Jonny Zero: Shooting Super 16 for TV

ARRI CSC in New York is currently servicing the first season of “Jonny Zero”, the latest television series from the prolific producer John Wells (“E.R”, “The West Wing”). The show is executive produced by Llewellyn Wells, Scott Gemmill and Mimi Leder. "Jonny Zero" is the story of an ex-con who starts a new life after prison as a private investigator, helping people who can't get help through the regular system.

ARRI CSC provided cameras, lighting & grip for the pilot episode back in March 2004, which was directed by Mimi Leder (“Pay It Forward”, “Peacemaker” and “E.R.”) and CSC is now supporting the first season which films from August 2004 until February 2005 in NY.

Whilst the pilot was photographed by Michael Grady, the series is being shot by Craig DiBona, son of Dick DiBona, the founder of General Camera in New York. Craig’s credits include major productions as an operator, such as “Godfather 3” and “Meet Joe Black” and multiple televisions series and commercials over recent years. His gaffer is Jerry DeBlau (“Analyze That”, “Almost Famous”).


 

During a break in production we were able to ask executive producer Llewellyn Wells a couple of questions about their choice to shoot on 16 mm film:

ARRI:
"Why did you choose to shoot Jonny Zero in Super 16?"

Llewellyn Wells:
"The new film stocks have increased the capabilities of film tremendously. As a result we can now do fantastic stuff for television comparable to 35 mm.  Film is different in look from HD, and Super 16 is an affordable format that looks just as good as 35 mm for the purpose of TV. "

ARRI:
"What cameras are you using?"

Llewellyn Wells:
"We are shooting the majority with an ARRIFLEX 16SR 3 Advanced and some scenes with an Aaton A-Minima. The 16SR 3 is a very flexible camera, we use it hand held and on the tripod, and it does both equally well. The camera is easier to move than 35 mm equipment, and because of the size and weight of the Super 16 equipment, we can work very flexibly and fast, which of course means cost savings. The guys from CSC also help. Their support is great, they take good care of us. "


ARRI:
"Have you considered shooting in HD?"

Llewellyn Wells:
"Yes. I have seen many tests, and in my opinion film is far superior to what HD is delivering. Me and a lot of other people are now looking at Super 16 for other TV shows also."

ARRI:
"What would you use HD for?"

Llewellyn Wells:
"HD is a technology that is sound and appropriate for certain uses. If I were to do a 3 camera sitcom on stage, I would definitely use HD. Any show where the camera does not have to move is fine, but if there is camera movement and location work, Super 16 is better and more economical. In addition, HD simply does not have the richness and texture of film, and that ads production value you cannot get with video today."

ARRI:
"Thank you."

 

 

 

 

 

 

 
 

No. 12 - Nov 30, 2004


ibc/cinec Roundup
A short overview of what was exciting at the ibc and
cine trade shows.


Double Cinec Awards
The ARRIFLEX 235 and the ARRISCAN received the cinec award.


ARRICAM SOC Cammy Award. The ARRICAM system will received the SOC Cammy award in Los Angeles.


Daviau' Digital Doubts
Allen Daviau makes the case for shooting film at ibc.


Weta Digital Purchases
an ARRISCAN
One of the first ARRISCAN s sold goes to New Zealand to Weta Digital.


ARRIFLEX 235 Accessories
An brief look at the many ARRI and third party accessories for the 235.


First 235 Shows in New York. The 235 appears inside a washing machine and in New York traffic for its first assignments.


Jonny Zero: Shooting Super 16 for TV. The producer of a new television show talks about the advantages of shooting Super 16 for TV.


ARRI X Ceramic 250


ARRI EB 575/1200 A.L.F.


ARRI EB 200 EVENT NINE