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Time to catch up!

No, I haven’t given up on XDCAM-USER. Just been rather busy with work.

Shooting with the new Sony PXW-X200 in Iceland.
Shooting with the new Sony PXW-X200 in Iceland.

My new year started off with a trip to Iceland for a workshop and to try out the new Sony PXW-X200 camcorder. The weather was really abysmal. I had fully expected it to be cold and snowy, but I didn’t count on the extreme storms and constant gale force winds that we had. The temperature wasn’t too bad, only around -10c but the constant 50km/h plus winds and driving snow made shooting difficult to say the least. I had a PXW-FS7, A7s and a PXW-X200 in Iceland and they all worked flawlessly in the harsh conditions.

While filming the geysers with the FS7 an unexpected change of wind direction blew the water from the erupting geyser all over me and the un-protected FS7. I was drenched and so was the camera, water was literally running off the camera. Thankfully the FS7 has some very good weather sealing and no harm was done to the camera. I spent the rest of the day freezing cold thanks to some very wet clothes.

Camrade Wetsuit for the PXW-FS7
Camrade Wetsuit for the PXW-FS7

For the rest of the trip I made sure that the PXW-FS7 was safely wrapped up inside it’s Camrade Wetsuit. The Camrade wetsuit is made from a very nice rustle free fabric that is completely waterproof. There is a large clear panel on the left side so you can see all the buttons and switches. There is a separate cover for the viewfinder that allows it to be used with or without the monocular extension tube. It has plenty of space for different lenses, mounting options and the extension unit.

Shooting in the cold and wind of Iceland with the PXW-X200
Shooting in the cold and wind of Iceland with the PXW-X200

Most of my time in Iceland though was used to get a good feel for the new PXW-X200 camcorder. This is a replacement for the well regarded PMW-200 and adds some very nice new features such as a 17x zoom lens, new sensors, multiple codec choices including XDCAM Mepg2 of course, but more excitingly XAVC-I and XAVC-L bringing 10 bit high quality recording to a very nice camera front end. If that’s not enough you an even record any of the codecs that have a bit rate lower than 50Mbps on SDXC cards, including Mpeg2 HD 422 (the original XDCAM codec) and HD XAVC-I. To top it all the camera has a full range of wireless options including ftp file transfer and in the future streaming over WiFi or via a 3G or 4G USB dongle.

I’m currently putting together a video on the PXW-X200 and it’s a real delight grading the 10 bit XAVC footage, it holds together much better than the older 8 bit XDCAM footage from the PMW-200.

The second half of January saw me in Norway for my annual Northern Lights expeditions. Once again we encountered some pretty extreme temperatures. The last day of the first group saw -39c and the first day of the second group saw -38c. Most of the time the temperature was below -20c. We saw the Northern Lights most nights but they weren’t very bright. However towards the end of the second groups trip we had some nice Aurora displays and I was able to video these in real time with the A7s. I have to say the A7s never ceases to amaze me. It really is incredibly sensitive and it’s pocket size means you can take it just about anywhere.

Atomos Shogun with the A7s in Norway
Atomos Shogun with the A7s in Norway

For my Norway trip I was also loaned an Atomos Shogun to use with the A7s to enable 4K recording. The Shogun is a nice piece of kit and as it uses off the shelf SSD’s the recording media is pretty low cost. The screen is very good giving very clear and accurate pictures. I did have some problems with it in the cold, when the temperature dropped below -15c it would stop working and present a message saying that the firmware wasn’t correctly installed. As soon as it warmed up above -15c it would start working correctly again. To be fair -15c is well below the design specifications and not many people use kit in that kind of weather so this really shouldn’t be a big deal for most people.

The nice clear screen of the Atomos Shogun.
The nice clear screen of the Atomos Shogun.

Overall I don’t think the Shogun is as robustly constructed as the Convergent Design 7Q, the Shogun feels very plasticky, but it is a lower cost package than the 7Q and the recorded images do look great. When I get time I’ll be putting together some of the A7s and Shogun footage from the Norway trip and writing more about my experiences with the Shogun.

Another toy I have been playing with recently is the NextoDI NSB25 storage bridge. This is a stand-alone backup and storage device that can transfer data from almost every type of solid state recording media to a pair of internally housed (but easily changed) hard drives as well as a 3rd hard drive connected via USB3. You can make individual copies of the media or duplicated copies of the media across all the drives for added security. The NSB-25 can play back the majority of video formats on it’s built in screen or you can plug in a TV or monitor via HDMI for large screen play back. The unit is about the size of a house brick and has it’s own internal battery. If you need a robust backup solution for larger projects or for bigger media files such as 4K or even raw files you should take a look at the NSB-25.

That’s it for now. I’m off to Norway again next week, but there will be lots of new stuff coming to the web site in the coming weeks so keep checking back.

Apple Pro Video Formats 2.0 – MXF in Quick Time, XAVC in FCP7???

So, Apple have released an update to the Pro Video Formats available in quicktime. http://support.apple.com/kb/DL1396?viewlocale=en_US&locale=en_US

The main thrust of this update appears to be to include MXF support in quicktime, including native support for XAVC in FCP7 and Quicktime7! I honestly never thought this would happen so I’m somewhat surprised by this. But it’s good news for FCP7 users and XAVC shooters in general. It does beg the question now as to whether you need the ProRes options for the FS7 or F5/F55.

Using Quicktime Player 7 you can play back XAVC MXF’s on a Mac computer, even in 4K, so VLC may no longer be required and the playback is smooth even with 4K clips. I’m not sure why but Quicktime Player 10 does not recognise 4K XAVC clips at all and HD XAVC clips get transcoded to .mov first. So download and install QT Player 7 for XAVC playback.

Currently it looks like the support is mainly for XAVC-I.

PMW-F5 and PMW-F55 Firmware Version 5 Released

Shoulder kit for the PMW-F5 and F55.
Shoulder kit for the PMW-F5 and F55.

As well as the firmware update for the PXW-FS7 there is also a new update for the F5 and F55. Sony have released version 5 of the firmware which adds many new features. Key features are the addition of interval record (at last). The ability to record 4K on the F5 internally (after purchase of the CBKW55FX). Full support for the ENG shoulder kit (CBK55BK) and the addition of ProRes and DNxHD recording if you have the optional CBK-55PD encoder card (which is a return to Sony upgrade).

So lot’s of goodies for the PMW-F55 and F5 this Christmas. I just wish I could afford all the options. A fully loaded F5 would be incredibly versatile.

Here’s the link to the firmware: http://community.sony.com/t5/F5-F55/NEW-Firmware-Version-5-0/m-p/474373#U474373

PXW-FS7 Firmware version 1.10 released. Some things you need to know.

Sony has now released firmware version 1.10 for the FS7 which adds some new features such as S-Log2 and fixes a few bugs. The firmware can be found here: http://support.d-imaging.sony.co.jp/download/HXR/OmnLLhp74v/PXW-FS7_V110_firmware.zip?fm=na

As well as adding S-Gamut and S-Log2 I have found a couple of other new things. One is that it is possible to have a LUT on the VF and SDI2/HDMI and have the waveform display shown on SDI2. BUT BE WARNED THAT THE WAVEFORM IS MEASURING THE LOG RECORDING LEVEL and NOT the LUT output levels as most camera do. This is particularly confusing if you are also using zebras to check exposure as the zebras measure the LUT signal while the waveform is measuring the recorded LOG signal. It also means that if you were to use a monitor with a waveform on SDI2 the waveform on the monitor would be different to the in camera waveform.

Regarding S-Gamut and S-log2. There are many very good reasons why S-Gamut3 and S-Log3 was developed by Sony. Key among these are: To eliminate the color shift that occurs when grading S-Gamut, to provide a straight-line log curve that grades easier (S-Log2 is not a straight line log curve in the mid range so grading can be tricky) and to provide compatibility with Cineon and Arri’s Log-C. Do test, play with and try s-log2 by all means, but S-Log2 in the majority of cases will bring little or no benefit to most users and is trickier to grade correctly. I strongly recommend the use of S-Gamut3.cine and S-Log3 for the best results.

New Film Look LUT’s for the PXW-FS7, PMW-F5 and PMW-F55

I have created two new sets of film look LUT’s for the FS7, F5 and F55. These LUT’s should be used in conjunction with S-Log3 and SGamut3.cine. They will give you a high contrast film like look that mimics Kodak film stock with slightly blue dark and mid tones and warm skin tones. The are 3D cube LUT’s and the two sets include LUT’s with compensation for under and over exposure.

To use the LUT’s in camera on the PXW-FS7, PMW-F5 or PMW-F55 then the LUT’s need to be placed in the PMWF55_F5  folder on an SD card. The correct folder structure should look like this:

PRIVATE – SONY – PRO – CAMERA – PMWF55_F5

Slog3_cine-film-look-luts
If you find the LUT’s useful please consider buying me a drink, they did take some time to create:


Type



FS7 Launch Event in Dubai.

The PXW-FS7 with the extension unit fitted, a V-Mount battery and a Vocas base plate.
The PXW-FS7 with the extension unit fitted, a V-Mount battery and a Vocas base plate.

Want to know more about Sony’s new FS7 camcorder? Want to get your hands on one and shoot a short film with one? If you are in Dubai then I am helping Sony run an event for you. On the 8, 9 and 10th of November we are holding a series of workshops where the participants will help shoot a short drama film. Everyone will get a chance to shoot with the FS7 in a variety of modes including hand held, on a MOVI, super slow motion, slider mounted etc. At the end of the shoot, if you bring your own USB3 hard drive you will be able to take away a copy of all your footage so you can edit the short drama film together and play with the amazing PXW-FS7 footage in your own time.

This event is going to be very different from the workshops I normally hold. The aim is to get everyone shooting with the camera so that you get get a great feel for the ergonomics, functionality and capabilities of the camera. It should be fun and interesting, plus it really doesn’t matter whether you are a seasoned cinematographer or a complete novice, there will be cameras set up to suit different skill and ability levels..

So come and join me in Dubai for this exciting event. To book a place please follow this link. Don’t forget to indicate the dates and time slots that suit you best. I hope to see lot’s of you there.

PLAY WITH THE PXW-FS7 IN DUBAI.

How to use S-Log3 on the Sony PXW-FS7.

So with the FS7 now shipping and the first units landing in peoples hands I have put together a comprehensive guide to using S-Log3 and CineEI on the PXW-FS7. Please follow this link to read or download the guide to CineEI on the PXW-FS7.

It’s important to note that S-Log3 has a peak recording level of 92IRE so never goes above this. Don’t be surprised to find that your overall levels are going to be much lower than you would normally use for conventional 709 shooting. In addition I can’t stress enough how important it is to learn how to use LUT’s (look up tables) in camera and in post production with this camera. It will make your life so much simpler and easier. LUT’s may sound complicated and difficult, but they are not. If you want to create your own LUT’s take a look at this guide here.

The FS7 is an incredibly powerful camera. But if you really want to get the most from the Cine-EI mode and S-Log then you need to adjust the way you shoot. You can’t just apply normal Rec-709 exposure levels to S-Log3, it’s not designed to work that way. However by using the 709(800) LUT on the viewfinder output you can expose based on the viewfinder image as you would normally, while the S-Log3 recordings will be at the correct levels. So do learn how to implement LUT’s correctly, it will make your life so much easier. Take a look at this video for an idea of how it works. The video features an F5 but the FS7 is the same.

While you’re at it you might also want to take a look at this article on the S-log3 gamma curve. Many people will look at the S-log and think that it looks noisy and be worried by this. You shouldn’t be. The shape of the log curve means that before grading and application of a LUT it can emphasise noise. However once you use a LUT to convert from S-log3 to 709 you will find that most of the noise will go away. Again, please use a LUT as simply trying to grade S-log3 in to 709 space is often not as effective as adding the right LUT. If you really know what you are doing, by using S-Curves and log grading tools it is possible to grade the native S-log3 in a 709 environment, but LUT’s do make it simpler. Another useful way to get from S-log3 to 709 is to use the new color chart tool in Resolve which recognises and corrects either a Macbeth chart or DSC One Shot chart to the correct levels automatically. When you set up this process in Resolve you will select the source gamma as S-Log3 so the correction compensates for the gamma curve as well as adding color correction. I’lll write this up in more depth in the next couple of weeks.

So enjoy your FS7 if you have one. As soon as mine arrives I will write up the correct way (or at least the designed way) to use the Cine-EI mode, in the mean time the F5/F55 Cine-EI guide can be used, the process is exactly the same on the FS7.

Notes on the Production versions of the PXW-FS7

I was lucky enough to get my hands on a production model (one with a real serial number, not a pre-production sample) of the new Sony PXW-FS7 last week.

One of the things that a lot of people that have played with the pre-production models noticed was that the hand grip was somewhat loose and flexible. Even when “locked” in position the hand grip could be moved from side to side or twisted slightly. This excess play was not apparent on the production camera giving the unit a much more solid feel.

The viewfinder bracket design does not appear to have changed from the pre-production cameras. I had expected there to be a ridge in the bracket on the camera to prevent the viewfinder arm (which has a detent groove in it) from twisting and thus the viewfinder sagging. There didn’t appear to be any mechanism in the production camera to stop viewfinder sag other than simply tightening the locking screw very tight. I think this will be a small area of annoyance with the camera. Having said that the design makes it very easy for 3rd parties to produce alternate mounting arms and brackets for the camera. One area that is greatly improved over the pre-production cameras is the arm that the microphone bracket and viewfinder bracket attach too is now solidly mounted so this will not rotate.

An often asked question is does the FS7 have cache record, well the good news is yes, it does have cache record. It also has simultaneous record where the same footage is recorded on both cards at the same time.

When you buy the camera in the box you will get the hand-grip, a single BP-U30 battery, a BC-U1 charger, MPA-AC1 mains power supply, a small wifi dongle and a wireless remote control. So not a bad package all in all.