Sony has some really nice presentations at NAB this year. I enjoyed the presentation by Dave Stump, ASC, about futureproofing your film and the new workflow for upcoming color standards in cinematography, specifically, working in ACES, color space comparisons, and more. Very cool stuff.
The big eye-catcher for the Sony booth was their huge 4K HDR LED display, which was, in a word, gorgeous. The photo doesn’t do it justice.
And of course, Sony had all of their goodies on display for our enjoyment and envy. There was a lot of opportunity to handle the gear and get familiar with it.
It’s been a while since I last posted on this blog, and it’s because I’ve been so busy with assignment work. 2016 has been crazy-busy, which is great for business, but of course when I’m shooting and editing all the time, the blog and other hobbies suffers.
So, what’s happened since the last post? Probably the biggest event (videographically-speaking, that is), is that I have switched my main video system over from Panasonic to Sony. Yes, that happened. I’ve been a Panasonic fanboy for the longest time, but it’s also no secret that I’ve not been happy with a lot of their decisions regarding product and design direction, with their most major offense being the decision to let the AF100 line twist in the wind. I guess the DVX200 could be considered to be the AF100’s “replacement” but in my opinion Panasonic missed the mark overall. The DVX200 is a nice camera, though, don’t get me wrong. But, after talking to a few friends who invested in it, it seems that it also suffers from the other thing that turned me off of Panasonic: poor performance in low light conditions. But enough about that.
After much deliberation with myself I decided to switch my main video system over to the Sony PXW-FS7. I wanted to wait for the Blackmagic URSA Mini 4.6K PL, but delays in shipping the units finally forced my hand and I had to consider other options. Work was piling up and I couldn’t afford to wait any longer. I needed a camera immediately, so I went with the FS7, and I’m glad I did.
The FS7 has proven itself to be the freelancer’s dream camera. Features such as interchangeable lenses, a base ISO of 2000, overcranking, the ubiquitous XDCAM format, SLog3, optional RAW recording, and a ton of other amenities add up to make one solid camera system for shooting anything from news to weddings to cinema and everything else in between. The versatility of the FS7 is superior. The picture quality is superb, although some have complained that it is too noisy in the shadows. There is some truth to that but remember that “too noisy” for Sony is different than “too noisy” for other manufacturers (you know who you are).
My favorite way to shoot the FS7 is in SLog3 while exposing to the right (ETTR). This stacks more signal in the shadow areas of your picture, eliminating a lot of noise, and the FS7 has enough latitude to keep from blowing out highlights in most normal shooting situations. I made a series of custom LUTs to use on FS7 footage in Resolve, including one that takes care of shadow noise when shooting in low-light or especially contrasty scenes where ETTR isn’t really possible. It works out great for me. What are your thoughts on the FS7?
I have to admit, I’m rather excited about the new Panasonic DVX200 4K 4/3″ sensor camera. Meant to be the “successor” to the legendary DVX100, the DVX200 is designed and priced to make big waves. Since it’s designed/intended to be a companion camera to the new Panasonic Varicam 35 4K, I would also expect it to have damned impressive image quality. Panasonic claims 12 stops of latitude. It does not have in interchangeable lens mount, but the built-in 13X Leica Dicomar 4K lens should be just fine for almost any shooting situation that this camera is intended for.
It’s definitely designed as a hand-held run-and-gun camera; lightweight and easy to handle. I can’t wait to try one in the field. Here’s what we know about it so far:
12 stops of latitude
4K/60p max frame rate
Leica Dicomar 4K 13X zoom lens with f/2.8 aperture
I’m pissed off. Say that in your head like Eric Cartman would, because that’s how I’m saying it over here…
I’m pissed off at Panasonic for letting the AF100 line just die. It hasn’t been discontinued, but it hasn’t been updated. It looks like they’re just not thinking about it at all, and to me, that’s a damned shame, because the AF100 is still one of the best workhorse run-and-gun cameras I’ve ever used. If Panasonic had continued to innovate and update the camera, then by now it could very well have been Panasonic’s “Sony FS7” and I think that’s why I’m choosing now to get riled up about it.
Sony released the FS7, and on paper, it looks pretty bad-ass. And in pictures, it strongly reminds me of the AF100 in size and form, which got me to remembering how much it sucks that the AF100 hasn’t been updated since the fake-10-bit “A” variant. The FS7 looks really, really good, but I’m a Panasonic guy. I love the way Panasonics shoot, and I love their picture quality. They look so much more organic and filmic to me than the Sonys do. Dammit, Panasonic, don’t make me buy a Sony!!!
That’s the reason why I’m so upset; I’ve admitted to myself that I really want the FS7, but if the AF100 hadn’t been forgotten, it could easily have evolved by now to what the FS7 is: a sub-$10K large-sensor, interchangeable-lens 4K camera with flexible ergonomics and overcranking abilities. I keep looking at the specs of the FS7 and I can’t find anything wrong with it, even though I really want to. The only thing that made me scrunch my face up was that ProRes recording requires an extra module and a “future upgrade.” Sounds fishy to me. And expensive. But hey! 4K DCI 12-bit RAW external recording? I’d buy a Shogun for that. For sure.
There really is no other point to this post than me blowing off steam, and begging Panasonic to surprise me with something awesome before I pay off my AJ-PX270 and start saving for the FS7. Maybe by Christmas? I’ve been a very good boy, after all.
Check out the front page of Blackmagic’s site for a pleasant surprise: the price of the Pocket Cinema Camera has been slashed from 995.00 to 495.00, until Aug. 31, 2014. That’s quite a savings indeed, and the price slash conforms to BMD’s habit of offering up surprise discounts on their cameras. Although, the odd thing about this is that the price drop is only temporary; before, the price drop on camera models has been permanent. That makes me wonder if BMD is planning on announcing the next version of the pocket cinema camera at the end of this summer. I sure hope so. I’m crossing my fingers for 4K!
After some delay, I’m finally posting links to the spots we produced for the law office of Thomas J Henry that aired during the Super Bowl. This was a fun shoot, for which yours truly was the director of photography and also colorist.
Principal photography lasted four days, and we shot on two Blackmagic Pocket Cinema Cameras, which were awesome. I love the small form factor of the BMPCC, which makes it superb for hand-held and run-and-gun work, especially when mated with my Zeiss MkI Super Speeds, a small Vocas matte box, and the superb wood/metal grips from iKan. The camera feels like a natural extension of my hand, and I can shoot all day without any noticeable fatigue in my arms or hands. I can’t say that when shooting with a RED rig or a big ENG camera.
In addition to handling great, the BMPCC also puts out superior 12-bit CinemaDNG RAW color, and I adore the Super-16 size imager. It’s a great format; large enough to afford shallow depth-of-field when you want it (especially with the T1.3 Super Speeds, which are nice and sharp wide-open), but small enough to maintain critical focus while on the run.
Speaking of the imager, it is sharp. Seriously sharp. Like 1000 TV lines sharp. When shooting RAW with good glass, it seems like you could actually cut yourself on the footage. Unfortunately, this extreme sharpness also means that moire is an issue occasionally, but I have to have it be a problem after the footage has been graded and exported to ProRes. When all is said and done, the BMPCC moires less than any DSLR I’ve ever used, so there’s that.
Blackmagic has yet again thrown a wrench in the budget cinema pricing machine. BMD announced that their 4K, 12-stop, RAW-recording, production camera (complete with global shutter) is now shipping, at US $2995, a price that is a thousand dollars less than it was previously.
BMD will be selling these things literally by the truckload. I personally own the BMPCC, and adore it. It’s the sharpest sensor of any camera I’ve ever used, and the 12-bit raw color is to die for. Now, with this news of the even cheaper 4K camera shipping, I think I know what my plan for the future will be. I simply can’t wait to get my hands on one.Here is BMD’s product page.
After much anticipation, my new Flare Factory (FF) 58 lens from Dog Schidt Optiks, aka Rich Gale, arrived today. I was on a photo assignment when the lens arrived via FedEx (ahead of schedule, I might add – bonus), and when my girlfriend told me over the phone that she had just signed for the delivery, I rushed home and tore open the box (which looked like an elephant had stepped on it — thanks FedEx). Luckily, the lens was very well encased in bubble wrap, and was in great shape. If you don’t know what the FF 58 is, it’s pretty simple. Dog Schidt takes old Russian Helios -44 58mm f/2 lenses, and “reworks” them to have certain characteristics, which you can specify for your custom-built lens. It’s pretty cool. Check out Dog Schidt’s Facebook page to see all the cool stuff you can order up on a FF 58. I ordered mine with cleaning marks (for extra rainbow flares), a normal-prominence blue tint, and a fixed f/2.8 elliptical aperture, to simulate the elliptical bokeh of an anamorphic lens.
After walking in the door after my assignment, I immediately slapped the FF 58 on my D800 and stepped into the yard to bother my dogs and shoot the sun in the trees. One specific reason I bought the FF 58 is to help simulate a film look, because that’s how I like to shoot. In accordance with that desired workflow, the following clips have been lightly-graded and grained up with FilmConvert. Here’s a two-minute sample of the characteristics of my particular Flare Factory lens:
On July 8, Joe Rubinstein & Elle Schneider, creators of the Digital Bolex, posted the first Cinema DNG files from the camera on their blog, so people could have a look at the current state of the image. I’ve been pretty slammed with work lately, so I was only just tonight able to take a few minutes to download the files and look at them myself. I chose my favorite frame and brought it into Resolve to play with a couple of grades, and this is what I came up with after a couple minutes’ worth fidgeting (click on the image to view full-size).
The top frame is the raw Cinema DNG file as it was opened in Photoshop. The second frame was graded in Resolve for a natural-looking warm tone, and the third was graded in Resolve for some scary-movie extreme cool tones, obviously. I was impressed with how little noise I saw in the image, and also how well it handled sharpening in Resolve. I put a pretty serious sharpen on it just to see how much it could take, and the edge integrity stayed superior. It was a very smooth image indeed, and it could also take a really heavy grade without breaking up. Skin tones adjusted well, and overall, the image looked very organic; I love that about the D16. Since it makes use of a CCD imager instead of CMOS, the image has a more natural, organic, film-like quality to it. I can’t wait to get my hands on one of these cameras to really put it to the test. I have a ton of old 16mm glass waiting for new life in my gear cabinet.
Digital Bolex creators Joe Rubinstein and Elle Schneider were in attendance at the SAFILM San Antonio Film Festival (June 2013) so local filmmakers could get a glimpse of the new Digital Bolex D16 Super-16 digital cinema camera. Joe and Elle talked about new developments and upcoming accessories and lenses for the D16. BTW I’m sorry about the rather intrusive background music in the vide; that was the PA at the Palladium IMAX Theater.