Edit: Here is a great “making of” video, courtesy of ProductionMeeting.com and shot by Ethan Sigman on the Panasonic 2700: Watch it here.

Recently, Vision Research announced that they are bringing this useful feature to its existing line of V-Series cameras with an External Mechanical Shutter. For use with the v5.2, v7.3, v9.1 and v10, the V-series lens shutter replaces the F-mount on the camera so you can keep using your existing lenses. The shutter is meant to be used in conjunction with the new VRI Signal Breakout Device that provides access to every available signal on the cable. Simply exchange your existing capture cable with the Breakout Signal Device, then connect the shutter control cable to the shutter. Now you can do a CSR in situations when it was previously impossible, such as when the camera is unattended. Vision Research has a nice five-minute video explaining the benefit of this setup on their site.

Find more information on the Vision Research website, and download the complete data sheet here.

As everyone should know by now, Kathryn Bigelow is the first woman to win the prestigious Oscar for Best Director or Best Picture for her film The Hurt Locker.

What isn’t so well known is that Hurt Locker is the first Best Picture to be shot using Aaton XTRprod and A-Minima 16mm film cameras, and a Phantom digital camera for high-speed.

An article in Digital Cinema Report described the choice of camera from the director’s point of view. “The film used multiple Aaton S16mm cameras to capture multiple perspectives. Bigelow says, ‘That’s how we experience reality, by looking at the microcosm and the macrocosm simultaneously. The eye sees differently than the lens, but with multiple focal lengths and a muscular editorial style, the lens can give you that microcosm/macrocosm perspective, and that contributes to the feeling of total immersion.’”

Cinematographer Barry Ackroyd has been a long time Aaton user. The Hurt Locker was shot under extreme environmental conditions on location in Jordan, and Ackroyd commented on the reliability of the Aaton and Phantom gear in the same article. “All of the Aaton equipment held up beautifully. They are workhorses from countless documentary shoots…the same was true of the Phantom”.

The Phantom was used to capture important explosive scenes with powerful impact. In a commentary track made for the New York Times, Kathryn Bigelow described the significance of these shots.

“The bomb blast itself was something that we spent a fair amount of time on. The shot of let’s say the ground lifting up we shot with something called a Phantom camera that shoots 1,000 frames per second. It’s meant to convey the overpressure, which precedes the particular matter in any particular detonation, and in fact the overpressure can sometimes be as deadly, if not more deadly, than the particulate matter that’s expended from the detonation.” (“Anatomy of a Scene: ‘The Hurt Locker,’” nytimes.com)

Film critic Lisa Kennedy of The Denver Post got it right when she reviewed The Hurt Locker and discussed the use of Phantom in cinematic terms. “Bigelow used a Phantom HD camera, she says, because of its ability to handle speed. … The images relay the concussive wave of the improvised explosive device. If that’s what happens to the air all around the site, what then is happening to the Kevlar-suited explosives expert trying to escape the kill zone on that Baghdad street? … ‘The Hurt Locker’ has itself been likened to a documentary. Those images on that Baghdad street are anything but. They are willful, cinematic poetry, conveying with visual metaphor the disaster about to be visited upon a human body.”

This year’s Academy Awards were an historic night for women in film and a self-described “once in a lifetime” for Kathryn Bigelow. It was also a significant event for Aaton and Phantom cameras. Congratulations to all!

Here is a list of the updates for each camera.

PMW-EX1 features:

* Useable media – SxS-1 memory card added, Memory Stick PRO-HG Duo HX added (with the optional MEAD-MS01 Media Adaptor) and also SDHC card added (with the optional MEAD-SD01 Media Adaptor)

* New Menu options – Version information available on the OTHERS menu

PMW-EX3 features:

* Useable media – SxS-1 memory card added, Memory Stick PRO-HG Duo HX added (with the optional MEAD-MS01 Media Adaptor) and also SDHC card added (with the optional MEAD-SD01 Media Adaptor)

* New Menu Options – Version information available on the OTHERS menu

PMW-350L & PMW-350K features:

* Useable media – SDHC card can be used (with the optional MEAD-SD01 Media Adaptor)

* Clip name – A maximum 46 characters can be set for the title. Checking a long clip name on the CLIP INFO screen enabled (Long-Display mode)

* Filter position – The electrical filter position can be indicated when the function that switches the electrical CC filter is assigned to an assignable button.

PMW-EX1R features:

* Useable media – SDHC card (with the optional MEAD-SD01 Media Adaptor)

* Clip name – A maximum 46 characters can be set for the title. Checking a long clip name on the CLIP INFO screen enabled (Long-Display mode)

Canon announced today that new firmware for the 5D Mark II camera will be available on March 16th. This is a highly anticipated upgrade that adds 1080 24P (actual 23.98) and 25P recording to the 5D Mark II. Previously 1080 30P was the only supported recording format, and filmmakers have been asking for 24P for sometime. The 30P record mode has also been updated to be 29.97, which will ease editing problems with true 30P footage. With this upgrade also comes the ability to adjust audio recording levels manually. On screen meters will be available to monitor levels and adjust. Additionally Canon has added a new histogram display for shooting movies in manual exposure, shutter-priority (Tv) and aperture-priority (Av) have been added, and exposure modes will also be available in movie mode. This is exciting news, so we will be holding a 5D Firmware Download Party on March 16th in NYC. We will have Canon experts on hand to discuss the new features of the camera, and we will upgrade any 5D Mark II for free. Check back for more information soon, and find the firmware here when it is posted.

Panasonic’s push into 3D just took another step forward. Recently, they made several announcements about their 3D product lineup including details on their 3D camera (AG-3DA), a new 3D production monitor (BT-3DL2550) and a new 3D mixer (AG-HMX100). Panasonic is moving to bring 3D to a broad community of filmmakers and these new tools certainly show their commitment. We can’t wait to see all of these new products at NAB 2010. Learn more about these new devices after the break.

AG-3DA1

Panasonic’s integrated 3D camera is officially called the AG-3DA1, though I’m quite sure it will just be called Panasonic’s 3D cam for sometime. We first heard about this camera at last year’s NAB, but now we are finally getting more details. Here are the specs:

• Twin lens system
• Two 1920×1080 2.07 Megapixel 3-MOS sensors
• 1080 60i, 50i, 30p, 25, and 24P (native) recording
• 720 60P, 50P recording
• AVCHD recording format
• Dual SD/SDHC memory slots
• 2x 32GB cards give you 180 minutes in AVCHD PH (highest quality) mode
• Dual HD-SDI output
• HDMI (version 1.4) output
• 2 XLR audio inputs
• Built-in microphone
• Includes lens remote
• Weighs less than 6.6 pounds

The twin-lens system allows the convergence point to be adjusted by an operator. The camera also has automatic horizontal and vertical displacement built-in, which eliminates some of the headaches associated with traditional 3D video processing. We have not yet seen this system in action, but it sounds like they are trying to make the system as easy to use as possible.

The resolution of the camera sensors is excellent, though there is no mention of sensor size in the announcement. The form-factor of the camera points to 1/3″, which is a good thing in 3D because of the increased depth-of-field. The dual HD-SDI outputs on the camera is exciting news. Not only does the camera offer AVCHD recording, but with uncompressed outputs it can be combined with external recorders such as the Panasonic HPG20.

The camera will be available this Fall for a list price of $21,000, and $1,000 pre-orders are now open as well. Read the full press release here.

BT-3DL2550

To capture 3D video you really need a 3D monitor to view it on. Up to now there has only been a handful of consumer 3D LCDs available, which aren’t exactly built for field production, but thankfully Panasonic has announced a 3D production monitor as well. The BT-3DL2550 is an updated version of their 25″ production monitor with support for 3D input. It features two HD-SDI inputs, and a DVI-D input for displaying 3D images. The two HD/SD-SDI inputs can simultaneously display the Left image, Right image, and 3D signals. 3D signals can also be in line-by-line or side-by-side modes, which a variety of 3D signal processors support.

Like the BT-LH2550, the monitor features pre-installed calibration software, Cine-gamma Film-Rec compensation, Standard Markers and Blue-only, H/V delay display, monochrome and Cross Hatch overlay display, and split-screen/freeze frame (live input vs. freeze frame).

The BT-3DL2550 3D production monitor will be available this September at a suggested list price $9,900. See the full press release here.

HMX-100

Finally, Panasonic has announced a new mixer, the AG-HMX100. It offers an array of interfaces including four HD/SD-HDI inputs/outputs, two HDMI inputs, and two analog composite inputs. These inputs allow for mixing from a variety of sources, and 3D video is supported as well. This is a unique option, making it the first affordable live switcher for use in 3D production.

Additionally, it includes a DVI-I input for computer use, two DVI-D outputs, a microphone input, dual aux in and audio outputs, a headphone jack, as well as connections for genlock, GPI, RS-232C and tally output. In addition to the ability to mix embedded audio from HD/SD-SDI camcorders and other sources, the HMX100 offers eight XLR and 2 RCA connectors for line level audio inputs, as well as embedded audio output and two channels of analog audio out.

The HMX-100 will be available in June. Read more about the Panasonic HMX-100 here.

With all the various HDSLRs appearing on the market, keeping their features straight can be a bit of a challenge. Abel’s Andy Shipsides has put together a handy chart comparing five of these cameras side-by-side. He compares the Canon 5D Mark II, 1D Mark IV, the 7D, the new Rebel T2i, and the Panasonic Lumix GH1. His chart is available to view or download in the Resources section of abelcine.com.

Why change the mount on the camera when you can change the mount on the lens? Zeiss will soon ship a version of their Compact Primes in Canon EF mount for EOS cameras such as the Canon 5D Mark II. The Zeiss Compact Primes are designed to cover the full 24mm x 36mm image area of the stills format, and these new lenses will come with the facility to swap out the mount to PL (and who knows, maybe something else in the future?). This makes the Compact Primes the “Everything Lens Set” for use on all popular cameras. These lenses are inexpensive and lightweight, yet built to professional cine standards with integrated gearing and large scales. Stills format lenses often have weak mechanics, nearly-useless focus scales, servo drives with “infinity spin” focus dials, image shift and breathing in the focus, and axial-expansion that hampers use of accessories such as matteboxes & follow focuses. All of these issues are removed with the new Zeiss Compact Prime Series II lenses. Above is a photo of a prototype at the Zeiss factory and the lenses will debut at NAB in April (come visit our booth #C8740).

Many of the features we included in this update came directly from client feedback and are designed to improve your shopping experience. To learn more about all the recent upgrades, click here.

Many of you may remember the Panasonic AJ-PCS060G, the P2 reader with a built in 60 GB hard drive. It was a great device at the time, but the 60GB hard drive doesn’t do much for customers with 32GB & 64GB P2 cards. So Panasonic has come up with a new device for downloading P2 cards in the field. The AG-MSU10 or P2 Media Storage Unit. The MSU10 has two slots, one is a P2 card slot and the other accepts a hard drive enclosure from Panasonic (the AG-MBX10). The enclosure has USB and eSATA connections on it and can be filled with any 2.5″ SATA drive, including solid state drives. The P2 Media Storage Unit features a 3.2” LCD screen that displays a P2 thumbnail screen and supports master-quality 10 bit AVC-Intra (100/50) and DVCPRO HD, DVCPRO50, DVCPRO and DV recording formats. With a single touch, AVC-Intra 100 or DVCPRO HD content can be transferred from a P2 card to the solid-state drive at four times real-time (faster at lower data rates). The MSU10 is battery-operated. We are looking forward to seeing the device, which will sell for under $2500. The hard disk is not included, but can be easily be purchased at any retail store. See the full press release here.