the editman.com

Interesting new monitors from Marshall

theeditman — Fri, 18 May 2012 22:41:33 GMT

I had a 70XP monitor from Marshall and it served me well when I did all work with a Canon 7D. Now Marshall has a new line of monitors and one in particular caught my interest - V-LCD56MD. A 5.6 inch high resolution IPS monitor with some very useful features using 1280x800 pixels on screen.

First off it has both SDI and HDMI inputs and outputs. The SDI input can be exchanged so that instead of SDI in/out you have two SDI outputs converted from the HDMI input. There's a WFM and audio meter on screen and a headphone output. 1:1 pixel zoom with moveable area. False colours and all of the usual great features on Marshall monitors.

5.6" is to me a perfect size to put nearby a camera so this one suits me fine but you can also get a 7" or 9" version with the same features.

Power drain is a little more than on the DP6 and it can be driven by Sony NP batteries or batteries from Panasonic or Canon just like the older Marshall monitors. In front of the screen is a protection screen. I'll try to get hold of a sample and look closer.

Blackmagicdesign Battery Converter

theeditman — Tue, 15 May 2012 15:12:47 GMT

Sometimes you have to use HDMI from cameras or other sources but HDMI and very often mini HDMI doesn't feel to comfortable to use. One solution is to converter the signal into something more robust like HD SDI before running longer cables or attaching monitors and such. In these circumstances a device like Blackmagicdesign Battery Converter can come in handy.

I got a HDMI to SDI converter and Blackmagic has SDI to HDMI converters if that's what you want.

This device is very easy to use. At one end is a HDMI input, a DC power jack and a switch to toggle between battery operation and no battery operation. Thanks to the built in rechargeable battery you can run it up to two hours. When the unit is hooked up to 12V DC power the battery is charged at the same time as you use it. If the DC plug falls out the battery insures that this converter will keep on running.

At the other end there's two HD-SDI BNC connectors and a mini USB jack to upgrade the unit if needed. The whole chassis feels excellent in built quality and it has no rough edges. All connectors are recessed to avoid breaking of connectors. All in all a sweet little device.

In each corner there's rubber feat to avoid slipping and a white LED near the switch indicates how much charge is left inside. This is my first Blackmagicdesign product and I really like the way it's put together from two aluminium pieces. According to them it can even be run over by a truck but I wont try that. I hope their Cinema Camera has the same feel to it!

BTS video using my Canon 5Dmk3

theeditman — Sun, 13 May 2012 17:40:18 GMT

I shot this BTS video from one of our commercial shoots, this time using an Arri Alexa for the commercial spots. During the day I picked up audio and took care of files coming out of the Alexa so I had plenty of time to do the BTS since I wasn't DP this time.

My Canon 5Dmk3 was set to Technicolor profile 1080p25 IPB. Used a Canon EF 24-70/2.8 lens and Zacuto EVF to do the BTS video.

Incompatibility between Canon 5Dmk3 files and Premiere 5.5

theeditman — Fri, 11 May 2012 23:17:10 GMT

I shot a BTS video this week as my first real Canon 5Dmk3 video and struggled to get Premiere CS5.5 to ingest the material. No matter how I tried some files hanged the program and couldn't be imported. Some clips worked fine one time and the next it was marked as offline. I found out there is an incompatibility issue between Canon 5Dmk3 files and Premiere 5.5.

Apparently files have to be renamed from .mov to .mpg to enable CS5.5 to import clips. I used a small and excellent program called Extension changer and after changing files to .mpg all of them imported just fine.

BMD's Cinema Camera - a poor mans Alexa?

theeditman — Thu, 10 May 2012 20:54:36 GMT

Yesterday I worked with a production crew making a couple of commercials and I picked up audio and took care of files coming out of an Arri Alexa camera. This was my first time working both in a production and in post with this camera and what comes out of it.

The beauty of the Alexa is Prores 444 files that plays on any modern computer be it win7 or OSX. It's such a great thing. No transcoding just straight into Premiere Pro or After Effects. I asked the DP about shooting in RAW but he never do it, only to PRORES and I understand from a post workflow standpoint that it's much more desirable and cost effective than RED files or RAW files from the Alexa.

Looking at Blackmagics Cinema Camera due later this summer a couple of things are shared between this camera and Arris Alexa. Both can shoot to RAW in higher than 2K resolution or PRORES and both have a high dynamic range in the 13-14 stops class. I also asked the DP about running audio into the Alexa but he never did that either. I bet it's easier to get audio into the BMD Cinema Camera but it's also not a priority it seems in the design of this camera.

With about the same DR and file format but in 10-bit 4:2:2 on the BMD camera I can see these camera to look very similar in the edit suit. So it might turn out to be a poor mans Alexa. Still, footage is lacking except from John Brawley and nobody knows how easy or cumbersome it will be to shoot with.

The smaller sensor inside the BMD Cinema Camera wont achieve the same amount of shallow DOF as the Alexa and it wont be as solid but for $2995 I can't see it to turn out all wrong. Cropfactor compared to Super35 is 1.6. Here's sample footage to view and I hope that we'll see more soon.

Canon 5Dmk3 more bugs and fixes?

theeditman — Wed, 09 May 2012 22:12:18 GMT

It seems Canon will release a new firmware shortly to remedy things that aren't quite right in their 5Dmk3. I have at least two bugs that I hope will be released. First it's my ST-E2 copy from a Chinese manufacture. It triggers the flash remotely but it doesn't sync the flash with the camera. It works fine on my 5Dmk2 so most definitely a bug.

Second thing I discovered yesterday and it has to do with when you have an external LCD screen attached to the HDMI port. The rear LCD screen on the camera should be blank and not active but using my Zacuto EVF the backlight on the camera body and its LCD screen was still on. No image or graphics, just the backlight.

Third thing I've noticed is some clips are near impossible to import into Premiere. This could be related to the interaction between NLE and camera but I've never noticed this on my 5Dmk2. It could also be a mismatch between the camera and the Sandisk Extreme Pro card I'm using but I've never had any Sandisk card gone bad in any of my cameras.

The light leak issue was fixed with a piece of tape and we have had one FW update already. I hope this camera wont continue to show bugs or incompatibility issues and that Canon will fix these and other bugs. I've heard about new features also but I suspect they have more to do with making the camera easier by adjusting features already in the camera.

I'm still very pleased with how still images turn out after I've developed them in Adobes Lightroom. I did shoot an extensive amount of video test clips but due to Premiere not ingesting these properly I will hold off any more video shooting with this camera.

Panasonic GX1 vs GF2

theeditman — Mon, 07 May 2012 20:58:14 GMT

I fell for Panasonic GF2 as a near perfect camera to bring on a trip or just to bring during a walk. Small and with good image quality and a camera that is simple to use. The more I used its touch screen the more I liked it and for once it was fun to just snap away without planing each shot. A camera like the GF2 invites to this kind of behaviour and I embraced it.

When the chance came to compare it to the higher spec GX1 from Panasonic I was excited.

Panasonic have three kinds of interchangeable cameras. First the G series that is aimed towards still shooters. The GH series which leans in the video direction and the GF series that is the step in model if you come from a compact style camera. The GX1 is the first in a new line. In a way it's a camera that doesn't know where to fit in. It's more of an enthusiast camera but lacking in features like an EVF and full control in video mode. This camera has the same sensor as the G3 camera from Panasonic and it's a step up from the GF line in image quality.

If I look at the GF1, GF2, GF3 and the soon to come GF5 these cameras have gone in the direction of shrinking and simplifying things. The GX1 regains features found in the GF1 and should in a sense be called GF2 because it follows the GF1 in design and features. I don't like the way the GF3 is to small and lacking hard buttons and a hot shoe. The GF3 only have a mono microphone and the already small size of these cameras makes it a bad fit for my hands.

Looking at the back of the GX1 on the right it's obvious it's a larger camera. But it's also a very similar rear side. The mixture of controlling some features on the touch screen and some on the mode dial on the GX1 is less than ideal. I like it better the way it is on the GF2 which is driven more by the touch screen. I also like the power button better how it's implemented on the GF2.

On the GX1 there's a beefy grip on the right side and it actually makes holding the camera a little bit more comfortable and grip friendly. In weight the GX1 is a mere 8 grams heavier so to carry it around feels just like the GF2.

Both cameras have a vast amount of features but the GX1 adds things like HDR shooting, miniature effect, faster fps even 20fps in low rez mode, and when you start to dig under the hood in the menu system you realize these are both serious cameras. Pretty much everything can be adjusted. Well, you can't shoot video with all manual control even thou both cameras has audio meters and when it comes to audio, four levels of volume can be set but you still can't use an external microphone like on a GH1/2.

I think both cameras are great but when it comes to image quality the GX1 has higher resolution and better ISO capabilities. They are not far apart but no doubt GX1 is the better camera. I only miss the simplicity of the GF2 because it collects almost everything on the excellent touch screen. There's no problem seeing outdoors in sunlight but due to your fingers touching the screen it will be a screen full of fingerprints and grease.

The GX1 has a 16MP sensor but when you shoot in 3:2 which I like to do you'll use less of the sensor. I wish all m4/3 from Panasonic used the multi aspect sensor like they do in the GH1 and GH2 cameras.

Panasonic GX1 + Panasonic Leica DG Summilux 25/1.4

With a camera like a GF or GX series camera you really should take advantage of shooting RAW. A small camera can only do so much in camera, in real time so JPEG images will be a compromise. To not use RAW is a shame. These two cameras are both excellent at what they do and I rather have either around my neck than lets say my Canon 5Dmk3 when out for a walk or travelling light.

Making a short with the AF101

theeditman — Tue, 01 May 2012 21:20:54 GMT

This weekend me and a couple of friends made a short feature and I went with a full rig and my AF101. Often I strip the camera down to just the camera and lens but this time I wanted everything to stay on the rig since we had to move outdoors and indoors swiftly. All in all 12 camera positions in a day and it was fun to see this project materialize after having worked on it since last summer.

One of the key tools I used was my SmallHD DP6. Great outdoors with the included hood. At first I didn't like it but now I think it works just fine and I never have any problem to see what I'm shooting even in direct sunlight midday. Two NP-FV100 lasted most of the day and then I switched to my second pair. I had some problems with the HD-SDI port on my DP6 and the day before shooting I did another test run on equipment to determinate if I would have to go with the HDMI port instead.

I found out that the BNC cables I used and the connectors attached to them didn't provide a snuggle enough fit so when I used a BNC T-adapter it worked flawless.

I also used my Cinematics mattebox and the top flag and of course my Atomos Samurai Prores recorder. There's a software/hardware bug on the Samurai which I've notified Atomos about and you can run into it under certain situations. As far as I've concluded the Samurai settings for 1080i/p, Prores quality and the SDI trigger is reset if you go into playback mode run a couple of clips and then go back to normal/record mode. Then these settings are reset but it doesn't happen every time. Most of the times it works as it should be, but eventually it will reset the settings.

I suspect that if you are running from the second battery the Samurai switched back to the first battery when you switch to normal/record mode and sometimes there's a power glitch that resets the unit. Not fun when you have set up triggers and Prores quality. let's hope Atomos will solve this in the next firmware. Other than this got reset once during the day the Samurai worked like a champ.

The Cinematics mattebox is a nice one with removable flags in all directions. Solid with two 4x4 filter holders. I think the last time I used a follow focus was a year ago and I think it's one of the most overrated things you can buy. It looks cool but with my shooting style I hardly ever need it.

I used two rails and one cross rail to attach the DP6 on the left side of the camera. The setup with three screens active is great. The LCD on the AF101 is used to display WFM, the DP6 is my reference monitor and the director can use the screen on the Samurai. Not in broad daylight thou because the Samurai screen is to dim.

The rig rested on my Sacthler FSB8 head and this is one great video head. Loving it. I have some mixed feelings about the Manfrotto 542ART tripod but until something that is better for a decent amount of money comes along I'll keep using it. It's no bad but not in the same league as the FSB8.

It's always good to have a full rig and use the stuff you like to use instead of fitting equipment into a budget and it's always fun making videos with friends!

Canon Pro Solutions in Stockholm 2012

theeditman — Wed, 25 Apr 2012 16:16:52 GMT

I attended Canon Pro Solution in Stockholm today and got the chance to both talk to Canon representatives and use cameras and lenses. The most interesting camera was of course the EOS 1D C 4k shooter.

Peter Yabsley held an EOS Cinema presentation and talked about what each camera in their line fit in production. The C300 and the 1D C were also present to experience first hand but no C500 in sight. I found it interesting that the C300 and C500 share the same sensor and that the C500 uses more of the available pixels to achieve 4k. The C500 can't record internal 4k and has to rely on an external recorder feed by two 3G SDI connections.

In higher frame rates than 60fps the camera does something they called half RAW but what is that? Well, the resolution vertically is only half that of normal 4k 4096 × 2048. So in half RAW the recorded resolution is 4096x1080 up to 120fps.

I got a chance to get to know the C300 a bit more and I felt it's a nicely built camera and without the hand grip was comfortable to use. I didn't care much for the hand grip it just felt awkward to use the buttons on the hand grip.

Far more interesting was to see and use the EOS 1D C. At first glance this camera seems just to expensive and talking to Peter Yabsley he said that most people he talked to pointed out the high price tag and that it was just to high, as the first thing to say about this camera. In it's form it's a 1D X and it shares the same functionality as the 1D X except it lacks one port that's on the 1D X but then it also has a headphone jack.

I also learned that the 4k in camera recording probably does not provide for any type of in camera playback of the recorded 4k video. 1080p up to 60p is supported and since it's H264 just like in the 5Dmk3 and 1D X playback works for these kind of files. The solution to this, according to Peter from Canon, is to use an external proxy recorder via the HDMI output and use it as a playback device/function. He was unsure about timecode on the HDMI output to keep external recorded files and the 4k files lined up. The 4k files from the internal CF card has to be converted in a program provided by Canon that can generate files like 4k DNG and smaller ones for proxy use. I still think it's exciting to have 4k internal recording and speaking of price of the 1D C if you consider what you'll get it's actually much more sensible. I got the figure 10.000 EURO for the camera and you look at it this way. You get a 1D X, the flag ship DSLR from Canon with all the functions, you get a 4k internal CF card video camera with a APS-H sensor size which is larger than super35, you'll also get 1080p50/60 and the ability to shoot 1080 in either full frame, APS-H and super35. Your lens collection just become much more useful!

The 1D C is 24p only and that's a downer for us European users. The answer in short I got was that if there's a demand and if it's feasible we'll get 25p.

We also talked about Blackmagic Designs Cinema Camera and he looked upon it with a curious interest on where it will fit in and at the same time felt it was good to have someone shaking things up. He also agreed there's a big leap price wise from the 5Dmk3 to the C300 or even the 1D C and that Canon probably will follow customers wishes further on. He also pointed out that in a short period of time Canon have a whole new division and soon three cinema cameras in the open with C300/C500 and 1D C. It's understandable Canon will concentrate on these first before going for a lower priced C-type camera.

Speaking of the Blackmagic Cinema Camera. I heard a surprisingly large number have already been putting in an order for the BMD Cinema Camera here in Sweden so I fear they wont be able to deliver to us all in the first batch or so. I also got a little insight in sales of the DaVinci Resolve software and it's apparently not selling as well as Blackmagic would like. Another reason to make this camera - to sell or involve more people in their software.

Blackmagic have a history of buying other company on the verge of going bankrupt and with their excellent software skills make these already developed products a more user-friendly interface and interaction with the user. All heard on the show floor...

I also got a chance to talk with a service engineer about the light leak and he opened up a 5Dmk2 body and showed me where the light sensor is located and that virtually all Canon cameras can have the light leak issue that some fear the 5Dmk3 suffers from. In the real world and used as one uses a DSLR this is a non-issue or at least no bigger issue that on any other Canon DSLR.

In the EOS movie both hey also had the now "old" XF series camcorders and the XF100/105 is a sweet little camera compared to the XA10 and XF305. Small, lightweight, and with the features that matter. I got the impression that the XF305 is a very good camera with an excellent lens but somehow in this room it just felt ancient.

I played with Canons G1X but compared to something like my Panasonic GF2 it was, in my opinion, a lesser camera than the GF series and much more expensive. The viewfinder was so tiny it was a joke! It's just a strange looking camera.

Present were a couple of DSLR rigs but to be honest these also start to feel so last year. I haven't shot any video with my 5Dmk3 and I really have no interest in doing that. Love it for the stills but video in this camera is just boring.

Dual Canon Speedlite 600EX-RT

theeditman — Sun, 22 Apr 2012 16:04:44 GMT

I already have two Canon Speedlite 580EX II and two different IR/RF system to trigger them but saw a way to simplify this by getting two of Canons brand new Speedlite 600EX-RT.

These are even more weather sealed than the 580EX II and they can be controlled by IR and RF up to 30 meters. They also communicate both ways so the slave flash can send info to the master flash.

I had the option to go for one ST-E3 controller but felt I could make more use of two flashes, one mounted on the camera and one as slave inside one of my softboxes.

It's easy to set up communication. Pretty much select one as slave and one as master and the "Link" LED will signal with a green light.

The menu has been updated and feels alot better than on the older flash units. Even the LCD display is bigger and when you press a button the LCD get lit.

Canon has put more features like supporting focal length up to 200m, a filter holder and two filters included to better cope with warmer lights, the AF assist beam now supports 61-point AF system and many other enhancements.

Overall a good update from the 580EX II. The 600EX-RT is also a bit more powerful and supports high speed syncing. Great to provide fill outdoors and it feels more solid. The 600EX-RT is more expensive but at the same time it makes it easier to use two flashes in any location.