I’m sure many of my readers will be familiar with the Blackmagic Design Atem Mini’s. But how many of you have looked into the alternatives? I’m in the process of putting together a mobile production unit that can be used in my camper van or transported in a few small flight cases. I was going to use one of the Atem Mini’s but they only have a single HDMI output and this means you can’t have both a multiview output and a program output for a high quality feed, perhaps for a screen or projection at the same time as the multiview. So, that led me to have a look at some of the alternatives and the one I finally settled on is the Osee Gostream Duet.
Osee Gostream Duet switcher and streaming device.
No one asked me to do this review and I purchased the device based on the manufacturers spec sheet from Amazon, just as anyone else would. This review exists simply because I actually really like the product. The Osee Gostream Duet is a 4/5 channel vision mixer designed for live streaming. It supports 4 HDMI and 4 SDI inputs plus a further external source which can be a UVC camera via USB-C or an NDI camera over the connected network. You have to choose between SDI or HDMI on each individual input, you don’t get 8 inputs at the same time, but you can have a mix of both SDI and HDMI sources. The very easy way the setup menu can be accessed from the Gostreams front panel means that you could quickly change the input settings during a session if you needed to have access to an extra source or 2.
You get a free NDI licence when you update the units software, so as well as the 4 main inputs you could have a camera connected over the network attached to the units ethernet port. Or you can add another camera via UVC as the device can accept a UVC input via one of the 2 USB-C ports. In total you can have up to 5 external sources at any one time.
It has a built in video player able to playback H264 HD files from an SD card. If you use a suitably fast SD card such as a V60 or V90 card it can also record to the same SD card as used for playback. Or you can attach an SSD or thumb drive to one of the USB-C ports. You can connect it to a Mac or PC where it will be seen as a webcam making streaming very simple or the device can stream to 3 separate destinations at the same time. There is a companion program for Mac or Windows to control the unit remotely and you can also control it via a Streamdeck or similar via the companion software.
It has an upstream keyer as well as a downstream keyer. There’s a DVE that can be used to resize and reposition the input sources and still frames. The DVE’s and keyers can be used to create a multi-source “supersource” which can be instantly recalled as needed. You can chroma and luma key with ease and the setup for the keyers and DVE’s can be done without a computer as you can access the menu system from the units front panel.
All in all I’m really impressed by the Osee Gostream Duet, it doesn’t cost much more than an Aten Mini, yet offers a lot more flexibility. Please watch the video to learn more.
Z-Systems of Minneapolis in the USA have some great deals on the Burano camera. They have deals on used, as well as ex-demo and A-Grade cameras in stock and ready to ship with prices starting at $21,000 USD.
I know the guys at Z-Sytems very well and one of the really great things about buying from them is that they really do understand the products they sell. Their in-house engineer Keith Mullen is a full-on, very knowledgable camera geek and he’ll be able to help get you up and running if necessary.
This time last year I was preparing to shoot the amazing “Earth Ritual” performance by the Of The Wild Ecological Circus Collective. I have been incredibly fortunate over the last few years to have been involved with various circus acts and performers, from Glastonbury to traditional travelling circus. I filmed this performance using the then new Fujifim GFX-100 II. The GFX-100 is a large format camera with a 102 megapixel sensor that has an area around 1.7x greater than a full frame sensor (approx 1.3x wider/taller). This sensor can be used in many different ways, for example using it’s full width to shoot 4K or shooting at 8K with a frame size just fractionally smaller than Full Frame. For Earth Ritual I used the large format 4K mode with the large format Fujifilm GF 55mm f1.7 lens for an extremely shallow depth of field. I really like the way this camera looks, I shot using F-Log but it also has a number of different film emulations built in. Since I shot the film there have also been firmware updates to improve it’s autofocus. There is a more in depth write up about the shoot here.
Fujifilm Eterna digital cinema camera
But also since I shot this Fujifilm have announced that this year they will be releasing a large format cinema camera based on the GFX100 II. The Fujifilm GFX Eterna looks like it will be a really interesting camera, especially if you are interested in larger than Full Frame formats. You can find more information about the Eterna here.
I used Nanlite and Nanlux lights to light this. Mostly utilising the Forza 720B with a projector lens and gobo as well as a number of Nanlite Pavotube lights for the background.
One thing about all of the circus people I know is that they are passionate about what they do and put a huge amount of effort into delivering entertaining performances. Yet circus is often seen as something seedy or second rate – I can assure you that most contemporary circus is hugely entertaining. Whether that’s a beautifully artistic performance, a funny comedy sketch or a show just for grown ups. So, next time a circus comes to your town, go and see a show. And I hope to bring you more circus later in the year.
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.
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.
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.
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?
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.
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.
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.
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.
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.
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.
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.
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
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