Movie Machine 21st Sep 2017
 
 
MOVIE MACHINE UPDATE
OCTOBER 2015

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  Rick Young

Hello and welcome,

The camera scene is red-hot at the moment, with spectacular models available at every level. 4K rules supreme, it is a great time to upgrade or consider the options as the action unfolds.

Announced at IBC in September is the Sony PXW-FS5. Here we have an extremely lightweight 4K camera - shoots 4K 4:2:0 at 100mbps, and 10- bit 4:2:2 HD at 50mbps. Record slow motion at up to 240fps, and there will also be an option for RAW output to external recorder.

Blackmagic URSA - this is now shipping for the 4K model with the 4.6K sensor available in November. This is a a break-through camera for Blackmagic, perfectly weighted and designed for cinema, television or documentary production. Capable of recording 4K RAW or ProRes, great form factor, able to handle full-frame lenses to B4 depending which model you purchase.

JVC GY-LS300 - a camera I know well and love! Shoot 4K at 150mpbs to affordable SDXC media. Light in the hands, works with Micro Four Thirds lenses or full-frame lenses with adapters. All the reports running on Movie Machine from IBC 2015 were filmed with the JVC GY-LS300 and Nikon lenses.

Panasonic DVX200 - great looking camera, featuring Micro Four Thirds sensor and built for tripod or on-the-shoulder filming. This comes with EVF attached, and 4K recording up to 200mpbs. A good all in one model with fixed zoom.

Canon has a spectacular range: the C300 Mark II, the C500, and the C100 Mark II for those shooting HD. Most recently Canon showed a prototype 8K camera. The never ending quest for higher pixel count continues to be pursued by the camera manufacturers.

The Sony FS7 - the camera announced a year ago at IBC is still going strong, and now more affordable than ever. The gap between the PXW-FS5 and PXW-FS7 in terms of price is not huge, however, these are very different kinds of cameras.

The Sony A7SII. Now features internal 4K recording!

Then there is RED! Just in the last week RED Digital Cinema announced RED Raven - an affordable 4K cinema camera, complete with Canon EF mount, to be available in 3 configurations. Capture options in both R3D and Apple ProRes 422, 422 LT, or 422 HQ.

Never before have I seen so much action going on in the world of cameras! There are many models I haven't even mentioned, I've only referred to some of the new and exciting announcements.

When I started in the late 1980's a Sony Betacam, shooting SD 4:3, was around $80,000. Now the camera world is on fire with 4K models with incredible low-light performance, tremendous quality, extremely long battery life, affordable media, and wonderful choice of interchangeable lenses.

Now is a great time to be in the market for buying a camera, or to be working with any of the current technology.

 
  Latest movies on Movie Machine  
 
Sony PXW-FS5, in-depth interview: Tom Crocker, Sony, Europe

SONY PXW-FS5, IN-DEPTH INTERVIEW: TOM CROCKER, SONY, EUROPE

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The Sony PXW-FS5 drew tremendous attention over the 5 days of IBC 2015. This incredibly lightweight camcorder breaks down to an astonishingly small size once handle, side-grip and lens have been removed; with all accessories attached this is a powerful, full featured Super 35mm camcorder in an incre......

URSA Mini with B4 Mount: video report from IBC 2015

URSA MINI WITH B4 MOUNT: VIDEO REPORT FROM IBC 2015

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The Blackmagic URSA Mini B4 Mount is designed to replace the existing PL lens mount on Blackmagic URSA Mini PL, turning it into a B4 camera for HD. To install the B4 mount, customers simply take the PL lens mount off where it is normally removed for shimming PL lenses and bolt on the B4 lens mount. ......

JVC adds Log Mode, Histogram. Cinema 4K & 2K to GY-LS300

JVC ADDS LOG MODE, HISTOGRAM. CINEMA 4K & 2K TO GY-LS300

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Recorded at IBC 2015. Gustav Emrich, Product Manager JVC Professional, runs through the latest firmware update to the JVC GY-LS300. New features to include: a JVC “Log” mode designed to replicate the look of film; new Cinema 4K and Cinema 2K recording modes; a unique Prime Zoom feature that us......

Built for Speed: Caldigit Thunderbolt 2 RAID

BUILT FOR SPEED: CALDIGIT THUNDERBOLT 2 RAID

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Note: the test unit in this report is the CalDigit T3 Thunderbolt 2 RAID; this is also available in the larger 4 bay model - the CalDigit T4 Thunderbolt 2 RAID. The T4 features more space than the T3 and even faster transfer speeds. The Caldigit RAIDs are flexible in terms of modes of operation, f......

MTF EFFECT 3: CANON EF LENS REMOTE SYSTEM

MTF EFFECT 3: CANON EF LENS REMOTE SYSTEM

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MTF have taken an innovative approach to making it possible to use Canon EF lenses on a range of lens mounts. Due to the electronic aperture featured on the EOS lenses, this means external aperture control is needed. With the Effect Mark 3 controller this takes place wirelessly. The results is remot......

 
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Sony PXW-FS5: features and specs.

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Blackmagic Design Announces URSA Mini B4 Mount: video report from IBC 2015

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Canon developing next-generation of 8K imaging devices

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Canon develops APS-H-size CMOS sensor with approximately 250 megapixels, the worlds highest pixel count for its size

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AJA Launches FS3 4K Upconverter at IBC 2015

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Schneider-Kreuznach Xenon FF-Primes now in Sony E-mount

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  Until next time  
 
Keeping the clients happy

Make-shift Chroma Key

I flew to Florida for a shoot. The brief was to film many short interviews to camera. I was told to bring lighting and audio gear. I asked if we needed chroma key - "no chroma key" was the answer.

I'm onsite in Miami, scouting locations around the hotel, looking for places to film. The client suggests a few locations outside - I check these out and they are noisy beyond belief. Music blaring, the sound of a DJ, people swimming... Not only that, my lenses are fogging up in the Miami humidity, and the bright sun makes it impossible to stand outside without squinting. This is not a good filming environment.

The client suggests we film inside the hotel - however, they want everyone in one place. We have at least 15 -20 people to record to camera and they don't want us running all over the hotel.

Then the clients says: "Why don't we film this chroma key"

I tell the truth: "I didn't bring my chroma key screen. I was told it wouldn't be needed...."

As quickly as I say the words I come up with a solution.

I'm in a cab on my way to Target. I buy sheets, green, blue, the best I can get which are rich and deep in colour. They didn't have what I wanted so I did the best I can.

I return to the hotel - stands and blue table cloth have been provided. There are several of us on the case to make this work.

For 3 days I film people speaking against the sheets and table cloth. I'm so worried about it not working that I have laptop set up next to the camera/lighting setup - I test every chroma key before filming (I have to know it is going to work).

All done and the results work great. I never would have imagined that sheets and a table cloth would work so well, however, there were a few things in my favour that really helped:

(i) everything was filmed 10-bit 4:2:2 and recorded to an Atomos Shogun recorder. The job was HD. I'm convinced the 10-bit 4:2:2 recording helped me produce really good keys with basic equipment.

(ii) The room was well-lit and I had additional lighting on each of the people speaking. The result was a well-lit, evenly lit, chroma key background. Had the room been dimly lit, or patchy on the chroma key background, I'm sure the results would not have been so good.

(iii) I use Final Cut Pro X for the chroma keys. FCPX does really good chroma keys with the minimum of effort. It is one of the best I have used!

So, always be prepared. Even though I was told no chroma key the client needed chroma key. That's what's it's about, delivering whatever the client needs. I'm very happy I was able to get this done and sorted, and I've definitely learnt for next time how to do a chroma key at short notice with the minimum amount of equipment.

Until the next time,

 
 
rick
Rick Young - Producer/Director
Editor - Movie Machine
Web: http://www.moviemachine.tv
Email: editor@moviemachine.tv
Twitter: @RYMovieMachine
Facebook: RYMovieMachine