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“Those who cannot remember the past, are condemned to repeat it.”

Let me ask a silly but timely question:  Pretend you were a race car driver in NASCAR. You were in the middle of a race, flying around the track at 190 MPH, and a message popped up on your dashboard that told you that new firmware for your fuel system was available and ready to install, would you click OK?

Historically, meaning as little as a few years ago, editing and post production suites were built and deployed as a completely designed system not unlike a race car.  Under it’s branded and packaged “system” exterior, it was made up of components that, when described individually, were familiar to us.  It had one or many CPUs, operating system, memory, storage and I/O and several specific software applications, waveform/vector scopes and video source/record decks.  In addition, you would certainly have accurate monitoring of audio and video signals, ideally, in an acoustically-treated suite with appropriate lighting and wall color that would not confuse or deceive your visual cortex.

This turnkey package was very tight, in large part because the bits and pieces worked only in a small but specific “compatibility matrix”.  As a result, it was always understood and firmly communicated that you NEVER update software in the middle of a production, you disable Auto-Update (to satisfy the previous requirement) and that you work with and depend upon capable experts before and during planned upgrades. Upgrades, in truth, need to be considered full re-designs in the sense that there is a delicate inter-dependency between all components and interrupting this “matrix” will have a series of consequences, and unless your name is Neo, you may not even realize that the matrix exists! (Sorry, had to throw that in there.) Consequences come in many sizes and shapes.  Some, you may never even notice or feel and some may only effect you if a second or third seemingly unrelated event interacts with the dormant first consequence.  If the majority of customers work only on a stand-alone computer with the most common of add-on devices, then the lowest common denominator challenges or conflicts get addressed and corrected early, often during beta test cycles. Companies like Apple and others have also done a great job intentionally or unintentionally inducing Pavlovian Conditioning with frequent and ever-improving app updates that have taught us that Updates = Good.  Many of us treat these update requests like a new message from a friend, a gift or a present that randomly appears and, best of all, is free!  Why wouldn’t you do it?  Often it corrects and patches flaws and security risks that we didn’t even know existed (until the update told us).  After all, who doesn’t want to keep up with the latest and greatest? But beware, the editing and graphics ecosystem that you have built, however streamlined it appears, is more fragile and requires more planning than a typical computer or smart phone.  Major operating system updates – like Apple Mavericks 10.9 – change a multitude of things, for reasons that have nothing to do with you or your business. Here is an example advisory for some high speed, external media readers that came out upon the release of Apple Mavericks: “WARNING Qio E3 is not currently compatible with OS X 10.8.5 and 10.9 (Mavericks). Sonnet is working on a fix for this issue. Qio E3 is compatible with OS X 10.8.0 through 10.8.4 when using Qio E3 software v1.2.1c and later. Until a new driver is ready (1.2.2), do not upgrade your computer’s OS to 10.8.5 or 10.9.” Personally, I do not blame 3rd party board and hardware manufacturers for this.  A computer is a complex beast, designed for many markets and many uses.  In our high performance, time sensitive, video production world, we depend on our computers to connect with dozens of speciality devices.  Somehow, we have collectively come to expect that all parties involved have been handed a rule book that defines accurately and immediately, all use cases and all code corrections.  In truth, companies like Apple are famous for not providing detailed information about code or methodology changes that may break or change the way pieces or components behave.  There is limited access for developers to beta OS releases and it is next to impossible for a hardware company to run structured quality control tests on all possible configurations. So, in summary, I offer a few polite words of caution: • DO NOT be tempted to hit that Upgrade, Update or Download button without first KNOWING why you need it and what it might affect. • PLAN for upgrades with production and business calendars in mind.

• SCHEDULE downtime and testing as part of the upgrade.

• BACKUP the current system before an upgrade.

• TEST all of the devices and software after the upgrade.

Thanks for listening.  I hope it helps. Tom Talbot, t.talbot@rule.com

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Zacuto Recoil V2

With the influx of Canon C100 Ownership, the topic of handheld systems oftentimes comes up.  Clients are either used to shooting with an ENG style shoulder mount camera or DSLR’s and want to transfer the handheld shooting skills with either to a camera like the C100. Now the C100 is a great camera, but ergonomically normal a camera it is not.  Luckily, companies like Zacuto bring along great products to help make that transition much simpler and more cost-effective. The most recent rig to cross my path was the Zacuto Recoil V2, a product I had seen and specced for awhile but never got hands on with.  Set-up with the Recoil goes quickly and is pretty intuitive.  Where this rig gets it right is the grip relocator, which is worth the price of admission all on it’s own.  This may be the most cost-effective single piece to be used with rods that retains the same functionality of the camera on the market.  No longer are you using a dumb handle for the sake of handheld; you’ll get all the functionality of the hand grip just in a more logical place. You simply connect the 1/8” plug from your grip into the receiver and then run the 20”+ cable back up to the port on the camera and voila. Now for some bad. Well sort of bad. On Zacuto’s product page, they specifically address needing an EVF for this rig. Sad to say, there really isn’t a way around this…for a C100.  For a C300, however, the ability to articulate and move the EVF that comes with the camera makes a lot more sense and works well for this rig.  The same rule would apply with a C500. For the C100 ultimately, using an EVF with an articulating arm serves the trick as you can now create a more flexible and positional eyepiece. Secondly, I would recommend some longer rods to allow for more flexible adjustment of distance for the camera.  Ideally you want the weight to be on your shoulder for the best hand held support, and longer rods allow you to move the grip locator to a more comfortable position. The shoulder pad QRP system is handy as well and is pretty flexible in terms of placement.  It’s easily positioned and removable. One huge note to make with this rig: Be sure to use the Tripod TB-1 Adapter Plate that comes with the camera to work with the rig.  The only two points of contact on the rig are 3/8” and ¼ 20”; no safety pin.  So be sure that’s on the bottom before you start rigging. Another suggestion is the use of a Quick Release Plate System to create a fluid workflow from tripod work to shoulder supported, handheld work. I found the Kessler Kwik Release plate to pair well with the Zacuto set up. All in all, this is a great, cost-effective rig to get you started with some handheld work, with some limitations.  No one rig will solve every problem, but I see the Recoil V2 as being a really smart and sharp start to solving some workflow hurdles with Canon’s Cinema EOS Camera line. -Nick Giannino, Inside Sales, giannino@rule.com

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GoPro App v.2.0 is Now Available

We upgraded our GoPro Hero3 cameras to new firmware v.3.0 recently. I tested the cameras with new iOS GoPro application (v.2.0). It offers live preview now (while recording), which works quite well. The control of camera settings also works very well. The availability of web browsing is only available when switched to Internet access mode (not controlling the camera). New features do not always work, as promised, yet! Playback from camera, on iPad 3 works sporadically, sometimes stalling on “Loading images” screen. But when it works, it is spectacular! It makes the file transfer from card to iPad and further distributing it, very easy.

GoPro HERO3
These are the new application features: -View photos and play back videos -Copy photos and videos to a GoPro album on your iPhone, iPad or iPod Touch -Share the photos and videos copied to your device via email, text, Instagram™, Facebook® or other apps -Browse and delete files on the camera’s memory card Zbigniew Twarog, Chief Engineer, twarog@rule.com

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The Flexibility of Kata Camera Bags

Staying true to the Gemini ways, I have a hard time making decisions.  Just ask my husband when it’s time to pick a restaurant for dinner.   And when I do finally make a decision, I often change my mind immediately afterwards, otherwise, the dreaded indecision kicks in.  What does this have to do with camera bags, you ask?  Well I’ll tell you. I’d been searching for a bag that would fit my equipment needs.  My current bag is very limited on how it can be arranged or organized, and it doesn’t hold as much as I’d like it to, which is a problem for my ever-growing equipment inventory.  I have to dump and reorganize it constantly to accommodate whatever project or gig I’m doing, sometimes leaving equipment home that I’d like to bring.

The Bumblebee 220 PL
For the slightly compulsive organizer like me, the flexibility that Kata bags offer is a perfect fit.  They are very modular and customizable with interchangeable inserts, letting you arrange and rearrange to your heart’s content.  They are able to fit a wide range of camera bodies, lenses, and other accessories in a very compact and lightweight package, all while thoroughly protecting your gear and keeping it easily accessible while you’re on the go.  Some bags even have pockets for a laptop, and others have a place to attach a tripod. Kata bags are also easy to carry, whether you go with a backpack, sling, or rolling bag style.  When I’m on a shoot or traveling, I don’t like to be weighed down.  I’m a small person, so it doesn’t take much for equipment to get heavy.  I usually over-pack for everything (part of being indecisive… hey, I might need that lens I never shoot with!), so being able to take most or all of my gear easily is a great feature.  Perfect, indecision cured!  At least for the moment anyway. Overall, Kata is the solution you’re looking for if you need to carry a good amount of gear in as small of a package as possible.  They are lightweight but durable and protective.  Some of the products available include DSLR and camcorder bags, rain covers, and bags for tripods, lights, and more.  Kata is definitely a bag that can grow with you for a long time as your equipment upgrades and changes.

Heather Littlefield, Inside Sales Rep, littlefield@rule.com

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New Lampless Projectors from Panasonic!

We had an opportunity to see one of the new Panasonic products – the recently-released PT-DZ470 projector. Jan Crittenden Livingston brought it to Rule before this Wednesday’s 5/8/13 Learning Lab, which was a recap of Panasonic’s featured products at this year’s NAB conference. The projector is very bright (3500 lumen) and shows material very quickly (no warm up time). It is not at all hot, has a very handy manual lens shift (joystick like), and it can be mounted horizontally or vertically.  One of it’s main features is the fact that it does not use a lamp.  As a result, it has a very long and trouble-free user time which is estimated to be 20,000 hours. It looks like there is no maintenance, and, with its very good, quality picture, it seems to be a really exceptional product — especially if its promised longevity is true! Zbigniew Twarog, Chief Eng.  twarog@rule.com

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Sony F5 & F55 Learning Lab & Pub Night

The very well-received introduction to the new Sony cameras took place at Rule with a double header Learning Lab (a.m.) and Pub Night (p.m.). We had a good-sized crowd who applauded the new cameras modular build, ergonomics of design and “plug & play” functionality (camera recognizes any connected component and takes control over it). The cameras should be available in 2-3 weeks from now. Zbigniew Twarog, Chief Engineer, twarog@rule.com

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Sony PMW F5 & F55 at Rule!

Very interesting  “first look” at the new Sony cameras. Sony’s Juan Martinez presented working cameras and the technology supporting them. The New Sony F55 They seem very good, very modular and flexible. Quite ergonomically designed regardless of the “boxy” appearance. We ended up with samples of recording, but we do not have a new software, which understands new codec – XAVC, yet, but VLC Player could play them back! Confirming promised resolution. New Content Browser from Sony sees it, too. But it cannot play it back, yet.  More to come! Zbigniew Twarog, Chief Engineer, twarog@rule.com

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Azden

The Azden brand goes along with Rode and Sennheiser, but they seem to have filled a gap that has been left open for awhile by the mainstream brands.  Juiced Link and Beachtek have both produced small sound mixers, that leave some to be desired, but Azden has housed their own in a more sophisticated, small box that operates in the same fashion, but gives the user more control over their levels, as well as includes a jack for headphones in addition to the dual XLR inputs, and the L and R channel level controls. Azden also covers a FMX 42/42a 4-channel portable mixer, which offers 4 XLR inputs and 2 XLR outputs plus a mini plug output, adjustable input level monitor level, and adds a 10-pin  and mini plug camera return. These sound mixers run from $400 for the smaller dual channel mixer to $840 for the larger 4 channel mixers. Another unique product is the Azden dual receiver/transmitter kit. Running at $750, this price is highly competitive with buying two Azden or Sennheiser kits at around $599 each.  This dual receiver allows you to mic two people and run separate channels into one receiver, rather than using two receivers and two transmitters. Michelle Brooks, Inside Sales – brooks@rule.com

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Sachtler ACE/FSB4 Quick Comparison

Many people question the wisdom of buying an ACE over a Sachtler FSB4, so I thought I would hopefully put some of those questions to rest. The Sachtler line is well known for their FSB4 and FSB6 tripods, which are the go-to tripods for smaller and standard camcorders.  These tripods fit cameras anywhere from the Canon XF-105 to the PMW EX3. FSB4 holds 8.8 lbs, weighs 10.7 lbs, and also has 5 steps of counter balance and 3 grades of drag but also contains a spring loaded counter balance, which the ACE has, but as far as the actual “fluid drag system” the ACE has its own patented name for its fluid drag, which does not allow for a technical comparison between it and the Sachtler FSB4, because there are no numbers to compare or info on how the heads are made exactly, that is Sachtler patented information. The Ace, which was introduced last year, also holds 8.8 lbs, weighs 9.7 lbs., and its price point of $535 makes getting a professional tripod more do-able for those on a budget.  It features 5 steps of counter balance and 3 grades of drag. The biggest difference between the two? The ACE’s head is made of plastic (glass fiber composite) , while the Sachtler FSB4 is aluminum.  They are similar in weight, hold capacity, height, and style.  You’ll feel the drag function more smoothly in the FSB4 than the ACE. The latest update is that the ACE now is being offered with carbon fiber legs, in telescopic proportions.  That mean 10.2″ min height, no spreader, and only 5.1 lbs. for the legs.  These legs will also be available for tripods such as the FSB 4.  The Carbon Fiber version will run somewhere around the price of the aluminum Sachtler, which is $899. Michelle Brooks, Inside Sales – brooks@rule.com

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CANON U.S.A. ADDS TWO NEW CAMERAS TO THE CINEMA EOS SYSTEM: THE EOS C500 4K DIGITAL CINEMA CAMERA AND THE EOS C100 DIGITAL VIDEO CAMERA

Two New Camera Models Fill Out a Well-Rounded Cinema EOS Line-up with High-End 4K and Entry-Level HD Camera Solutions Canon issued a press release this morning. The full text of the press release can be found here. Here is a quick bullet list of highlights from the release: Canon EOS C500 4K Digital Cinema Camera Estimated list price of $30,000. Available October 2012 C500 is Canon’s high-end professional 4K (4096 x 2160-pixel) cinema camera capable of originating uncompressed RAW output for external recording C500 and C500 PL cameras output 4K resolution to external recorders as a 10-bit uncompressed RAW data stream as well as output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. When shooting in 2K, the C500 and C500 PL cameras employ a 12-bit RGB 4:4:4 signal format from one to 60 frames-per-second (fps) For high-speed shooting and slow motion capture the cameras can be set to a 10-bit YCrCb 4:2:2 mode, and can output 4K or 2K video up to 120 fps. Simultaneously record a 50 Mbps Full HD video file in-camera to the user’s choice of one or two CF cards. Canon EOS C100 Digital Video Camera Estimated list price of $7,999. Available November 2012 Compact, affordable entry-level model delivering full 1920×1080 HD video AVCHD codec -24Mbps in full HD 1920 x 1080 and 4:2:0 color space Records to dual SD cards EF mount ONLY 85% of the size of the EOS C300 Super 35mm 16:9 CMOS ISO range of from 320 to 20,000 includes a push auto iris function, one-shot auto focus (or full manual focus and exposure control), a multi-angle 3.5-inch LCD control panel, a high-resolution electronic viewfinder (EVF), built-in ND filters, dual XLR inputs, locking HDMI output. We look forward to talking in more detail about these two new cameras and will no doubt be featuring a future Learning Lab as soon as demo units become available. Tom Talbot Director of Technology

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Canon Cinema with SNL’s Alex Buono

Those who braved the spontaneous monsoon and made their way to the Yawkey Theater at WGBH in Boston on Wednesday, August 1st, were treated to an inspiring, funny and informative discussion with Alex Buono, the Director of Photography for Saturday Night Live’s Film Unit. The event was sponsored by FRONTLINE, Rule Boston Camera and Canon, and guests were wined and dined and encouraged to see, touch and shoot with the new C300 camera, which has been unbelievably popular since its release earlier this year. Buono uses the C300 in addition to several other Canon cameras for his work, including the 5D Mark II, 7D and the XF305. He shared some of his experiences on set and delved into how and why Canon’s cameras allow him to accomplish things he never could before in less time than ever, plus dropped tips and tricks throughout his presentation for people looking to get into DSLR or cine-style shooting. Naturally, I can’t cover everything here, but I’ll highlight some of the most interesting tidbits.

Buono started shooting for the SNL Film Unit back in 1999, when they were still shooting on film. That was a challenge, he said, because their typical shooting schedule goes like this: the writers deliver the script on Wednesday, they prep on Thursday, shoot on Friday and edit and air the final product on Saturday. Those turnaround times were brutal with film, but with new tapeless workflows, especially with the MXF MPEG-2 format the C300 shoots, they don’t have to bog themselves down with film processing or telecine, or even the painful rendering times that other video workflows might require. Canon’s cameras made it onto Saturday Night Live’s broadcasts in 2009, when Buono used the then-new 5D Mark II to shoot the opening sequence for the show. It was a bold step and a big undertaking, but he was impressed by the unprecedented light sensitivity, the ability to shoot in tiny spaces with a much smaller crew, and of course, the picture quality and shallow depth of field that he had struggled to achieve since leaving his film cameras on the shelf years before. After the success of that shoot, they adopted DSLRs into their workflow and have now added the C300 to their arsenal, which is Buono’s favorite tool yet. I was excited to see how Buono uses these cameras in his work every week and some of the additional equipment he has been particularly fond of. He spoke highly of a number of third-party accessories, including the “Target Shooter” and “The Event,” which are two different shoulder rigs from Zacuto and Red Rock Micro, respectively. He also never leaves home without his Zacuto Z-Finder Pro. Buono also showed off some seriously useful smartphone apps he relies on for location shooting, like Sunseeker and Helios for tracking movement of the sun. Most impressively, he showed us how to do “virtual location scouting” with Google Earth. Using their 3D building models and the time of day feature, he could track the movement of the sun throughout the day, plan out all of his framing, plus get contact information for buildings he wanted access to—all within the Google Earth application. Buono spent a good portion of his presentation talking about the technical specifications of the C300, but emphasized an important point (and my favorite tip from the evening): filmmaking is not a science project. In an industry where it’s easy to get caught up in numbers, feature lists and marketing jargon, it’s important to remember that these cameras are filmmaking tools that help us achieve our visions as storytellers. And the introduction of more affordable equipment and the resulting leveling of the playing field has allowed people to focus less on how much money and effort it takes to get a good picture and more on the things that really matter—good writing and good performances. That being said, he went into a detailed discussion about how the C300 captures and records color information, how capturing two green channels on the sensor dramatically improves low-light capability and how the form factor has significantly improved their flexibility while shooting, both with shoulder/handheld setups and in Steadicam applications. He also emphasized how great it is to be able to shoot a scene with Andy Samberg in the middle of Times Square without swarms of tourists taking any notice at all. Shooting incognito is a luxury few crews with SNL’s level of exposure enjoy. I was also pleased to hear him talk about the importance of color grading with tools like Apple Color, Final Cut Pro, Tiffen DFX or Magic Bullet. He also emphasized how critical good sound is, and recommended that everybody use a decent microphone (like the Rode Stereo VideoMic Pro) and record to something other than a DSLR—be it in-camera on the C300 or with external recorder (like the Zoom H4N). Shooting at 24 frames per second instead of 30 or 60 and using a 180-degree shutter (1/50th of a second on a DSLR) was also his recommendation as the single most important (and probably easiest) step for achieving a cinematic look with your video. There was plenty more that Alex Buono had to say about his experiences shooting commercial parodies, skits and other videos for SNL, as well as his impressions of the new Canon C300, but there was simply too much great information to cover here. He’s been traveling all around the country giving these kinds of presentations, so if you’re lucky, he may be making his way to a city near you and you can hear more about what he has to say. You can also follow him on Twitter at @alexbuono or go to alexbuonoreel.com to see more of his work. Peter Brunet, Engineering Technician, brunet@rule.com

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The Ultra-Flexible SYMPLA System from Manfrotto

Manfrotto recently released the Sympla rig, which they call the “system moving platform.”  The name is quite fitting considering how many different variations of this rig are available.  Let’s go over the separate pieces, which include: HDSLR Clamp-On Remote Control: There are two versions of this — one with iris, shutter, ISO and focus point control, and the other with just focus point control.  The first one mentioned attaches with a Manfrotto rosette to the side of a Manfrotto Tripod and acts as a 2nd arm to the tripod, putting together a studio setup environment for the camera. Sympla Variable Plate: This is a fancy name for a Manfrotto baseplate which is actually similar to any Manfrotto quick release on the market that uses a 501 tipod plate.  It will fit most Manfrotto video and photo tripod heads, making the mount interchangeable. Sympla Shoulder Pad: This actually is not padded, but many people think it is very comfortable despite that fact.  It leans on the shoulder and allows a weight to hook on the back with a 3/8″ screw. Sympla Adjustable Handles: These are not 15mm rod mounted. They are handles custom to the Sympla rig, so you won’t be able to move or interchange them with handles on any of your other rigs.  They go straight down and the angle is adjustable at the very top of the handle. Sympla Flexible Mattebox: This mattebox is perhaps the coolest of it’s kind and the coolest on the market!  It is called a universal mattebox, but it is universal in more ways than one. It has 4 “lengths” — lengths equaling from the camera on out.  This mattebox is made of a thick flexible rubber, which holds shape when you bend it and adjusts to the way the light falls without changing your entire setup.  The mattebox pushes in to become smaller or pulls out to become longer.  It does include step down rigs and what is called Nuns Knickers, or a Shade to go between the camera and the step down ring to ensure that no light gets in. Fig Rig: The Fig Rig is a steering wheel that goes around the camera.  The lens sits through the steering wheel to balance the weight, and the shoulder pad is turned upside down to lean against you instead of going over you. Lens Support: Lens support is a sloped piece that sits under the lens to support it.  This is actually a nice way of doing it, as you don’t have to screw anything in. That being said, it’s a nice way to focus your DSLR while it’s attached to a rig, or think of it as another way of putting a tripod in a studio-like setup.  The focus is accurate and not painfully slow.   I would recommend this if you’re looking to operate a little differently than what you are used to with more flexibility — especially when you are shoulder mounted. –Michelle Brooks, Inside Sales, brooks@rule.com

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Bags named Petrol

A question I get a LOT working at Rule is, “How do you guys choose your bags?”  The answer is: carefully.  When a new line or an interesting item comes on the market, we either take it is as a demo, or we stock it and try it out.  If it’s good, we order more.  If it’s bad, we never order it again. With bags, a lot of us here shoot.  We have our preferences.  We also rely a lot on our client’s referrals for what they use and are happy with.  I’m focusing this blog on Petrol because it’s not a new line of bags, but they’ve made several new developments feature-wise that I appreciate, that other companies have not yet adapted. The first nice thing, is the inclusion of a line of LED lights on the inside of the bag.  Night shoots, especially in the fall go after 5PM a lot of the time.  Packing up is often done in the dark, even if shooting isn’t.  Being able to open up your bag and see where things go without holding a flashlight in the other hand is an immediate bonus. The other is that Petrol makes really nice lighting bags.  They’re not cheap.  But if you’re looking for a bag that is SIMPLE, with wheels, and not overdone, Petrol makes a good one similar to the size of the Arri 3-piece light kit, except in soft-case, hard-foam form.   They also make a C-Stand bag, which comes in handy because, let’s admit it, C-stands are usually tossed in the van or truck un-cased, and they are awkward to carry around while trying to carry other equipment. An interesting addition to the Petrol line is the Cambio bag.  Prognosis is still out on this. Petrol is trying to be creative by putting a pull-out tripod on a bag, excluding the need for a tripod.  This is something that might seem dinky at first, but if you’re traveling up a mountain and now need a tripod and you’ve got one, this might seem like the best idea ever.  In everyday situations though, it’s always better to plan out your shots AND your equipment. A customer favorite is the Deca-Lightweight Audio Bag and the Deca Eargonizer.  These are well-designed sound recorder bags.  I pair everyone who is using more than just a sound recorder with one of these bags.  For example, if you are using a pair of wireless lavs with a sound recorder or mixer, this bag just makes sense. It’s organized with clear material in the right places and balanced with pockets for EVERYTHING so that you’re not fumbling around trying to separate wires and cords. That is a quick summation! In another few weeks, we will be stocking the Petrol PC104, the PC302, the Decashell Cam Backpack and the PM805.  The Decashell Cam Backpack is of specific interest, as it looks like a normal day backpack, yet holds a lot of gear.  It is mostly black with only small labels, so it will not draw attention to the equipment if you are going overseas!  Also feel free to email rulesales@rule.com, or any of our sales reps for more information. Michelle Brooks, Inside Sales, brooks@rule.com

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Tripod FAQs

The Manfrotto 701HDV, MVT502AM Tripod System with Carrying Bag is an LW tripod system kit for camcorders or DSLRs up to 8.8 lb. This System combines the 701HDV Pro Fluid Head with the new MVT502AM tripod.

This system is the smallest folding length of any Manfrotto to date.

Specs:

  • closed length: 29.53 in
  • maximum height: 61.42 in
  • minimum height: 27.76 in
  • load capacity: 8.82 lbs
  • weight: 8.38 lbs

The 504HD, 546BK has an aluminum crown head with a built-in 75mm bowl. The tripod’s telescopic mid-level spreader holds the tripod together and its sturdy feet connect to the legs without any problem.

Specs:

  • Maximum Height: 65.94 in
  • Minimum Height: 17.32 in
  • Load Capacity: 19.84 lbs
  • Weight: 13.89 lbs

Sachtler-Ace: Well, what’s different about the Sachtler Ace? It’s the only tripod with its own webpage (www.sachtler-ace.com) and includes a thrilling demo reel with the tagline “You only get one shot so make it count.”  Sachtler broke the $500 price mark range with a tripod that was ergonomical as well as affordable for the student, independent filmmaker, etc.

It includes a 5+0 counterbalance, 90-75 degree tilt range, 8.8 payload range.

Specs:

  • Weights: 10 lbs.
  • Height min: 22.4”
  • Height max: 68.1”
  • Transport Length: 34.3”

Now, I’m going to list the main comments, questions, and concerns that I get all the time from customers about tripods.

  1. I need a light tripod.  I can’t carry a heavy one. Now, I am 5’2″ and weigh under 100 lbs.  I get it.  But, the fact is that while you don’t want to break yourself, if your camera needs a heavier tripod, you’ve got to figure out a way to manage it. For example, you might get a tripod bag with wheels (Kata makes a great one) or bring another person along to carry it.  Do not fail in this area to get a tripod made for a 5D when you have a heavier camera or a lighter camera loaded up with accessories.
  2. What is the tripod that folds up the smallest? Most tripods do not fold up smaller than 34” long.  That’s the norm. Now, folding up length is different than standing minimum height.  But to answer the question, as far as I know, the one that folds up the smallest for travel is the Manfrotto 701, 502MVK at 29.9” long. 
  3. What is the difference between the FSB4 and the Sachtler Ace? Two main differences. Made of different materials at different parts. Different heads.  The FSB4 Head is the FSB4, the Ace is the ACE head.  These are made of different materials.  The FSB Head is made of aluminum, whereas the ACE head is made of aluminum and the silver bar in the middle is well-machined plastic.  The arm is shorter on the ACE than the FSB4. Ace has 3 grades of drag, FSB4 has 5. This affects the “fluid” feeling.  FSB4 has leak-proof fluid damping and a 10-step counterbalance system. ACE works at -30 where FSB4 works at -40 degrees.  ACE weighs 8.7 lbs, FSB4 weighs 9.7.  Spreader on the FSB4 is sturdier than on the ACE.
  4. I want thick legs.  Can I get thick sturdier legs with my head? Rule of thumb, the thicker legs that you see on Sachtler Video 18 heads, etc. normally fit with 100mm ball heads, which are definitely more expensive than 75mm heads, ranging more in the 2K-10K and up range.  Some manufacturers like Manfrotto make the 546BK legs, which are slightly thicker, and are generally wider than Sachtler legs that go with 75mm bowl heads. But if you want the thick, heavy legs, you need to go up to 100mm bowl, because the legs must also balance with the head to really control pan/tilt correctly with your camera. 
  5. Can I get a 75mm to 100mm bowl adapter? Yes.  Manfrotto, Sachtler, and Vinten all make 75 to 100mm bowl adapters. Except the way they are worded, only Kessler really has it right in their name for it because you are in fact going down in size, from 100mm to 75mm.  You cannot make the bowl bigger, from 75mm to 100mm because a 100mm adapter does not fit in a 75mm hole.  Plus, a 100mm head on 75mm legs wouldn’t make sense because it wouldn’t be supported or balanced.  These adapters range in $32 for Manfrotto to $154 for Sachtler.
  6. Can I use a photo tripod with my camera to make my camera go sideways? If you want.  But don’t take your hand off it because it’s going down to the ground if your camera is over 6 lbs!

Michelle Brooks, Inside Sales

brooks@rule.com

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New Firmware Upgrade for Sony HXR-NX70U

The Sony HXR-NX70U, released last June 2011 has a new firmware upgrade now available to end-users that offers:

• Selectable zoom speed for the rocker zoom

• Dual recording  (simultaneous recording) to both internal memory and SDHC card

• Additional frame rates of 1920×1080/30p and 1280×720/60p

• Expanded focus and histogram button are now assignable buttons.

• An added menu feature, “Last Scene Review” for playback on the camera.

• Face Detection Box on the video output can now be controlled by the Display On/Off button.

• The Display On/Off overlay the zebra and histogram display on the video output.

You can access the firmware upgrade here:

http://pro.sony.com/bbsc/ssr/micro-nxcamsite/resource.downloads.bbsccms-assets-micro-nxcam-downloads-nxcamfirmwareupgrades

This upgrade is currently offered for free on the Sony website as a download when their camera is hooked up via USB, but if the user does not wish to upgrade via download, they can send the camera into Sony for a technician fee to have the upgrade done at Sony’s service facility, which for New England is located in Teaneck, New Jersey.

If you wish to do this, you can contact the Sony Support Center at 800-833-6817 Mon-Fri, 8:00 am – 8:00 pm. ET, excluding Holidays.

These are your options for Sony Service via Sony:

Sony Service Center

Sony Electronics Inc.

123 W.Tryon Ave.

Teaneck, NJ 07666

Phone: 201-833-5300

E-mail: TeaneckService@am.sony.com

Sony Service Center

Sony Electronics Inc.
2706 Media Center Dr.

Ste.13
LosAngeles, CA 90065

Phone:323-352-5000

E-mail: LAService@am.sony.com

The Sony HXR-NX70U was announced a year ago in April 2011, and literally made a splash at last year’s NAB in Las Vegas when Sony had it sit in a shower to demonstrate it’s unique water-resistant design.  The “chiihuahua” camera is another in Sony’s Prosumer NXCAM line, all of which record onto SDHC cards with an AVCHD codec, and carry a list price range of $2K-6K, including the well-known HXR-NX5U, HXR-MC50U, and soon-to-be released palm-sized HXR-NX30U, which features a built in projector, will list for $2,500 and will be available June 2012.

Michelle Brooks, Inside Sales

brooks@rule.com

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Observations from NAB 2012

Each year that I attend NAB I usually end up having two or three words that sum up the most popular or most discussed trends at the show. This year I would have to say Thunderbolt and 4K were the buzzword winners.  It was also interesting to see companies suddenly dive into market segments that used to be “reserved”.  Blackmagic Design is suddenly a camera manufacturer and Canon is suddenly a production monitor company.  Go Pro offers WiFi and high speed goes handheld with the TS3Cine. was everywhere this year. The AJA Ki Pro QUAD, Blackmagic Design Cinema Camera, and of course drives of all sorts.  There was even a 30 meter optical Thunderbolt cable from Sumitomo. The term “4K Capable” means that external 4K recorders can be attached to such cameras as the Canon EOS C500 and 1D C, Sony FS700, F65 and others.  Canon showed a prototype of a 4K production monitor that looked remarkable. LED lighting is now ready for production use. Notably absent this year – 3D! Fujinon showed a lightweight 19mm-90mm PL cine zoom lens with a detachable servo drive unit Angenieux also showed a Servo unit compatible with thei lightweight Optimo line : Optimo 45-120, Optimo 28-76, Optimo 15-40 for Film and Digital cinema, Optimo DP 16-42 and Optimo DP 30-80 for Digital Cinema.

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A Note for our Existing Sony Anycast Owners…

Sony has recently announced that their AWSG500E Anycast Station Live Content Producer will be discontinued.  For many years the Anycast has been a “go to” portable video switcher, audio mixer, PTZ camera controller & more in a self-contained, briefcase sized package. Many of our customers over the years have used it and continue to rely on it for day-to-day use in events, public access, education, houses of worship, and a whole range of productions.  For most of our customers, once they have used the Anycast they continue to use and rely on it. Normally, our instinct is to jump right into the latest and greatest technology, especially when we receive news of a discontinuation.  I am not saying that there are not alternative replacements on the market right now but I will say that the form factor and capability of the Sony Anycast are not easily matched. If you have used and enjoyed the Sony Anycast and/or if you have established environments that already rely on the Anycast then it is not too late to purchase one.  Our sales team can still quote and sell you an Anycast including any optional boards needed.  Please reach out to them at rulesales@rule.com for more info and to request a quote before it is too late! Sony has a excellent track record for servicing and supporting products long after they have ceased to exist as a sales product.  Our Rental Department owns many of these systems and we are not planning on removing them from rotation anytime soon. I hope this helps! Tom Talbot – Director of Technology

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Smart Storage for the Digital Age

For some time now, Rule Boston Camera has been working hard to become the leader in New England of shared storage, digital asset management and archiving. As the industry moves away from tape and into file-based media, safely and intelligently storing your digital video files has become increasingly important. Our goal in this “Smart Storage Initiative” is to provide the best possible solutions for each customer’s needs—from the one-man-band all the way up to the enterprise-level customer. Naturally, a significant part of this initiative is education and not just for our customers. Recently, we have been putting our vendors’ shared storage products through rigorous testing to see which products fit perfectly with which workflows. No single product, be it from Avid, Facilis, SNS or Apple/Promise, is right for every need or for every customer. We’re doing speed tests, checking compatibility with third-party software, figuring out how you can use each one in collaborative workflows (and more) in order to find how each shared storage product shines and in which areas. The end result:  when you tell us about your business and your needs, we will be able to confidently recommend a product that will be a perfect fit for you and your workflow as well as your budget. While shared storage products like Apple XSAN/Promise V-Trak, Facilis Terrablock, Avid ISIS and SNS EVO are a significant part of the puzzle, we also provide solutions for digital asset management and archiving with products like CatDV from SquareBox and the Cache-A line of products among others. Don’t need or can’t afford a large shared storage system or LTO-5 backups? We can recommend the right storage and backup solutions to fit exactly what you need and want with products from Promise, LaCie, G-Tech and more. The industry is constantly changing and as a result it can be difficult to navigate which is why we’re always on the lookout to find the best solutions out there to match your specific needs. Peter Brunet, Engineering Technician, brunet@rule.com

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First Impressions of the Canon CinemaEOS C300

Coming off of our hugely successful Pub Night here at Rule Boston Camera last Thursday night, I finally have a few minutes to sit down and pass along my initial observations of the Canon C300 and C300PL cameras.

MODULAR DESIGN & ERGONOMICS

When I first got to handle the C300 in November, I did not know if a modular design would be better than a single integrated design.  The first thing that comes to mind is that the bits and pieces, or modules as I have been calling them, could easily get misplaced if you were spending too much time setting up and breaking down “stuff” for any given shot.   I have started to reconsider this opinion thinking that different users and different productions might configure the camera to satisfy the shooting style rather than to satisfy the  shot.  That said, I tried adding some modules onto the camera and throwing it into a camera bag to see how much stuff could be left on without much fuss.  It is a bit tall rather than long (depending on the lens) but with a simple tripod plate screwed onto the camera I found that I could move from tripod to handheld to and then to camera bag just by removing the LCD module.

We will have to look into camera bag options that are a bit more “bowling ball bag” shaped…

I know that we will see lots of 3rd party accessories shortly so stay tuned!

In its most stripped down state, you simply pop in a Canon 955 battery, side grip and a lens and you can shoot using the small EVF and no microphone.

From there you can attach the LCD module which also gives you 2 XLR connections and media playback controls.  There is a shotgun mic holder on this module as well.  The module connects via two 20 pin limo connectors that appear to be totally unique.  These connectors provide signals for the LCD and controls as well as to the XLR mic/line audio inputs.  This is a small 1/8th mini mic connector on the camera body as well but I suspect that may be limited in quality.

Additionally Canon provides a handle which can be used with or without the LCD module.

LENS MOUNTS

Very simply, when you purchase or rent the Canon C300 you have to commit to either the EF lens mount version, called the C300, OR you have to commit to the PL lens mount version called the C300PL.  Canon deliberated this for quite some time before concluding that a super-accurate and mechanically sound lens mount was more important and beneficial to the user than in interchangeable adapter solution.  I agree with this when you consider that sacrificing tight design for flexibility and a broader audience may reduce the camera’s performance.

XF CODEC

Factoids on paper sometimes appear more powerful and important than they actually are.  Since 100 is a larger number than 35, 100 must be “better”, right?   Of course, the word “better” has no context and is very misleading.  This was often first sentence in a much more in-depth video signal compression discussion (but I digress). The Canon 4K imager does a fantastic job delivering a full 1920×1080 resolution for the Red and Blue components and actually delivers 2 channels of 1920×1080 Green in such a way to minimize moire and retain a super sampled luminance signal.   This full 4:4:4 signal is offered to the signal processing engine.  Ultimately from there the signal is fed to both the HDSDI and HDMI outputs as well as to the compression engine packaged as 8-bit.  In-camera recording to CF cards is up to 50Mbits/sec 4:2:2 wrapped in MXF. Some people are concerned that 8-bit is not as good a 10-bit and, in a vacuum, this is true.  Most of the current in-camera recorders out there encode an 8-bit signal of some type.  Some external records can be setup to record a 10bit signal but it depends on the CODEC. While demoing the C300 to a large group at WGBH the other day it was wisely pointed out that HDCAM is also an 8-bit recording format and HDCAM is the delivery format of choice for what we see every day for PBS broadcasting. Like most things, you be the judge of what is objectionable and what is water cooler speculation.

MENUS

I will devote a future blog entry  to the C300 menu structure but I can say that the interface was very intuitive and familiar.  The menu can be superimposed on the EVF, the LCD or the external outputs.   In the case of the external connectors you do not get all superimposed info such as  WFM, VECT or some other items.  There is also a very handy rear display below the EVF that gives you access to ISO/Gain, White Balance, and shutter angle.  I found this to be the place where I would quickly choose the Function button and toggle between and change these core settings.