of purchase, medical, the military, and more. And, many television pilots and independent films are rapidly shifting from 35mm film to HD production because it enables them to create a film look very cost-effectively by eliminating the up-front costs of film production--the raw stock, film processing, and dailies production. Rather than having to reload film every 10 minutes, HD tape lets you shoot for 50 minutes without stopping to reload, which keeps the production moving along without costly delays."

WEAKNESSES: "There is the lack of understanding of just how far HD technology has come in the last two years. This is a huge issue. Because HD has been around for so many years, people who looked into it early in its evolution may have dismissed it as unfriendly, costly, or lacking the bells and whistles of an end-to-end solution. But in the last two to three years, tremendous strides have been made to eliminate problems like compression artifacts, and ensure high-quality color correction, down conversion, and other services essential to HD production. HD is now a compelling, cost-effective medium for telling stories with the same emotional impact film delivers."

OPPORTUNITIES: "As HDTV evolves, the need for content produced in native HD will also grow. While a 4:3 SDTV documentary about African wildlife is interesting, people will want to revisit this subject in HDTV because the high-resolution, widescreen picture will have an incredible impact on the viewing experience. Another huge opportunity will be HD-DVDs. In terms of a new growth market, HD-DVDs will be staggering, with ample business opportunities for this industry."

THREATS: "In light of rapid improvements in HD's image quality and price/performance, as a businessperson, you have to plan your capital expenses for new equipment such that your rate of return makes sense. Also, as more productions choose HD over film for acquisition, it will pose a threat to companies offering film dailies, although we will see a growing demand for digital dailies."

OUTLOOK FOR 2005: "With many high-profile events being televised in HDTV, HDTV set manufacturers can't fill the orders fast enough. In 2005 we will finally reach the tipping point where so many consumers have HDTVs in their homes that demand for original HDTV content will explode."

excerpt from Post

Reality TV HD production

2004-11-12T18:37:00.000-08:00

The HD Expo "Reality Television" panel moderated by Randall Dark was highly attended and one of the most spirited discussions of the day's agenda, addressing the teaming of Hollywoods' newest kids on the block: Reality Programming + Shooting in High Definition.

Panelists included: Marc Wolloff, Executive in Charge of Production Popular Arts Entertainment; Ron Romberger, Editor; Robert Bennett, Executive Producer, CEO/Founder HD Republic.

2nd Annual HD Expo

2004-11-04T23:25:00.000-08:00

The panel, Reality Television, will be moderated by Randall Paris Dark, Co-Founder and President, HD Vision Studios, Inc., and will address such topics as: Does Technology Impact the Creative Process? Are There Budgetary Limitations with HD? and Does HD play a Role in Reality Television? Featured panelists include: Marc Wolloff, Executive in Charge of Production, Popular Arts Entertainment; Ron Romberger, Editor; and Robert Bennett, Executive Producer, CEO/Founder, HD Republic.

The second annual HD EXPO, a gathering of pioneers and leaders in the world of digital and high definition technology, will take place today in Los Angeles, at the Petersen Automotive Museum on Wilshire Blvd., from 1:00 p.m. until 9:30 p.m.

Stocking Up

2004-11-01T21:35:00.000-08:00

While many stock houses are now shooting and transferring footage in high def, others are waiting for demand to increase.

by Christine Bunish

An 8-year veteran of HDTV, Randall P. Dark, co-founder/president of HD Vision Studios (www.hdvstudios.tv) in Studio City, CA, remembers a time when there was no call for HD stock. But times have changed. "The world is going digital widescreen and high resolution," says Dark. "In the past, 4:3 SD libraries were worth hundreds of millions of dollars because of demand. But all of their footage will go away in the digital widescreen world unless it's important historical or archival material. You can't seamlessly incorporate a 4:3 low-rez image in an HD program. Everything that people have used in the past has to be recaptured for the future."

HD VISION SUPPLIES FOOTAGE BANK

Initially, Dark fulfilled requests for HD stock footage as an offshoot of his own content-creation business. "Providing 'eye candy' for product launches at trade shows and retail environments was a big source for us," he reports. "Everyone wanted to attract floor traffic with jaw-dropping footage on their TV, projector or playback device."

HD Vision still provides images for that market, supplying footage for Texas Instruments' HD projectors and TVs display at CEDIA as well as for a number of major manufacturers at the 2004 Consumer Electronics Show. Dark crafts custom programs for exhibitors based on his extensive HD library. "They want people to walk by and see some pizzazz, not a storyline. The images have to be self-explanatory; extreme sports, aerials, nature."

Now Venice, CA-based Footage Bank (www.footagebank.com) represents HD Vision's HD program clip library as well as footage Dark continues to gather, such as European material he lensed while on location for Wealth TV.

When Paula Lumbard launched Footage Bank in '02, studios had begun gearing up for HD program delivery, "We hoped there would be enough shows to support a company like this, but there weren't during our first year," she recalls. "Instead, we spent time building our library, the concept of HD footage and educating ourselves and our clients."

Today, with a new TV season underway. Footage Bank has seen the studios do an about-face. "People now ask for HD or 35mm," she reports. "Even the last film shows are taking HD images." Among the series requesting clips from Footage Bank are LAX, Dr. Vegas, Medical Investigation and Everybody Loves Raymond. "We've also been working aggressively with DPs to shoot locations on 24p HD to build our library and meet the on-demand need for establishing shots," she adds.

Footage Bank represents HD material from over 60 suppliers in a wide range of subjects, including the popular technology and timelapse categories. It offers aerials from the "Over America" and "Over Canada" series developed by Sony and KCTS/Seattle; footage from HD cameras mounted on the Space Shuttles; and collections from three of the "world's best" underwater cinematographers. Al Giddings's underwater library has been upconverted to HD from film and video using the Teranex system while Howard Hall and Tom Campbell shoot 24p HD and 1080i HD native, respectively.

Footage Bank recently signed to represent Helinet's aerial collection captured by gyro-mounted HD camera systems developed by Helinet. "The systems have incredibly powerful lenses, so you can be riding alongside a car looking at the driver, then pull back and the car becomes just a spec," Lumbard explains. Helinet footage has already been licensed for the indie HD feature The Kid and I.

HBO SPORTS, SCENICS AND GROWING HD

In spring 2003, the 30-year-old image vaults of HBO Sports, containing over 40,000 tapes of one-of-a-kind material covering sports and more, were opened to the public.

"We had licensed our boxing material on an ad-hoc basis before but embargoed our behind-the-scenes footage," notes Max Segal, manager of HBO Sports Archives (www.hboarchives.com) in NYC. "We realized we had wonderful personality features from all sports and decided to make it available."

The archives comprise a number of stellar collections. In the sports arena, HBO leads with its boxing features as well as fight footage from bouts where it is the rights holder. Grand Slam Tennis includes original Wimbledon features and interviews from 1975 to 2000 and US Open features from the mid-'80s. The Football collection represents original features and interviews from HBO's Inside the NFL. Also offered is material from HBO's Real Sports With Bryant Gumbel and extensive interview footage and B-roll from award-winning documentaries like Do You Believe in Miracles?; Playing the Field: Sports & Sex in America; When it Was a Game; and Arthur Ashe: Citizen of the World.

The archives also possess strong non-sports collections. "When we go around telling athlete stories, we end up shooting scenics and landmarks," Segal says. "We've also been building a newsreel collection through the Library of Congress and National Archives."

Finally, the Gold Collection: The Film Vault features film-originated iconic and specialty shots of boxing, motor spots, golf, horse racing, baseball, tennis and figure skating, plus Bob Costas's essays for his On the Record HBO series.

Most of the footage in the archives originated on SD video but that is about to change. "We're moving to HD across the network, and our goal for 2005 is to do as much as we can in HD to meet the need for people asking for HD footage," Segal acknowledges. In September, HBO produced its first HD boxing broadcast, and more feature pieces will be shot on HD.

Segal estimates about 40 percent of business is with fellow cable networks.

35MM WIDESCREEN

For Anchorage-based Last Frontier Footage (www.lastfrontierfootage.com), HD means widescreen 35mm. Owner David Hoffmann has assembled a spectacular collection of widescreen 35mm footage, most of which he shot himself, of avalanches, glaciers, the Northern Lights, wildlife and scenics.

"When I started, I was shooting on video, but I felt I had to shoot on film. I began with 16mm, but a Hollywood cinematographer told me if I wanted to play with the big boys I'd have to shoot 35mm," Hoffmann recalls. "A lot of people don't do wildlife and nature photography on 35mm because it's a lot of extra work with all the heavy equipment."

As a result, Alaska native Hoffmann has a collection of stock images that include the Northern Lights, which has been used in BBC television programming, and is among his most popular offerings "because it's so hard to get, particularly on film."

Other clients of Last Frontier Footage include Target, which incorporated clips of Yosemite's El Capitan and mule deer in the early morning, plus a shot of Denali's Wonder Lake; a Princess Cruises commercial with a shot of bull caribou and the Alaska Range in the background; a Big Boy restaurants spot featuring the Kenai Fjords National Park in Alaska; and Discovery for whale footage.

Hoffmann says he'd consider shooting in HD "if that's where the technology is going and what clients demand. But the fact is I can fill requests for glaciers or the Northern Lights for theatrical and widescreen HD with my widescreen 35mm material."

Additional whale, avalanche and glacier calving footage would be among the first categories he'd try to capture on HD, if clients request it. "People are always asking for new material, and I'd like to improve upon what I already do well," Hoffmann says. He is also available to custom shoot footage if clients need specific on-location material.

ROYALTY-FREE SD

The model of royalty-free footage, featuring buy-out collections, has expanded in the industry recently. "In the past 24 months there's been a shift to companies going royalty-free or offering royalty-free product," says Andrea Keating, CEO of Delaware-based Reelcities and founder/CEO of crewing agency Crews Control.

Reelcities takes a royalty-free approach that spring-boards off Keating's crewing expertise. "We're selling location footage that's like having your own location crew out there," she explains. "The production quality and variety we offer gives you options you can't get elsewhere."

Reelcities has introduced 27 royalty-free stock location footage reels, available in multiple formats, for major US cities, plus Greece, London and Toronto. Asia is currently in production. The reels are priced at $495 each, plus shipping and handling.

"Crews Control had a client who was booking shoots for location footage in cities around the world for a new product launch," Keating reports. She asked why the client was going to such lengths instead of using stock footage. The reply was that negotiating the stock footage world was complex and costly in dollars and time. With custom shoots, "I can get it all on my desk within 48 hours, and I own it," the client told Keating.

A light bulb went off for Keating and Reelcities was born. Her clients wanted "a selection of takes of each location with multiple pans, zooms and angles; longer takes; and stock that was shot as actual location footage not just stock shots," she says. "And they wanted it royalty free."

While Reelcities' footage has been lensed on Beta SP and Digital Betacam, HD may be just around the corner. "People are asking for HD originals," Keating acknowledges. "Beta SP is still popular, but we're waiting for one HD format to prove itself, then we'll begin to reshoot everything."

A ROYALTY-FREE SOLUTION

Headquartered in Peoria, IL, Creatas (www.creatas.com) is a leading provider of royalty-free stock photography, illustration, footage and other design tools. It represents its own Creatas brand stock-footage collection as well as a number of others.

"Royalty-free images are a small part of the overall footage market, but where we focus our energies--on corporate and small broadcast customers--royalty-free is the best solution," says David Moffly, CEO of Dynamic Graphics Group, the parent company of Creatas. "Everything is available online, you get it immediately, and you're good to go."

The collections Creatas represents can be purchased outright, or customers can download in realtime a broadcast-quality clip or series of clips on a royalty-free basis. "Everything is on servers in our data center waiting to go," Moffly notes. "If you're buying clips from the Creatas brand, we store your information so you can access clips through the Web site as long as you remain a customer." The entire inventory of Creatas clips will be available online by early 2005.

Clients "are using content to tell stories so model-released people have done really well, as has extreme sports, which offers a powerful set of images that messages can wrap around. There's also a lot of demand for scenics and animals."

The Creatas brand has 13 categories, including business, lifestyle, people, sports and leisure activities. Reel Life has an expressive collection of lifestyle material "shot to encompass a whole emotional story, like its 'Father and Son' title," Moffly says. Rocketclips spans outdoor leisure, baby's first steps and bustling office life; and Rubberball has a fresh take on people-themed categories.

Creatas represents Corbis's and Getty's royalty-free products along with Thinkstock's cutting-edge images, Dynamic Graphics' world locations and more.

Moffly believes the market for HD royalty-free stock footage will be "a slow progression. We know HD is coming, and we'll be selling it as the world moves forward, but right now editing in HD represents a new set of investments for our customers who have in-house video editing capabilities."

from Post

Canon lenses for new INHD series

2004-10-18T14:41:00.000-07:00

Randall Dark uses Canon lenses for new INHD series

Producer/director Randall Dark is using Canon’s HJ9X5.5B IRSD wide-angle HD lens to shoot INHD: Reel Look, a new series for the INHD cable network. The cable TV series features HD video of today's stars as they walk the red carpet at the latest Hollywood film debuts, as well as celebrity interviews, behind-the-scenes footage and movie clips.

Dark, a veteran HD producer and president/co-founder of HD Vision Studios, in Hollywood, said the new show is a “killer app” for HD. He’s used the HJ9X5.5B IRSD wide-angle HD lens in combination with a Sony HDW-F900 HDCAM camcorder. (Canon has since updated that lens with its new HJ11ex4.7B IRSE model). The Canon lens easily handled the numerous wide shots, close-ups, and personal shots necessary to the episode.

In addition to the red-carpet portion of the show, INHD: Reel Look also features intimate, one-on-one interviews that Dark shot during press junkets for such films as, “Around the World in 80 Days,” “The Village,” and “Mr. 3000.”

Dark, who has been using Canon lenses for the last 12 years, said he’ll produce up to four episodes of ‘INHD: Reel Look’ per month.

For more information visit www.usa.canon.com.

from Broadcast Engineering

HDTV Forum 2004

2004-08-24T23:04:00.000-07:00

Challenges in HD Content Creation will follow the content programming session to address the unique challenges inherent in filming and production in HD. Panelists will discuss the changes occurring in the overall workflow of film production, how the advances in digital camera technology have affected cinematography, how the Hollywood entertainment industry views the rapid move to HD, and what the unique benefits are to moving towards HD and digital film production.

"It is very important to hear from the content creation community to understand how hard they are pushing the HD transition and if there are any remaining roadblocks," stated conference co-organizer, Chris Chinnock, president of Insight Media.

This panel session will be moderated by cinematographer and production engineer Derek Grover, who is the founder of Digital Hollywood Imaging, a company considered to be a driving force behind the transition of all major studios from film to high definition production for network programming.

Mr. Grover will be joined by HD visionary Randall Dark, president of HD Vision Studios and a 16-year HDTV production pioneer and veteran. Mr. Dark has been involved in over 800 HD projects including films, documentaries, commercials, music videos, corporate presentations, product launches, and live events and is considered an undisputed pioneer in the HDTV industry.

Joe Kane, CEO and video director, Joe Kane Productions also will join the discussion. Mr. Kane specializes in the science of electronic imaging and accurately reproducing video signals on all types of displays. Through his work as chair of the Society of Motion Picture and Television Engineers (SMPTE) Working Group on Professional and
Studio Monitors, he helps bring organization and consistency to displaying pictures in the professional and broadcast world. He is currently finishing several versions of Digital Video Essentials, aimed at helping consumers with the transition to HDTV.

The Artist in HD

2004-07-22T13:21:00.000-07:00

The Artist In HD
Randall Dark’s Award-Winning Portrait of an Artist Demonstrates the Benefits of HD to Documentary Filmmaking

The goal of the documentary is to document reality. This premise, however, runs contrary to the forcibly controlled medium of the motion picture. Because of cost, and the limitations within the aesthetic itself, creating a situation in which reality can simply “happen” is nearly impossible. With the introduction of High Definition (HD) video, these parameters have been greatly relaxed. Lower costs associated with HD production, and the added flexibility that comes along with it, has eased these restrictions, allowing the filmmaker to get closer to truth than would ever be possible with film. Writer and Director Randall Dark’s Telly Award-winning documentary, Artist in the Round: Shayne Dark is the perfect illustration of the unique benefits of HD production and Maxell’s HDCAM Media. With the freedom allowed by his HD camera, and the high quality of Maxell’s recording media, Dark captures the richly nuanced story of an artist who triumphs daily over dyslexia.

The subject of the documentary is Dark’s older brother, Shayne, who is a prominent Canadian sculptor. Raised in a time when little was known about dyslexia, Shayne was simply categorized as a “slow learner.” Consequently, as an adult, Shayne reads and writes at a second grade level. The documentary explores his battle to overcome this life-long learning disability, while becoming a contemporary artist with international renown.

Artist in the Round: Shayne Dark, which was shot on Maxell HDCAM and Sony HDCAM, and was edited exclusively on Maxell HDCAM, is the perfect example of how HD production and technology help to overcome many of the obstacles inherent to documentary production. Because HD costs less to shoot on than film, and because the logistics of shooting HD are simpler, Dark had greater flexibility as a director, which enabled him to capture moments that wouldn’t have been possible with a more stringent shooting schedule.

“HD allowed me to roll the camera all day long while conducting the interview and it allowed me to try new things as I saw fit,” said Dark. “This method helped Shayne achieve a greater level of comfort and helped us to capture the spontaneous moments that provide a true, unique glimpse into his identity and character. It enabled us to better capture real life, which would have been limited with the more rigid techniques that are intrinsic to shooting film.”

Another advantage of HD is the time saved with camera set-ups. When shooting on HD, the director, by looking through the viewfinder and glancing at the monitor, can see exactly what they’re shooting. The sound is also fed directly into the camera. As a result, preparation time—especially with lighting and sound set-up—is significantly decreased. This allows for more flexibility when moving from location to location.

“Sometimes I’d just set up the camera and not let Shayne know that I was shooting,” added Dark. “We’d run through the shoot as though it were a rehearsal, which made him more relaxed and natural. This technique yielded priceless moments. When shooting on film, I’m not allowed that luxury; film is too expensive to risk wasting, and the subject always knows when you’re shooting. Also, with the durability and reliability of Maxell’s HDCAM product, worries about tape performance are not part of the equation.”

What bolster’s Dark’s confidence in Maxell’s HDCAM is the media’s ultra-high performance binder systems that make the tape exceptionally durable – an essential asset to working volatile environments. The HDCAM videocassette also features a recording density 1.4 times greater than Digital Betacam for superior digital and video performance.

Artist in the Round: Shayne Dark is the first of a 13-part series. The In the Round series will feature accomplished artists and the major handicap or obstacle each of them has overcome, or continues to battle, in order to achieve success. The artists to be profiled include sculptors, painters, musicians and photographers. Artist in the Round: Shayne Dark was produced by Kristen Cox and edited by Jayme Wing.

click on image to enlarge

The vision thing

2004-07-19T21:56:00.000-07:00

HD beats film and SD in cost, look.

When it comes to HD production, few can match the expertise of Randall Paris Dark. The founder and president of production company HD Vision was shooting in HD when reality TV was barely a gleam in the networks' eye. He spoke with B&C's Ken Kerschbaumer about growth of HD from fledgling upstart to embraced standard.

You moved your business from Dallas to Los Angeles. What was that like?

The big thing, with all due respect to Dallas, is the talent pool in Los Angeles. It's incredible. The quality of the work we've been able to do, in terms of look and feel, has improved dramatically. Also, in the past 2% years, there are more bells and whistles on the gear, and the cameras are better. The other thing that's important is the workflow. HD has become commonplace.

What are you seeing in terms of SD versus HD work?

My world is all HD. But I'm finding that some clients who would never consider doing HD are looking at their budgets. The price point of HD versus SD is marginal because the cost of the director and lighting are the same. The marginal cost is just the technology.

Is that marginal cost getting smaller?

Now HD is so mainstream, price points of rental gear have come down. Having equipment in every major city is making it affordable to any producer who wants to go out and do it.

What is that cost premium today?

Depending on the type of project, it's cheaper than 16mm or 35mm. But it's about a 50% hit compared to something like Digital Betacam tape.

Given that HD is cheaper than 16mm or 35mm, what is the future of film?

Film is an art form and art forms don't get replaced. That being said, HD is a cost-effective way to duplicate the look and feel of film, although there are differences. To be brutally frank, film is going to look like when The Elephant Man was shot in black-and-white: Certain people use it because it's a great art form.

But I can't see people writing checks [for work] that is more expensive because of the technology. The young independent filmmaker will look at the price difference and the end result and say, "Why should I spend more money for a product when the consumer can't tell what it originated on?"

Does that mean no more TV shows shot on film?

In a few years, it's all over. No one will be shooting 35mm for what I call disposable or time-stamped programming. It just doesn't make sense. With HD, you can shoot 50-minute loads, aerial and underwater shots. It's insane to use any other technology.

from Broadcasting & Cable

Documentary premieres on Discovery Channel HD Theater

2004-04-26T14:16:00.000-07:00

Randall Dark's documentary of his older brother, Shayne, premiered on Discovery Channel HD Theater on Sunday, April 25, 2004 across the United States. Artist in the Round: Shayne Dark explores the life and work of his older brother Shayne who has dyslexia, and his battle to overcome this life-long learning disability, while becoming a contemporary artist of international renown.

"Iced" puts Maxell tape to the test

2004-04-17T12:26:00.000-07:00

Maxell High Definition Tape Proven the Ultimate Medium for Capturing Professional Skiers in Their Natural Habitat

Las Vegas, NV (April 17, 2004) Director Randall Dark’s new skiing documentary, Iced, provides the perfect illustration of the advantages of shooting in High Definition (HD) video with Maxell HD media. Dark and his crew hiked for miles into the wilderness of Jackson Hole, Wyoming’s out-of-bounds skiing territory to find untouched powder, and the most adrenaline-inducing descents, in order to capture the sharp, kinetic images of professional skiers pushing their skills to the limit. Because of the freedoms afforded by HD, Dark was able to simply let his cameras roll, capturing skiers Lance Pickett, Jamie Sunberg, A.J. Cargill and Greg Epstein in all their unrestrained glory as they carved the mountainside during the brief two-day shoot.

“A skiing documentary is a blending of the two different genres – the nature film and the sports film,” said Dark. “In both cases flexibility is the key. Because of the economic benefits of tape over film, and because the logistics of shooting HD are simpler – you can see exactly what you’re shooting by glancing at the monitor – we were able to set up quickly and shoot a vast amount of footage, providing the freedom for those ellusive ‘magic moments’ to happen.”

With HD’s tremendous resolution and the 16:9 aspect ratio, Dark and his cameraman, Dave Nash, were able to capture the skiers as they shredded the wide vistas and untouched snow in rich, vibrant tones. “I was able to capture some of the best-looking HD slow-motion footage I’ve seen,” said Dark.

With the durability and reliability of Maxell’s 40-minute HDCAM videocassettes, which Dark used to both capture and edit his images, worries about tape performance were removed from the equation. With its sturdy, ultra-high performance binder system, which is an essential asset for working in volatile environments, and a recording density of 1.4 times greater than Digital Betacam, Maxell’s HD media guaranteed that the beauty of Dark’s arresting images would be held for posterity.

Iced was produced by Jackson Hole local Jason Winkler in cooperation with HD Vision Studios.

About HD Vision Studios
Co-founded by Randall Paris Dark, who started working in HDTV in 1986 when the High Definition industry was still in its infancy, HD Vision Studios is considered one of the world's leading digital production companies. The company opened in April 2002 to take advantage of the high concentration of entertainment-focused companies in Los Angeles County. HD Vision Studios is led by Dark, Steve Wiener as CEO and Jayme Wing as Editor/VP.

HD Vision Studios is a complete High Definition production and post-production facility for anyone producing motion pictures, independent features, television shows, or any project where HD video is the medium of choice. For more information, visit HD Vision Studios at www.hdvstudios.tv or call (818) 769-7300.

About Maxell
Maxell Corporation of America, a Hitachi-Maxell, Ltd. Company, is a leading full-line manufacturer of professional digital and analog audio and video media; computer data storage media; media products for consumer audio, video and camcorder applications; and batteries. Maxell also markets a full line of care and maintenance accessories and headphones.

For more information, visit Maxell at www.maxell.com.

"I Believe In HD"

2004-04-01T19:15:00.000-08:00

In the current issue of High Definition Magazine, Randall Dark is as enthusiastic about HD as a man can possibly get. In an interview with Bob Pank, Dark says he regularly gets booed by film people, but they don't understand film is "fiction." Read this highly entertaining interview here: I Believe In HD

Wealth TV signs Randall Dark

2004-03-15T20:02:00.000-08:00

WealthTV SIGNS HD VISIONARY RANDALL DARK TO PRODUCE
Programs Promise Adventure, Style and Allure

San Diego, CA, March 15, 2004 – Herring Broadcasting, Inc., the parent company of the WealthTV network, announces the signing of acclaimed producer Randall Dark for three signature programs to air exclusively on WealthTV. Dark is a pioneer in the realm of High Definition (HD) television and the president and founder of HD Vision Studios.

"Randall Dark represents the best in the industry when it comes to HD television entertainment. He’s one of the most accomplished producers in his field. We're proud to have him as a partner." said Chris Moore, WealthTV’s Director of Program Acquisitions.

Dark will produce three programs for WealthTV, which will be part of the network's HD lineup. Themes of the programs include high-end fashion, tours of the finest European cities and profiles of the seaports where the most luxurious yachts come to play.

According to Dark, the partnership with WealthTV will yield something special for those who appreciate the finer things in life. "WealthTV is committed to taking viewers on tours of the finest destinations in the world and showing the lifestyles of people we find most intriguing - the wealthy," Dark said. "The best way to see all of this is in true high definition. We’re going to deliver, in style."

About WealthTV
Herring Broadcasting, Inc. is launching the “WealthTV” network on June 1, 2004. WealthTV is a lifestyles and entertainment network designed to have broad appeal, providing a behind the scenes look into how the wealthy achieved and enjoy their success. WealthTV is launching numerous new programs in true high definition (HD) format. Visit WealthTV at www.wealthtv.net

About Randall Dark
Randall Paris Dark is the creative and marketing force behind HD Vision Studios, a complete High Definition Production and Post Production facility equipped with the latest technology, optimized for producing and finishing independent films, television shows, commercials, documentaries, music videos, industrials or any other project in which HD is the medium of choice.

###

Dark moderates HD Super Session at HD Expo

2004-03-11T22:22:00.000-08:00

The HD Super Session at HD Expo was moderated by Randall Dark, President of HD Vision Studios. The all-star panel screened work and took on issues such as, coping with changing technology, learning new techniques, dealing with digital production, and weighing costs vs. creativity.

Panelists include: Cinematographer Bill Bennett, ASC; Kristen Cox of 16x9 Productions, Mark Chiolis of Thomson, Yasuhiko Mikami, Sony, and Robert Shuster, Hollywood Studios Rentals.