I’ll be in Brussels for CVP’s Technology Showcase event on the 11th of December. I’ll be presenting a session on monitoring, delving into what type of monitor might you need for shooting as well as for post production for both SDR and HDR workflows. There are also sessions on lighting, hybrid production, audio and broadcast production. As well as the workshop sessions there will be a large selection of some of the very latest equipment from a wide range of manufactures on show.
For more details and to register for this free event (That includes a socila evening with drinks and food) please click here.
Bright Tangerine have announced the details of this year’s Black Friday sale. Lasting from Monday 25th November to Tuesday 3rd December, products on Bright Tangerine’s online store – as well as with participating retailers – will be discounted by 20%. In addition to the sale, this year’s Black Friday sale also includes a charitable donation, with a percentage of profits being put towards the Redford Center.
“At The Redford Center, we believe storytelling through film is one of the most powerful tools we have to accelerate environmental progress and solutions. Our mission to safeguard the planet through compelling, impactful films is made possible by the support of partners like Bright Tangerine. We’re honored to be a part of their campaign, which bolsters our work and champions sustainable, eco-conscious practices within the film industry.”
– Grace Davis, Development Officer for The Redford Center
The Redford Center’s work specialises in environmentalism in filmmaking: promoting climate conscious films from less-established filmmakers via grants and scholarship. The nonprofit’s work has helped over 50 documentaries and features reach the public through funding and production support.
Bright Tangerine have been a supporter of this website for some years and their help has allowed me with the running costs and preparation of many of the articles and features. They also make some really excellent innovative products. Their FX6 kit with the viewfinder support is one of my favourites. Their LeftField base system that works with standard Arri style dove tails is great for so many different cameras.
Nanlite and Nanlux have a couple of amazing, global, Black Friday deals.
Featured Black Friday Deals:
NANLITE FS-300B LED Spotlight
MSRP: $399 (excluding local taxes)
Now: $239 (excluding taxes) – 40% off
NANLUX Evoke 1200B LED Spotlight
MSRP: $3949 (excluding local taxes)
Now: $2764 (excluding taxes) – 30% off
The FS300B is a light I really like. It produces a huge amount of very high quality light, its Bi-Colour so very flexible. It has a standard Bowens mount and can be fitted with a wide range of modifiers including a Fresnel lens (FL20G), soft boxes, domes, etc, etc. At this price it is an absolute steal for such a great highly versatile light.
If you are just starting to build a lighting kit this would be a great place to start. A couple of these, one with a soft box as your key and another with the FL20G zoomable fresnel lens (with barn doors) as your fill and you will be able to light a large range of scenarios. It’s probably a bit overkill using the FS300B as the fill but they do dim all the way down to virtually nothing and having a second punchy light gives a lot of flexibility to deal with different lighting challenges. I wish I had these sorts of options at these prices when I started.
A bit more expensive, there is also the FS-300C full colour version which takes all of the same modifiers but gives you the ability to use it for coloured effects and washes, I believe there should be some discounted offers for these too.
The Evoke 1200B is another great light that packs a lot of punch. Great for lighting larger spaces or simulating daylight. It’s also rain resistant to IP54, so it can be used outside in the rain if needed.
Along with the FS-300B and Evoke 1200B, a range of other top-selling products are discounted by up to 30%, including the NANLITE FC and FS series LED lights, PavoTube II C series LED tube lights, and FM Projection Attachments.
Discounts vary by region but are generally in the 30-40% range. You’ll need to contact your local dealer to see what deals they have, but these really are great lights at incredible prices.
Also – while you are there put a Nanlite WS-RC-C2 remote control in your shopping basket. It only costs around $15 and it allows you to remotely control up to 12 fixtures, it’s a huge time saver when you want to tweak or tune lights from the monitor or for when a light fixture is in a hard to reach spot. While there is also app control the WS-RC-C2 is a great add-on.
If you are a dealer and able to offer these discounts please comment with your location and contact details below.
It’s that time of year when the nights draw in and get longer in the Northern Hemisphere and many will be thinking of trips to Scandinavia, Iceland, Alaska or Canada to see the spectacle of the Northern Lights. While this year many have been treated to Aurora displays further south, there remains something very magical about the way an Arctic Aurora dances and the light is reflected by the snow. For those that fancy trying to film the Northern Lights I put together this video with some tips and ideas. If you like the video please don’t forget to subscribe to my YouTube channel.
OK, OK, so it’s not a Sony camera. So, why am I writing about it? Well I think it’s very interesting and Sony don’t have anything quite like it.
Fujifilm have announced that they are developing a digital cinema camera that is based on their large format GFX-100II digital stills camera. They say it’s “in development” but they have been showing samples at InterBee in Japan and there are pictures of it on the Fujifilm website, so it can’t be all that far from being launched.
The sensor in the GFX-100II is a huge 43.8 x 32.9 mm large format sensor with 102MP. It’s not quite as big as some medium format cameras, but it is 1.7x larger than a full frame sensor.
The sensor is made by Sony and it’s a great shame that Sony haven’t put this into a camera, although Sony would have to come up with a new very clever lens mount system if they wanted to allow owners of existing E-Mount lenses to use them to shoot cropped.
In the GFX-100II Fujifilm do some very clever things with the sensor such as offering the ability to choose between a slower (possibly 14 bit) readout that gives increased dynamic range, a touch less noise and additional tonal information or a faster readout speed (that is probably 12 bit) with much less rolling shutter but also slightly less dynamic range. At least they give you the choice and you can switch between the readout modes depending on what each shot needs the most.
LOTS OF SCAN MODES:
You can shoot using the full sensor width at 4K or with a special 5.8K 2.35:1 scan mode and when used like this with a suitable lens such as the Fujifilm GF 55mm f1.7 the results are gorgeous. Take a look at the film below, shot with the GFX-100II.
If you want to shoot at 8K this is also possible by cropping the sensor to very slightly less than Full Frame. And then from this you could also shoot Super 35 at around 5.7K after cropping. Additionally the camera has several anamorphic shooting modes including open gate 3:2. So, that large format sensor opens up lots of possibilities, you are not limited to large format, Full Frame and Super 35 are possible and look great.
ADAPTABLE LENS MOUNT:
The GFX lens mount can easily be adapted to PL, Canon EF, Nikon, M42 and many others. Looking at the pictures the Eterna has a locking version of the GFX mount. The camera has special modes for the Fuji Premista lenses and Fujifilm say they are working on power zooms and other lenses for the Eterna.
The side of the Fujifilm Eterna Digital Cinema Camera
RECORDING CODECS
Recording codecs in the GFX-100II include internal ProRes, H265 and H264, so plenty of decent options and its even possible to output raw to an Atomos recorder at up to 8K. I would expect to see all of these same options in the Eterna and the quality of the H265 encoder is extremely good with the ability to choose between I frame only and Lon GoP at a wide range of compression ratios.
CONNECTIVITY
Looking at the pictures of the Eterna you can see that it has an SDI out, HDMI out, Ethernet, Genlock and timecode connectors. There are also lemo connectors and hirose connectors – presumably for accessory power and lens options.
The front of the Fujifilm Eterna Digital Cinema Camera
EDIT- It has been revealed that it does have a built in ND filter.
And the name – Eterna. Well that comes from one of the film stocks that Fujifilm used to make and it’s also one of the built in film look presets that the camera has.
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.
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.
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.
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.
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.
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.
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.
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:
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.
Narrative Impact: It involves storytelling that is immersive and emotionally engaging, similar to the way a movie draws viewers into its world and characters.
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.
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”
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.
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).
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.
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.
Taken with a Sony Z200 at 474mmAnd 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.
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.
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.
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.
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.
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