Video Resource's F3 & FS100 Event

Video Resources and VMI sponsored "Shooting Tips and Tricks with the Sony PMW-F3 and NEX-FS100 Large Sensor Cameras" yesterday at VR.  It was a great opportunity to test the cameras side by side without being in some convention hall.

The main presentation was given by Shahpour Nosrati-Fard,  a Sony Senior Sales Support Engineer who, as you might expect, really knew the finer details about both cameras.  The focus (no pun intended) was on the Sony F3.  Some of the things not printed on the front of the brochure are:

Sony finally agrees the little vf sucks and is coming out with a loupe for the side monitor.
S-log is only available 444 and that dual link upgrade will run you another $4500, plus external recorder.
The F3 only records 4:2:0 8 bit to the internal SxS cards
Sony has a SxS to SDHC card adapter that was designed for "emergency" use.


People are using the adapter to avoid buying the expensive SxS cards.  But with the SDHC cards there is no hot swapping, no salvage function and you can't record slo-mo even with the required Class 10 cards.

Trey Solberg, a DP who has been shooting with Blackstone Media's F3 also spoke on using the camera in the field.  They have the Sony K package primes but use the RED short zoom most of the time.  They also have the adapter to use Nikon glass and Trey is very happy with his Duclos'ed 80-200 f2.8.


I finally got a chance to test the glass that comes packaged with the FS-100.  This zoom is an amazing 18-200mm for only $600 bucks but you get what you pay for.  The f-stop at 18mm is f3.5 but at 200mm it's a whopping f6.3.  This f-stop change is very linear and you can watch the f-stop go up and down as you zoom in and out.  When you zoom it looks like you're turning the iris instead.

The FS100 has the same sensor as the F3 and also records 4:2:0 8 bit AVCHD but without the benefit of the F3's image processing (so says Shahpour).  A really cool thing I didn't know is the FS100 has a HDMI 1.4 that can output a RGB 444 8 bit signal.  The good news is most monitors are only 8 bit so that's great.  The bad news is there's no recorder on the market today that records this signal.


Very informative and thanks to all involved including Brad Hagen, Naomi Rivas and John O'Donovan...  especially for the tacos! 


http://pro.sony.com/bbsc/ssr/product-PMWF3L/
http://pro.sony.com/bbsc/ssr/cat-broadcastcameras/cat-nxcam/product-NEXFS100UK/

ALEXA Pocket Guide

Here's a link to the Arri Alexa Pocket Guide which has some great information.  Some of the highlights include:

Grey scale mapping.  Note how the 18% grey card never really changes.  What changes is how the latitude is shifted... the wrong way.  According to this chart you should shout 160 at night to get the most latitude in the blacks and 1600 during the day to protect the highlights.  That's crazy talk.

All the codecs available and almost all can be recorded straight to the SxS cards including 12 bit 444.  The only output that needs an outboard recorder is the uncompressed ArriRaw.  Did I mention it's uncompressed?  I don't think any other output of any camera is not compressed.

The Alexa uses false color for exposure.  I miss the option of have zebras.  You can frame and focus with zebras on but with false color on it would be near impossible to run and gun... which is exactly when you'd want to judge exposure through the viewfinder..

I couldn't find any images from the Alexa but the RED also has false color.  It's like some 60's psychedelic acid trip.  Here's the normal frame:

And here's the same frame in false color.  Yikes!

There's a lot more in the Alexa Pocket Guide at:
http://www.arridigital.com/sites/default/files/2011_04-21a_ALEXA_Pocket_Guide.pdf

ALEXA PLUS

Saturday I attended training for the Alexa Plus at Arri in Burbank through Local 600.

The training was very comprehensive, covering every switch and connector plus discussing every menu item.  And that's a lot of menus!  We covered things ranging from how to record ArriRaw using the Codex mag to how to field change the cooling fan... the only moving part in the camera.

It was interesting to hear why certain choices were made by the engineers.  Many people in the class use the Alexa on a daily basis and it was even more interesting to hear their experiences, feedback and questions.

So what's new with the Plus?  More connectors, a built-in position and motion sensor (important for visual efx) and built-in lens data system.  But the most obvious difference is the built-in remote control feature so an AC doesn't have to hang a bunch of RC boxes off the camera to remotely pull focus.

Here's a few of the things I learned in the class that aren't on the front page of the brochure:
1.  The built-in remote control is designed to be used with the Arri Wireless Remote System and won't work with a Preston.
2.  Although the Alexa carries two SxS cards the camera won't "span" the cards.  You might as well just have one card in the camera.
3.  It uses a whopping 85 watts power in standby... before you start powering accessories.
4.  It was designed as a 2K camera even though the sensor is 3K.  The sensor is 4x3 and the 3K will come into play only if you're shooting anamorphic.

So, what's the good news?  It's simple to use.  Record 444 straight to the SxS cards without any out-board recorder and the Pro Res loads straight into your NLE.

More importantly, it makes a great picture, especially in dark with 14 stops of latitude.  Why does it have so much more latitude than other cameras?  It takes two readings/images of each frame at different exposure levels.

Arri is careful to point out this isn't HDR, which is what the RED does.  HDR takes two sequential images which is fine for a still life but when you try to combine two moving images into one frame you get blur and ghosting.  The Alexa takes it's two images simultaneously so it is the exact same image, just at two different exposures.

Those are some of the main points.  I'll be covering false color and other Alexa tidbits all this week.

http://www.arridigital.com/alexaplus

Sony A77 DSLR

Sony is starting to leak images of it's new Sony A77 DSLR which should be officially announced next month.

The exciting news is the AVCHD 2 codec which is a robust 28mbps rather than the usual 24.

Said to be priced around $1000 bucks it's probably got the smaller sensor like the 7D so the 5D remains king of the full sized sensors.


http://philipbloom.net/2011/08/03/sony-enters-the-video-dslr-revolution-finally-a-bit-late-but-not-too-late/

Jita Cam

The JitaCam is called the "360 degree jib in the air".  This jib can be mounted in the grid/ceiling and can be remotely operated from a 1000 feet away.

This means the JitaCam can use zero floor space and be completely out of the way of both performers and audience.  It can also be mounted on the floor or on top of anything that will support the weight.  Because the operator doesn't have to physically be by the jib it can mounted to scaffolding without needing a place for the operator to walk when swinging the arm.

It also means let it snow because the arm operator and camera operator are nice and warm in the truck!

Check it out at http://www.jitacam.com/

The Great Camera Shootout 2011 Part 2

Here's the second part of Zacuto's Great Camera Shootout 2011 entitled "Sensors & Sensitivity".

Fair warning, it's techie but if you just want to see image comparisons here's the tests you want to see.  Go to:  6:45, 9:00 and 21:50.  Very interesting for anyone who uses cameras.

http://www.zacuto.com/the-great-camera-shootout-2011/episode-two

Color Grading in FCPX

16 free Color Grading Tutorials and how to do it in FCPX.

Even if you don't use FCPX some of the tutorials are good for explaining what is color grading and the correct order of steps.  

I was taught to always "Push and Pull".  When you push something in one direction you got to pull something else in another.  Push the blues, pull the skin tones.  Push the brightness, pull the contrast. 

http://vimeo.com/user6379404/videos

iPhone SLR Mount

At first I thought this was outlandish but an iphone SLR Mount may just be the future.  Who says the next DSLR's won't be as thin as a credit card?

Now, if they can do something about the inverted image...

http://photojojo.com/store/awesomeness/iphone-slr-mount/

Cameraman Boot Camp

Isn't this the way you learned to be a camera op?

FCPX Review From POP

Here's a Review of FCPX without the emotion.  Author Oliver Peters shows what's new, what's different and what's lost with the new FCP.

  I think my favorite line is the last, "FCP X is ready for prime time now, although Prime Time might not be ready for it!"


Thanks to Matthew Kendall for sending this.
http://www.2-pop.com/article/108832

Follow Focus Made of Legos

Want a follow focus but too expensive?  Got some of your kid's legos laying around?  Then, you can make yourself a Lego Follow Focus.

Check out the video at: http://www.petapixel.com/2011/02/12/follow-focus-made-entirely-with-lego/

Sony F35 Now 12-bit

Sony is offering a free 12-big upgrade for the F35.  It can record 12 bit to both the SRW-5800/2 deck and the SRMASTER field recorder which records 12-bit signals to solid state memory cards.

12 bit is over 68 million colors as opposed to over 1 million for 10 bit.  

http://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-hdcamsr.shtml

ProMAX "FCP7 to AVID" Webinar

ProMAX is offering a "Switching from FCP to AVID" Webinar tomorrow, Thursday July 21 at 10-11a PST.

ProMAX is the place I bought by first FCP system (FCP1.4 on a Power Mac 4 tower) and now even they want you to switch.  What is the world coming to?

You have questions?  They have answers... maybe.  Log in at:

https://www2.gotomeeting.com/register/195681994

"Plot Device" Red Giant Software Demo Reel

Red Giant software came up with a clever way to demo the various looks available using their software.

When the $10,000 video hit the web at the end of June, it started making the rounds at film studios and agencies, and calls started coming in.   27 year old director Seth Worly, who produces videos for a Christian Ministry, is planning an August trip to Los Angeles and has lined up meetings with CAA, UTA, WME, some management firms and producers.  Now, that's clever...


http://www.hollywoodreporter.com/heat-vision/hollywoods-hottest-short-film-plot-212275?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+thr%2Ffilm+%28The+Hollywood+Reporter+-+Movies%29

New NLE For DSLR's

Not happy with FCPX?  Want a new open source collaborative NLE that's designed for DSLR's and doubles as a distribution platform?

Maybe you want Novacut.  The trick is you have to Kickstart it...

http://www.definitionmagazine.com/journal/2011/7/4/hate-fcp-x-try-novacut-but-youll-need-to-kick-start-it.html

Crabby Cam

Caption A:  I've been working with this new operator but he's a little crabby.
or
Caption B:  These days, anyone with a camera thinks they are a DP... and will work for crap!

Please post your own caption and we'll see who's the funniest!

Patrick Fitch sent me this shot.

Rube Goldberg Photography

Very cool...

But these guys have way too much time on their hands...

Film And Tapeless Shooting Ratios

I'll cut to the chase.  We shoot more now and we don't cut between takes.  Better for the performance.  Makes me glad to be a cameraman and not an editor.

Or is that the other way around?  Now, we shoot more and an editor has more choices although he's got to search through more stuff...

http://www.studiodaily.com/blog/?p=6001

SketchUp Pro 8

As if Google doesn't make enough money, they offer SketchUp Pro 8.  It's a pre-viz tool that's pretty cool... except it costs $500 bucks!

Google offers a trial download.

http://www.youtube.com/watch?v=8bJ3s_cUV3s

Stolen Duclos Lenses

Duclos Lenses was recently broken into and 30 nearly finished 11-16mm conversion lenses were ripped off.  I've included a Lens List pdf so if you come across an Duclos lenses please check the serial numbers.

Having had a camera stolen from me once this kind of stuff really pisses me off.

http://matthewduclos.wordpress.com/2011/07/07/setback/
http://www.hotrodcameras.com/2009/11/hot-rod-cameras-new-duclos-tokina-11-16-received-on-11-16/
http://matthewduclos.files.wordpress.com/2011/07/stolen-dl-list.pdf

Teleprompter iPad App

Here's a couple more iPad Apps in including a screenwriting app and another slate.  But the one that caught my eye is the Teleprompter app.

Note the iPad actually being used as the monitor.  The software allows you to use the iPad with or without the mirror, just using the ipad above or below the lens or as a stand alone.

http://www.stumbleupon.com/su/9BlgWT/www.coolhunting.com/tech/apps-on-set.php

http://www.bodelin.com/proprompter/

New RED Epic Price: $58,000

The Epic's price tag was supposed to be $40,000 but some how the cost of a RED Epic Package crept up to $58,000.  That's 3.5 times the price of a Red One.  I think if I was spending that kind of money I'd get an Alexa.

On the other hand, it's American made...

http://www.red.com/store/epic/product/epic-m

http://www.filmmaking.net/blog/show_article.asp?id=150

Avid "Crossgrade" Extended

Avid has announced it will extend it's $995 promotional price of Media Composer 5.5 through September to FCP users.  Avid also says since the FCPX rollout, sales of Media Composer has doubled.

This is probably due to Apple taking FCP7 off it's website.  You can't buy it anymore.  Period.  It's now FCPX or nothing.

If you're a small user, well, maybe you'll learn to like X.  But the big boys will switch.  For example, Dinsey owns 2700 licenses for FCP.  FCPX works though an itunes account which means Disney would have to have 2700 individual itune accounts that can't talk to each other.  They ain't going to do that.

If the big boys switch, then so will all the after market people.  So, we will end up switching.

I personally don't like Avid, they caused me problems (read, cost me money on a job) way back when I owned a post business.  I guess I'll keep using my FCP as long as possible.  And then, maybe I'll look at Adobe...

http://www.studiodaily.com/main/news/headlines/13276.html

Master Chef Fake Crowd Scene

Looks like someone at Master Chef has been reading my blog about how to add people to a shot.  I'm just damn proud.

They wanted to show that thousands of people were clamoring to be on the show just like American Idol.  Well, not so much, so they added in more crowd.  Now, if they could just digitally add ratings and viewers...

http://insidetv.ew.com/2011/06/22/masterchef-fake-crowd-shot-photo/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+entertainmentweekly%2Fausiellofiles+%28Entertainment+Weekly%2FEW.com%27s%3A+The+Ausiello+Files%29

Lytro's Light Field Camera

It's an over-used phrase but the Lytro's Light Field Camera really could be a game changer.  

I've always said that everything can be fixed in post except focus.  With the Light Field camera that's no longer a problem.

http://www.lytro.com/cameras

Zacuto's Camera Shootout 2011 Part One

Here's the link to Zacuto's Camera Shootout 2011: Part One.   This year Robert Primes, ASC compared 12 pro large sensor cameras and part one specifically looks at dynamic range and latitude.  

You don't have to watch the full 30 minutes.  What you really want to see is:
The Shadow Detail Test at 12:16
The Highlight Detail Test at 17:56
Over and Under Exposure Latitude at 21:26.

What's interesting is how the different camera's latitude range is divided between shadow and highlight.  It reminds me of the adage, "Expose for the highlights in video, expose for the shadows in film".

I'll cut to the chase:  The Sony F35, Alexa and Red MX are the big winners and probably in that order, although it's really hard to see noise and detail on a highly compressed web video.

On the other hand, some of the cameras are one tenth the price of the big boys but give 90% of the picture quality... and you can light around that difference.

Unfortunately, they don't rate the ASA of the different cameras.  The test was shot at 320 ASA (maybe so film could be included) but I'd really like to see the same tests at 800 ASA.  

http://www.zacuto.com/the-great-camera-shootout-2011/episode-one

DIY Equipment

Trying to save some money on camera support gear?  Get out your PVC cutter....

http://www.stumbleupon.com/su/7g7nma/www.abracadabravideos.com/DIY/DIYpage1.htm

Viewfactor

Remember the old America the Beautiful film at Disneyland?  Ever wanted to do Circle-Vision 360 yourself but thought it was too expensive?  Now you can.

Saw this at the Viewfactor booth at CineGear Expo.  There's but nothing about on the website but still... pretty cool.  Now, if they just made something for "bullet time"...

Spintec Rain Deflector

Saw the Spintec Rain Deflector at Cine Gear.  What a great gadget for shooting in rain or mist.

A little expensive at $1725 bucks but I guess if you have to have one, you have to have one.  I think you can rent it for $225 a day.  But $225 bucks buys a lot of Rain X...

http://www.innovision-optics.com/prod/spintec.shtml

Alexa Studio

The Arri Alexa and Alexa Plus is going to be joined by a third model, the Arri Alexa Studio.

The Studio incorporates 2 major differences.  First, it has a 35mm sized 4x3 chip for shooting anamorphic.  And second, the Studio will come with an optical viewfinder for the old school film types.  They were still showing the mock-up at Cine Gear.

Arri claims that it's easier for the operator to judge focus with an optical viewfinder rather than electronic but now that the A/C's have a monitor and people back at video village are watching large HD monitors I think everyone on set can judge focus.

http://www.arri.com/press/press_english/press_release.html?tx_ttnews%5Btt_news%5D=668&tx_ttnews%5BbackPid%5D=1781&cHash=74419939d9

SpyderCrane Mini Crawler

Creepiest thing I saw at CineGear was the SpyderCrane Mini Crawler.

The SpyderCrane was designed for confined areas, able to get through doorways but it looks really great for getting a lift on uneven ground or slopes.

http://www.spydercrane.com/mini%20crawlers/mini_crawlers.html

Old School TV Cameras

Eyes of a Generation is a great site for those interested in old time TV equipment... and no cracks!  Although I do have to admit I think I ran a TK-47...

Although, I do have to admit I think I ran a TK-47...

http://www.eyesofageneration.com/cameras.php

Sony F65

Sony enters the 4k market with the F65.   They'll give RED a run for the money with this camera with an 8k sensor.  The F65's got a 20 Megapixel Super 35 sized sensor with an active image area of 18.3 Megapixels with a 1.9:1 aspect ratio.

I got my hands on it at CineGear and it basically feels very F35ish.

The battery looking thing is actually a  dockable SRMemory Card recorder.  The capacities available are 256 Gb, 512 Gb 1TB.  This is where the data rates don't add up.  A memory card recording at 24 fps will store about an hour of footage in 4K16bit RAW and up to 8 hours of HD.

http://pro.sony.com/bbsccms/ext/digitalcinematography/f65.html

a Sony FS-100

Here's something impressive I saw at CineGear.  I also saw this Sony FS-100.  That chip is the same one as the F3, which is 40% larger than the chip on the Panasonic AF-100.

Is the picture quality as good as the F3?  In a word, no.  But the 100 is $6000 and the F3 $16,000 and the picture difference isn't worth $10,000 grand.

But they did dumb down the FS100 to get you to spend the extra money.  The F3 is 10 bit, the 100 is 8 bit.  The F3 has HDSDI for outboard recording and the 100 only has HDMI.  As an operator, my biggest pet peeve is the 100 doesn't have behind the lens ND filters.  But strangely, the 100 records full 1080 at 60 frames where the F3 can only record slo-mo at 720 lines.

The F3 also has a zoom rocker switch and the 100 doesn't, although the 100 has the e-mount which allows for both auto-focus and auto-iris.  Birger Engineering also showed their  follow focus/lens control which fits between the lens and the camera body which allows yout to control focus and iris thru the lens' electronics  I bet this ends up as an iphone app before long.

Here's an AF100 Overview by Able Cine and a bunch of good stuff at Cinema 5D.

http://www.youtube.com/watch?v=0Ol3Lx2gvo0&feature=related

http://www.cinema5d.com/news/?category_name=fs100

http://www.birger.com/

RED Scarlet/Epic Light

New test footage from the Epic Light renamed back to the Scarlet again.
RED Scarlet Test Footage on reduser.net.

The Scarlet does have the 2/3" chip so depth of field is forever but I do like the way the RED handles the highlights.  Take a look, look takers...

http://reduser.net/forum/showthread.php?59527-Scarlet-8x-internal-120FPS-test

Technicolor CineStyle

Log space comes to the Canon 5D.  Technicolor as been working with Canon USA to create CineStyle which puts the standard H.264 REC709 color space into a log color space.  This includes both video and stills.

What does this mean to you the user?  Like all log space recordings, the image looks very low contrast and washed out on the monitor but all the detail is recorded, especially in the shadows.

This also means that you have to color correct every shot you take.  No wonder Technicolor is giving it away.  And by last Saturday, according to the Technicolor guys at CineGear Expo 35,000 people had downloaded CineStyle.

Even if you were at CineExpo it was easy to miss the sign that directed you to Technicolor where they were showing off CineStyle and what you could do with it, especially using Technicolor's DP Lights on-set color correction system.  Technicolor has a suite of new products, including DP Lights, Share Vue, Your Vue, Movie Slate and CineStyle.

CineStyle will work on any DSLR but it is optimized for the 5D II, which is what they see being used as a second camera in work they are taking in shop.

And check out some examples of log space shooting at Phillip Bloom's blog.

http://www.technicolor.com/en/hi/cinema/filmmaking/digital-printer-lights/cinestyle

http://www.technicolor.com/en/hi/advertising/commercials/digital-printer-lights

http://philipbloom.net/2011/05/10/various-example-of-technicolor-cinestyle-for-canon-dslrs/