The new Interrotron Mark IV brings three main improvements to the immensely successful Mark III.
1. Sound. In all previous Interrotron models, the image of the director was superimposed over the camera lens and the Mark IV is no different in this regard. But, until now, the director’s voice was a disembodied sound from somewhere off in the distance. The voice was unnaturally dislocated from the face. The talent would see the face in one place and hear the voice from somewhere else.
Early attempts to solve this were only partially successful. We bought 16 X (9 HD monitors with built-in speakers.
The problem was “feedback” .
The director’s voice was picked up by the mic on the talent and was directed back through the audio system.
Mark IV Interrotron Rental
This did not make the sound recordist happy.
Even though we tried “cutoff switches” so the director could kill his mike when he wasn’t speaking to talent, the speakers in the monitor were not the perfect solution.
The solution was the “in ear” receiver. It is invisible, so the talent does not appear to be wearing anything.
And it caused zero feedback.
Now, the director’s image is full sized in front of the lens and his/her voice is heard only by the talent.
The illusion of the “one on one”, “face to face” intimate conversation, which is the whole idea behind Errol Morris’ amazing invention, is realized more fully.
The Interrotron Mark IV has a new state-of-the-art professional camera monitor.
Waveform, Vectorscope, Status Display, GPI – Tally, OSD – Tally, 16 Channels of Audio Metering, Overscan, IMD, 178° x 178° Viewing Angle, 1920 x 1080 Resolution, 700:1 Contrast Ratio, Picture by Picture, True 10 Bit Color Depth, HDMI, SDI, HD-SDI, DVI-D, HDSDI, Composite, Area Marker 4:3, 15:9, 14:9, 13:9, 1.85:1, 2.35:1, 16:9, Safety Marker 80%, 85%, 88%, 90%, 93%, 95%, 100%,
Audio Source, AUDIO1, AUDIO2, UNDEF AUDIO1, AUDIO2, UNDEF AUDIO2,
With true 10 bit (1.07 billion colors) color depth and RGB Backlit screen and advanced IP engine exceed the performance and quality of many competing products at a price meant to make this model available to every user. Producers, Directors, Editors, Colorists, Lighting Directors, and DPs will discover the LCM156 to be a production tool that provides true reproduction of their artistic efforts by effortlessly adding a 3D LUT.
The Interrotron Mark III is considered to be the standard professional Interrotron. It is not just two standard Teleprompters hooked together. Before you rent, make sure that is not what they consider an Interrotron. Get the real thing.
The Interrotron Mark IV comes delivered by our technician/operator with a full sized unit for the director. It mounts the full sized, professional monitor described above. In addition, we supply a full-sized tripod to support it.
This enables you to have the freedom, if you wish, to have a duplicate camera (say another RED Dragon) on the director’s unit. This is a setup preferred by Errol Morris. So he can sit back, he likes a large monitor and a 4K camera mounted on his unit. That way the editor can intercut the talent answering the image of the director.
But the interesting thing is the fact that the mounting plate is the same as the one on the talent unit. That is – it is an Autocue Professional Gold Plate 15mm sliding rod system with two movable camera plates, one for the camera body and one for the lens.
Both are shot with equal cameras, lenses and the same 60/40 optical glass on the two Interrotron Mark IV units.
In 2003, Morris won the Oscar for Best Documentary for The Fog of War, a film about the career of Robert S. McNamara, the Secretary of Defense during the Vietnam War under Presidents John F. Kennedy and Lyndon B. Johnson.
For that unforgettable interview Errol Morris used his version of the Interrotron.
We agree with his choice.