IndieGS2K global shutter camera

The new Indiecam indieGS2K is the first miniature CMOS camera with a global shutter, which will mean no rolling shutter issues (like skew and wobble) when you pan the camera quickly or shoot fast-moving subjects.

It is a 2K camera (2048 x 1080 pixels), with a 3G HD-SDI output, and its small size makes it ideal for use in 3D rigs. It can also be used with a 12-bit RAW workflow (using Adobe's Cinema DNG format). In its RAW 10-bit mode it can output 1080p at up to 120 frames per second (in 12-bit RAW and 10-bit 4:2:2 YUV it can do up to 50/60p).

“At last we have a single piece 2/3-inch minicam that can meet the requirements of not just the OB/live production people but also the film production people,” said Steffan Hewitt, Managing Director, Polecam (one of Indiecam’s distributors).

The global shutter means that “CMOS cameras can be fully integrated into high speed sports productions, where rolling shutter has always been a bottleneck in the past,” he added.

“We had it on our stand at NAB and we were very impressed with the picture quality out of the box.”

Its power consumption is just 4W (7-24v DC), it measures 39.8 x 39.8 x 100mm (about 1.5 inches x 1.5 inches by 4 inches) without a lens, and weighs about 170g (six ounces). It has a 2/3-inch sensor and takes C-mount lenses as standard, but can also be fitted with a PL-mount option.

The Polecam Remote Control Panel will soon work with the GS2K and there will also be a small handheld controller for individual camera control and set up.

Four GS2Ks have been used on the set of Rush, directed by Ron Howard and shot by DoP Anthony Dod Mantle. German post-house Cinepost is working on the movie and is using Colorfront's On-Set Dailies system, which supports Indiecam’s InstantRaw workflow, alongside other RAW formats. The new Convergent Design Gemini RAW recorder also supports the InstantRaw format. The cameras were also used to shot a high proportion of Danny Boyle‘s latest movie Trance.

Hewitt has found the small team at Indiecam very ready to respond to feedback. The Austrians had initially been focused just on the camera’s use for movies, and hadn’t given it interlaced output, but when Polecam pointed out how important it would be for broadcast work Indiecam added it very quickly.

For 3D work, the indieGS2K offers an interocular of as little as 40mm, making it one of the most compact 3D-set ups available as a side-by-side rig. The Fraunhofer Heinrich Hertz Institute is using the indieGS2K for its hybrid stereoscopic technology in cooperation with imcube labs, while the new P+S Technik PS-Micro Rig for 3D is also designed to operate with the GS2K.

Indiecam has also introduced a new indieFocus Control, which is 100% compatible with the C-motion system.

Related post: Indie shows 3D in the RAW

By David Fox

World first ultra-slowmo PoV camera

The compact new LMC Antelope Pico is claimed to be the world’s first high-speed point-of-view camera to record at up to 330 frames per second in full HD.

Launched at NAB, it can provide a permanent HD-SDI live video output as well as a replay channel that can deliver from 25-330fps in HD1080i (and up to 660fps in extended/double image mode).

At 330fps it can deliver a 30 second replay using 32GB of memory. Its output modes cover 1080i 50/59.94/60 and 1080p 23.98 to 1080p 60 at 4:2:2, and it will also have a 23.98p to 30p 4:2:2 / 4:4:4 RAW and 2K option.

The small camera head measures 29x29x50mm, which should allow it to fit into spaces where no slomo camera has gone before, making it useful for covering goalmouth action, inside cars, or on board yachts.

It uses a 2K 2/3-inch global shutter CMOS sensor, takes 12-24v power and comes with 3D synchronisation. It takes C-mount lenses, with PL and B4 mount adaptors available.

The sensor has reasonable light sensitivity, at over 600 ISO, with 9.5 stops dynamic range. There will also be a high-dynamic range option. Features include: on-board de-flickering; image flip/flop (horizontal/vertical); and dynamic replay.

Both software-based and RS232 serial controls are available. LMC has designed special remote control and operational control panels to integrate the Pico into a professional broadcast environment that will allow production companies to use one RCP and one OCP for up to four cameras. Wireless and fibre systems will also be available.

Related posts: Fan riot destroys 1st Antelope camera, Tiny HD camera blends in and Antelope slows down skiing + golf

By David Fox

Meet us at BVE – Free seminars

As usual, we’ll be giving talks at BVE/The Production Show at London’s Earls Court next week (14-16 February 2012). Our five sessions will be part of an extensive free seminar programme, with more than 300 seminars across the three days.

We’ll be doing our Production On A Budget sessions every morning (10am) in the Production Theatre with lots of advice on buying equipment and what to look at while you’re at the show, while Christina will do a session on How To Survive As A Freelancer at 3pm in the Producers Theatre (on Tuesday) and in the Production Theatre (on Wednesday) – both theatres are in the Production Show section right at the back of the Earls Court 2 exhibition centre.

The Production Theatre will also feature sessions on Shooting Sub £15k Music Videos by Den Lennie, budget feature film production, underwater filming, shooting in the cold for Frozen Planet, Fathoming the Fundamentals of Formats from Prokit, and how to make the most of Blackmagic Design's Atem switcher.

The Producers Theatre will include the 99-minute Film School (in less than half that time…), with Raindance Film Festival founder Elliot Grove (who will also do a session on Writing For Low Budget Filmmaking), plus seminars on Strategies for Survival in a Freelance World, virtual production, how to win commissions and funding, motion control DSLRs and special effects make-up.

There is also an Arri Production Skills Centre [Free tickets required], with lots of sessions on lighting (including two each day by Jonathan Harrison), as well as seminars on using the Alexa and colour grading.

In the main Broadcast Video Expo section of the show, there will be 11 theatres/seminar areas, dealing with big picture issues such as the next steps for 3D, new developments in religious broadcasting, cloud computing and brands becoming broadcasters, to practical hands-on workshops.

The 3D Revolution [Free tickets required] will look at the latest developments and where 3D might go next, with keynotes from William Sargent, founder of leading Soho post house Framestore, and Dave Blackham, MD of Esprit Films (who will discuss shooting wildlife and caves in 3D). Panasonic’s Peter Van Hooke will present sessions on the recent Elbow concert shot live in 3D. There’ll be several case studies and sessions on when 3D is worth using and how to use it best.

The Audio Room [Free tickets required] also covers 3D, with a panel discussion on immersive audio systems led by Pieter Schillbeeckx, Head of R&D at Soundfield. There is a wide range of practical advice on audio recording, including Phil Coates on working in extreme locations, Graham Boswell from SADiE on how to eliminate pops and glitches, and Jo Tyler of Bournemouth University on the sonic potential for radio, and sessions on loudness metering, HD Voice (for mobile audio) and audio post.

The Post-Production Theatre [Free tickets required] has one of our favourite trainers, Larry Jordan, with: a practical overview of Final Cut Pro X; Creating Motion Graphics that Don't Suck; Compressing Your Video for the Web - and Making It Look Great; and What Creative People Need To Know About Storage. Other sessions include: the making of a Top Gear Live commercial, and lots on tapeless production.

Broadcast Meets IT picks up the tapeless theme, with Mark Harrison, Controller of BBC North, discussing the issues of file-based production and Shane Warden of IMG World presenting tapeless workflows at the Rugby World Cup. Dr John Zubrzycki of BBC Research and Development will discuss Super Hi-Vision for London 2012, and Phil Rutter of AndCubed hosts a debate on 4K production and delivery.

The Institute of Videography will offer sessions in the IOV Theatre on how professional videographers can get involved with local TV stations, what videographers need in their post-production toolkit, and lots on weddings, including Shooting the Marryoke Wedding Sequence.

The Content Delivery Theatre will deal with all sorts of online and other methods of delivery and making money, connected TV, the use of second screens (such as iPads) while also watching TV, broadcast playout using channel in a box systems, and social TV.

There will also be one-day sessions dedicated to various aspects of a specific topic. Religious Broadcasting on Tuesday 14 February; Demystifying the Cloud on Wednesday; and Brands Becoming Broadcasters on Thursday.

The Sony Experience Masterclass Theatre includes sessions on the FS100 by Den Lennie, the F3, F65, and using XMPilot to speed up logging on the BBC’s Escape To The Country.

Added to these are practical sessions offered by Avid [Free tickets required] and Adobe, and FCP X sessions run by Soho Editors.

There's also the opportunity to try out lots of new equipment...

Free registration is available at www.bvexpo.com/register using Priority Code EBPR2.

By David Fox

Edius to get 3D editing support

Grass Valley has unveiled new 3D tools for its Edius multiformat nonlinear editing software and is adding 3D support for editing peripherals to provide a complete stereoscopic 3D post production workflow.

The Storm 3G and Storm 3G Elite editing platforms will both be supported via the Edius timeline with stereoscopic 3D I/O through a single 3G SDI source and/or dual 3G SDI signals.

“We see 3D production and post projects increasing around the world and customers have been asking for easy-to-use tools within Edius to help complete those projects quickly and cost-effectively,” explained Charlie Dunn, Grass Valley's Executive VP of Products.

“Edius has always been a flexible, highly affordable platform and the product continues to grow and get better with time. Now anyone working on an Edius system can instantly add 3D post capability to their arsenal of production tools and generate new revenue by expanding their client base.”

The 3D support will include: native support for 3D video clips captured with the most popular 3D cameras; easy clip pairing for synching left eye/right eye clips; 2D-to-3D conversion capability; an array of simple tools on the timeline for 3D adjustments (to compensate for mistakes in shooting) with no transcoding; automatic convergence adjustment; and 3D preview monitoring.

Functions available in 2D are also supported in 3D, such as realtime colour correction, keyer, transitions and multicam editing.

A 30-day preview version of the new 3D software tools will be made available early in December 2011, on the Grass Valley website, and will include tools for importing, organising, and adjusting 3D clips efficiently.

For broadcast use, Grass Valley has also included integration with its K2 media servers, whereby its K2 ChannelFlex technology (a software application within the AppCenter Elite software suite) enables all K2 Summit and K2 Solo servers to be expanded from handling four SD/HD video streams to up to eight streams in specific applications such as super slo-mo, multi-camera recording, and 3D production.

Every K2 Summit production client and K2 Solo HD/SD server can be used as a 3D production server for 3D recording or replay, a 2x or 3x slo-mo recording device, or as a server for recording from 2-6 simultaneous camera angles with at least one channel for playback, via a software upgrade.

Edius is currently on a half-price offer until the end of the year for owners of other NLEs.

By David Fox

Boxx TV Cerulean wireless links

Boxx TV's Cerulean is a new high speed, zero-delay, licence-exempt wireless link, that is at least as fast as fibre.

The portable (5kg), point-to-point 3Gbps microwave link carries two video streams or one 3D feed, with no errors and no latency, making it an alternative to fibre on productions where cables would get in the way. It works with multiple camera feeds, and can also be a redundant hot standby for critical real time acquisition.

It uses the undeveloped, extremely high frequency band, 60GHz, which has a transport latency below 2ns, similar to (or slightly better than) the performance of fibre optic networks. At 60GHz, the beam width is small (5º), so several devices can operate in the same area without interference, and no spectrum licences apply.

Signals are uncompressed, so there is no encoding delay, and one version of the product supports all High Definition formats. Field tests and live shows so far have shown that it operates over distances of up to about 500 metres.

“We designed Cerulean for critical acquisition applications, primarily OB and sports. It can be set up in under five minutes. All you have to do is plug the boxes in, tilt the transmitter and receiver to line them up, and it will work anywhere in the world," said Boxx TV CTO, Scott Walker (pictured).

Related post: Boxx unveils cost-saving wireless links

By David Fox

First Alexa M cameras ship to CPG

Arri has delivered production prototypes of its modular Alexa M camera to the Cameron Pace Group. The M was developed with CPG for use in 3D rigs.

“The Arri team has been amazingly responsive to the needs of the 3D market by creating the Alexa M,” said Avatar director and CPG Co-Chairman, James Cameron. CPG will be the exclusive distributor of the Alexa M in its Phase 1 rollout.

“The success of 3D will be based on designing technology that supports the creative process of the filmmaker; we are excited about the Alexa M towards that goal. The team at Arri has brought to the industry a great step forward toward quality 3D,” added Co-Chairman and CEO, Vince Pace.

The front-end of the Alexa M transmits uncompressed RAW sensor data at around 18 Gigabits per second to a back-end image processor/recorder using a hybrid fibre optic cable that can also power the head. Weighing well under 3kg, the Alexa M head has multiple mounting points.

The fibre means the head can be up to 1km from the body, which “allows for some unique and extremely innovative 3D camera applications. We hope CPG will take full advantage of them in the months ahead,” said Franz Kraus, Managing Director of Arri Munich.

The feedback Arri gets from CPG will help develop the final production version expected early 2012. Arri will also integrate elements of CPG’s 3D rig automation technology into the Alexa M.

By David Fox

Panasonic HDC-Z10000 3D camera

Panasonic today launched the HDC-Z10000, which is claimed to be the first integrated twin-lens 2D/3D camcorder that is officially compatible with the new AVCHD 3D/Progressive standard. 

The HDC-Z10000 is aimed at bridging the gap between amateur and professional user in both quality and cost. 

It features two sets of 3xCMOS sensors, records Full-HD 50p (60p US) 2D and 3D images, and has two F1.5 lenses treated with Nano Surface Coating - claimed to be another first for a camcorder, which should significantly reduce ghosting and flare to produce crisp, clear images. 

The lenses go as wide as 32mm for 3D or 29.8mm for 2D, with a 10x zoom for 3D and 12x for 2D. For close-ups it can go to about 45cm for 3D, which is closer than similar 3D camcorders. 

For professional users, it features enhanced manual functions such as three independent rings for zoom, focus, and iris control, as well as an Intelligent Auto function and a new image stabiliser, Hybrid O.I.S+3. 

It has built-in microphones for recording Dolby Digital 5.1-channel surround sound or two-channel stereo, plus two XLR audio inputs with 48v phantom power.

2012 Games go 3D

The London 2012 Olympic games will covered in 3D, using 3D camcorders from Panasonic. Olympic Broadcasting Services plans to produce more than 200 hours of 3D coverage, in conjunction with Panasonic and the International Olympic Committee. 

This will include the Opening and Closing Ceremonies, and a selection of the main athletics, gymnastics, diving and swimming competitions. Of course, whether you can see it in 3D depends not only on having a 3D TV set, but also on whether your local rights-holding broadcaster is willing to show it.

The BBC, the Olympics broadcaster for the UK, has said that it will show some events in 3D, probably the opening and closing ceremonies and a handfull of major competitions, such as the 100m final - as it would have to use the BBC HD channel to show 3D (which would be unfair to HD viewers) as the only other HD channel is BBC One. The BBC also plans to use NHK's experimental Super Hi-Vision format at the Games, which is 16x the resolution of HD and will be shown on 15m high screens in London, Glasgow and (probably) Bradford. The SHV image is so clear that it could be just as good as being in the stadium - there is likely to be just the one camera, making it even more like reality.

Some of the 3D action will be captured using Panasonic's AG-3DP1, P2HD professional fully-integrated twin-lens Full-HD 3D camcorder (pictured). 

By David Fox

Fujinon matched 3D lenses + controls

Fujinon has developed a new HD motor drive lens, synchronisation unit, and wireless controller for 3D and robotics.

The XA4x7.5BMD-D3R/L motor drive HD zoom lens comes in right and left lens versions. It has a F2.8 maximum aperture over its 7.5mm to 30mm focal length. Minimum focus distance is 450mm.

"For the size/weight these are unique to Fujinon," said Paul Goodwin, Divisional Head Broadcast & CCTV Products Division, Pyser-SGI (Fujinon distributor for the UK and Ireland). The 2/3-inch lenses feature "high precision optical systems supplied in matched lens pairs for correct 3D image rendition." The compact size and weight (450g) is useful for 3D rigs in tight spaces, on jibs or for handheld/Steadicam use.

It has precision servos with anti-backlash systems, which offer "high precision synchronous control over lens pairs using just one set of pan bar controls or RS232C serial (robotic) control, both of which are via the Fujinon 3D Synchronisation Unit HJ-303A-08A. Thus when zooming/focusing both lenses move in precisely the same way to the same optical positions. 16-bit encoder outputs are provided from the synchronisation unit for feedback to 3D positioning control and tracking systems," he explained.

The controller makes rigging much simpler. "The lens control system is easy to set-up, essentially plug-and-use, with no adjustments required (apart from back focus). Therefore no lens tracking checks need be made specifically for control software to ensure correct stereoscopy at different lens focal lengths and focus positions."

The 3D lenses can be remote controlled using Fujinon’s new WL-325A wireless controller, which works up to about 100m, "permitting one set of pan bar controls to be used for rigs on jibs or in remote locations. This device can be used with any Fujinon Digi Power HD/SD lens or for 3D stereoscopic rigs using a matched pair of lenses."

By David Fox

Teletest's 'affordable' 3D Binorig

Teletest’s new Binorig is claimed to be "the world’s most affordable, fully motorised broadcast S3D camera rig," as it will cost under £10,000.

Designed for use with cameras such as Sony’s HDC-P1 or PMW-EX3 and the Red One, Teletest managing director, Nick Rose (pictured), claims that the Binorig is as good as rigs that cost four or five times as much. Its first batch of ten Binorigs has already sold out, with a second batch expected in October.

“The production of S3D content has been stifled due to the prohibitive cost and complexity of S3D camera rigs," he said.

There is also a remote control unit for the Binorig that costs just £1,000 (where rival units can costs £10,000 or more).

“Teletest has spent over two years and hundreds of thousands of pounds developing the affordable and easy to use Binorig which produces stunning results. We designed a complete package, contained in two easy to manage flight cases, for stereographers or for cameramen with little experience in shooting S3D.”

Cameras are mounted onto Teletest’s Teleplates, which in turn can be rapidly mounted onto the rig using the quick release system.

“Using Teletest’s new S3D LCD monitor, the Cyclops-HD, setting up the Binorig takes only a few minutes," he added.

At 1,500nits, the Cyclops-HD is claimed to be "the world’s brightest broadcast LCD" (it is pictured above on the Binorig). The S3D version, at £1,999, allows the input of two cameras on a mirror or side-by-side rig. The 3D card has been newly upgraded with extra functions added to meet requests from the monitor's first users.

S3D set up can be quickly done using the grey difference screen and then the S3D image can be viewed with anaglyph glasses.

“With the introduction of the Binorig and Cyclops-HD, we expect that cameramen and production companies will now be able to offer broadcasters such as Sky and the Discovery channel far more footage than they could previously," said Rose.

By David Fox

Chrosziel Aladin Mk II S3D control

Chrosziel's new Aladin Mk II is an eight-channel lens remote control, offering 3D control capability and versatility.

It includes a modular handset and a small receiver that controls up to eight motors, which it calibrates automatically. For more advanced setups, the receiver has a display, so there is no need for an extra monitor.

For stereoscopic 3D shooting, the Aladin Mk II is claimed to be the only system currently able to operate focus, zoom and aperture on both camera lenses and also control angles and distance between cameras simultaneously, thanks to its eight channels.

It can control and power the internal motors of digital Canon and Fujinon lenses, with no external motors required for zoom, focus and iris, and no extra power supply. Communication and power run through the serial auxiliary port of the control box, which makes life easier and is more cost effective, especially when using a Steadicam.

An RF spectrum analyzer can help identify sources of wireless interference and pick the best transmission channel at any particular location, and if there is interference on all 16 channels, simply attach a cable using the BNC connector and a standard Video-BNC line.

Chrosziel is also developing an option to record timecode and metadata for post-production.

By David Fox

First independent Red Epic-M in UK

The Gear Factory, the kit hire division of The Post Factory Group, has received what it claims is the first Red Epic-M in the UK (outside of Panavision and Red Europe) and although the camera is still in development, it sees great potential for high-end use.

“This is the handmade version of the Epic which Red are issuing in limited numbers to people with a history of working with them”, said its CTO, James Milner-Smyth. “We were very early in on the original Red cameras so we were head of the line again on the new ones”.

5K 120fps

A key feature of the camera is its ability to shoot 5K Redcode raw images at up to 120 frames per second. At lower resolutions it should eventually run even higher.

“Our clients have always loved the slo-mo features of the original Red camera, but it came at the price of using a smaller portion of the sensor and so a lower resolution. 5k slo-mo is fantastically detailed and keeps its sharpness and the ability to punch in when downconverting to HD,” he said.

“Not all features are enabled yet, and the firmware is still in development so we will be cautious about what projects these cameras will work on for now.” Its first projects have been luxury brand shoots for clients such as Burberry and French champagne label AMB.

Solid state storage

It records to solid-state drives (SSDs). “Spinning disk hard drives allowed for hours of filming on the Red One but could be problematic in situations where there was loud noise or vibration. CF memory cards were far more reliable, but with smaller record lengths. The SSDs are a huge improvement and allow higher capacity with reliable recording and faster offloading.”

3D

The Epic-M is significantly smaller than the Red One making it easier to integrate into lighter 3D rigs. It is already being used for the 3D movies: The Amazing Spiderman and The Hobbit, the prequel to The Lord of the Rings, which Peter Jackson is shooting in New Zealand. James Cameron, who is preparing for Avatar 2, has apparently ordered 50 Epic-M cameras. Its size also makes it more suitable for use on a Steadicam.

High Dynamic Range

Another improvement on the original Red is a high-dynamic-range mode (HDRx) that captures images at different exposures. These can be selectively re-combined in post to show more in the shadows while protecting details in highlights. “We are doing our own testing now to see how best to use this and how well the merging can be done. But at first sight it looks useful for tricky shooting situations where the cinematographer does not have as much control over the lighting as they’d like.”

Post-Production

To cope with the Epic-M, it has had to upgrade the data handling of its post division, as 96fps at 5K full frame resolution means "we have been seeing clients shooting around 2TB of data on a typical day. So, offload systems, drives, networks - everything needs to be as fast as possible. But we are far better off for finishing tools than we were three years ago. Already DaVinci Resolve, our grading system of choice has been updated to support the Epic footage and with Red Rocket cards we have real-time playback and grading from raw images. This is really the best workflow for Red material.”

The Post Factory is a London-based post-production company specialising in Digital Cinema workflows and has supported features such as The Social Network. Its Gear Factory division hires out Digital Cinema camera equipment and has supplied such films such as The Social Network and Pirates of the Caribbean 4.

By David Fox

Decode to launch new 3D Mirror Rigs

London-based 3D specialist Decode will launch two new high-end 3D mirror rigs next week at Cine Gear Expo 2011 in Paramount Studios, Los Angeles (2nd-5th June).

D-Rex will be a large 3D rig for full size cameras such as the Arri Alexa, a fully loaded Red Epic, or other large broadcast cameras. It is the first UK designed and built rig for these cameras.

D-Raptor will be a smaller rig for cameras such as the Sony EX3, Sony PMW-F3 or similar camcorders.

“We’ve developed these rigs over the last 15 months. We wanted to be able to provide a large number of rigs into our fleet - rigs that would be easily convertible between active and passive, and most importantly would not flex, an issue we experienced with all other rigs at the time we started. In addition, I wanted to keep the rental cost down to an affordable level," explained Decode MD, film and TV director, Samuel Martin.

Both rigs will be capable of manual or automatic operation, with "easily implemented integration" with CMotion or Preston for wireless rig control.

They will be fully adjustable in all axes of alignment, boasting an innovative design that means the rig "is always ready to adjust, and yet always locked solid. Alignment won't shift during small changes, making it extremely accurate. The solid, robust build means it's possible to do a full 180º tilt with no noticeable image shift."

The structure built around the mirror box means that all accessories added to one of the rigs should be close to the centre of gravity, for better balance. The mirror will also be easy to remove for cleaning and transportation.

As the cameras face inwards, all buttons should be easily accessible by the operator, while all tilt, roll and height adjustments are accessible from one position, to avoid conflicting with the operator during line-ups.

The rigs will be sold in standard configuration as passive rigs, with the option to include Preston or CMotion wireless interaxial and convergence controls within a matter of seconds.

The prototype rigs have already been used to shoot a feature film: (Street Dance Choreographer: The Journey - for release later in 2011), commercials for Aston Martin, Pantene shampoo and Playboy 3D, and extreme sports coverage for Discovery.

The rigs are expected to be available in June.

By David Fox

Sphinx-cam takes JVC to new heights

WWProd, an Alpe d'Huez-based production company specialising in extreme sports, particularly skiing, has bought JVC GY-HM100 ProHD camcorders for use in its Sphinx-cam miniature helicopter systems.

To capture aerial shots, Lionel Géhin, WWProd's founder, designed a remote controlled multi-rotor machine for filming in-flight. The compact Sphinx-cam Pro XL6 and XL8 machines can carry 2.5kg and 4.5 kg of equipment respectively.

After the Sphinx-cam passed vigorous tests, the company had to find a camera suitable for aerial use, and eventually decided that the lightweight form factor and CCD sensors of the HM100 met its requirements and worked well on the Sphinx-cam.

"We encountered the phenomenon of image distortion during fast movements related to rolling shutter CMOS sensors in camcorders. The GY-HM100 cameras, which use CCDs, remained free of these defects,” explained Géhin.

“As the GY-HM100 has detachable handles, we can reduce the camera’s weight which enables us to reduce the burden of the Sphinx to carry two cameras at the same time. This provides us with the option to shoot the front and the rear and also in 3D.”

The Sphinx-cam Pro XL6 and XL8 have also received interest from other filmmakers, production companies and architects, as it can provide very smooth, controllable movement from a small platform at low-cost.

On WWProd's Vimeo page (http://vimeo.com/user1224737) there are demonstrations of the Sphinx-cam systems with a Canon DSLR, a GoPro 3D rig (anaglyph glasses required) and the JVC (late in the video below). The DSLR sequences show the problems Géhin described with the rolling shutter effects from its CMOS sensor - even in normal flight there is a lot of unsettling skew and ripple.


SphynX-Cam XL6 from SphinX-Cam on Vimeo.

By David Fox

Vinten unveils 3D Wedge adapter

Vinten has devised a new 3D wedge adapter for its OB and studio heads, which balances rigs that cannot be mounted to a conventional head in a balanced position.

It is designed to facilitate the proper balancing of under/through beamsplitter 3D rigs and allows more clearance for the under-slung camera, which increases the amount of downward tilt available.

The adapter offsets the head’s level position by a few degrees so the balance mechanism produces a back-torque when the camera is level. This enables the centre of gravity of the payload to be forward of the tilt axis.

It is flexible and cost effective, as it integrates seamlessly with Vinten’s full range of heads. For outside broadcast customers that need to have dual-purpose equipment, the adapters allow the option of shooting in 2D and 3D without compromise, removing the need to replace any existing heads.

At NAB it was shown with a Vector 950 system set up with a Stereotec mid-size beam splitter rig. The 950 is Vinten's highest capacity fluid head and can handle the many possible camera system configurations for shooting in S3D. It balances heavy payloads and high centres of gravity with ease, and allows the user to maintain fingertip control over the entire tilt range.

“All of our adapters are designed to help improve the versatility and usability of Vinten’s products and this set up demonstrates how the new wedge adapter can help users to deliver 3D performance without compromising creativity. The wedge adapter is a significant addition to our extensive range of accessories, it is able to perfectly balance the often heavy payloads used in 3D broadcast and proves that Vinten is 3D ready," said Peter Harman, Vinten’s product manager.

New Vector 75 head

The cost effective Vector 75 is suitable for both studio and OB use, can carry a payload of up to 75kg, and should start to ship in June.

Its design is based on the widely used Vector 70, but with greater carrying capacity (5kg more), and stronger, more durable components. It has the same LF drag control that helped make its predecessor an industry standard - an infinitely adjustable lubricated friction system, allowing for fine adjustment of drag levels as well as whip pan at any level of drag.

The Vector 75 also includes Vinten’s infinitely adjustable Perfect Balance, which is easily adjustable, with no time-consuming cam changes, and provides up to ±60° perfectly balanced tilt range. Other features include: illuminated levelling bubble; and a T bar slide plate positioner for controlled fore and aft camera adjustment.

Related post: Heads up on new Vinten Vector 75

By David Fox

Lightworks editor goes open source

You will soon be able to get one of the world's leading non-linear editing systems free and use it to build your own editing applications. EditShare is going to release an open source version of Lightworks, an editor with a long and distinguished history.

It has been around for some 22 years and was recently used to edit the multi-Oscar winning movie, The King's Speech. It has also been used on Pulp Fiction, The Departed, Centurion, Shutter Island, and is being used on Martin Scorsese's upcoming 3D movie, Hugo Cabret.

Lightworks has already been available free, as a beta version, since late last year, and already more than 100,000 people have downloaded it. By making it open source, any developer will be able to build on it and include it in other products.

It includes a full set of editorial tools, from advanced trimming and media management, to stereoscopic support and real-time effects, including multiple secondary colour correctors. It has an advanced effects pipeline, making use of the power of your graphics card, and support for up to 2K workflows with real-time effects.

Users reckon it is fast and intuitive. It can support all the major formats, including Red, DPX, ProRes, Avid DNxHD, MXF, and more (although some of them are an extra-cost option). It has: Multicam editing with unlimited sources; Single-click re-sync of whole timeline; Dynamic trimming during playback; Real-time, hardware accurate video vectorscopes and waveform monitors; Multitrack Audio Mixer with full bus routing and multiple mixes; and there is third-party support from the likes of Boris, Combustion, After Effects and Premiere plug ins.

It currently runs on Windows XP SP2 (32 bit), Windows Vista (32 bit) and Windows 7 (32 bit and 64 bit), but promises support for Linux and OSX by late 2011, when it should also gain full 64-bit support.

EditShare bought Lightworks in 2009, and wants there to be lots of people who can edit using the software, which will help retrieve market share (in the early days Lightworks was very widely used, especially for film productions) and sell its commercial versions (capable of handling higher-end codecs, etc).

The company has other hardware and software products, and showed several introductions at NAB, including a new tapeless workflow for multi-cam TV productions. It also has shared production storage, asset management and archiving systems.

By David Fox

JVC HMZ1 ProHD 3D camcorder

JVC unveiled its new GY-HMZ1 ProHD 3D camcorder at NAB, and demonstrated its 4K technology in the smallest ever 4K camcorder.

The HMZ1 is an integrated 3D twin lens design powered by JVC’s new Falconbrid large-scale integration (LSI) chip for high-speed processing of HD video. It can simultaneously record each left and right image in full 1920x1080 resolution.

The handheld camcorder features dual 3.32-megapixel CMOS sensors – one for each lens – and delivers 34 Mbps AVCHD recording in 3D (17Mbps AVCHD for each lens) or 24 Mbps in 2D. Video can be recorded with timecode at 60i or 50i to provide smooth motion (for sports and other fast action) or 24p (probably 25p for European market) for a film-like effect. The GY-HMZ1U can also capture 3D time lapse and 3D digital stills.

“With the new GY-HMZ1U, video production professionals get true 3D with full HD resolution,” said Craig Yanagi, JVC's national marketing and brand manager. “3D production can be extremely complex, but JVC’s new ProHD camcorder makes 3D more accessible to independent filmmakers, commercial and corporate production houses, and even educational markets.”

Equipped with an advanced image stabilizer, the twin F1.2 HD lenses offer a 5x optical zoom in 3D or 10x in 2D. Video is recorded to SDHC or SDXC media cards or to the camera’s built-in 80GB internal memory. The 3.5-inch colour LCD touch panel offers glasses-free 3D viewing and built-in tools like zebra pattern (for checking exposure). Other professional features include a handle with dual XLR microphone inputs and a shotgun microphone mount (mic optional).

The GY-HMZ1 will be available in the Autumn, priced under $2,500. In the meantime, JVC's GS-TD1 full HD 3D consumer camcorder is already available.

4K roadmap

The Falconbrid chip is not only useful for 3D, but also for higher resolution 2D work, and JVC was showing two prototype 4K cameras.

The new LSI enables processing, encoding, and recording of 4K2K images, which have four times the resolution of full HD. However, the cameras are not necessarily planned to become products, but are seen by JVC as a way to find out exactly what users want.

“JVC continues to be at the forefront of technological innovation in our industry. Our new LSI technology can handle data-intensive acquisition, which opens the door to exciting possibilities for the production community,” said Bob Mueller, executive vice president and COO. “Over the next few months, JVC is going to invite innovative cinematographers and other production professionals to help us develop 4K cameras, 3D cameras, and other products that deliver outstanding images and improved workflows at an affordable price point.”

With advanced image codecs and other technologies assembled in a single chip, the new LSI’s camera signal processing enables real-time RGB debayering of 8.3 megapixel video at 60 fps. Plus, the LSI requires 40 percent less power and, compared to previous LSIs, cuts systems costs in half. The result is a high-level processor suited to a wide range of professional products – and with all hardware and software integrated into a single platform, products using the LSI platform can be commercialized quickly.

By David Fox

Sony enhances 3D + PMW- F3

Sony has announced new enhancements for its PMW-F3 Super 35mm camcorder, including 3D-Link capability, options for RGB 4:4:4 and S-LOG output and a wide angle, high power zoom lens.

The 3D-Link option (CBK-3DL01) will be available later this year via a firmware upgrade and 10-pin cable connection. This link is designed to provide synchronous remote command between two F3s using only one remote controller, with Genlock, timecode and camera control. Recording can be started and stopped by remote control. The PMW-F3 will be able to be used in any 3D rig that can support the camera’s size.

RGB4:4:4 and S-LOG output capabilities are available through the CBK-RGB01, which also enables Dual-Link/3G-SDI switchable functionality. It comes pre-loaded with four LUTs and five user LUTs for monitoring in S-LOG mode, and also has a planning meta function.

Two new lenses will be available for the PMW-F3: the SCL-P11X15 PL mount wide angle 1.5x zoom with a focal length range of 11-16mm and a speed of T3.0; and the SCL-Z18X140 FZ mount high power 14x zoom, with a focal length range of 18-252mm and a speed of T3.8.

The F3 is XDCAM EX-based, recording to SxS cards. Its Super 35mm CMOS imager delivers shallow depth of field, with high sensitivity and low noise levels (ISO 800, T11; and S/N ratio of 63dB in 1920x1080/59.94i mode), as well as wide dynamic range.

3D enhancements

Other additions to Sony’s 3D range include new application software for the MPE-200 3D processor box, which allows real time analysis and correction of stereoscopic 3D signals. The new MVS-7000X multi-format production switcher is capable of 3Gbps single-link operation suitable for live 3D production requirements. Sony's newly introduced SRMemory offers high-speed, high capacity recording media useful for 3D file-based production.

The MPES-3D01 3D software suite for the MPE-200 allows automatic and manual correction of images, which can "dramatically save on configuration time". There is also MPES-2D3D1 software for converting 2D into stereoscopic 3D, using Sony’s unique algorithm. Also, new 3D quality control software can perform real-time analysis of binocular disparity between left and right images, helping to overcome distortion issues that can make 3D viewing uncomfortable.

When shooting on location, production switchers are an essential component of creating high-quality, compelling 3D content. Following on from the high-end, Sony has developed the MVS-7000X, which has 80 inputs and 48 output, ideal for medium-scale 3D productions. Both products are compatible with a 3G single-link operation which together with optional 3D utility software can help to simplify the set-up of 3D Productions. The new MCS-8M and DFS-900M switchers can also be used for smaller 3D events through a software upgrade.

The MVS-7000X switcher has 80 inputs and 48 outputs, making it suitable for medium-scale 3D productions. Both it and the existing 200-input/100-output MVS-8000X are compatible with a 3G single-link operation which, together with optional 3D utility software, can help to simplify the set-up of 3D productions. The new MCS-8M and DFS-900M switchers can also be used for smaller 3D events through a software upgrade.

At NAB, Sony also introduced the SR-R1000 storage unit, the first memory-based studio deck from the SRMaster product family. The SR-R1000 has four slots for SRMemory cards, which can record at sustained data rates up to 5Gbps. It can be configured with up to four input/output ports, each of which can handle a 3D feed. Simultaneous recording and playback of multiple-streams from a single SR-R1000 makes it useful for studio, live and post production applications. Sony also launched the SR-R1 SRMaster portable recorder, which is useful for small-scale 3D productions.

Related post: Sony TD300 XDCAM 3D camcorder, SR Memory lets Sony go beyond HD and Sony PMW-F3: Budget filmmaking?

By David Fox

Sony HXR-NX3D1 3D camcorder

Sony has launched a new compact, lightweight all-in-one 3D camcorder, the HXR-NX3D1, which is claimed to be exceptionally simple to operate, requiring just a simple adjustment of left-right disparity for each scene.

The NX3D1 has twin Sony G Lenses and 1/4-inch Exmor R CMOS sensors that can record Double Full HD 3D content into a single file. A 3.5-inch autostereoscopic LCD panel allows users to view content in 3D without glasses - it can display 2D, left/right or composite images.

It also has a 10x F1.8-F3.4 optical zoom (34.4-344mm - it is 12x, 29.8-357.6mm, in 2D), Optical SteadyShot with Active Mode, 96GB internal memory (enough for 7.5 hours of 3D - at 28Mbps), plus a card slot for SD or Memory Stick cards, and supports two-channel 16-bit 48kHz Linear PCM audio. It can record 1080i 60/50 or 1080p 24 in 3D and 1080p 60/50/30/24 or 1080i 60/50 in 2D.

The inter-axial distance is 31mm. Disparity adjustment can be performed to change the read-out areas of the left and right CMOS sensors so that they are closer together or further apart. This lets users control perceived 3D depth. Disparity adjustment is also possible during shooting using the manual dial. Moving a region of interest closer to the virtual screen enables shooting of comfortable 3D images with the desired feeling of depth. When capturing 3D, the minimum shooting distance is 80cm (at the wide-angle setting).

Output from its HDMI port to a 3D TV is selectable between frame packing with full HD output of alternate left and right images and side-by-side with output of horizontally compressed left and right images packed into a single frame.

It has a detachable handle with a built-in two-input XLR adaptor with selectable Phantom power and comes with an ECM-XM1 shotgun microphone.

It records using Multi-View Coding (MVC) to record left and right channel clips as a single file. These can be edited natively in Sony Vegas Pro 10.0d, without the need for time-consuming pairing. It should also be possible to convert MVC to the Cineform codec using the Cineform's Neo3D/NeoHD as a plug-in for 3D editing on the main non-linear editing systems. The supplied Content Management Utility 2.1 software also enables conversion of MVC video files to 2D AVC files with independent left and right channels.

If you record on the internal memory, the camera can also copy material directly to an external hard disk drive without the need for a computer, and can also access videos stored on the external drive for playback on a 3D HDTV.

The camera weighs about 745g, including battery (or 1,150g with lens hood, battery and microphone with XLR unit). The NP-FV70 battery should last about 190min for HD or 140min for 3D.

It comes with an AC adaptor, rechargeable battery pack, microphone, wind screen, XLR adaptor, lens hood, USB cable (mini-B), component A/V cable, A/V connecting cable, USB adaptor cable (for external HDD), Wireless Remote Commander, HDMI cable (typeC), and application software (CD-ROM).

Related post: Sony + JVC low-cost 3D camcorders

By David Fox