In the second part of our three-part series on the Sony PMW-F3, I look into the camera’s dynamic range and the various gamma modes that it offers. The test results were quite impressive, and I learned more about the different Cine Gamma modes built into the camera. I tested it right out of the box, without the upcoming S-Log firmware upgrade. With S-Log, the camera will output higher dynamic range video. In the tests, the F3 had the following settings: 1920×1080 23.98p, Black Gamma 0, Matrix Standard, Detail OFF and Aperture OFF. All testing was performed with a Leader LV7330 scope, DSC Labs Ambi – Combo System and DSC Labs 18 step grayscale chart. Watch the video above to see how the F3 performed.

You can also read Part 1 of our series here: AbelCine Tests the Sony F3 ISO Rating

The arrival of Version 3.0 firmware for the ALEXA has opened up a wealth of new options, one of the most notable being the ability to record audio to SxS cards. Since audio input is via five-pin XLR female, AbelCine has specially constructed cables to allow analog line-level audio to be input, while the A/D converter in the ALEXA will convert this signal to 24 bit / 48 kHz PCM audio. As of V3.0, an audio window can now be accessed to set level – this window allows for MANUAL or UNITY operation. Channel 1 and 2 can be directed to either left or right, and the sound roll can be manually entered as well. Reference marks are located at -20 and -18db for US or European recording.

Version 3.0 also brings with it timecode operations – timecode can be input via a sound recorder or a device such as the Ambient Master Clock. The advantage of the Master Clock is that it will alert you to any drift before it becomes a sync issue; if timecode is generated by ALEXA internally, the camera will drift one frame over eight hours.

This firmware update has definitely added some great new functionality to ARRI’s ALEXA. Watch my video to learn more.

This week Sony announced their new NXCAM Super-35, aka the FS100. This little camera has the same sensor as the PMW-F3, but with the feature set and price point of the NXCAM line of cameras. The FS100 has a small body design, not much larger than an HDSLR, but Sony packed in all the features that we find in a regular video camcorder. It has a high-resolution touch screen display on top, XLR inputs for pro audio, and a huge number of function buttons. The lens mount is the Sony E-mount, and the camera will be available with or without an 18-200mm lens. E-mount has a very shallow flange depth, so just about any lens can be mounted with an adapter. The FS100 records in the AVCHD format, and has an uncompressed HDMI output which can feed external recorders.

The FS100 will be released sometime this summer with a list price of $5,850. Read more about it on Sony’s website, and watch my video above to learn about this cool new camera.

With the recent increase in affordable large sensor cameras, the demand for external recorders has risen considerably. Atomos is now shipping their highly anticipated Ninja recorder, and I was able to get my hands on one to run it through the paces.

The Ninja records directly to standard 2.5” hard drives as Apple ProRes files. While it will work with standard spinning 2.5” drives, we recommend using SSD drives to avoid any potential issues with dropped frames. In my testing, the Ninja only dropped frames with a spinning hard drive when shaken vigorously — obviously outside most operating behaviors, but it is something to keep in mind.

With an HDMI input, the Ninja is great for cameras such as the Panasonic Lumix GH2, the upcoming Sony NEX-FS100, or anything with an HDMI output, such as the Sony PMW-EX1R. Since the HDMI output of your camera is uncompressed, this is a great way to record a higher quality and bit rate, and skip the compression of the internal recording. The Ninja was able to handle any HD resolution and frame rate I threw at it, including the tricky 1080/60i (not 59.97) from the GH2.

With an easy-to-use interface and a responsive touchscreen, the 4.3″ monitor was sharp enough to check for focus, even when shooting wide open on the Panasonic AF-100 and Sony PMW-F3. The large icons combined with the resistive touchscreen means that using the Ninja in extreme conditions, such as winter with thick gloves, would not be an issue.

At this stage of the firmware, there is no playback function. Atomos assures us, however, that a firmware update to correct this is in the works. The Ninja lists for $999 and is available now.

Atomos has also just revealed the new Samurai recorder, which builds upon the features of the Ninja but adds several upgrades. In addition to the HD/SDI input & output, the Samurai uses a larger and higher resolution 5” (800×480) screen. It also provides timecode and genlock/3D support and can accept a 24PsF signal. Available this Summer with a list price of $1500, we’re looking forward to seeing and testing the Samurai.

Convergent Design, makers of the popular NanoFlash, have created a new 10-bit uncompressed video recorder with a list price of only $5,995. The Gemini 4:4:4 combines a small (5″) touch screen monitor with an uncompressed HD recorder. The recorder supports HD-SDI, Dual Link and 3G-SDI inputs. It records to one or two 1.8″ solid state hard drives. Just about every HD format is supported up to 2k in resolution in both the 4:2:2 and 4:4:4 color space. Additionally, it is an incredibly light and small device, weighing in at around half a pound, and just about 5″ wide by 1″ thick (5.4 x 4.5 x 1.1”). The built-in touch screen controls the unit and also acts as an on-board monitor. The power draw is a very low 8 to 15 watts, which varies because of the monitor brightness and shooting mode. Convergent Design has pulled out all the stops on this recorder. Keep reading below to learn more.

…continue reading Convergent Design’s Gemini 4:4:4 Recorder

The Canon XF105 has many of the same features found in its bigger brother the XF305, but in a smaller and lighter form factor. It records in a high quality MPEG2 50 Mbps 4:2:2 video format, in all the standard HD resolutions, and it has a 1/3″ 1920×1080 CMOS sensor. One unique feature of this camera is its ability to be locked to another camera for 3D use. When two cameras are combined with a 3D rig, such as the Hurricane 3D rig (coming soon to Abel), it makes for a very small and lightweight 3D option.

Additionally, the XF105 has the ability to shoot in Infrared. This is a feature often requested for different applications, and with the 50 Mbps recording, this camera is perfect for television shooting that requires night vision. Watch my video above to learn more.

Cinedeck has released Version 2.0 for the Cinedeck Extreme. The Cinedeck records the output of a camera via HD-SDI or HDMI allowing the user to optimize the quality of the footage that is typically compressed by an in-camera codec. Version 2.0 now records in DNxHD for Avid, ProRes for Final Cut users, and CineForm Digital Intermediate. The optional Full Stream Uncompressed option allows the Cinedeck to record uncompressed 4:2:2 or uncompressed 4:4:4 in a QuickTime wrapper. Version 2.0 also provides full support for the EXsync timecode module, which allows the Cinedeck to be in sync with external devices and to sync multiple Cinedecks together.

…continue reading Cinedeck Extreme’s New V2.0 Upgrade