Deborah Osborne is a post-production manager and consultant with 25 years experience on features, TV series and live-to-air programming. She has conducted seminars for numerous TV and film organizations, festivals, unions and guilds, and designed and taught a post-production supervision course at Humber College in Toronto. Osborne relocated to Calgary two years ago and is currently working as post-production manager for Joe Media Group.

This article is an HD case study of shooting a TV movie, both in studio and on location. The Secret of the Nutcracker features scriptwriter John Murrell’s innovative adaptation of E.T.A. Hoffmann’s book, a story traditionally told through ballet. In the movie, four dance spectacles (featuring the Alberta Ballet) create the magic of Clara’s fantasy dream world, woven into the dramatic story, set firmly in reality.

Our preproduction strategy was partially based on the premise that it is always more expensive and time-consuming to execute HD fixes in post. The plan was combined with a mantra of ‘communication and collaboration.’ This overall approach simplified the multilayered HD process – it was like peeling a fresh onion with no tears.

HD has more layers than film, each with far-reaching impacts at every stage. As a post-production manager, one of the constant challenges I’ve faced with evolving technology is not losing sight of what our approach to storytelling is in the first place. In this case, the new HD technology fit the project, The Secret of the Nutcracker, which Joe Media Group is producing as a CBC Christmas movie.

Joe Media made the choice to shoot Nutcracker in HD for both business and creative reasons, according to Joe Novak, CEO of Joe Media, who is also exec producing the movie. ‘HD is new technology that works,’ says Novak.

‘HD for Nutcracker will enhance superb performances, the beautiful scenery, and high-end visual effects to provide the best quality for all end users – TV, DVDs and ancillary sales,’ Novak explains, adding the broadcaster was also keen. ‘CBC was on board from the very beginning.’

Enthusiasm for HD did not eliminate challenges, however. Our solution was a project management approach with continued involvement from all departments, continually addressing the many aspects of HD production.

Before going to camera, we prioritized the major components, starting with the deliverables, then delivery date, workflow, image and sound capture, design elements, schedule and budget. Early involvement among design departments, camera, visual effects and post-production solidified all our storytelling goals. Addressing the overlap of concerns of the production and post crews provided a smooth integration of technologies and an intact creative vision.

DOP Laszlo George was eager to bring his positive HD experiences to both the studio shoot and on location. Using a mix of a Panasonic P2 HVX200 camera with Sony HDW-F900’s (‘Pana-vised’ to accept Panavision primo lenses) blended tape and data-based recording. While downloading the P2 memory cards on set, a backup copy was always made. Tests were conducted, and careful, detailed discussions among the on-set video technician, camera and editorial established a streamlined and integrated workflow from the shoot, through off- and online.

Considerations of frame rate and frequency differences, load lengths, data management and tech support had to be incorporated into the workflow. The choice of the editing team was also a combination of creative skills and HD-savvy expertise.

No HD prep is complete without involvement of location sound. Debate about hard-drive systems versus tape and frame rates is a must. Simultaneous synchronization of camera and sound (by tapping in-guide audio to camera during the shoot) eliminated our need for in-house post syncing of dailies, yet it added some cost to the location sound budget. Also, providing additional assistance for dailies meant our first assistant editor was not working the entire day and evening creating them.

Working in HD requires a business plan in preproduction that balances the creative goals with the new HD realities in administration, deliverables, business affairs, budgeting, scheduling, production and post-production. Encouraging continued communication and equipment checks will serve the creative and technical aspects of using high-definition as another tool for our storytelling.