This sidebar to the feature article originally appeared in Vol.4 No.2 of RES Magazine
Lynch's Talking Duck by Scott Billups
Like established leaders in any artform, David Lynch has his own, unmistakable style where the tool is not as important as the look. The look he wanted for the Sony PlayStation2 commercial was a unique combination of what could be called "Organic Digitalism".
David chose to shoot the spot using the tiny Sony PD-150 DVCAM. Having worked with him before, I was somewhat familiar with his color/density pallets so I re-calibrated the PD-150's gamma curve and color density range to a denser profile.
The sets David had designed were very tight which negated the conventional rails and dolly. We outfitted a cable trolly with a small KinoFlo bank and mounted an apple box on end for me to sit on. Once in position my gaffer mounted another mini-bank to my legs for follow fill and simply pushed me around like I was on a tiny wheelchair.
Perhaps the prime indication that something was shot on video is the way the camera moves. To emulate the more cinematic flow of film cameras, we built a variety of mounts that added both bulk and inertia to the otherwise tiny PD-150.
The DVCAM footage was fire-wired into a G4/Dual500 where the twenty two effects were created in a combination of Pinnacle's Commotion and Adobe AfterEffects. The sequence was color timed using Discreet's Combustion where the spot's dense look and texture were engineered.
Since the agency was in London and the client was in Japan we used WamNet to shuttle the rough cuts around. All domestic review was done using BetaCam dubs which were output using Pinnacle's, CiniWave board.
Once a consensus of approval was reached, the director's cut and subsequent elements were burned to DVD-ROM and delivered to the client in uncompressed QuickTime data file format.
This sidebar to the feature article originally appeared in Vol.4 No.2 of RES Magazine
Like established leaders in any artform, David Lynch has his own, unmistakable style where the tool is not as important as the look. The look he wanted for the Sony PlayStation2 commercial was a unique combination of what could be called "Organic Digitalism".
The sets David had designed were very tight which negated the conventional rails and dolly. We outfitted a cable trolly with a small KinoFlo bank and mounted an apple box on end for me to sit on. Once in position my gaffer mounted another mini-bank to my legs for follow fill and simply pushed me around like I was on a tiny wheelchair. 
The DVCAM footage was fire-wired into a G4/Dual500 where the twenty two effects were created in a combination of Pinnacle's Commotion and Adobe AfterEffects. The sequence was color timed using Discreet's Combustion where the spot's dense look and texture were engineered.