Nexto has released its latest in their series of data backup devices, the NVS-1501. The NVS-1501 is essentially a scaled down version of their NSV-2500 and NVS-2525 models. The big difference between these models is the number of different cards it can read directly. The NVS-1501 supports CF, SDHC/SDXC, Memory stick, and more. It does not support SxS or P2 cards. The NVS-1501 serves as a temporary download station, hard drive, and has the ability to mirror to an external drive. It accepts cards formatted in the standard FAT32 format, which means it works with a wide variety of cameras including Sony, Panasonic, JVC, and Canon. For a full list of supported video formats that the NVS-1501 can preview, check out Nexto’s chart here – Supported Video Format for Preview.
A few weeks ago I put together some scene files for the Sony PMW-F3, and many people have been asking for scene files for the new NEX-FS100 as well. I put the two cameras together and made matching scene files that incorporate some of the settings I described in my FS100 dynamic range blog. Unfortunately, there’s no way to load scene files into the FS100 with a memory card, so you’ll have to dial in my settings manually to try them out. Below you’ll find my settings and images from the camera. Try them out and let us know what you think. To learn more about creating your own picture profiles, you can also check out our FS100 class in NYC and Los Angeles.
FS100 Standard
This is the standard setting that the camera comes with for use as reference.
AB_NORM
This is what I call the AbelCine Normal look, which has minimal adjustment and is intended for controlled lighting scenarios and studio work. I used the ITU709 gamma curve with a 85% knee point and -2 slope to maximize dynamic range. The rest of the settings were chosen to match my AB_NORM look in the F3.
Black Level: -3
Gamma: ITU709
Black Gamma: Range = High / Level = 0
Knee: Point = 85% / Slope = -2
Color Mode: Type = Cinematone1 / Level =8
Color Level: -3
Color Phase: 0
Color Depth: R=-2, G=-6, B=-7, C=0, M=+2, Y=+5
WB Shift = All 0
Detail = Level = -3 / Manual Set = Off
The ARRI ALEXA has become so popular that many clients are asking to use it in ways outside of the traditional Digital Cinema market. Documentary and ENG-style productions, long the playground of 2/3” cameras, are now beginning to use the ALEXA. With this demand, AbelCine has worked to adapt the camera to the style of “One Man Band,” everything-on-the-camera shooting.
Audio
The ALEXA does not have the traditional mounting points for microphones, nor does it provide power for them. Importantly, it also only accepts Line level audio, as opposed to the Mic levels that commonly come out of microphones and wireless mic receivers. To attach a standard shotgun microphone, we use the K-Tek K-SSM Short Shock Mount, which nicely isolates the microphone from the camera and allows precise positioning. The smallest professional two-channel mixer available is the Sound Devices MixPre-D.
Lensing
Super-35 lenses are large, heavy, expensive and do not have servo control handgrips for efficient operation. Fast-moving productions have come to rely on compact, high zoom-ratio lenses with built-in motorized zoom servo handgrips. The HDx35 B4/PL Optical Adapter allows these lenses to be used on the ALEXA for efficient, ENG-style shooting.
Power
Documentary-style crews are used to powering accessories off two-pin P-Tap (PowerTap) sockets commonly found on camera battery plates. The Anton Bauer QR Quad PT sandwiches between the battery plate and a battery, and provides four P-Tap sockets for power. Anton Bauer also makes the QR-Hotswap-AR, which provides mounting for two batteries as well as a topside mounting flange for attaching accessories such as wireless microphone receivers.
Cables & Mounting
Having assembled the various parts, AbelCine created some custom cables and mounting hardware to attach it all cleanly and efficiently to the ALEXA. We call this configuration the ALEXA One-Man Band Kit.
After posting our recent Element Technica F3 Riser & Shoulder Pad Kit blog video, many clients had questions on how to mount it to a tripod and adjust front-rear balance. The ET F3 Riser’s clever universal design allows it to attach to all popular mounting options. 3/8” threaded holes are available for directly attaching ARRI bridgeplates, both in the 19mm studio standard with the BP-8 and in the 15mm studio standard with the BP-9. By removing a thin shim plate on the base of the ET F3 Riser, the unit can also be mounted to the Element Technica Hybrid Bridgeplate. If you are using smaller lenses and don’t need a sliding bridgeplate system, standard tripod plates can attach directly to the ET F3 Riser. In smaller configurations, the mounting point is very close to the center of gravity, with the mounting options for the shoulder pad also quite close to the center of gravity for comfortable handheld shooting.
Watch the video above for a full explanation of the mounting options for the Element Technical F3 Riser.
16×9 Inc is releasing their Compact Cine Base system for the new generation of large-sensor camcorders. The system is ideal for the Panasonic AG-AF100, Sony PMW-F3 and NEX FS-100 camcorders. It allows the camera to be built in a full 15mm or 19mm studio configuration or lightweight 15mm mode. It is composed of three sections: the dove tail, the baseplate and a spacer.
The dovetail has been tapped with 3/8-16 holes for balancing your camera plate anywhere along the length of the plate. These holes are offset from the center approximately 5mm, and alongside are a series of 3/8-16 and 1/4-20 tapped holes. This will accommodate camera plates that incorporate tie-down screws in these two sizes. The offset is minimal, so no need to worry about mounting your camcorder to this platform. The ends of the dovetail are comprised of spring loaded offsets. In order to take the camera off the plate, simply slide the end over so that it is flush with the rest of the rail – a clever idea that makes mounting/dismounting the camera fast and secure. Keep in mind that this dovetail is exclusive to the 16×9 system; other top plates will not mount directly to the dovetail.
The baseplate is machined for 15mm lightweight rods and has a dovetail on top. The dovetail is the interface for the camera spacer. Spacers are separate from the baseplate – if you own multiple cameras, only the spacer needs to be purchased separately. The bottom of the baseplate shares two sets of tapped holes as well and the center is a combo of 3/8-16 and 1/4-20 tapped holes. The offset tapped holes are a set of three 3/8-16 taps. The baseplate will interface with third party 15mm and 19mm studio top plates and the 15mm lightweight spacing will accommodate handheld rigs as well as lens supports.
16X9 Inc. PL Adapters are available now at AbelCine. The baseplate, dovetail and risers will be available soon. Watch my video above for more details on the Compact Cine Baseplate system.
EDIT:
We have received requests to see more of the 16X9 inc. Compact Cine Baseplate. Click the stills below for a closer look.
ARRI has released the latest Software Update Packet (SUP), v4.0, for the ALEXA and the new ALEXA Plus cameras. All new cameras will ship with SUP v4.0 installed, and it is available as a free download from the ARRI website for all current ALEXA owners. SUP v4.0 is a substantial upgrade for the ALEXA, with several major new features and a host of useful improvements.
Key new features of SUP v4.0 include (for both ALEXA & ALEXA Plus):
Image
ARRI Look Files to create custom looks for monitoring or recording
Auto white balance
Operating
Peaking function for focus check in EVF-1 and MON OUT
EVF ZOOM adjustable target position
False color exposure check for Log C images
EVF ZOOM and EXP buttons are now toggle on/off
Compare stored image from SD card with live image
RETURN IN video
Function
Audio playback from SxS PRO cards enabled
SxS recording can be turned off
More silent operation at higher ambient temperatures
‘Rec Low’ fan mode for silent operation in extremely hot environments
Key new features of SUP v4.0 for ALEXA Plus include:
Master/Slave lens motor control
3D lens sync
Lens Data System (LDS) info display in EVF-1 and on MON OUT
Lens Data Archive (LDA)
Electronic level in EVF and MON OUT
In addition to SUP v4.0, ARRI is now offering its first Paid License Feature, which is Anamorphic de-squeeze in the EVF-1 and on the MON OUT. Please contact us for information on purchasing this feature.
To download SUP v4.0, ALEXA owners must login after completing a one-time registration on the ARRI website. The file can then be downloaded to an SD card for uploading into the camera. Also available for download are an updated user manual, release notes for SUP v4.0, a White Paper on ARRI Look Files, and a White Paper on ALEXA Anamorphic De-squeeze.
Over the years I’ve held a lot of one-on-one camera training sessions with owner-operators of varying skill sets – some who had been working with a particular camera for years and were finally buying their own, all the way to people who had never worked in the industry and were just getting started. I can tell you that the vast majority of them did not know how to load or copy scene files. You can all breathe a sigh of relief, knowing you’re not alone in this world. However, I do have a visual that should help those of you too afraid to ask for help: a simple ladle, some soup and a bowl. Hopefully, this analogy will help you the next time you try to load or copy a scene file from one camera to another, and it applies to both Panasonic & Sony cameras.
