Arri recently released their new Mini Mattebox, the MMB-2, which has all the quality that Arri’s products are known for in a lightweight package. The MMB-2 has a single 4×4 filter stage and a 4×5.6 filter stage, and is so lightweight that it easily clips on to just about any lens. It also has a 114mm back, which fits exactly onto the Zeiss Compact Prime.2 lenses. If you have still lenses, like Canon EF glass, Arri also make a series of rings that thread onto your lens so the mattebox fits perfectly. Arri also has a dual 4×5.6 filter stage model that gives more flexibility to anyone with a lot of 4×5.6″ filters. Both models are a great fit for cameras like the Sony F3 and the Canon C300. Watch my video above to learn more.

From the very first time I saw an iPad, I thought it would make a great slate. It offered a bright display that could easily be modified for a huge variety of applications, and indeed many different slate apps started to arrive shortly after the iPad was released. The most popular app is simply called Movie-Slate and includes many functions, from detailed camera notes, to music video song syncing, and even timecode jamming.

However, the action of actually clapping the slate was quite limited on these software tools. On set a loud clap is very important for easy syncing in post. So a couple of different companies have released physical slates that can interface with the iPad to improve their performance. iKan’s T-Slate has a very simple design, and works as both a regular slate and an iPad holder. The pad is simply held on with a case and strap. AC Evan Luzi runs a great blog called The Black and Blue, and he has written up a review of the T-Slate, as well as iPad slates in general.

Another option is the MamboFrame, which has a slot for the iPad to slide into. Their design is very slick and solidly built – definitely worth checking out. With options like these, the next time you need a slate, you might be leaving your Expo markers at  home.

In my last F3 blog, I wrote about the new F3 firmware v 1.31. This is a key update for anyone using S-Log, because it enables S-Log output in 422 via the ‘A’ connector. At the same time, LUTs can be applied to the standard HD-SDI or HDMI outputs. It also enables the use of Sony’s new 11-16mm zoom lens (SCL-P11X15), which is shipping soon, and simultaneous control of two SCL-Z18X140 power zoom lenses via 3D-LINK cable (with the CBK-3DL01 option installed). You can download this latest firmware from the Sony USA site.

Another important note for all F3 users – after firmware version 1.2 is installed, the old XDCAM Clip Browser will no longer work. Sony has stopped working on that software, and has instead focused on the newer XDCAM Browser. XDCAM Browser was designed to replace all the different apps used for XDCAM products, including XDCAM Clip Browser, XDCAM Transfer and all the PC apps as well. The newest XDCAM Browser will only work with clips from an F3 with firmware 1.2 or higher, so make sure to download the latest version today.

In the third part of my S-Log series, I took the Sony F3 outside on a nice bright day to show what S-Log can do. Jeff Lee and I headed up to the roof of AbelCine and found some shade to stand in; this allowed us to show the most contrast possible. I shot the blog in S-Log, as well as in the standard video modes with the AbelRange profile that I created earlier this year. This way I could show just what S-Log enables in the camera. All the clips in the video, except the last one, were recorded to the Gemini 4:4:4 recorder, which records in uncompressed DPX stacks so nothing was lost along the way. The last shot was S-Log out to a PIX240 recorder in ProRes422 HQ, which was enabled with the new F3 1.31 firmware from Sony.

I graded all of the shots in DaVinci Resolve Lite. The difference between S-Log and my range profile can be slight at times, but pay close attention to highlight areas, especially the skin highlights. Thanks to Isaac Kiener from Sales for helping out. Stay tuned for the last part of the series on look up tables in the camera.

To learn more about the F3, S-Log and LUTs make sure to check out our F3 Training Class in NY and LA.

Soon after the announcement of the EOS Cinema C300, Canon brought the camera by and let us check it out. I put together this video with my first impressions of the camera. I have to say that I was pleasantly surprised by both the quality and functionality of the C300. The quality of the image, skin tone rendition and overall resolution make a good impression. Also the form factor, which seemed strange at first, allows the camera to fit nicely in your hand and is fun to operate. Check out my video above to learn more.

Sony PVM-1741 & PVM-2541 OLED monitors

Sony came by to show us the ‘Flicker Free’ version of the PVM monitors and I’m happy to report that the fix works. With a click of a function key the flicker free mode can be turned on and 24p looks nice a smooth. This function enables a sort of 24->72hz conversion in the monitor. We compared the monitor side by side with a traditional LCD screen and did not notice any difference between them in terms of flickering. So after some initial concerns it looks like the PVM-1741 and PVM-2541 can really shine now. The update will be done by Sony and should start to be available in the coming months after Sony has completed QC on this new software revision.

Panasonic AF100

Panasonic has released firmware version 1.16 for their AF100 camera. It enables the camera to control several Four Third lenses that are available from both Panasonic and Olympus, and also allows control over two new Micro Four Third lenses. This is a great update for the camera because it means more lens options and better control over these lenses. View the list of lenses now supported here, and download the new firmware here.

Atomos Samurai

Earlier this month Atomos released an import firmware update for their Samurai HD-SDI recorder. Previously the Samurai could only trigger recorder via hitting the record button or via the incoming timecode counting forward. With the new firmware (v 2.61) now the Samurai can trigger off HD-SDI ancillary data packets. Atomos gives a good explanation on their site: “when you hit record on the camera and the camera starts recording, so will the Samurai. When you hit record on the camera and the camera stops recording, so will the Samurai. Supported cameras are Sony, Panasonic, Red, Canon and Arri. Not all cameras output the ancillary data packet so naturally the Samurai will not respond.” This is very good news for anyone using it with the F3, Canon video cameras, and even the Alexa. Check out the new firmware here on the Atomos site.

Sony F3

Last, but far from least, is new firmware coming from the Sony F3. Sony announced over Twitter the specs of version 1.31 of their firmware. The big news, which I reported on before, is the ability to output S-Log in 422 via the ‘A’ connector of the camera. This is important because it allows for onset monitoring with the built-in LUTs, while sending out S-Log to a 422 recorder. Additionally, it can send out S-Log 422 at up to 60p over the A and B connectors (dual link). You still need the CBK-RGB01 key to enable S-Log though. The 3D link option is going to get better with this next firmware as well, because it enables synchronized control over two of their powered zoom lenses (SCL-Z18x140). With this option you could have a really nice 3D rig setup with two of theses zooms in sync. Finally, they will add support for their upcoming 11-16mm zoom lens (SCL-P11X15) which should be available soon. Version 1.31 of the firmware is expected to be out soon.

24p is ‘jumpy’ by its nature, but the look of 24p video in a digital video camera can still come across a little more ‘jumpy’ then you’d expect. There are several reasons for this, which I explain in article for HDVideoPro magazine called “Did I Judder.” As part of the article, I put together these two videos to show the difference between native 24p video and 24p converted to 60i. I did this because much of the 24p content we see has been converted to 60i already, which has a smoothing effect that is very noticeable on television.

Watch the above video to see true 24p and then the video below in 60i. The difference is subtle on a computer monitor, so it’s difficult to show online. However, the difference helps explain why so many of us are surprised by 24p judder. To learn the other reasons for 24p judder, check out the full article over at HDVideoPro.com and on magazine shelves now.

Some months ago, I posted Part 1 of my PMW-F3 S-Log video series, and now, after waiting for the new 1.2 firmware to be released, Part 2 is here. In this video, I explain the new Exposure Index mode in the F3 and what it does for the camera. Watch my video above to learn more, and look for future segments coming soon.

On the back of the camera, I connected the SR-R1 portable recorder. This is the first of Sony’s SR Memory recording options, which utilizes the high-quality SR Codecs found previously on HDCAM SR tape. This devices is perfect for anyone working in the SR world, and is basically a much less expensive and more portable version of the SRW1 deck. It records in 220Mbps, 440 Mpbs and 880 Mbps (coming in a future firmware) in either 422, 444 RGB or 3D (future firmware also). The compression format is what Sony calls Simple Studio Profile (SStP), which already has support in FCP and AVID. Learn more about SR-R1 with the F3 on Sony’s site here. An optional DPX Uncompressed recording option will come in the future. Downloading of the cards can be accomplished with the SR-PC4 or SR-PC5 data transfer units, which will be available early next year.

Watch my video above to learn more about both of these new products.