Now enters the DLSR and AF100 and other large sensor cameras. Sure you can get great depth of field, but so far everything in this arena brings compromise. In the case of the DSLR’s you have moire, poor audio recording and zero audio monitoring, and inferior h264 codec. The AF100 fares better on the audio front – working like a conventional video camera but still lacking on the recording format with AVCHD compression. NOTE: We are expecting our Atomos Ninja recorders in a few days so we will see how that enhances the recording capability.

Here is a frame grab from a recent interview we did for a corporate client. I lit it using a Litepanel 1×1 flood as a key, a Litepanel 1×1 spot as a hair/edge light, a window (cloudy day) as a fill, and a dedo projector for the background pattern. The shoot was for a one-time use as a meeting and no potential for repurposing into future programs and the result met our needs.

The camera image quality is excellent in its own right and the cinema like depth of field due to the large sensor . It works moderately well in low light and produces a pleasing image – less video like then the EX3 but not quite as cinema like as the 5D.

The photo below is of one of our EF100′s rigged with a PL mount adapter, RED 300mm, Red Rock Micro matte box, rails and follow focus on a Sacthler head.

The camera ships mit out lenses, so to equip the cameras we ordered third party lens adapters for PL, Canon EF, and Canon FD lenses. The only micro 4/3″ mount we felt worthy for video was the 20mm, 1.2 pancake lens. By now, most know about the challenge focusing with the inferior LCD and the EVF, and about the 25mb (or so) AVCHD codec. To improve the monitoring we generally use our Panasonic HDSDI 7″, and for improved image recording we have ordered (now delayed) Ninja Pre-Res recorders.

The recent firmware upgrade released by Panasonic fixes a couple of minor bugs with the camera interface, and we expect more upgrades to work with more automated lenses. A couple of nagging things are all about features buried in menus. The lens check being a couple of menus deep. The lens check, which enables and disables features of specific lenses, is one and the other is the shutter speed. I expect there are shortcuts to get to these but I haven’t found them yet. Barry Green’s book is a must have for any EF100 user (just like it was for the HVX-200).

When I take the camera out I generally use the PL Mount adapter with our RED Zooms, bringing both the 18-50 and the 50-150. With a crop factor of 1.3 to the RED, the sweet spot for interviews is around 55mm, so depending on the location I will usually shoot with the 50-150, sometimes using the 18-50 for establishing shots.  I most always toss in the 20mm pancake lens, and if the our ever popular Duclos 11-17 PL is available I will add that since it makes for a great b-roll lens.If you are using Canon full frame lenses the crop factor is 2.1x.

The cameras have been extremely popular with our shooters and in rentals. It is not a replacement for an EX3 or an HVX as an ENG camera, but is much more comfortable to use for interviews and such then a DSLR. Part of the benefits are the addition of a headphone jack (what a concept!) and built-in ND filters. Both of these features are normal for most cameras, but absent from the DSLR camp at this time.

Why would I take this camera our over my Red? Well I generally wouldn’t for interviews or studio work, but that is because I own both and there is no economic reason to. However, the Panasonic is a less bulky package, the battery life and record times that are longer with less bulk (smaller batteries and cheap SDHC media), I can bring a smaller tripod, and I can hand hold with ease. One thing that I am in love with (theoretically) is once again having sharpie friendly media. Meaning I can buy cards like I used to buy tape and after they are used, write on them with a Sharpie and put them in our library. Sure I still have to copy them to our editing bay storage and archive them to our DAM library, but I can always go back to the original media if needed. WIth RED and DSLR workflow we can’t justify not reusing the original media, but with $3 per GB for removable media we can.

Here is a good read by Mickey Grant on his first adventure with the camera while traveling abroad and by Philip Bloom in his first days with the EF100 camera. And though some of Barry’s tips are (thankfully) outdated by firmware updates, his tips post is excellent.

If you have any experience with the AF100, please drop us a note.

The DP was Marco Fargnoli and Jeff Killian was our DIT who got them going on location in Ohio. Marco has some TIFF’s pulled from the original R3D files that you may enjoy. The film was lit beautifully and they were able to shoot as if they were shooting on celluloid.

True Nature - Hospital Scene

True Nature - Bedroom Scene

Well? Did RED  do it? Does the Mysterium X outshine the Mysterium, and is it worth the investment?

We decided to put it to the test and results are posted below. Here are some stills that represent the tests:

Low Light Compare - Tungsten

Mysterium on left, MX on right, both cameras at ISO 2000. You can immediately see the noise floor and additional image information.

This vehicle headlights and dusk shot is dramatic. Notice the low noise in the MX image, the better sensitivity and contrast range (ability to handle brights and darks). ISO 2000.

We exposed this scene at proper exposure and then opened up 3 stops to make the recording.  Using REDcine FLUT controls in POST we wanted to see if scene could be recovered. As you can easily see, the MX was easily recovered (look at the blown out leaves in the sky if the before and after) and would have been completely useable with some additional color correction, but the Mysterium  was missing so much information that it would have been impossible to correct. Both cameras were at ISO 800.

The video clips speak for themselves. Enjoy. Both clips are the same, We are testing out the both YouTube and Exposure Room – let me know which player works best for you.

On Exposure Room (download link available – file is 250mb)

On YouTube. Make sure you choose the 720P version and zoom to full screen for best view.

We believe the MX is worth the investment and have upgraded both of our cameras to the new MX sensor. Looking towards the future, our upgraded RED ONES will be a nice compliment to the Scarlet and the EPIC cameras.

Details for the Camera Test and the processing:

We upgraded our camera #15 to Mysterium X and held back our second camera, #16 to Mysterium. The test was conducted with gathering of some  industry friends at our OC facilities on Feb. 26, 2010. The tests were informal, yet provide valuable insight into the major differences between the Mysterium and Mysterium X sensor upgrade. The firmware is a beta release, as is the RED Cine program used to convert the R3D files to PRORES and to export snapshot TIFF images.

The process for the test was simple – the same set-up was used for each cameras series of shots. We used the same lighting, tripod, subjects and lenses. Between each test, as few minutes of time lapse and the subject movements and poses were similar, though not exact.

Our goal was to demonstrate any differences between the two sensors. We were expecting a difference in the noise floor and the contrast range. Both were evident and significant to us, see if you agree by reviewing the representative samples we provided. A log of the complete test is available here.

Both cameras set to factory defaults and black shaded before test. Shooting 4K 2:1, RED Code 42 Camera B is Serial No. 16 “Connor”, Mysterium Build 21.4.1 Camera A is Serial No. 15 “RIpley”, Mysterium X upgrade, Build 30.2.4 White balance was matched in Red Cine and all clips were set to REDcolor and REDgamma. No other corrections were made.

The R3D files were exported from REDcine as Apple Pro Res HQ, then brought into FCP. The video files were edited in Final Cut Pro using Apple Pro Res HQ and then exported as a reference file. The reference file was exported to H264 1080P using Telestream Episode. The H264 file was uploaded to web video server where they did their own conversions.

For the split screen comparisons, I exported TIFF still frames from REDcine and, using Photoshop created the split screen and text overlays. The files were exported from Photoshop as TIFF files and then converted to 80% quality JPEG files. As a reminder to all, TIFF single frame exports from the Red 4K 2:1 RAW file are 48MB each frame. The JPEG exports seen her are only 2.5MB so some details are missing as a result. If you are interested in seeing the TIFF files I can make links available on request, however, I feel the additional artifacts don’t distract from the comparative results, but always always happy to hear your thoughts on this.

Thanks to all of our colleagues that participated in the test at our Orange County facilities and share our enthusiasm for RED technology.

PS: We are happy to say that our both of our cameras are now equipped with the MX sensors and are available for rent.

The “doctors office” in the above clip is actually just a empty file cabinet, a c-stand playing the part of a coat rack, a couple of plagues from around our office and a random collection of books. Control of depth of field, along with minimal art direction and appropriate wardrobe created affordable, and instant credibility.

We recommend that you watch this in HD and in full screen. To choose HD, hit play first, then use the toggle in the control bar and select 720P, then click the 4 arrows to expand to full screen. Click the My favorite parts are the interviews with Dr. John West and the motion graphics.

UPDATE: We are proud to announce that we won another national award for this video. This one a Silver Reel from the MCAI (Media Communicators Alliance International), formally known as the ITVA.

Tech notes: Shot on RED ONE, 4K, 24fps, RED 18-85, 18-50, 50-150.  Post was done in FCP with the proxies, then online via RED cine in FCP. Color timing was done with Colorista.

My friend Micheal Cioni at Lightiron Digital shot some comparative tests that technically show the differences between the sensors in various light conditions. We hope our tests show the real world equivalent.

Note our tests are just to understand the differences between the sensors, as it is us obvious by now that the upgrade is a no brainer decision for most RED ONE owners.

Depending on our job schedule, immediately after the test we will be sending in our second camera, #16 for the upgrade and will be the only house in the area with two RED cameras upgraded to Mysterium X. Hoorah.

If you want to shoot any tests drop us a line.

Today the most popular cameras in this arena are the Canon 5D, 7D, and the new, reasonably priced 550D/Rebel T2i, the Nikon D90, and Panasonic Lumix DMC-GH1. We own Canon 5D and 7D camera systems with various lenses and accessories and find that they suit our needs very well. I will plan a special report on how we use these cameras in our productions, but in summary we use them as primary cameras, but mostly for B-camera and background plate work.

Canon 5d with Z-Finder

This week we are co-hosting an event at our Orange County location on using DSLR in production. This overview is from the MCAI website:

Shoot a Film with a Still Camera? No Doubt you’ve been reading about DLSR Videography in the trades. Now find out in person why and how DSLR works and if it’s right for your next production. For the MCAI Feb 2010 meeting weâ??ve gathered 3 experts to cover all the bases from technology to practical shooting tips…

What is all the buzz about DSLR? “I am thankful for the hybrid DSLR. It has changed things in so many ways: it has created an unprecedented level of price and performance for shooting motion video that was previously unthinkable at this price point. Perhaps most importantly it ‘let the cow out of the barn’ that a huge 35mm chip that shoots video is possible at a very low price. Camera manufacturers previously led us to believe it would be too expensive, but Canon has proved them wrong!” Brian Valente, Redrock Micro

So, how does DSLR work, how does it compare to other HD cameras and how different is it to use for HD video? Answering those questions and more are a trio of experts: from Canon USA,http://www.usa.canon.com Michael Cutler, will explain the EOS 5D and 7D. Bob Wilde, video expert and Regional Sales Mgr from Samy’s Camera www.samys.com will compare DSLR cameras, discuss purchase, ownership and accessories including those from Red Rock Micro,www.redrockmicro.com RRM is a developer and manufacturer of some great gear which makes handling a 35mm still camera practical for film production. Last but not least is Cinematographer-Producer Rob Terry. He recently shot a series of videos on DSLR and has plenty to tell you about the good and bad of his experience, including capture and editing.

Our moderator and host for the event, Brad Hagen, the owner of Video Resources Inc.www.videoresources.com/ has shot with a DSLR. And VRI has two Red One cameras on their rental list as well as numerous other models, so Brad has a great basis for comparison. Three experts and a knowledgeable moderator will insure you get all your questions answered. For an in-depth discussion of the pros & cons of DSLR videograpy do not miss this important program.

As always, with MCAI meetings come early to network with our guest speakers and other professionals. Bring resumes, brochures, headshots, DVD reels and any other promotional materials for your business.

EVENT: MCAI LA/OC Chapter February Meeting
DATE: February 17th, 2010 Wednesday
LOCATION: Video Resources, Inc.
1809 E. Dyer Road Suite 307
Santa Ana, CA 92705
Phone: 949-261-7266
www.videoresources.com/

The testing will be relatively simple. Since we own two RED cameras that are nearly identical – serial numbers 15 and 16, we decided to upgrade one camera at a time so we could more easily compare the images. Since #15 was older (but just by a few minutes) she went in for the upgrade last week.

We expect our upgraded camera back any day now so please feel free to submit your recommendations for shooting environments and scenes that you feel would best represent the real world situations. Using the comments posting feature of our blog (see above), post your requests and we will do our best to accommodate them.

Here is the basic criteria for our shooting test:

• Outfit both cameras with the same glass
• Run both cameras simultaneously (we have a mount for this)
• Shoot interior and exterior scenes
• Shoot day and night scenes
• We hope to have some live models (actors) available for the test
• Don’t put the cameras at risk – no car mounts, crash cams, etc.

We expect to do the testing end of this week or next and create a Apple Pro Res split screen of the results. Vegas odds (and the other tests I have seen) say the X blows the Mysterium out of the park and sets a new industry benchmark.

PS: If you are in the Orange County area and want to be part of the crew, drop me a note using the contact link above to let us know you are interested.

This shoot was a great example of using the right resources to be economical, efficient and professional. A proper scout, load in and pre-light on Friday helped to make the Monday shoot go extra smooth and reminded us all about the benefits of being prepared.

Most of the shoot was directed interview style (our preference with non-professional talent), however, we used a prompter for a one scene. As an aside, our new prompter worked well and we were able to divert the usual expense of hiring an outside tech and gear towards acquiring the additional assets we needed to add another prompter to our arsenal. Also, the budget didn’t allow for makeup, but since we had high profile executive talent, Jamie stepped in an did a brilliant job with the “powder kit”.

The proof is in the pudding as they say. Here is a frame grab from our shoot.

Click to see larger JPEG version

Tip: To add production value, we added background elements to add interest. The painting in the background was suspended with fishing line off a c-stand. Gotta love good depth of field control!

What we used for the shoot: RED ONE Camera, SN#15 RIPLEY, Red Drive, Red 18-85 zoom, Kinoflo & Arri lights. Project stat: No filters, 24FPS, 4K, ISO 320

Let me explain. A high resolution frame from a sequence shot the first week we had our camera (August 2007!) has been made available to the RED user community. Various users downloaded the image and subsequently posted various efforts at color correction and image looks.

Our gallery of images shows the power of the R3D image format. Like RAW images that are now common with many still cameras, the Red native image format allows for broad color and gamma correction after the image is recorded by the camera.

This is a JPEG of the original file:

Reference image in JPEG format of the non-corrected image

To see how others have interpreted and manipulated the image visit our interactive gallery. To try your hand at color correcting this file download the TIF original file (41MB) here. Please post your comments about the experience and upload directly to our webgallery. To receive credit on any images you post, include your reduser names as a title for each image. If anyone wants their image removed please send a request my way.

Update: Read more about the power of the RED image format in this post by Oliver Peters

Authors note: At the time of the original post, software to read the R3D files was not readily available so I made a TIF file available to allow others to try their hand at color correction. If there is enough interest, I can upload an R3D version of the clip.