Happy Anniversary!

HD Vision Celebrates First LA Anniversary
High Definition Pioneer Randall Dark Expands His Operation in Hollywood

Randall Dark, who worked on some of the earliest movies shot in HD, completed his first year of operation in Los Angeles last month. “I’m new to Hollywood but I’ve got to tell you I love, love being in Los Angeles, being where the pulse is,” he says. “I think my timing is perfect.”

Dark was born and raised in Canada and got into production there. “I started in high definition up in Canada in 1986 working on Chasing Rainbows for the CBC. I was the high definition mobile operator,” he recalls. “And then I moved to New York City and I was doing high definition work out of the Ed Sullivan Theatre.”

In the early Nineties, following the first wave of excitement over HD, Dark made a decision. “I decided that high definition was going to fall away unless someone started doing multi-camera work,” he says. “That’s when I decided to open up in Dallas and get the HD Vision truck so that we had the ability to show sporting events and concerts.”

For the next decade he was one of a handful of people in the country who produced and directed high definition projects. He did a lot of work for corporate clients and supplied programming to various cable outlets. In January 2002 Dark moved his business to Los Angeles and changed the name to HD Vision Studios.

Dark says, “We wanted to create a broadcast center and who better to run it than Tom Martinez? One of the big futures of high definition is not just television it’s transporting high-resolution, digital widescreen images around the world. And Tom is one of the leading experts working in this field.” Martinez says that since Hollywood has such a strong film tradition many people in the industry have never seen HD before. He says they’re invariably impressed when they finally get a high definition demo.

“Whether it’s a 1080i image or a 24p image we blow them away on a 15x9-foot screen in 5.1 Surround Sound,” Martinez explains. “The first reaction that we always get is, ‘Oh, my God!’ Seeing is believing. We can talk about film forever and the different film techniques and different film lenses and the projectors but when you start projecting off a cinema grade DLP and then we let them know the costs, it sells itself. You don’t have to do a whole lot. We’re letting technology speak for itself.”

Martinez continues, “It’s not only filmmakers, it’s broadcasters and people that are shooting in a 4x3 aspect. Those are the people who are also blown away by high definition. Whether it’s a film producer or a broadcaster from ABC or CBS that comes in here.”

Dark says many actors are wary of HD because they’ve heard horror stories about how unflattering the crisp image can be. “A lot of times it’s the first time they’ve seen themselves in high definition,” he says of the people who visit his studio.

He says the side-by-side comparison impresses them. “Part of Tom’s mandate and part of my mandate is we want to educate and compare apples to apples,” Dark says. “Everyone can say this and say that but seeing it is truly believing it. We want people to judge for themselves. There is a huge resistance but what we’re finding is there’s an incredible craving of knowledge. Sure we’re a high definition house but we also want to show what 35mm transferred to HD looks like and we also have examples of that, what 24p looks like and what 1080i looks like with the best toys available.”

“ We want people to make the decision,” he continues. “And, to be honest, if they come in and say, ‘Randall, we love the look of 35mm film transferred to HD,’ as a subjective art form it looks better than 24p or 1080i, we embrace that. Our job is not to change people’s minds. Our job really we feel is just to illustrate because it’s subjective. Film is an art form. I don’t want to replace film. As an artist I prefer using high definition because I can create a much better story with it as my tool and I have much greater control over my story.”

His message to Hollywood executives is simple. “If you get an image and if the general population embraces it and it costs you less, well isn’t that a win-win scenario?” Dark asks.

Dark can envision a time when commercials, trailers, even features are instantly transmitted to theatres via fiber optics, satellite or the Internet. He cites Barbershop as an example of a surprise hit that could have done even better financially if it could have been shown in more theatres in the opening weeks of its first run.

“We can [distribute HD] overnight,” he says. “We have the fiber or satellite. What we try to do is service our client’s immediate needs whether it’s standard def or high def. We see this company as a gateway for the future so that when digital cinema happens and Boeing or whoever else gets involved there’s a company already out there that can deliver information to the locations they need.”

HD Vision Studios is also involved with original production and has just completed the first of a 13-part documentary series titled, Artist in the Round. The series focuses on accomplished artists and the major obstacles they’ve overcome to reach the levels of achievement they’ve attained in their careers.

The first documentary, Artist in the Round: Shayne Dark introduces viewers to the Canadian sculptor, who daily triumphs over dyslexia. Raised in a time where public schools didn’t even know the word dyslexic, Shayne was never diagnosed and therefore, was simply regarded as a slow learner. Consequently, as an adult, he reads and writes at a second grade level. The documentary explores Shayne’s battle to overcome this life long learning disability, becoming a contemporary artist with international recognition.

Artist in the Round was shot and posted in high definition by director, Dark, producer, Kristen Cox and editor Jayme Wing. The footage was captured using a Sony HDC-700A camcorder and posted at HD Vision Studios using a Snell & Wilcox switcher, Sony BVE-9100 editing system and a Graham Patten 8000 audio mixer.

That Shayne Dark is Randall Dark’s brother only made the project more special. “The new series is near and dear to my heart,” Dark says. “We need to create programs that are inspiring and uplifting.”

Productions and co-productions are a key part of the business mix. “We’re always looking for new projects, new partnerships,” says Dark. “We see the independent filmmaker as a very important client.” He believes his second year in Los Angeles will be even better than the first. “I’m neutral. I’m pro film. Film is fabulous. I’m not out to replace it. All I want to do is let you see the world where it is at a technological level so that you don’t feel threatened.”

“What I love about HD is that it helps level the playing field,” Dark says. “The cost of 35mm production has historically been very expensive. Movies, because of the way they are imaged and distributed can only be created with a substantial amount of money invested. This system is now going under constant review and changes. The independent producer can finance a production with less up front costs. HD offers previously impossible savings. Money that was initially earmarked for hard costs can now be allocated in front of the lens.”

Dark understands that we are in the midst of a transition era and that many uncertainties lie ahead. He remains certain about one thing, however. Says Dark, “The future is digital high resolution widescreen, period.”

©2003 Digital Cinema Report, Inc.

Documentary completed

HD Vision Studios has completed the first of a 13-part documentary series titled, Artist in the Round. The series focuses on accomplished artists and the major obstacles they’ve overcome to reach the levels of achievement they’ve attained in their careers.

Artist in the Round is shot and posted in high-definition by director, Randall P. Dark, producer, Kristen Cox and editor Jayme Wing . The footage was captured using a Sony HDC-700A camcorder and posted at HD Vision Studios facility in Studio City, Calif., using a Snell & Wilcox Switcher, Sony BVE-9100 editing system and a Graham Patton 8000 Audio Mixer.

The first documentary, Artist in the Round: Shayne Dark introduces viewers to the Canadian sculptor, who daily triumphs over dyslexia. Raised in a time where public schools didn’t even know the word dyslexic, Shayne was never diagnosed and therefore, was simply regarded as a "slow learner." Consequently, as an adult, Shayne reads and writes at a 2nd grade level. The documentary explores Shayne’s battle to overcome this life long learning disability, becoming a contemporary artist with international recognition.

For more information visit www.hdvstudios.tv.

from Broadcast Engineering

The HD Revolution

A significant revolution in cinema is now taking place. There is a new option on the filmmaker’s palate—high definition (HD). HD is as significant to storytellers today as the invention of oil-based paint was for painters. It doesn’t replace what has come before—rather, it presents exciting new opportunities. It not only presents filmmakers with new options for creating a quality product, but it has proven integral to the preservation and enhancement of the endangered, deteriorating records of our history.

George Lucas’ Star Wars: Episode II: The Phantom Menace marked the first release of a mega-budget feature shot on HD. It was a benchmark breakthrough that proved HD had arrived. However, it is with smaller productions, many of which are currently making the rounds on the festival circuit, that the real excitement lies. The cost effectiveness of HD breaks down the monetary barriers that used to keep young, unknown directors and producers from seeing their ideas and creations make it to the big screen. HD is going to open doors to creative talent whose experimentation is going to challenge all of us to become better at what we do.

HD is cost-effective and artistically viable. Because it is less cumbersome and expensive than film, experimenters are more likely to take the kind of risks that can push the possibilities of the medium. At the 2002 Sundance Film Festival, for instance, HD-originated movies won a greater number of awards than features shot on film.

The insurance factor of HD post-production has proved particularly interesting, even for film-originated projects. Television programs such as HBO’s The Sopranos and Band of Brothers have utilized HD, resulting in a master that presents a distinct advantage in archiving, with no sacrifice of quality. Because an HD recording is digital, it is capable of being transferred to any future medium.

HD’s success and growth can be attributed to improved and expanding product offerings. Companies such as Sony, Panasonic, and Hitachi have extensive HD product lines. Such a variety of hardware will not only benefit filmmakers working on current projects, but will also help historians who use HD to restore and archive history. Companies such as Maxell are now producing high-quality HD media that achieve exceptional output levels and the low noise requirements of HD.

In the next year, the snowball effect will grow exponentially, and it’s exciting to think about what’s in store with the enhancement of a digital age that places new, innovative tools in the hands of individuals who are willing to push limits.

-- by Randall Paris Dark
for Digital Content Producer Magazine

Featured speaker at High Def Expo

Randall Dark Featured Speaker at HIGH DEF EXPO, June 27th

FOR IMMEDIATE RELEASE

Los Angeles, Wednesday, May 8, 2002.

HIGH DEF EXPO announced today that Randall Dark, a 16-year HDTV production pioneer and veteran, will be their featured speaker at their upcoming HIGH DEF EXPO event slated June 27th at Barwick Studios in Los Angeles. Randall’s presentation is entitled, "1080i or 24P, Which One Do You Choose"? This along with visual samples displaying the various nuances, Randall will address these issues as ones that must be considered before shooting a HD project.

Alan Young, President of HIGH DEF EXPO is quoted as saying, "With Randall Dark as one of our featured speakers, we hope to educate our attendees on the use of HD formats, and demystify some common misconceptions. Randall’s 16 years' of work exclusively in the HDTV medium distinguish him as both an artistic and technological visionary. Plus, as a writer, director, and producer with over 350 HDTV productions to his credit, Randall Dark will be able to offer an artist's point of view while demonstrating the technological advantages of High Definition".

Randall Paris Dark is the creative and marketing force behind HDVision Studios in Studio City. He is recognized globally as an enthusiastic speaker who tells it like it is. Randall has spoken about High Definition Television issues at events such as: the Tokyo International Film Festival, the National Association of Broadcaster's Convention, the International Electronic Cinema Festival, CES, World Television Forum and NATPE.

from High Def Expo

20/20 HD Vision: HD visionary Randall Dark takes his business to Los Angeles

STUDIO CITY, CA - While HD can be a risky and expensive proposition, it's becoming increasingly commonplace for post houses to invest in HD equipment, and expand their services to include digital cinema and HDTV mastering.

But in 1993, when HD pioneer Randall Dark opened HDVision in Dallas the risk was considered extraordinary. The government's ATSC mandate - and revolutionary developments like Sony's HDCAM and CineAlta products which made HD acquisition portable with near film quality - were still years away.

Nevertheless, Dark made a name for himself by producing hundreds of hours of breath-taking HD programs, offering the first HDTV mobile unit and contributing HD equipment and expertise to landmark HDTV events such as a 1997 Baltimore Orioles game, one of the first live HDTV telecasts.

Today, Dark is again pushing the envelope of the HD arena. After closing HDVision in Dallas and New York, he's just opened a new Southern California facility - HD Vision Studios - that will serve as a one-stop-shop for anyone producing feature films, independent films, television shows, or any project where HD video is the medium of choice.

"There's definitely a groundswell for HD production," says Dark. "Movie studios are eyeing digital cinema as a way to cut film distribution costs, new HDTV cable and satellite services have entered the market; and film festivals are increasingly showcasing HD films. As the transition intensifies, any post facility that doesn't have HD capability under its belts will lose market share to those that do.

"Because HD is a cost effective alternative to film that can deliver images with the same look and emotional impact of film, producers feel compelled to evaluate the technology and cost structure of HD," he continues. "When they shoot 24p HD instead of 35mm film, the cost difference can be dramatic, with savings as much as 50 percent - on film stock, lab processing, telecine transfer, film prints, among other expenses."

Read the entire article in Post Magazine.

Going Hollywood

HD Vision moves west in search of bigger business.

by Ken Kerschbaumer

Call him HDTV's Tom Joad. Randall Paris Dark has moved his HD Vision production facility from the heart of Texas to Los Angeles, where HD production and post-production demands hold the same promise as California's farm country during the Dust Bowl years.

"HD Vision Studios will be much bigger in many ways," says Dark of the 15,000-square-foot facility "We'll offer a range of services both in the world of fiction and non-fiction. We'll have HD cameras, digital cinema and a broadcast center. And, in post-production, we'll have 1080/24p, 1080i and standard-definition editing and graphics."

The production arm of the facility, he says, is already landing work for both the corporate market (such as shooting an interview with director Steven Soderbergh for Texas Instruments) and the more traditional Hollywood community (working on a docudrama about a Canadian artist that will air on Bravo). Dark is even writing a script.

One factor working in Dark's favor in Los Angeles is that, with studios and production communities looking to save money, HD production helps get "smaller" films made.

"Our industry has changed dramatically over the years, and I think we all feel at times art has suffered because of the need for the blockbuster," says Dark. "Small, quiet scripts don't get produced as often because bean-counter decisions are made. HD dramatically brings down the cost of production to a point where the independent imagemaker can afford to move forward at a much more palatable entry price. First dollar in is traditionally the hardest dollar to acquire. That all changes now."

One thing lacking in HD Vision's Dallas facility was 24p editing capability. The new facility has it. "Besides our 1080i edit suite with the Snell and Wilcox switcher with color correction and DVE, we have added the ability to edit in 24p that will utilize the Sony HDW-F500 HDCAM VTR, Panasonic D-5 HD-3700 mastering VTR, and a Chyron HD Duet Paint System," he says. "We're evaluating a number of other products and will soon add them to our arsenal."

An interesting aspect of the facility will be a broadcast center connected via fiber to a transmission facility that can handle HD or SD. Complete with a newsroom set, a talk-show set and a virtual set, the center will bring new production capabilities to the L.A. basin.

"The advent of the 24p camera and the adoption of 35mm telecined to HD have caused many of the studios to come around to HD," says Dark. "All this, coupled with high-profile HDTV productions and the upcoming release of Star Wars: Episode 2, will make the independent filmmaker realize that it is the way of the future."

from Broadcasting & Cable

"HD indie production" panel at NATPE 2002

Panelists shared their personal experiences with producing various genres of HD programming, from docs to long-form drama, for domestic and international productions.

The moderator was Bill Kurtis, anchor-executive producer, "Investigative Reports" and anchor, "American Justice" on A&E.

Industry experts who maded up the panel were Randall Dark, founder, president and CEO, HD Vision; Justin Albert, VP, production, Animal Planet; Paul Kafno, managing director, HD Thames; Tom Lynch, writer-creator-producer, Tom Lynch Co.