MASV 2.0 – the pay-as-you-go massive file transfer service just got better – Newsshooter

This looks very promising.  In this age of no-tape cameras, getting shot footage to clients can be problematic.  You don’t want to hand over your expensive memory card to them and watch them get on a plane, so that generally means buying an external hard drive for the footage and shipping it to them.  This means a trip to the store and back, money for the drive, and money to ship the drive.  Kind of archaic in our modern age.  But file transfer services can be a pain in the behind as well.  FTP is fine if they have a server, but most don’t.  Large video files run over the limits of a lot of the other services.  Some services require custom software, often with a licensing fee.

MASV seems to have addressed a lot of these problems.

Fast – Browser based – Encrypted – Pay As You Go

Worth a look.

Source: MASV 2.0 – the pay-as-you-go massive file transfer service just got better – Newsshooter

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Sony Venice Fully Functional FF in February | Film and Digital Times

Here’s a little bit of good news.  I (and others) was critical of Sony when they announced their VENICE camera because it was going to launch missing a lot of features that I thought it should have.  It appears Sony listened (not to me, I’m not that full of myself), because they have made a MAJOR feature change for the launch.

Source: Sony Venice Fully Functional FF in February | Film and Digital Times

SmallHD adds display calibration to full line of monitors with OS3 – Newsshooter

SmallHD1

The thing I like about SmallHD is that all they do is monitors.  They are not cheap, but they’re market competitive.  I also like that they’ve avoided the touchscreen craze.  Why are you going to put smears and fingerprints all over your viewing surface?  SmallHD is pretty prevalent out in the field, and calibration could possibly help get them into more edit suites.  I once had a DIT tell me that in his opinion SmallHD’s high brightness panels were not as accurate to his eye as regular brightness Flanders Scientifics or OLED Sonys.  With the release of their P3X, and now the calibration, they are definitely at the same level with those two.

P.S.  That spot metering waveform feature is pretty cool.

Source: SmallHD adds display calibration to full line of monitors with OS3 – Newsshooter

ARRI Rolls Out New Master Grips, Remote Head, Wireless Lighting System and More

ARRI has announced a number of new products at IBC.  I’m interested in the news that they have adopted the Lumen Radio standard for controlling their LED panels. With Kino-Flo also building Lumen wireless into their lights, I guess it’s “safe” now to invest in what the industry seems to have chosen as a de facto standard.  Check out my two video reports from CineGear on this.

One talks with Lumen Radio about their laptop control software:

The other talks with the company Cinelex, who are making fader/lighting control panels with a Lumen Radio built in:

Source: ARRI Rolls Out New Master Grips, Remote Head, Wireless Lighting System and More

Sony’s VENICE Full Frame + S35 Camera | Film and Digital Times

UPDATE: Newsshooter has an interview discussing the camera

 

Well, Sony’s long teased Full Frame cinema camera has finally been revealed.  Jon Fauer had early access and has a 28 page report on it if you want to dive deep.

My first impressions?  Promising, but hampered.  It will ship with only limited capabilities.  Sony has teased this long enough that you would think it would be a little more fully baked on release.

The positive?  They have learned a few things.  The viewfinder uses a LEMO connector rather than their proprietary flat multipin, and the connector is mounted at a point that it won’t immediately snap off (it might get in the way of lens accessories though).  It has industry standard 12V and 24V power connections.  The lens mount is really interesting.  Flat to the sensor is a locking E-mount, but fitted overtop of that, is a really solid looking PL mount that can be removed with 6 screws.  The camera has 8 levels of ND filters built in, and they can be activated remotely.  The sensor itself is replaceable, in an attempt to future-proof.  The body is relatively compact, roughly the same size as a RED with a jack pack attached, but the Sony does get significantly bigger when you add the optional external RAW recorder.  They are rating it at 500 ISO, with the option to go up to 4000 ISO.  They say that it has a better signal to noise ratio than the F65.  They are also emphasizing new colour science over outright resolution.  It will eventually record 6K RAW, whereas the F65 was an 8K camera.

The negative?  It does not have a global shutter, but Sony says “jello vision” should not be a problem.  At this point, it only seems able to do 60 frames per second.  I think the biggest negative is the incomplete feature set at launch.  This used to be a problem with RED, but unfortunately Sony has adopted this “ship it and fix it later” approach.  Those firmware updates will be free, but like ARRI, they will be charging for licenses to enable higher end features.  In my opinion, the F65 (and even the F55, in terms of a “cinema” camera) never really took off.  RED and the Alexa 65 have a lead in the full frame market, and in the cinema market in general. To quote Top Gun:

“And let’s not bullshit Maverick. Your family name ain’t the best in the Navy. You need to be doing it better, and cleaner than the other guy. Now what is it with you?”

If Sony wants to break into the high end, they need to offer better technology and complete feature sets at a lower price.  This latest offering does not cut it.

Source: Sony’s VENICE Full Frame + S35 Camera | Film and Digital Times

Sony will launch the new CineAlta full frame 36x24mm camera on September 6 – sonyalpharumors

Two weeks out from finally seeing what Sony has in store for the cinema world. I had played devil’s advocate that they might reveal this as a curved sensor, but I don’t seriously think that’s going to happen, it would alienate them with too many rental houses in terms of lensing.  I will predict that it will be very good in low light, capable of very high frame rates, and continue with their history of offering a global shutter.  I’m curious to see how big its body will be, and where they price it.

Source: Sony will launch the new CineAlta full frame 36x24mm camera on September 6 – sonyalpharumors sonyalpharumors

Sony FS5 Firmware fix is ready with v4.02 – Newsshooter

“As a follow-up to recent communications regarding firmware issues for the PXW-FS5 (V.4.0) and PXW-Z150 (V.2.0), Sony has now released version 4.02 for the FS5 and version 2.02 for the Z150. These new versions address both the previously confirmed issues related to HDR in specific applications of HLG in HD shooting modes, and to audio sync.  The new versions are available for download, for the FS5 and the Z150.”

I’ve recently been thinking about what might be the best most cost effective studio camera set-up on the market for small HD mobiles.  I’m of the opinion that any camera in this scenario must have a power zoom parfocal lens with a reasonable range and no iris ramping, and has to have an HD-SDI connector (I hate HDMI).  However in this scenario, you’re likely going to be getting a Blackmagic ATEM box for distance runs and intercom, so it could only have HDMI output…if you had to…God I hate HDMI.

The 1/3″ sensor cameras with LANC controls and an external screen would be the most cost-effective ones, but not necessarily the best looking ones, and if there were to be any handheld use, I’d want something shoulder mountable.  If you needed to run them off battery, it’s possible.  Make sure you get a monitor that takes the same batteries as the camera.

2/3″ B4 mount camcorders, or B4 “mobile” cameras without a recorder section are the norm, but they are expensive, and their lenses are even more expensive.  If you want to do a CCU and fiber, be prepared to spend big money.

The Blackmagic studio cameras check off almost all the boxes, but they are not great in low light, and lens options using the M4/3 mount are not great.  Again, if you’re looking to do handheld, forget it.  Their incredible low price, 10″ viewfinder and fiber/intercom integration makes one want to overlook their lens limitations.  But at the end of the day, unless you’re adapting a B4 mount lens to them, they aren’t very practical, and if you do that, your costs again skyrocket.

The Blackmagic Ursa Mini is another interesting option.  Normally I would avoid large sensor cameras in this scenario because of the limitations in zoom lengths.  You could get it in EF mount and use Canon’s two parfocal S35 zooms with it.  They are pretty slow zooms though, and the Ursa again is not that great in low light.  They do have the option of using a B4 lens in HD, with its price limitation.  As I said, I’m only looking at a HD mobile, but the Ursa is one of the only cameras on the market with a 4K SDI output if you’re looking for that capability.

What I ended up settling on is a Sony FS5 with their newer 18-105mm lens.  It is parfocal, power zoom, F4 and has focus gearing built in (as well as autofocus).  It comes with a zoom handle that can be separated off the camera.  That zoom handle has function buttons that can be used to “punch-in” and scan the center of the sensor for an electronic doubling of focal length (in HD) with no loss of light gathering ability or perceived output quality (in HD).  Its real iris control and variable ND would help in uncontrolled lighting scenarios outside of the studio.  Something that was enabled with this latest firmware update is the ability to now use Sony’s RM-30BP with this set-up (I think, I haven’t actually had hands on time).

This would allow the operator behind the camera to have zoom, focus and most importantly iris control without having to reach up to the lens from the rear.  I think it even allows “stacking” of controllers.  Does this mean you could use it for focus/iris, and plug the zoom control that comes with the FS5 into it for zoom control?  Anyone?  You could rig the camera for handheld shoulder shooting reasonably easily by equipping it with aftermarket accessories like the ones shown in the picture at the top of this post.  The FS5 looks great, is excellent in low light, and will give that limited DOF look if thats what you’re going for.  A Blackmagic 7″ screen as a viewfinder, and an ATEM fiber box for long distance and intercom, and away we go.

Opinions?  Additions?  Something I missed?  Know of a cheap/good wired follow focus?  Feel free to comment…respectfully.

 

 

Source: Sony FS5 & Z150 Firmware fix is ready with v4.02 and v2.02 – Newsshooter