We’re often asked how to make the uniquely-shaped Sony NEX-FS100 production ready. While we’ve discussed several options in our FS100 Lenses and Accessories article, I thought it would be helpful to illustrate a few of the options with a short video. In addition to some new accessories, I also discuss the recently released HypderDeck Shuttle from BlackMagic Design and how it can be used as a field recorder.
Edit: I’ve received several questions about some of the gear in the video, so I wanted to expand here. I mounted the HyperDeck using dual lock on the Zacuto Zwiss Plate, which is attached to the Zacuto Mini Baseplate with the Manfrotto RC4 quick release. The HyperDeck has internal batteries, but I was using the Switronix PowerBase and Switronix P-Tap cable to power the HyperDeck, TV Logic VFM-056W, and FS100. I really like the new Shape Quick Handles which are super quick to change position and lock.
Sony’s RGB and S-Log upgrade option for the F3 is now shipping. At AbelCine, we’ve had the upgrade for some time; you may remember the video that we helped produce at NAB that showed off the camera’s S-Log capabilities. I get many questions about this new option and what exactly it changes in the camera, so I am putting together a three-part video series on the topic.
In the first part, I use our DSC Labs charts and Leader scope to show the dynamic range change when using S-Log and demonstrate what the different built-in Look Up Tables (LUTs) can do. Many people have also asked about shooting S-Log in 422 with an external recorder, so I talk about that as well.
In the next two parts of the video series, I will show S-Log in actual situations (outside, low light etc), and then show how to use Sony’s CVP File Editor to create some custom LUTs for the camera. Watch the video above, and stay tuned for the rest of the series. These topics and many others will also be covered in our Sony F3 class this month in NY, LA, and Chicago.
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.
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.
The Sony PMW-F3 is a camera that begs to be accessorized. It can shoot with 35PL lenses, which means a follow focus and mattebox. If a large zoom is used, support is called for as well. Since the F3 can output very high quality HD-SDI, a camera-mounted recorder is desirable. An on-board monitor or accessory viewfinder needs accessory power, so an extra battery mount would be nice. Additional provision for handheld operation is also helpful.
AbelCine worked directly with Element Technica to develop the F3 Riser & Shoulder Pad Kit. This complete solution, which accepts lightweight 15mm support rods, includes ARRI rosettes for mounting handgrips and an adjustable shoulder pad. It also acts as a spacer for use with Element Technica Hybrid Bridgeplate or ARRI standard 15mm or 19mm studio bridgeplates, such as the ARRI BP-8 or BP-9. An optional Universal 15mm Lightweight Rod Bracket allows rods to extend behind the camera for mounting additional accessories. The unique design of the riser means that proper balance can be achieved both for tripod as well as shoulder-mounted use.
A couple of weeks ago we tested a pre-production model of the Sony FS100 camera for both ISO ratings and dynamic range. We came up with some impressive results, but decided to do some more tests with the full production version of the camera. The ISO ratings stayed the same but I found that the production version of the camera actually had improved dynamic range overall. In my video above, I show the results of my tests at the four different gamma modes of the camera.
Here are my settings for each gamma mode to maximize range: Standard Gamma (Knee Point 80% / Slope -1), CineTone1 (Knee Point 90% / Slope +2), CineTone2 (Knee Point 90% / Slope +2), ITU709 (Knee Point 80% / Slope -2).
