I didn’t expect Arriflex to jump on the square-box-camera wagon after the Amira. But today’s announcement of the Alexa “mini” is just that. All that you would expect from Arri in a refined little package for less money.
It really is curious what RED has hinted at with the peak at their new “Weapon“. Perhaps it is the dragon sensor in a more refined body than the EPIC. Maybe RED truly is the innovator they claim to be with ARRI making the Alexa fit into the EPIC mold (body style at least).
Also the C300 mk2 has the internet a buzz as well. Will Canon bring a competitor to the Sony Fs7 or just more of the same and tell the customers it is better? We will see if they can keep it under wraps until NAB or just start announcing early.
So I had the opportunity to rent and use the Sony Fs7 last week. I expected to like this camera, had one on order but postponed until some more work comes along. This outing was straight forward vox pop style interviews. I encouraged the producer to go with it so they could easily cut into the 4K image without a loss in resolution.
The camera really is well laid out and easy to jump into using (for someone that has used dozens of cameras). The number one thing that myself and any other user is going to need to spend some time with is the the CINE settings. Shooting in Slog with LUTs can be confusing and an extra step in the process for post. Make sure that you and your post pipeline are familiar with this and do some testing. For this project we went with a fairly flat “Alexa” style LUT and baked it in by selecting that the LUT be applied to internal recording.
If you are planning on filming long interviews I would recommend that you get the 128 GB cards. Shooting at 4K chewed through the 3 64GB card I had in no time or 32 minutes each. If you are downloading cards on set the reader is USB3 so make sure you bring a computer with this connection speed or you’ll be waiting a while.
I was using the camera with the Metabones Ultra lens adaptor. This worked great with my Canon Full frame glass. I really appreciated having the built in ND filters on the camera rather than messing with screw in filters on the lens.
I didn’t get to take advantage of the slow motion features too much on this project, but did run through it in my prep for the shoot. Like the Fs700 it has the capability to do slow motion in 1080. But unlike the Fs700 this camera can run at 180 FPS continuously.
I look forward to taking the camera out again on the next shoot.
Magic Lantern is not new. It is software, or rather a firmware hack for your Canon DSLR. So up until now I had resisted loading it on the 5DmkIII because it could void the warranty, cause the camera to act up, or possibly brick it. Why now? Why not? The features have really come along way since I tried loading it on the Canon T2i years ago. It has an intervalometer in camera. All kinds of waveform monitoring and peaking to help with exposure and focus if you’re not using an external monitor. It also allows you to under crank and over crank the fps. This is cool if you want that time lapse look, but record it straight to video. Of course it has the much hyped RAW feature. I tried this out on a clip and it was cool, seemed to work just great and I don’t doubt the added resolution, but is it really worth it? About 12 minutes of recording time on a 32 GB CF card and then the post on it was a pain. Conversion using some hard to find utility. Sort of reminds me of the early days of working with RED footage. Some useful tools and options for creative filmmaking and photography that Canon didn’t think you would need. Good luck!
Every once in a while you see a film and it strikes you as being something exceptional. Maybe the story, the cast, etc. Recently I viewed “Ida” on Netflix having read about it in American Cinematographer some time ago and obviously didn’t see it in the cinema. What I really responded to in the film was the pure visual storytelling. The Cinematography is excellent. They came up with a way of composing many of the frames with extra room above the characters which is a bold move. They framed the movie in 1.33:1 which gives it a classic pre-50s feel along with being in black + white. Overall I think it is the simplicity of the film that was interesting to me. See the film and check out the details and analysis of the cinematography on the ASC website.
So I finally embrace the LUT and want to try the cool LUT I just found here but the Speedgrade manual and Adobe help aren’t exactly helpful. What is a LUT? This Wiki will explain it.
After playing around in various forms, a restart and lots of worthless Google searches I stumbled on the solution by accident. In the lower left corner, click on the + icon to open a menu and select FILM and choose LUT.
This will allow you to select the LUT you have downloaded, is available as a default or something you have created in another application.
If you are looking to try out a LUT without paying, try out the Instagram looks I found here.
I get a lot of questions about filters from students and other professionals. In the early days of shooting digital with a Sony PD150 I used a 1/4 BPM (black pro mist) to take the digital edge off of the video. Here is a comprehensive video testing out the current offerings of Tiffen in a formal test. Check it out.
Tiffen 4K Diffusion Test – 1080P from The Tiffen Company on Vimeo.
Happy New Year!
I came across this video this morning. I had thought of making a how to video for the C47, but never did. Well now I there is this, though we could have used a demonstration too.
What is a C47 & what’s it for? Filmmaking Tutorial from Darren Levine on Vimeo.
It has been a busy and productive year for Little Tree Films and myself. We worked on some fun projects for Shriners Hospitals for Children – Twin Cities and shot a couple of weddings and did a spot for Edgewood. I worked on a project that took me to Pittsburgh and Phoenix in the same week. I also shot for Victory motorcycles in the legendary Bonneville Salt Flats. I did some more work for Best Buy with my friends at 1 Light Films. I finished out the year filming a performance of the Nutcracker done in Burlesque.
Next year we hope to expand the business and work on more fantastic projects. Hopefully we’ll see a HELIX and Sony Fs7 join the stable of gear. And we look forward to the cool toys that haven’t come out yet. See you next year.
So we just finished up a mini doc about my perspective on film. The catalyst for the project was to create a 2 minute doc about something you are passionate about to win a Sony FS7. It turned out really well. Please check it out.
I’m sure I’ll post more about the Helix soon. The Helix is a stabilizer designed and built by Letus. They came to be during the 35mm adaptor fad. They made a quality product and have continued to make accessories for the changing market. I first saw a clip about the Helix at NAB and thought the design idea was cool. They center the lens for 360 degree rotation. It has a flat base so you can set it down. It is designed to be a camera stabilizer not a helicopter gyro. Anyway, I got to try one out today at Cinequipt. Just a couple of minutes and my first impression is sold. The Ronin is great, but much heavier, difficult to hold for long periods and just not as refined. I’ll be putting in an order soon.