I was recently sent a new rain cover by Camrade for my FS7 (there is also one for the FS7 II). I’ve used Camrade “wet suits” as they call them for years. They are great covers made from a low noise fabric. That means that if you need to fiddle with the cover while shooting it makes very little noise. The fabric is high quality, soft and supple but also completely waterproof.
The FS7 cover set covers the whole camera and lens and also has a separate cover for the viewfinder that can be used either with the extension tube attached or thanks to a large clear panel that allows you to clearly see the LCD screen it can be used without the extension tube. There is also a cover for the arm and handgrip.
The main camera body cover has clear panels that allow you to see all the major controls and switches on both sides. In addition the clear panels can be opened and rolled up and secured open by velcro if you want easy access to the camera while it’s not raining.
Along the top of the cover there is a long velcro opening that allows the mount for the viewfinder to exit the cover as well as an elasticated opening for a shot gun mic. There are further openings for the front MI shoe as well as the cameras top handle.
Overall the cover is quite large and the fit is quite baggy on a bare bones FS7. But this does mean that you can attach radio mic receivers or timecode sync boxes etc to the camera and keep them protected from the elements under the cover. The bagginess also allows you to grip the top handle through the rain cover, so even when carrying the camera from location to location it remains protected from the elements.
The length of the cover means that there is space at the back for the XDCA extension unit and/or an external battery system. There’s even a little flap at the back that allows you to see the top of the battery to check the batter status. This is great with my PAG-Link batteries (love my PAG-Links).
If you are using a long lens then you can add an included extension section to the front of the cover that will protect most lenses. Underneath the main cover there is a zip that allows you to almost completely close the rain cover so that when using the camera on your shoulder it doesn’t flap about.
Cameras like the FS7 are expensive. While the FS7 does have a degree of built in protection against a splash of water it really isn’t designed to survive a heavy rain shower. The Camrade covers are not expensive and much better than wrapping the camera in a bin bag. When not in use the cover slips into a nice soft pouch that you can keep in your camera bag until the next time you need it.
One of the cameras I used a lot in Norway is the new Sony FDR-X3000 action cam. What’s different about this POV camera is that the lens and sensor are actually mounted in an internal miniaturised gimbal. This really does work and helps stabilise the image.
There is also a tiny bluetooth monitor that you can wear on your wrist to view the pictures and control the camera. The image quality you get from these tiny cameras really is quite amazing. Take a look at the video to find out more and see some sample footage.
It’s that time of year again. After another simply amazing trip to northern Norway I am pleased to be able to share with you my latest Aurora video. It was shot with a Sony A7s and a Sony A6300. The lenses used were a Sigma 20mm f1.4 art lens. An older Sigma 20mm f1.8, a samyang 14mm f2.8 and a Sony 16mm f2.8 pancake lens. A Metabones Speedbooster Ultra was used on the A6300. For the slider shots I used a home built track (made so it fits my suitcase perfectly) and a Cinetics Cinemoco controller. Hope you enjoy it.
I’ve been using Camrade bags for years. They are tough, protect my gear well without being heavy and clunky like pelicases and other hard shell cases. In addition they don’t scream “expensive equipment here”. They just look like large holdalls. One of the best features is the use of dividers, pads and inserts that are attached with velcro that allow you to reconfigure the bags for different applications.
One thing I often do is carry my camera in a standard carry-on bag when I’m flying. Meanwhile my tripod goes in the camera bag in the hold. When I get to my destination the tripod comes out of the camera bag, I re-arrange the dividers and the camera then lives in the camera bag until I need to fly again. This is so easy to do with the Camrade bags. Although the bags look like soft bags they are extremely ridged. The sides, top and bottom have hard inserts in them that can withstand very large loads, they are strong enough for you to sit on them without collapsing. The bags have strong carry straps and come with a high quality, removable camera strap. There are mesh pockets on the outside as well as on the inside of the lid for those little accessories and bits and pieces that would otherwise get lost. Another bonus is a 90% white card for white balance and use as an exposure reference.
Here’s a video of the medium size Camrade CB-HD bag, designed to take the PXW-FS7 or other similar digital cinema cameras. It’s a bit taller than some of their other bags so perfect for cameras rigged up with base plates and matte boxes.
I produced 3 video blogs during my trip to Norway to shoot the northern lights. These blogs are now on youtube for you to watch. In the first video I take a look at some of the equipment that I took to Norway for the trip. I also look at how I like to lay everything out before I pack it and give some insight into some of the accessories that I like to take.
The second video looks back at the first week of the trip. You will see examples of the weather we had to deal with as well as some information on how some of the time lapse sequences of the aurora were shot.
The third video is about shooting a sunrise with 3 different cameras. The Sony a6300, FDR-AX3000 Action Cam and the PXW-FS5.
Packing for the shoot.
At the bottom of the page you’ll find a quick cut of a small selection of some of the Aurora footage shot on this trip.
Today I leave for my annual Northern Lights expeditions. So, I am off to the very north of Norway to shoot in the cold, long nights of the arctic winter. Currently sunrise is at 11am and sunset at about 12:30. You get golden hour all day and then a very long night (fully dark from about 3:30pm). If the weather gods are kind we will get clear skies and lots of opportunities to photograph and video the Northern Lights.
Over the next 3 weeks I will be releasing a number of video blogs about this adventure. They won’t be every day as I won’t always have internet access and the picture quality of the blogs may not be the best. But what I hope to cover are some of the practical aspects of a project like this. The first blog is about the equipment I’m taking, why I’ve chosen it and how I like to check what I’m packing.
There will be videos on shooting time-lapse, tips for shooting in the cold and more about the gear I’m using.
A couple of years ago I wrote a guide to help people that might have to shoot in the cold. I’ve recently updated this article and as I know many of you won’t have seen it before I’ve provided a link to the page below
Here also are some tips for shooting snow scenes with conventional gammas. Of course you can also shoot with log or raw, if you do just make sure your exposure is nice and bright for the best results (I’d expose white at around 75% with S-Log2 or S-Log3).
With conventional gammas such as Rec-709 exposing for snow is tricky. You want it to look bright, but you don’t want to overexpose and it’s very easy to end up with a lot of the bright snow in your scene up in the knee or highlights where it will be compressed and loose contrast. This makes the snow look odd as it will have no texture, it can all too easily look over exposed when in fact it is not. In reality, although we often think of snow as bright and white, often you really don’t want to expose it too high. With Rec-709 if your camera has a high level zebra set them to 90% (Zebra 2 on most Sony cameras). This way you will get a zebra pattern on the snow as it starts to enter the compressed knee or highlight area. If you are using Sony’s cinegammas or hypergammas I would lower the highlight zebras to 80% -85%.
On overcast or flat light snow days I prefer not to use Hypergammas/Cinegammas as the highlight roll off can make the snow look very flat unless you grade the images a little and boost the contrast in post. However on bright high contrast snow days with clear skies and strong shadows the Hyoegammas/Cinegammas work very well. You may want to consider using a little bit of negative black gamma to put a bit more contrast into the image.
You also want your snow to look white, so do a manual white balance using a proper white card or better still a grey card. Don’t try to white balance off the snow itself as snow can reflect a lot of blue light and skew the white balance a bit. If you are shooting during golden hour at the beginning or end of the day and want to retain that warm look you might want to use a 5600K preset rather than a manual white balance.
If the overall scene is very bright you may need to watch your aperture. In most cases you don’t want to have the camera stopped down to an aperture of f11 or smaller. Due to an effect called diffraction limiting, in HD, at f11 a 2/3″ camera will start to show a slightly soft image. A 1/2″ sensor camera will be just starting to get slightly soft at f8. In 4K/UHD a super 35mm camera will start to show a slightly softer image from f11 – f16. So use you ND filters to control you light levels so you do not have too small an aperture. You may need to add additional ND in very bright scenes to avoid diffraction limiting.
One last tip. If you are standing around in the cold and get cold feet you should find something to stand on. Small twigs and branches, a rubber car mat anything like that will help insulate your feet from the cold ground helping keep them warm.
Lets face it cameras are becoming more and more sensitive. We no longer need the kinds of light levels that we once used to need. So why is lighting still so incredibly important. Why do we light?
Starting at a most basic level, there are two reason for lighting a scene. The first and perhaps most obvious is to add enough light for the camera to be able to “see” the scene, to get an adequate exposure. The other reason we need to light, the creative reason why we need to light is to create shadows.
It is not the light in a scene that makes it look interesting, it is the shadows. It is the contrast between light and dark that makes an image intriguing to our eyes and brain. Shadows add depth, they can be used to add a sense of mystery or draw the viewers gaze to the brighter parts of the scene. Without shadows, without contrast most scenes will be visually uninteresting.
Take a typical daytime TV show. Perhaps a game show. Look at how it has been lit. In almost every case it will have been lit to provide a uniform and even light level across the entire set. It will be bright so that the cameras can use a reasonable aperture for a deep depth of field. This helps the camera operators keep everything focus. The flat, uniform light means that the stars or contestants can go anywhere in the set and still look OK. This is lighting for exposure, where the prime driver is a well exposed image. The majority of the light will be coming from the camera side of the set or from above the set with all the light flooding inwards into the set.
Then look at a well made movie. The lighting will be very different. Often the main source of light will be coming from the side or possibly even the rear of the scene. This creates dark shadows on the opposite side of the set/scene. It will cast deep shadows across faces and it’s often the shadow side of a face that is more interesting than the bright side.
A lot of movie lighting is done from diagonally opposite the cameras to create very deep shadows on faces and to keep the background of the shot dark. If, as is typical in TV production your lights are placed where the cameras are and pointed into the set, then all the light will go into set and illuminate the set from front to back. If your lights are towards the side or rear of the set and are facing towards the cameras the light will be falling out of and away from the set rather than into the set. This means you can then keep the rear of the set dark much more easily. Having the main light source opposite the camera is also why you see far more lens flare effects in movies compared to TV as the light is often shining into the camera lens.
If you are shooting a night scene and you want to get nice clean pictures from your camera then contrast becomes key. When we think of what things look like at night we automatically think “dark”. But cameras don’t like darkness, they like light, even the modern super sensitive cameras still work better when there is a a decent amount of light. So one of the keys to a great looking night scene is to light the foreground faces of your cast well but keep the background very dark. You expose the camera for the bright foreground (which means you should not have any noise problems) and then rely on the fact that the background is dark to make the scene look like a night scene. Again the reason to light is for better shadows, to make the darker parts of the scene appear very dark relative to the foreground and a high level of contrast will make it look like night. Consider a bright moonlit night, faces will be bright compared to everything else.
So in cinematography, very often the reason to add light is to create shadows and contrast rather than to simply raise the overall light level. To make this easier we need to think about reflections and how the light that we are adding will bounce around the set and reduce the high contrast that we may be seeking. For this reason most film studios have black walls and floors. It’s amazing how much light bounces of the floor. Black drapes can be hung against walls or placed on the floor as “negative fill” to suck up any stray light. Black flags can be used to cut and control any undesired light output from your lamps and a black drape or flag placed on the shadow side of a face will often help increase the contrast across that face by reducing stray reflections. Flags are as important as lights if you want to control contrast. Barn doors on a lamp help, but if you really want to precisely cut a beam of light the flag will need to be closer to the subject.
I think most people that are new to lighting focus too much on the lights themselves and don’t spend enough time learning how to modify light with diffusers, reflectors and flags. Good video lights are expensive, but if you can’t control and modify that light you may as well just by a DIY floodlight from your local hardware store.
Also consider using fewer lights. More is not necessarily better. The more lights you add the more light sources you need to control and flag. The more light you will have bouncing around your set reducing your contrast and spilling into your otherwise nice shadows. More lights means multiple shadows going in different directions that you will have to deal with. Instead of using lots of lights be more careful about where you place the lights you do have, make better use of diffusion perhaps by bringing it closer to your subject to get more light wrap around rather than using separate key and fill lights.
Unbelievably I still have two places left for my Northern Lights trip in February. Normally these tours sell out well in advance, but I’ve had a number of cancellations, re-bookings and other changes that mean that there are still 2 places left. These trips really are a big, exciting adventure. We stay in at an amazing location miles from the nearest town and only accessible by snow scooter. We go ice fishing, cook out in a Sami tent, go dog sledding, snowmobiling and enjoy traditional saunas. The sun is still very active and the Aurora has been amazing this winter. It probably won’t be this good in 2017 and then we will go into the low side of the 11 year sunspot cycle, so it could be a long wait for the next big show. Full details are here: http://www.xdcam-user.com/northern-lights-expeditions-to-norway/
Filmed and edited in 2 day as part of the PXW-FS5 launch event in Dubai this short film shows off some of the features of the FS5. Many shots make use of the Supers Slow Motion mode, shooting at 240fps. Others take advantage of the cameras lightweight where we mounted the camera on a DJI Romin M gimbal. The time-lapse shots were done using S&Q motion shooting at 1fps, often with a 1 second shutter. I used a mix of Cinegamma 3 and S-Log2 for the shoot depending on the required dynamic range. Lenses used include Zeiss Loxia 35mm and 50mm. A sigma 18-250mm (canon mount), the Sony 18-105mm and a Sigma 18-35mm Art lens on a cheap Fotga E-Mount to Canon tilt adapter. I will follow this up with a behind the scenes video in a week or so.
Camera setup, reviews, tutorials and information for pro camcorder users from Alister Chapman.