Firmware Updates – Are they really broken?

How safe are firmware updates? In light of recent events where Sony have released firmware updates for the FX3 and FX30 and then withdrawn them only days later I decided to write this piece in attempt to help people understand what might be happening and what the risks are.

Firmware updates can never be entirely risk free. Afterall, for most cameras a firmware update means replacing the software that alters the way many of the processors function with new software. And this replacement process can sometimes in rare instances go wrong. Generally, if you precisely follow the instructions provided with the update, including checking that the file you have downloaded is valid and  corruption free (usually done by comparing an MD5 checksum value against the file size) the update will go smoothly and all will be good. 

Real world update failures due to a hardware or software error are very rare. If you look around the online camera user groups, while you will likely find examples of failed updates, some of these may be user error. Not following the instructions etc. But a few will be real failures. But it’s worth considering that user groups will by their very nature attract more users looking for help with issues than users that don’t have issues. So, the numbers will be skewed and may give the impression of a bigger issue than it really is. Also look at the size of the group, if you have a group like some of the FX30 groups with +35,000 users and there are 10 individuals with issues that’s 1 in 3500 or less than 0.03% of the groups membership. A very small number.

On top of this we also need to consider that the firmware that everyone downloads is the same for everyone. And, as everyone is putting this on the same camera you would expect any issue with the firmware to effect every camera in the same way. So, if there was a bug, it should affect every camera and everyone should experience the same issue, not just a very small fraction of the user base. 

But, we have seen this before. There have been instances where a firmware update has led to problems when the camera is set up in a very specific and perhaps unusual way and then when a very specific change is made the camera doesn’t behave as expected. Somehow this particular combination of settings has slipped through the extensive testing that’s done leading to a bug in the firmware to go undetected. When this happens the manufacturer will typically quickly release a follow on update to fix the bug.

Following the recent release of firmware version 6.0 for the FX3 and version 5.0 for the FX30, despite the fact that the vast majority of people that did perform the update have had no issues there were a number of reports of issues with the cameras WiFi or Bluetooth networking functions. In some cases the cameras would crash or become unresponsive when the networking was turned on. Based on the number of issues reported in the user groups I don’t think the number of people affected was huge, but clearly it was enough for Sony to withdraw the firmware updates from their website to investigate. 

So, what could be going on here? Why might only some people be affected while the majority are perfectly OK, afterall a true firmware bug should affect everyone? 

Version 5/6 brings some big changes to the WiFi and Bluetooth connectivity with many adjustments made to help improve the stability of the connections and improve compatibility with the latest Monitor and Control app. I suspect that this new firmware is using functions within the WiFi and Bluetooth chips that were previously unused, so this firmware might be turning on parts of the chips not previously used.

It might be that some people have cameras that have faulty WiFi chips but because the part of the chip with the fault wasn’t used by the previous firmware versions they would have been completely unaware that their camera was hiding a hidden issue until the time the new firmware turned on the faulty part of the chip. 

This is just a speculative theory, bit it fits what appears to be happening. Did these camera develop this fault after they were purchased or did it exist at the time of purchase? That will be difficult to prove either way unless a batch of faulty chips gets identified. I have a great deal of sympathy for those affected, it could happen to any of us.

And I guess this is one of the issues with firmware updates that add or turn on new features. There is now way to know if the fault pre-exists in the camera with earlier firmware versions as there is no way to test a feature that the firmware has yet to be written for.

It’s a tough one for any manufacturer. End users now expect, demand even, that new features are continuously added to their cameras. That necessitates a steady stream of firmware updates and the switching on of parts of the camera not previously used and this will always carry a tiny level of risk, even if it’s extremely small. One solution would be for manufacturers to refuse to provide these feature upgrades, if you want new features buy a new camera with the latest firmware.

Of course this wouldn’t go down well and I don’t see that happening. Another solution would be to avoid buying a camera until the final version of the firmware is released. But that would mean only buying a camera towards the end of its release cycle.

I suspect the reality is that if we are to continue to expect to get extra features or other improvements added to our cameras via firmware updates that very occasionally things might go wrong, that perhaps a very small percentage of users will have a problem and that’s something we need to come to terms with if we want these updates. Or you just leave the camera with the firmware it was supplied with in which case you have nothing to worry about.


Portkeys LH7P – A monitor that can control your camera.

 

For this years Glastonbury festival I chose to use a combination of a Sony A1, FX3 and FX30 (we also used a DJI Pocket 3 and a Wirral wire cam). These are all small cameras and the screens on the back of them really rather small. So, I wanted to use an external monitor to make it easier to be sure I was in focus.

IMG_2337-281x500 Portkeys LH7P - A monitor that can control your camera.
Using the Portkeys LH7P with a Sony A1 at Glastonbury Festival



I have been aware of the Portkeys monitors for some time, and in particular their ability to remotely control the Sony cameras via WiFi. So this seemed like the perfect opportunity to try out the LH7P as it would give me the ability to control the cameras touch tracking autofocus using the monitors touch screen. So, I obtained a demo unit form Portkeys to try. Click here for the Portkeys LH7P specs.

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The Portkeys LH7P with a Sony FX3



I have to say that I am pretty impressed by how well this relatively cheap monitor performs. It has a 1000 Nit screen so it’s pretty bright and overall the colour and contrast accuracy is pretty good. It won’t win any awards for having the very best image, but it is pretty decent and certainly good enough for most on camera applications. 

The LH7P is HDMI only, but this helps keep the weight and power consumption down. While mostly made of plastic it does feel robust enough for professional use. But I wouldn’t be rough with it.

Still-2024-09-10-140241_2.4.1-600x338 Portkeys LH7P - A monitor that can control your camera.

The monitor is very thin and very light. It runs off the very common Sony NP-F style batteries or via a DC in socket that accepts 7 to 24 volts, a surprisingly large range that allows you to use it with almost any battery found in the world of film and TV. It uses very little power at around 9 watts, so the larger NP-F type batteries will run it for at least 3 or 4 hours. 

It’s a touch screen monitor and the touch operated menu system is quite straightforward. One small issue is that if you are using the monitors touchscreen to control the cameras touch autofocus you can’t also use the touchscreen to access the menu system or change the cameras other settings, it’s one or the other. When connected to a camera, to use the monitors menus or access the camera settings you must have the touch tracking focus control turned off. If you are using the touch tracking controls there are 4 assignable buttons on the top of the monitor and you can assign things like peaking, zebras, false colour etc to these, so most of the time having to choose between touch focus or touch menus isn’t a big drama as these switches can be used to turn on and off your most commonly used exposure and focus tools. But you do have to remember to turn off the touch tracking if you want to change another setting from the monitor.

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When you are using the monitor to control the touch tracking it is very responsive and because there is very minimal latency due to the direct HDMI connection to the camera it works well, just touch where you want the camera to focus. The only downside is that you don’t get a tracking box on the monitors screen. This is because Sony don’t output the tracking box overlay over the HDMI.

As a result there may be times where you do need to look at the LCD on the back of the camera to see what the camera is tracking. When I used it a Glastonbury I didn’t really find this to be too much of a problem, f I was unsure of what the camera was focussing on, I simply touched the LH7P’s screen where I wanted to focus. 

Pairing the monitor with the camera is simple, but you do need to make sure the cameras wifi is set to 2.4Ghz as this is the only band the monitor supports. To see how to pair it with an FX3 please watch the video linked above. Once connected I found the connection to be very stable and I didn’t experience any unexpected disconnects, even when the venue at Glastonbury was completely full.

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The LH7P screen with camera control activated



I have to say that this low cost monitor has really surprised me. The image quality is more than acceptable for a 7″ monitor and controlling the  camera via the monitors touch screen is a very nice way to work, especially given the small size of the LCD screen on a camera like the FX3 or A1. I haven’t had it all that long, so I don’t know what the long term reliability is like, but for what it costs it represents excellent value.

Cinematic = Boring

“Cinematic” is a word I am coming to loathe.

In my mind “cine” is short for cinema, so cinematic implies – like something you might see in the cinema. And for me the cinema has always been a special place, somewhere you go to be entertained. Somewhere you go for a great story, somewhere you go for incredible and memorable images. I’ve always felt very privileged to work in and around the film making industry, it is special.

I asked ChatGPT to describe cinematic to me and this is what it said:

When something is described as cinematic, it typically means that it:

  1. Visual Grandeur: It has visually striking or grand scenes that are reminiscent of what you might see in a well-crafted film, often with dramatic lighting, composition, and movement.

  2. Narrative Impact: It involves storytelling that is immersive and emotionally engaging, similar to the way a movie draws viewers into its world and characters.

  3. Atmosphere and Mood: It creates a specific mood or atmosphere that feels like it could belong in a film, often with a focus on visual style, music, and pacing.

  4. Scale and Scope: It might suggest a sense of epic scale or ambition, like the sweeping landscapes of a blockbuster film or the intense focus of a character-driven drama.

In a broader sense, “cinematic” can be applied to describe anything—from a video game to a piece of music—that captures the essence of what makes movies so compelling.



OK, that sounds great – epic, sweeping landscapes, story telling, grand scenes and dramatic lighting, I agree with ChatGPT.

But in reality cinematic now seems to means any video shot with a wide field of view,  a shallow depth of field and slow motion. So often you come across a video with someone asking you to watch their cinematic film. I watch it in the hope of seeing something stylish, grand and dramatic, perhaps a film short, perhaps something new and interesting, a short story, something like a short version of something I might see in a cinema, something memorable or special.

But instead it’s almost always just a compilation of wide angle, shallow DoF,  slow motion shots of “insert location” with a music backing. It’s great that todays cameras can do all of these things and each has a place in story telling or artistic pieces. Combining them can indeed be interesting and creative. But just because you shot your holiday video in wide-shallow-slow-mo, it doesn’t make it like a cinema film, it doesn’t make it epic, grand, dramatic or film-like. The addition of a vignette or brown/green grade doesn’t help either. It remains what it is, a wide-shallow-slo-mo video, little different to the millions of other copycat wide-shallow-slow-mo videos that are out their today (probably also with exactly the same “arri look” lut or grade). It isn’t film-like, film-style or cine like and rarely compelling, it is it’s own genre.

How many movies or feature films are shot almost exclusively with very wide angle lenses, almost every shot a slow motion shot and depth of field so shallow that practically nothing is actually in focus? Where’s the emotion? Where’s the drama or story telling?

Yes, each technique is used, but generally for very specific shots or moments within the film to create a moment of impact or change of pace. But when a video uses all of these techniques, often combined, for just about every shot it gets boring and when every video you watch does exactly the same as every other in the name of being “cinematic” it just starts to say – don’t bother watching this one, it will be just like all the others – yawn.

And it doesn’t stop there. Now we have manufactures selling  cinematic filters, cinematic plug-ins, cinematic music,  you name it, if you can prefix it with cinematic, manufacturers will making the term ever more meaningless. It no longer means epic, grand, dramatic, emotionally engaging, atmospheric, it is no longer to quote Chat GPT “ the essence of what makes movies so compelling”

Spaces Available For January 2025 Northern Lights Expedition.

aurora1_1.20.1-600x338 Spaces Available For January 2025 Northern Lights Expedition.

Due to some unexpected cancellations I do have a few spaces available for next January’s expedition to Northern Norway.

These are not workshops or training trips, but I will be on hand to help with photography and video. These trips are an adventure to a very remote, very special location, only accessible by snow scooter in the winter. You will experience a very different way of life as our hosts are Sami people. There are different activities each day from Ice Fishing to Dog Sledding. I have many guests that come back again and again.

If you are interested please click here for the tour info page or get in touch for more information.

 



 

Sony launches 2 new camcorders – PXW-Z200 XDCAM and HXR-NX800 NXCAM

 

It’s been a long time since Sony launched an XDCAM camcorder, but here it is, the new PXW-X200 along with the similar but ever so slightly lower spec HXR-NX800 NXCAM (basically missing the SDI out and won’t have MXF recording).

Screenshot-2024-08-20-at-12.16.00-600x343 Sony launches 2 new camcorders - PXW-Z200 XDCAM and HXR-NX800 NXCAM
Sony’s new PXW-Z200 camcorder.


Why release 2 new cameras with smallish 1″ sensors in a market dominated by super 35mm and full frame cameras?

It’s all abut the lens!

Well a lot comes down to the lens. As many will know you cannot get small, fast, light weight zooms with a very big zoom ranges for the bigger sensor cameras. The laws of physics and optics get in the way. But, build a camera with a smaller sensor with an integrated lens and you can have a big zoom range in a very compact and lightweight package. This type of camera can be very handy for news and documentary production and a market for them still exists.  Those that shoot weddings and events will also find the ability to get a wide range of different shots from one position beneficial.

Screenshot-2024-08-20-at-12.18.11-600x366 Sony launches 2 new camcorders - PXW-Z200 XDCAM and HXR-NX800 NXCAM

The Z200 and the NX800 both feature a Sony G series lens that will give the equivalent field of view to a 24-480mm lens on a Full Frame sensor. This is a 20x power zoom lens with maximum apertures of F2.8 (wide) and F4.5 (telephoto). If you need a longer reach then you can combine the optical zoom with Sony’s electronic Clear Image zoom function to gain an additional 1.5x or 2x.

Screenshot-2024-08-20-at-12.20.41-600x366 Sony launches 2 new camcorders - PXW-Z200 XDCAM and HXR-NX800 NXCAM
Taken with a Sony Z200 at 474mm
Screenshot-2024-08-20-at-12.21.05-600x366 Sony launches 2 new camcorders - PXW-Z200 XDCAM and HXR-NX800 NXCAM
And now zoomed all the way out to a wider shot. You can’t do this with an FX6 or FX9 with a single lens and smooth zoom between the two shots.



Stabilisation.

The lens is optically stabilised and in addition to the optical stabilisation you can add Sony’s electronic Active Stabilisation to help combat camera shake and unwanted movements. There is a small crop when you use the Active mode and it can’t be used when shooting at 100fps or higher.

AI Autofocus and object tracking.

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The new sensor has 475 phase detection sites covering 81% of the sensor.

 

Throw in a good dose of Sony’s excellent AI enhanced auto focus and object tracking and getting great shots in a wide range of scenarios becomes easier than possible with previous generations of similar cameras. The camera can identify and track not only faces but the profile of a human, so the AF can follow a moving person whether they are facing the camera or not.

Variable ND.

Behind the lens is Sony’s now almost universal variable ND filter which goes from 1/4 to 1/128th density – 2 stops to 7 stops of ND plus a clear position.

1.0-inch-type Exmor RS™ CMOS stacked sensor

Both cameras have a 5K, 14 megapixel 1.0-inch-type Exmor RS™ CMOS stacked sensor. There is a full oversampled 5K readout of the sensor when shooting at up to 60fps. I have not tried the camera yet, but these specs suggest that overall you should get reasonable sensitivity and decent noise performance. The back illuminated stacked sensors tend to have bigger pixels than non-stacked sensors with a similar pixel count as the readout circuits are separated and on different sensor layers from the photosites.  The extra space for the readout circuits also allows for higher speed sensor readouts. If you want to shoot faster than 60fps then there is a small crop as the sensor appears to be read at 4K (23%) and then you can shoot at up to 120fps in 4K and 240fps in HD.
The cameras use the same BIONZ XR processing as found in the most recent Sony Alpha and FX series cameras.

Screenshot-2024-08-20-at-12.19.50-600x303 Sony launches 2 new camcorders - PXW-Z200 XDCAM and HXR-NX800 NXCAM
The HXR-NX800 and PXW-Z200 are very similar with only a few minor differences.

 

Recording Codecs.

Both new cameras both support a wide variety of recording formats including XAVC HS, XAVC S, XAVC SI, and XAVC HS Proxy (up to 16 Mbps). These will be recorded using the .mp4 wrapper in the same way that the FX series camera do. They also support proxy recording. 

  • XAVC S-I, HS-L, S-L, HD/QFHD Recording

The PXW-Z200 will also support  XAVC MXF recording through a future firmware update expected summer 2025.

The cameras record to Dual CFexpress Type-A/SD Card Slots, again this is the same as the Alpha and FX series cameras, so the same media can be used for both.

Gamma Curves and Colour Profiles.

Screenshot-2024-08-20-at-12.19.11-600x269 Sony launches 2 new camcorders - PXW-Z200 XDCAM and HXR-NX800 NXCAM
The Z200 and NX800 include Sony’s popular S-Cinetone colour profile and this will help when using these cameras alongside cameras such as the FX3 or FX6.


These cameras do include Sony’s S-Cinetone colour science and colour profile. In addition there are profiles for ITU-709, Sony’s new 709Tone (matches previous generations of cameras) as well as HLG for direct to HDR applications. S-Log3 and the ability to add a LUT IS included via a flexible ISO shooting mode but I do have to wonder if the sensor actually has enough dynamic range to make full use of it.

Outputs and connectivity.

Both the HXR-NX800 and PXW-Z200 are equipped with various interfaces including HDMI Type A, USB Type-C™, LAN, and REMOTE terminals. The PXW-Z200 also has a 12G SDI output and TC input/output.

For audio there are two full size XLR connectors as well as an MI show on the top of the handle giving the ability to input up to 4 channels of audio.

The cameras also have built in RTMP/RTMPS or SRT streaming capabilities along with 2.5/5Ghz wifi connectivity.

Versatile file transfer options include HEVC (H.265) and AVC (H.264) codecs, automatic upload to the cloud or an FTP server, and the ability for proxy chunk for high-quality and secure file transfer.

Furthermore, by combining it with Sony’s new portable data transmitter, PDT-FP1, the two new camcorders can support higher quality streaming with the company’s proprietary QoS technology and Creators’ Cloud for enterprise services, including the camera linking cloud service, C3 Portal (paid service), XDCAM pocket, and the cloud broadcast system, M2 Live.

Monitoring.

The cameras have a folding 3.5″ LCD screen and a removable hood can be attached to the screen to create a sun shade. 

Screenshot-2024-08-20-at-12.17.44-600x366 Sony launches 2 new camcorders - PXW-Z200 XDCAM and HXR-NX800 NXCAM
The cameras have a folding 3.5″ LCD screen with a removable sun hood.

 

So who’s it for?

I guess this is the big question. We are seeing more and more organisations that would have once used cameras like the Z280 moving to large sensor cameras like the FX3, FX6 or even A7S3 because they prefer the way the images look. When you put a high quality photo lens on an FX3 it’s pretty easy to create good looking images. Plus an FX3 with a lens is cheaper than what a lot of “professional” camcorders used to cost.

These cameras are expected to be available September 2024 for a suggested retail price of $3,299.99 (USD) (EUR 3000), and$3,999.99 (USD) (EUR 3750), respectively. So, they are cheaper than previous similar cameras. But is that enough? A lot will depend on the actual image quality that these can deliver “in the wild”. How easy will an average camera operator find it to get a good looking image. That big 20x zoom range is certainly highly appealing, it would be great for something like filming a breaking news story – it would have been easier to take a camera like this to have shot the volcanoes in Iceland than a camera plus bag full of lenses. It will definitely appeal to those that shoot weddings and events as an all-round general purpose camera. So, who knows, maybe these will do well for Sony. Only time will tell and I look forward to testing one properly.




 

 

Why use Sony’s UWP-D Radio Microphones?

 

There are LOTS of choices now when it comes to radio microphones. Some are better than others. Some may be smaller, some may be cheaper, some may be really terrible! So, given there are so many choices and the Sony UWP-D series isn’t amongst the cheapest, why choose them over some of the cheaper options?

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Sony’s URX-P41D on an FX6 using the MI Shoe


Perhaps you are looking at some of the new miniature digital microphone kits from other well known brands such as DJI or Hollyland, or perhaps even Sony’s ECM-W3, all of which to be fair, do actually work pretty well, especially when you consider their low cost. So, why use the UWP-D series?

The vast majority of these smaller digital microphones use frequencies in the same range as used by Wifi and Bluetooth. By using these shared and licence free frequencies these devices can be made cheaply. But because the frequencies are shared and licence free the power levels that can be used are very low and there is a high risk of interference from other devices that are also using the same frequencies. Generally interference isn’t normally an issue unless you are somewhere crowded but with almost everyone carrying a mobile phone with WiFi and bluetooth enabled, if you are in a crowded place such as a large event, conference, performance etc, then interference can become a big issue. Range can be seriously reduced or in the worst case you may simply find you can’t get them to work at all.

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The Sony URX-P41D attached to a Sony FX3 via MIShoe

 

The other thing about the very high frequencies used by these small devices is that they are easily blocked by solid objects, including people. So, if the presenter is wearing the transmitter on their front and they turn away from the camera so that their body now comes between the transmitter and receiver, the signal can be blocked or  degraded.

A further issue with these low cost digital systems is the time it takes to encode the audio to digital, transmit it and then convert the digital data back to a useable audio signal. It takes time, and this introduces a delay into the audio. This delay can affect the lip sync of the recorded audio or make it impossible to mix the delayed wireless audio with any un-delayed audio from a wired microphone – the timing difference leading to an echo or phase issues that can make the audio sound strange.

For me, as a professional film maker these issues are significant. Not being able to mix different types of microphones without an echo or phase shift is a huge problem as often I will have a mic on the camera for atmos sound as well as the radio mic on the talent, and I need to be able to mix these different sources and I don’t want to have to spend time shifting the timing of each audio track separately in post. 


A further issue is the rechargeable nature of the cheaper radio mics. What do you do if you forget to recharge them before the job? What do you do if you’ve been shooting all day but have yet to finish and the batteries have gone flat? You can’t simply pop in a fresh set of AA batteries as you can with the UWP-D series. Additional battery cases (BATC-4AA) can also be purchased if you wish to make changing batteries in a rush even easier. 

Screenshot-2024-07-29-at-18.13.57-448x500 Why use Sony's UWP-D Radio Microphones?
UTX-B40 with it’s included 2x AA battery case (part number BATC-4AA)


All of the above reasons are why I still prefer to use my UWP-D microphones whenever I can.

The latest versions have a removable battery case that takes two AA batteries, so battery swaps are quick and easy. The receivers can be connected to any Sony camera with an MI Shoe using a cheap adapter that slots into the shoe and then the receiver is powered from the camera and the audio passed directly to the camera with no need to use any cables. If you are using an FX6 with the single channel URX-P40D or dual channel URX P41D you will get an indication of the signal strength of the transmitters on the LCD/Monitor, very handy indeed.

Still-2024-07-29-163823_4.20.1-600x338 Why use Sony's UWP-D Radio Microphones?
UWP-D Transmitter battery level indication on Sony FX6

 

The UWP-D series use a hybrid of analog and digital technologies. The transmitters and receivers use a digital compander system to process the audio so that any loss of quality during the analog transmission is minimised. The URX-P40D and URX-P41D can output using either analog or digital. Most of the more recent Sony A7 and FX series cameras can now accept the digital input which helps to reduce background hiss and noise.

DSC05614-copy-600x371 Why use Sony's UWP-D Radio Microphones?

The URX-P41D is a dual channel receiver. It has two separate receivers and these can be switched on and off independently.  There is also an additional 3.5mm socket for a wired microphone and this additional input can be mixed with the radio mic channels. It also has a headphone socket and this is very handy for troubleshooting any audio issues as it allows you to check what the radio mic receiver is receiving before the audio is passed on to the camera or recorder. There are two threaded 3.5mm sockets that can be used with the included 3.5mm to 3.5mm or XLR cables to feed the camera or recorder if you are not using the MI Shoe.

They are also very easy to use. Pairing is simple, on the URX-P41D you just press and hold the scan/sync button on the receiver to put it into the pairing mode. It will scan for clear frequencies and then when it has found them it will ask you to pair with the transmitters using NFC. Simply hold the first transmitter against the receiver and it will automatically pair, vibrating when it is done. Then you hold the second transmitter against the receiver and it will then pair with that one. The URX-P41D also has an IR port on the side for pairing with the previous generation of UWP-D wireless transmitters that pair via infra-red.

DSC05655-copy-600x404 Why use Sony's UWP-D Radio Microphones?
URX-P41D – you can see the IR pairing window on the side.



As well as the compact belt pack transmitter (UTX-B40), there is also a handheld microphone (UTX-M40) and a plug in transmitter (UTX-P40). Most of my own personal experience is with the belt pack transmitters, but I have used them all and they all work really well.

Still-2024-07-29-163844_4.4.1-600x338 Why use Sony's UWP-D Radio Microphones?
The latest Sony UWP-D transmitters


The URX-B40 transmitter is compact and sturdy. It has the same AA battery holder as the receiver and a pair of good quality alkaline AA batteries will run it for around 8 hours. It has a simple but effective removable wire belt clip. These have been dropped, sat on, pulled out of pockets by the mic cable more times than I can remember and never given any issues. The supplied microphone is pretty good. None of my clients have ever found the audio quality lacking and I feel that it is perfectly acceptable for news or documentary production. Perfectionist’s may prefer to use a different capsule, but for me it does what I need it to do.

I have been using various versions of the UWP-D radio mic systems for years and the first versions I got all those years ago still work fine today. The latest receivers with the digital MI Shoe output have a lower noise floor and having the signal strength displayed on the screen of my FX6 is very useful.  A decent radio mic system isn’t a small investment, but these should last many, many years. They won’t introduce phasing and timing issues as many of the lower cost digital systems can. The range is great and they can be used in crowded venues or at large events without being worried about interferrence from phones or other devices that use WiFi. 

Storm Chasing with Bright Tangerine

Screenshot-2024-06-04-at-16.40.14-600x332 Storm Chasing with Bright Tangerine

On my last storm chasing trip I was joined by Bright Tangerine’s Josh Cooper who made a short film about our adventure. We drove around 6,000 miles in 10 days crossing many states including Texas, New Mexico, Kansas, Oklahoma, Nebraska, Wyoming and South Dakota. We encountered violent supercell thunderstorms with frequent lightning and giant hail. There were a couple of distant tornadoes and all in all it was quite an adventure.

You can see the film here: https://www.brighttangerine.com/storm-chasing-with-alister-chapman/ 

Sony Releases Monitor and Control App V2.0.0 – Support now includes Burano, FX6 and A1

Sony’s Monitor and Control app has been getting better. It has now become a very useful app for controlling the Cinema Line and other cameras. It works on both Android and IOS devices and allows you to use a phone or tablet as a touch screen monitor with low latency, many cameras can be connected via USB and when connected this way the latency is very low. 

The latest update now adds support for Burano, the FX6, the A1 and allows for full screen monitoring. 

Multi-camera support:

If you are using the app on an iPad you can monitor and control up to 4 cameras when all are connected to the same WiFi network.

Here’s the press release from Sony:

SAN DIEGO, CA – May 30, 2024. Sony Electronics announces the release of Monitor & Control (M&C) app version 2.0.0, an updated offering for Creators’ Cloud for individuals, bringing a suite of powerful new features and expanded compatibility for filmmakers and content creators. This latest update underscores Sony’s commitment to delivering innovative tools that enhance the creative process.

The “Monitor & Control” mobile app for visual content creators supports a myriad of Cinema Line and Alpha cameras and enables wireless monitoring, precise exposure adjustment, and intuitive focus control on smartphones and tablets, effectively transforming these devices into wireless monitors with professional camera controls. Key features include real-time exposure monitoring, customizable histograms and waveforms, remote control of camera settings, and advanced color settings, providing creators with a more flexible workflow without needing a separate external monitor. It also offers intuitive focus controls, enabling touch focus, autofocus sensitivity adjustments, and Real-time Tracking directly from a mobile device. The on-screen control bar provides precise manual focus adjustments, with configurable settings for focus transition speeds, limits, and magnification.

Expanded Compatibility

The M&C v2.0.0 app now supports a wider range of camera models, including BURANO, FX6, FX3, FX30, Alpha 1, Alpha 9 III, and Alpha 7S III. This expansion ensures more creators can benefit from the advanced monitoring and control capabilities offered by M&C.

Multi-Camera Monitoring

Exclusive to iPad OS, the Multi-Camera Monitoring feature allows setting adjustments, control and display of up to four cameras. This function supports both wired and wireless connections through Wi-Fi routers or hotspots, providing flexibility for various shooting environments.

Key Improvements For BURANO And FX6

  • Monitoring Resolution: Enhanced support for FX6, bringing it on par with other high-end models.
  • Exposure Monitoring: New support for BURANO and FX6, enabling precise exposure adjustments with tools like waveform, false color, histogram and zebra.
  • LUT Import: FX6 now supports Look-Up Table (LUT) import directly from mobile devices, allowing real-time application to live view.

Enhanced Monitoring Features

  • Full Screen Monitoring: Provides an unobstructed view of live images across all supported models.
  • Focus Map: Available for FX6, this feature offers intuitive focus control by visualizing depth settings.

User Interface Improvements

  • Simple UI: The updated interface matches the camera body design of CineAlta cameras, ensuring an intuitive user experience.
  • Intuitive Controls: Frequently used settings can easily be controlled from a smartphone or tablet including; frame rate, sensitivity, shutter speed, ND filter2, look, and white balance.
  • Focus Modes Integration: Seamlessly control focus while monitoring.
  • Improved White Balance Settings UI: Allows for more accurate adjustments of Kelvin scale.
  • Anamorphic De-Squeeze Display: Correctly displays images shot with anamorphic lenses.
  • Grid Line: Assists in composing shots with a thirds grid overlay.

Tool Menu Enhancements

Users can select and customize up to three tools for their screen, including advanced adjustments for options like waveform, histogram, false color, zebra, de-squeeze, grid lines, and rotation.

The “Monitor & Control”  mobile app is available for iOS and Android devices.1

Burano – What’s it like to shoot with Livestream

Screenshot-2024-05-26-at-12.24.06-600x395 Burano - What's it like to shoot with Livestream
Live stream with Visual Impact.

I have a busy couple of weeks coming up.  I’m writing this from my hotel room in Dubai having spent the last week helping out Nanlite and Sony at the Cabsat show and then running a completely full house camera and lighting workshop at Garage Studio, Dubai. Tonight I fly home, then I’m off to Dublin for an event there before getting back home again and ready for a Live Stream with Visual Impact on Thursday the 30th of May on – whats it like to shoot with a Sony Burano. For more information on the live stream please see the link below. In the following week I will be off to the USA for the Cinegear show where I will be helping out Bright Tangerine on their booth, so if you are going to Cinegear do drop by and say hello.

https://www.visuals.co.uk/eventspage

Film making workshop in Dubai, 25th May 2024

Screenshot-2024-05-19-at-18.28.29-600x204 Film making workshop in Dubai, 25th May 2024I’m running a film making workshop around “how to get the film look” in Dubai for Nanlite and Sony on the 25th of May. During the workshop I will be showing how to expose S-Log3 on the Sony FX series cameras, how to use CineEI and then looking at film style lighting using Nanlite fixtures. We will look at a couple of different types of scenes, an office, a romantic scene and also at how to light for greenscreen.

I will also be at Cabsat 2024, so do drop by the Nanlite booth to say hello.

Please click here for more information or to book a place.