Category Archives: Cameras

Imagine Products intros PrimeTranscoder

Imagine Products, creator of software utilities for backing up, viewing, sharing, transcoding and archiving video assets, has released PrimeTranscoder, a video transcoding app for Mac users. PrimeTranscoder offers GPU acceleration and a simple interface.

PrimeTranscoder is a transcoding application that allows users to convert multiple files to different formats at once. It recognizes and converts more than 20 different HD, 4K and RAW camera formats, including Arri, Blackmagic, Canon, GoPro, Panasonic, Red, Sony and more. While that’s happening, it can also create editable or sharable files. By doing all those things simultaneously, the company says, PrimeTranscoder makes for a more efficient workflow.

PrimeTranscoder’s user interface — which Imagine Products has designed to look more like its other applications, such as PreRoll Post for LTFS archiving and ShotPut Pro for offloading — is simple to use and offers both standard and user-defined presets. PrimeTranscoder includes standard presets for ProRes 4444, H.264, PreRoll Post, ProRes 422, iPhone, and iPad. Users simply select the preset, drop the media into Prime, and hit start.

Meanwhile, users can define and save their own preset features, such as watermarking, color correction and burnt-in timecode, along with features for merging clips. It’s also possible to include audio in transcodes regardless of the source. Users can create watch folders with automatic transcoding ability, which makes it possible to offload camera cards via ShotPut Pro, transcode the files, and send them to the editor in one seamless workflow — all while Prime creates informational logs of output activities.

PrimeTranscoder is especially helpful for creating sharable H.264 clips with customers or creating edit-ready ProRes 4444 and ProRes 422 files for an editing system. The PreRoll Post preset makes it easy to create proxies in preparation for LTFS archiving to LTO tapes. PrimeTranscoder can also communicate with, and be used by, external applications.

PrimeTranscoder is available for immediate download. The cost is $699.

 

Review: Blackmagic’s Ursa Mini 4.6K camera

By David Hurd

I have already tested two of Blackmagic’s cameras, and I found both of them to be a great value for the money. This left me with great expectations for the Ursa Mini 4.6K camera.

The Ursa Mini 4.6K feels like a very solid, well-built camera. I spent 15 years on broadcast sports trucks, and this camera has that rock-solid feel to it, and for only a fraction of the price.

This camera has had some software updates since it was first released. The magenta cast issues with the sensor, which required additional color correction in the first run of cameras is gone, and everything looks great in the camera that I’ve been testing. Even without a global shutter, the rolling shutter on the camera looks great compared to DSLRs and delivers a usable shutter and smooth motion when I tweaked it in FCPX.

David with the Ursa Mini.

I used the flip-out screen outdoors in fairly bright sunlight in a park with some tree cover, and it worked fine for framing and focus. Since you need the screen to control the camera settings, you might want to consider a sun hood if you are in extremely bright locations. This will make the screen non-collapsible, but you really do need to see what you’re doing.

Blackmagic sent me the Ursa Mini 4.6K, EVF (Electric View Finder), along with the follow focus and shoulder pad kits. I used my set of Rokinon prime lenses and my Petroff matte box, rods and follow focus. The Ursa Mini 4.6K, with its solid magnesium body, is manageable for even us older guys. I like the weight and the feel of the camera without the matte box and follow focus for extended hand-held shoots. If I’m using a tripod or a slider, it’s nice to have a matte box and follow focus.

There’s really a lot of stuff going on with this little camera. The shoulder mount works better on tripods with small camera plates. My Miller plate digs into my shoulder a bit, but it’s easy to fix by simply unscrewing my tripod plate while doing handheld.

The rotatable side handle is really nicely done, and it’s easy to adjust it to fit your body. If you’re used to making your own rig, with parts hanging everywhere, the side handle and shoulder pad will give you a welcome feeling of tight control. It also has iris control and LANC control for stop/start.

On the backside of the LCD screen there are several handy controls. In addition to Record, Iris, Focus, and Playback controls, there are two programmable function buttons. These come in very handy and are easy to reach when the LCD screen is closed and you’re using the viewfinder.

The electronic viewfinder (EVF) on the Ursa Mini 4.6K is a compact wonder. It’s small, yet easy to adjust for comfortable viewing. The HD display not only looks great but has a zoom and programmable function buttons on the top the unit, which come in very handy. I like to use the zoom and the peak buttons to check focus with my left hand, while my right hand is on the handle grip. It’s really easy to do without looking.

With my old BMD MFT Cinema camera, a T1.5 Rokinon lens and a Meta-bones speed adapter, I could practically shoot in the dark at 1600 ISO. The Ursa Mini 4.6K is not a great low-light camera; its native 800 ISO can be pushed to 1600 without too much noise in the image, but it really likes stop or two of light.

The Ursa Mini 4.6K has two XLR inputs mounted directly behind the handle on the top of the camera. These two channels of audio can use the onboard mics for scratch audio, or you can plug a microphone into the XLRs.

The nice thing about this camera is that it has phantom power to power your shotgun mics. I recorded a violin performance outdoors with a Sennheiser 416 shotgun mic plugged right into the camera. I used a blimp and dead cat to control the wind noise, and ended up with amazing audio. This camera has the best audio of any BMD camera that I’ve tested.

The controls for the audio levels are under the LCD monitor panel, which makes it kind of hard to adjust when you’re using the viewfinder and the LCD panel is closed, but since the menu, power buttons and media slots are under there as well, you get used to it.

Media Cards
So let’s talk a bit about media. Since my other two Blackmagic cameras use SSD media, I have a HighPoint Rocketstor 5212 Thunderbolt drive dock already installed on my Mac.

After doing some research, I decided to use the 256GB Lexar 3500x CFast cards and their Workflow CR2 Thunderbolt/USB3.0 CFast card reader. They are very reliable cards with a good reputation, which is everything when you’re talking data storage. The upside to these cards is that they are located safely inside the camera and are very small in size. The downside is how often you would have to change them when shooting full-blown 4.6K footage.

I shoot a lot of 4K ProRes HQ footage, which doesn’t create too large of a file; one 256GB card will record about 26 minutes of footage. If you have a DIT on set, it’s no problem, but if you’re a one-man band, you will need a bunch of cards. I’m sure the cards will continue to come down in price over time, making them more attractive cost wise.

There is another solution however, and it’s called the Atoch C2S. It mounts on a short arm and has two slots for SSDs. It has two short cables, which plug into your two CFast slots, and a power cable, which plugs into the base of your battery mount at the back of your camera.

Summing Up
The Ursa Mini 4.6K is as solid as a rock, and it really feels like a serious camera. There is a lot of information available on the LCD monitor, and the touchscreen feature let’s you change settings via touch rather than scrolling through a menu. It’s an outstanding value for the money.


David Hurd is a 40-year industry veteran. He owns David Hurd Productions in Tampa, Florida.

Dell 6.15

Sony’s offerings at NAB

By Daniel Rodriguez

Sony has always been a company that prioritizes and implements the requests of the customer. They are constantly innovation throughout all aspects of production — from initial capture to display. At NAB 2017, Sony’s goal was to further expand benchmarks the company has made in the past few months.

To reflect its focus as a company, Sony’s NAB booth was focused on four areas: image capture, media solutions, IP Live and HDR (High Dynamic Range). Sony’s focus was to demonstrate its ability to anticipate for future demands in capture and distribution while introducing firmware updates to many of their existing products to complement these future demands.

Cameras
Since Sony provides customers and clients with a path from capture to delivery, it’s natural to start with what’s new for imaging. Having already tackled the prosumer market with its introduction of the a7sii, a7rii, FS5 and FS7ii, and firmly established its presence in the cinema camera line with the Sony F5, F55 and F65, it’s natural that Sony’s immediate steps weren’t to follow up on these models so soon, but rather introduce models that fit more specific needs and situations.

The newest Sony camera introduced at NAB was the UMC-S3CA. Sporting the extremely popular sensor from the a7sii, the UMC-S3CA is a 4K interchangeable lens E mount camera that is much smaller than its sensor sibling. Its Genlock ability allows any user to monitor, operate and sync many at a time, something extremely promising for emerging media like VR and 360 video. It boasts an incredible ISO range from 100-409,600 and recording internal 4K UHD recording at 23.98p, 25fps and 29.97p in 100Mbps and 60Mbps modes. The size of this particularly small camera is promising for those who love the a7sii but want to employ it in more specific cases, such as crash cams, drones, cranes and sliders.

To complement its current camera line, Sony has released an updated version of their electronic viewfinder DVF-EL100 —the DVF-EL200 (pictured)— which also boasts a full 1920x1080p resolution image and is about twice as bright as the previous model. Much like updated versions of Sony’s cameras, this monitor’s ergonomics are attributed to the vast input from users of the previous model, something that the company prides itself on. (Our main image show the F55 with the DVF-EL200 viewfinder.)

Just because Sony is introducing new products doesn’t mean that it has forgotten about older products, especially those that are part of its camera lines. Prosumer models, like the Sony PXW-Z150 and Sony PXW-FS5, to professional cinema cameras, such as the Sony PMW-F5 and PMW-F55, are all receiving firmware updates coming in July 2017.

The most notable firmware update of the Z150 will be its ability to capture images in HLG (Hybrid Log Gamma) to support easier HDR capture and workflow. The FS5 will also receive the ability to capture in HLG, in addition to the ability to change the native ISO from 2000 to 3200 when shooting in SLog2 or SLog3 and 120fps capabilities at 1080p full HD. While many consider the F65 to be Sony’s flagship camera, some consider the F55 to be the more industry friendly of Sony’s cinema camera line, and Sony backs that up by increasing it’s high frame rate capture in a new firmware update. This new firmware update will allow the F55 to record in 72, 75, 90, 96 and 100fps in 4K RAW and in the company’s new compressed Extended Original Camera Negative (X-OCN) format.

X-OCN
Sony’s new X-OCN codec continues to be a highlight of the company’s developments as it boasts an incredible 16-bit bit-depth despite it being compressed, and it’s virtually indistinguishable from Sony’s own RAW format. Due to its compression, it boasts file sizes that are equivalent to 50 percent less than 2K 4:3 Arriraw and 4K ProRes 4444 XQ and 30 percent less than F55 RAW. It’s considered the most optimal and suitable format for HDR content capturing. With cameras like the F5, F55 and its smaller alternatives, like the FS7 and FS7II allowing RAW recording, Sony is offering a nearly indistinguishable alternative to cut down on storage space as well as allow more recording time on set.

Speed and Storage
As Sony continues to increase its support for HDR and larger resolutions like 8K, it’s easy to consider the emergence of X-OCN as an introduction of what to expect from Sony in the future.

Despite the introduction of X-OCN being the company’s answer to large file sizes from shooting RAW, Sony still maintain a firm understanding of the need for storage and the read/write speeds that come with such innovations. As part of such innovations, Sony has introduced the AXS-AR1 AXS memory and SXS Thunderbolt card reader. Using a Thunderbolt 2 connector, which can be daisy-chained since the reader has two inputs, the reader has a theoretical transfer speed of approximately 9.6Gbps, or 1200MBps. Supporting SxS and Sony’s new AXS cards, if one were to download an hour’s worth of true 4K footage at 24fps, shot in X-OCN, it would only take about 2.5 minutes to complete the transfer.

To complement these leaps in storage space and read/write speeds, Sony’s Optical Disc Archive Generation 2 is designed as an optic disc-based storage media with expandable robotic libraries called PetaSites, which through the use of 3.3TB Optical Disc Archive Cartridges guarantee a staggering 100-year shelf life. Unlike LTOs, which are generally only used a handful of times for storing and retrieving, Sony’s optical discs can be quickly and randomly accessed as needed.

HDR
HDR continues to gain traction in the world of broadcast and cinema. From capture to monitoring, the introduction of HDR has spurred many companies to implement new ways to create, monitor, display and distribute HDR content. As mentioned earlier, Sony is implementing firmware updates in many of its cameras to allow internal HLG, or Instant HDR, capture without the need for color grading, as well as compressed X-OCN RAW recording to allow more complex HDR grading to be possible without the massive amounts of data that uncompressed RAW takes up.

HDR gamma displays can now be monitored on screens like the Sony FS5’s, as well as higher-end displays such as their BVM E171, BVM X300/2 and PVM X550.

IP Live
What stood out about Sony’s mission with HDR is to further implement its use in realtime, non-fiction content, and broadcasts like sporting events through IP Live. The goal is to offer instantaneous conversions to not only output media in 4K HDR and SDR but also offer full HD HDR and SDR at the same time. With its SR Live System Sony hopes to implement updates in their camera lines with HLG to provide instant HDR which can be processed through its HDRC-4000 converters. As the company’s business model has stated Sony’s goal is to offer full support throughout the production process, which has led to the introduction of XDCAM Air, which will be an ENG-based cloud service that addresses the growing need for speed to air. XDCAM Air will launch in June 2017.

Managing Files
To round out its production through delivery goals, Sony continues with Media Backbone Navigator X, which is designed to be an online content storage and management solution to ease the work between capture and delivery. It accepts nearly any file type and allows multiple users to easily search for keywords and even phrases spoken in videos while being able to stream in realtime speeds.

Media Backbone Navigator X is designed for productions that create an environment of constant back and forth and will eliminate any excessive deliberation when figuring out storage and distribution of materials.

Sony’s goal at NAB wasn’t to shock or awe but rather to build on an established foundation for current and new clients and customers who are readying for an ever-changing production environment. For Sony, this year’s NAB could be considered preparation for the “upcoming storm” as firmware updates roll out more support for promising formats like HDR.


Daniel Rodriquez is a New York-based cinematographer, photographer and director. Follow him on Instragram: https://www.instagram.com/realdanrodriguez.


JVC GY-LS300CH camera offering 4K 4:2:2 recording, 60p output

JVC has announced version 4.0 of the firmware for its GY-LS300CH 4KCAM Super 35 handheld camcorder. The new firmware increases color resolution to 4:2:2 (8-bit) for 4K recording at 24/25/30p onboard to SDXC media cards. In addition, the IP remote function now allows remote control and image viewing in 4K. When using 4K 4:2:2 recording mode, the video output from the HDMI/SDI terminals is HD.

The GY-LS300CH also now has the ability to output Ultra HD (3840 x 2160) video at 60/50p via its HDMI 2.0b port. Through JVC’s partnership with Atomos, the GY-LS300CH integrates with the new Ninja Inferno and Shogun Inferno monitor recorders, triggering recording from the camera’s start/stop operation. Plus, when the camera is set to J-Log1 gamma recording mode, the Atomos units will record the HDR footage and display it on their integrated, 7-inch monitors.

“The upgrades included in our Version 4.0 firmware provide performance enhancements for high raster recording and IP remote capability in 4K, adding even more content creation flexibility to the GY-LS300CH,” says Craig Yanagi, product marketing manager at JVC. “Seamless integration with the new Ninja Inferno will help deliver 60p to our customers and allow them to produce outstanding footage for a variety of 4K and UHD productions.”

Designed for cinematographers, documentarians and broadcast production departments, the GY-LS300CH features JVC’s 4K Super 35 CMOS sensor and a Micro Four Thirds (MFT) lens mount. With its “Variable Scan Mapping” technology, the GY-LS300CH adjusts the sensor to provide native support for MFT, PL, EF and other lenses, which connect to the camera via third-party adapters. Other features include Prime Zoom, which allows shooters using fixed-focal (prime) lenses to zoom in and out without loss of resolution or depth, and a built-in HD streaming engine with Wi-Fi and 4G LTE connectivity for live HD transmission directly to hardware decoders as well as JVCVideocloud, Facebook Live and other CDNs.

The Version 4.0 firmware upgrade is free of charge for all current GY-LS300CH owners and will be available in late May.


Sony intros extended-life SSDs for 4K or higher-bitrate recording 

Sony is expanding its media lineup with the introduction of two new G Series professional solid-state drives in 960GB (SV-GS96) and 480GB (SV-GS48) capacities. Sony says that these SSDs were designed to meet the growing need for external video recording devices docked to camcorders or high-performance DSLRs.

The new SSDs are an option for respective video recorders, offering videographers stable high-speed capabilities, a sense of security and lower cost of ownership due to their longer life. Using Sony’s Error Correction Code technology, the 960GB G Series SSD achieves up to 2400TBW (Terabytes Written), while the 460GB drive can reach 1200TBW, resulting in less frequent replacement and increased ROI. 2400TBW translates to about 10 years of use for the SV-GS96, if data is fully written to the drive an average of five times per week.

According to Sony, the drives are also designed for ultra-fast, stable data writing. Sony G Series SSDs feature built-in technology preventing sudden speed decreases, while ensuring stable recording of high-bitrate 4K video without frame dropping. For example, used with an Atomos Shogun Inferno, G Series SSDs are able to record video at 4K 60p (ProRes 422 HQ) mode stably.

When paired with the necessary connection cables, the new G Series drives can be effortlessly removed from a recorder and connected to a computer for file downloading, making editing easier and faster with read speeds up to 550MB/s.

G Series SSDs also offer data protection technology that keeps content secure and intact, even if a sudden power failure occurs. To add to the drive’s stability, it features a durable connector which withstands extreme repeated insertion and removal up to 3,000 times — or six times more tolerance than standard SATA connectors — even in harsh conditions.

Sony’s SSD G Series is expected to be available May 2017 at the suggested retail prices of $539 for SV-GS96 and $287 for SV-GS48.


DP John Kelleran shoots Hotel Impossible

Director of photography John Kelleran shot season eight of the Travel Channel’s Hotel Impossible, a reality show in which struggling hotels receive an extensive makeover by veteran hotel operator and hospitality expert Anthony Melchiorri and team.

Kelleran, who has more than two decades experience shooting reality/documentary projects, called on Panasonic VariCam LT 4K cinema camcorders for this series.

eWorking for New York production company Atlas Media, Kelleran shot a dozen Hotel Impossible hour-long episodes in locations that include Palm Springs, Fire Island, Capes May, Cape Hatteras, Sandusky, Ohio, and Albany, New York. The production, which began last April and wrapped in December 2016, spent five days in each location.

Kelleran liked the VariCam LT’s dual native ISOs of 800/5000. “I tested ISO5000 by shooting in my own basement at night, and had my son illuminated only by a lighter and whatever light was coming through the small basement window, one foot candle at best. The footage showed spectacular light on the boy.”

Kelleran regularly deployed ISO5000 on each episode. “The crux of the show is chasing out problems in dark corners and corridors, which we were able to do like never before. The LT’s extreme low light handling allowed us to work in dark rooms with only motivated light sources like lamps and windows, and absolutely keep the honesty of the narrative.”

Atlas Media is handling the edit, using Avid Media Composer. “We gave post such a solid image that they had to spend very little time or money on color correction, but could rather devote resources to graphics, sound design and more,” concludes Kelleran.


Review: GoPro’s Karma Grip and Quik Key

By Brady Betzel

There has been a flood of GoPro-compatible accessories introduced over the last several years, with few having as much impact as handheld stabilizers. Stabilizers have revolutionized videography (more specifically GoPro videography) and they are becoming extremely compact and very reasonably priced.

A while ago, I reviewed a GoPro Hero 3- and 4-compatible handheld stabilizer from Polaroid, which was good but had a few kinks to work out, like a somewhat clumsy way of mounting your camera.

Over the last year, GoPro has ventured into the drone market with the Karma Drone where it unfortunately fell out of grace — it was recalled because of a battery latch issue — but has recently returned to the market.

When I first got my hands on the Karma Drone (the initial release), I immediately saw the benefit of buying GoPro’s drone. Along with the GoPro Karma Drone came the Karma Grip, a handheld stabilizer for the newly released Hero 5 action camera. It is really mind blowing to be flying a drone one minute and seconds later remove the Karma Grip from the Karma Drone and then be creating beautifully smooth shots. Handheld stabilizers like the GoPro Karma Grip have really helped shooters to create more cinematically styled footage at a relatively low cost.

When GoPro sent me the Karma Grip to borrow for a few weeks, I was really excited. I received the Karma Grip between the time they recalled the Karma Drone and when they subsequently re-released it. In addition to the Karma Grip they sent me the Quik Key, a mobile microSD card reader.

In this review I’m going to share my experience with the Karma Grip as well as touch on the Quik Key and why it’s a phenomenal accessory if you want to quickly upload photos from your GoPro action cam.

Jumping In
When testing the Karma Grip I used my GoPro Hero 5 Black Edition, which is important to note because the Hero 5 has a different case build than previous GoPro models. You’ll need to purchase a different harness if you have a Hero 4. Nonetheless, I love the Hero 5. While the Hero 4 and Hero 5 have similar camera sensors, they have some major differences. First, the Hero 5 has some really sweet voice control. I’m not a huge Siri user, so I was initially skeptical when GoPro tried to sell me on the voice control. To my surprise I love it, especially when paired with the Remo waterproof voice-activated remote. To not be a total GoPro fanboy, I will avoid reviewing the Remo for now but it’s something that I really love.

The Hero 5 has a built-in waterproof housing (unlike previous versions that needed a separate waterproof housing), voice activation, easy-to-use touch screen menu system and many other features. What I’m getting at is that the Karma Grip comes out of the box to fit the Hero 5, but you can purchase the Hero 4 Harness for an additional $29.99. The Session mount will be released later in the summer.

What makes the GoPro Karma Grip different from other handheld stabilizers, in my opinion, is its build quality, ease of use and GoPro-focused mounting options. Immediately when opening the Karma Grip box you get four key components: the removable grip handle ($99.99), mounting ring ($29.99) and stabilizer ($249.99) with the Hero 5 harness attached ($29.99). In addition, it all comes in a form-fitted case. The case is sturdy but kind of reminds me of a trombone case; it does the job but is a little unwieldy. When you buy the Karma Grip as a set it retails for $299.99, which is a little pricey, but in my opinion completely worth it — especially if you plan to buy the Karma drone because you can purchase the drone separately.

If you know you are going to buy the Karma Drone, you should probably just go ahead and buy the whole drone package now ($1099.99 Karma Drone with the Grip and Hero 5, $799.99 Karma Drone with the Grip). If you decide you want the Karma Drone you can purchase the Flight Kit for the Karma Grip for $599. For those counting at home that comes to $899 if you purchase the Grip and the Karma Drone separately, so it’s definitely a better deal to buy it all at once if you can.

Once I opened the form-fitted Karma Grip case, I plugged the USB-C charging cable into the base of the Karma Grip handle. I kind of wish the cable plugged in somewhere other than the base, since I like to rest stabilizers on their base, but not really a big deal if you have your case around. I set the Karma Grip to charge overnight, but the manual writes it will take six hours on a standard 1A charger, and one hour and 50 minutes if you use the “Supercharger” — immediately I was like what the hell is this Supercharger and why don’t I have one? They are $49.99 and can be found here.

So the next day I tried using the Karma Grip in conjunction with a suction cup mount inside of my car on my ride home from work. I wanted to see how the Karma Grip would work when mounted to a windshield (inside my car) to film a driving timelapse. To attach the Karma Grip you have to put a separate mounting ring between the handle and the stabilizer. Like a typical bonehead, I didn’t read the manual, so I tried mounting the ring with the GoPro mount. It took me a few tries to get it on right, but once it is on it actually feels very sturdy.

From there you have to do a typical GoPro mount connecting dance to get everything situated. You can check out my results here.

Admittedly, I probably should have locked the view of the Karma Grip to keep it focused straight forward, but I didn’t. It worked okay, but I definitely would need way more time to perfect this. However, if you can lock in your Karma Grip to something like the side of a train or airplane, your shooting options will become way smoother.

On the Move
Next I wanted to test running around with the Karma Grip. Once you lock your Hero 5 into the harness on the Karma Grip it’s as simple as powering on your Grip and hitting record. You can flip over the Grip to record a ground level view very easily. Flipping the Karma Grip over to a ground level view was the easiest transition on a handheld stabilizer I have ever experienced. Usually you have to either tell the stabilizer that you want to film ground level or you have to do a certain motion to not make the stabilizer flip out. The Karma Grip is incredibly easy to use; it lets you film smoothly with minimal effort.

To go a little further into testing I made a makeshift mount using a pipe and a 2×4 I had lying around. I screwed some sticky GoPro mounts to the 2×4 for mounting. In the end, I wanted to put my Hero 4 mounted alongside my Hero 5 mounted on the Karma Grip to demonstrate just how stable the Karma Grip makes your footage. You can check it out here. After a few hours of using the Karma Grip, I really felt like I had many more options when filming. I saw a staircase and knew I could run up it without my steps being reflected in my video recording; it really opens your creative brain.

One thing I wish was more easily accessible was a mount for an external microphone. In my video, I separated the audio on the left from the GoPro Hero 4 not mounted in the Karma Grip and the Hero 5 mounted in the Karma Grip. I did this so I could hear the difference. Once in the Karma Grip, the Hero 5’s audio becomes pretty muted. I know that GoPros aren’t necessarily supposed to be used with external mics, but with the GoPro’s audio not being high level all the time I sometimes use an external mic mounted on something like the iOgrapher Go or even the Karma Grip. If the Karma Grip could somehow mount a microphone along with possibly integrating a ¼-inch jack instead of having to buy a $49.99 converter I would be very happy.

Quik Key
The Quik Key is a great addition to the GoPro accessory line and is available for Lightning Port for the iOS ($29.99), Micro-USB ($19.99) and even USB-C ($19.99). It works directly with the GoPro Capture app on your mobile device to transfer photos and videos without having to hook up your GoPro or microSD card to your computer. Based on support documents, it seems like Android phones are more compatible with formats and resolutions, but since I have an iPhone the iOS version is what I am dealing with. You can get the specific iPhone resolution compatibility chart here. It’s interesting to note that ProTune footage is specifically not compatible with iOS.

The Quik Key is great for my dad adventures (or dad-ventures!) to Disneyland, Knott’s Berry Farm, hikes, baseball games, etc. If for some odd reason one of my sons takes a nap, I can transfer some videos or images to my phone and upload them to the web while on the run. The Quik Key comes with a carabiner-style clip to hang on, but it’s definitely small enough to keep in your pocket with the Remo remote. I love the Remo for the same dad-ventures with the kids; you can use the button as a shutter release and also change shooting modes from video to photos by just saying “GoPro Photo Mode.”

Summing Up
In the end, while GoPro is digging their way out of the Karma Drone battery latch caper, I continue to love their gear. The GoPro Hero 5 is my favorite camera they’ve made to date and it’s easy to take along since you no longer need an external housing to keep it waterproof. All of the GoPro accessories like the Karma Grip, Hero 5, Hero 5 Session, mounts, three-way mount and practically anything else fit perfectly in my favorite GoPro bag, The Seeker. It’s an incredible bag that even comes with room enough for your CamelBak water bladder.

The Karma Grip is smooth and super easy to use, it works flawlessly with the Hero 5 and coming soon in spring of 2017 is the Karma Grip extension cable. The extension cable allows you to put your Grip handle out of sight and mount the stabilizer inconspicuously, something I bet a lot of television shows will like to use, opening the GoPro creativity door a little more.

I really love GoPro products. Even if there are other options out there, I always know that for the most part the GoPro product line is made of high-quality accessories and cameras that everyone from moms and dads to professional broadcasters rely on. I can even give my GoPro to my sons to run around with and get muddy without a care in the world allowing them to capture the world from their own point of view. The GoPro product line including the Karma Grip is full of awesome gear that I can’t recommend enough.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

FMPX8.14

Building a workflow for The Great Wall

Bling Digital, which is part of the SIM Group, was called on to help establish the workflow on Legendary/Universal’s The Great Wall, starring Matt Damon as a European mercenary imprisoned within the wall. While being held he sees exactly why the Chinese built this massive barrier in the first place — and it’s otherworldly. This VFX-heavy mystery/fantasy was directed by Yimou Zhang.

We reached out to Bling’s director of workflow services, Jesse Korosi, to talk us through the process on the film, including working with data from the Arri 65, which at that point hadn’t yet been used on a full-length feature film. Bling Digital is a post technology and services provider that specializes in on-set data management, digital dailies, editorial system rentals and data archiving

Jesse Korosi

When did you first get involved on The Great Wall and in what capacity?
Bling received our first call from the unit production manager Kwame Parker about providing on-set data management, dailies, VFX and stereo pulls, Avid rentals and a customized process for the digital workflow for The Great Wall in December of 2014.

At this time the information was pretty vague, but outlined some of the bigger challenges, like the film being shot in multiple locations within China, and that the Arri 65 camera may be used, which had not yet been used on a full-length feature. From this point on I worked with our internal team to figure out exactly how we would tackle such a challenge. This also required a lot of communication with the software developers to ensure that they would be ready to provide updated builds that could support this new camera.

After talks with the DP Stuart Dryburgh, the studio and a few other members of production, a big part of my job and anyone on my workflow team is to get involved as early as possible. Therefore our role doesn’t necessarily start on day one of principal photography. We want to get in and start testing and communicating with the rest of the crew well ahead of time so that by the first day, the process runs like a well-oiled machine and the client never has to be concerned with “week-one kinks.”

Why did they opt for the Arri 65 camera and what were some of the challenges you encountered?
Many people who we work with love Arri. The cameras are known for recording beautiful images. For anyone who may not be a huge Arri fan, they might dislike the lower resolution in some of the cameras, but it is very uncommon that someone doesn’t like the final look of the recorded files. Enter the Arri 65, a new camera that can record 6.5K files (6560×3100) and every hour recorded is a whopping 2.8TB per hour.

When dealing with this kind of data consumption, you really need to re-evaluate your pipeline. The cards are not able to be downloaded by traditional card readers — you need to use vaults. Let’s say someone records three hours of footage in a day — that equals 8.7TB of data. If you’re sending that info to another facility even using a 500Mb/s Internet line, that would take 38 hours to send! LTO-ing this kind of media is also dreadfully slow. For The Great Wall we ended up setting up a dedicated LTO area that had eight decks running at any given time.

Aside from data consumption, we faced the challenge of having no dailies software that could even read the files. We worked with Colorfront to get a new build-out that could work, and luckily, after having been through this same ordeal recording Arri Open Gate on Warcraft, we knew how to make this happen and set the client at ease.

Were you on set? Near set? Remote?
Our lab was located in the production office, which also housed editorial. Considering all of the traveling this job entailed, from Beijing and Qingdao to Gansu, we were mostly working remotely. We wanted to be as close to production as possible, but still within a controlled environment.

The dailies set-up was right beside editor Craig Wood’s suite, making for a close-knit workflow with editorial, which was great. Craig would often pull our dailies team into his suite to view how the edit was coming along, which really helped when assessing how the dailies color was working and referencing scenes in the cut when timing pickup shots.

How did you work with the director and DP?
At the start of the show we established some looks with the DP Stuart Dryburgh, ASC. The idea was that we would handle all of the dailies color in the lab. The DIT/DMT would note as much valuable information on set about the conditions that day and we would use our best judgment to fulfill the intended look. During pre-production we used a theatre at the China Film Group studio to screen and review all the test materials and dial in this look.

With our team involved from the very beginning of these color talks, we were able to ensure that decisions made on color and data flow were going to track through each department, all the way to the end of the job. It’s very common for decisions to be made color wise at the start of a job that get lost in the shuffle once production has wrapped. Plus, sometimes there isn’t anyone available who recognizes why certain decisions were made up front when you‘re in the post stage.

Can you talk us through the workflow? 
In terms of workflow, the Arri 65 was recording media onto Codex cards, which were backed up onset with a VaultS. After this media was backed up, the Codex card would be forwarded onto the lab. Within the lab we had a VaultXL that would then be used to back this card up to the internal drive. Unfortunately, you can’t go directly from the card to your working drive, you need to do two separate passes on the card, a “Process” and a “Transfer.”

The Transfer moves the media off the card and onto an internal drive on the Vault. The Process then converts all the native camera files into .ARI files. Once this media is processed and on the internal drive, we were able to move it onto our SAN. From there we were able to run this footage through OSD and make LTO back-ups. We also made additional back-ups to G-Tech GSpeed Studio drives that would be sent back to LA. However, for security purposes as well as efficiency, we encrypted and shipped the bare drives, rather than the entire chassis. This meant that when the drives were received in LA, we were able to mount them into our dock and work directly off of them, i.e no need to wait on any copies.

Another thing that required a lot of back and forth with the DI facility was ensuring that our color pipeline was following the same path they would take once they hit final color. We ended up having input LUTs for any camera that recorded a non-LogC color space. In regards to my involvement, during production in China I had a few members of my team on the ground and I was overseeing things remotely. Once things came back to LA and we were working out of Legendary, I became much more hands-on.

What kind of challenges did providing offline editorial services in China bring, and how did that transition back to LA?
We sent a tech to China to handle the set-up of the offline editorial suites and also had local contacts to assist during the run of the project. Our dailies technicians also helped with certain questions or concerns that came up.

Shipping gear for the Avids is one thing, however shipping consoles (desks) for the editors would have been far too heavy. Therefore this was probably one of the bigger challenges — ensuring the editors were working with the same caliber of workspace they were used to in Los Angeles.

The transition of editorial from China to LA required Dave French, director of post engineering, and his team to mirror the China set-up in LA and have both up and running at the same time to streamline the process. Essentially, the editors needed to stop cutting in China and have the ability to jump on a plane and resume cutting in LA immediately.

Once back in LA, you continued to support VFX, stereo and editorial, correct?
Within the Legendary office we played a major role in building out the technology and workflow behind what was referred to as the Post Hub. This Post Hub was made up of a few different systems all KVM’d into one desk that acted as the control center for VFX and stereo reviews, VFX and stereo pulls and final stereo tweaks. All of this work was controlled by Rachel McIntire, our dailies, VFX and stereo management tech. She was a jack-of-all-trades who played a huge role in making the post workflow so successful.

For the VFX reviews, Rachel and I worked closely with ILM to develop a workflow to ensure that all of the original on set/dailies color metadata would carry into the offline edit from the VFX vendors. It was imperative that during this editing session we could add or remove the color, make adjustments and match exactly what they saw on set, in dailies and in the offline edit. Automating this process through values from the VFX Editors EDL was key.

Looking back on the work provided, what would you have done differently knowing what you know now?
I think the area I would focus on next time around would be upgrading the jobs database. With any job we manage at Bling, we always ensure we keep a log of every file recorded and any metadata that we track. At the time, this was a little weak. Since then, I have been working on overhauling this database and allowing creative to access all camera metadata, script metadata, location data, lens data, etc. in one centralized location. We have just used this on our first job in a client-facing capacity and I think it would have done wonders for our VFX and stereo crews on The Great Wall. It is all too often that people are digging around for information already captured by someone else. I want to make sure there is a central repository for that data.


An image scientist weighs in about this year’s SciTech winners

While this year’s Oscar broadcast was unforgettable due to the mix up in naming the Best Picture, many in the industry also remember actors Leslie Mann and John Cho joking about how no one understands what the SciTech Awards are about. Well, Shed’s SVP of imaging science, Matthew Tomlinson, was kind enough to answer some questions about the newest round of winners and what the technology means to the industry.

As an image scientist, what was the most exciting thing about this year’s Oscars’ Scientific and Technical Awards?
As an imaging scientist, I was excited about the five digital cameras — Viper, Genesis, Sony 65, Red Epic and Arri — that received accolades. I’ve been working with each of these cameras for years, and each of them has had a major impact in the industry. They’ve pioneered the digital revolution and have set a very high standard for future cameras that appear on the market.

The winners of the 2017 SciTech Awards. Credit: Todd Wawrychuk/A.M.P.A.S.

Another exciting aspect is that you actually have access to your “negative” with digital cameras and, if need be, you can make adjustments to that negative after you’ve exposed it. It’s an incredibly powerful option that we haven’t even realized the full potential of yet.

From an audience perspective, even though they’ll never know it, the facial performance capture solving system developed by ILM, as well as the facial performance-based software from Digital Domain and Sony Pictures Imageworks, is incredibly exciting. The industry is continuously pushing the boundaries of the scope of the visual image. As stories become more expansive, this technology helps the audience to engage with aliens or creatures that are created by a computer but based on the actions, movements and emotions of an actor. This is helping blur the lines between reality and fantasy. The best part is that these tools help tell stories without calling attention to themselves.

Which category or discipline saw the biggest advances from last year to this year? 
The advancements in each technology that received an award this year are based on years of work behind the scenes that led up to this moment. I will say that from an audience perspective, the facial animation advancements were significant this past year. We’re reaching a point where audiences are unaware major characters are synthetic or modified. It’s really mind blowing when you think about it.

Sony’s Toshihiko Ohnishi.

Which of the advancements will have the biggest impact on the work that you do, specifically?
The integration of digital cameras and intermixing various cameras into one project. It’s pretty common nowadays to see the Sony, Alexa and Red camera all used on the same project. Each one of these cameras comes with its own inherent colorspace and particular attributes, but part of my job is to make sure they can all work together — that we can interweave the various files they create — without the colorist having to do a lot of technical heavy lifting. Part of my job as an Imaging Scientist is handling the technicalities so that when creatives, such as the director, cinematographer and colorist, come together they can concentrate on the art and don’t have to worry about the technical aspects much at all.

Are you planning to use, or have you already begun using, any of these innovations in your work?

The digital cameras are very much part of my everyday life. Also, in working with a VFX house, I like to provide the knowledge and tools to help them view the imagery as it will be seen in the DI. The VFX artist spends an incredible amount of time and effort on every pixel they work on and it’s a real goal of mine to make sure that the work that they create is the best it can be throughout the DI.

Blackmagic intros lower-cost color panels for Resolve, new camera

By Brady Betzel

Yesterday, Blackmagic held a press conference on YouTube introducing a new pro camera — the Ursa Mini Pro 4.6K, which combines high-end digital film quality with the ergonomics and features of a traditional broadcast camera — and two new portable hardware control panels for the DaVinci Resolve (yes, only the Resolve) designed to allow color correction workflows to be mixed in with editing workflows.

For this article, I’m going to focus on the panels.

The color correction hardware market is a small one, usually headed by the same companies who produce color correction software. Tangent is one of the few that produces its own color correction panels. There is also the Avid/Euphonix Artist color correction panel and a few others, but the price jumps incredibly when you step up to panels like the Blackmagic DaVinci Resolve Advanced panels (just under $30,000).

I’ve previously reviewed the Tangent Ripple and Element color correction panels, and I love them. However, besides Tangent there really hasn’t been any mid- to prosumer-level products… until now. Blackmagic is offering the new Micro and Mini color correction panels.

The Blackmagic’s Micro color correction panel (our main image) is well priced at $995, which can be somewhat compared to the Tangent Wave (over $1,500 on B&H‘s site), Tangent Element Tk (over $1,135), or more closely compared to the Avid Artist Color Control Surface ($1,299). You’ll notice all of those are priced way higher than the new Micro panel. You could also throw the Tangent Ripple up for comparison, but that has a much more limited functionality and is much lower in price at around $350. The Micro panel is essentially three trackballs, 12 knobs and 18 keys. It is a collection of the most highly used parts of a color correction panel without any GUI screens. It connects via USB-C, although a USB 3 to USB-C converter will be included.

The Blackmagic Mini color correction panel (pictured right) is priced higher at $2,995 and can be compared to a combo of the Tangent Element Tk with one or two more in the Element set, which retail for $3,320 on www.bhphotovideo.com. The Mini adds two 5-inch displays, eight soft buttons, and eight soft knobs, in addition to everything the Micro panel has. It also has pass-through Ethernet to power and connect the panel, USB-C, and 4-pin XLR 12V DC power connection.

I am really excited to try these color correction panels out for my own — and I will, as the panels are on their way to me as I type. I need to emphasize that these panels only work with Resolve, no other software apps, so these were built with one workflow in mind.

I do wonder if in the future Blackmagic will sell additional panels that add more buttons and knobs or something crazy like a Smartscope through the Ethernet ports so I don’t have to buy additional SDI output hardware. Will everyone be ok with transport controls being placed on the right?

“We are always looking to design new products and features to help with the creative process,” says Blackmagic’s Bob Caniglia. “These new panels were designed to enable our growing number of Resolve users to be able access the power of DaVinci Resolve and Resolve Studio beyond a mouse and keyboard. The Micro and Mini control panels provide the perfect complement to our existing Advanced control panels.”

Blackmagic is really coming for everyone in the production and post world with recent moves like the acquisition of audio company Fairlight and realtime bluescreen and greenscreen removal hardware Ultimatte, providing Avid with their Media Composer DNx IOs, and even releasing an updated version of the Ursa camera, the Ursa Mini Pro. Oh, yeah, and don’t forget they provide one of the top color correction and editing apps on the market in DaVinci Resolve, and the latest color correction hardware like the Micro and Mini panels are primed to bring the next set of colorists into the Resolve world.

Oh, and as not to forget about the camera, the Ursa Mini Pro 4.6K is now available for $5,995. Here are some specs:

•  Digital film camera with 15 stops of dynamic range.
• Super 35mm 4.6K sensor with third-generation Blackmagic color science processing of raw sensor data.
• Interchangeable lens mount with EF mount included as standard. Optional PL and B4 lens mount available separately.
• High-quality 2, 4 and 6 stop ND filters with IR compensation designed to specifically match the colorimetry and color science of Ursa Mini Pro.
• Fully redundant controls including ergonomically designed tactile controls that allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more.
• Built-in dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders allow unlimited duration recording in high quality.
• LCD status display for quickly checking timecode, shutter and lens settings, battery, recording status and audio levels.
• Support for CinemaDNG 4.6K RAW files and ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT and ProRes 422 Proxy recording at Ultra HD and HD resolutions.
• Supports up to 60 fps 4.6K resolution capture in RAW.
• Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4-pin power output for viewfinder power, headphone jack, LANC remote control and standard 4-pin 12V DC power connection.
• Built-in stereo microphones for recording sound.
• Four-inch foldout touchscreen for on-set monitoring and menu settings.