Can we do that?

Honestly, I thought it was just enough to put the little GoPro Hero in nifty spots and hit the record button. File transfer is easy and I would include the GoPro video on the client’s portable hard drive, along with the other digital video files we shot.  

What do I do now?

Time seems to be the biggest issue when shooting in the field.  The producer needs to catch a plane or there’s some variation on that theme.  That means we have to get the files on the hard drive pronto.  So when they return to the post house for editing, the editor then is left with the task of transcoding the GoPro video into something compatible with the other footage.  That’s a headache for them, so I’d prefer to give the client something they can use straight off the drive and have the editor say nice things about us here in Tampa.  Okay, it does take time, and there’s never enough of it.  So that means the editor may have to put in extra duty, but let’s make it as easy as possible.

Pick a flavor

There’s some dandy software available that works with just about any video you throw at it.  The Squared 5 folks created MPEG Streamclip to transcode from codec A to codec B thru Z.  It’s drag and drop easy and it’s free.  The editor is back to being my friend.

Take the file and drag it the Streamclip player, pull down the file menu and ask Streamclip to export to…to…to any number of choices.  Let’s assume you’ll be using it with some of the video we shot on the Sony EX1 or EX3.  There’s an option for that, down to the frame rate, data rate and lines of resolution.  Are you converting everything to ProRes422?  That’s not a problem, just a bigger file size.  This is a versatile tool and is used for transcoding HDSLR files as well.  The Streamclip will also playback lots of files that Quicktime or Windows Media Player refuses.  Yes, there’s a version for either Mac or Windows.

Are you using this already?  How’s it working for you?

It’s a mish-mash of content, technology, formats, cameras and good intentions. All this with a real consideration of the audience, present and future.

Was that statement confusing? The shoot I’m referring to included some high-end production with the end goal being web-based content.

We started with the RED One, shooting in 4K resolution, twice what we’re watching on our HDTVs. Mix in the Canon 7D HDSLR and it’s a very fun and progressive day. The client is looking to future-proof the acquisition to possibly re-purpose the material for years to come. The thinking is, with the 4K resolution, this quality material emphasizes the importance of the content for the viewer.  The high resolution images signal to the viewer that effort was put into the production, that the standards are higher, and the perception then, is you are viewing important material.  It also allows the client many options in the post booth–it’s easier to down-rez than go up, and when editing, it’s easy to push in on the original video and capture a close-up without having the material pixelate.  It’s like having multiple cameras; one master shot can spawn other cuts, all clean and pristine. They’ve been very happy with the images even if it chews through the terabytes on their servers.

So, I’m in love with the images coming from both cameras and I’m thrilled with the high quality in spite of the relatively low-budget. It seemed like a lot of technology for the lowly needs of some highly compressed web pages. Do you think many other clients are valuing their archival material this way?

The major players are working hard to bring you closer to the dream of filmic video on a reasonable budget. I thought the obvious first move would be from Canon, since their HDSLR 5DMkII has gained cult status. But it looks like Panasonic will pioneer their way to market first. At least they have a marketing dept that’s willing to leak info to keep us wanting more. Is this the Holy Grail? Real viewfinder? -check. Real XLR audio? -check (two channels). Shallow depth of field? -check (4/3 image sensor is much larger than the 2/3 on broadcast video cameras). Add interchangeable professional lenses and you have the ability to create wonderful things, all in a small package.

Hey, notice the cool green ring thing at the lens base?  That’s a Hot Rod PL adapter, an aftermarket device allowing real cinema glass on your camera.  Panny understands we want this ability and put it right on the cover of their leaked promo.  Forgot to mention, the camera is slated to sell for under $6000 USD.  This is getting good.

Love the magic of shallow depth-of-field with the new breed of digital SLR cameras. By now you’ve marveled at the many, many offerings of DSLR pioneers taking these small tools and creating pure art. Just punch in ‘Canon 5D’ or ’7D’ in your search engine and you’ll see an impressive amount of video on the web if you’re not sure what all the hubbub is about. Here, I’ll save you the trouble and jump right to a beautifully done short film.   Shane Hurlbut, ASC also does a “making of” video explaining why he loves the DSLR as a movie-making tool.  Good stuff.

Too good.  The majority of us aren’t working on feature films but have to give our clients some good raw materials for their project.  So far, it’s been too much of a stretch to convince my clients a still camera is the way to go.  So, to make this concept of shallow DOF a reality for us working videographers and DPs, surely there’s going to be a camera that makes more sense to our clients.  Why hasn’t Canon, the undisputed leader in this emerging technology, jumped out there and given us this tool?  It’s a mystery, but the broadcast giants at Panasonic and now, Sony vow to play in this arena.  It’s all mock-ups right now, but it’s only a matter of time before the DSLRs are on the sidelines looking in at the new video tools.  Here’s Sony’s idea of how they’re going to start.  It looks consumerish for now.  Do you think it will be a viable tool once it hits the market?  I do.

Sony Professional announces that they are extending the choice of flexible media options for the entire XDCAM EX range to suit all budgets and applications.

This new firmware allows you to choose the recording media that best suits your requirements from the widest selection of applicable solid-state media. We currently use 16GB and 8GB Sony SxS Express media cards. The cost of these cards means they stay with the camera and don’t leave with the producer. Our simple workflow allows us to transfer the video files to a hard drive while the shoot wraps. Now, Sony has made it easier and cheaper to shoot with the same great results.

Adaptors allow the use of readily available consumer Memory Stick & SD Card media, perfect for situations on location where a lot of media is required, or for cost-conscious clients. The new media options have some limitations, however. While possible, there have been mixed results when using the SD card media for undercranking and overcranking to create fast- and slow-motion.

The overwhelming majority of shoots are shot in “standard” frame rates like 24p, 30p and 60i, so the results from the popular and inexpensive SDHC cards will be on par with Sony’s standard media. The really interesting part, because of the low prices (about $50 for nearly an hour of media), clients and producers may now start providing their own media or just leave the shoot with these little cards in a pocket…giving rise to the potential problem of producers misplacing them with their pocket change and keys.

That’s a far cry from a producer with a box of tapes trying to get through the airport security screening.

A long-time colleague of mine put the camera back on the shelf a few years ago and went into middle management.  Not going to debate the merits or drawbacks of that move, I just know I still enjoy getting behind the viewfinder as opposed to the desk.  So he asks for some detailed advice on inexpensive camera setups that are digital and have professional XLR audio inputs.  He wanted a reasonable budget and a low budget–around $7000 at one end and around $3000 at the other end.  It’s been awhile since he’s thought about this sort of thing, so I tried to cover the basics.  I’m sure much more can be added and some subtracted, with all of it up for a good argument.  Maybe this will be helpful to you as well.

Cameras

You’ll find the Panasonic P2 family noticeably absent.  This company didn’t want to invest in a whole new format infrastructure, so I steered them toward the SDHC compatible cameras.  A simple and inexpensive reader is all you need to import to their Final Cut Pro (or any NLE) system.  The Class 6 cards (a designation of speed and about $50 for 16GB) should be considered since you’re moving video files, not Word documents.  The card speeds are increasing all the time.  They also wanted to integrate as much of their existing Anton Bauer battery and Frezzolini lighting gear as possible.

Sony PMW-EX3 (EX3) $8300 Here’s a detailed review.
The Sony EX3 is at the top of the price range for small cameras, but provides the greatest quality (along with the EX1) in terms of build and picture quality. The picture quality is head and shoulders above any other camera system in this price and size. EX3 and EX1 use three 1/2″ CMOS imagers. The choice of the EX3 over the EX1 is due to versatility. There is simply more 3rd party support gear being built for this model to make it ENG friendly and a production workhorse. A top recommendation for your situation would be the Anton Bauer QR-EX3, $195, which allows you to use your existing Anton Bauer batteries and gives you a d-tap for the Frezzi.
Pros – picture quality is tops. Easy accessories, much support from 3rd party vendors. Shoots on the inexpensive SDHC flash media cards (with an adapter-RAW SxSxSDHC memory adapter $50). No moving parts, all digital. Auto focus and image stabilizer. Excellent viewfinder, if a bit on the gawky side.  This may be important to you: time-code in/out and genlock for multi-cam shoots, all with pro BNC connectors.
Cons – most expensive of recommended cameras. Lens is not the longest, but optional lens available. Easily convert files for Final Cut, but it’s an extra step.
Bottom line – this camera will be an investment. The High Def quality and professional setup will please your viewers, clients and those using the camera. The accounting department won’t be as enthusiastic.

Sony PMW-EX1R (EX1R) $6300 Here’s a detailed review.
The Sony EX1 is the smaller version of the EX3, but the lens is fixed, not interchangeable. Still a good quality Fujinon 14x lens, just like the EX3, with full iris ring and focus stops. No spinning focus ring. Picture quality is excellent. The buttons and switches are all smallish and we’re not used to working that way. But once you get the camera dialed in, it’s quite easy to use. This particular model, the ‘R’ will also shoot standard def.  And there’s a video cache, meaning you get a few seconds of video before you hit the record button, so you won’t miss the big event when you looked away.  And here’s something to help give some newsy versatility.  Switronix makes a huge honkin’ battery that allows for 96watt hours (monstrous) and gives you that coveted d-tap to power accessories like an on-board light.
Pros – same quality as EX3 at lower price point. Shoots SDHC cards with an adapter.  Auto focus and image stabilizer. Like EX3, professional and industry acceptance.
Cons – must convert files to make them work with Final Cut, easy to do, but an extra step if you’re in a hurry. No time-code or genlock.
Bottom line – this would be an excellent camera for a variety of situations, giving great image results. But it is not designed as a news gathering machine.

JVC GY-HM700U $7000  Here’s a detailed review.
If you decide robust quality is not a high priority and you can foresee these cameras as short term investments, the JVC 700 should be seriously considered. JVC has earned a reputation for poor quality and I don’t have any reason to believe the overall quality of this model is great. However, it gets a lot of things done for your particular situation. They already accept the Anton Bauer batts, they have a shoulder mount style you’re used to, and they shoot on the SDHC cards in .MOV format for quick and easy Final Cut Pro use, without any converting. These are only 720 high def cameras, the CCDs aren’t full sized 1080, but they upconvert. That’s not too big a deal, but the other cameras are full HD. And having smaller 1/3″ chips means they won’t work as well in low light, very grainy.
Pros – easy integration to your existing workflow, seamless with Final Cut Pro.  Decent sized, ENG-style lens. Fair amount of accessories.
Cons – lack of quality, may not last if you work them hard. May be fine if treated well. No time-code or genlock. Visual quality compromised in low light.
Bottom line – if your thinking is short-term, this may provide a very workable solution for your operation. You won’t be lauded for purchasing the buggy and traditionally poor quality JVC line, but you will have a professional looking camera in the field and you’ll be integrating well into your existing equipment.

Panasonic AG-HMC 150 – $3500 Review.
Panasonic AG-HMC 40 – $2000  Review.
I’ve lumped these two Panny cameras together because they are very similar and get you in the $3000 ballpark.  Both of these seem very good for their small size and will deliver good picture quality. I’ll concentrate on the 150 with the 1/3″ CCDs, but the 40, with only 1/4″ imagers could be considered if you’re looking for a real bargain or as a “spare” camera. The 150 is designed similarly to previous Panasonic handhelds with a proven track record and seems rugged enough to be a consistent worker. Shoots on a more highly compressed AVCHD codec, but the images look quite good for small cameras. You’ll be impressed. You can also shoot 90 minutes on an SDHC 16GB card, very economical. As a newsy bonus, there’s a 3 second cache, just like the more expensive cameras.  Very nice touch.
Pros – inexpensive. SDHC efficiency, and more features than you’d expect on a small camera, including XLR audio. Solid track record based on it’s predecessors.
Cons – inexpensive means corners have been cut. This is not a robust news-gathering machine. You may not look as professional with small cameras.
Bottom line - these cameras will perform well for what they are. Don’t expect big performance at this price range, but they will deliver beyond what you may think of for their size.

Wireless mic system

Sennheiser EW100 ENGG2C Evolution – $700 Wanna buy?
My first choice for wireless systems is Lectrosonics, but they are pretty pricey. The Sennheisers are not as robust, but have proven themselves for years. This particular model includes the transmitter for the handheld mic, along with the beltpack transmitter, mic, and receiver. Solid performer.

Tripod

Manfrotto 503HDV,351MVB2K HDV Tripod System – $650 Wanna buy?
First, what’s wrong with your current tripods? Tripods generally stay around a good long time, and if it’s still working, stay with a good thing.  For this price, the Manfrottos with the 503 head are proven performers and will still be around after you’ve beaten them up in the back of the news vehicle and thrown them around a few times. I would prefer a better tripod since this is a long-term commitment, but those prices start around $1200, twice this price.

This isn’t meant to be an exhaustive review, but a primer for this company venturing forward, converting from DVCAM to digital, standard definition to high def.  I could make a strong case for Panasonic’s HPX-300, many strong points for an organization in transition.  But as I mentioned, they did not want to get tied to a proprietary format and all the costly peripherals.  You know, that seems pretty smart.  I also left Sony’s new NX5 off the list since it’s close to the Panny 150, but it costs more and it’s so new there isn’t a track record.  I’m sure there’s some differing opinions, please help your fellow videography community by sharing yours.

It’s only inevitable that you’ll be in the situation of having to move fast and treat your cool Sony EX1 like the news gathering machine it wasn’t created to be.  The first shoot in Mexico taught me this camera needs a little more time and effort, finessing those switches and menus.  But once you’ve got the basic setup dialed in and have a good feel for the ergonomics, there’s no reason you can’t run and gun.

The video is the easy part with the EX1, it’s the audio that’s the hang up.  Sony knows you want a shotgun on top and provides a means for mounting it.  I wanted more.  You’ve got to be able to have the wireless mic system running along side with you.  I know it’s preferable to have a sound tech, but there are too many times they aren’t in the budget.  So you’re on your own, carrying it all. That’s been made easier by Jeff Rhode and his J-Rod Super Strong Twin Mount ($45).  I recently purchased this and his shotgun shock mount, replacing the existing Sony shock mount ($40).

The design makes sense.  It seems to be pretty sturdy and after using it a couple of times, it’s made my work much easier.  Especially having the ability to mount the Lectrosonics wireless receiver in a position that’s balanced and out of the way.  I also purchased a hot shoe adapter from Trew Audio ($60) that made it possible to put the B.E.C. receiver box on the second J-Rod shoe.

Here’s a couple of cautions:  the bend in the metal on the shock mount is the weak point and began fatiguing after shooting all day with constant moving around.  I’m pointing to bend with a screwdriver.  The big fuzzy started leaning forward and dipping into the shot (wide angle converter was being used, probably not an issue with standard lens.)  Also the set screw didn’t want to stay down and the shock mount would become loose, making me retighten it a few times.  I’m experimenting here with putting a rubber washer in there, but haven’t given it a good field test.  I was surprised the shoe adapter for the wireless receiver was made of some sort of plastic.  Everything else is B.E.C.’s standard crinkle-finish metal.  Not an issue yet, but this bears watching.

So everything fits on my EX1 nicely and allows me to work effectively and efficiently.  It does add some weight, but feels pretty balanced despite the weight of the receiver on the side.  Here’s something important I forgot to add:  the existing hot shoe on the EX1 is still available for a top light.  I’ve got the LitePanels MicroPro from Abel Cine Tech ($$).  There’s a rebate on them for $75 until the end of February.  Missed that one.

It’s Christmas Eve and most of us have a Hi Def camera on the list.  Which one do you want now? I really dig…and want under my tree either the Contour or the GoProHD.  But that’s just pure fun. You may already be working some of the freelance workhorses, F900, Panny HDX900.  How’s that VariCam these days?  Not as many calls as in years past.

I have talked with lots of freelancers, many already have an HD camera they bank on.  Here we are to prove we actually get together and talk with one another.

freelancer get-together before Christmas

So really, we like to get together when we’re not busy at this time of year and see each other to just say hi.  Years past have been dominated by format discussions, client wants and needs, and just our general eagerness to talk shop.  We didn’t really, collectively, care that a small group of us gathered earlier to check out the Sony PMW350.  Great potential camera.  Most of us are tired of talking and guessing about what the clients are going to want.  In the room were gathered owners of Sony EX1, Panasonic HDX900, Panasonic HPX2000, Sony XDCam F350HD, Panny HPX300, Sony F900, Panny HVX200, 170, and VariCam.  No Reds.  Some had bought and sold the Red One, but we’re not the cinema crowd and our clients don’t really understand or want what the Red One offers.  We do own a smattering of Canon 5DM2 and 7Ds.  Again, only fun cams since the clients haven’t reached the level of needing those cameras.  So you can gather we’re a practical bunch.

Here’s what Sony is making available very soon, taking orders and shipping.  The Sony PMW350.  VunderCam.

Seven freelancers eyeballed the Sony PMW350 with equal mixes of eagerness and weariness. (That’s weariness, not wariness.  Many are tired of seeing yet another camera being introduced.) Since I already shoot quite a bit with the EX1, I am sold on the SxS media and the quality of the image from these CineAlta factory cameras.  Others wanted to be convinced.  The Panasonic 17″ monitor sat in the dark of the equipment room and we fed the HD-SDI from the cameras.  There will be many technical articles on the web, this is just to give a general first impression from us guys in the field.  The verdict was an underwhelming acceptance.  We expected it to look good compared to the F900, and it did.  We expected it to look better than the EX1, and surprisingly, the EX1 looked better than we thought it would.  The bottom line to all of us was acceptance by the client.  This camera, we all seemed to agree, will create wonderful video, will give us the shoulder form factor we like and clients like to see, and will give us a digital end product the client will dump into their NLE of choice.

That last bit about the digital end product has become the tipping point for a couple of the tape-based freelancers.  The smaller clients jumped on board early, but the big guys have been heavily invested in tape technology. Not sure what caused the light bulb to go off in the major player world, but someone finally told them it’s easier to take the file based media than spend hours digitizing tape.  They finally got it.  Maybe the amortization tables on the HDCam and DVCProHD tape decks finally pointed to retiring them. Some major golf coverage will be done digitally next year, according to one freelancer working many dates with this client.  ESPN is in the whisper stages of changing to digital.  All pointing to a way to easily capture on a digital format for client after client. The PMW350 will probably not work for every client and every situation, but looks like a camera that will allow the freelancer to satisfy a wide range of clients.

The supplied lens was merely adequate.  Not wide enough, not long enough.  But only adding about $1500 to the base price of the camera, some of us thought it was a bargain backup lens.  Of course you know the camera uses a 2/3″ mount, so put on your B4 mount lens of choice.  The viewfinder is big and bright, and bulky.  That’s a pretty big hunk of plastic sticking out there and we wondered how robust they will make the final production model.  There are a couple of plastic hinges that look like weak links.  Go easy.  We also noticed the two viewfinder ports.  The supplied vf plugs in near the operator and the cable could be hanging in your way when you throw your left hand in there to access the zoom rocker. You’re going to have to tuck that away. And we’d like to see what another viewfinder looks like with this model.  The manual sites about three options for other viewfinders, so if you’re inclined to slim down, that’s a possibility.  The menu system accesses in a couple of ways and has soooo many options.  You can fine tune the look in an infinite amount of ways.  The camera we received is only one of two bouncing around the country, so many hands had “doctored” the settings and it took a moment to find the default settings so we could look at a “clean” picture.  The lcd readout is clean and simple and placed properly so the sound tech can easily see the audio meters.  The media slots are on the operator’s opposite side.  No issue there, but we wondered why only two slots?  I know it’s plenty when I use the EX1, getting about an hour from a single 16GB card, but Panasonic provides multiple slots on their larger production cameras and I just assumed it wouldn’t be a big deal to add a couple more to the PMW350.  With 4 slots, you could most likely shoot the whole day and not dump data.  Would have been a nice touch.  The rolling shutter issue came up and those of us using the EX1/3s agreed it hasn’t been an issue at all.  We don’t really whip the camera back and forth during regular shooting, but I acknowledge flashes or police lights might create undesirable moments.  Again, it just hasn’t been an issue for us in our daily shooting and not a single client has said, “we’re going to require numerous swish pans of insane intensity in flash filled environments, so stay the hell away from those CMOS cameras!”

Overall, this looks to be a robust and operator-friendly camera.  One that any freelancer can hop on and go.  And our most important concern, it looks like it will be client-friendly.  This may still take some time, as the producers continue to ask for different formats and sometimes shrug when I ask their format of choice.  A P2 based client just asked me to shoot interviews and give him the video so he can plug it into his laptop and begin the rough cut.  No question of format.  Just wanted something that worked for him.  Converting the native EX1 files to Quicktime .MOV files is a snap, so I can leave the producer to his Final Cut Pro and laptop in his hotel room.  We’re all happy.

The PMW350 will deliver those files, give you the ability to create great images without compromising on depth of field or quality, and be a sturdy, daily workhorse camera.  I’m looking forward to seeing it in the field.

Just went through some extensive hands-on with the new Sony PMW350, the latest EX family offering.  I will post some pics of our experience shortly.  First, many thanks to Kari Hess of Abel Cine Tech for providing the freelancers of the area a chance to look under the hood.  It was a good turnout at the home offices of fellow freelancer Matt Mayes, and he hooked up his Sony F900 CineAlta next to the new 350.  I plugged in my EX1, thinking this could be disappointing for my small camera.

I’ll go more in-depth in another post, but overall impressions were a definite agreement of the 7 of us, we liked the shoulder design.  Done.  There were no 20-something video jockeys in attendance, so us old guys like the fact our backs weren’t strained. The glass on the front makes it tip a bit, but a nice feel and light weight were appreciated.

Most of our time was devoted to fiddling with switches and menu offerings, getting our bearings on the myriad of options.  Nothing too scary.  When we put the cameras in the Panasonic 17″ HD monitor, we weren’t surprised that it delivered a quality image.  The F900, being older, much pricier technology didn’t offer anything more than the 350 to our eyes.  The little EX1 surprisingly looked nearly a match for the 350.  It was a touch disappointing that the larger imager in the 350 didn’t produce the jaw dropping depth of field difference I was expecting.  You could tell the difference between the two in our backyard subtropical DoF test, but it was subtle.  I’m sure in different conditions you could create something more noticeable.

The consensus was this will be a fine field camera and will make a wide variety of clients happy.  Good price point, and those of us already familiar with the EX1/3 workflow like the digital format.  The others are convinced that tape is well into it’s twilight and regard the EX media as just another format to embrace, if begrudgingly.

More later.

Such is the learning curve and vagaries of a web hosting company.  ”Something happened.”  The entire site has been wiped out due to mysterious circumstances, with the web host tech support giving no answers.  So here I am.  I will be filling in some missing data, blogs and videos as time permits with the holidays upon us.

There will be a camera demo tomorrow as the fine folks (Kari Hess and Gregger) at Abel Cine Tech out of Chicago are sending us a demo model of the Sony PMW350.  This is the solid state, full-bodied shoulder mount HD camera that shoots on the popular SxS Express Card media.  More later as we take a first look.  Expecting a few freelancers from the Tampa area to attend, but some admit to being weary of all the formats from tape to digital.