HDSLR MOVIE MAKER - Spring 2013

BUYERS’ GUIDE ROCK SOLID ADVICE ON CAMERA STABILISERS

Taking videography to the next level Spring 2013

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ON LOCATION

Lights, camera, a, explosions!

Behind-the-scenes of a high h octane advertising shoot

Canon C100 test

FROM THE PUBLISHERS OF

Is it time to trade in your EOS 5D Mark II?

PLUS F ll Follow the leader The best follow focus systems on the market HDSLRSPR13_01 (COVER)rpljc.indd 1

Perfect your workflow How to create a super-smooth workflow from import to export 23/1/13 17:16:18

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24/1/13 11:44:32

NEWS ROUNDUP

CONTENTS

Show time!

4 News

It’s that time of year, and now professional photographers have more events than ever that they should be attending Things used to be so simple. You were a still photographer and so you looked out for events that related to the still photography market, and there were a handful of trade shows and open days you knew you needed to get along to in order to keep up to speed.

It’s not that easy any more. Whereas once the Focus on Imaging show and possibly the PMA show in the US were the ones to take notice of at this time of year, now there’s a new kid in town: the Broadcast Video Expo (BVE) Show. It takes place at the Excel Centre in London 26-28 February and is very much on the agenda for any photographer planning to take a serious look at what the world of video and cinematography might have to offer them.

Photographers making a first visit to the show will encounter a few familiar faces, such as Canon, Nikon, Sony, Olympus and Panasonic, but they’ll all be concentrating on the video side of their respective businesses. They’ll be joined at the show by a wide variety of other companies that you might not have come across before, who all have stories to tell and products to show that could well help you to make a straightforward and profitable move into a whole new area of imaging.

In my opinion it’s well worth getting along, even if you only intend to satisfy your curiosity at this moment in time. It’s free to register and there are some really interesting and thought-provoking seminars and workshops taking place over the three days. Just make sure that you go along with an open mind, and see for yourself whether there

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Rounding up all the latest news from the fast-moving world of HDSLR moviemaking

might indeed be something in this emerging sector for photographers that could add another valuable income stream to your business.

Two photographers who have well and truly embraced the world of video are writing for us in this issue. James Vellacott, who was once a staff photographer at the Daily Mirror, continues his move into full-time film-making and is giving the background on a major shoot he set up for a new antiwrinkle face cream. Doesn’t sound all that exciting?

Wait until you read about the explosions, crashes and general mayhem that went on to achieve the finished film and I guarantee you’ll change your mind.

Meanwhile Victoria Grech, who we encountered in our last issue, has been trying out Canon’s latest C-100 Cinema System camera. She talks us through what she thought of the experience when she took it on a major shoot recently. It’s billed as an entry-level camera and, despite costing £4500, that’s exactly what it is, coming in at around a third of the cost of the C-300. Big bucks of course, but as dedicated cinema cameras come down in cost they become ever more attractive to the photographer moving over.

We’ve also got features in this issue looking at the whole area of follow focus and trying out some of the best devices currently on the market, while Philip Nash explains what you’re likely to need in terms of storage once you move over to memory hungry video productions, and he also tests out the new Drobo 5D and 5N units. Finally Tim McCann concludes his series on video editing, so it’s another informationpacked issue: hope you enjoy the read!

Terry Hope Terry Hope Editor Photo Professional

8 Behind the scenes on an explosive shoot!

James Vellacott’s team at Cherryduck Productions took on one of their most ambitious jobs to date when they set up a shoot to publicise an anti-ageing cream that involved some explosive action sequences

14 Video editing masterclass

In the final part of our introduction to video editing our resident software expert Tim McCann shows how you can set up a workflow to keep your production on track and details the export options available for distributing your production online and elsewhere

22 Video data storage

When you move into film-making you produce massive amounts of data and it all needs to be stored safely. Philip Nash looks at the options and tests out two new storage products from Drobo

26 Tested: the Canon C-100

Victoria Grech takes the new entrylevel Canon C-100 for a test drive to see whether it can stand comparison to its big brother, the £11,000 C-300

Read our essential guide to some of the best budget, mid-range and high-end follow focuses available and make sure your video footage remains tack sharp and suitable for professional use

42 Buyers’ Guide: camera stabilising devices

We survey some of the best new rigs on the market and test out new products from 4MC and Arri

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Cover image courtesy of Zacuto

36 Following focus

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4 NEWS ROUND-UP COUNTDOWN

New stabilising vest from Wondlan BEGINS TO The Leopard Vest, recently introduced by stabilising specialist Wondlan, is designed to help camera operators support their handheld stabiliser over long periods of shooting.

It reduces arm, back and shoulder fatigue, enabling you to shoot for longer without compromising your footage due to muscle tiredness. It can also make horizontal movement smoother, allowing straight horizontal paths to be easily followed.

The vest is highly adjustable, making it suitable for any shape or size. The pin on the front pulls out, which then allows you to adjust the height of the vest by sliding it up and down before releasing the pin to lock it back in place. The six straps that go around the chest are also adjustable in length, and have handy Velcro patches on trailing ends to prevent them from hanging loose.

Meanwhile the inside of the vest is padded with soft foam, covered with a breathable lining. The front of the vest is made from ultra-strong, lightweight aluminium which is hard anodised in black for a scratchresistant finish.

The arm features 14 high-spec bearings, allowing smooth motion at each of its seven hinging points, and it’s also removable from the vest for easy transportation. Two steel pins securely locate the arm into the mounting point at the bottom of the vest, and it can be mounted facing to the left or

BVE 2013

to the right, depending on your own personal preference.

After the arm is in place, the camera and stabiliser can be added, the handle of the stabiliser simply slotting over the main steel support pin (diameter 16mm). The silver tension knob can then be adjusted to set the spring tension, enabling the perfect amount of resistance when moving the camera upward and downward.

The Leopard Vest is available from DSLR time-lapse and video equipment specialist Fast Forward Time priced at £550. www.fastforwardtime.co.uk

New mic addition from RØDE RØDE has announced a new addition to its line-up of broadcast and AV products: the Reporter microphone. Designed for handheld interview and presentation applications, the Reporter features an omnidirectional dynamic capsule that’s designed to allow freedom of use, without the techniquerelated issues typical of directional end-address microphones.

Also, its frequency response has been specially tailored for voice reproduction, to maximise intelligibility and deliver crisp, clear results in almost any condition.

The Reporter microphone features a durable die-cast HDSLR MOVIEMAKER SPRING 2013

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aluminium alloy body coated in a discrete matte black anti-glare finish. Meanwhile an innovative multi-layer mesh basket protects the microphone from environmental noise, without the need for a bulky and distracting foam windshield.

The product also comes supplied with a removable microphone ‘flag’ that can accommodate highvisibility branding.

The Reporter is covered by RØDE’s 12-month ‘out of the box’ warranty, and this can be increased to ten years free of charge by registering the microphone at the company’s website. www.rodemic.com/reporter

The Broadcast Video Expo Show (BVE) opens its doors at its new venue, London’s Excel Centre, and it runs from 26 to 28 February.

Showcasing a broad selection of products, services and technologies for taking content from conception to consumption, BVE offers the chance for moviemakers to gain experience and insight from over 300 exhibitors: manufacturers, distributors and resellers of professional production and broadcast equipment and systems.

Along with new and innovative products, BVE also hosts seminars to provide a unique opportunity for professionals from all sides of the content creation, management and delivery chain to network with senior peers. The 2013 programme includes ten theatres, focusing on production best practice, cinematic craft, IT for broadcast, audio, postproduction and digital delivery, delivered by more than 300 TV, film, advertising and digital media experts.

Entrance to the show is free for industry professionals, and you can sign up via the website. www.bvexpo.com

Total optical control from VariZoom VariZoom has announced its newest wireless focus-control system, the TOC (Total Optical Control).

Available in four different configurations, the TOC 1, TOC 2, TOC 3 and the TOC 3D, this is being presented as the ideal solution for controlling zoom, focus and iris on DSLR and other film and video cameras such as RED and Arriflex. The system includes a colour touch screen and a wireless range of up to 1000ft. Prices start at US $5,999 (currently approximately £3790). www.varizoom.com www.dslrmovie.co.uk

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NEWS ROUND-UP

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Fiennes travels light The team led by Sir Ranulph Fiennes, which is currently crossing the south polar region, is equipped with the latest portable production and post-production equipment by European distributor, Holdan.

Keeping a documentary record of the crossing and broadcasting from this ultimate remote location has proved to be challenging, and while keeping packs light was a primary consideration the crew also had to be sure that their kit could operate to the true broadcast standard necessary.

To enable filming in these extreme low-light conditions the team opted for six Datavision

LEDGO-B150 mini LED video lights, which can be mounted on cameras and portable stands.

“These lights are a perfect addition to our Panasonic HPX250 hand-held camcorders,” says expedition operations manager Tristam Kaye. “They are incredibly bright for their size and weight and use the same batteries as the P2 cameras. They can even be slotted together to create a brighter source.”

The video footage taken on the expedition will be edited on-site in Grass Valley EDIUS 6.5 by the team. It will then be uploaded by satellite connection back to the UK to be shown on BBC News.

Kaye continues: “EDIUS was the

ABOVE From the left: Rob Lambert (ice team doctor), Brian Newham (traverse manager) and Spencer Smirl (ice team mechanic).

perfect choice for our ice team, as it can handle native P2 files from the broadcast HPX250 cameras as well as footage from Panasonic Lumix cameras and the GoPros that the expedition is taking. It’s also fast and intuitive to use, which is of the utmost importance given the conditions we’re working in.”

Camera Corps unveils SIMPLY SMPTE Camera Corps has chosen BVE 2013 for the UK launch of its SIMPLY SMPTE compact remote camera link.

Exhibiting on stand G16, Camera Corps will demonstrate the link as part of a complete system including the established Q-Ball and Q-Ball Pre-Set compact remote pan/tilt/ zoom/focus cameras.

Designed for use at large-scale outside broadcast events and in electronic field production, SIMPLY SMPTE allows any remotely controlled camera system in the Camera Corps product range to be

connected over long distances via a SMPTE 3K standard electrical/ optical cable.

Large remote heads and boxed cameras can be operated over five kilometres or more while maintaining the security and reliability of a dedicated link. The relatively high power efficiency of Camera Corps’ Q-Ball and Q-Ball Pre-Set robotic cameras allows these heads or cameras to be controlled over a distance of more than eight kilometres. www.cameracorps.co.uk

Cinevate stocks Arri’s new Axis Jib The new Axis Jib from Arri is the ideal tool for industry professionals looking for a jib that they can rapidly deploy and operate in minutes.

The single tube design not only eliminates pinch points during set-up and use but also makes for an incredibly strong and rock solid support. This stiffness lends to the Axis’ ability to comfortably hold 50lbs, covering anything from the Canon EOS 5D Mark III up to a fully loaded Arri Alexa.

Even with a heavy payload, the Jib’s movement is smooth and consistent.

Furthermore, the Axis aids in repeatability, with its pan and tilt dry-erase marker rings.

The unit itself drops into any 100mm tripod

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while the front end accepts 100mm tripod heads. The Axis Jib’s 100mm bowl indexes at 90°, allowing the user to mount their tripod head at various angles to gain unique perspectives. Meanwhile the centre yolk of the unit holds the pan and tilt locks as well as a variety of cheese holes for mounting any accessories.

The back end of the Jib features a handle to accept common weight sizes as well as a 2lb trim weight, which easily slides along the Jib tube for fine-tuning of the balance.

The Axis Jib is now available through Cinevate.com as well as various resellers for US $2,299 (currently approximately £1450). www.cinevate.com/axis

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6 NEWS ROUND-UP

New accessories for Sony F5 and F55 Continuing its trend of bringing to market Pro Camera Accessories for the latest DSLRs and digital cameras, ARRI has released accessories for Sony’s new F5 and F55 models, making them fully compatible with ARRI support and all industry-standard matte box and follow focus systems. The new base plate for the F5 and F55 makes the cameras compatible with lightweight support standards, and includes a built-in ‘Touch and Go 35’ plate. The camera can be mounted to a head or anything else with a standard quick-release plate, allowing it to be quickly and safely secured – for example in between takes when shooting handheld. Two ARRI rosettes extend out to the sides of the base plate in order to attach handgrip systems and extensions. For studio configuration, the base plate accepts studio bridge plates such as ARRI’s BP-8 or BP-9.

The ARRI top-plate for Sony F5 and F55 cameras is designed to offer multiple mounting interfaces for accessories. An ARRI handle can be attached at three different positions to optimise balance, although the original Sony handle remains compatible. The top-plate can also be used as a low mode plate for Steadicam shots.

An optional 15mm support rod adaptor can be attached to the front of the plate, optically centered to the camera.

Finally the Arri shoulder pad mounts to the bottom of Sony F5 and F55 cameras via a hand screw and can be used independently of a base plate. When used alongside the ARRI base plate, the shoulder pad can remain in place even when the camera is secured to a head via the base plate’s built-in ‘Touch and Go’ quick-release system.

To see the full range of Pro Camera Accessories visit the ARRI team at BVE on stand E38. www.arri.com

Delkin announces plans for CFast video cards Delkin Devices has announced plans for the design and manufacture of a Consumer CFast card optimised for professional video applications.

“CFast combines the mechanical robustness and portability of the industry-standard CompactFlash card with the performance benefits of the SATA interface,” explains vice president of sales and business development, James Grassman. “In the industrial space the transition from PATA to SATA ports in single-board computer designs created the demand for CFast over a year ago. With the transition from 1080p-capable DSLRs, camcorders, projectors and televisions to emerging 4K video capabilities, we’re excited to take our experience and knowledge of CFast and apply it to build a version optimised for these new devices.”

The CFast specification by the CompactFlash Association reports theoretical speed capabilities many times faster than the world’s fastest CompactFlash memory card, making it the ideal storage medium for high-resolution recording devices that need to offload giant amounts of data in real time. www.delkin.com

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York student filmmakers triumph at RTS awards University of York students have scooped the top prize in three of the four award categories they entered at the Royal Television Society – Yorkshire region – Student Awards ceremony.

The student film-makers from the Department of Theatre, Film and Television also picked up three runner-up awards, despite facing strong competition from nine other universities and colleges across Yorkshire and the Humber.

Held at York Racecourse, a panel of industry judges picked winners across five categories – News, Factual, Animation, Entertainment and Fiction. Dan Atherton and Tom Day won the Entertainment category for their film Slackline, while Oliver Hadlow-Martin and Danny Carter were the Factual winners with Two Fires. Ed Gammie was a runner-up with The Boy Without a Voice.

And it was a clean sweep for Department of Theatre, Film and Television students in the Fiction category, with three awards. The winner was Oscar Udbye for his film Things That Happened on the 9th of March, while runners-up were Danny Carter with The First Night and Sam Meacock with The Egg. The winners will now go forward to represent Yorkshire RTS in the Royal Television Society National Student TV Awards in London in May 2013.

www.dslrmovie.co.uk

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8 TECHNIQUE BEHIND THE SHOOT

Blow up!

James Vellacott’s team at Cherryduck Productions took on one of their most ambitious jobs yet when they set up an explosive shoot recently WORDS & PICTURES JAMES VELLACOTT

INCE LEAVING MY job as a staff photographer at the Daily Mirror three and a half years ago I’ve set up Cherryduck Productions and have moved full-time into the world of filmmaking. My initial motivation came while I was at the Mirror and found myself being asked to shoot HD video using the Canon EOS 5D Mark II. I realised immediately that this was a fascinating new part of the business opening up in front of me and I’ve never looked back. Even today we still have EOS 5D Mark IIs in the mix, although these were supplemented from the start by dedicated movie cameras and, more recently, by the EOS 5D Mark III and the new Canon C Series Cinema cameras.

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IMAGES The shoot called for a mixture of cameras, ranging from the new Canon C Series through to the 5D Mark II and GoPros for the action shots.

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TECHNIQUE

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ABOVE Nick Moran was the man chosen

by Cherryduck to be the director for the film, as he has a great track record not only as an actor but as a film-maker too.

I started Cherryduck Productions with my wife Michelle, editing footage in the spare room of our flat in Wapping, producing behindthe-scenes films of photoshoots for newspaper and magazine websites.

Now into 2013, Cherryduck owns Tower Bridge Studios and employs 25 staff and regular freelancers, conceiving and producing short films mainly for online retail and the advertising industry.

As the business has grown so the scope of the productions we’ve been taking on has expanded, and a recent job we had for a new client, a beauty company which wanted us to come up with an idea to promote their new anti-wrinkle face cream called Natox, topped the lot. The budget for the making of the film was just £13,000, and our new in-house creative agency Cleverducks came up with four ideas to put to the client.

After a presentation at the studios it was agreed we would go with the first of these. It involved pushing the whole anti-ageing theme, with a 52year-old model brought in to destroy items associated with old age. Our list of objects destined for destruction included two mobility scooters, 20 Zimmer frames, 15 tartan shopping trolleys, several pairs of reading glasses and five sets of false teeth, naturally sitting in glasses of water!

On receiving the go-ahead we had a meeting to decide the crew, the equipment, the shot list and the location for the shoot. We also needed to commission a director. This role would be pivotal to the feel of the film since they would be the person responsible for overseeing all the creative aspects of the production. www.dslrmovie.co.uk

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“Pushing the anti-ageing theme, a model destroyed items associated with old age: mobility scooters, Zimmer frames” Our choice was Nick Moran, famous for his leading role in Lock, Stock and Two Smoking Barrels and his work in the Harry Potter series, and we’d already met him at a screening event where he’d expressed interest in working with us on a future project.

Nick was perfect for us; as well as being an actor he had a great track record in directing, having made several short films of his own along with the feature film, Telstar.

When we told him about the Natox video he said yes immediately. A preproduction meeting was scheduled and we put together a storyboard to

ABOVE The treatment called for a 52year-old model to destroy ‘ageing’ items– an expert handled the explosives.

illustrate how the film would look. An artist drew this up for the client to consider and approve. With the tight budget firmly in mind we knew the shoot would have to be completed in one and a half days to stay on target.

Time constraints We decided from the outset that the location needed to be a gritty scrapyard and we also wanted to make use of the on-site machines.

After a few calls we found the ideal place, located just outside London.

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TECHNIQUE

“I decided to use our Canon EOS C500 as the primary camera, with an EOS C300 split from the main unit to work for pick-up shots� employed on the day. I was the director of photography (DP), taking instruction from the director and in turn instructing our two camera operators, while Geoff, our gaffer, was in charge of lighting. I decided to use our new Canon EOS C500 as the primary camera with a Canon EOS C300 split from the main film unit, so that it could work elsewhere on-site for pick-up shots.

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IMAGES The entire shoot was based around the theme of mayhem and destruction and utilised unusual camera angles.

We also had two Canon EOS 5D Mark II cameras with us for B camera angles, and I hired in a Phantom HD 1000fps slow motion camera to capture the explosions. Finally, we attached two GoPro cameras to various bits of available scrapyard machinery and the mobility scooters to give us telling close-ups of some of the destruction that was about to take place.

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12 TECHNIQUE RIGHT Once the concept was agreed upon, an artist drew up the storyboard for the shoot, which the client approved before shooting began.

ABOVE With the EOS C500 shooting in 4K, Cherryduck Productions could also get high-quality stills from the footage – useful for the accompanying poster campaign.

The Canon EOS C500 shoots in 4K, which is about five times the quality of HD, and this allowed us the option to crop in on the film in post without losing the final HD output quality. Each one of the 25 framesper-second produced by the C500 have eight-megapixel resolution, giving us the added ability to take high-quality stills from the video for use in the onward poster campaign.

When used in C log, Canon’s own colour profile, you can achieve maximum versatility in colour grading from the C500’s footage, with up to 12 stops of dynamic range possible when you shoot in 4K Raw. The C500 also shoots in 1080p to the on-board CF cards, but you need a separate recorder to store the Raw footage. We used the Codex Onboard S Recorder, a very light and instantly replayable portable unit that bolts onto the rails behind the camera.

The C300 was used to give us a second A camera angle, and came into its own when we needed to split the film unit to cover two separate aspects of the shoot simultaneously during the few hours of available winter daylight. The Canon EOS 5D Mark IIs were used to give us wide or reverse angle shots, and we didn’t man these cameras as they were set up and locked off by the A camera operators and were set running before each take.

And so to the destruction! We launched the mobility scooters from HDSLR MOVIEMAKER SPRING 2013

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the third storey of a derelict building at the site so that we could capture images of them crashing to the ground, and we also attached a GoPro Hero 3 camera to the back of one of them with another looking up from a ground-level position where the scooter was due to land. Miraculously both GoPros survived the stunt and the dramatic footage is one of the highlights of the final edit.

We brought in an expert to create the explosions, and he used gas to ignite the pile of scrap and give the impression of it exploding into a fireball. We also sourced some bird-scaring bangers for the smaller explosions on the mobility scooter. It all looked spectacular in the footage.

End results A digital clapperboard was used for each take, and this was synced (jammed) with the C500/C300 cameras, allowing us to quickly match up our footage when we came to the multicam edit back at the studios. The edit was cut down initially to three minutes and, as is so often the case, many of my favourite scenes ended up being cut out completely as we needed to get it down to the target one minute.

The plan was to use the film on the Natox home page and it was also destined for the company’s social networking pages. As a sign of how well it’s gone down it also ended up on the online pages of The Sun, the

Daily Mirror and – the Holy Grail site for an online advert – the Daily Mail.

The Natox film has been one of the more unusual shoots that Cherryduck has undertaken. The development of video has moved on so quickly that anyone with a DSLR and a laptop has the potential to make a feature film these days. From my perspective, while film production has been a steep learning curve for me, the basic creativity and knowledge of imagery that every good photographer has in their DNA translates very well to the rapidly growing world of film-making.

More information www.cherryduck.com Behind the scenes: http://www.youtube.com/watch?v=F4ihCPJIZGY Cherryduck ‘Mooncheeze’ video: http://www.youtube.com/watch?v=28_ on689ADg

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14 TECHNIQUE

INTRODUCTION TO DSLR MOVIE EDITING PART 4

Video workflow and export options In the final part of our introduction to video editing learn how to keep your production on track with a systematic workflow and the right export options to choose when distributing your production WORDS & PICTURES TIM McCANN

UST AS it is important to follow a systematic workflow when dealing with still photographs, the same is true of video footage. If anything, the complex processes and seemingly myriad attributes associated with

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putting a video production together positively demand that we should follow an organised and structured workflow. Here’s a recap on the key stages that make up the video production process. Following this sequence of ten stages, from the

initial planning through fine-tuning sequences to output and distribution, will help you to stay focused and to visualise all the disparate elements of a project into a final production.

Take these ten steps and you’ll achieve a final video to be proud of.

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TECHNIQUE

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Planning is everything Think about everything, from the way you organise files by name and storage location, to setting up the folders and bins within the editing program to arrange all the elements making up the production, including audio and video files. Work from one project folder and keep all your media in one location. On the creative side, storyboard the project on paper from title to closing credits. Identify which footage you will use even before you bring it into the video editing program.

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“Work from one project folder and keep media in one location. On the creative side, storyboard the project on paper”

Assemble video and audio clips Pull all the media off your camera and organise your footage using the video editing software’s organiser features. Clips can be catalogued by all kinds of criteria, so use these to help you find the footage or audio you need quickly and easily.

Create a narrative sequence This is the part of the workflow where we begin to add clips to the timeline, setting in and out points and trimming unwanted footage. At this stage, it’s more about creating a basic flow rather than fine-tuning each clip. Work out which clip goes where and use the timeline to match up your storyboard ideas so you have an at-aglance rough edit. This provides a foundation on which you can apply fine-tuning, effects, corrections and transitions.

Review the order and flow As you piece the production together on the timeline and play back the sequence, you are bound to spot problems with the way one clip works with another. It’s time to make any adjustments to the overall flow of the sequence by adding or removing clips and moving sequences around to get the balance and continuity that works best.

This is almost impossible to realise before you actually see the shot sequence play back on the timeline. Keep asking yourself questions about the flow and pace of the movie and adjust accordingly.

Fine-tune each sequence With all the footage you need on the timeline in the right order, it’s time to trim the clips making up the project. Trimming the video sequences helps to tighten up the narrative and visual flow of the movie and also allows you to keep control of the way it all fits into a specific timeframe.

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Transition time Transitions are such a seamless part of any movie or TV programme that we hardly notice them, yet without them the footage back to back looks clunky and uneven. With the sequence of shots in place and on the timeline, all trimmed and ready to go, add transitions to soften the cuts from one sequence to another. You can use three types: cuts, wipes and dissolves. Cuts change the way we look at a scene – from one position or orientation to another; dissolves alter the sense of time or location; and wipes show a change of location or viewpoint. Use dissolves carefully. It’s easy to add too many, which can draw the viewer’s attention more to the transition effect than the actual content. Use wipes with caution as they can give an ‘affected’ feel to the project, breaking the continuity in the video’s narrative.

George Lucas famously used them in his Star Wars film, for example, to switch between one plot line and another.

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Apply special effects sparingly At this point, your project is nearing completion. The narrative should flow easily with no extraneous footage and all the transitions you need to convey the story structure. Now it’s time to add one of the effects that come pre-installed in programs like Final Cut Pro X and Adobe Premiere. There are loads to choose from, and the effects can be previewed before applying them. Less is more. It’s a cliché, perhaps, but a light touch will pay dividends. We want the effects to improve the narrative and sequence of video, not upstage it. In addition to effects, this is the point where you can add titles.

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Audio considerations If you’re using audio in your production, now’s the time to apply a soundtrack, be it a mix of music, dialogue or ambient sound effects.

Just as you added video clips to the timeline, you can now add audio media files. Arrange them on the timeline and use tools built into the editing program to ensure all levels are consistent.

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Output and distribution

10 With the entire video project complete, it’s time to output. You Colour correction 9 The penultimate job is colour consistency and quality. Disparate clips may show a variation in colour temperature. You can use the video editing program to improve colour definition and saturation, and not rely on the colour quality straight out of camera. Think of it as similar to the colour correction you apply to still images in Photoshop. www.dslrmovie.co.uk

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can do this from within the program and save it in a whole range of formats so it can be viewed online or on DVD, for example. Remember, that in addition to outputting the video, it’s important to have a clear and organised archiving system. This makes it so much easier to recall projects and make amendments in the future. The process also allows you to determine output quality and other parameters we discuss further on in this feature.

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TECHNIQUE

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Exporting your video With all your hard work complete, it’s time to share your video. There are several routes you can take and it’s easy to choose all of them should you need to. The first is to export the video project in an uncompressed lossless format. The problem with this approach, as with stills images to some extent, is that files are huge. The reason to consider lossless, however, is that quality won’t be compromised.

At this point you’re not applying any compression to the video or getting

muddled up with codec and formats.

Having an uncompressed copy of the video ensures you have a faithful extension of the video as it was shot on camera and edited in the video editor software timeline.

Much of the time our video will be used online, so the second output route focuses on this end use. Sites such as YouTube and Vimeo accept specific video file types, such as QuickTime, Windows Media Video, Flash and H.264, and thankfully,

Premiere Pro and Final Cut Pro make customising your video file into a compatible format easy. You don’t need to worry about whether the exported file will exceed the bitrate threshold of a particular video website, because it’s built in to the export settings. That said, we recommend you try and stick to the H.264 MPEG 4 format – this codec provides the best balance between keeping file sizes down, while maintaining a high quality of playback.

Output your video production in Final Cut Pro X Final Cut Pro X has a raft of export options allowing you to easily save your work to any number of file formats or specific media destinations.

For example, you can export a project or clip as a QuickTime movie, or tailor it to work on an iPhone or iPad device. And you can also use the automatic export presets to configure video productions for viewing on the web, such as YouTube, Vimeo and Facebook.

Share your project When you’re ready to export your movie, select File>Share and in the drop-down menu you’ll see a list of output formats. This includes formatting the movie to DVD, YouTube, Vimeo, Facebook and Apple’s 720p and 1080p devices. Initially, it’s a good idea to just select the Master File option – this gives you the opportunity to create a file that matches the quality of the movie clips, and is the highest quality setting. All other options have their own user-defined resolution and compression options.

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Know your ‘Destinations’ In addition to the preset file formats and output destinations, select Add Destination to display more sharing options. A dialogue box appears displaying all the options available, including transferring the movie to Blu-ray. There’s also an option to apply Compressor settings to the movie – Apple’s FCP X companion compression and encoding application.

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Output a Master File first When you select the Master File option, this screen appears with an Info and Settings tab. The thumbnail movie can be played back in this window too. Along the foot of the screen is brief information about the resolution, frame rate, duration and QuickTime movie information. Hover the mouse over the QuickTime movie option to see a pop-up list of devices the movie will be compatible with in its current format. Note that the title field displays the project or clip name. Making changes to the title does not alter this at all, and it’s the name used for the exported file.

Output settings Clicking on the Settings tab in the Master File dialogue box displays all the output options for that particular format and destination. For best results, export using the ProRes 422 codec. This ensures the program doesn’t transcode the video from one format to another. What’s more, image quality remains intact. You also have the option to include or leave out any chapter markers within the project, and there are options for how you want Roles to be saved. These are FCP’s text labels that help users manage and find clips in the Event Browser or Timeline.

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20 TECHNIQUE Output your video production in Adobe Premiere Adobe Premiere will export your project for a wide range of users – either as a clip or short sequence or as a complete production. The program comes with a built-in export utility. When you specify export settings within the Premiere interface, the program uses the Adobe Media Encoder application, which then allows you to encode the video into one or more formats. While the video is being rendered you can continue to work within Adobe Premiere.

Choose footage for export With Adobe Premiere open, choose the clip or sequence you want to export by selecting it in the Timeline or Program Monitor.

Alternatively, you can select the clip via the Project panel, Source Monitor or bin. Next, go to File>Export>Media to open and display the rather complicated looking Export Media dialogue box. You’ll now see the chosen sequence is imported into the Queue, which allows you to manage more than one export.

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Export Settings presets From within the Export Settings dialogue box, click on the Format and Preset drop-down menus for the encoded movie clip.

On the left side you’ll see a large viewing area, which includes Source and Output panels. Other tabs in the Export Settings dialogue box include available encoding settings for the selected format.

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Choose the right codec With the video clip selected in the Export Settings dialogue box, you can choose from a wide range of formats. Common formats include the H.264 codec for web-based video, maybe for when you want to add content to YouTube or your own website. You can also choose to create content for viewing on DVD using MPEG-2 or Blu-ray, again using the efficient and high-quality H.264 codec. To improve the quality of scaling, ensure Use Maximum Render Quality is ticked. Check Use Frame Blending to improve the render of frames in the sequence.

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Export files in the background With all the settings you require checked and selected in the Export Settings dialogue box, click on the Queue button. This automatically launches the Adobe Media Encoder utility, which is part of the Premiere Pro suite. Clicking Queue allows the rendering process to run in the background, while you continue to work in Premiere Pro. It also allows you to add more movies if you intend to export more than one project.

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23/1/13 17:38:07

ROLAND SYSTEMS GROUP

ADVERTISEMENT FEATURE

Affordable HD workflow New launches from Roland provide film-makers with affordable tools for live video mixing and quality audio he latest additions to the Roland portfolio of live video switchers and field recorders are designed to give the film-maker affordable tools for professional video mixing and highquality audio recording

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V-40HD Live Video Switcher The Roland V-40HD Live Video Switcher can connect a variety of sources – whether digital or analogue, computer or video format – and is ideal for connection to both consumer and professional HDSLR cameras, camcorders and professional video cameras as well as configurations using HDMI cameras or computers. Handling true multi-format video, each input has its own broadcast quality scaler – scaling each source as required to fit the chosen output resolution. Packed with powerful features, the V-40HD is an affordable option for transition into an HD workflow and is suitable for mixing video sources and creating special effects for a variety of video production applications, such as corporate events, weddings or small location filming.

The Roland V-40HD features 12 inputs on four channels plus one (background), and two output buses with independent scalers on the inputs. These inputs allow you to connect HDMI, RGB and composite sources to the switcher. The V-40HD will support input/output resolutions up to 1080/50p or 1920x1200 and is HDCP compliant, which allows you to mix copy-protected game and Blu-ray content with other computer and camera sources (digital outputs only). The input source multi-viewer on the V-40HD output provides a convenient monitoring solution when connected to an HDMI monitor.

The V-40HD also includes an audio input bus with volume and delay settings allowing you to embed audio into the HDMI output signal, which is especially useful for streaming and recording applications.

The Multi-Zoom feature of the V-40HD can be enabled where one input source is shared internally with up to three more inputs (daisy-chaining). The scaler for each input can zoom and pan into any position in the video image giving the appearance that additional cameras are connected and creating a virtual multi-camera environment. Additional effects

“When you require a high sound quality, portable recording and mixing solution, the R-88 is ideal” www.dslrmovie.co.uk

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The Roland R-88 and V-40HD (inset) offer film-makers professional video mixing and audio recording tools, without breaking the budget.

include a downstream keyer (DSK), Picture-inPicture and multiple transitions.

R-88 Portable Recorder and Mixer When you require a high sound quality, portable recording and mixing solution for shoots where there are multiple microphones on location and music recordings with more than four microphone channels, the R-88 is ideal. Designed for recordists who currently record in stereo but want to switch to multichannel recording, and for those who need more channels than existing four-channel recorders, the R-88 enables recording of up to eight channels at 24-bit/96kHz, as well as a simultaneous two mix sound (stereo mix). For easy transfer of data to PC or post-production hardware, the R-88 records to SD cards or large capacity SDHC cards. Connecting the R-88 to a PC/Mac is easy, either using the R-88 as a removable drive to transfer audio files or using the dedicated driver as an audio interface. The USB AUDIO I/F feature means that the R-88 can also act as an audio interface to a computer (PC or Mac) when connected

by USB, appearing to audio software on the computer as ten individual inputs and eight individual outputs.

With eight-channel XLR inputs/outputs, the R-88 has the recording capability of eight tracks plus two channel stereo mix at 24bit/96kHz, or four tracks at 24-bit/192kHz – totally uncompressed recording of broadcast wave files assuring outstanding sound quality – with selectable bit depths (16-bit or 24-bit) and sampling frequencies (44.1kHz/48kHz/ 88.2kHz/96kHz/192kHz).

Eight XLR inputs each with Phantom (+48V)

and onboard effects including limiter and low cut on each channel help deliver a stable and reliable recording free of clipping noise from sudden input surges, whilst the low-cut filter is included to help prevent things like wind noise or mic handling noise, both greatly improving the audio quality.

The onboard mixing capability with fader, pan, EQ and two-channel mixing allows you to mix as well as record, with built-in studio class effects such as three-Band EQ, six-Band GEQ, Enhancer or DeEsser.

The R-88 is fully compatible with SMPTE timecode and can act as slave (with timecode regeneration on the timecode out) or as master to enable a fully synchronised video workflow. Further workflow aids are included, such as Slate facility from onboard mic for memo recording or Slate tone (1kHz/-20dBFS) and a jack input which allows control of play, record, rewind and more via optional or dual footswitches. A large touch-panel display makes the user-interface simple and intuitive to understand and use.

The metal exterior provides added rigidity and durability, while the compact size makes the R-88 easily portable. The solid-state design with no moving parts enables the most silent and reliable operation possible.

More information: www.rolandsg.co.uk

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22 GEAR VIDEO MEMORY

Dealing with data storage When you move into film-making you find yourself producing massive amounts of data and it all needs to be stored securely. Philip Nash looks at the options and reviews a potential solution just launched by Drobo WORDS & PICTURES PHILIP NASH

recurring question that comes up at my training courses and via my blog is this: what’s the best way to store and archive the vast amounts of data you produce when you’re working with video? If you’re shooting broadcast-quality video then you could be creating

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THINGS TO AVOID Let’s start with a look at what doesn’t work and why: Tape-based backup Too slow, and much too expensive. Tape is also potentially liable to get twisted into knots on occasion: remember trying to un-jam your VHS video player from time to time?

Optical disc (DVD/BD-ROM) Even Blu-ray at 25GB isn’t really suitable for backing up the huge quantities of data a video project might contain, although it is more practical for still photographers. This would still mean, however, that in no time you would have a room full of discs and a significant cataloguing problem. DVD at 4.7GB each just isn’t large enough for modern visual media storage.

Online/Cloud storage Very attractive but just too slow – even with fast broadband. If you ever need to recover a project it might take a week to download!

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a minimum of 50MB of data every second, and that’s compressed!

This footage is every bit as valuable as the files you might produce if you are a still photographer, and your living, plus your professional reputation, relies on you being able to store this data safely and securely, and being able to archive it so that should you ever need to access it in the future you’ll know where it is and where to find it.

So, given this expanding requirement for more and more secure storage, what is the best solution out there for the videographer, and how much will it cost you? Here’s a guide to the options you’ll face, and I’ll finish up by taking a look at a new solution just launched by Drobo which, on paper at least, looks to have the answers to some of the issues that film-makers are facing.

The way to go Hard disks are by far the cheapest and most reliable way to store data.

You can buy 3TB 3.5in drives for about £100, and that’s enough to store a lot of projects. Ideally you’ll want to store onto a group of disks, in a resilient configuration, and these are typically referred to as RAIDs (Redundant Array of Inexpensive Disks). Most commonly used as a pair (RAID 1 – where the drives are exact copies of each other – often referred to as mirroring) or three or more drives where any single drive can fail (RAID 5) or four or more drives where any two drives can fail (RAID 6). And boy do drives fail – figures from very big users typically

suggest real-world mean time between failures (MTBF) figures of just two years – far less than that claimed by manufacturers. The harsh reality is, if it’s worth keeping it needs to be on a RAID. RAID arrays can be set up inside a PC or Mac case, but the majority of people will prefer to use an external stand-alone device such as those made by Buffalo, LaCie, G-Tech and – to be reviewed later – Drobo. They have between two and 20 drive slots and come in two main varieties. The locally attached models sport any combination of USB2/USB3/eSata/ Firewire/Thunderbolt interfaces and are directly connected to your Mac or PC. The other type is referred to as NAS (Network Attached Storage), and these are connected via Ethernet to your network. This allows every device on your network (and potentially beyond) to access its contents. The downside of the NAS solution is speed – it won’t be practical for editing video – but for just about everything else, including editing large files in Photoshop, it will be fine.

RAID – standards?

Just because you set your drives up as a RAID 5 array you can’t just plug them in to someone else’s controller.

Every manufacturer implements the physical set-up of the array differently, so if your controller dies the data might be safe on the drives but you’ll need a replacement controller to get at it. Should you be facing the worst-case scenario there are forensic data-recovery labs that can perform near miracles – at a cost.

“Boy do drives fail – figures from very big users suggest real-world MTBF figures of just two years, far less than claimed by manufacturers”

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BELOW RAIDs are the most reliable way of keeping your work safe.

SPECS 5D – £660 5N – £490 Five Bay Beyond RAID devices www.drobo.co.uk

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24 GEAR TESTED

The Drobo 5D and 5N One of the most respected names in the field of storage, Drobo has recently launched two new ‘Beyond RAID’ products that could offer videographers the capacity they need to underpin their business.

IN THE FIELD OF DIGITAL storage, Drobo has taken a very different path to rival manufacturers through the development of its ‘Beyond RAID’ technology. Built on an advanced virtualisation platform, Beyond RAID chooses the correct protection algorithm based on data availability needs at any given moment. Since the technology works at the block level, it can write blocks of data that can then alternate between data protection approaches.

If you need to add storage capacity to a Drobo, simply insert additional disk drives or replace the smallest disks with larger ones. There’s no need to change RAID levels, purchase a new storage array or go through

the complex administration of pooling RAID groups. If a drive happens to fail, the Drobo unit will automatically re-lay out the data to return to a protected state without any user interaction.

I’ve been using an eight-bay Drobo NAS for over two years and it is without a doubt the best storage purchase I have ever made. In that time I have had three hard drives fail, and on each occasion I’ve been able to replace them simply, with no loss of data.

The one criticism that has been levelled at Drobo’s products in the past has centred on speed, or lack of it. It would be fair to say that competitors’ products were often faster, and in this business speed is money, especially when you’re undertaking the editing

of high-definition video (and you’re waiting for it to render).

Two new offerings Drobo’s two latest offerings are fivebay Beyond RAID devices – the 5D and 5N – in both locally attached and network-attached storage versions and, at first sight, these appear to be very significant additions to the company’s line-up of products.

Of the two, the 5D is the one that’s locally attached via USB3 or Thunderbolt. As I’m sure you are as intrigued as I am to know how this might affect performance I took the opportunity to measure the speed of the two interfaces:

ABOVE RIGHT The 5D has five SSD slots and is locally attached via USB3 or Thunderbolt.

RIGHT Up to five drives can be installed and are clicked into place simply and easily.

LEFT Connected drives are constantly assessed to make sure they are utilised efficiently.

USB3 READ WRITE

124MB/s 128MB/s

THUNDERBOLT READ 293MB/s WRITE 205MB/s However, it’s not just about the maximum transfer rate, it’s also about the quality of the streaming of that data. While USB3 achieves a good rate it downloads information from drives in blocks. In practice, with high-definition movie editing you may well find that your video playback is jerky. Those Thunderbolt figures are pretty impressive though, and Drobo has included another feature to further enhance the performance of the 5D – an Accelerator Bay, which accepts an industry-standard mSATA SSD. This greatly improves the overall performance of the storage array.

Of course, if you really want the 5D to fly then load up the five slots with SSDs. Performance will be stunning but it’s an expensive choice, and spending extra money on faster hard drives is likely to provide a better bang for the buck.

Another nice touch is there is an

“Performance will be stunning but it’s an expensive choice” HDSLR MOVIEMAKER SPRING 2013

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on-board battery there to make sure nothing is lost if power fails mid-write, and it constantly recharges itself. This means that it can keep the device powered long enough so that all the data can get written from the controller and cache to the non-volatile hard drives, and nothing should get lost.

Set-up If it’s speed you’re after then, despite the Drobo’s ability to accommodate drives of different sizes, manufacturers and speeds, you’re going to want to install identical fast, modern, largecapacity drives. Ultimately there is no replacement for quality hardware, and buying better hard drives will ensure the overall performance of your device will be maximised.

Setting the 5D up is simple. Once out of its box and with the magnetic front cover removed, the five slots for the SATA drives are clearly visible. Now it’s just a simple case of sliding each drive into its slot until it clicks.

Once the drives are installed (anything from one to five), you can power it up. The drives are interrogated by the controller and storage allocations and recovery data is automatically configured. Because you can add additional drives to the Drobo at any point, it is constantly assessing the best way to utilise the connected drives. Unlike other RAID products the user needs little or no experience in redundant storage systems. When running the supplied Drobo Dashboard software the only major decision to make is whether to have one or two drives’ worth of redundancy. www.dslrmovie.co.uk

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You can even take out drives from an existing system and replace them with larger-capacity drives. In the time I’ve had my Drobo units the largest size single drive has gone from 1TB to 3TB, so I’ve been able to increase my overall capacity by installing larger drives in the same number of slots. In a digital world that’s changing by the day at times, it’s just about as future proof as you can get.

Drives fail They really do. Even in the process of writing this article one of the brand new and sealed 3TB drives failed.

The Dashboard software produced a message on my Macintosh alerting me to the failure, and just in case I hadn’t got the message by this point, some rather large LEDs on the front panel started flashing red. All information was still completely intact and safe, and all I had to do was remove the faulty drive and replace it with a new one.

It’s a little like being ill. When we have a cold we are always saying how much we wish we were well again.

However, when we are well we rarely think about how lucky we are. It’s exactly the same with data storage; when things are going well we don’t think about it, but the second we lose some data we realise how dependent we are on good storage practice. And as far as best practice is concerned, if it involves humans having to remember to do something then it’s essentially flawed and will fail. Automated backup procedures are vital as they remove the single biggest point of procedural failure – us!

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CONCLUSION BOTH THE 5D and 5N are built to last, combining metal cases with some pretty leading-edge technology. They aren’t necessarily the cheapest option around, but in my humble opinion you won’t go far wrong if you decide to invest in them. The 5D has a street price of around £660 and the 5N £490, and to these prices you’ll need to add hard drives and an mSATA card to get maximum performance.

Remember, however, that we’re talking about the integrity of your data here; how much did you spend on your last camera or lens? Isn’t it about time you took a similar interest in your IT? For photographers my advice would be to buy two of the Drobo 5N units, and keep one in your studio and the other at home.

Use the built-in software to automatically back one up across the Internet to your home, and that way you’ll have all your data duplicated on two fully redundant storage arrays located at separate locations. That should see you safe – even in the face of theft, fire or failure. For video professionals you’ll want the blinding speed of that Thunderbolt connection and a locally attached 5D. Why not then have that back up to a 5N for the extra piece of mind?

FEATURES 9/10 BUILD QUALITY 9/10 VALUE FOR MONEY 8/10 OVERALL RATING 9/10

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23/1/13 15:46:02

26 GEAR

CANON EOS C100

Opening up the market Having introduced its innovative C Series of cinema cameras eighteen months ago, Canon has now made the system more accessible by launching the entry-level C100. Victoria Grech takes it on a shoot to see what it has to offer WORDS & PICTURES VICTORIA GRECH

T’S JUST over four years since the announcement of the Canon EOS 5D Mark II, the first DSLR to come to market with an HD video facility good enough to attract the attention of both serious film-makers and photographers who fancied the opportunity to look more closely at the moving image. It’s said that Canon never envisaged just what an impact this facility would have on the market, but it started a process that has effectively changed the world of cinematography, and led to a situation where the video capability of every high-end DSLR launched is considered a crucial part of its feature-set.

Things have moved on and the EOS 5D Mark II, now joined by its newer brother the Mark III and available from some outlets for the remarkable price of £1100, is still capable of doing a great job for the film-maker.

However, it was designed primarily as a stills camera, which means there are a number of built-in quirks that make it fiddly and difficult at times to shoot video, and in recognition of this Canon launched its C Series of dedicated cinematography cameras just over a year ago. As a stills photographer who moved comprehensively into film production myself recently, I saw the benefit of a camera that had been specifically designed to do the job I wanted, and I invested in the C300 shortly after it was launched.

For me it made perfect sense and justified its above £10,000 price tag,

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but for others who are looking at this sector for the first time and who couldn’t possibly justify that kind of outlay, it was prohibitively expensive.

Now Canon has introduced an entrylevel model, the C100. Although it still costs in the region of £4500 body only, it’s significantly more affordable than the other cameras in the line-up.

This could maybe be the point where those who cut their film-making teeth on the EOS 5D can now look at whether a move to a camera that has been designed for their specialist requirements could make both economic and logistical sense.

Using the C100 When I took the C100 along on a production at the end of last year, I was interested to see both what it could do for me in its own right and as a ‘B’ camera to operate alongside my C300. First of all it’s worth noting the features that dedicated film-making cameras have as standard: they will usually come with autofocus and focus-assist tools such as peaking (the ability to set the viewfinder to show areas of greatest sharpness in the image with a coloured outline) and audio options in-camera, with an XLR input to sync in-camera audio.

The cameras will also run continuously in record mode, and won’t have cut-off times like a DSLR will have. They are generally set up well for ‘run and gun’ type work and documentary filming, but aren’t

ABOVE AND RIGHT The C100 could be a stepping stone for film-makers looking to move from an HDcapable DSLR to a dedicated cinema camera, and it’s a smaller alternative to the C300.

designed to produce high-quality stills.

In short, they are not hybrid cameras in the way a DSLR might be, and if you invest in one it’s exclusively for its ability to shoot high-quality video.

I received the C100 just 45 minutes before I had to leave for a shoot. I didn’t have time to look at the manual so this camera had to be easy to use!

Straight out of the box, it looked very much like the C300, although it was noticeably smaller. In terms of build quality it’s very much like its bigger www.dslrmovie.co.uk www .dslrm dslrm lrmo ovie ovi ie.co e co.uk o uk

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brother, and it’s very portable and lightweight, which for me is a real positive. I love my C300 but have to say it does get a little heavy on a long day’s shoot, especially in conjunction with a sturdy tripod.

The C100’s menu display is the same as the one featured on the C300, which is very easy to navigate – this ease of use is something I love about the Canon brand generally. The pistol grip is identical to the C300’s, and it can be attached or removed to suit www.dslrmovie.co.uk

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various types of shooting. The record buttons on the C100 are helpfully highlighted in red, unlike those on the C300 – useful when working at speed.

Another difference from the C300 is the LCD screen: the C100’s is a decent 3.5in with a 922k resolution and is attached to the camera, which keeps the form factor small but precludes the same level of movement. For example, with my C300 I can flip the four-inch rotating LCD to face the front of the camera so I can film my own training SPRING 2013 HDSLR MOVIEMAKER

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tutorials without a camera crew. On the positive side however it’s still possible for the C100’s screen to move upwards by up to 100° to enable low-angle shots.

One feature I really like about the C100 is the inclusion of a mini joystick, which allows you to navigate through shutter, aperture and other settings without having to press a function button or a wheel setting. It’s a really intuitive way of navigating the menu, in my opinion better even than the system employed by the C300.

Meanwhile the outside buttons on the C100 are very similar to those featured on the C300 and are all assignable. One of the best features of the C300 is the ability to assess the built-in ND filters: with the C100 the ND filters are on a wheel so it’s equally easy to change them when required, and I prefer this system because if you’re in a rush with the C300 it’s easy to accidentally switch up a stop rather than down or vice versa if you’re not actually looking at the buttons.

Overall I had to keep reminding myself that the C100 works out at just one third of the price of the C300 when I was comparing the two cameras, because it’s obviously not realistic to think that you’re going to get the same spec for so much less.

The C100 is impressively equipped however, and holds its own well against its much pricier, bigger brother.

Shooting aids This is the area where the C100 comes into its own when put up against a DSLR with an HD Video option. With focus assistance and the peaking options it’s very easy to rack and follow focus. If that wasn’t enough, the magnification button works in record mode, so it’s possible to check focus at all times. The peaking assist feature works in the same way as it does on the C300, and it’s something we use all the time when film-making.

Just imagine that you had to shoot a wedding on all your lenses using just manual focus: scary indeed! That’s what it feels like to a newbie moving from photography into the film world.

The peaking alone will make this transition into film much easier and ensures you won’t be coming home with out-of-focus footage. This camera also has zebras, something all dedicated video cameras have: these are similar to the flashing highlights you get on a DSLR’s on-screen review image, but they’re ‘live’ so you can adjust exposure before shooting. You can also adjust the point at which the zebra pattern starts and stops. The www.dslrmovie.co.uk

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“Impressively equipped, the C100 holds its own well against its much pricier, bigger brother”

ABOVE A mini joystick makes menu navigation intuitive – always useful when you’re out and about on a shoot.

waveform monitor and vectorscope facilities offered by the C100 were something new to me when I got into filming; combined they give you more info than a histogram and allow you to use multiple camera set-ups. These are great tools for allowing you, for example, to record the correct skin tones of your subjects.

BELOW Features like Push Auto Iris and Auto White Balance are real assets that should make life easier.

choose depth-of-field. The Auto White Balance is a great option, and seemed to cope quite well during our shoot.

This facility on the C100 will be a real help for photographers, as you don’t have the benefit of Raw files to enable you to make white-balance corrections in the way you can with stills. Think

New features A new One Shot AF button on the C100 enables you to check focus, with the central image area automatically checked prior to recording. I did test this feature out briefly while I was using the camera, and it does work most of the time. However, your subject needs to be in the centre of the frame for it to work properly and, at times, it was all rather slow – I think I could have focused manually just as quickly. Generally, however, this is a great idea and it has the potential to be really useful. It’s also not currently included on the C300, but I know Canon is working on its lenses and, going forward, this function will make focusing issues very much a thing of the past.

Another new function found on the C100 and not on the C300 is Push Auto Iris. This evaluates exposure and makes any required adjustments before shooting, while the new Auto White Balance detects and balances the colour information.

Again I tried these both out and they do work, although with the Auto Iris photographers will want to decide how the camera sees the light and then SPRING 2013 HDSLR MOVIEMAKER

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ABOVE Compact, with two XLR sockets and dual SD slots, the C100 is an exciting prospect for video newbies.

of filming as being like editing lowresolution JPEGs, so getting the footage right in camera can be crucial if you want to have the right material to work with in the editing suite.

Something I didn’t expect to find on the C100 was a stereo microphone built into the front of the detachable handle, which is great for newbies who haven’t yet invested in a shotgun mic.

Another benefit for the C100 is the inclusion of two XLR slots: the Sony FS100 only has one, and it precludes you controlling individual channels.

Because of that extra XLR socket I would suggest it actually does make sense to attach a shotgun mic to the C100 so you can record professional Dolby Digital AC3 audio at 48kHz, the high-quality signal required for professional broadcast. Canon has a new data-import utility that combines files bigger than 2GB into one file, and this is great for the edit or for times when you might have to work on footage featuring something like the speeches at a wedding.

“Canon has thought long and hard about the C100, and it has designed a product that offers easy operation for single shooters” www.dslrmovie.co.uk

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Ergonomics I can clearly see that Canon has thought long and hard about the C100, and it has designed a product that offers easy operation for single shooters – now that’s something that I wish I’d had two years ago! Not only is this camera compact, but you can also use it in combination with all the

Canon line-up of lenses, including EF-S (not C300 compatible) and Cinema optics.

Unlike the Sony FS100, the C100 has two SD card slots, and you can record to both cards simultaneously, with double-slot recording or use of relay recording, just as you can with the C300. The batteries are the same as those used by the C300 as well, meaning they will last 210 minutes while, with an upgrade to a BP-975, it will be 301 minutes. Note, these timings are from the C300 and may differ on the C100. For me, extended battery life was another reason to upgrade from a DSLR: having to carry spares everywhere can get tiring, and now I need just two batteries to cover a full day’s filming.

Another of my issues with using DSLRs was overheating. The EOS 5D Mark II might warn you and shut down so that it doesn’t overheat, but that really doesn’t help when you’re in a very hot country filming speeches at a wedding. My EOS 5Ds would burn pixels on the sensor through overuse and overheating, which would leave a lovely red dot that looked like a laser point in all the footage. This could only be cured by pixel remapping. The C100 doesn’t have this issue since it comes with a built-in cooling system and fan, making it the perfect camera for durability and the demands of run and gun shooting.

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“The C100 has a greater dynamic range than a DSLR offers… you can get as many as 12 stops to play with ” Colour and sensor The C100 has a greater dynamic range than a DSLR offers and, when using the Canon log profile, you can get as many as 12 stops to play with, just as you can with the C300. Both cameras employ the same 8.3-megapixel Super 35mm sensor, meaning that the C100’s footage looks fantastic, and the sensor’s high sensitivity and low noise meant we didn’t have to light anything all day.

When it comes to depth-of-field, the C100 is truly in a different league, and I could clearly see a big difference in the footage I was getting and that which I might be able to produce with a DSLR. Moiré and aliasing, often present in DSLR videos, have been virtually eliminated as well: the EOS 5D Mark III is better in this respect, but still the C100 has an advantage.

Along with all this praise, there are still a few niggles I noted. My biggest surprise was discovering that the camera doesn’t offer any slow motion facility, not even at half HD. Even Sony’s FS100 has slow motion options, as does the EOS 5D Mark II, and I’m hoping that Canon will add this at some point as it could be a deal breaker for some. Another annoyance is that the battery doesn’t have a cover; it sounds like quite a www.dslrmovie.co.uk

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ABOVE Thanks to the C100’s high sensitivity and low noise, Victoria Grech needed no additional lighting on this day’s shoot.

RIGHT With a performance that’s better than a DSLR, the C100 is capable of offering dramatic shallow depth-offield, as this frame grab from the production clearly shows.

PRICE COMPARISON Canon EOS C100: £4438 including VAT (equivalent to the Sony NEX FS100) Canon EOS 5D Mark III: £2327 including VAT Small HD monitor: £650 ND filters: £300 Four x Canon batteries: £260 Rode stereo video mic pro: £162 Zoom H4N: £259

Total for a 5D Mark III set-up that’s comparable to what the C100 offers is £3958. Even then this doesn’t include a broadcast-quality sound set-up, and for an overall difference of just £438 I think the C100 starts to look like a great investment.

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34 GEAR minor thing, but from our point of view we wouldn’t take this camera on some overseas work as we’d worry about the effect of the elements on an open battery compartment. I think it does make the C100 look slightly unfinished, particularly given the price of the camera.

I found the EVF eyepiece uncomfortable compared to that on the C300. It could have been better placed or had the movement that the C300 offers so you can get a comfortable shooting set-up. Finally there’s the fact that the camera comes with SD slots only: as someone who has invested in bucketloads of CF cards I personally found this a little disappointing, but I’m sure many others will be happy with SDs. Conclusion I really love the concept of this camera, and it comes with a whole host of impressive specs and some great new auto features. I believe this camera could be a real incentive for the next generation of photographers looking to get into film-making in a serious way. This camera enables one-person crews to really move on and do away with some of the workarounds that come as a necessity with a DSLR. The ease with which you can achieve such things as camera-audio syncing on its own makes this camera a valuable stepping stone for the photographer looking to move up. For me, learning to record separate audio and then syncing it to the timeline wasn’t easy. This camera gives you the ease of adding not only a shotgun mic, but it also comes with an open XLR socket for a radio lav mic, something rivals such as the Sony NEX FS100, with its one socket, can’t match.

It’s also important to emphasise the ease with which you can adapt to shooting on a cinema camera, whereas DSLRs require additional peripherals to give better ergonomics. Of course, the £4500 price tag is still a big ask for any professional, but by bringing that initial figure down so much from the C300’s price, Canon has thrown open the door to its C Series and is inviting a whole new audience to the party. If it would only add a slow motion option, I’d buy a C100 tomorrow!

RATING VALUE FOR MONEY.....9/10 BUILD QUALITY................8/10 FEATURES..............................8/10

Canon EOS 5D Mark III

Canon EOS C100

Canon EOS C300

26x24mm CMOS

Super 35mm type CMOS

Super 35mm type CMOS

DIGIC 5+

DIGIC DVIII

DIGIC DVIII

Lens mounts

EF & EF-S

EF & EF-S & EF-Cinema

EF & EF-Cinema

One Shot AF

No

Yes

No

Magnification on record

No

Yes

Yes

Peaking

No

Yes

Yes

Zebras

No

Yes

Yes

Wave/vector forms

No

Yes

Yes

ND filters

No

Yes 2, 4, 6 stops

Yes 2, 4, 6 stops

8.11mm (3.2in) Clear view ii FTT approx 1040k dots

8.8mm (3in) Clear view ii 922k dots

10.1cm (4in) 1230k dots

SD/CF one slot each

2xSD slots

2xCF slots, SD for profiles

100-25,600 non expanded

320-20,000

320-20,000

800 TV lines

1000 TV lines

1000 TV lines

Tech spec Sensor Image processor

LCD monitor Storage ISO Horizontal res Frame rates

1920x1080 -29.97, 25p 23.976 720x1280 -59.94, 50p

1920x1080 50i, PF25, PF30, PF24, 24P

1920 x1080 50i, 29.97, 25p, 24p, 23.98.

720x1280 59.94, 29.97, 25p, 23.98

Relay record

Possible onto SD card

Yes

Yes

Pre record

No

Yes

Yes

Double slot rec

Yes

Yes

Yes

XLR inputs

No

Yes

Yes

Built-in audio

Yes

Yes

No

Yes – recent firmware upgrade

Yes

Yes Yes

HDMI out HD SDI out

No

No

Time code

Yes, SMPTE Timecode

Yes on HDMI output

Yes

Genlock

No

No

Yes

Wireless control

No

No

Yes

Autoexposure mode

No

Yes

No

Canon Gamma log

No

Yes

Yes

Auto white-balance

No

Yes

No

Need external mic

16-bit 2ch (48kHz) Dolby digital AC3

Need external mic

Audio recording

Overall Rating

9

HDSLR MOVIEMAKER SPRING 2013

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24/1/13 16:08:54

36 GEAR FOLLOWING FOCUS

Stay focused Read our essential guide to some of the best budget, mid range and high-end follow focuses available, and make sure that your video footage remains tack sharp and suitable for every kind of professional use WORDS DAVID STANDEN N THE ONGOING search for critical focus, DSLR film-makers often get frustrated with the results of manually working the lens by hand. Not only can it be hard to find the focus when there’s constantly moving objects in front of the camera, but the vibration, movement and even the sound caused by trying to focus using a lightweight camera can ruin a shot – which isn’t great if you’ve only got one chance to capture what you need.

I

That’s why many pros turn to follow focus devices to make sure that they get the best and most useable results while filming. Not only do you end up with more in the way of stabilisation, but follow focuses also enable you to consistently get smooth focus pulls when shooting out in the field.

Here’s our guide to some of the best budget, mid range and high-end follow focuses currently available.

BUDGET www.dfocussystem.com

D|Focus The D|Focus follow focus has now evolved into its third version. Version one offered affordability, version two pro quality and, now, version three offers an optimised and augmented form of its predecessors.

The device includes tension-adjustable gears, allowing for almost zero backlash; reversible gear plate; and a 3D marking disc. All in all, it’s an affordable, lightweight and reliable p piece ece of kit that is well worth considering if you’re looking for a budget entry-level vel follow focus.

From £87

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WHY BUY A FOLLOW FOCUS One of the great things about shooting film on a DSLR is the shallow depth-of-field you can get with the lenses. However, if you’re filming with an aperture of f/1.4 and there’s constant movement in the shot, then you might find keeping everything in focus tricky, especially considering the kind of focus rings you get on DSLR lenses. Add to that the vibration and movement you contribute yourself by constantly trying to manipulate the lens and you’ll find your beautiful shot won’t be so beautiful come editing time.

That’s why many people turn to follow focuses.

If you’re shooting with large apertures with a shallow depthof-field regularly, or you film subjects where there’s a lot of movement, or you’re using a cheap lens with bad focus rings, then it’s well worth considering getting a follow focus. But first of all, let’s be sure about one thing: if you’ve got a follow focus ahead of a tripod on your shopping list then your priorities are slightly out of whack.

Follow focuses are next-level pieces of kit – gear that you should consider getting hold of once you’ve understood and mastered the basics.

Most follow focuses work using a set of gears that are attached to teeth on the lens’ focus ring. These gears lead to a wheel, which, when it’s turned, make the whole system turn, including, of course, the lens’ focus ring.

A good follow focus should give an added element of stability to your shot, minimising the shake on the lens by removing the need for you to touch it directly. But stabilisation is only an added benefit of a follow focus – their real beauty is in their ability to add efficiency and precision into a s shooting session.

The ability to rack focus – c changing the focus of the lens during a shot – accurately is du essential on some shoots. A follow focus adds a layer of exactness to this process. Whoever is operating the wheel on the follow focus has a better chance of quickly and accurately getting the job done.

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www.focusmaker.com er.com

FocusMaker er Finding a budget follow focus that doesn’t a) look like it might break if the wind changes; b) look like a selection of hardened elastic bands; and c) actually works, can be a difficult task. The FocusMaker aims to change all that. At not much over £50 it’s certainly affordable – and it has a reassuringly solid, if unconventional look.

It’s quick to use, easy to mount and fits most DSLR lenses. Its alternative build is offset by the fact that multiple adjustable focus points enable it to make fast and accurate focus adjustments, meaning that it’s a versatile entry point for beginners. £65

www.varavon.com

www.indiproco.com

Varavon Sling Follow Focus

IndiPro Follow Focus

If you’re unsure about the benefits of a follow focus and just want a cheap product to play around with before committing sizeable amounts of cash, then the Varavon Sling is well worth considering. It won’t give you the experience of using a truly professional follow focus, but for a low budget, entry-level product it’s not too bad.

It may look like you’re attaching a Beano-esque catapult to your lens, but the Varavon Sling benefits from ease of use due to its simple design. It’s very portable and can be adjusted to fit almost any lens. £10

IndiPro has opted for pure simplicity and functionality with its follow focus unit. Essentially it’s friction based with a rubber ring working with the focus ring on your lens, meaning there’s no need for gears. There’s nothing to assemble – you just fit it to your lens and you can pull focus straight from the barrel.

Yes, this follow focus doesn’t utilise a traditional build.

Yes, it’s predominantly a starter kit. And yes, you will need a greaseproof pencil to mark off the hard stops. But it’s good for the price and a great piece of gear for film-makers who specialise in running and gunning, and have limited set-up time. £74

www.dslrmovie.co.uk

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www.ikancorp.com

ikan ELE-F3 Friction Follow Focus Like the IndiPro’s effort, ikan’s ELE-F3 is a frictionbased follow focus, negating any need for lens gears or additional pieces. And, like the IndiPro, it’s also suited for film-makers who are running and gunning using short focal length lenses.

It’s also a versatile piece of kit, which doesn’t necessarily have to be attached to a 15mm rod-based support system to work due to having a built-in standard ¼x20 thread. Add to that a quality, sturdy, lightweight build and you’ve got an excellent entry-level follow focus. £123

MID RANGE www.shapewlb.com

www.redrockmicro.com

SHAPE Follow Focus

Redrock microFollowFocus Blue

SHAPE has decided to combine the best of both worlds with its follow focus. But rather than being a jack of all trades, master of none, the unit is a solid pro performer with more than a few tricks up its sleeve.

You can use the follow focus on either the left or right side of the lens and it has a unique clamping system allowing for speedy attachment and detachment. A reversible gearbox and adjustable marker make this follow focus well worth considering if you’re shopping in the mid range. £432

Redrock has a tendency to make solid, reliable products that have high-end qualities for mid range prices. The microFollowFocus Blue is no different and is part of the company’s flagship pro series of follow focuses.

The device comes with a range of features that will appeal to pro/semi-pro film-makers, including adjustable hard stops, illuminated 3D marking disc for added accuracy during low-light and night shots, and a moveable, reinforced focus indicator that can be positioned anywhere for operator-only focus pulls. There’s also a double-sided studio version of the Blue, for anyone who wants to take their focus pulling to the next level. £495

www.dslrmovie.co.uk

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40 GEAR www.edelkrone.com

www.lanparte.com

Edelkrone Follow Focus Plus

Lanparte FF-01

Edelkrone is starting to get a reputation in the film world for making inventive, disruptive products. Its compact gear, like the Slider Plus and Pocket Rig, is making pro equipment more accessible to people who travel light on shoots – proving that quality isn’t lost through innovation. And its award-winning Focus Plus follow focus is no exception.

It aims to add a new level of precision by moving the focus marker from the control wheel to the drive gear. The marker is also adjustable and faces you to further increase accuracy levels.

You can also use a thumb-dip wheel on the rig to make sure you’re always in complete control. £498

The FF-01 is a mid range follow focus with high-end ambitions. It’s well built – machined out of aircraftgrade aluminium. It’s also fully gear driven and has 1:1 gear ratio to increase the smoothness of focus pulls. The product has interchangeable drive gears and can be used on either side of the lens, and it has a 3D marking disc for ease of use forr both operators and focus pullers. You can also insert a whip hip or a speed crank into the standard arri-style accessory port ort in the focus wheel. £248

HIGH END www.arri.com

Arri MFF2 It’s hard to imagine an Arri product being anywhere other than the top end of the price range, such is its reputation for producing high-quality products. The MFF2 follow focus is no different and it bears all the hallmarks ha allma arkss of o the the e kind d of o tthe he e kitt you’d expect the world’s you’d ’d expe ctt from f th wo rld’ ld’s largest supplier of motion-picture equipment.

The equipment. i T Th he MFF2 M MFF FF2 2 comes in in two styles – HD and Cine – for small video cameras and DSLRs. Aside from a quality build, the MFF2 comes with a unique snapon bridge mechanism and a choice of three different focusing knobs – standard, hard stop and two speed.

The HD version has a 1:1 gear ratio and is aimed at smaller lenses, while the Cine version is 1:2. £1139

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www.dslrmovie.co.uk

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www.letusdirect.com

Letus Follow Focus Elbowing its way into the high-end bracket, alongside the likes of Zacuto o and Arri, is Letus, which has produced a product the company describes as “the highest-quality follow focus you can buy for under $1,000”. And nd it is a piece of kit that should be seriously considered for anyone ne looking to get pro results from their focus pulls.

It’s a precision-built piece of machinery, completely custom machined from anodised aluminium and stainless steel.

It has a 1:2 gear ratio, can be mounted on either side of the lens and has a simple mounting bracket for quick attachment. £559

www.genustech.tv

www.zacuto.com

Genus Tech Superior Follow Focus Unit

Zacuto Z Focus

Genus’ Superior Follow Focus Unit is one of those products that just seems to do everything well. It has a smooth action for excellent focus pulling and is designed specifically for DSLRs and pro cameras.

The Superior features a clamp-on, quick-release bar, allowing for quick detachment without disturbing other components on the rig. You can also flip it to enable reverse rotation and the unit comes with a flexible gear ring and 0.8 pitch gear. £660

Zacuto has steadily built up a reputation as one of the brands film-makers can really trust. Its Z-Finder products are industry leaders and its rigs are just as popular.

The fact that its products come with lifetime guarantees should give some indication of the quality of the build and the operational ability these products have.

The Z-Focus truly lives up to Zacuto’s high standards. It’s lightweight and completely gear driven, allowing for accurate, slip-free movement. It comes in at a hefty price, but it is, without a doubt, a high-quality piece of pro kit that DSLR filmmaking guru and Do DoP Philip Bloom describes as ‘flawless’. £669

www.dslrmovie.co.uk

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SPRING 2013 HDSLR MOVIEMAKER

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42 GEAR BUYERS’ GUIDE:

Camera stabilisation Keeping video footage ultra steady y is the number one priority for film-makers, and there are a number of excellent solutions out there to meet all price ce points. Here’s our guide to what’s available and the latest launches aunches WORDS IAN FYFE

www.zacuto.com

Zacuto Zacuto offers two lines of DSLR rigs, catering forr both light use and more substantial shooting. nd are aimed Its Gorilla Kits are lightweight and easy to handle, and at journalists and event photographers who might do a combination of stills and video capture. They don’t have accessory rods built in, so it’s not possible to mount film accessories such ass a y matte box or a follow focus, but tripod mounting is easy for fast switching between tripod and hand-held shooting. There are two kits in this line – the Target Shooter (£340) with which you have both hands on the camera, and the Striker (£615), with a single handgrip that can be attached on either side.

The Gorilla Kits are not intended for long periods of shooting, but the Cinema Kits are designed for this. These start with the Zacuto DSLR base plate, and from this you can build up your kit as you want, with prices starting at around £1000. All components are interchangeable between kits and are e also available separately, so it’s possible to build a completely pletely customised rig. The base plate gives two levels of rod support s, single or to mount accessories, such as a matte box, follow focus, double handgrips, sound recorders, HD monitors and more.

The possibilities are endless.

www.swedishchameleon.se

Swedish Chameleon In the last few months, Swedish Chameleon has updated its SC3 rigs to include small and medium sizes in addition to the existing large. All feature a unique belt-drive follow focus

HDSLR MOVIEMAKER SPRING 2013

HDSLRSPR42_46 (BUYERS GUIDE)ifljc.indd 42

system instead of the traditional gear wheel, designed specifically for still rather than cinema lenses.

The original SC3:LARGE (£1247) is an eye-level, shoulder supported rig. The head and shoulder pad have three rod-clamps for standard 15mm rods. Two of these are for iris rods, while the third is a perpendicular clamp for an optional SC3:EXTENSION kit or other mounting alternatives. It also features a waist belt, into which a back rod connects to take the weight off your shoulder.

The SC3:SMALL (£664) is a compact and lightweight rig for those who want to combine tripod and hand-held shooting. It achieves three-point stabilisation via its adjustable shoulder rod and handles, and it can be mounted on a tripod using the included tripod plate. The latest addition to the range, the SC3:MEDIUM (£808), has the same features as the SC3:SMALL, but also has a slimmed-down version of the waist belt system from the SC3:LARGE. An extension kit is available to convert the SC3:SMALL to the SC3:MEDIUM.

www.dslrmovie.co.uk

23/1/13 17:34:33

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www.redrockmicro.com www.sachtler.com

Redrock Micro

Sachtler The Artemis Handheld (£589) is a mobile stabilising system that ensures fluid camera ool-free, with selfwork on the move. Set-up is tool-free, locking spindles and a Side-to-Side o-Side mechanism that allows precise positioning g of the camera.

The camera plate is compatible le with Sachtler fluid heads, making itt easy to switch between tripod and d hand-held shooting. The handgrip dgrip design allows you to hold the rig in one hand while controlling with the other. There’s also a monitor mount, which fits standard TFT monitors and can be freely positioned.

The upper and lower bows of the rig are moulded from the same piece of aluminium, reducing vibration and ensuring stability and torsional strength. th.

The system’s total height can be adjusted easily, allowing the vertical weight distribution to be tailored ored to the camera being used, while the balance weights are fixed to an adjustable able mount that is fitted without using tools.

Redrock Micro offers a number of DSLR rigs, from the Nano DSLR line of compact and economical rigs starting at under £100 through to hand-held, shouldermounted and studio rigs in the DSLR 2.0 and UltraCage Blue ranges, where the top end reaches over £1500. The company also has universal bundles to meet any need.

These and all other Redrock Micro rigs have recently been improved with new accessories. The microShoulderPad is a completely redesigned camera shoulder pad that improves comfort and balance for long shooting days. It promotes proper alignment and better stability, as well as uniquely balanced pressure distribution.

Also new is the microBalance QR rig counterweight system, which allows easy removal of counterweights at the push of a button, without the need for any tools. Finally, the rig handgrips have been updated with a new diamond pattern on the soft rubber surface that reduces moisture build-up.

A double-lock on each rig grip end also allows attachment of the microRemote fingerwheel when the grips are inverted.

www.varizoom.com

VariZoom Vari Aw whole host of modular DSLR supports is available from sup VariZoom VariZoom, with the Stingray and Cine kits, and separate lines providing prov components also available. The kits compone cater for all a levels, starting with simple as the StingShot (£284), kits such a which is ssimply a base plate with a grip that rotates for use as a pistol g kickstand. At the top end, there kicks are more advanced rigs, such as the StingRay (£884), which includes a shoulder brace and in dual handgrips. du In the Cine line, models with dual shoulder supports are available, such as the CineRig (£821), offering great stability and freedom of movement.

It easily converts to a CineGrip dual freehand stabilising rig for more dynamic shots too. For a different type of support there’s also the RageCage (£632), a triple-grip 15mm stabilising quad cage that s offers offe plenty of versatility in attaching accessories. att www.dslrmovie.co.uk

HDSLRSPR42_46 (BUYERS GUIDE)ifljc.indd 43

www.tiffen.com

Steadicam For DSLR users, Steadicam offers the Merlin 2 hand-held stabiliser (£537), and the company claims that this moves as smoothly as large sting thousands of Hollywood rigs costing pounds. The stage design features a mera plate, and the rigid universal camera height and angle off the lens platform onger lenses. The adjust to support longer ures a FoldingMerlin 2 also features aning it Caliper hinge, meaning can fold for travel and storage but needs no readjustment d. when it’s reopened.

Without balance e n weights, the Merlin kg, 2 weighs just 0.64kg, d the and the design and grip comfortable handgrip owing reduce fatigue, allowing nger. It can you to shoot for longer. rom 0.23support cameras from 2.27kg, although this his is increased to 3.4kg if you opt forr the kit that includes d Vest Accessory (£1387). the Merlin Arm and

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www.glidecam.com

Glidecam The Glidecam VistaTrack series includes two miniature linear track ck and dolly systems, the Glidecam VistaTrack 10 (£442), and the Glidecam VistaTrack 30 (£821). Both are available with lengths of 24, 36 and 48 inches, and allow smooth, accurate and vibrationfree camera movements. The bearings are sealed, double-row ball bearings that are lubricated for life, so no maintenance is required.

Quick release plates are included with the VistaTracks to allow tripod mounting, and they are compatible with most 1/4in and 3/8in fittings. The e sliders can be used on flat and uneven surfaces, with integrated adjustable e legs, or mounted on a tripod. In these arrangements, the VistaTrack 10 can n support weight up to 4.5kg and the VistaTrack 30 can hold up to 13.6kg, although mounting on two tripods doubles the weight they can take.

www.smoothshot.co.uk

Smoothshot Two different camera stabilisation solutions are available from Smoothshot – a rig and a slider. The Smoothshot Steadycam (£60) is similar in design to other steadycam rigs, but has a lower price tag and is quick to set up, taking under two minutes according to Smoothshot. It can cope with kit weighing between 0.3kg and 1kg and has a standard 1/4in tripod mount. It also has an adjustable weight platform for additional versatility, and is lightweight with a comfortable grip, useful if you’re shooting for long periods.

The Smoothshot Slider (£157) can be used on any surface; its feet are designed to compensate for uneven surfaces when shooting. They allow you to shoot horizontally, vertically, at an angle or even upside down. Alternatively, it can be tripod-mounted, catering for both 1/4in and 3/8in fittings. It can take up to 4kg of kit, with a 4cm-wide slider carriage, and it’s available in one metre and 50cm lengths. The rail is made of hard anodised aluminium and the bearings are made of industrial grade self-lubricating plastic, so there’s no need for any maintenance.

www.manfrotto.co.uk www ww w ww w w manfrotto co uk www.haguecamerasupports.com

Manfrotto The SYMPLA system from Manfrotto is a professional modular rig system that provides stable support, essential accessories and versatility, as well as comfort and safety. The system is built so that changes are quick and easy, from handgrip positions to filters. With tool-free adjusters, you can make changes on location and mid-shoot.

The system is modular, allowing you to build up your rig exactly as you want it. However, Manfrotto has recognised that there are combinations commonly needed, so have put together some basic systems. These include the Shoulder Support System (£980), which comes with a shoulder pad and features swivel-joint handles for full control and flexibility. Another system is the Long Lens Support System (£840), which reduces vibrations while shooting with long lenses and provides a rigid, stable platform for any camera/ lens combination. With all components inter-compatible, starting with one of these systems gives you a base on which you can build.

www.dslrmovie.co.uk

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Hague Hague offers a variety of supports for DSLRs to allow smooth movement in your movies. The DMC DSLR Motion Cam Stabilizer (£155) has been designed specifically for DSLRs such as the Canon EOS 5D Mark III, allowing results traditionally only possible with a camcorder.

A range of adjustability allows you to use different camera and lens set-ups weighing 1-2kg. Alternatives are available for heavier and lighter kit too.

Also developed by Hague is the Pro Camframe (£55), which provides grips on all four sides of the camera sitting at the centre. This allows a more natural holding position, and there’s a handle at the top for low shots. This also has two shoes for accessories such as lighting and audio equipment.

Switching between tripod mounting and hand-held shooting is also simple with the standard 1/4in mounting thread on the bottom.

For stable tracking shots, Hague also offers the Camslide Easyglide. This incorporates a slightly wider and lower rail and larger carriage than on traditional systems, making it better suited to DSLRs. It’s available in lengths of 64cm or one metre.

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46 GEAR www.arri.com; £5420

Arri Ready-to-Shoot Kits Arri offers a number of Readyto-Shoot kits, which contain the necessary components for a cage system for your specific camera. Available kits cover several of the most popular DSLRs for video, including the Canon EOS 5D Mark II and Mark III, the EOS 7D, and the Nikon D4, D600 and D800. We took a look at the kit for the EOS 5D Mark III. The cage is built onto a base plate where the camera is mounted, and sturdy 15mm rods allow the remainder of the system to be built onto this. It was simple imple to put together – it’s well engineered d so everything fits together well, and the e fixings were comfortable to use and held everything securely. Where positioning ing can be customised, such as the handgrips, grips, the connections are rosetted.

The camera fits onto the base plate e via its tripod mount and is also secured att the top via the hotshoe. A follow focuss is also included in the kit, and this fits easily sily onto the mounting rods. This is articulated ated so that it can be positioned precisely for or different lenses – once installed, this is very responsive and accurate.

There’s also a matte box that’s fully customisable with basic or professional accessories. Side flags, adaptor rings, light protection rings and a matte set are all included. At the back, there’s a customisable shoulder support and an articulated plate for a battery pack. All in all, it’s a comprehensive kit, including

components with a total value just short of £5500.

In use, the shoulder support and handgrips are comfortable, although the rig is heavy, and with a battery pack and more accessories such as lighting, the weight will increase. With the kit as it is, the camera is in line with the shoulder support, positioning it off to one side e – this means that it’s not very comfortable for viewing the screen while shooting. However, there is a viewfinder adaptor included so you can attach an external unit.

There’s no doubting the build quality of this rig, and its stability isn’t in question. The

modular system also allows for plenty of customisation in terms of attaching accessories and positioning for comfort.

If you’re serious about videography, then this rig will certainly do the job.

www.4mycamera.com; £110

4MC Smart Rig This rig from 4MC is a simple system, using dual handgrips and a cushioned shoulder support to provide three-point stabilisation for a mounted camera. There’s also a waist belt system for added stability.

The mounting rails accommodate an optional follow focus, which we used.

Step-by-step instructions made assembling the rig easy – it took around ten minutes. It was obvious from the outset that this rig isn’t particularly sturdy in its construction – the rods are aluminium, making them light, but most significantly, the screw locks that hold the components in place weren’t very secure – even tightening to the maximum didn’t hold things in place well.

In use, the waist belt system made things feel more secure. Being so light though, there was a tendency for the rig to move just from breathing HDSLR MOVIEMAKER SPRING 2013

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if too much weight was surrendered to the belt support. The camera was positioned directly in front for comfortable viewing of the screen though, and the follow focus worked well. I don’t think the handgrips would be all that comfortable for long periods, but for short sessions the padding was sufficient.

Overall, this would make for a good first rig if you’re just starting to experiment with moviemaking and aren’t sure you want to commit.

While top-quality build isn’t expected at this price level, it was concerning that the fixings didn’t hold firm. If you’re serious about videography or you’re interested in long shooting sessions, then this probably won’t meet your needs for comfort or stability, but it’s worth considering if you’re on a budget and want something for fairly light use. www.dslrmovie.co.uk

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