Talkin' about a revolution: For their latest artistic endeavors, both photojournalist David Turnley and director Steven Soderbergh select Sony DVCAM[TM] equipment. (Bits & Bytes).

With the latest DVCAM equipment, making a film, whether it's a black-and-white documentary or a major motion picture, has become less expensive, easier and quicker, and perhaps even more exciting. Recently, acclaimed photojournalist David Turnley made his first documentary film and director Steven Soderbergh, following the heady successes of Traffic and Erin Brockovich, put the finishing touches on his latest motion picture. Both Turnley and Soderbergh decided, for different reasons, to create their films with DVCAM equipment. Here's why.

STEVEN SODERBERGH

Three companies--Sony Electronics, Outpost Digital, and DigitalFilm Tree--have teamed up to help bring award-winning director Steven Soderbergh's eagerly awaited Full Frontal to the silver screen.

The companies worked together to create a digital postproduction workflow system based in part on Sony's DSR2000P PAL DVCAM[TM] VTRs. The project marks the first time the PAL-based DSR-2000P VTRs have been used for a major motion picture in the U.S.

"Because we shot Full Frontal on film and in the mini-DV format, we needed a post-production workflow system that could handle multiple formats, serve as a bridge between the digital and analog worlds, and offer the latest technology at a reasonable price," says Scott Kramer, producer of Full Frontal. "We consulted DigitalFilm Tree and they recommended Sony's DVCAM format and Outpost Digital, whose facility is entirely built on DVCAM equipment."