Check out the new mini Panasonic HX-A100 video camera. It looks pretty sweet. Depending on the price, I think I’d get this over a GoPro. It includes an ear clip so you can wear it without a helmet, or strapping a mount to your head. I like that.
So, I did something cool today. I took an old Cooke Kinic 1″ (25mm) f/1.5 lens made by Taylor Taylor & Hobson c. 1950, and mounted it to my Panasonic AF100 video camera. The Kinic is known as the king of the vertigo lenses, as it produces some amazing swirly bokeh around the outside of the frame. Some call it nausea-inducing, and I can see their point. I’m not sure if TTH meant to do this or not, but considering that Cooke lenses are known for their exceptional quality all the way back to the 19th century, I’d like to think they did.
The Kinic was originally made for 16mm movie cameras like the Eyemo and Filmo models. If anyone knows of sample footage from these cameras where the Kinic was used, please let me know; I’d like to see what the image looks like. Personally, I think the Kinic is fabulous for special effects shots like dream sequences, flashbacks, etc. I certainly wouldn’t use it for everyday footage, since the AF100’s imager is much larger than the 16mm frame that the Kinic was originally intended for, where the ultra-swirly outer edges of the picture would not be visible. // Below is some footage I shot in my front yard. This is not raw footage; it has been graded using DaVinci Resolve 9. Check it out:
German cinematographer Sebastian Wiegärtner has posted a link to download a DNG frame from a BlackMagic Cinema Camera. Follow this link to get it. I downloaded the file and opened it in Adobe Camera Raw to play with it, and I have to say that I’m really impressed with the clarity, sharpness, and — most of all — the clean, clean, shadow detail. That alone is making me reconsider waiting to get the BlackMagic Cinema Camera. If I can have a camera with shadows that clean, I may make and exception to my “don’t buy new releases” rule. I still don’t like the fact that it’s Canon EOS mount only, though. I still think that was a mistake. It’s true that the Canon EF mount is the most popular right now, but with Nikon, Panasonic, Sony, and others now fully committed to the cinema game, I think Micro 4/3 would have been a better choice in order to keep all the lens options open.
As some of you may already know, I started working on a new feature film called “Champion,” as Dir. of Photography/Cinematographer. It stars Dora Madison Burge (Friday Night Lights), Cody Linley (Hannah Montana), and… wait for it… Lance Henriksen (every awesome movie, ever). I’ll cut to the chase: I’m approaching 40, and had no idea who Dora or Cody were before they signed up for this film (but it turns out they’re awesome). But Lance Henriksen?! How effing sweet is it that I get to have one of my all-time favorite actors in front of my lens? I never would have thought I’d get this opportunity. Strap in, because I’m going to gush about this for a while.
Like many people who are about my age, I first saw Lance in James Cameron’s “The Terminator” and again in “Aliens” in 1986, as the android synthetic human called Bishop. We all know how bad-ass the knife scene in that film was, and so far, everyone on set has been able to keep their cool and not ask him to do it. No-one wants to be “that guy.” He really did do it, BTW, and he said that Bill Paxton didn’t know about it beforehand; Paxton’s surprised expression while Lance was stabbing the knife between his fingers was authentic.
Since “Aliens,” Lance has been one of my favorites. His roles are always just so cool. But what I really love about working with him is the fact that Lance Henriksen the man is simply a dream to work with. He’s incredibly nice, laid-back, professional, and his experience really adds to the production. All of us on the crew of “Champion” will be better filmmakers after working with him. During breaks on set, Lance can often be found “holding court” as the crew gathers around him to hear his stories.
Now, on to the tech: We’re shooting “Champion” on two Panasonic AF100 cameras capturing footage to Atomos Samurai recorders. Day One was a test of our patience, however, when one of our Samurais kept spontaneously turning itself off. After a firmware update failed to fix the problem, it was determined by the Atomos LA office that it was a faulty unit. They overnighted a new one to us the next day. I call that some pretty sweet customer service. Since then, both units have been flawless. Using the Samurai in the field is a dream. I wish they had brighter screens, though.
Both of our Samurais are running AtomOS 3, which adds some awesome and much-needed features to the unit, including peaking, zebras, false color, and the ability to not only mark clip ins and outs during playback, but also export XML so you can then open your rough cut in Final Cut Pro. Talk about a time saver: you can do your rough edit in the car on the way back from the set! I still wish the screen on the Samurai was brighter, but I can live with it, since I’m using my Cineroid most of the time anyway.
Since our MacBook Pros do not have eSATA ports, one piece of new technology that has made life easier on set is the new LaCie Thunderbolt to eSATA hub, which makes things flow much faster and allows us to save a lot of money in the storage budget. Footage can be backed up on multiple eSATA drives by our dailies editor without wasting any time. Before, we had to use USB 2.0 or FireWire docks, which was excruciating, considering we’re shooting about 100GB of ProRes footage per day. Yay for Thunderbolt. I just wish the Thunderbolt architecture would mature faster with third party suppliers. There aren’t many Thunderbolt products out there, which really confuses me, considering how fast it is.
I ran across this old blog post at ProVideoCoalition.com that features a fairly comprehensive comparison of the resolving powers of the Panasonic AF100 and the Sony PMW-F3, among other cameras such as the Sony EX3 and EX1, the ARRI Alexa and the RED Mysterium. It’s a pretty interesting and tech-heavy read.
While roaming the NAB Show floor with my Panasonic AF100, I stopped to interview Dan May of Blackmagic Design, who talks about their new Blackmagic Cinema Camera (Canon EF mount only), which can record in RAW at a resolution of up to 2.5K. It is the first camera I’ve seen to feature a Thunderbolt out port for recording in highest resolution. This tells me that we can expect a lot more Thunderbolt accessories from Blackmagic in the near future. Personally, I find it unfortunate that Blackmagic has chosen to release the camera in EF mount only. I would think that Micro 4/3 would have been a much better choice considering it is a much more versatile mount. What do you think?
Helmut Lenhof shows us the new Carl Zeiss Compact Zoom T2.9 on the floor at the NAB Show in Las Vegas. The new lens covers a full stills frame at 24x36mm, which means Canon 5D Mark II, Mark III, Nikon D4, and Nikon D800 users will be able to make use of it as well. The lens will list for about $19,900. Save your pennies.
While covering the NAB Show floor today with my AF100, I attended a special event where Mitchell Hurwitz, the creator of hit TV show Arrested Development, talked to an audience, along with members of the Arrested Development cast (Will Arnett, Jeffrey Tambor, David Cross, Jessica Walter, and Alia Shawkat) about bringing Arrested Development to Netflix and the creation of new episodes, at the Content Theater in the South Hall of the NAB Show in Las Vegas, Nevada.
In the same presentation, actor and director Eli Roth also spoke about his series, “Hemlock Grove” and why he is enthused about bringing content to internet-based services such as Netflix. Hurwitz and Roth both had some really cool ideas about new ways to bring content to audiences via the internet, and I left the presentation with a few ideas of my own. I’m glad I attended!
I had the chance to interview Atomos CEO Jeromy Young at NAB, and he told us some very cool news about some upcoming products and updates, including the new Ninja 2 and the AtomOS 3.0 update, which will be released on April 30, free for Ninja 2 and Samurai users. Original Ninja customers will not be able to apply the upgrade (I’m betting due to hardware limitations), but Jeromy says that an economical upgrade path will be provided for original Ninja customers. Check out the video below!
Last weekend was full of intense shooting for “Arose The Coward” using the Panasonic AF100, of course. Sunday was a particularly long day. Since I started using the AJA Ki Pro Mini, there has been an ongoing problem with it; every so often, it would freak out and delete clips, or spontaneously rename them. I FINALLY figured out why it has been doing this, and corrected the problem.
I thought of the solution while I was driving to set on Sunday. I was thinking about what could possibly cause these issues, and it hit me. When I bought my Fuji X100 stills camera, there was a known issue regarding downloading images from the camera to an iPad. When the SD card was reinserted into the camera, it would cause the X100 to freak out and become unresponsive for about thirty seconds. This was due to the fact that Apple iOS was saving hidden files to the SD card when it was inserted into the iPad’s card reader. This is not a new issue; Mac OS has always saved hidden files to media that is mounted onto the system. However, the Fuji didn’t know what to make of them, and this caused problems.
Habitually, when I’ve used the Ki Pro Mini on set, instead of reformatting the card in the unit, I would simply delete the files and then empty the trash on my Macbook Pro, because it was a lot faster. It dawned on me this weekend that that was probably what was causing the Ki Pro Mini to freak out; hidden files left on the CF cards by Mac OS.
So, I made it a point to always reformat the card in the Ki Pro Mini after dumping clips, and sure enough, the problem hasn’t resurfaced. Yay me.