ZDF series shoots on HDCAM and XDCAM EX

A growing number of television dramas in Germany have recently switched from film production to HD, whether it is HDCAM or the new Sony tapeless formats, XDCAM HD and XDCAM EX. Leading this trend is production company Network Movies, which has made the transition to HD for its family entertainment drama series Da kommt Kalle (Here Comes Kalle). From the start of pre-production for the third season of their prime time show for German public broadcaster, ZDF, the team at Network Movies planned the switch from Super 16 to HD.

After extensive test photography, it was decided to shoot the 13 x 45 minute episodes at 1080p/25 using two Sony HDW-790P HDCAM camcorders as the principal cameras, and a PMW-EX1 XDCAM EX solid-state camcorder for additional shots.

Da kommt Kalle runs in the prime time Saturday early evening slot on ZDF. The family drama follows the story of Pia, a police women and mother of two children, and her small but smart dog Kalle, a white Parson Russell Terrier with a little black and brown spot on his head. Kalle regularly noses out the bad guys in town and helps his mistress Pia in risky situations. By the third season, shot from May to October of last year, Kalle has becomes an official police dog and his owner the head of the local police station.

Choosing the right format

As Arne Möller, head of post production at Network Movie in Hamburg explains, there were at least two reasons for the decision to shoot Da kommt Kalle in HD with HDCAM and XDCAM EX. “In the first place we wanted the series to have a fresher and more attractive look. We were very confident that we could deliver a higher quality to our client, ZDF, and that the HDCAM format would achieve much more brilliant pictures than before.”

Network Movie was also very keen to be the first production company to provide ZDF with the HD concept for a family drama series. “We wanted Network Movie to be one of the first to collect experience with HD production for TV series as we think that HD will practically replace film material in the foreseeable future, at least in television,” Möller says.

Extensive testing

Before deciding on which cameras to use, Network Movie conducted extensive tests with various cameras and HD formats. “Our aim in preparing the transition to HDCAM was to have a look quite similar to classical film emulsion, but with high-class images and with a higher information rate and resolution in the pictures. We succeeded in doing this by using filters, adopting the camera’s gamma curve and by shooting at a frame rate of 25p”, recalls Möller.

Another key factoring the decision to choose the HDW-790P was the choice of lenses that would work with them. Network Movie chose Zeiss DigiPrime zoom lenses (Zeiss DigiZoom 6-24mm and Zeiss DigiZoom 17-112mm), working with specialist filters. “As we were shooting family entertainment, we aimed at a warm and friendly look”, Möller explains. “Through the whole season we used at least a half Soft/FX filter. In the first episodes, we additionally worked with a gold diffusion filter.”

Möller and the DoPs were particularly pleased with the good picture results they obtained in the dark parts of the scenes. “That is, of course, due to the high sensitivity of the 790P.”

As in most of the scenes that the little dog is present, Network Movie has adopted a special way of shooting. On the whole, this means shooting with two HDW-790P camcorders running at the same time, but filming different angles of the action. This is done to prevent continuity errors and to save time in the case of retakes. Although the several dogs playing Kalle are professionally trained, filming with animals always takes a bit longer.

PMW-EX1 used as a “doggy cam”

For some special scenes in every episode, the camera crew used the PMW-EX1, recording onto SxS PRO memory card instead of tape. The crew dubbed the PMW-EX1 the “doggy-cam” because, in most cases, it was shooting eye-to-eye with main protagonist, Kalle. “We only shot additional scenes with the PMW-EX1. Mostly when the space was narrow – like in cars – or when the camera is following Kalle’s steps.”

Even though the PMW-EX1 was not the main camera, it was still carefully chosen. “We tested several cameras and different systems before we chose the PMW EX1,” recalls Möller on the search for the perfect “doggy-cam”. “We finally chose the EX1 because its colours and the recording formats were the best matches to the 790P.”

A crucial factor was the ability of the PMW-EX1 to shoot at 1080p/25. “We were very eager to keep it all on 25p, because you get a more filmic look and you can work with the depth of field very well,” concludes Möller. Shooting, editing and grading all took place in the 1080p/25 format. Only when the finished episode played out on an HDCAM SR master tape, was it finally converted to 1080/50i.

Network Movie says ZDF are very happy with the end results. “The engineers at the ZDF were especially pleased on the quality of the down conversions to SD,” Möller says.

For Möller, the benefits of shooting with the HDW-790P over film is not just about the higher picture quality. For him, the whole HD working process is the future of fictional TV production. “By always having a high resolution monitor on the set, you can permanently check for mistakes that might otherwise not be noticed before it is too late. HD production makes for more precise work.”