Become a Film Maker Without Quitting Your Job!

This never stops being funny regardless of the topic

We've seen a few of these over the last couple of years and this one is particularly funny.

All to be taken with tongue firmly in cheek - Not for the sensitive :)

 

 

Here's what all the talk is about...

 

Blackmagic Cinema Camera Tech Specs

More info here: http://www.blackmagic-design.com/products/blackmagiccinemacamera/

Camera Features
Active Sensor Resolution	2432 x 1366
Raw Resolution	12-bit RAW files recorded at 2432 x 1366
Shooting Resolutions	2.5K RAW at 2432 x 1366. ProRes and DNxHD at 1920 x 1080
Frame Rates	23.98p, 24p, 25p, 29.97p, 30p
Active Sensor Size	15.81mm x 8.88mm
Dynamic Range	13 stops
Focus	Focus button turns on peaking
Iris Control	Iris button automatically adjusts the lens iris settings so no pixel is clipped
Lens Mount	EF and ZE mount compatible with electronic iris control
Screen Dimensions	5" and 800 x 480 resolution
Screen Type	Integrated LCD capacitive touchscreen
Metadata Support	Automatic camera data and user data such as shot number, filenames and keywords
Controls	Onscreen touch menus and physical buttons for recording and transport control
Microphone	Integrated mono microphone
Speaker	Integrated mono speaker
Mounting Options	3 x 1/4" thread mounting points on top of camera. 1 x 1/4" thread tripod mount with locator pin.
Power	Integrated Lithium-ion Polymer rechargeable battery. 12V-30V DC port for external battery power or use included 12V AC adapter.
Battery Life	Approximately 90 minutes
Battery Charge Time	Approximately 2 hours when not in use.
Camera Dimensions	166.2mm by 113.51mm x 126.49mm excluding detachable sunshade and turret dust cap
Camera Weight	1.7 kg / 3.75 lb

Storage Features
Storage Type	Removable 2.5” SSD
Storage Format	Mac OS Extended format. SSDs can be formatted on any Mac or use Mediafour MacDrive (not included) on a Windows PC.
Storage Rates	5 MB/frame in RAW 2.5K fits about 30 minutes of 24p video on a 256 GB solid state disk. Compressed HD formats fit more than 5 times the amount of RAW video.
Uncompressed Recording Formats	RAW 2.5K CinemaDNG
Compressed Recording Formats	Apple ProRes and Avid DNxHD. All compressed recording in 1920x1080 10-bit YUV with choice of Film or Video Dynamic Range.

Connections
SDI Video Output	1 x 10-bit HD-SDI 4:2:2 with choice of Film or Video Dynamic Range
Analog Audio Input	2 x 1/4” jacks for professional balanced analog audio, switchable between mic and line levels.
Analog Audio Output	1 x 3.5mm stereo headphone output
SDI Audio Output	4 channels in HD-SDI
Remote Control	1 x 2.5mm LANC for Rec Start/Stop, Iris Control and Focus Control
Computer Interface	Thunderbolt port for capture of RAW video and audio. USB 2.0 mini B port for software updates and configuration.
External Power	12V-30V DC port for external battery power or use included 12V AC adapter.

Standards
SDI Compliance	SMPTE 292M.
SDI Audio Sampling	48 kHz and 24 bit.

Extras
Software Included	DaVinci Resolve grading software including Resolve USB dongle for Mac OS X and Windows. Media Express software for video capture from the camera’s Thunderbolt port. Blackmagic UltraScope software for waveform monitoring from the camera’s Thunderbolt port.
Accessories	Detachable sun shield, camera strap, turret dust cap and 12V AC adapter.
Product Warranty	12 Month Limited Manufacturer's Warranty.

Optional Accessories
Camera Handles	Blackmagic Cinema Camera Handles

 

 

What Inspires You as A Film Maker?

I was in the US last week partly for NAB where I was speaking for Tiffen , but I tapped on a few days in LA and while I was there I did an interview for Jared Abrams at Wideopencamera.com,  he is creating a short documentary about what inspires us as film makers.  

 

This is a trailer for a longer piece that will be release in a few months time.

 

 

Free Tutorials and Collaboration at NAB SHOW 2012

I'm currently in LA and today drive over to Las Vegas with Mick Jones and Bruce Logan ASC. to speak and attend the NAB SHOW 2012.  It's going to be a great show this year.  I've been comning to NAB since 2003 and it's an absolute heaven for gear junkies but this year there's so much more.

We three met at the Zacuto Revenge of the Great Camera Shootout in February which is premiering at the NAB Show from Monday.  This was an incredible collaboration lead by Steve  and Jens from Zacuto and Eric Kessler from KesslerCrane.

What makes the shootout interesting this year is that it's a blind test.  So when teh audience view eth escreening you will have no idea what caner you are looking at - The purpose is to highlight that the craft and crafstperson make the image.

Screenings will run daily at Zacuto - Registration iformation is over here: Revenge Screenings at NAB

I'm also speaking daily on the Tiffen Booth about shooting music, using Steadicam, Camera filters and Lowel Lighting. And how we used these tools in Musicvideomasterclass2011.com

Here's the speakers schedule:

These sessions are free so why not come and get some free education from me, Patrick Moreau, Shane Hurlbut, Casey Warren, Garret Brown, Carey Duffy, and many others...

 

 

It's gonna be a great show but if you can't make it ther will be plenty of coverage online at Wideopencamera.com,  www.dslrnewsshooter.com, www.freshdv.com and www.nextwavedv.com so look out for them...

Finally I have just become an Ambassador for Carl Zeiss Lenses and recently filmed with the new CP.2 15/T2.9 and a test film I created called 'Finchingfield' will be playing on their Booth.

 

 

Revenge of The Great Camera Shootout

Back in February I was invited to take part in the Zacuto/Kessler Crane Revenge of the Great Camera Shootout. Along with eth extremely talented Mick Jones from Australia together we were Camera Masters for the Sony NEX FS100.

This was an incredible experience working in collaboration with around 60 people including some big guns from Holywood, Bruce Logan, ASC, Nancy Shreiber,ASC, Rodney Charters, ASC, and a host of talented film folk.

I'm not sure how many people are aware of the passion that Jens Bogehegn and Steve Weiss for film making and watching them put on thios test alomg with Erc Kessler and the producers Scott Lynch and Daniel Skubal was amazing.

"Film making is not a solo pursuit"  Rodney Charters NAB 2009  This event was a demonstration of how collaboration can produce greatness.

If you're gonna be at NAB and want to see a screening , or would like to find out about a local screening check out this page http://www.zacuto.com/shootout-revenge-2012

Sony NEX FS700 on Location

A couple of weeks ago I spent the weekend shooting under NDA with a pre production model of the recently announced Sony NEX FS700.  I teamed up with James Tonkin of hangmanstudios.com who I shot Vertigo with on the FS100 and we shot a  film that will be available in a few days time as well as a BTS film shot by James Miller

I also have a full video blog that will be up in a couple of days also but for now here are some BTS shots of our shoot.

The camera feels very familiar to the FS100  but with the added benefit of ND filters and an HD-SDI.  It's designed to sit between the F3 and FS100. 

We shot using Zeiss CP.2 and the MTF E-Mount to PL adaptor - the images were stunning.  

The camera will do full 200/240fps at 1080P (region specific so if you shoot 60hz you'll get 240fps and 50hz 200 fps) The camera is a worldwide camera from launchj so 50hz/60hz switchable.

But the camera will also do 400fps at a reduced bit rate but still full frame.  Then at 800/960 fps at reduced bit rate and a copped image.

The Super slow-mo can be set on start trigger or end trigger and in 1080p mode it will record 12 seconds of Slo-mo which makes over a minute of on screen time.  It is very impressive.

The camera is 4K ready and has 3G/HDSDI  out and HDMI out.  We also discovered that you can record the super slow-mo out onto an external recorder.  We used the Atomos Samurai so you can aquire 200fps at 1080P in ProRes 422.

The camera has an ND filter wheel and is also an 8MP still camera.

Internal recording is using  AVC HD at 24/28mb/s - it's very clean and edits well as we've discovered on the FS100.

 

Full Sony Press relaease can be found here: 

http://www.sony.co.uk/biz/press/id/1237485083512?SM=FB02_0412

Here's the official product page:

http://www.sony.co.uk/biz/product/nxcamcorders/nex-fs700ek/overview

 

Preliminary Information

This is preliminary information. All features and specifications are subject to change without notice.

4K-ready

The first 4K-ready Super35mm camcorder in its class – providing an assured upgrade path to 4K acquisition and delivery - with full HD 1080p for today.The camcorder will also have the capability to produce 4K RAW 3G-SDI output via a future upgrade.

Super slow motion at 10x at full HD or 40x at lower resolutions

Incredible super slow motion capability of up to 10x slow motion at full HD resolution or up to 40x slow motion at a reduced resolution, giving you creative options that were once only available with specialist high-end equipment.

E-mount interchangeable lenses offer a wide choice of lenses

The E-mount interchangeable lens system utilises an extremely short flange back distance allowing you to use a huge array of lenses via a range of adaptors giving you almost unlimited creative options.

SEL 18200 lens supplied

The supplied SEL18200 (E 18–200mm F3.5–6.3 OSS) with the NEX-FS100EK boasts 11x zoom power, a quiet AF motor for cleaner sound recording, and Optical SteadyShot™ image stabilization with an advanced Active mode that lets you take steady handheld shots while walking around — even without a bulky stabilization rig.

Additional A-mount lenses available

The Sony LA-EA2 A-mount lens adaptor allows you to use the wide range of high quality alpha lenses and take advantage of the auto focus function for quicker, more convenient operation.

Built-in HD filters

The NEX-FS700EK features built-in, ultra-thin ND filters, offering exceptional shallow depth-of-field on highlights. It also means less accessories to manage as no external ND filters are required.

3G-SDI interface and HDMI

A 3G-SDI output enables easy integration with highest quality recording formats.

Exceptional ergonomics

The NEX-FS700EK has a refined ergonomic design with a robust detachable handle and grip.

Switchable 50 Hz and 60 Hz shooting

The NEX-FS700EK is switchable between 50 Hz and 60Hz to allow 24p shooting in PAL areas and no PAL/NTSC limitations.

Selectable magnification and positioning of expanded focus

Expanded focus improvement allowing 4x and 8x magnification and a moveable area of expansion for easy focusing with shallow depth of field.

Camera profile settings storage on memory card

Up to 99 camera profile settings can be stored, allowing rapid adaptation to multiple shooting environments without time wasted adjusting parameters. Settings are also easily shared in multi-camera productions.

 

Nikon D4, D800 Compared with Canon 5D Mark II and Sony FS100

Guy Thatcher from www.hireacamera.com and I have spent a part of today playing with the new Nikon D4 and D800 and comparing them to the Canon 5D Mark II and my trusted Sony FS100.

Now we did not set out to create any sort of camera test but out of curiosty have compared a few features. Tomorrow we'll be lining them up for a daylight resolution comparison.

For now we've simply been figuring out what the buttons do and where they are.

Here is a very short low light comparison with the cameras set roughly around 2000 ISO (although we set the D4 to 4000 ISO because it looked dark in the LCD) 

Scene is only illuminated by the screen of my 27" iMAc

Lenses used were Zeiss 35mm f1.4 on Nikon's and on FS100 and Canons a 24mm f1.4 L series.

Just a short comparison as we get to know these new and some not so new tools.

** This is just us messing around so please don't over analyse the results - this is just a side by side lit only with the screen of my 27" imac.

Thanks to Guy Thatcher from www.hireacamera.com for bringing up the toys this weekend.

 

Working with Briese lights

On Saturday I'm DP'ing a shoot and will be using Briese Lights for the first time.

A few years a go I was on set shooting BTS of a fashion commercial and the Photograher was using them. They're an unusual looking light source but they produce the most incredible light source especially if you place a model in front of them.

 

They come in a variety of sizes and in both Tungsten and HMI

Image courtesy of SOLALight Who sell and rent Briese in the UK

What makes these lights so special is the silver textured dome that can be used as a background. But equally you can focus the light by retracting the centre column to create a more flooded or spot effect.

We're shooting a Brazilian Samba dancer so I'm looking forward to seeing how the images will look.

Here's a promo film made using Briese lights :

 

Have you used them?  I'd love to hear your experiences if you have. 

 

 

Is Converting a Photo Zoom the Answer?

I was loaned a Technical Farm converted Canon 70-200mm IS L Series lens last week for a day.  

This is an interesting conversion which on the surface addresses some of the frustrations with using Canon Lens on the FS100.

So what do they do?

Firstly they take your existing 70-200mm Canon lens and remove the IS module so that they can fit end stops to the lens. Then they also add a manual Iris control ring.  In additional they then add 0.8 pitch gears to the iris, zoom and focus to give a more Cine feel. (they can also modify the 16-35mm and the 24-70mm)

Certainly in principle this seems to make sense but in reality I'm not as convinced.  

 

Pro's

Certainly having a manual iris is a big plus as that's how I'm used to exposing with traditional Cine Zooms and Broadcast TV lenses.  The action is smooth and the pitch gears help also when operating.

Con's

The end stops are not a deal breaker for me.   I'd rather keep image stabalization for those times when you grab the camera and go hand held.  And when I spoke to Octica in the UK who lent me the lens they indicated that it might be possible to leave IS in and lose the end stops so it certainly seems to be an option.

The other main concern is that when focussing at the long end of the focal length ther's still not enough real estate to pull focus effectively.   So while the physical mod helps it still only partly solves the issue. 

Cost of Mod is £2495 +VAT (approx $4k)  which is a bit of a gulp if you're moving up from DLSR but less of a gulp if you're moving down from Cine lenses.  But this is not a cine lens so I question if it is a valuable modifictation.

Conclusions

For me I'd rather buy a dedicated zoom.  However options are non existent currently.  But with NAB just around the corner I'd be hoping that lens manufacturers are recognising the need for affordable cine style zooms and maybe well see some options in April.

 

Here's a short video review of the technical Farm lens.  For more info you can email Spencer or Tony at Octica info@octica.tv

 

They're looking for feedback and interested in what you think so feel free to email them.

Sony FS100 Firmware Release Date Announced - 22nd march

So after waiting patiently for months it's going to be with us on march 22nd

 

Here's what Sony are saying:

 

Upgrade Cost & Procedure

No cost: follow firmware download instructions from FS100 webpage, connect PC to camera via USB and run user installable upgrade. Optionally, the upgrade may be professionally installed by Sony Professional Service Depots (labor charges apply).

Additional NEX-FS100U & NEX-FS100UK features*

1.	Added 50Hz recording system (PAL): 1920x1080 50p, 50i, 25p and 1280x720 50p.
2.	Camera Profile (camera settings can be saved to and loaded from a memory card).
3.	Additional 4x and 8x Expanded Focus magnification: (with user selectable focus area).
4.	Selectable ISO or GAIN sensitivity display.
5.	Selectable Focus indication in FEET or METERS (E-mount lens only).
6.	Selectable Shutter indication as EXPOSURE TIME or SHUTTER ANGLE.
7.	Added the following Aspect-Ratio markers: 2.35:1, 1.85:1 and 1.66:1.
8.	Display ON/OFF button enables Zebra and/or Histogram overlay onto video output.
9.	Compatible with the new A-Mount to E-Mount adaptor, model LA-EA2. One push Auto-IRIS and continuous 15-point, Phase-Detection Auto-Focus operation with most Alpha A-Mount lenses is available. Lens metadata is displayed onscreen and stored real-time to image file.

 

Why I'm Embracing Final Cut X...And Liking it!

When Apple first announced Final Cut Pro X I sat back and waited. There was fury from the die hard edit community. How could Apple do this to us...?

(this is an excerpt taken from a larger article I've written for  www.jigsaw24.com)

Well, I have a different view. You see, I started life as an editor back in 1997. In fact, I cut news  on a two-machine, front-panel-driven suite bolted into the back of  a VW Caravelle crew van.  I traveled around Scotland with my cameraman and reporter, covering news for GMTV. I then became a cameraman myself, and worked for the BBC and then London Tonight before going freelance as a lighting cameraman, and rarely touched an edit suite again.

 

But around 2003 I started playing with FCP7 and 'taught myself' how to do the things I'd previously done when linear editing. Perhaps since the leap from linear two-machine editing to an NLE like FCP 7 was so huge and liberating, I was just excited to have so much power at my fingertips.

 

I have never regarded myself as a proper craft editor. I could not go into Soho and offline the way the highly skilled guys (and girls) do, so perhaps that is why I view FCP X so differently. While I'm still getting to grips with FCP X and its new way of working, there are so many features that blow me away in terms of speed and efficiency that seem to go unnoticed over slating the software. My view is that FCP X is a little misunderstood.

 

The rest of this article can be found at:  www.jigsaw24.com