Canon CN-E Primes: An In-Depth Look

We added a Canon CN-E Super Speed PL-mount Cine prime lens set for 2015, the only one in the SF Bay Area. It consists of  a 35mm T1.5, 50mm T1.3, and 85mm T1.3, all with PL-mounts, converted by Duclos Lenses. Super fast for low light and ultra shallow depth of field, 4K plus, edge to edge resolution, Cine lens build quality and precision, with a warm, organic look that matches our Canon CN-E 30-105mm T2.8 PL-mount Compact Cine zoom lens.

These are the same lenses used on the Showtime series "Homeland". Below is a link to Matthew Duclos of Duclos Lenses blog, which interviews  Canon product specialists and the DP of "Homeland":

Duclos Lenses Blog

As always, all of our PL-mount Cine primes and zooms are available at very low rates when rented with our Cine cameras. Most rent for no more than stills lenses!

35mm Cine Lenses vs. Stills Lenses

35mm motion imagery has been captured using PL-mount Cine lenses for decades. They are the standard of motion picture production. These lenses are designed with the highest quality, most efficient acquisition for Cine style shooting. It is for this reason that SSV offers Super 35mm digital Cine cameras with the PL-mount rather than still photo lens mounts and stills lenses.

Advantages of PL-mount Cine Lenses:

PL-mount stands for "Positive Lock", the most rigid, exacting and rugged lens mount available for digital Cine cameras. This is important for precise flange distance on sharp lenses, support of heavy lenses and eliminating frame movement due to torque exerted by follow focus systems and zoom motors.

PL-mount cameras can take advantage of any Cine lens built in the past 30 years, the lenses that Hollywood depends on everyday.

Cine lenses offer the highest quality available, are much more rugged and reliable than stills lenses. They are built especially for the image quality and rigors demanded by professional Cinematographers.

Cine lenses have fully manual, de-clicked, numbered iris rings for precise exposure setting and on the fly exposure changes, unlike most modern stills lenses. They also have gears for remote activation. Cine lenses often feature more iris blades for a more pleasing, circular "bokeh" when specular highlights are out of focus. These lenses are typically optimized for good sharpness and contrast when wide open.

Cine zoom lenses are Parfocal, meaning that when zoomed, they track focus, unlike many stills lenses that require refocusing every time focal length is changed. They feature smooth, dampened manual operation and precise markings on both sides of the lens(for operator and Assistant Camera) with gears for precision zoom motors. They usually feature constant aperture throughout the zoom range vs. low cost stills lenses that "ramp" downward in light transmission when zooming in. They typically have less chromatic aberration or soft corners than low cost stills lenses.

Cine lenses often have much greater focus rotation(throw) for much more precise, repeatable focus pulling. A typical stills lens has a focus rotation of around 100 degrees, whereas a Cine lens is often over 300 degrees.  The focus barrels have calibrated distance marks on both sides of the lens. They are geared so that follow focus systems can be used. Cine lenses are less likely to "breathe" while focusing. They are not optimized for auto focus, found on modern stills lenses, where manual focus is an after thought, and barely turning the focus barrel changes the focus setting significantly.

SSV offers full Cine lens focal length coverage from 11mm to 200mm with speeds of T1.5 to T3.0. Most of our Cine lenses rent for no more than a typical good quality stills lens(we offer some rehoused stills lenses that are modified in the above ways for Cine housings). Cine Support accessories include Arri, Elements base plates and rods, 12" dove tails, Arri, Chrosziel matte boxes and Arri, Zacuto follow focus systems for ultimate support and control of Cine style shooting.


 Our Cine Lenses:
• Arri Alura 18-80mm T2.6 PL-mount Cine zoom
• GL Optics 11-16mm f2.8 PL-mount Cine zoom
• RED 17-50mm T2.9 PL-mount Cine zoom
* AllStar Cine 50mm T1.5 PL-mount Cine prime
• RED 85mm T1.8 PL-mount Cine prime
• AllStar Cine 80-200mm T3.0 PL-Mount Cine zoom

Why So Many Cameras?

At SSV, we try hard to keep up with what's new in cameras and support gear, and if a new model offers something valuable to our clients, we add it to rental inventory--but any new camera or support gear has to meet the criteria of high quality, reliability, simple work flow and affordability.   No one camera is going to do it all for our clients, that camera just hasn't been invented yet.  Here is an explanation of what our current camera inventory offers:

Canon C300 PL Super 35mm Digital Cine camera--this is the most popular rental video camera in the world, currently.  This small camera makes gorgeous images in any light with fantastic resolution, Canon colorimetry, super low noise, 12 + stops of latitude, records on dual CF memory cards, offers all the features of DSLR's, like shallow depth of field, low light capability, small size, without any of the compromises.  Recording format is Canon XF at 50Mbps, 4:2:2 color space, 80 minutes on a single 32Gb CF card.  We offer the PL-mount version because it is the cinema standard--very rigid, cine lenses offer complete manual control, great optics, great ruggedness, comprehensive distance markings for zoom and focus, much more focus rotation for subtle, repeatable focusing than auto focus optimized stills lenses, gears for zoom motors and follow focus.  The C300 is a lot of fun to shoot with while giving the cinematic imagery so many are looking for!  We also have affordable 35mm Cine zoom and prime lens options for the C300 PL.

Panasonic HPX250 and HPX255 P2 1/3" CMOS camcorders--these are the successors to the famous Panasonic DVX100 and HVX200 24P camcorders.  These newest generations give us full raster HD sensors, 22x zoom lens, and DVCPRO HD or AVC-Intra 100 recording formats on P2 cards.  The latter format is 10-bit, 100Mbps, 4:2:2, I-Frame, so a great choice for green screen and any project where extensive grading and color correction is planned-it's the first time a 10-bit studio quality codec has been put into a camera of this form factor and price-point.  Low noise, variable frame rates, Panasonic color and better highlight handling than previous Panasonic camcorders round out the feature set.  The HPX255 adds the ability to be used with our Panasonic EC4 remote camera paint box for precise color and shading control plus remote record trigger and playback.

Panasonic HPX2700 P2 Varicam ENG 2/3" CCD--this camera is the successor to the original Varicam, which was known for variable frame rates and good latitude using Film-Rec gamma.  The HPX2700 offers frame rates from 2fps to 60fps at 720P and can be ramped mid-shot.  It also records in 1080.  Film-Rec gamma now has up to 600% dynamic range for improved latitude and highlight handling.  2/3" CCD's have no skewing issues, and provide a good compromise between super shallow depth of field and getting the shot on the first take.  Recording formats are DVCPRO HD and studio quality AVC-Intra 100 with five P2 cards for lots of record time.  A great camera for documentary style shooting, sports, interviews.  Rugged and reliable, P2 Varicam is to video what 16mm was to film cameras.

Panasonic AF100 micro 4/3" Digital Cine camera-the first of the true video cameras that give the large sensor DSLR look, while adding in-board audio XLR recording and headphone monitoring, built-in ND filters, no moire or aliasing artifacts and low motion skewing, unlike DSLR's.  You also get time code, waveform/vector, focus in red, zebras, HD-SDI and HDMI out for full HD monitoring, variable frame rates, flip out high res. LCD, EVF and camera mic.  Recording format is AVCCAM. This is a real large sensor video camera at a DSLR day rate.  It can use virtually any 35mm lens, still or cine, plus native micro 4/3" lenses.  Very versatile and affordable.

Sony EX1 Cine Alta 1/2" CMOS camcorder--this camera has been around for a bit and has made a reputation for itself.  First of the affordable Cine Alta HD cameras, this workhorse can do many things well with variable frame rates, native full HD resolution, and cine gammas.  Recording format is XDCAM EX, via SxS cards, which is a full raster, low bit rate MPEG 2 codec, providing a simple workflow that doesn't require a lot of computer processing horsepower.  Still very popular for many kinds of projects, this little camera delivers.

Sony HXC-100K/HXCU-100 triax HD camera--this is a full triax camera chain designed for multi-camera productions.  It consists of an HD 2/3" CCD camera head in ENG or studio configuration with a triax CCU(Camera Control Unit) and RCP(Remote Control Panel) for complete camera control at long distances.  One triax cable gives full functionality of every camera operation parameter, including paint and iris control, intercom, power, tally, return, and audio.  HXC-100K's are perfect for use with our HD fly pack with Panasonic HS410 switcher.

So, there's an overview of our HD camera rental options.  Each camera has its strengths, with CCD and CMOS sensors sizes of 1/3", 1/2", 2/3", micro 4/3" and Super 35mm for maximum flexibility.  Five different internal recording formats, plus any of these cameras can be used with our AJA Ki Pro ProRes 422 recorders.

The next time somebody says "one size fits all" about cameras, it might be good to question that, because each project has its own set of unique requirements visually, technically and budget wise.  That's why renting cameras in this time of technical change and progression can make a lot of sense, along with support equipment tailored to get the most out of each camera.  We're here to help!  
Photo by Mike Sly, Sly Digital, slydigital.com

HAPPY NEW YEAR!

"Canon C300 After Dark"

I've been asked by a few people about the Canon C300's low light capabilities, so I decided to head out to Downtown Redwood City to shoot some night time test footage.  Here's the link:

Canon C300 After Dark

The C300 PL is a very fast camera, with a base ISO of 850 and maximum ISO of 20,000.  While noise is apparent at very high ISO speeds, it is a very fine grain, more film like in its appearance. This is due in part to its 9.84 megapixel Super 35mm sensor.  What also impressed me is how much resolution this camera has.  I used the RED 17-50mm T2.9 PL-mount Cine zoom and a Tiffen Digital Diffusion FX 1/4 filter.  One can only imagine what a fast Zeiss prime lens would look like!

I was also impressed by the color saturation, no matter the light level.  The C300 low light capability can literally pay dividends by needing less light and smaller lighting instruments.  It allows for more softening of lights without worrying about having enough output from the lights.

In short, the C300 is very fast, very clean, very detailed, yet still has a very natural looking image, more like film than any camera we've offered.  The fact that it's super small and lightweight with easy to use controls, makes it that much more enjoyable to shoot with!

Special thank you to Joseph Farfone for assisting me on the night shoot and Mike Sly for editing the test.

Canon C300 PL camera? What was I thinking?

Okay, I admit it, I don't like shooting video with DSLR's, Canon's or any others.  Never really liked Canon palmcorders all that much either. While I'm at it, I don't much enjoy shooting video with modern 35mm SLR auto focus lenses.  Glad I got that off my chest!

We know Canon DSLR's have changed the video production landscape once they became video enabled.  They appeal to filmmakers of all types, are used for every kind of project imaginable.  They also have some serious compromises, due to being intended primarily as still cameras, but in the right hands, can make some very sexy motion images.  It doesn't hurt that the 35mm SLR stills lenses, like the DSLR cameras, are pretty affordable as well.

In the past year and a half, we've seen the advent of large sensor video cameras, intended to deliver the DSLR aesthetic, without the workarounds.  I immediately bought a couple of Panasonic AF100 large sensor video cameras, still the most affordable true video camera option for digital Cine shooting.  

Like my clients, I wanted more.  Bigger sensor, better resolution, better codec, more dynamic range, better low light sensitivity, lower noise, while retaining the small, light weight form factor.

Enter the Canon C300!  It ticked all of the boxes.  Finally, a large sensor video camera with a higher bit rate, 4:2:2 color space, in-board recording codec.  Until the C300, you had to mount an external recorder to get that.  Shooting with the C300 is liberating, much like a DSLR(except you don't need double system sound or external ND filters).  Of course, the C300 also offers the Canon color look found in their DSLR's and a lot more menu control of the image.

This little camera makes images not possible at its size and price point just a few years ago.  It records for hours, has really low power consumption, great low light capability, clean, fantastic resolution, a robust codec, 12-stops of latitude with Canon Log cine gamma, internal ND's, very good EVF and 4" LCD with scopes, HD-SDI and HDMI clean, full HD monitoring, time code, dual CF card slots for spanned or dual recording, and off-speed recording. 

So, the C300 makes sense, especially for rental, because it costs more to buy than a DSLR.  The final question was, which lens mount?  The C300 makes you commit to either a Canon EF mount body or motion picture standard PL-mount body.  A bit of a conundrum.  Clearly, if you are buying a C300 and own a bunch of modern Canon EF lenses, the choice is fairly simple--go for the EF mount.

However, if renting a C300, why not choose lenses that are made for motion pictures vs. still photography as long as there are affordable options?  The PL-mount is more rigid than the Canon EF mount.  A Cine zoom allows you to change focal length without having to refocus(many 35mm DSLR lenses are not parfocal, so require refocusing when changing focal length), has very precise control of iris and focus vs. no manual iris ring and auto focus optimized still lenses.  Most Cine zooms and primes don't breathe when focusing, or don't ramp downwards in light transmission when zoomed in.  They have precise lens markings for distance, gears for motors and follow focus, are very rugged and reliable and, of course look fantastic.

Sure, some Cine glass is VERY expensive to buy and even rent, but there are affordable solutions, like our RED 17-50mm T2.9 compact Cine zoom at under 4lbs. and only $100 with rental of our C300 PL, or our amazing Arri Alura 18-80mm T2.6 Cine zoom, which offers a very flexible focal length range, negating the need to change lenses all day long.   We'll soon be adding affordable Cine primes as well.

So, for $475 per day, the Canon C300 PL with compact RED Cine zoom, offers a beautiful, easy to use, flexible, reliable, post friendly, true video camera with Cinematic aesthetic not previously possible.

I challenge anyone to put the Canon C300 side by side with Canon's own DSLR offerings and compare the resolution, noise, dynamic range and of course video camera features!  The C300 is the grown up version of DSLR's.  Photo by Mike Sly, Sly Digital www.slydigital.com

New HD Gear Keeps Coming!

2012 brings new gear to SSV. While we have over the past few years become more involved with film style camera packages and accessories--such as our Panasonic AF100 large sensor digital cine cameras, Arri Alura 35mm Cine zoom and Nikon 35mm SLR prime lenses, and camera support--we are investing more into multi-camera HD equipment.

We have just completed an HD Fly Pack featuring the new Panasonic HS410 production switcher. This system can be used with any camera, and offers a very small foot print and affordable rental rate combined with an amazing amount of power and flexibility for signal distribution, transcoding, scaling and routing.

The Panasonic HS410 HD switcher has 13 inputs, including SDI, HD-SDI, DVI(digital and analog) and 5 HD-SDI outputs, plus component and 2 DVI outputs which are scalable to various computer resolutions. The HS410 has a multi-viewer, a built-in 7" LCD display for menus, images and scopes, 4 auxiliary buses, and many advanced features previously not seen at the price point. This switcher is available separately with multi-viewer display or with our new HD Fly Pack. We offer various camera/CCU options, and recording options, such as AJA Ki Pro ProRes decks.

Also new at SSV is the Panasonic HPX250 P2 full raster HD camera that brings a 10-bit, 100Mbps, 4:2:2, I-Frame codec to a palmcorder form factor for the first time with AVC-Intra 100, the same recording format found in our HPX2700 P2 Varicam HD camera. The HPX250 excels at green screen work and heavy grading, color correction.

We also have several high quality HD LCD production monitors/scopes by Flanders Scientific, Leader, Panasonic and TV Logic, ranging from 5.6" to 21" to compliment our cameras and HD fly pack.

Finally, in addition to our Analog Way Di-VentiX 2-channel HD seamless switcher/scaler, which is great for projection and flat panel display switching, we've added an Analog Way Pulse 300 2-channel HD seamless switcher/scaler, offering many of the same features of the Di-VentiX at a lower cost. Either of these units compliment our new HD fly pack for live production nicely.

We plan to add a new Super 35mm Digital Cine camera very soon, because we remain committed to film style production with its cinematic imagery. This means SSV will have cameras with 1/3", 1/2", 2/3", micro 4/3" and Super 35mm sensors and several recording format options to choose from. We're happy to help figure out how to apply these options to best suit your specific project--contact us anytime!

Happy Holidays from SSV!

Panasonic AG-AF100 is Pick For San Francisco Productions

Here's an article in DV Magazine about our client's and our experience using the Panasonic AF100 large sensor digital cine camera for a variety of projects:

Panasonic AG-AF100 is Pick For San Francisco Productions

Panasonic AF100's Are Here! My First AF100 Shoot......

This entry is taken from a post I wrote on the DVXUser.com Panasonic AF100 forum:

We've all seen the trend towards shallower than shallow DOF, the absolute "need" to shoot at astronomical ISO's and the widest of wide lenses being an imperative--especially on Vimeo and YouTube. We also know that DSLR's have driven this of late, especially Canon 5D's, but this can be traced back to 35mm DOF adapters that do Full Frame 35 and music videos and quirky feature films that embraced these stylistic choices.

Above is a screen grab from my first shoot as DP with an AF100. These scenes weren't shot with a super high ISO, or at f.95 or with a 12mm lens, the AF100 was set at ISO 200, aperture was f2.8-4.0 with 35mm and 50mm Nikon prime lenses. Nothing exotic, no need for the camera to shoot in the dark or have 1mm DOF. Just two lights were used for talent, standard focal lengths.

ISO 200 makes controlling contrast much easier than trying to shoot at ISO 2000, every shot was on a slider, some much closer up, so I wasn't going to make my AC deal with f1.4 all day. And when I'm shooting talent, the last thing I want is some super wide lens--not flattering to anyone.

Yes, it's cool that there's an f.95 lens, the AF100 can shoot ISO 3200, and a Lumix 7-14mm zoom lens exists. These are fun. A full frame 35mm sensor can be fun as well. But they aren't really necessary, nor do they serve the story most of the time--despite what one might think after reading forums or watching shorts on Vimeo.

I think it's time to get back to real filmmaking and walk away from the gimmicks. I'm happy the AF100 allows me to do just that!

Finished spot: http://vimeo.com/19462769

Panasonic AF-100 Prototype Test Footage

Here is some lovely imagery from a prototype Panasonic AG-AF100 large sensor video camera. Recording was actually done on AVC-Intra 100 vs. AVCHD for this clip.

Panasonic AF-100 Hi-RES Extended RE-Cut evaluation by CREWS.TV from Yves Simard on Vimeo.

The AG-AF100 promises freedom from the compromises of DSLR's and 35mm DOF adapters in a very affordable package with flexibility to use just about any lens imagineable.

Many thanks to Yves Simard for making this test footage available.

Panasonic AG-AF100 vs. Canon DSLR Features

Clean monitoring at full 1920x1080 resolution, suitable for recording to an external recorder

Clean HDMI output at full resolution even during recording, suitable for recording

Professional HD-SDI output

1080/24pSf output

A composite video output jack

SMPTE timecode

LTC timecode synchronizing, for multiple-camera shoots or for using an external audio recorder or timecode slate

A headphone jack for monitoring audio

RCA audio outputs

Professional XLR audio inputs

Line/Mic selectable

Can supply phantom power for microphones

Manual audio level control with no AGC

Option of engaging an automatic limiter to prevent against sudden overmodulation

High-quality audio pre-amps

1080/60i and 1080/50i recording modes

Variable frame rates in 20 steps, from 1080/12p up to 1080/60p, for various levels of slow-motion and fast-motion

720/24p and 720/25p and 720/30p recording modes (in addition to 1080/24p, 1080/25p, 1080/30p, 720/50p, 720/60p, 1080/50i and 1080/60i)

P2/AVCCAM Metadata

Two card slots

Professional image controls

Filmlike Cinegamma gamma curves

Selectable color matrices

Adjustable knee point and master pedestal controls right in camera
Dynamic Range Stretching feature

Color-matched with other Panasonic professional cameras, such as the VariCams

Pre-record, for catching events occurring even before you press the record button

Continuous recording capacity of over 12 hours in economy mode, and continuous recording of six hours in best-quality mode on a single card (no 12-minute time limit!)

Complete freedom from overheating issues

Colored Focus Assist that can be used while recording

Capable of video-camera-like autofocus (when used with an appropriate lens)

Face-detection autofocus that can track focus on a moving face

Peaking/EVF DTL for easier manual focus

High-definition color LCD panel

High-definition color viewfinder

Viewfinder that can actually be used during video recording

Two sets of zebras, which can be set from anywhere from 50 to 105 IRE in 5-IRE steps

A built-in Waveform Monitor(!)

A built-in Vectorscope

A built-in Spotmeter (the "Marker" which tells you the IRE brightness of what's in the center of the screen)

Different aspect ratio markings in the LCD, including 16:9, 4:3, 14:9, 1.85:1 and 2.35:1

A 90% "safety zone" for making sure your framing will be visible on all TVs

Film-style variable shutter angles from 1 to 360 degrees, which track automatically with the variable frame rates to always provide consistent motion blur

Syncro-Scan shutter in video mode, giving you nearly infinitely-settable shutter speeds from 1/24.0 to 1/250.0

Built-in optical neutral density filters, including ND .6, ND 1.2, and ND 1.8

SMPTE color bar generator

Cleaner/sharper images with a substantial reduction in aliasing

Elimination of the purple/orange moire that happens on all Canon DSLRs

A much more robust recording format (AVCCAM PH mode) which is more resilient and better than the h.264 on the DSLRs

Elimination of the fixed pattern noise and "vertical streaking"

Greatly improved rolling shutter performance

Ability to assign index points within clips, so you can mark a subsection of a clip and easily jump from spot to spot within that clip

Ability to mark clips "Good" or "No Good" at the press of a button, and that marker will show up in your NLE (depending, of course, on your NLE)

Ability to delete the last clip you just shot, at a button press

Ability to assign custom user names to clips as they get recorded, automatically

Ability to save and exchange "scene files" with other users, for easy matching between multiple cameras

Ability to take any PL-mount lens (not just a few limited telephoto lenses, or having to physically remove the mirror out of your DSLR)

Ability to take c-mount cinema lenses

Ability to take much larger batteries, including 6000mah batteries

Wireless infrared remote controller

Remote iris/focus/start/stop controller sockets

Can perform a manual black balance, with a dedicated physical iris

Fully articulated LCD panel (only the Canon 60D offers this, the others don't)

And, to top it all off, a three-year warranty

This list is from DVXUser.com, compiled by Barry Green. All is based upon Panasonic prototypes, subject to change and independent testing and actual production model delivery in December, 2010.

New Panasonic AF100

The soon to be delivered Panasonic AG-AF100 micro 4/3" large sensor HD camera debuted as a working model at IBC today. Finally, 35mm selective focus and wide field of view, in a small form factor with real video camera features. Here are some details from UrbanFox.TV Blog:

UrbanFox.TV Blog: New Panasonic AF100/AF100

And Barry Green at DVXUser.com as well as a European blog:

http://www.dvxuser.com/V6/showthread.php?t=222673

http://whatcaughtmyeye.blogspot.com/2010/09/panasonic-steals-ibc-show-for-me.html

The AF100 promises to offer Panasonic colorimetry, gamma options, variable frame rates up to 1080/60P, in addition to HD SDI and HDMI simultaneous outputs, orientable HD LCD display, plus ocular HD viewfinder, XLR audio inputs and a CMOS sensor that is 4x larger than a 2/3" video camera and very close to 35mm Academy frame size. Using lens mount adapters, it will accept 35mm SLR lenses and PL-mount motion picture lenses. AF100 is a real video camera without DSLR compromises, ie; not designed as a still camera with video as an afterthought, greatly reduces aliasing and CMOS skewing issues.

SSV will be adding this camera to our rental inventory as soon as it is available........stay tuned!

Best Practices for Shooting with the Letus Ultimate

Shooting with a 35mm DOF(Depth of Field) Adapter can yield amazing results, especially compared to the normal look of a 1/3" palmcorder, where everything in the frame is in focus. A 35mm DOF adapter allows focus to help tell the story, by highlighting the important parts in the frame through selective focus. Here are some tips for getting the most out of our Letus Ultimate 35mm DOF adapters:

The Letus Ultimate can be mounted to most any camera, either directly to the front of the built-in lens, or via a Letus Relay Lens for cameras that have detachable lenses. Here we'll focus on palmcorders with built-in zom lenses such as Panasonic HVX200, HPX170, Sony EX1, as well as many Canon and JVC models.

Once the Letus Ultimate is mounted onto the camera's stock lens, there is a lot of flexibility in frame size via the camera's built-in zoom lens. This allows you to choose between Full Frame 35mm(35mm still camera) frame size or Academy(motion picture) frame size, or anywhere in between or tighter. Frame size affects field of view, magnification of focal length and depth of field.

Our Ultimate's are available with Nikon, Canon and PL-Mount lens mounts, allowing for 35mm SLR or motion picture primes or zooms. It's important that the lens have manual iris and focus control, the more focus rotation the better. We offer a set of eight Nikon 35mm SLR prime lenses with Zacuto focus gears for use with our Zacuto follow focus control.

Once the video camera's zoom is set for the wanted frame size, focus on the ground glass in the Ultimate. It is best to tape the focus barrel down, although taping the zoom down as well will prohibit you from using the zoom to quickly alter focal length when needed vs. taking the time to change 35mm lenses when small frame adjustments are wanted.

Press the red button to power up the Ultimate and confirm power by seeing a green light and "99" on the speed display. Always keep the speed at maximum, 99. Do not turn off between takes. The Ultimate is powered by two AA batteries or external DC power.

Set the front focus of whatever 35mm lens is mounted to the Ultimate.

Back focus on the Ultimate is the large blue ring. Loosen both silver knobs on the blue ring and turn the ring in 1/4 or more rotations, not tiny increments, with the taking lens at infinity. Use an object at least 50' away for back focus. It is best to have the 35mm lens and camera's iris wide open for this procedure.

If possible, avoid shooting with the camera's stock lens wide open. F2.8 or f4.0 will result in a sharper, higher contrast image.

Use the 35mm taking lens f-stop to choose the wanted depth of field, not for exposure. Two stops from wide open is optimal for sharpness and contrast, but shooting wide open will result in the most shallow depth of field and is an aesthetic choice. Just know that shooting wide open will make even a static head shot a challenge for focus.

Actual image exposure should be done with the camera iris and/or internal camera ND filters(for outdoors). Try to keep the 35mm taking lenses at a constant iris in order to maintain depth of field consistency.

You will use 50mm and 85mm lenses for interview single head shots, primarily. The 85mm will have more shallow DOF due to its longer focal length.

We recommend using 17" or larger HD monitors for critical focus. Also red peaking, or pixel to pixel modes, if offered on the monitor. Large monitors are more likely to show ground glass grain and flicker issues as well as dust particles.

Try to avoid light pointing directly at taking lenses which can cause flare and contrast reduction. A matte box or flags are useful light control methods.

If the above steps are taken, you will have a good experience shooting with a 35mm DOF adapter. Do know that this tool has a learning curve. Check all footage carefully--focus is more difficult than you would think. While not as easy to shoot with as a stock zoom lens, the results will be more cinematic and natural looking, and is a good complement to shooting at 24 fps. Also, 35mm DOF adapters are a great way to separate you from your competition!

Best Practices for Tapeless Workflow

The concept of shooting without tape is still daunting to many. There is a comfort level having a pile of tapes at the end of the shoot day. While understandable, there are so many benefits to ready-to-edit clip-based files that getting past the tape mindset is worthwhile and have been highlighted on this blog previously(see "Going Tapeless").

Here I want to highlight best practices for shooting tapeless. The best approach, based upon years of experience recording onto on-board hard drives(nNovia, FireStore) and memory cards(P2 and SxS), is for the producer or director to bring two external USB or FireWire(FW800 is fastest) hard drives of 160Gb or more capacity to the shoot. SSV can provide the laptop computer with the appropriate file transfer and viewing software. Hard drives are available for rental as well.

That's pretty much it, assuming somebody on the crew is experienced with doing the data transfer. During the course of the shoot day, data can be transferred as each memory card is filled or all can be done at the end of the day during strike--assuming enough memory card capacity is available on-set in the latter example(data transfer could take over an hour, depending on total record time and format).

Some specific technical points worth knowing are: always write-protect the card before inserting it into a laptop slot or card reader, always have a clip viewer designed to playback the clips from the cards prior to data transfer and for playback from the external hard drives once the data transfer is completed. I recommend using software that does data verification during the transfer process, using two drives simultaneously, so that there is a digital clone of all the footage. During the data transfer, low-res Quicktime proxy files with time code display can be generated and uploaded to a server, put on a thumb drive, sent to an iPhone, etc. for fast, convenient dailies. Some popular software applications include P2 Viewer, P2CMS, ShotPut Pro, XDCAM Transfer, XDCAM Browser, Final Cut Log and Transfer and ProxyMill.

Here are the downloads you’ll need for working with P2:

http://www.panasonic.com/business/provideo/support/software.asp

Now, here are the downloads you’ll need if you’re working with SxS cards:

http://pro.sony.com/bbsc/ssr/micro-xdcam/resource.downloads.bbsccms-assets-micro-xdcam-downloads-XDCAMSoftwareDownload.shtml#apps

Your laptop should now be able to recognize your P2 card/SxS card once it’s connected and you have a way to play back the files you’ve created.

Transferring the data to the hard drive is the next step. Can you use the Finder, Explorer or just drag and drop things? Yes. But, look, just go to Imagine Products and buy Shotput Pro. It’s $99, it verifies the data, allows you to copy to multiple hard drives simultaneously, automates the whole process and is absolutely indispensable.

If the above best practices are adhered to, tapeless recording is pretty painless--especially when compared to time consuming real time ingest into a non-linear edit system via an expensive HD VTR. Almost all new professional cameras going forward are tapeless, so it makes sense to embrace the work flow and its benefits--and your editor will thank you for it.

P2 Hits Its Stride in 2009

Here's a good article on the advancements of P2 tapeless recording technology and workflow, as well as the new studio quality AVC-Intra 100 format:

P2 Hits Its Stride in 2009

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SSV offers two P2 cameras, the Panasonic HPX170 DVCPRO HD 1/3" P2 camcorder and the HPX2700 DVCPRO HD/AVC-Intra 2/3" P2 Varicam camera. We are always happy to help bring our clients up to speed on the reliability and convenience of P2 file based recording.

Thank you to "Millimeter/Digital Content Producer" and author Helmut Kobler who I enjoyed meeting at Varicamp in November.

Why Shoot With A Full Size, 2/3" Camera?

These days all the buzz is about new cameras such as the RED ONE or video DSLR 35mm still/video cameras and a myriad of palmcorders, which get better and better. It seems that the old faithful, 2/3" 3-CCD, ENG shoulder mount camera is just not getting much attention anymore.

There is no doubt that some of these new cameras are breaking new ground due to their large CMOS sensors, shallow depth of field, small form factors and low price. We know that no one camera can be the best choice for every kind of shoot, that's why SSV offers 1/3", 1/2" and 2/3" cameras and Letus Ultimate 35mm Cine adapters to go with all of them.

It occurs to us that there are many young filmmakers who may never have shot with 2/3" CCD cameras. With that in mind, here are some reasons why this type of camera can still be advantageous on many productions:

1. 2/3" CCD's are more light sensitive, have lower noise, shallower depth of field, can resolve small detail better, offer more latitude and have more image control parameters than most small sensor cameras.

2. 2/3" ENG form factor cameras are made for hand-held work, balancing properly on the shoulder and the larger mass makes tripod use easier. The viewfinders are usually superior as well.

3. 2/3" cameras have a wide variety of lenses available vs. smaller sensor cameras, typically with longer focal lengths and higher zoom ratios.

4. 2/3" tapeless cameras often have more recording capacity than palmcorders and video DSLR cameras, and no 5-12 minute record limit per take, unlike the latter.

5. 2/3" cameras are very rugged and durable, the technology is proven and the companies that offer them have many years of experience building them, offering parts and professional service infrastructure to support them worldwide.

6. 2/3" cameras feature professional level recording formats, tape or tapeless, they will offer proven work flows, less compression, higher bit rates, often better color space and more post production flexibility for grading and color correction.

7. 2/3" cameras tend to have better ergonomics with controls that are easier to see and get at.

8. 2/3" cameras often have better and more audio features and many have slots that can accept two-channel wireless mic. receivers internally.

9. 2/3" cameras are a lot easier to shoot with when it comes to depth of field and ergonomics vs. large sensor cameras, which have very shallow depth of field whether wanted or not. One ENG zoom lens often covers every shot needed with smooth, internal servo motors for iris and zoom functions.

10. Most professional crews are familiar with 2/3" cameras and they can be rented in most parts of the world.

11. Due to the light sensitivity and contrast handling that the best 2/3" cameras offer(about 10 f-stops), time and money can be saved by not having to control contrast via lighting and grip equipment and more crew vs. a small sensor palmcorder(about 7 f-stops at best).

The large sensor cameras are new to the scene and are not necessarily designed with video production in mind, having compromises and limitations, such as poor ergonomics and monitoring, constant firmware upgrades addressing certain issues while creating new ones, overheating, need for rebooting in the middle of a shoot, complex workflow, lack of in-camera control of the image, lack of internal image processing, short record time, and limited audio features. They aren't conducive to professional hand held work, very difficult to keep moving action in focus, low bit rate, highly compressed recording codecs, CMOS artifacts such as skewing with fast pans or motion, due to rolling shutter, moire, color fringing and aliasing on edges due to filtration of the single sensor, and IR contamination. Typically, multiple lenses are required to do the same thing a single 2/3" ENG zoom lens can.

Things are moving quickly in the realm of HD camera technology, but sometimes the tried and true approach is the best approach--productions are challenging enough without the camera being an additional risk factor.

Panasonic HPX2700 P2 Varicam at SSV

The new Panasonic HPX2700 P2 Varicam HD camera is now renting at SSV! This camera is the true successor of the original, highly popular Varicam. What we noticed is that our HDX900 was renting with FireStore FS-100 on-board hard drives most of the time. So, our clients seemed to prefer tapeless, edit ready, file based recording vs. having to rent an expensive studio VTR or paying by the hour to transfer footage in real time.

We also have seen our Panasonic HPX170 DVCPRO HD P2 Camcorder become very popular since we first brought it to the SF Bay Area in late September of 2008. The P2 memory card format has proven to be a very reliable acquisition format with a proven, convenient work flow.

So, that got us to thinking, "what if we offered a 2/3" high end CCD camera that surpassed the great images of the HDX900, but with in-board, solid state memory, file based recording? What if this camera could record for 6 1/2 hours on five 32Gb P2 cards? What if, in addition to DVCPRO HD, it also offered the option to record on the new AVC-Intra 100 I-Frame, 10-bit, 4:2:2, full raster codec?" This is quality that has never been available previously in a one-piece camcorder, with high ASA 640 sensitivity, low noise and a latitude of 10 f-stops, plus the well known Film-Rec gamma found in the original Varicam, except now at up to 600% dynamic range as well as a three step Dynamic Range Stretch(DRS) feature for very high contrast scenes, and the famous variable frame rates of 1-60 fps in one frame increments for off-speed specialty shots. All this, with the same day rate as our HDX900/FireStore.

The HPX2700, in combination with our Letus Ultimate and B4 Pro 2/3" relay lens using 35mm SLR and PL-mount motion picture lenses, provides a filmic, shallow depth of field when wanted. With AVC Intra 100 being a 10-bit, full sample, low compression codec, you can still apply lots of grading and color correction without worrying about noise and banding that would become evident with 8-bit, low bit rate, Long GOP, 4:2:0 codecs found in low cost cameras, be they prosumer palmcorders or video DSLR 35mm cameras, which record at 18-25Mbps vs. 100Mbps for DVCPRO HD or AVC Intra 100.

Panasonic P2 cameras have been proven by news organizations for years, and this reliability and ease of use has transferred to all types of productions. In-board, long record time, solid state recording, with unsurpassed quality and contrast ratio handling for a one-piece camera, makes for a safe, efficient means of field acquisition that pays dividends to the bottom line for most projects. Given the cost of a typical production, why compromise on the camera and recording format?

What's In A FIlm Look?

Many of us have been striving to capture a "film look" with digital video cameras. We know that filmic lighting, widescreen framing, 24 frames per second and film gammas help get us there. However, there is one ingredient missing, be it with 1/3"(top image) or even 2/3"(middle image) CCD video cameras, and that's the shallow depth of field that 35mm cine cameras provide(bottom image).

SSV offers an affordable, high quality means to capture the shallow depth of field that video cameras with normal lenses cannot--the Letus Ultimate 35mm Cine adapter. The Letus Ultimate enables 35mm SLR(Nikon, Canon) or Cine(PL mount) lenses to be used with palmcorders or full size 2/3" cameras, yielding the shallow, organic look of 35mm.

The Letus Ultimate 35mm Cine adapter provides the missing link to the elusive film look. Finally, we can utilize shallow depth of field, even in small interior settings, that helps us draw attention to the foreground talent or product while making the background complimentary, instead of a distraction. The Letus Ultimate, when paired with inexpensive 35mm SLR lenses, is a cost effective way to raise the production value of any project, providing for a cinematic look that differentiates your footage from the competiton's typical video imagery.

Going Tapeless

Most of us video types who've been around for awhile are kind of stuck on recording on tape. However, even us oldtimers have to admit that file based recording is upon us. Since 2006, SSV has been offering on-board hard drive recording in parallel with tape.

Our DVCAM cameras have been mated to nNovia Quick Capture on-board hard drive, recording Quicktime .mov files or .avi files. We also offer the FireStore FS-100 DVCPRO 50 or HD hard drives, recording in Quicktime and P2 file modes. We also offer P2 solid state recording, for the ultimate in reliability and convenience. A single 16Gb P2 card can record 43 minutes of 720/24P Native footage.

Our Sony and Panasonic cameras can take advantage of these on-board hard drive file base recording solutions, which yields many advantages, such as; back up recording, long recording capacity(5.5 hours in DVCAM, 6.5 hours in 720/24P Native DVCPRO HD), very fast file transfer to hard drives and non-linear editing systems, thumbnail fast access to multiple clips, no need for an expensive tape deck that requires realtime ingest vs. file transfer in a 1/4 of the time.

These file base recording options yield time and money savings over tape based capture and ingest. Files can be transferred to a client's hard drive in the time it takes to label the days tapes. The clips are easy to log and edit ready.

It is understandable that many of us are most comfortable with tape based acquisition, but after taking advantage of file based acquisition and ingest, it truly is hard to go back to the time consuming, costly workflow of tape ingest. We invite you to try our hard drive or P2 recording solutions on your next project, we think you'll be happy you did.