My First Image from the Zeiss Touit 32mm f/1.8 Fuji X-mount Lens

I took delivery of my new Zeiss Touit 32/1.8 lens this morning from B&H. I couldn’t wait past the weekend so I had it overnighted, for when I’m impulse-buying photo gear, I have no patience. If I make a snap-decision, I want snap-delivery. I like to keep my gratification instant. The little Touit lens is well-built; very solid, as one would expect from Zeiss. And also, as I would expect from Zeiss, even their presentation oozed precision:

Zeiss Touit 32mm f/1.8 Lens for Fuji X-Mount
Zeiss Touit 32mm f/1.8 Lens for Fuji X-Mount

I immediately mounted the Touit onto my X-E1 and ran around looking for something to make a picture of, and finally settled on making a picture of J. as she was having streaks put in her hair by Kim. I have a couple of shoots lined up for this weekend, so I will be sure to put the lens to the test then, but for now, I have to say that I’m already in love with the Zeiss Touit 32. It’s as sharp as you expect a Zeiss to be, and smooth as butter. The AF works well, and is plenty fast enough for my tastes, and I’m used to shooting with Nikon D3 bodies. I’ll see if I can get a few more photos when we go out to dinner with some friends later this evening. Until then, here’s one pic:

Zeiss Touit 32mm f/1.8 Lens for Fuji X-Mount
Zeiss Touit 32mm f/1.8 lens sample image, shot with Fuji X-E1.

Going Back to Cali. I Mean, “Film”.

Aaton 16mm Camera
Aaton 16mm Camera

Some of you may think I’m crazy, and others may understand this, but I decided this week to let go of some of my digital arsenal. What does that mean? It means I traded one of my digital cinema cameras for an Aaton 16mm camera kit. I’m going to make a partial migration back to film. I’m simply tired of trying to find a digital camera that doesn’t disappoint in certain areas, whether it’s excessive shadow noise, blown highlights, moire, muddy color, poor resolution, ugly skin tones, etc. (and yes, two of those are aimed at RED). Digital is cheaper for small productions, especially for indie filmmakers, but there is still a huge argument for film, especially if shooting commercially.

I’m going to start small, with shorts and music videos, and never for free. Film is, after all, expensive, so it will be reserved only for clients who have the budget to use it. Why bother with it? Because people do still appreciate the look of film, and like it or not, it still holds some powerful cards over digital in many ways. For me personally, I’m using film again to take advantage of better highlight and shadow detail, finer color rendition, and for a greatly simplified post process. The money that I spend up front (charged thru to clients) will save me tons of time on the back end.

Also, one of my pet peeves on set is the relaxed and simply lazy attitude many people have adopted since digital became mainstream. It’s true, at least in my experience. When you can hear the money circulating through the camera, people tend to pay more attention to what they’re doing, that’s certain. I’m looking forward to getting back to that old school discipline. 🙂

Photos From Set

Cinematographer, Josh, on set with the AF100 and Atomos Samurai.
Cinematographer, Josh, on set with the AF100 and Atomos Samurai.

I love to support local filmmakers, especially students and those just starting out on their independent film careers. Last night, Branden, a friend and local film student, needed some help with a camera yesterday to finish shooting some scenes for his current film project, so I brought over my Samurai and AF100 for he and his crew to use. While I was there, I snapped a few pics for fun.

Mandy B. in makeup.
Mandy B. in makeup, ready for a scene with Branden.

The very talented Lawrence Mercado (http://notbotfx.com) was on hand to make up the lead actress to look like she’d been abused, and I must say Lawrence outdid himself. What an amazing job! The best part of the story is that she had to walk into a Walmart after the shoot, looking like that, because she needed to get makeup remover. Unfortunately, none of us had a GoPro to stick on her for that so we could record people’s reactions!

 

NAB 2013 Show Highlight Reel No. 2

I decided that since there was so much cool stuff to see at NAB, the best way to get the most coverage is to make highlight reels of my favorite items. So that’s what I’m doing. Here is the second highlight reel, featuring products like the Freefly MoVI camera stabilizer, the Atomos Connect HD-SDI to HDMI converter, the Redrock Micro One Man Crew motorized parabolic slider, the Schneider TS-PC 50mm f/2.8 lens, the MTF Effect Canon EF lens controller, and a shark. Check it out!

Watch this video on YouTube or on Easy Youtube.

Watch this video on YouTube or on Easy Youtube.

Sound Devices Adds 12-bit 4:4:4 Apple ProRes4444 support to Pix 240 & Pix 240i SSD Recorders

Sound Devices Pix 240i digital field recorder
Sound Devices Pix 240i

Sound Devices has added the ability to record 12-bit 4:4:4 over 3G-SDI (4:4:4 RGB/YCbCr) to its Pix 240 digital field recorder, laying down information at 330Mb/sec. Who can take advantage of this? If you’re shooting with a Canon C500, Sony F3, F5, F55, or Arri Alexa, you can. Also, some of the big Panasonic Varicams, as well as others. Let’s face it, if you have a 4:4:4 camera, you know it.

The upgrade is available to all current Pix 240 and Pix 240i customers free of charge (nice). From the Sound Devices press release:

SOUND DEVICES HIGHLIGHTS NEW 4:4:4 FEATURE FOR PIX 240 AND 240i AT THE 2013 NAB SHOW
Video Recorders Can Now Record 12-Bit, 4:4:4 Content to Apple ProRes 4444
LAS VEGAS, APRIL 4, 2013 — For attendees in search of the latest 4:4:4 recording solutions, Sound Devices showcases its latest upgrade to PIX 240 and PIX 240i Production Video Recorders at the 2013 NAB Show (Booth C2849). This new major update, available for all PIX customers free of charge, offers Apple ProRes 4444 recording from video sources over 3G-SDI (4:4:4 RGB or YCbCr). Recording 4:4:4 offers productions superior color precision for applications in chroma-keying, color-grading and multi-generational editing.
 
PIX 240 and 240i users now have the ability to record into Apple ProRes 4444, which offers impressive quality with 4:4:4 sources and workflows involving alpha channel transparency. With its 12-bit, 4:4:4 capability, the PIX 240 and 240i can record 330-Mbps Apple ProRes 4444 files that are perceptually indistinguishable from the original source material. Popular cameras with 4:4:4 capable outputs include the ARRI ALEXA, Canon C500 and Sony F3.
 
“Sound Devices is pleased to feature this latest firmware update at NAB, as we know this is an important feature to many of our users and we foresee this capability being a hot topic at this year’s show,” says Paul Isaacs, Technical Development Manager, Sound Devices. “Bringing Apple ProRes 4444 recording over 3G-SDI to the PIX 240 and 240i offers additional color accuracy available in a 4:4:4 environment—reinforcing the PIX recorder as a master-grade production recorder suitable for the most demanding production applications.”
 
Additional features available in this latest v3.0 firmware update include time-code and recording status displays on the SDI and HDMI outputs, up to 500 ms of audio delay to compensate for multi-device picture delay, and selectable 4:4:4 or 4:2:2 video output independent from the source material.
 
Users can connect PIX 240 and 240i to cameras with HD-SDI, 3G-SDI, or HDMI and record directly to QuickTime using a range of different Apple ProRes or Avid DNxHD codecs, including Apple ProRes 4444. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making for simpler, faster workflows.
 
The PIX 240i’s high-performance five-inch, IPS-based LCD display is an accurate field monitor, providing users with immediate confirmation of framing, exposure, focus,  audio metering and setup menu selections. It offers excellent color accuracy and contrast, great off-axis visibility and accurate motion tracking.
 
The built-in hardware scaler and frame rate converter allows PIX to output and record material at different resolutions and frame rates than supported by the camera. Conversion between HD and SD, with and without anamorphic conversion, is available.
 
The audio circuitry of the PIX recorders is based on Sound Devices’ award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.
 
The HDMI-only PIX 220 and PIX 220i video recorders also gain new features available in the new version 3.0 update, including Apple ProRes 4444 recording, time-code and recording status displays on HDMI outputs, and up to 500 ms of audio delay to compensate for multi-device picture delay.
 
Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

2013 NAB Show Highlight Reel No.1

Cooke 40mm T2.3 2X Anamorphic Prime Lens
Cooke 40mm T2.3 2X Anamorphic Prime Lens

I’ve decided that since there is so much cool new stuff to see at NAB, the best way to get the most bang for my buck on coverage is to make highlight reels of my favorite attractions. So that’s what I’m doing. Here is the first highlight reel, featuring products like the Blackmagic 4K Production Camera, the Blackmagic Pocket Cinema Camera, the Atomos Samurai Blade ProRes & DNxHD field recorder, and the new Cooke 2X Anamorphic Prime Lens.

Watch this video on YouTube or on Easy Youtube.

The next highlight reel will feature the Digital Bolex, the new MoVI camera stabilizer, and more! I’m heading down to the show floor as soon as I finish typing this coming exclamation point!

2013 NAB Show – Interview with Digital Bolex Creator Joe Rubinstein – Part 2

Digital Bolex S16 Cinema Camera - cinematography
Digital Bolex S16 Cinema Camera

On my first day at NAB 2013, I ran into Digital Bolex creator Joe Rubinstein, who was kind enough to tell me about the new cinema camera that every cinematographer is dying to get their hands on. Joe was really nice, and I really enjoyed talking with him about his camera; it was obvious that he is just as passionate about the Digital Bolex, and what it means to cinematographers, as are the camera nerds who are waiting for it to ship.

In part 2 of the interview, Joe talks about the software the comes with the Digital Bolex, as well as the workflow for the 2K Cinema DNG files it writes to CF cards.

In case you haven’t heard about the Digital Bolex, it’s a Kickstarter-funded Super 16 cinema camera that shoots in RAW Cinema DNG format. Since it features a smaller 16mm size imager (CCD too, which means NO rolling shutter), it can make use of a myriad of older 16mm and C-mount lenses that have largely fallen into disuse since the rise in popularity of DSLR’s and other larger-chip digital cameras. Check out part 2 of my interview with Joe Rubinstein below.

Watch this video on YouTube or on Easy Youtube.

2013 NAB Show – Interview With Digital Bolex Creator Joe Rubinstein – Part 1

Digital Bolex S16 Cinema Camera - cinematography
Digital Bolex S16 Cinema Camera

On my first day at NAB 2013, I ran into Digital Bolex creator Joe Rubinstein, who was kind enough to tell me about the new cinema camera that every cinematographer is dying to get their hands on. Joe was really nice, and I really enjoyed talking with him about his camera; it was obvious that he is just as passionate about the Digital Bolex, and what it means to cinematographers, as are the camera nerds who are waiting for it to ship.

In part 1 of the interview, Joe talks about the camera body and lens options that will be available for it, including the custom Digital Bolex prime lenses that were designed in a partnership with Kish Optics.

In case you haven’t heard about the Digital Bolex, it’s a Kickstarter-funded Super 16 cinema camera that shoots in RAW Cinema DNG format. Since it features a smaller 16mm size imager (CCD too, which means NO rolling shutter), it can make use of a myriad of older 16mm and C-mount lenses that have largely fallen into disuse since the rise in popularity of DSLR’s and other larger-chip digital cameras. Check out part 1 of my interview with Joe Rubinstein below.

Watch this video on YouTube or on Easy Youtube.

New Panasonic HX-A100 Wearable Full HD 1080/60p Video Camera

The new Panasonic HX-A100 wearable mini video camera. Watch out GoPro!
The new Panasonic HX-A100 wearable mini video camera. Watch out GoPro!

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.

http://www.dpreview.com/news/2013/01/07/Panasonic-hx-a100-wearable-action-camera#press