IBC is adding 3D and Workflow training to its free offering in the Production Village at this year's exhibition in Amsterdam (10-14 September 2010).
It will run more than 50 sessions, catering for everyone from beginners to advanced, and hopes to build on the success of its first year, when more than 1,200 visitors took part.
"We got fantastic response last year and excellent feedback," said producer, David Dawson-Pick, director, DDP Enterprises. "Scores for sessions tended to be between four or five out of five."
For IBC2010, the Production Village has moved from Hall 10 to Hall 11, the main hall for acquisition-related products, and its seminar area will now have seating for up to 80 people (up from last year). There will also be small group sessions (for six to eight people) offering hands-on training, as well as bookable 20-minute one-to-one sessions with the trainers.
The 3D training is being delivered by the DoP/stereographer, Kommer Kleijn, and consultant, Peter Wilson (formerly of Sony and Snell + Wilcox).
Pasquale Tropea, a DoP and workflow consultant with Support Partners, will be conducting sessions on Workflow, for pre-production and on set. "It's the capture end that is crucial as far as these sessions are concerned," explained Dawson-Pick. Topics will include storage, redundant backup, and preparing for post.
Lighting cameraman, Jonathan Harrison, is expanding his lighting sessions with one on how to do location pack shots (lighting small objects on location and impromptu rostrum work), while our own training specialist, Christina Fox, UrbanFox.tv, will focus on beginners and self-shooters, including shooting on a budget, interview techniques, and HD DSLRs.
Alan Roberts, consultant, will be expanding his sessions on colour science to look at how to apply fundamental lessons to digital production and 3D.
A training-related section is up the www.ibc.org web site, where visitors can book training, get follow up notes and watch videos.
Related post: Free training at IBC...
By David Fox
June 27, 2010
Sachtler enhances Cine/DSLR support
The Cine HD Pro will replace both artemis systems, the Cine and Cine HD, in September, with a modular concept based on its EFP HD Special Edition.
The artemis Cine HD Pro will have Dual Video Processing so that HD-SDI and SD video signals can be used simultaneously. It also gains Hot-Swap Technology that will allow battery changes to be made without needing to shut down the camera, monitor and radio channels. Its new, HiCap wiring means it can provide more than 200 Watts for the camera and other equipment. The HiCap wiring keeps the power loss extremely low (due to minimal voltage drop) and, with the Hot-Swap technology, allows for a longer battery operating time. Depending on the type of battery used, operating time can be doubled.
The system also uses a new 4.5cm carbon post with redesigned no-tool clamping and a new twist-proof inner tube with a diameter of 3.75cm. Therefore, monitor brackets and existing accessories based on 3.75cm diameter connections can be used on the new post. To match the post a new gimbal offers high precision, a new handgrip, new yoke, more control and nicer handling. Previous artemis systems can also be upgraded with the ACT2 4.5cm post and the gimbal.
artemis DV
By David Fox
Compact camera for 3D + gyro
The new HDL–F30, from Ikegami, has been designed with 3D, airborne gyro stabilisation and pole camera use in mind.
"It is a very clever camera," according to Mark Capstick, general manager, Ikegami UK. "It's designed for easy integration into a gyro stabilised system with current technology slip rings," to give more stable signals when the gyro turns. It also has a 4x digital zoom, which may not be a good thing for most applications (due to loss of resolution), but if you are filming a live incident from a helicopter and can't get any closer to the action, it can prove useful (offering up to 360x zoom when used with a 40x lens with 2x optical extender), especially for standard definition transmissions.
For 3D video use, it has built-in Horizontal Reverse and Frame Delay features. Because the CCD block is small (100x123x80mm) and weighs 1kg, it is suitable for use with smaller 3D rigs and for use in tight situations. The CCU can be up to 30m away.
The multi-format camera is switchable between 1080/50i, 1080/59.94i, 1080/29.97psF and 1080/25psF (a variant, the HDL-F31 supports 1080/24psF, 1080/23.98psF).
By David Fox
3D: An Introduction – workshop
Want to shoot 3D? A one-day hands-on conference/workshop in Brighton next month could be the ideal place to start.
"There is a skill shortage and lack of understanding of how stereoscopic 3D is made," according to Susan Tunstall, Business Development Manager, BTV Post. So, BTV decided to set up an event allowing producers, directors, DoPs and camera operators to speak to people who are making content. The day will be different from this week's 3D Masters event in London, for which BTV is a silver sponsor, as it will be more about how to go through the production process for people who haven't done 3D before.
3D: An Introduction takes place at Lighthouse, in Brighton, on July 8, and will take in pre-production, budgets, depth storyboarding, "and how getting good 3D is all about the prep and knowing what you are doing before filming." It will look at what is involved with a 3D rig, monitoring, and the post-production workflow.
It will cost £100 (+VAT) per person and there are 60 places, but more than three-quarters have already been booked. Following an overview session, the group will break into three smaller sessions covering: Pre-production, Production, and Post-production, rotating through each during the day, so that everyone has a chance to work with the equipment.
BTV has been working with 3D for two years, initially for digital cinema. "We have been developing a workflow which we are now using for broadcast too," she said. It is currently working on three 3D productions, with six more lined up this year, a mixture of stage or concert performances and documentaries, some of which it is doing production and post for, others just post.
It uses the SGO Mistika high-end finishing system, and has installed a full 3D theatre with Barco projection in its newly opened London facility. It also has an existing facility in Brighton.
By David Fox
"There is a skill shortage and lack of understanding of how stereoscopic 3D is made," according to Susan Tunstall, Business Development Manager, BTV Post. So, BTV decided to set up an event allowing producers, directors, DoPs and camera operators to speak to people who are making content. The day will be different from this week's 3D Masters event in London, for which BTV is a silver sponsor, as it will be more about how to go through the production process for people who haven't done 3D before.
It will cost £100 (+VAT) per person and there are 60 places, but more than three-quarters have already been booked. Following an overview session, the group will break into three smaller sessions covering: Pre-production, Production, and Post-production, rotating through each during the day, so that everyone has a chance to work with the equipment.
BTV has been working with 3D for two years, initially for digital cinema. "We have been developing a workflow which we are now using for broadcast too," she said. It is currently working on three 3D productions, with six more lined up this year, a mixture of stage or concert performances and documentaries, some of which it is doing production and post for, others just post.
It uses the SGO Mistika high-end finishing system, and has installed a full 3D theatre with Barco projection in its newly opened London facility. It also has an existing facility in Brighton.
By David Fox
June 21, 2010
3D remote control + other accessories
It has a spectrum analyser that indicates field intensity of the selected channel and reveals possible interfering signals in the complete transmission range. It is an open system with a USB interface, it is possible that, once adjusted, distance and/or angles between the cameras on a 3D rig will be tracked automatically when the focus is changed. Delivery is expected in the Autumn, and the price for a basic four-motor unit will be similar the existing three-motor unit, while the eight-motor version will only be slightly more.
Also new is its MatteBox 456 Academy Double with two rotating filter stages for PL lenses with up to 12mm focal length. It uses a new impact-resisting carbon design and will cost 1,430 Euros. The MB 456 Academy Triple with three rotating filters is also moving to the carbon design.
Chrosziel has developed a LightWeight Support (401-424) for Sony's HXR-NX5 camcorder. Most new cameras just need a simple height adaptation, but the NX5 required the baseplate to be changed due to the extremely lateral position of the tripod mount, resulting in a new base plate, distance bolt and camera platform. A conversion kit (the 401-424P) costs 126 Euros, the complete LightWeight Support is 293 Euros.By David Fox
Mounts, cables + controls for nanoFlash
All the DC cables are reverse wired for nanoFlash use only. Configuration options include 4-Pin Hirose (M) to 4-Pin Hirose (M), 2-Pin D-Tap or 4-Pin XLR. Nano compatible BNC cables are manufactured to HD 3G standard and available in variety of lengths.
To mount the nanoFlash on the camera, Hawk-Woods has two alternatives: the XE-60 nano plate is compatible with the mounting bracket on the Hawk-Woods V-Lok or PMW-EX camera adaptor ranges, while the XE-64 adaptor allows the HD Recorder to be fixed to the Hawk-Woods BP-EX3 adaptor (pictured).
Its XV-04 nanoFlash remote tally cable has already become a best seller, and solves the problem of operating the Recorder while it is situated behind you. The remote cable is compatible with Sony PMW-EX1/EX3 cameras, and has an operating button that slides over the camera's existing recording button. A cable-mounted red LED shows the drive is in use and can be positioned near the camera viewfinder for ease of display.
Related posts: nano3D launches at NAB and HD video recording in a nanoFlash
By David Fox
Off the charts – IE on target
It has the Siemens star TE148 on one side and the white balance sheet TE115 on the other, so that users can check their lens and do an accurate white balance. The TE148 is designed for making camera lens adjustments and checking back focal distance. Besides the Siemens star in the centre it has four smaller ones in each corner. On the TE115, the density of the white area is 0.15 (based on BaO4S=0), which corresponds to a remission of 70%.
The chart comes with a cover, for protection on location, plus a neckband, and costs 40 Euros/$60.
By David Fox
Hague puts HD DSLRs in the frame
DSLRs can produce great HD video but are difficult to hold for handheld filming. The Camframe should not only make it easier to hold, but can also provides somewhere to fit accessories, such as an audio recorder.
It has a large camera plate with adjustment forwards and back to get the right balance depending on the lens being used. It can also be repositioned from centre to the left or right to get the camera in the required position. Also on the base of the frame are three mounting points for a monopod or a tripod quick release plate, for going from handheld to tripod mounted with the camera still attached to the frame including any accessories you may have fastened to it.
The Camframe has handgrips on both sides and on top of the frame. On either side of the top handgrip are accessory shoes for an external light or microphone. An additional handscrew is supplied to attach any other accessories to the base of the frame.
Extreme Flymount
iPhone Mounts
The improved video performance on offer from Apple's latest iPhone 4 makes it even more likely to be used for low-budget production.The Hague MMC Mini Motion-Cam stabilizer is claimed to be "the most popular small stabilizer on the market" and Hague has now added a new mount to make it iPhone compatible. It has also released a standard i-Mount for mounting an iPhone onto any standard camera mount, such as a tripod, dolly or monopod.
Related post: Steadicam Smoothee rig for iPhone
By David Fox
June 19, 2010
iPad puts broadcasters in control
It costs less than $1,000, although the iPad is extra, as is the ProPrompter App, which is $9.99 from the iTunes App Store. This is claimed to have been the first prompter app for the iPhone, and the latest version allows users to remote sync an iPhone or iPod Touch with the iPad, and use either of them to control the prompter via Bluetooth or WiFi. For a multi-camera shoot, the iPhone can control multiple iPads at once. Of course, an iPhone can also be used in its own smaller rig as a prompter, but won't be readable at the same distance as the iPad.
Videohub controller
Blackmagic Design used an iPad to control the Videohub 3Gbps router that ran all the video feeds around its stand at NAB via WiFi and intends making the app available free on the iTunes App Store. The initial app was created in just a few days, as the iPad was then only newly available.
Being able "to walk around cable free and change your video routing from a handheld device is enormously practical," said Simon Westland, Blackmagic's Director of Sales, EMEA.
Script replacement
A lot of TV shows still use paper scripts, just in case the prompter fails. While many news shows now use laptops or in-desk computers as this back up, that option isn't so useful for a standing presenter, which is why Fox affiliate WFXL in Albany, Georgia, has started using iPads to replace paper scripts.
It has bought six iPads for its news shows, but believes the move will save about $9,600 per year in printing and paper costs. The scripts and running orders are created as usual, but then saved as PDFs and emailed to the iPads.
Telestrator too
The US sports network, ESPN has also put the iPad (and indeed iPod touch) to good use, this time as a remote control for a telestrator, allowing presenters and commentators, to control on-screen graphics and draw on the screen, according to a report on Engadget. Rather than creating a telestrator app for the iOS devices, it runs a VNC (Virtual Network Computing) client to control the telestrator's Windows XP-based interface via WiFi.
Related post: Off-the-shoulder prompting
By David Fox
June 08, 2010
Litepanels flash offering for HD DSLRs
The new Hybrid’s Continuous Mode provides a soft daylight output (5600K) for video use, while the Flash feature produces a 400% brighter burst for shooting still images, making it well suited for use on HD DSLRs.
An integrated dimmer offers 100% to 0 dimming with "minimal colour shift. Output is flicker free and heat free and remains consistent." There is also an integrated filter holder and three included colour/diffusion gels (3200K, warming and diffusion). Additional filters can be stored on the back of the fixture. A Strobe Sync Cable included at the base of the unit enables a strobe function.
It weighs 300g and measures 139.7x95.25x38.1mm (plus shoe). Options include: a base plate for off-camera usage; articulated camera extension arm; AC Power Adapter; Underwater Housing; DV Adapter Plate for Panasonic, Canon and Sony batteries; and a Handycam Shoe Adapter.
By David Fox
Fujinon simplifies 3D lens setup and synchronisation
There will be four new 3D high definition and two 3D extended definition zoom lenses, with the first expected to ship in July (probably either a 16x or 18x HD zoom), and all of the range should be available by about IBC, according to Paul Goodwin, Divisional Head, Broadcast & CCTV Products, Pyser-SGI (Fujinon's distributor for the UK and Ireland). He hopes to demonstrate the first units at the upcoming 3D Masters event in London on June 22.
For more details, please see my article on the TVB Europe magazine website.
By David Fox
microRemote iPhone wireless focus controller rocks
The Redrock microRemote can work with cameras that use prime lenses, such as HD DSLRs or the Red One, or video cameras equipped with 35mm adaptors, and is part of a kit designed to make focusing and focus pulls simple and repeatable.
For more details, please see my article on the TVB Europe magazine website.
By David Fox
Letus gets its Talons into HD DSLRs
The US-based grip and lens accessories company, Letus has introduced a new range of camera support for HD DSLRs.The compact Talon DSLR kits include a mix of quick release base plates, L-brackets, 15mm rods (including its patented telescoping support rods), and viewfinders. Prices start at $385 and they should start shipping this month.
The Talon K1, K2, K3, K4, and K5 kits range from an entry-level system with quick release base plate, stainless steel L-bracket, and 90mm stainless steel rod extensions, to systems that include its Hawk viewfinder, the telescoping rods, or a riser that allows you to have a step in the support rods with a 90mm long stainless steel front rod extension (for easily repositioning a follow focus or matte box when changing lenses),
It looks to be robust and versatile, but at an introductory price of $699, there are simpler, if less comprehensive, systems available from the likes of B Hague for a lot less.
By David Fox
Canon updates 5D Mark II firmware
Canon has issued a new firmware update (Version 2.0.7) for its EOS 5D Mark II HD DSLR, mainly fixing a couple of exposure problems.
It fixes a problem where the aperture exhibits abnormal movement when shooting movies in manual exposure mode and Aperture Priority AE (Av mode) using some Canon lenses (such as macro lenses). This involves the aperture of the lens changing when the focusing ring is moved (during focusing). This sort of behaviour is often seen on zoom lenses with variable maximum apertures, where the aperture can change during zooming, but shouldn't happen during focusing.
The other exposure problem applies to stills photography (where the exposure information shown in the LCD didn't match what was shown in the viewfinder in manual exposure mode.) The update also fixes a problem with Canon's Wireless File Transmitters.
It is available here: http://web.canon.jp/imaging/eosd/firm-e/eos5dmk2/firmware.html
By David Fox
Hot-swap batteries on a plate
IDX Technology's new A-E241E dual V-Mount battery plate can be fitted with two IDX V-mount batteries to give double the battery capacity for cameras and accessories. The plate has a universal V-Mount to fit a wide variety of broadcast cameras and equipment and is compatible with all IDX Endura System Lithium Ion batteries. It means that users will be able to hot-swap batteries without turning the camera off.
By David Fox
Cooke garnishes /i technology lens data
The new functions allow data to transfer from third party external equipment to the lens, as well as from the lens to the camera, for recording with other metadata. The information can be stored in the camera or on an External Data Source Unit, and can include such data as 3D encoder information, details from electronic slates, or metadata from wireless devices such as iPhone apps.
The information can be particularly useful in post. "The streamlined transfer of data from the set, lenses and camera into post production makes accurate, high-quality VFX creation easier for everyone involved – cinematographers, VFX supervisors and VFX artists – as well as saving time and therefore money," explained Michael Lancaster, Managing Director of The Pixel Farm, a development partner with Cooke for four years, whose PFTrack software integrates /i data.
“/i Technology is designed to be open access, and this set of functions takes that a step further,” added Les Zellan, Chairman and Owner, Cooke Optics. “The kind of data you can transfer is user-defined, so you can really record anything relevant or useful to you, as long as it fits into the allowed space - 60 characters with no carriage return.” The new functions are available immediately within new and existing Cooke 5i lenses.
Related post: How to Cooke up a high-end lens
By David Fox
Sharp-cut Ruby wide-angle zoom lens
The Ruby is being exclusively distributed by Band Pro, and offers full coverage even for the F35 sensor. It weighs 1.36kg and measures 138mm long, with a front diameter of 110mm, and will accept a 102mm screw-in filter. The lens works on all 35mm PL mounted cameras, including the Sony F35, Arri, Red, and Canon D7, and fits the Canon D5 with an adapter.
Focus direction is reversed to go in the traditional cine direction and it offers longer focus travel at 126 degrees, using an anti-backlash design for accurate focus marks.
By David Fox
June 06, 2010
Hands on with the new AG-3DA1
As mentioned in the French Open Tennis post, there are 100 engineering samples of Panasonic's new AG-3DA1 3D camcorder being made available for evaluation, testing, training and demonstrations at the moment.
Panasonic had one of them at the opening of its new Experience Centre at the Pinewood Studios, near London, last week, and I got the chance to handle it briefly.
It is certainly light, feels reasonably well balanced, and is probably about as simple as a 3D camcorder could be without removing your ability to control it.
Besides, convergence is not something you play with during shots, as that could be disorientating and possibly nauseating for the viewer (although I'm sure that someone will use that with the zoom to create some kind of 3D trombone shot for some production where unsettling is exactly what they want to be). Of course, setting the convergence may not be the job of the cameraman. It can also be set remotely, although that requires two HD-SDI wireless links (or cables if you're in a studio), to someone with a large 3D monitor (such as Panasonic's new 25.5-inch 3D LCD, the BT-3DL2550, for field or edit suite use arriving September for £7,750 - pictured right). It would probably be possible to use a single HDMI wireless links system, but no one makes one yet….The camera has a fixed inter-axial distance (between the centre of each lens), so you can't move the lenses to give a better 3D effect for extreme close ups (anything less than about 1m for this camera) or for wide landscapes. But then, it isn't intended for that kind of work, no more than it is designed for cinema productions. The lenses are just about the right distance apart for television use. One of the problems with 3D is that you have to think about how you will deliver it when you create it. So, a movie that is meant to be seen on a big screen has to be remastered for the TV so that the parallax is correct for your living room.
For editing, there are already ways to do 3D for all the main edit systems. Final Cut Pro, for example, has plug-ins from Dashwood Cinema Solutions and Cineform that allow you to work with the two channels as a single stream on the timeline.
Hands-on experience
The Panasonic Experience Centre offers visitors the chance to explore file-based workflows before they spend money on them. It includes a room where users can test and experiment with P2 workflows, from acquisition to transmission, including content management on location and back at base, metadata, editing, archiving alternatives and playout.
There are also rooms for testing Panasonic's box cameras and vision mixers, an AVCCAM area (for its AVCHD range of cameras), where users can shoot and edit, and a 3D room, for the AG-3DA1 and 3D displays.
Panasonic already had a P2 Experience Centre at Shepperton Studios, which it opened last year. That now forms the core of the Pinewood centre. It had more than 900 visitors in 11 months and "the feedback has been absolutely fantastic," said Clark.
"It provides a safe environment for people to find out about tapeless workflows or to prove workflow concepts without crashing their own facility. It gives them the opportunity to play with tapeless workflows."
"We're not saying that this is THE workflow. Every one is different," added Rob Tarrant, European technical manager. "The good thing about this place is that we can actually try the workflow out before you go on set."
About 60% of the equipment in use at the centre is from third parties, such as Adobe, Apple, Avid, Cinegy, Quantum, Rimage, HP, Object Matrix and others. Avid, which is also based at Pinewood, has opened its own Experience Centre.
New products
Panasonic has also introduced new cameras, including the AG-HPX371, which replaces the successful HPX301, and costs £8,750 including lens. It uses new, more sensitive, ULT, sensors. There are also new AVCCAM cameras (besides the AG-3DA1) including: the AG-HMC81, which replaces the HMC71 shoulder-mounted camera this Autumn; and the AG-AF101 micro 4/3 HD video camcorder.
It has also expanded its range of P2 media card devices with: the AJ-PCD2 single-slot P2 card reader (£245); the AG-MSU10 transfer/backup device, which offloads P2 cards onto removable 3.5-inch drives at 4x speed so you don't have to hand over the media (£1,950 in October); the AJ-HPM200 field recorder/editor/transfer station (£11,920); and the AJ-HPD2500 VTR replacement P2 recorder, which can also be a back-up playout device (£19.205).
Anyone interested in visiting the Experience Centre should email: p2live [at] eu.panasonic.com or phone +44 (0)1344 706 913.
Related posts: Panasonic 3D camcorder gets AVCHD and Panasonic unveils HD 3D camcorder
By David Fox
June 03, 2010
3D camcorder opens live in Paris
Although the camcorders won't ship until September, Panasonic currently has about 100 engineering samples in use worldwide, with seven taking part in the Roland Garros event in Paris.
For the rest of my article on the TVB Europe website, have a look at: 3D camcorder opens live in Paris
Related posts: Panasonic 3D camcorder gets AVCHD and Panasonic unveils HD 3D camcorder
By David Fox