Minority Report - the editing interface

If you have seen the movie Minority Report you'll remember the scenes with Tom Cruise's character in front of a bank of screens, sifting through information using hand gestures only. 

John Underkoffler led the team that came up with the interface. Now it has been developed further and called the g-speak Spatial Operating Environment. 

Underkoffler recently spoke at the TED conference and did an interesting demo of the system. Once you've seen it you'll want one.



What is interesting for TV production is that it could be used for video editing, and a USC LA-based student, Emily Duff (and others), has developed a prototype system called Flatbed. On one video (http://vimeo.com/8225409) there is a very neat way of quickly assembling an edit - simply by drawing a line through a selection of clips (in the order you want them to play). Some of these ideas would work well on an iPad editor...

Ninja ProRes workflow + recording

Atomos Ninja - compression, workflow and benefits from UrbanFox.TV

Following our previous, brief introductory video about the new Atomos Ninja HDMI ProRes recorder, we did a much longer interview with Atomos CEO, Jeromy Young at MacVideo Expo. He explains how the compression works (with a good demonstration of how ProRes compares with more highly compressed codecs), the workflow, and the benefits of the Ninja - it would often be better to use it (or another external HDMI recorder) as the only recorder on some DSLRs as they output a lower resolution signal via HDMI while they record in camera.

Related post: Enter the Ninja – ProRes recorder, Ninja ships – disappoints DSLR users and Atomos Ninja Review

Steadicam Pilot and Scout workshop

Steadicam is running a Pilot and Scout workshop at Prokit in West London on Thursday 4th November.

It will give an introduction to the correct way to use a Steadicam, showing how to set up the systems to the best effect and safely. It will cover all the basics, including: balancing the units, operating techniques, using the telescopic post and low mode.

The award-winning Steadicam system, invented by Garrett Brown, is the classic way to achieve smooth motion without the need for a dolly or crane.

The Steadicam Pilot is designed for cameras weighing up to 4.5kg, while the Scout carries up to 8kg and is Steadicam's latest stabilisation rig (costing $6,995). It features: a newly designed sled that works with 12-volt cameras; a robust carbon fibre extendable post; a proprietary friction-free gimbal assembly; a comfortable, ergonomic vest; and a new 7-inch LCD monitor usable in bright sunlight.

The instructor will be James Elias (pictured above demonstrating the Scout at IBC) from Tiffen International who has many years of experience with the Steadicam systems.

It will start at 10am, and finish by about 4pm. Phone 020 8995 4664 or book online.

Cel-Soft limits the scope of bad 3D

The new Cel-Soft Cel-Scope3D is a software based 3D stereoscopic analyser that should help productions avoid bad 3D.

"It is only too easy to make bad 3D, because any misjudgement of the convergence produces dreadful results," said MD, Robin Palmer (pictured).

Left/right focus-difference and colour-balance-difference displays created by the Cel-Scope3D allow camera matching to be checked quickly.

It measures depth and disparity and allows users to set a depth budget (by pixels or percentage), and warns when you go over it. It can also log to a text file a record of what the depth was at any time, for review in post.

The live 3D analysis displays include depth analysis with depth budget markers, vertical disparity, depth histogram and vertical disparities histogram. These can be colour-coded to correspond to the false colour used on the depth map, to quickly pinpoint problem areas.

It can preview 3D as full-resolution luminance or any other anaglyph format (up to six at once), does colour matching in real time and audio analysis for up to 16 channels (with surround sound streams shown in a polar display).

It is designed for use on set, with live inputs, and in post production, to review and play back 3D media files. Quality-control tests can be performed on live stereoscopic video sources in any SD, HD or 2K format from standard capture cards or FireWire inputs, or from file playback.

Displays can be scaled and arranged as six or eight windows on one or two PC monitors and also on a 3D monitor. It also supports touchscreen control. An optional 3D recording facility allows dual stream 3D be captured direct to hard disk in a number of formats.

Costing €3,500, the software runs on powerful Windows PCs (four-core or six-core i7 processors and Nvidia graphics cards are recommended).

"What we're offering is, I believe, better, more flexible and more affordable," than its rivals, added Palmer. It has already been bought by the EBU to do 3D testing.

Besides being a stand-alone product it is also being licensed to other companies for use in an embedded role, and will also be available as a plug-in for one or more popular editing and grading systems over the coming months.

By David Fox

Gateway to file-based ENG workflow

A new system from AP and Vislink simplifies how news crews deliver stories with metadata and integrate with newsroom computer systems.

The Associated Press and Vislink News & Entertainment have completed trials of AP's ENPS newsroom computer system working seamlessly across Vislink's microwave and Advanced Gateway systems. This will enable file-based workflow in the field as if connected directly to the studio LAN.

"The Advanced Gateway system enhances the workflow by reliably extending ENPS and the file-based workflow into ENG" said Mike Palmer, Director ENPS Design & Integration Strategy at Associated Press. "This will add considerable value to our mutual customers' news gathering capabilities".

The Advanced Gateway system uses sophisticated wireless data bonding to maximize available download speeds, providing multiple persistent connections to maintain the highest level of connectivity available that the broadcasters require.

"The MOS protocol allows integrated file-based workflow with ENPS, [while] the Advanced Gateway systems close the circle of efficiency gains made in the studio, from the implementation of file-based workflow," said Laurence Venner, Vislink Product Marketing Manager (pictured with AMG5000).

Broadcasters want to reduce the time spent editing by craft editors, preferring to have journalists do as much of their own editing as possible. While this works well in the studio, it isn't as efficient on location, primarily because stories that are sent back as baseband video over traditional links don't include the metadata, which then has to be added back at base.

To solve this, AP and Vislink have been working "to extend the newsroom computer system into the field and connect the story back to the studio," said Venner.

The new system can connect ENPS with the journalist's computer via a cellular link, then transfer the finished files back to the studio over satellite or microwave links. This allows all files to be transferred at their native resolution, tagged by the newsroom computer system, and with all the metadata.

"One of the hidden advantages of the system is the ability to control the truck remotely," he added. This allows the newsroom to access and control all of the equipment on the truck, and to see the exact status of the story at any time.

The first production systems should be delivered to an AP customer in the US (a large station group) in November, where they will be working mainly with traditional ENG trucks.

In Europe, the two companies are looking to work more with satellite newsgathering or with city-wide cellular diversity systems, but this won't happen until the US customer is up and running.

Broadcasters will need to install one Vislink Advanced Gateway (a type of router that can route IP connections via ASI or cellular links, or both, and which can connect to multiple Gateways) at the studio end and one in each truck.

The system runs at very low data rates, so metadata could be sent within over-the-air links from satellite.

By David Fox

TV Globo has Passione for Optimo

Brazil’s TV Globo has been using Angenieux 35mm Optimo Film Lenses for its latest prime-time telenovela shot in Brazil and Italy.

The production, Passione, is one of TV Globo's first to move to full, high-end digital cinema production

“Angenieux’s Optimo zoom lenses on the 35mm digital cameras really give us a measurable upgrade in the quality of the images,” said Marcos Senna, TV Globo's Engineering Manager. “The optical performance of the lens is incredible and they harmonize perfectly with the camera, both on location when we do hand-held shots and in staged studio productions.”

TV Globo bought 17 Angenieux Optimo 35mm film lenses, including the Academy Award winning 15-40mm and 28-76mm lenses and the 24-290mm model (pictured in use on Passione with camera operator Carlos Rogers), after completing a rigorous series of field tests. TV Globo had previously rented the Angenieux 24-290mm zoom for a shoot. Globo had also used Angenieux large format zooms when it first purchased the digital cinema cameras and were impressed with the quality and performance of the lenses.

“We evaluated various manufacturers’ lenses during the test period, based on our criteria of optical features, performance, weight and handling,” said Senna. “The Optimo lenses met all of our needs and, taking into consideration our previous good experiences in using them, we concluded that the Angenieux lenses were best suited to support our pioneering digital cinema operations.”

Telenovelas have become popular globally, helping to make Brazil one of the world's largest television exporters. TV Globo has a massive studio complex in Rio de Janeiro producing some 2,500 hours of programming each year, including telenovelas, serials, reality shows, comedies and children’s entertainment.

Besides Passione, the Angenieux lenses have been used for TV Globo’s medical drama, A Cura (The Cure), filmed on location in the interior of Brazil. “We do a lot of hand-held shooting when on location and the 15-40 and 28-76 lenses are perfect for this type of production because they weigh less than 2kg. In addition, filming on location and shooting in different countries can be rugged. In all circumstances and under all conditions, the Angenieux lenses performed brilliantly," he added.

Due to the zoom range of the Optimo 24-290mm, when it’s used on a crane, they can do a full day of production with a single lens, which saves time. The 24-290mm can focus as close as 1.22m and weighs 11kg.

By David Fox

OConnor gets a grip on Mattebox

The new OConnor O-Box WM is a two-stage wide-angle mattebox designed for use with 16:9 format full-size sensors.

It is OConnor's first mattebox and is very compact while accommodating lenses up to 18mm (and in some cases wider). It accepts up to three filters: two in top-loading filter frames (two 4x4-inch and two 4x5.65-inch frames are included). The rear frame is rotatable 360º. A third 138mm round filter fits in the bellows.

The O-Box WM is the first commercially produced mattebox to have integrated handgrip interfaces. Traditionally operators have used the sunshade as a handle, but this can easily damage it. The O-Grips can be used in single-jointed or double-jointed (two together) configurations, making it easy to set up a grip system that suits you – even to create a top carry handle. They can be attached directly to the O-Box support cage in three locations: camera left, right or bottom centre. The latter position is particularly useful for small setups such as with HD DSLR cameras, becoming a pistol-style grip for the operator’s right hand while the follow focus hand wheel is in their left.

The O-Box WM can be clamped directly onto lenses with outer diameters of 150mm or less, and can also be supported by the removable 15mm LWS rod bracket. Studio 15mm and 19mm mounting options are possible via adapters.

Constructed using OConnor’s proprietary rugged composite material, the sunshade is lightweight but claimed to be substantially stronger and more impact-resistant than existing units. This translates to fewer sunshade replacements arising from the rigors of professional production environments.



The kit includes: the WM Mattebox including the Wide Mini Sunshade with two stages; front fixed/rear rotatable 360º, filter frames, top flag and mounting bracket. Options include: Side flags, retaining brackets, a bottom bracket and flags, and universal mask set that clips into place within the sunshade. Bellows step-down rings to 80mm are also available.

By David Fox

Low-profile TeleGlide for small spaces

Telemetrics' TG3 TeleGlide Camera Track System uses a new low profile trolley and track for robotic camera systems to minimize space requirements.

The TG3 is designed with a fixed platform trolley for increased stability and is complemented by a track frame of easily assembled lightweight aluminium components and steel rods for bearing contact. The fully servo-controlled system permits location feedback for accurate pre-set positioning and repeatable motion control while soft electronic end stops help ensure professional operator-like moves.

For added operational flexibility, the straight-track system can be floor or ceiling mounted with custom lengths and cable management systems. The TG3 works with all of Telemetrics' pan/tilt heads, extendable camera mounts, telescoping camera mounts and control systems. It can support up to 109kg with a maximum speed of 30cm per second.

“Robotic camera systems are a sound investment in today’s economic environment because of their cost effectiveness and increased production flexibility,” said Anthony Cuomo, Telemetrics' VP and General Manager. He believes that the TG3 will be particularly attractive for facilities that want to supplement their existing production systems or expand capabilities into new venues.

Four of the new systems have already been implemented in studios across Canada. “The TG3 is a great addition to our TeleGlide Camera Track system product line. Its performance has been proven in these tier one national news virtual set studios," he said.

By David Fox

Jib is smooth operator for DSLRs

ABC Products' upcoming DSLR Light-Jib is a very lightweight and compact Jib-arm designed for DSLR cameras.

It uses carbon fibre tubes to keep the weight down (3.9kg) and packs small for portability. It is also claimed to offer an "extremely short assembly time of only a few seconds" and uses a QuickPin system to allow a rapid change of location and camera angle.

It offers a boom length of 1.52m and can carry cameras and accessories weighing up to 4.5kg (making it suitable for many compact camcorders too).

In use, it has a parallelogram bar that can be continuously changed allowing for an automatic tilt as well as precise adjustment of the tilt head angle. It also has a "special swivel system that enables the Light-Jib to glide avoiding any disturbing swinging when it is stopped."

It includes a built-in level, quick release and built-in brakes (horizontal and vertical), and will be available in December for about €1,190.

By David Fox

New Cine DSLR head wins award

Sachtler's new Cine DSLR fluid head has won the DV Black Diamond Award 2010 at the Digital Video Expo in Pasadena, California.

The head has been developed specially for HD DSLR cameras, such as the Canon 5D Mark II or EOS 7D, and has a special camera plate with an anti-twist safeguard that prevents the camera from twisting.

With a payload range of 1kg to 5kg, the fluid head uses Sachtler's three-step damping system, which enables precise and smooth horizontal and vertical panning. The head's robust metal housing protects it from exterior influences under challenging working conditions. It is compact, robust and offers precision when performing camera pans.

By David Fox

Cam Caddie carries compact cameras

Schneider Optics has become the exclusive worldwide distributor for the new Cam Caddie stabilizing handle and accessory holder.

It is designed to work with virtually any lightweight HD DSLR camera or camcorder, to provide a comfortable, solid camera platform that dampens movement while shooting.

Optional add ons include an Accessory Shoe for lights, flash units, microphones and monitors. The Accessory Wing and Tripod Adapter works with the Accessory Shoe to mount multiple accessories. There’s also a 1/4-20 Flash Shoe Adapter to attach multiple accessories to any flash shoe, hot or cold mount

The Cam Caddie Scorpion costs from $59.95. A kit including the Cam Caddie and three accessories costs $109.95.

By David Fox

Neutron 3D rig goes Naval gazing

One of the first productions to use Element Technica's new, lightweight Neutron 3D rig has been a US Navy promo showing the technology behind a recent mission launch that brought down a crippled satellite.

“The director wanted to re-create this event with two cameras in 3D mode with a system that was lightweight, flexible and could do both tight and wide shots in real locations like a war room at a restricted Navy base,” explained cinematographer Steven Douglas Smith (pictured). He specified two SI-2K cameras, Fujinon lenses, and view/playback on CineDeck. "The Neutron was simply the best set-up for the job.”

Smith had to get shots moving through corridors and around the electronics in a small missile ship as well as sequences within a naval war room. “We chose the Neutron because of its ability to act as a lightweight support device for these two HD cameras that we could fly on a Steadicam. Because 3D doesn’t like jittery handheld movements, the Neutron allowed us to move the camera in small spaces and still have it be effective in the 3D environment. Also, the Neutron has the ability to do swap over and change configuration from beamsplitter to two cameras side-by-side for long lens work. We wouldn’t have to use two separate devices," he said.

“One of the things that I really like about the Neutron is the high-grade mirror they use. It doesn’t cause abnormalities in the image that you get with many lower grade units. The Neutron configuration is also extremely steady and rock-solid when in the 3D environment, and still extremely lightweight," he added.

“We had to move quickly, had limited time in our restricted environment, and a lot of footage to capture. The Neutron performed extremely well, allowing us to capture the necessary material without reshoots or resets.”

Related post: ET's Neutron star shines for 3D

By David Fox

Panasonic HPX3100 WiFi link

Panasonic's new 2/3-inch ENG P2 camera, the AJ-HPX3100, uses WiFi to allow other users to view proxy video and add metadata.

It can use a standard web browser, so up to three people, such as the director, camera assistant, continuity or logger, can access it at once using their laptop, iPad or mobile phone.

The €32,500 mid-range camcorder replaces the HPX-3000 (but is smaller and lighter), and now generates much more usable proxy video files, thanks to improved resolution of up to 960x540 from 320x240 previously.

"We've adopted the .mov format for the proxies, so they are easier to handle than MP4, and we haven't forgotten the audio, which is now AAC or uncompressed 16-bit 48kHz [up from 24kHz on the 3000], so that an editor can do a complete audio edit on the proxies and not have to redo anything for the full resolution video," explained Jerome Berrard, director AV Systems, Panasonic Europe (pictured above).

It weighs 3.9kg, has three 2/3-inch 2.2-megapixel CCD sensors, has Chromatic Aberration Compensation and Dynamic Range Stretch.  It records AVC-Intra (up to 100Mbps 10 bit, 4:2:2) at various HD formats, plus SD, DVCPRO50, DVCPRO and DV, to two P2 card slots.

[[UPDATE: Panasonic has released 18 new, free, downloadable scene styles for the HPX3100]]

By David Fox

Shoulder-mounted AVCHD cameras

The upcoming Sony HXR-MC2000 is claimed to be "the first affordable, shoulder-mounted full HD camcorder". It is aimed at entry-level professional use and will cost less than £1,500.

A lot of users prefer shoulder-mounted camcorders, because they are easier to use if you are doing a lot of hand-held work, where actually hand holding the camera makes it harder to keep stable and tires you out pretty quickly.

The MC2000 will record AVCHD 24Mbps to 64GB of internal memory as well as memory stick Pro Duo or SD/SDHC cards.

Features include: a 12x (29.8mm-357.6mm) G-Lens; single 1/4-inch Exmor CMOS sensor with reasonable low light performance (3lux); Optical SteadyShot; a 2.7-inch 230k touch panel; an external microphone (stereo mini jack); and weighs 2.9kg including battery.

“The release of the HXR-MC2000E is further evidence of Sony’s desire to provide professional equipment suitable for every level of the market. This new camcorder comes complete with a great feature set and as well as being lightweight, is also highly affordable. Ideal for a range of customers from event videography though to corporate communications and educational training use, the MC2000E is bound to offer existing tape-based customers a clear migration path to solid-state acquisition,” said Bill Drummond, European Product Manager, Sony Professional.

Its main competitor will probably be Panasonic's new AG-HMC80/AG-HMC81. It lists at €2,550 excluding VAT (so should cost about £2,000), and records both HD at 24Mbps and SD (in the 25Mbps DV format) to SD cards.

It uses three 3-megapixel MOS sensors, and can also take 10.6-megapixel still images - storing them as standard JPEGs on the SDHC card.

The shoulder-mounted camera includes: user-assignable manual focus ring functions (Focus/Iris/Zoom); time code/UB recording; time/date stamp; and two wired remote control terminals (for zoom, focus, iris, REC start/stop controls). It has a 12x zoom lens with a  40.8mm (35mm lens equivalent) wide-angle setting. It has an Optical Image Stabilizer, Dynamic Range Stretch and a Cine-Like Gamma mode to give recordings a more film-like look – it can record 1080/24p (as well as 25/30p, 50/60i and 720 24p, 25/30p. 50/60p).

Outputs include: HDMI (AVCHD only), USB 2.0, composite (BNC), analogue component (BNC x 3) and FireWire (DV). For audio it has a built-in stereo microphone, a 3.5mm mini jack, and two XLR inputs (something the MC2000 doesn't have).

[UPDATE: There are very few low-cost shoulder-mounted camcorders about, but Sony has introduced the NEX-EA50 NXCAM camcorder, which is designed to sit well on the shoulder without any accessories.]

[March 2013 UPDATE: JVC has now introduced a new shoulder-mounted AVCHD Progressive (28Mbps 50p or 60p) camera, the GY-HM70 (pictured), with dual hot-swappable batteries for longer shooting times and dual SD memory cards, for under $2,000.]

By David Fox

Sony PMW-500 solidifies XDCAM

Sony has extended its XDCAM range with the PMW-500, a 2/3-inch HD 4:2:2 solid-state shoulder-mounted camcorder shipping this month.

The PMW-500 is based on the same architecture as the disc-based PDW-700, but records to SxS cards (two slots). It has three 2/3-inch Power HAD FX CCD image sensors and can record both 1080 and 720 HD pictures at 50Mbps, and four channels of uncompressed 48 kHz digital audio.

“The PMW-500 represents the next step in the evolution of the XDCAM product range. Since 2003, XDCAM has become an industry standard with over 150,000 units sold worldwide." Customers had requested a solid-state HD422 model to sit alongside the PDW-700, said Richard Brooking, XDCAM Product Manager, Sony Professional. The camcorders have already been ordered by RTL TVI in Belgium, WDR Germany and TV New Zealand.

Sony has also introduced a new higher capacity 64GB SxS card which can record two hours of material in HD422 50Mbps MXF mode and has an increased transfer speed of 1.2Gbps. The camera is switchable between MXF and MP4 for recording in XDCAM HD422, XDCAM HD and XDCAM EX modes. There is also an option to record MPEG IMX and DVCAM material for users migrating to HD.

On station

Sony has also announced XDCAM Station, a line of media recorders that handle SxS and Professional Disc. These will be useful for outside broadcast and SNG trucks, playout, archive, live production with slow motion, and ingest to non-linear editors.

There will be three models in the line-up: The XDS-1000 with an SxS card slot and internal HDD storage; the XDS-PD1000 with an SxS, a Professional Disc drive and HDD storage; and the XDS-PD2000 with SxS, Professional Disc and SSD storage.

The material can be accessed for editing or replayed under slow motion control. They have SDI I/O and network connections and can function as an MXF gateway linking XDCAM media, baseband video and networked operation. The Professional Disc models will support the new higher capacity 128GB four-layer disc media.

“We see applications within broadcast centres where customers can use XDCAM Station as an ingest gateway for their SxS memory card and Professional Disc media, and also on location for live applications and material sharing between camera operators and production staff," said Brooking.

The XDS-1000 will be available from March 2011, while the other two will ship summer 2011 along with the 128GB discs.

By David Fox